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opening to HISTORY FOOT IN THE BALKAN

Miroslaw Balka: 'CTRL'
SILOS MONASTERY: up to 25.04.1911 / MNCARS: until 20/02/1911
(original article in 'arte10.com':

http://www.arte10.com/noticias/index.php?id=384 )

unanchored its utopian potential, history has stuck to his own reification. Reified in the presence of the ever-now, post-history is shown to us as the site where not even any debris left standing. Rather than ruin, the romantic nostalgia, is the absence of what would have to worry. This solar
disjointed where everything flows without any normative telos, dramatizes the existence and the reason becomes baroque. If the neo-baroque aims to deal with the excesses typical of the demolition of history, allegory refers to the excess itself with the role played by the representative, giving as a show excess charge pointed to the very allegory.
The show is then given as an unbridled passion for the Real, with history the domain in which the Real exercises its violence. Comments such as the Zizek assuming the terrorists win 11 / S was not so much material damage as the dramatic effects that caused or, indeed, those of Stockhausen calling the attack on the Twin Towers as the total work of art, are proof of the powerful engine of a sign become spectacle thanks to the radical new-hiperpresente time broadcast-which establishes global.

In this state of affairs, the arts, rather than as a sentence Adorno famously , bear all the blame of the world, is the urgency of agreeing with their own story, even at risk of running a short circuit and mnemótica monumental role, to continue living in the libidinal system hipernovedad in excellent health. What he proposes, art, lest we be accused of being irresponsible with what could be its own destination, is a saturation of the memory that results in an almost limitless banality where, with the opportunity of a genealogy understood more as a postmodern sediment accumulation and operating different opening moments phenomenological improperly artistic strategies play with history.
In this sense, Gerard Vilar figure in three postmodern strategies that more clearly abuse of history: appropriation and simulation without limits, traumatic obsession with the file, and ironización spectacle and history. They all point to an inability to think the story is not in terms of nostalgia and melancholy. And is that the neo-baroque is this: epistemic closure, primarily representational, making it impossible to think of history rather than as a catastrophe. Because, as Christine Buci-Gluksmann , "Is not the neo-baroque allegory of our world, a world after the catastrophe in which the fragment, the ruins and the optical character of all reality, the rates would Saturnian a story? "
's work Miroslaw Balka then be understood as an attempt masterful second, to think our relationship with the story another way that does not involve a reification or a trivialization of history itself. Because, after all, how much memory can endure? Memory and history are to be encrypted in the schizoid trauma of our times: the drive file. Carry everything, have everything ready, do not discard anything. The terror lives behind every gesture, every little thing, and sinister, the Unheimlichkeit Freud, has become our fundamental existential relationship.

This time
Balka proposes two scenarios, one in the Monastery of Silos and one in the Vault Room MNCARS . In the first, Balka has resumed his work early to reposition them. A black father and a black sheep is the only thing within a room to which it passes by pushing a handle. The drama of these two statues is emphasized when the viewer, wanting to reach the exit, is confronted with his own image incident on the mirror behind the door that gives access to the room. The report then engulfs the story, our own, is subsumed within the melancholic and gloomy a symbology, the potato and sheep, which disturb us. The narrative in which all history is encrypted vanishes in a moment of deep
For MNCARS , the installation follows the same guidelines. The first gallery with three large cages filled with foam foam guard the three outputs. Behind one of them, a sound invites us to approach and move to another room. Venturing into the thick darkness, becomes loud and air streams give us full in the face. The dark and the air surrounding us until we reach the far wall and slowly we turn around. The screened porch light pointing stay on track. The moment it subverts all memory of a story is in contrapicado to confront the delusions dying in a dungeon. As the building as a former hospital Sabatini, does not cost us in there to find allusions to madness, the excluded, to the insane: everything that made up and still creates the irrational, disruptive of a psyche, our own, who has discovered which are the excesses of the rational that more damage occurs. Balka
introduces the sinister, tragic, dark past of a stock, and puts them in direct relation to a present that can not be experienced as an immediate time-now, but it is disjointed from the ideality of its timing to take burden of a past pierced by potentials found no update whatsoever. Condensing the past, always from the past failure, and revived in direct relation to our present for, from that bottomless abyss, to negotiate a future open to diversity.
The dialectic of the image, appearance, which uses Balka, is assumed to himself the necessity of compromise with the differences, to suspend the trial and be reflective zaherir unfinished at that time opens at our feet. Philosophy of History Benjamin here his best defender, because, for the German, "no doubt that the past is not come to turn its light on the present, or present on the past, but the image is that in which it was like lightning joins the now to form a constellation. In other words: image is dialectics in suspense. "

As in his memorable How it is? for the Unilever Series at Tate Modern , the time at which images Balka subjugate us, is to turn around, to look at the diffused light surrounding what until then was blackness. Benjamin, a collation of the famous painting of Paul Klee Angeles Novo said: "in this table represents an angel who seems about to move away from something that stares. His eyes are bulging, has an open mouth and wings. Well, this issue must be the angel of history. He has turned his face toward the past. Where before we see a chain of events, he sees one single catastrophe which keeps piling wreckage and ruin after the foot is throwing. "
These precisely are we when we turn around, angels see the disaster of a world ruined by the storm's progress. Only, in the subdued light in the light opening in the handle, Balka offers an interpretation other than an interpretation to which the present is charged with utopian potential. And, if we really want our relationship with history is a different from that which objectifies a heavy burden to carry, if we escape the profusion of images where there is nothing to do ( Baudrillard) or that I've seen before ( Virilio ), if we want to cure us of the insane fetish of the document, we have to stop weighted with nostalgia for the absent ruins and build on the encouraging news that establishes temporality of difference.