COSO (“a thing” in spanish) is a performance by SECRETO MEETING, a project created by Juan Manuel Waimberg and Sebastián Tedesco, which explores and articulates, in practical terms, the relations between contemporary art, design, industrial production methods, exhibition and comercialization of art and comercialization of mass consumer products.
The idea of building a COSO arises from the re-use of parts of an industrial enterprise. Yes, industrial. The industry that pollutes and consumes, the one we love but we hate.
The COSO is made of modular parts.
What is a COSO? Since we have no plans or instructions about the shape of a coso, we can hardly describe it in a formal aspect. We can only say that a COSO could be the emulation (1) of a production process and value addition. Basically, at the time of writing this text the COSO does not exist.
Does coso work? The coso is not necessarily money, but it is not necessarily work. Perhaps many human catastrophes could be avoided by abolishing leisure or work. What is not leisure is work? So work is love? And leisure is love? We do not know. And love: Is it a job?
The authors of COSO don’t have the answer to this questions. All the answers about coso in particular and general terms are in the contracts. The contracts are available for those who want to see them.
But does it feel love when doing a coso? Yes, but we have no contractual, technical or scientific basis for this feeling.
(1) The word emulation refers to an ambition and effort to equality, to make or be better than; overcoming the example of another; to compete or rival with some degree of success, especially through imitation. That is, imitate the actions of another trying to match them and even overcome them (DRAE). You can also refer to equipment simulation or phenomena by artificial means, such as software modeling.
Exhibition “Militantes del Amor y la Fantasía”, Militantes Gallery. July 2105. Provincia de Buenos Aires, Argentina / Curator: Natalia Cristofano.