What happens (to us) (here-now)

Abstract

Written in the context of the pandemic by Covid-19, in this text I propose an attempt to think about how certain artistic practices are affected by their migration towards virtuality, and the ways to adapt them to this situation. The virtual becomes (more) real, without leaving behind its intangibility, although it carries with it the inconvenience of losing much of what is represented. I differentiate here between the visual arts and the body arts, specifically performance. In this case, the representation techniques only make possible a flat, two-dimensional space and, even though they maintain the temporal dimension, they can only operate with field limitations, besides not being able to encompass other senses. Even though the pandemic makes this migration to virtuality possible and the geophysical ubiquity is no longer limiting, they do not allow the interaction of coexistence.. On the other hand, I reflect on the particularities raised around two personal experiences: 1) Moebius Performance, an artistic project; and 2) Habeas Corpus Performance, a management project; both carried out together with Patricia Valdez. In the first case, virtuality made possible complementary experiences to the previous path. For the second case, the virtual was an impediment, given the limitations regarding the wide range of poetics covered by performance art. In this sense, new instances of thought and action arise with respect to the future of practices in this artistic language that we call “postperformance”, a term proposed by Gustavo Blázquez.