CARLOS GARAICOA: PARTY, NOT TEA PARTY
GALERÍA ELBABENÍTEZ: marzo-abril 2011
Party! Not tea party! O, lo que es lo mismo, ¡el mundo es una fiesta! Claro que, y a continuación, depende de que parte de la tarta te toque.
A estas altura del partido, no se trata de dinamitar al poder desde fuera (mucho menos desde dentro), ni de sacar las vergüenzas del “sistema”. Power, almost as embarrassing to mention here Foucault, is a rare thing: a structure-technology-to which we turn our face looking for someone or something that gives it some dimension. The power is that which gives form and which we ourselves, we shape, being then the psychic life of power that makes me back to myself.
But without a doubt that Garaicoa not think of building structures of subjectivity. He thinks that great pulpit power as "scaffolding" on which he perched mountebanks as true, people from very different coat gave us their speeches to, in the heat for the media battle, win or lose a handful of votes.
And perhaps this is one of the virtues of this exhibition: no beating around the bush too abstract and philosophical than to stick to that which, while not-Machado-what happens in the street, if what happens in the media-oseasé, in reality.
Let's
of both labels, both face to face and some ideologies and only seek the haven of the armchair and the office to see that there is no rumor that a great holiday, perhaps a show several steps beyond the show-business. Debate, political discourse, convention, party meeting, campaign speech, rally, breakfast briefing, etc, are all forms of speech to gain visibility, so let's not forget they are there, that are still there, that, despite signifying nothing too, that the media noise simulates a perfectly flat screen where every act of meaning is doomed to failure, his words still have the importance they "deserve."
But now we are not we that we should walk around the bush. Carlos Garaicoa is Cuban and, as such, as born 1967, son of revolution. His memory, his present and his most rabid future is what is at stake in each of their proposals. A few months ago, for example, the installation took place in Madrid Slaughterhouse within the program by Works Open seven tapestries available in the soil which represented some of the signatures of former shops of Havana with evocative names like La Lucha, Thought, No rival or Queen. Texts can be read regularly in the soils of this port city and on which intervened Carlos Garaicoa altering its original meaning.
Thus, the variables have on the mat to play are those which refer to history and power, space and memory, and along with them, the structures linguistic, anthropological and architectural work at the dynamic and condenser of a given reality.
This time, high level conceptual skills coupled with a more formal shape to a remarkable exhibition, without looking too, which reveals itself well to clear the phantasmagoria that what has become known as ideology.
If Althusser, the thinker a result of which appear to the modern theory of power together with ideology, understood as a way to subject-subject constituted externally by the power that challenges the ideological form, the ideology now has become a spectacle in the show business to become a spectacle. And that's because of ideology Althusser was passed to the discipline of Foucault as productive structure of subjectivity to finish falling, over the past years, the drill machinic perfection: everything is a feast for all, ideology and policy almost before any other instance, went to the ghostly entertainment. In Debord say, "the show is a specialized activity that speaks for all others."
If it understand the role of discipline as that which is to produce an integrated subjective time without loss goal this time is no longer the individual existence but the continuation of the work process and production cycles, now converted that time in the leisure and entertainment of the show itself, the equation solved ends in the absolute omnipotence of the show as current production system. So, again, as the title says ... party, NOT tea party!
is in the work entitled Prêt à Porter where Garaicoa emphasizes the deterioration of ideology converted in fad in games designed to compliment the hypervisibility of subjects that form the fabric of politics. On a table, the artist has molds for high-fashion hats while intervening in newspaper clippings photographic each personality playing politics with a different hat. Thus, the metaphor is served: if power is the costume party to which nobody except the politicians are invited, if the hat is the gift interchangeable brand belonging to a club, hat molds are subjectivities and not only formed but most of all shaped and manipulated by a power so speculate as spectacular as festive as insidious.
Another work, The tree of abundance , invites us to stand and throw coins of 2 and 5 cents a magnetic metal tree as a source of desires in question. Perhaps this power and desire come together to shape a new unveiling: it is both, and even more in the current regime of the spectacular, refer to each other so that power may not be, after all, but the totemic instance comprised of all coins thrown by all of us. Desires, fears, fears, ambitions, all this comes on top in the inverted image that gives us power.
But, however, as should always take the last word should be ours, that political discourse is empty, obsolete within a few strategies marketonianas purchase / sale of votes, that ideology is merely the container for which all speech is valid, is a really so obvious that we should not be allowed to obscure the urgent need resemantizing retrain and all socio-political spectrum. That's what helps art to it, no doubt, help this magnificent exhibition.
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