Something happened
Daniel Jacoby | Gabriel Lecup | Fran Meana | Zilvinas Landzbergas | Nicolás Lamas
13.05.2019 – 08.09.2019
No so più cosa son,
Cosa faccio
The Marriage of Figaro (MOZART)
Every epoch, every
horizon, lends itself to its own reading, its own interpretation, and thus to
finding its truth. Now that that the end is near, we think about the charm of
life itself, materialised in a kind of liquid, porous texture that is rather
aloof. We realise that all we can do is resort to the testimony, that intimate
act that brings a new syntax to the world and is associated to the forces of
transference which have been guiding us during this process.
![]()
![]()
![]()
![]()
This third moment of the cycle meditates on what we
think we know about artistic production and research, about its sense and its
meaning, characterised into that ultimate content known as its essence, the highest
task of interpretation.
This is so beautiful, but also so complex, isn’t it?
The key perhaps lies in engaging in self-examination and understanding exhibitions, now, as areas of relative autonomy, so that we explore and map out the position of contemporary artists as witnesses who are attached to certain social, political and economic constraints, and this takes them to generate a bundle of specific relationships with the world.
A way to delve into the social and artistic standardisation which supposedly is currently in place, in order to position ourselves more thoughtfully with regard to certain relationships of domination which are barely perceptible, and thus construct our own counter-strategy, with our inner, natural and imagined truths.
This way we become witnesses to something, although sometimes what is conveyed to us cannot be faced o understood completely, because it is simply too intense. But that doesn’t matter. We know and we feel because we are part of that branching out. The link has already been created.
The codes of representation will keep ruling the territory, but knowledge will continue to be what lies in that unique moment of the conveyance, in a constant swaying that eludes the instant of possession[1].
For the fact is that here is defined because a there is acknowledged, where the other will always be.
[1] Knowing is also feeling, whether we want it or not. About the fact of witnessing what is felt and the economy of transfer . JAN VERWOERT. En torno a la investigación artística. Contra-Textos. MACBA
![]()
This is so beautiful, but also so complex, isn’t it?
The key perhaps lies in engaging in self-examination and understanding exhibitions, now, as areas of relative autonomy, so that we explore and map out the position of contemporary artists as witnesses who are attached to certain social, political and economic constraints, and this takes them to generate a bundle of specific relationships with the world.
A way to delve into the social and artistic standardisation which supposedly is currently in place, in order to position ourselves more thoughtfully with regard to certain relationships of domination which are barely perceptible, and thus construct our own counter-strategy, with our inner, natural and imagined truths.
This way we become witnesses to something, although sometimes what is conveyed to us cannot be faced o understood completely, because it is simply too intense. But that doesn’t matter. We know and we feel because we are part of that branching out. The link has already been created.
The codes of representation will keep ruling the territory, but knowledge will continue to be what lies in that unique moment of the conveyance, in a constant swaying that eludes the instant of possession[1].
For the fact is that here is defined because a there is acknowledged, where the other will always be.
[1] Knowing is also feeling, whether we want it or not. About the fact of witnessing what is felt and the economy of transfer . JAN VERWOERT. En torno a la investigación artística. Contra-Textos. MACBA
