Mira Bernabeu, " GENEALOGY OF CONSCIOUSNESS I, II and III "
Fernando Pradilla Gallery: 27/01/11- 19/03/1911
(Article published in the magazine 'Art Keys':
http://blogeartemadrid.blogspot.com/2011/03/genealogia-de-la-conciencia-arte-y.html )
If art has firmly grasped the strategies held as "aesthetics of resistance" is because art-itself in its fold, in its dialectic destination, seems to have agreed with the social and economic fabric in charge of investing identity. Cultural industries, which have become huge entertainment industry now and leisure culture have collided with the records of the hyper economy and, far from being ashamed of such a sad fate, seem to enjoy in their new status Great machine production of identity, a great health.
So, what is left to art? Confined to beg his victory in the regimes of hypervisibility confined to the capital, the art seems to have run aground at the hands of the spectacle and marketing. However, the paradigm shift conducted by artistic practices in recent years seems to tell us that art is no longer called upon to deploy a field of representation but, rather, of mediation communications.
To this end, urges while removing all of his artistic practice, for say, apologetic autonomy for greater activation when constituted as the symbolic industry, need to speak with Brea, "found in his room a critical dispute" means a productive network which forms part of packed in a production of identities can emerge with true spirit of the overwhelming critical figure in the show everyday surroundings.
The changing role for art that Benjamin could see following the entry into action of the technology has now become, in the age of cybernetics, the reason for a art called to share, face to face with the disciplinary regimes of subjectivity production, projects of agency identity.
Grouped in the titles of " The Genealogy of consciousness I, II and III " works Mira Bernabeu (Valencia, 1969) that you can see up close on 19 March in Galería Fernando Pradilla undoubtedly point to this new aesthetic regime of cultural practices in this case the-art call to deal critically with the agreed production devices by the capital. Even the title, the word genealogy reminds us, not with construction of identity and aesthetics, but to a more rhizomatic, in constant evolution, where is the flow of communication that would give a particular shape subiectum.
For the first part Bernabéu has chosen to portray collective simply attest to the pressing need in society to create opportunities for sociability and communication. In this sense, if, as Habermas and many others, the construction of a true public space is a work in progress, the art should refer to the authentic possibilities of building such a space.
The second part of image and text to live together, simulating a political and controversial conversation between three people ", stressing the theatricality of the look and image to denounce the alleged deception in mediation between the two, between image and text. Targeted only a few speeches, whose mission is not in any way establish itself as omnipotent theory, go hand in hand with images where the strangeness and helplessness that seem to point to distill the failure of political discourse privileged yet to fill the ideological ideals of a deny community and a social and political fabric where some hear and others, always the same-talk.
Finally, the third series, Bernabéu himself staged in public space in the bed of the Turia in Valencia, a central area of \u200b\u200bthe city. The characters, many of them masked, were arranged in groups to dramatize the tensions that transit performative construction of space itself. The claim in this case seems to be Bernabéu teaching: "It takes a theater without spectators, in which attendees learn instead of being seduced by the images, which become active participants rather than passive voyeurs "says Rancière , thinker certainly very close in this about the artist.
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audiences from the global brutalization of the show, invite you to tune the look, to find meaning in what has surprised him, to be foreign even to himself, the patterns here also seem Bernabéu Please follow the Bertolt Brecht .
Ultimately, if, as Debord says -more fashionable today than ever, "the separation is the alpha and omega of the spectacle", which aims to see work Bernabeu is not to allow ourselves to expropriate "alienate" the hands of the show, but to fill through performative process of communication understood as a public space in constant construction. That is, to break apart and throw all on our own shoulders the task of constructing.
Finally, the very Bernabéu has commissioned a sign that lowers the title of "Migrants . That word does not exist "can be seen in the second gallery space. Away from the topics sad and decadent life of immigrant women in this case, Barnabas or puts the accent on the other side of the coin to reflect on the experiences, desires and dreams immigrant. The purpose, here as in his own work, is the same: change the look, perception, to discover potential under the regime of hypervisuality and, of course, because as valid.
, Monika Anselment, Pilar Beltrán, Pep Dardanyà, Paloma G. Doctor, Miguel Orts, Anna Marta Simone Soul and Welling are the artists selected for this purpose.
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