Talk Trouble is an exhibition showing different lines of research focused on structures and systems of speech circulation. A linguistic, sonorous and performative axis which expands to different registers such as the text, the object or the installation.
We see a drawing of a man holding a pole in the centrepiece of this exhibition. Is it a ghost that he is relating to? And who is this man? What i he trying to do? He seems to be poking in the fog, but maybe he is just someone doing something practical that he was ordered to do, like remove a piece of fabric. Or is it a flag and he is waving it? And if it is a flag, what colour is it? It looks white. So maybe he is surrending. And what if what matters is not so much what he is moving or removing, but what he might find under the fabric?
Matteo guidi gives us few hints with the title of his work Remover con una vara de madera (Moving with a wooden pole). And neither of the two black and white pieces displayed in the dark and grey exhibition hall seem to give any clues: an illuminated retro photograph of what seems like a dirty corner of a warehouse and the video projection of a hand-drawn animation loop.
David Mutiloa looks back at the transformations that have taken place in recent decades in the dynamics of manufacturing work: the digitising of its procresses, the fractalising of its times and spaces, the absorption of cognitive and affective faculties, etc. Throughout much of the 20th century, workers struggled to attain a social condition that would enable them to escape the alienation caused by work, but this aspiration for self-realisation ended up integrating perfectly into the production chain, giving rise to a widespread constant state of depression. SYNTHESIS aims to trace the genesis of this change, taking it as the turning point in which the origins of contemporary tragedy reside.
During the 10 editions of Barcelona Producció call, a series of video works have been produced over these years. We offer a selection of these works.
With works by: Serafín Álvarez, Luís Bezeta, Brooke Borg, Sergi Botella, Montse Carreño/Raquel Muñoz, Ainara Elgoibar, Adrià Julià, Equipo Palomar, Xiana Gómez, Pol Gonzàlez, Joan Morey, Oriol Nogués, Aníbal Parada, Esther Planas, Job Ramos, Xavier Ristol, Ryan Rivadeneyra, Mireia Sallarés, Bàrbara Sánchez Barroso, Ricardo Trigo, Rubén Verdú and Vázquez/Arrieta.
There is a nostalgia that does not look back, that does not restore or exalt the past; a nostalgia that makes the most of hindsight to reflect on history, but from within, mindful that there is a need to dwell in this physical and temporal time difference, to recognise the interdependence between the individual and the group, and so re-establish the link between memory and utopia. Like an exile, who lives amid memories and dreams, there are presents in which anamnesis and looking into the future, Proust and Becket, go hand in hand.
Recently we have seen – as with the Spanish Constitution or the events of 1714 – how the past returns as we ponder on alternative futures. But in whose name, how and why do we look back? With that gaze that is both critical and emotional, for the artists in this exhibition remembering is an act of rewriting that includes doubt, irony or the unattainable desire. Because it is not the return home that matters. Just as the home is not a closed community, so “the past is never dead”, says Godard, quoting Faulkner. This exhibition counters the verdict of events – facts made ready for museum presentation and consumable – and opens up a space of resistance and possibility, the space of nostalgic dissidence.
Artists:Francesco Arena, The Atlas Group / Walid Raad, Lúa Coderch, Roger Guaus, Marine Hugonnier, Odó Hurtado, Ange Leccia, Richard McGuire, Deimantas Narkevičius, Aimar Pérez Galí, Suzanne Perrottet, Julien Prévieux, Anri Sala, Adrian Schindler and Danh Vō