Participation Reference 3
Pablo Hulguera is a New York based artist whose work stretches across many topics and disciplines (history, pedagogy, sociolinguistics, ethnography, memory and the absurd) (installation, sculpture, photography, drawing, socially engaged art and performance). His interests as educator and artist often intersect to create work that focuses on issues of “interpretation, dialogue, and the role of contemporary culture in a global reality.”
His project, Vitel Vel Regula, is one that will go past his death for a hypothetical future audience who have not yet been born. At the Renata Bianconi gallery in Milano, Hulguera asks the attendants to write letters to the audiences of 2097, except in a staggered manner. He calls his project a game in which the 50 participants each recieve 16 envelopes with an open date and set of instructions for writing a letter. The first envelope was opened March 1, 2013, and each next opening has been twice the amount of time since the opening of the previous envelope. The 15th envelope is set to be open Nov. 23, 2097 and the 16th will be opened after Hugleura passes. Participants chosen to write letters are likely to outlive Hugleura, but even so, it is not certain that they will live to the last letter date. These private notes written will go into a time capsul that will be opened in the future and pictures of the participants are taken so that the future audience can understand how and what the past looked like and get a sense of what the people looked like. The project realizes and acknowledges the transcience of human existence but juxtaposes this with the triumph in the preserverence of ideas. Hugleura states, “I believe in the constancy of people and the bonds they create, which Is what compels me to propose the current collective experience. So let’s celebrate that bond that we have now.” The goal is to create a collective experience, bridging and making connections between communities of the past and future while also creating a legacy for participants in which the future can remember them by.
“But in the same way that we can’t know what the future holds, and what we could learn from those hypothetical audiences of the future that will watch the video of this event we are making now for them, it is also interesting that we are often equally ignorant about those who lived in the past.”