mic dictionartriga

"Trigâ" = (Trajet) is a term used by the Larbaâ  nomads from the Algerian, designating the woven straps that are used to strengthen the cords of the tents.

Their home is not tied to a particular territory, but rather it is an itinerary. Like a second skin, the nomad’s dwelling comes from his work of a breeder.

Thus he lives in his own work. I appropriated this term – Trigâ (new genre attributed: feminine) - to bring together under one single title the dynamic interaction between a subjectivity that is built into contact with the effects of a practice, and a practice which is guided by the first.

The junction between these two phases, from rules to observing the effects of their implementation, leads to rephrasing, when appropriate, of other rules and so on.

TRIGA

 

"ZĂERC"(singular), "ZĂERCS" (plural) is an abstract structure of coding reality, based on a playful and obsessive way I used in my early childhood to point out all that I had said.

 Zăerc is removed from the initial frame of language and brought up into actuality, becoming a sort of synthesis of the form as reduction of the world, a multiplication of the self in the face of nothingness.

        A zăerc is made from on of my clothes or a close person’s one, stuffed with household debris which I have been collecting since 2012.

        The ZĂERCS are dismemberments (fragments suggesting the body: legs, arms), they are very similar, but lacking individuality and not having a declared identity.

         1.1. The word zăerc = the object zăerc

                1.1. The word zăerc is solidary to the object zăerc.

                1.2. The word zăerc makes sense only in virtue of its shape. It expresses an idea that is consistent with the shape of the object that it represents.

          2. The objects zăerc determine the logical structure of my world (the IN-TRIGÂ structure)

                2.1. The shape of the object zăerc and the expression that it receives within the shape of the word zăerc are necessary to me and unchanging ( " 2.022. It is obvious that an imagined world, however different it may be from the real one, must have something-- a form -- in common with it." Tractatus Logico-Philosophicus,  Ludwig Wittgenstein). These determine the structure common to all zăercs (as artistic objects) and to all my languages, it constitutes the scaffolding of my internal world.

         3. The zăerc condition precedes the zăerc.

               3.1.The zăerc condition is the most acute state of the subject at the moment of his liminal perception, of attempt to gain consciusness of his own limitations, representing the impossibility to formulate or represent an expression (of any kind) of the inexpressible.  

               3.2. The boundaries of the symbolic representation of reality can only be determined from the inside. About these boundaries one can not say anything, but it must be shown. 

         4. The zăerc is ethical and aesthetic through its participation to the abstract form of Beauty, Goodness and Infinity. I create out of the responsability to share with others the idea of beautiful, through my zăercs.

               4.1. The In-trigâ project's axiom lies in the total precedence of the zăerc condition to the form and idea of zăerc, zăerc whose purpose consists in the usage given by those who share this state-idea-object-word.

                 

ZERCSI

 

Zăercs of objectual support: respectively whole clothes stuffed with debris, gave rise to anthropomorphic forms, monsters,which I used as perceptual support for paintings and other sculptures.

 They were in limited number because this figuration seems to me more and more an increased responsibility.

 

MONSTRU SUPORT OBIECTUAL

© Maia Oprea 2012