The Estate of Anonymous (Translation VII)

Stories from homes

A collection of paintings by Carlos Miranda based on visits by Polaroid Star
Studies of forms of narration variation, a recurring topic of the program, is expanded upon in this chapter with the use of pictorial representation to generate meta-narratives, through a series of pictures that utilize graphic and argumentative characterization of different domestic spaces. The purpose here is to address this topic in its most immediate conditions of everyday use, in the very disorder of the intimate practices taking place in the room that occupies and characterizes them in their uniqueness. This interest in interior design is not free standing: work on domestic interior design is understood to be a way of connecting intimately with the inhabitants. Manners of inhabiting that are expressed spatially in manners of occupying the space that comes to be a useful indicator, on the one hand, of the idiosyncrasies of our everyday lives; and on the other hand, of an individual marked by tension created from interchangeable polls ranging from order to chaos, from work to leisure, from public speed to claustrophobic slowness; and above all, for some settlements in the domestic territory, based on their condition as spaces to make history. In fact, these are all the living and work sites of different professional narrators. Our manner of occupying our private spaces defines a plastic art and an aesthetic which produces very distinctive "interior landscapes", whose pictorial translation contain different narrative planes and methods, assimilating the registers of a comedian's language and a photographer or the genre of an interior painter (from the Baroque interiors of early bourgeoisie paintings from the Netherlands to the Hopperesque rooms or the eerie rooms created by Jeff Wall, moving on to the chronic series of Hogarth, to state a few possible trajectories). Thus, this chapter aims to create a pictorial narrative mode which differentiates the sense of the image of in an external environment, linking second-level representations that serve as strong arguments in order to establish a suspended narration in the contemplation of these scenarios of the self. This self that is projected on a very concrete environment: its intimate existence environment, the house that is selected, modelled for the everyday life of its inhabitant … And an inhabitant, in our case, paintings made from photographs taken of the (dis)order of domestic spaces inhabited by many different individuals who, as indicated, have a common and definitive quality: they are all narrators – be they novelists, critics, historians, film directors, comic strip artists, philosophers, artists, curators… Authors always using the naturalness of their domestic spaces in order to allegorically project in them the multiplicity of Anonymous and as a development strategy to expand upon his existence in open narrative (ours) that is offered to others (those of the different works that were being developed in these different landscapes of disorder). The title of each picture, therefore, contains the work that was being carried out by each of the authors when the visit was made, camera in hand, by Polaroid Star, whose photographs were used by Miranda to create these paintings.


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