La Capella hosts the information point of the 7th edition of Art Nou. You will find all the retail information about the program of exhibitions and parallel activities of the galleries, centers and artists that participate.
“A break can be what we are aiming for” is a direct quotation from the author Sara Ahmed that points us towards the notion of rupture, of breakage, but also of a pause, an interruption. The fragile element may be a structure, a context or a situation that gradually wears us down, causing breakages and damage. The fact that we feel vulnerable means that we need safe places and spaces where we can gather our strength and build a family, a group, a tribe, a guerrilla force. Looking after ourselves and others is also a political act. Is there any way of relating to the break that does not aspire to restore what was broken? Remaining outside may constitute the safe place. A break may be what we are aiming for; it may be both a crevice and a hammer.
The works and formats in this exhibition revolve around and traverse these ideas that focus on vulnerability as power, the energy that comes from being demolished and demolishing at the same time, seeking, in a dual sense, the idea of the safe place and also the possibility of expanding, of circulating in a fragmentary and collective manner.
Thursday 24 May
When we are together we can be everywhere
Screening of the film by Marit Östberg When we are together we can be everywhere. Screening of short films selected by Héctor Acuña from his collection Pornífero Festival. Talk with Marit Östberg, Héctor Acuña and Lucía Egaña.
Friday 8 June
Moat by Laia Estruch + Girls Like Us
Presentation of Moat by Laia Estruch, and reading by the Girls Like Us collective.
Thursday 27 June
Mycket + Tami T.
Performance by the Mycket collective and closing party with a concert by Tami T.
We subvive in this era of high definition and low empathy. Hiding behind the regime of transparency is the dictatorship of specular objects. Identity has fragmented into Web morphemes: filters, “I like” and other clicks. Hype is the new faith and an outdated immunological firewall transforms otherness into a World of Warcraft horde. In the floor of Silicon Valley, a bunch of fingers slides across the black waters of a frozen lake; in its depths, a twinkling charm holds the erotic energy in a Cartesian chatroom. Fear and loathing on AliExpress. Time becomes a purchase history and the predictive program pursues the accident. Porno-existentialist philosophers debate the differences between the society of the spectacle and the spectral society: “Ne vous connectez jamais” on the façade of a data centre. In the distance, the scopic lament of voices on auto-tune drowns in a quantified sea. Greenpeace protects Technogaia. The data cold war to control painstaking and poor readings. Nick Land, Nobel Peace Prize winner. Cyber-realist demonstrators attack the parapsychology industry: no to the networks of hyperconnected ghosts. Steve Jobs cargo cult. When laughter turns to a smile, the only thing left to say is “LOL”.
My curiosity was piqued by the mysterious journey through Paris by a car with a strange artefact on its roof, emitting and spreading subsonic vibrations and waves like a virus as it made its way through the city in March or April 1968. the journey, witnessed by just a small proportion of the populace, the Gaston Lagaffes of the city and the country, took place a month or two before the May 1968 Revolution. If, as some say, the Russian Revolution of 1917 was originally nothing more than a happening organised by Lenin, then perhaps the origin of the Paris revolution of 1968 was the bad vibes of a jinx.
In a Barcelona enmeshed in the globalised collaborative economy, a shared flat is sponsored by a Russian and American multinational. In exchange for a paltry few material goods, the occupants display the brand in the privacy of their home on a collection of ordinary clothing.
The shared flat, both an expression of modern-day neoliberalism and a relic of Stalinist totalitarianism (the kommunalka), is a contract as flexible as it is constrictive.
artengo2000 presents a succession of genre movie scenes lubricated with microsociology and the psychoanalisis that imagines the meanderings of the protagonists through the dispositifs of sharing and their networks of friends connected by web platforms born in Silicon Valley.