Our idea was to develop a Performance stressing its instalative result, or seen as the process to create an installation.
Questioning how actions and human interventions impress and transform the space, we made the public witness of the creative process. The left overs of the performance became a new meaning as finished works of art exposed in a white cube space.
We started the performance with a neutral white space created with DNA4 white sheets of paper. This background than would be transformed through significative actions referring our memory and identity, about our relationships and personal experience, those episodes in life that make us who we are.
Trace can be seen as an always contingent term for a “mark of the absence of a presence, an always-already absent present”, of the ‘originary lack’ that seems to be “the condition of thought and experience”.
Trace is a contingent unit of the critique of language always-already present: “language bears within itself the necessity of its own critique”* Deconstruction, unlike analysis or interpretation, tries to lay the inner contradictions of a text bare, and, in turn, build a different meaning from that: it is at once a process of destruction and construction. Derrida claims that these contradictions are neither accidental nor exceptions; they are the exposure of certain “metaphysics of pure presence”, an exposure of the “transcendental signified” always-already hidden inside language. This “always-already hidden” contradiction is trace.
*Jacques Derrida, Of Grammatology, trans. Gayatri Chakravorty Spivak (Baltimore & London: Johns Hopkins University Press, 1976), Translator’s Preface, p. xvii