Joaquin Margulis: Exploring Automation
Ever since he was a child, Joaquin Margulis has been amazed by machines. Today, he builds them as a part of his artistry – exploring themes of automation.
Joaquin Margulis left his studies of architecture to pursue an education in fine art. He graduated with honors from the School of Visual Arts (Escuela de Artes Visuales) from the Universidad Finis Terrae (Chile) in 2017, and has shown his work internationally in cities like Santiago, Madrid, Goa, Vienna, Rome, and Berlin. His work is based on trying to find a language between sound and visual art. He works in mediums like installations, painting, and sound.
“Quien quiere ir a la Tierra” by Joaquin Margulis at Galeria Patricia Ready, 2020
How would you define yourself as an artist?
I have the feeling that when I decided to study fine arts, apart from becoming an artist, I was pursuing something unknown, perhaps seeking an answer. Still, without really knowing what the question was, with my research, I am constantly trying to find this question.
This incessant pursuit through experiments and the creation of thoughts is how I define myself as an artist, an extremely curious person following an unknown path carrying out different types of experiments to get different answers.
What does your creative process look like?
Trial and error and experimentation are the basis of my creative process, especially when I work with installations and sound. To approach different types of sounds, I need to experiment with different systems, mechanisms, forms, etc. Which also applies when working on paintings.
I like to try different methods or techniques to see the different results that one can obtain. It’s interesting that sometimes in the creative process, and the experimentation phase, one can reach random results, or as I like to call them: creative accidents. I believe these accidents are fundamental for my creative development.
You work in different mediums, painting, installations, sound, and more – does the medium choose the narrative or the narrative choose the medium?
I believe it depends on what you want to achieve. For me, the idea that ‘the medium chooses the narrative’ is a very good method in the experimentation phase: to try new things, discover new ways, unveil new ideas, etc. But when one already has a landed idea, or in this case, a narrative, you try to find the ideal medium to achieve what’s expected.
“The concept of automation prevails in my work, and since I’m working with machines, it is clear that the narrative chooses the medium in this case.”
For example, in my latest work ‘Prototype I,’ the idea was to generate a system that would automatically paint a given surface. I already knew the idea behind the work; I only needed to find a way to achieve it.
When I paint, it’s usually ‘the medium chooses the narrative,’ and that is the reason why with ‘Prototype I,’ it was also intended to automate the result and the act of painting. So, to conclude, I believe both ways are constantly interacting and communicating with each other.
You explore the concept of automation, what drew you to this theme?
I’ve always been amazed by machines and how they work; their mechanisms, systems, etc. When I was a kid, I used to destroy my toys just to see what was inside. That same curiosity made me create my own systems years later, something I’m still learning and developing.
Sometimes, it can be hard to express myself and what better way to do so than through machines? In a way, I have also become automated. Ironic right? I became the concept. I think it’s interesting to show what automation is like, using it as an artistic realization.
One of the questions that I’ve asked myself lately is, can automation replace artists? Is creativity the only tool robotization will not conquer? Of course, there is also empathy, love, and other human characteristics. But I guess the whole idea behind being replaced by a machine is what drew me into this theme.
What dangers do you see in an automated world?
It is somehow ironic that new technologies gave way to automation and also to the massive networking among society we see nowadays. Social networks have connected us more, but only virtually. We still spend more time in front of a screen than with our peers.
All of this rapid technology development is what made the coronavirus pandemic so dangerous. It was able to spread quickly, and again, we had to move away from each other, keeping distance and losing human contact.
For instance, the recycling industry in the USA, fearing that the workers would become infected with bottles, or food containers, decided to replace the workforce with robots. Robotic companies around the world have seen a noticeable increase in their orders. More jobs are going to be replaced with machines. The irony here is that humans have developed a world of technology supposed to be good for us, which inadvertently facilitated the means of propagation for a pandemic, putting our society at risk, and separating ourselves from each other.
You’ve stated that chaos is the best friend of creativity – how is chaos influencing your work?
Chaos positions us in front of new patterns and new aspects that will enhance our senses and direct us to new questions, therefore new answers. For me, this is very stimulating. To be able to learn new things, adapt, and, if possible, connect it with my artistic research. It’s beautiful. Of course, it’s not easy. People are constantly avoiding chaos, and it’s not that I’m always looking for it, but it’s important to open new roads and learn new rhythms.
For example, with my work “One minute of your life Symphony,” I interfered with the transport system of the city of Santiago, standing in front of the cars with a ladder blocking the streets for one minute at a green traffic light – total chaos. After that performance, I had many ideas and concepts to use in my work. It all came from chaos.
How do you keep inspired?
I try to keep myself updated with what is going on around me on every matter; references are essential. For me, a reference is something or someone that causes a special noise in you; that triggers your thinking and curiosity. Many times, they are artworks or artists, books, songs, etc., but not always.
For example, I like to draw inspiration from athletes. I think athletes are similar to artists in the way they don’t stop practicing to be better, they are aware that the only way to win, in their case, or to be successful is to train and work very hard, and that mentality attracts me a lot. Keep working no matter what.
What will you take with you from the lockdown experience?
It was a very interesting experience which gave me the chance to discover new things and to focus on my work. In a few words, I’d say that I take with me the knowledge of how fragile our system can be and how important it is to interact with others.
Any upcoming projects that you are looking forward to?
I’m looking forward to developing the “Automatic Painting Machine Project’. I think I’ve finally reached a point where I have mixed painting with sound and with sculpture (I was trying to get there for a while). ‘Prototype I’ is the first approach, and I’m very happy with it. I would love to do it on a much bigger scale and hope to find the right gallery or space to do so.
Joaquin Margulis
Joaquin Margulis work attempts to find a language between sound and visual art. Experimenting with automated painting machines, he also challenges the conventional role of author and creator in painting.
See more of his work
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