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The ineffable joys of enumeration is a project designed specifically to respond to the invitation of the curator Chlöe Charce to participate in The Val-David International Symposium of Site-Specific Art, in Quebec, Canada. This residence is intended to semi-permanent interventions in the middle of a protected forest, located in the Jardins du precambrien, in Val-David.

The project involved the installation of a text (in Spanish , English and French) which corresponds to a fragment of the book Thoughts of Sorts (Penser / Classer) by French writer Georges Perec, which I copy here:

“There are two contradictory temptations in any act of enumeration: the first is to cover EVERYTHING, the second is to leave something out all the same; the first temptation would seek to close the question forever, the second would leave it open; between the exhaustive and the incomplete, enumeration seems to me to be, prior to any sort of thought, the intrinsic mark of our need to name and to collect without which the world would be unmappable…”

“En toda enumeración hay dos tentaciones contradictorias; la primera consiste en el afán de incluirlo TODO; la segunda, en el de olvidar algo; la primera querría cerrar definitivamente la cuestión; la segunda, dejarla abierta; entre lo exhaustivo y lo inconcluso, la enumeración me parece, antes de todo pensamiento, la marca misma de la necesidad de nombrar y de reunir sin la cual el mundo carecería de referencias para nosotros…”

“Il y a dans toute énumération deux tentations contradictoires; la première est de TOUT recenser, la seconde d’oublier tout de même quelque chose; la première voudrait clôturer définitivement la question, la seconde la laisser ouverte; entre l’exhaustif et l’inachevé, l’énumération me semble ainsi être, avant toute pensée, la marque même de, ce besoin de nommer et de réunir sans lequel le monde resterait pour nous sans repères…”

My main interest is to install my work at the intersection of languages, primarily between the visual arts and literature, as well as from the particularities of small changes in direction and intensity can have each language. But let me also relate, in terms of its construction – techniques or crafts near certain practices I have seen in the East , to prepare the branches of trees and shrubs for the winter cold , gently covering them with fabric.

In terms of content, this text is related to the contradiction that arises between our ongoing attempt to classify and list everything, and failure always brings this mission impossible. Somehow, this has been the main leitmotif of my work over the years, and I think it is appropriate , in the context of a residence that takes place in the middle of a forest – an action that seems endless , taking into account that it is hundreds of letters that make up the text is repeated in different languages​​. Thus, the letters of felt pierced by hand – varying degradations its colorful red and gray – are sewn to each other, forming a line that runs and gets covered every tree, in an attempt to embrace this warm text of felt.

exhibited in

LIEUX / LIEUES – International Symposium of art and nature

06 July - 20 October 2013


International Symposium of art and nature, held at Les Jardins du precambrien, Val-David, Quebec, Canada.

  1. © 2019 monica bengoa