Buying Partial Braces

ART IN FLIGHT: STRATEGIES FOR TOTAL

UNTITLED, 2011. Mixed Media, variable dimensions
GRAN VIA, 67

Being as we are always, for one thing or another, in a decisive time in the radical of a change or hinge at a time of supreme importance, a time that can tip the balance aside (saving and saving) or other (always depressing and phagocytosed by the structures of domination) - the art, of course, going as outposts, have much to say on this which is our case.

It is to propose an exhibition in a space-here-abandoned office is not something that is new, but that is always changing historical context of art itself, to the best of arms the radical nature of each proposal can sweep more than one, to the naked eye can foresee.

Turning now to matter, above that which we coded as 'which is our case' is very easy to describe: our art relies on outmoded and institutionalized display structures which are proposed as exercises broadcast onanísticos trite . Entrenched forms of culture with a strong musty odor, which stand as Sunday rides, and implosion of the coagulated capital marketing of image and representation, art display systems are postulated as perfect devices that offer leisure and ( sic ) Entertainment as a surplus on trade in the libidinal current regime.

This being so, it is not you show how are you come to be proposed as alternatives to the prevailing cultural capitalism, but to postulate a different way to be the artistic event completely alienated societies and the persistence of a displaced subjectivity to limit the effect to be produced and decanting the prevailing hyper.

If the show is our weltanschauung epochal, it must be borne in mind that, as predicted Debord ago a whopping forty years, the show is its own product, and it is he who sets his rules: it is something pseudosagrado. Exhibits what he is. " Ie, art, falling in internal dynamics of standardization, undermined its essence from the first dialogue of subversion / subsidy, sleeping in the fields of entertainment, has no choice but to follow the scroll to the current disciplinary system to let him go and take a bite of reality-that is, and thanks to the equation debordiana Hegel that "the reality arises in the show, and the show is real," a piece of cake the show.

The problem is, we think, that that shy 'let go and borrow' has passed, and it became clear Adorno, the most dismal of betrayal. The entrance of the Art in the Age of Mechanical Reproduction, Benjamin if for involved a certain amount of optimism, for Adorno meant nothing against the clock radicalization of the effects of desartización that for art to be empty content, unless more than a gesture to bear all the tragedy and silenced in the incipient disneylanización this post-Auschwitz world.

While this exhibition is to be understood within the parameters of the aesthetics of resistance, not a whisper in the mute that Adorno saw only out against the slaughter of art at the hands of the mega-industry of entertainment, it does is true that a little detox, just open the windows and let it all air out, not bad.

From then needs to propose new forms of exhibition and display, and with financial assistance from a collector in Seville ", Jaime de la Jara , Jacobo Castellanos and Miki Leal have contacted different artists to propose a different project and differentiation of the strategies already discussed at length above. Those were the Popular Party offices at number 67 of Madrid's Gran Vía have served as a container almost unbeatable to show that, of course, other shapes are also possible.

Better, we think that the gloss acquiescent with each of the twenty artists present, two notes on which to draw attention to the relevance of this exhibition. The first, dates coinciding with ARCO fair mega-sung and celebrated year in and year out if only to, Then, put a bear- S / T gets to draw attention to the relevance to propose new ways that emphasize the artistic flow over others could be as massive as certain events, fairs and biennials and as undeniable symptoms of cancer pathology of contemporary art.

At the same time and second, carrying out exposure in offices which had to be evicted by the current crisis, we put on the track of that art, even when cornered in a dispersed successful worldwide, is able to do a twist last and always great to unwind, albeit only in the few days of the sample, the machinic lattices on which stands the territorial structures that shape the political and other agencies that work all areas of visibility in public space.

Finally, and perhaps summarizing the above, the exposure must be understood within a present that perfectly dissects the vulgar everyday aesthetic experiences as healthy prefixed by the current exhibition and display strategies, and settle - for himself absorbing all industries of subjectivity at the intersection average trasbase bidirectional mediates between culture and capitalism

José Luis Brea predicted in one of his last texts the two strategies that were to follow cultural practices to establish itself as truly independent and criticality: first, "the filing of devices' reflexive "that reveal the conditions under which the processes of representation are verified within the industry of the imaginary and the show", and second, "by generating autonomous alternative models (...) providing new narratives and new devices Intensive experience and identification. "

If we do not want our time is that of the hiperestetización and transbanalidad, start by asking what each exercise maximum aesthetic. Hence, this wonderful exhibition has just begun to understand it not as a rare bird that distracts us from the slumber and almost spring, but as a real subversion of the dominant status quo. Take seriously, and taking seriously these two strategies as envisaged Brea only exits are to be the ultimate destiny of an exhibition for which we expect to happen many more.