Bernard Vienat (BV) – Your work has different reading-levels which are related with disciplines such as, anthropology and sociology to name a few. Within this interdisciplinary nature, how do you define the artistic part of the procession?

Alfadir Luna (AL) – I consider the artistic quality to be present in that work in two main things: One is the experience caused by this action and the other its enunciation, and off course the working together of both. I’m not thinking of this as a relationship of correspondence, but as a problematization between what is done and said and obviously I’m not thinking about telling some great truth, or explaining what is happening, but in addressing the problem of body and enunciation in such an intricate place as are markets.

To me, the artwork comes to be in that liminal field between enunciation and action, in which if we stop for a second, we would be able to feel where exactly is the figure of speech employed to say that which did not exist until this symbolic language created. On the other hand, there is the experience, the performance, the visual attractive and plasticity of the piece. Also in this we can see the artwork taking form. But, for me, what really matters is to explore the space between the two of them, which is an open field and allows us to imagine and propose other possibilities. It not only raises the notion of living something as if it were already happening, as a world that has just appeared, but suddenly this field looses all correspondence with its surroundings, making us wonder why this is happening why here?, where does this belong ?, what is this?