In Dialogue with Lolo & Sosaku
– You’re a duo in your work! When did you meet and decide to embark on this artistic journey together?
The day we met was something like going on, we never felt like we were strangers.
Although it is hard to believe, we believe that our meeting began long before we physically met, we have been working together for almost 20 years and we have had many occasions to corroborate this theory.
Temporary bridges that jump to the year 1996 watching the Evangelion series at the same time in Argentina and Japan, were the Cross-shaped explosions have always had a big impact on us and dreaming about the same things; parallel lives in which our mothers gave us paper to draw and clay to sculpt, guiding us towards the path of art and creation , early teens flirting with the underworld and goodness.
Noise has always accompanied us in our work in factories, in the engines of ships as well as in other types of work that we carry out prior to being able to dedicate ourselves fully to art.
Starting to work was very fluid and natural, almost like our own language in which we understood each other perfectly.
– Could you tell us about your first real piece of work, and how your journey has evolved from then until now?
Our first work of art together is a sound work. Although we started painting and drawing (something that we have needed to mature for 11 years to arrive with the Painting Machines project).
We understand that until we get to the sound we don’t start our real work, the path that drives us and sustains our work.
Directly answering your question: We spend ours first 4 years of work to arrive at our first real work and it is the album/video album entitled “First” where we collected the entire first stage of sound experimentation and video recording that are presented in the form of a video clip to each composition. Although it is made with very rudimentary tools, it is the first work in which different disciplines are mixed and blurred.
Ever since our early beginnings, our artistic research has evolved, mutating, as though it were an almost uncontrollable matter, expanding, blurring and pushing aside the boundaries of classical art disciplines.
While working in our pieces, the materials are transformed, transcending their materiality. It is not what you can see but rather what you cannot see.
– Your work refers to an industrial and technical matrix, what exactly is the role of technology (even the most rudimentary) within your works?
Quoting Luis Montero in his book Let the machines come to me, “Humans do not have to decide if a machine is human or not, but it is the machine that must decide if we are human or not.”
We create our own technology, it is the last link between us and the final work. Our technology is a work of art, it is not just any machine. The basis of everything is the rotation of the engine, it is something that inspires us a lot since we see an alignment with the universe that its elements are in constant rotation. It’s the natural, the right way, how a motor works. Even at the level of elementary particles, everything is always spinning.
Perhaps our technology is the result of the intersection of the two minds, an energy that becomes tangible, that somehow has life and its own intention.
– In your latest project, you present painting alongside installation. How are the two mediums connected? Does one derive from the other, or vice versa?
For Spectrum Motion, an exhibition proposed as an installation in two different spaces of the Double Square Gallery in Taipei Taiwan, for which we have created a set of works that, without ceasing to be independent works, are linked to each other and in some way a bears the mark of the other, sculpture, painting, machines, video and human interaction, united in a perfect balance.
We understand Spectrum Motion as a tour of the creative process where all the layers that have led to the final painting are exposed.
We persist in the search for the hidden object inside the machine, there is an intention in its random behavior, a kind of new awareness that becomes evident when the machines paint, that is why we insist on recording all the moments of the creative process.
– I know it’s tough, but try to describe your practice in only five adjectives.
Circular and parallel.
– All artists have an obsession, what is your obsession?
Totally obsessed with the similarities between a mosquito heart and a supernova