“The assuming of another character, amongst other things, is one thing: I want you to see what I see, and this can only be done using my eyes”
The feminine, the metropolis, madness, materiality – sublime or repugnant – of the body, the Peter Pan complex expressed in child iconography, sport as a decorative motif, social and political critique as an allegory of conceptual seriousness, pornography as rupturist bait: these are some of the “great themes of the new academism” which Vivianne Loria refers to. Perhaps some of the projects that the artists are presenting in “Project In Transit” deal with them to a certain point, but by taking an uncomfortable angle with regard to them (from a uncomforting position). Appropriation as a process, to different extents, figures in their projects as well as accumulation of objects, memory and photographic seriality, especially in the works of the Argentinean artists.
During each development of each of the projects there was a different impatience (an “impatience without time”) which proposed new ways of coming into contact with the situations. Through the use of these situations, the artist could simultaneously adopt various points of view with which they work.
Azul Blasseotto
Rosa Suñer Fabrellas - Dídac Lagarriga
Patricio Larrambebere
Eduardo Molinari
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“m/decoupes/2” collective | Spain
”BUG” | Choreographic proposal
“Exile enriched your poetry. It brought to it what was missing before you left the country.
Mahmoud Darwish:
It’s true. It has allowed me to correct concepts: before, I believed that poetry participated in the fight; now I think that it has no immediate function. The influence of poetry is very slow, it is a question of accumulation. Distance has allowed me to reduce the tone. It has allowed me to observe myself, to observe occupation, landscape and prison, and add them to a sacred measure. Even beyond this is, above all, a liberation(…) At the end of the day, we are all exiles. I and the occupier, we both suffer an exile. He is exiled within me, and I am the victim of his exile. On this planet, we are all neighbours, all exiled, the same human destiny awaits us, and what brings us together is the need to tell the story of that exile.” (translated from French)
Rosa and Didac recently shut themselves up for two hours in a bunker for musicians in Barcelona. Within it, they pulled out from themselves sounds and movements. They created with almost nothing: with noises and the body. Finally, this is what one has when they’re exiled: only themselves and their memory, which at a certain point they begin to doubt.
In 1999, together with Rosa and Didac, we began to reflect upon the situations that we could see in certain countries, especially with regard to illegal immigrants and border situations. We noted that the majority of countries, in spite of deeming certain activities illegal, needed these activities to continue functioning. The traditional vision of law seems, thus, to be calling for change..
Patricio Larrambebere
”The eyes below our brow had disappeared. On the contrary, the eyes on our back became immense(…) Traces of combat need to be left.”
(“Laderas”, R. Char)
Patricio chose to carry out his project using one of the spaces adjacent to Coghlan train station (the neighbourhood where he has lived for most of his life): a skating rink which in reality is used as football ground. One morning, we strolled through it: we encircled it. We understood why he needed to work with it. Through a modification of this space, Patricio will point out what up to that point had been unrepresented in this place: how power makes use of certain forms of symbolic appropriation of space and also of its historical, cultural and religious imaginings. Patricio will leave his traces there, so that excesses don’t go unnoticed.
Azul Blasseotto
We tend to believe that green spaces (woods, squares, nature reserves) are space without histories. Nevertheless, within them also live fantasies, sometimes disproportionate, with which certain individuals construct histories. What is the border between the real and the vital of these spaces?.. Together with Azul we visited the Reserva Ecológica de Costanera Sur. From these walks, she carried out a series of small paintings which surely pointed out hidden repertoires, significantly silenced.
Eduardo Molinari
Eduardo is himself a “walking archive”: he collects images, generally related to specific events in Argentinean history (photos, newspaper cuttings, pamphlets) which he later groups together in different ways, attempting to thus establish a different historical discourse, a historical fiction which is almost hazardous.
In this project, Eduardo will send by post photographic series, in postcard format, to certain national institutions. These means of presentation and diffusion propose a rearrangement of memories in a different way. They propose certain urgency.
MPB