Curated by Jordi Antas
Once across the threshold, the hero moves along a dreamy landscape crowded by oddly fluid and ambiguous forms, where he must go through a number of challenges. This is the preferred phase of the mythical quest.
Joseph Campbell. (1904-1987)
Instrumental Transcommunication is an expository essay focused on the open communication channels, the hidden spaces and the active role of the audiences, whom beyond desire or disappointment, certainty or delusion, mystery and awareness, generate a tense state of expectations, as well as an extreme position about the spatial connections and their architectures. That is, a belief or an experience of a perceived reality –both space and architecture- understood as something essential used by physics or technology, through a human-made technical work.
To this effect, the proposal is based directly on the term Instrumental Transcommunication, a practice that has been discovered and developed from the sixties onwards, which is to establish a communication process –allegedly- with the beyond, through electronic devices such as sound recorders, radios, video cameras, etc. A handful of visionary exercises that pursued to generate scientific theories on an assumed “underworld” confronting the rational and logical thinking to another coming from an inaccurate and unknown origin.
A starting point, the one of the paranormal connection and the apparitionist phenomena, which means for Carlos Valverde (Cáceres, 1987) a specific project to Capella de Sant Roc that, beginning with different open communication processes, the exhibition space is appropriated in order to pose a conquest of its architecture. Thus, if moved –as a parallelism- the paranormal connection to the one involving different spaces through a communicative play (an approach to the features apprehended by B. Pascal’s communicating vessels), it could be identified a passive space and other one to be activated. Hence, Valverde divides the exhibition space from the construction of a wall, where some addresses are incorporated in order to activate the following space: wall / door / lock / key. An environment of a high metaphorical value and a symbolic power: crossing the threshold in order to mystery and confusion to take over, whilst the audience become a user of the device.
In this manner, Instrumental Transcommunication is structured by a work on the study of the territory and the architectural space. A legacy of the project named ADYTON, a set of works where Carlos Valverde has been researching on from 2012, what has been developed beginning with a located and intervened architecture, where by blocks of knowledge such as technology, representation and mysticism, he delves into some particularities of the sculptural analysis, that affect the architectural vision and their audiences. Adyton is Greek for “inaccessible” and, generally, is one of the three sections of an Egyptian temple, and therefore, reclaims that idea of strong room or sarcophagus which is impossible to go through. Definitely, Instrumental Transcommunication is not a process focused on the contents of each sequence, but rather on the ellipsis that are left behind, in the spaces between, where we find the final sense of the whole: an open system interconnected between the audiences and the spatial territory