Johanna Borchardt

Johanna Borchardt

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PLAY - work in progress. (2014 2015)

A photographic image always about to defeat itself because it is made of living material.
Making specific actions, possible everyday acts maybe. Observing movement so as to
design a perspective of tiny details. Bouncing a ball against the wall, painting one’s lips,
triggering an alarm, kissing the wall, losing things. I imagine a field of action, a scheme to
defeat. Designing shared platforms, a live action, an action that leaves a mark, an action for
the camera. It has three simultaneous instances.
A research process, rehearsal of the actions to be developed both for the camera and in situ.
Using these actions built by condensing an act, I will make the most out of an event by
repeating it until it becomes saturated and a new event is generated. That is, how long does
it take for something to happen?
Actions to analyze are:
• Kissing the wall
• Kissing the body
• Erasing the kisses with CIF Cream
• Bouncing a ball
• Triggering alarms
• Losing things

Instrucciones para besar la pared (2013)

A form of writing, a dance, a map of love made with the body and the mouth. A mark, a
repeated and constant stamp. Many different ways of kissing, with an open mouth, with the
mouth closed, dragging the mouth; blurry, faint kisses on top of one another. The image, an

accumulation of kisses built slowly and progressively. A sustained action made live.
Visualizing the presence of the attempt, observing accumulated fatigue. The wall will be a
silent witness.
This action starts with a request to acquaintances to write instructions to kiss a wall. I gather
that material and I ask friends/colleagues to read those instructions to me for two hours.
I realize that I have to be more specific in my request for writing. Many actions become too
abstract, difficult to translate into a physical action. I try again and ask them to send me
more actions. I once again edit the material I received and make a new version, a fresh
reading, a new rehearsal. In this material, I am alone kissing and then erasing what I did.
Erasing is another action in itself, I do it with CIF Cream, but rather than erasing, I unveil
the flaw. Erasing a mark creates another one.
I decide to take this action to a bigger collective action, one that lasts longer. With the
writings of others, I put together my own version of “Instructions to Kiss the Wall” and I get
about 25 instructions. I record them one by one, and with the random version provided by a
computer program I create 4 different lists of instructions. They all share in common that
they last one hour. I rehearse with the 13 people working on the project, 3 men and
10 women. I ask for their opinion about the instructions they receive from the recording.
They point out that the time between one action and the other should be longer; also the
variations of the levels of approaching the wall, kisses are usually higher than lower; and
some other doubts. I work again on these instructions and with that final version I run the
A live action: for two hours, every Friday of the month, 13 people will kiss the wall by
following recorded instructions. There are available recordings for those willing to
participate. Three Fridays they kiss the wall and the last Friday they erase the accumulated
kisses with CIF Cream. On the opposite wall, there are two videos showing a solo of the
same action: kissing in one video and erasing in the other.
Currently, I continue working on this project.

Pausa (2011)

Galería Arcimboldo and Oficina Proyectista
A photographic image always about to defeat itself because it is made of living material. Making specific actions, possible everyday acts maybe. Observing movement so as to design a perspective of tiny details. Painting one’s lips, tying one’s hair, bouncing a ball.

Borde para tres (2009 2011)

One Sunday, reading a Spanish magazine, I find a text that says something like: “[...] fragments of the world seek each other so that the world may come into being. How do we choose the fragment with which to assemble?”
If I could represent an object that would trace a path along the intimate and personal space towards a visible place, what shape would it take? What is the shape of affection? Borde para tres works on the body as a territory that is built with the presence of others. The space other people occupy near me has the potential of surviving, of leaving a mark, and also of shaping a little bit the personal space.

En vuelta (2008)

En vuelta seeks to reverse the subject-in-movement/object relationship to grant the object the leading role. A hail protection net, commonly used in gardens, changes the environment and playfully pretends to be a structure conveyor belt. The belt works as a system on the structures it transports. It moves both subject and object with the same operation, causing more than a dance in an accumulation of successive operations. Mechanical poetry in motion.

Solos y solas (2008)


Con el apoyo de
Fundación Itaú Mecenazgo Buenos Aires Ciudad