…one of the things I’ve learned is to live in spite of. In spite of, one should eat. In spite of, one should love. […] Even often it is the same in spite of that pushes us forward. It was in spite of that gave me an anguish that unsatisfied was the creator of my own life. […] I do not want to have the terrible limitation of those who live only from what is capable of making sense. I do not: I want an invented truth.
The House space is, probably, what we have more intimate but, however, we questioned: what House is this that I have? What House is this that I am? What do I do with it? What the others do with my house? We talk about the House as the architecture that keeps its scars and gets the shape by the events; a space as memory of the past and the future. The House is a symbolic construction and not a reality itself. In this sense, the space that appears to be evident is more elusive than you think, since it is a social and cultural construction. This structural vision requires the incorporation, as a double movement, internalization of exteriority (that is, the objective conditions of existence) and the exteriorization of interiority (in the form of perceptions, representations and real classification schemes). To promote our intimate relationship with the House would be of great help if we really understood as if we were in it, instead of facing it as outside of us. Go into through the door of inner listening, recognizing the foundations of our uniqueness and course. To know where we’re going, it becomes necessary to look and to discern where we came from. Look and see where you are, right in the center of the House, in place of the carpet.
Why do we remember some things and not others? Are those memories facts or views? And what we don’t remember, never happened? A woman serves a dinner, a kind of performance of humanity that relates how the beauty of a gesture makes a transparent existence. The dinners are like balms capable of arousing interest, joy, wishes, understanding. And do not require that you do anything, be anything, just to present and in fruition. We believe that the cure to any damage or to rescue some lost dream signs up around a dining table.
Course Without Line carries a baggage of spacial absence, and perhaps its in that emptiness, those nothings, where produces and creation happens. As if from domestic activities we could figure out what we need, and that the ‘ lack ‘ is something permanently present. The House is accidentally a collective female body that shows us what really matters. In this sense, women are a kind of mandala that, even in the absence of spaces and objects that once made them happy, will carry them and, inevitably, draw them and reinvent them forever. Part of a need for reflection on the individual space and collective space, the identity and femininity. The House that will be addressed is a space that, in addition to familiar and archetype, if questioned, that has multiple possibilities of ressignification.
Text by Claudia Marisa