Hens in Seseña (I) | José Ramón Hernández Correa

It is difficult to me to write very much this entry, because, though I was in the first row and I did not get lost detail, I did not stop understanding everything what happened. It has been difficult to me years to understand that the whole secret was consisting of the fact that there was nothing to understand; that the thing was like that, and it is like that, and it was like that; and point.

But now, on having tried to count it, I need to arrange the ideas, and do not be what ideas to order.

Joseph Beuys, Coyote Gallery René Block, New York, 1974 |arquitectamoslocos.blogspot.com.es

We were possessing these precedents or points of item:

1.- The spirit of the hens, which I suffered on having begun the career and of which I wrote for a short time.

2.- Bullfightings and diverse interactions between artist and animal.

3.- Oteiza and his praise to the ostrich (in opposition to the bull).

4.- Again Oteiza, and the Andean moneador.

5.- My friend and companion Juan Carlos Castillo Ochandiano and his thesis on the prehistory (in which they turn out to be animal totemic and magic).

6.- Juan Daniel Fullaondo, my teacher and that of Juan Carlos Castillo. His obsession for a conceptual and metaphysical gesture.

7.- Joseph Beuys, and his happening Coyote (that, naturally, we were not knowing meticulously, and he was Juan Daniel Fullaondo who explained it to us).

8.- Instructions to hypnotize a hen.

9.- Recommendations to domesticate an ostrich.

Tiny I tie. To seeing how I explain this. Well, not; what noses. I do not explain it.

Juan Daniel Fullaondo was going a lot of time queriendo to do an honoring to Beuys. But it wanted that it was something collective: an action of GROUP. (In addition, if we were different someone might be saved). We had to shut in with a coyote. But when sees the one who was finding a coyote. Not: we Had to shut in with a meta-coyote, with an ultra-coyote. Juan Carlos Castillo obsessed with the prehistoric caves, was saying of shutting in ourselves with a bear. Yes, man! Or, in his fault, with monkeys (Jorge Oteiza’s famous Andean pre-Columbian moneador), with bulls or with lions. Very well, hammer. Naturally.

In some moment Oteiza’s ostrich went out to collation, and, how not, the recommendations to domesticate an ostrich, of Gabino Alejandro Carriedo; and of there, without solution of continuity, illusionist’s diverse skills of people hypnotizing a hen. Juan Carlos said that he could hypnotize a hen: it was necessary to plan a line with chalk in the soil and there the little animal was remaining fixed.

Laughs and more laughs, weeks of laughs. Fullaondo reading poems on hens or ostriches (in the end an ostrich comes to be a big hen) published in Nueva Forma, Juan Carlos purifying his technology of hypnosis (in a solitary and conscientious bullfighting of lounge, without insect) and I assuming that the project was taking form indeed and going away to can extricating yourself.

We think that our physical integrity was vital for the development of the whole artistic potential of the GROUP and we could not (we HAD NOT TO) die in our first action (I KNOW OWED IT TO THE HUMANITY), so we reject definitively coyotes, bears, monkeys, bulls, from Leon and enclosedly ostriches, and, with an encomiable modesty that was going to characterize already all our artistic acts, we choose the hen.

And we decide (they) (decided) that I, who was living in Seseña (Toledo), had major facility great that they to rent, to buy or to steal a more or less left ship and a few more or less healthy hens.

Not, if already I knew that many jijijí jajajá, but ultimately me was touching the small stone.

A client had an empty ship, which it was not using, in the prao, and a few my uncles, Angel and Paca, they had shop, and a corral with own hens. I tested the field and asked my client him if the ship of the prao might give us to a few friends and companions of the SCHOOL OF ARCHITECTURE OF MADRID, to do a few ARCHITECTURAL EXPERIMENTS and some … rather … how to say it … some… THINGS.

The man are amazed. It was necessary to to have imagined that we him were going to re-wear the foundations, or to reinforce the roof truss. The case is that he said to me that it had to me disposition when it wanted.

I said to my uncles that if a few hens could sell me. Also I said to them that they belonged for something to architects of Madrid (in order that they neither were relating it to my parents they should not even ask them them). Do not be why, I was giving all that a clandestine air. Good: Yes I know it. Because I know them and they would have understood anything of it neither of Joseph Beuys nor of the instructions to hypnotize or to domesticate to a hen or to an ostrich. (I did not understand it either, if we go to it).

(This rare sensation, since of being making something unmentionable, chased me during the whole this matter of the hens).

They asked me that how many he would need. I had thought about a hen, but charm that four or five. They gave to me eight or ten (I do not remember now how many). They gave them to me. I said to them that already he would say to them what day was going to need them.

I said to my accomplices that already it was quite agreed and we fix the event for May two (of that year of 1992), that was falling down in Saturday.

The previous day, which was festive, Juan Carlos Castillo came in the evening to prepare the event with me. It came with his van and with a collection of strips of wood and a roll of brown paper. His idea was to construct a turn with it.

I had already the key of the ship. We were for there and mounted the strips of wood doing rectangular panels that in turn we rest on the soil doing a polygonal prism with all of them, like the barrier of a turn. We cover the rectangles with the paper.

I had thought that the hens were going to be for the whole ship (as those distant hens of the classroom of Analysis of Forms), but Juan Carlos was saying, with a great authority which I was lacking, that it was necessary to locate and focus the act. He was speaking about the bullfighting turn, about the remote prehistoric ceremonies, about the cromlech oteizesco and about more things.

I was listening to him with great attention (there am given I very well) and with face of slightly idiotically (there am given I even better), and without spirit to contradict him.

When it was already quite mounted we went to the corral of my uncles and loaded the hens in the van. (Juan Carlos loaded them: I am a stupid way and it gives me cosica to seize a hen). We take them to the ship and make them calm and comfortable inside the turn, with a water tin and other one of grain; we say goodbye of them until the following day and we went away.

I slept badly. He was thinking that they were going to escape. He was thinking even worse things.

In one of the previous days (maybe months before the event) I asked Juan Daniel Fullaondo to dedicate his Alfaguara’s book.
The dedication shows his enthusiasm for the chicken project:
For Jose Ramon Hernández Correa scheming hens in Seseña, to the heat of the dístico of Borges. Mailbox! The nostalgia of the stars recants the learned astrology. It prays pro nobis.
Juan Daniel

José Ramón Hernández Correa · Doctor Architect

Toledo · november 2013

Hens in Seseña (II) | José Ramón Hernández Correa

José Ramón Hernández Correa

Nací en 1960. Arquitecto por la ETSAM, 1985. Doctor Arquitecto por la Universidad Politécnica, 1992. Soy, en el buen sentido de la palabra, bueno. Ahora estoy algo cansado, pero sigo atento y curioso.

follow me

Filed under: lighthouse, José Ramón Hernández Correa

Tags: , , , , , , , , , , ,