What to do/Despite it all
Artist: Enrique Pineda Barnet, Filipa César, Fernando Domínguez, Omer Fast, Ana Gallardo, Florencia Levy, Adrian Paci, Natalia Rizzo, Mika Taanila
Curated by Andrés Denegri and Gabriela Golder.
MUNTREF Centro de Arte Contemporáneo - Sede Hotel de Inmigrantes
What to do/Despite it all
Possible and imaginary dialogues
Andrés Denegri and Gabriela Golder
—This exhibition should be titled Despite it all.
—This exhibition should be titled What to do?
—This edition of the Biennial is born of urgency. We’re in an emergency situation, economic emergency, labour emergency, social emergency, cultural emergency, and we put on the BIM despite it all.
—This year there’s a certain exacerbated gesture of dissatisfaction, where some things start to have a different value. There is a strong consciousness today about the place in the world we occupy, and also the space we decide to belong to. This BIM is connected to that.
—I see that the BIM resonates only in the art world. I see that the force of the dynamic deterioration of the economy and society are realities that cannot be absent. I see that in being present at the BIM, these questions do not change.
—In Ana Gallardo’s work we see that it’s possible to build, to form relationships with others, to develop associations that contribute to the deconstruction of a naturalized system.
—Adrian Paci’s work sets out from the discovery of some missing letters, he sheds light on them. It is a work about being uprooted, about the loss and the impossibility of communication. As in Gallardo’s work, what resonates here too is the anguish that ensues from the prospect of a whole social group being annulled.
—Also Omer Fast’s work is all about making people see. The editing of the images create speech, it reveals what is hidden in the coldness of the flow of television footage.
—There’s a resonance in these three works. It’s a little variation on the everyday to put up a signpost.
—They say: this isn’t natural, it’s a construction and must be transformed.
— Mika Taanila reached the same result with a style that’s opposite to Fast’s. She doesn’t make speech, but rather silences it. She thus portrays a state of consternation.
—That unease can also be felt in Florencia Levy’s work. It is a landscape of what remains, what survives the disaster, the catastrophe.
—There’s a significant relationship between environmental and economic phenomena. How these natural catastrophes and the economy are connected in a sense of a social model.
—The actions that Fernando Domínguez does in his videos—pushing, walking, conversing—denaturalize public, urban and wild settings. From the gesture or the dialogue he unleashes a critical, social, economic analysis on these settings.
—The conflict that raises the question What to do? is clear in Natalia Rizzo’s work. The exploitation of the workers continues to be a common practice. Rizzo takes the strike as a disruption to the system that promotes it.
—The fervour of the struggle is palpable in Enrique Pineda Barnet’s film. A revolutionary youth wonders what to do? in a web of different artistic practices.
—One has to understand that the answer to this preponderant question is not to make a film. Or create any other work.
—No, none of these works is the answer to that what to do?
—Neither is this exhibition.
—It’s clear that our decision to put on the BIM despite it all is not presented here as an answer to that what to do?
—It would be an act of utmost arrogance to put it in that place when one knows the fatal consequences of today’s politics.
—Putting on BIM despite it all is an act of resistance that is accompanied by the responsibility that this implies, that of forming a context where the problem is explicitly present, where the question resonates in every corner: what to do?
—So this exhibition is a sounding box for that despairing question, so that the question can reverberate in the spectator from a different perspective in their encounter with each work.
—The answers will emerge from elsewhere.