maurício ianês

Mauricio Ianês, Dicenso (2016)

Census surveys impose an impersonal and supposedly objective character upon society. They reduce the particularities of life to measurable, generalized aspects, diluting people into impersonal factors in the expectation of creating a general framework. Public policies depend on them as an instrument for decision-making and planning, as well as in the culture of consumption, formulating behaviors to associate them with production. Questioning this character, Ianês’s work returns to other aspects of the census, realizing one within the Louvre building during the exhibition. Ianês does not concentrate on the formatting and use of the data generated, but instead on its production, specifically in the social encounter that takes place when someone is researched. To work within this site of encounter, the artist becomes the researcher. The title is an evocative neologism, Dicenso, which refers to two ideas: firstly, to the state census survey, a process of individual interviews that compose the large source of quantitative data surrounding our collective identity. Secondly, it refers to the idea of dissent, a fundamental character of coexistence. This refers not to dissent of war, but that which emerges in the open space between the artist/researcher and the public/researched, what allows for this encounter and the sharing of differences.