The other site-specific documentary installation included in the Forno Exhibition Space will consist of a display of documentary materials associated with the design and construction of the San Juan Bautista yola by Celso González, including original drawings, digital designs, a scale model sculpture of the boat, and related ephemera.
Lastly, a second and more intimate performance intervention by Awilda Sterling-Duprey is scheduled to take place within a room in the Forno Exhibition Space. Sterling-Duprey’s performance includes the practice of drawing blind-folded following sound patterns of specific music such as jazz. The artist chooses and plays a banda sonora - a soundtrack chosen for each intervention, which is usually instrumental jazz. She studies it thoroughly ahead of time: the actions, the sound metrics of the musical composition, and she already has in mind what color palette she will use to paint with her performing body. She enters the room and proceeds to draw blindfolded to specific musical scores, preferably jazz. She selects the specific music, the colors she will use in her preferred medium of thick oil crayons bars. Once she enters the room, she observes the space to establish a thorough feel for it before she sets to work. The set must be ready, the thick and pasty oil crayons in place, and her banda sonora of choice – the soundtrack for the performance – starts to play. As the soundtrack unfolds, she blindfolds herself and starts to draw while embodying the rhythm of the music in space and time. It is all improvised – and that is precisely the essence of the performance as well as the poesis of the drawing and recorded gestures left behind. This action must be documented and it must somehow “remain”, so that part of the premise and purpose of the installation is that “it stays in Venice” after the performance ends. It will be videorecorded and the remaining drawings will be displayed for the duration of this Collateral Event exhibition as part of La 60ma Biennale di Venezia.