Comisarios: Rosario Sarmiento, Alberto Carton.
Artistas: Lara Almarcegui, Carma Casulá, Domènec, Santiago Giralda, Carlos Irijalba, Lucía Loren, Miguel Mariño, Asier Mendizabal, Nico Munuera, Lois Patiño, Jorge Perianes, Juan Ugalde, Oriol Vilanova, Enrique Yáñez.
Sala de Exposiciones Municipal PALEXCO.
Avda. Asociación da Prensa, s/n
Fernando Baena and Rafael Sánchez-Mateos · Domènec · Andrés Durán · Leandro Erlich · Concha García · Rogelio López Cuenca and Elo Vega · Cristina Lucas · Ulises Matamoros · Luis Montes Rojas · Miguel Ángel Moreno Carretero · María José Ollero · Bernardí Roig · Paula Rubio Infante · Domingo Sánchez Blanco · Fernando Sánchez Castillo · Santiago Sierra · Susana Villanueva.
Curator: Miguel Cereceda
May 31 to September 15 2019
Palacio de Quintanar de Segovia
c/ San Agustín, s/n. 40001 – Segovia.
Marina Abramovic / Ulay · Christa Biederbick · Karlheinz Biederbick · Ulrich Bülhoff · Domènec· Peter Fend · Jobst Günther · Christian Hasucha · Janet Hesse · Lee Jeffriess · Sabrina Jung · David Krippendorff · Michael Najjar · Norbert Nowotsch · ORLAN · Lisa Schmitz · Peter Weibel
May 4 – August 31, 2019
Dorfstr. 1 / 14715 Milower Land (Bahnitz) Germany
An exhibition project of Kunstverein Bahnitz e.V.
curated by Bodo Rau and Lisa Schmitz
“No future for you” the Sex Pistols shouted in the audience’s face in their sublime 1977 song God Save the Queen. “Avui sóc ric. No tinc memòria,” [Today I’m rich. I have no memory] sang Jaume Sisa in 1979. We were looking over the abyss at the end of history, the 1980s, the fall of the Berlin wall, cheap cocaine and the triumph of global capitalism: the present continuous… The Sex Pistols were singing about the end of an era and the encroaching darkness of the Thatcher years; Sisa, ironically, was celebrating the fact that “popular capitalism” had made us all rich—we all had a mortgage and no need for any memory. For decades, we’ve lived, worked and thought as if it were playtime at school… present continuous… finally we could have fun… history was over! We no longer needed any commitment to anything… Thousands of artists filled the world with brilliant, immaculate, unembellished works devoid of any drama, fun, autistic, egocentric pieces, polka dot paintings, formaldehyde cows, giant puppies made out of flowers, extortionate bibelots to decorate the luxury nothingness of fictional capitalism. Reality confused with a photo call. While the drugged population was entranced by artists playing the fool, the owners of everything stole our past and, with it, the possibility of thinking of a different future. In the words of Martí Peran, “Analysis of the contemporary experience reveals the difficulty of thinking about the future. Modernity was characterised by its prolific construction of promises; today all we have is a present that always narrows our expectations of tomorrow. This sign of the times is due to a complex mesh of factors: the failure of mass utopias, consumer hedonism, the extension of the culture of fear, widespread precarity that makes it impossible to think of life as a project… Alongside these difficulties, all the spectacle of late capitalism can only us for the future is a collection of apocalyptic cinematic visions.” Dystopian visions with a clear lesson: the status quo is unalterable; any attempt to alter reality and subvert the balance of forces is doomed to fail.
Sensory addiction to a compensatory reality becomes a means of social control, and a large part of “art” enters the realm of the phantasmagorical as entertainment, as part of the world of merchandise. Marx popularised the term phantasmagoria to describe the world of merchandise, which by its mere presence hides all traces of the work that went into producing it. It hides the process of production and encourages spectators to think of it in terms of subjective fantasies and dreams.
History cannot be thought of merely diachronically. There are leaps, fissures, gaps, contradictions, short cuts and dead ends. Past, present and future occur both synchronically and diachronically. We need to explore the ways in which contemporary art can articulate the past—short stories that focus on recent and not-so-recent events that have remained hidden under the dense shadow of hegemonic narratives, even though in some cases they are vital for understanding our real-life present and imagining a “different future”. By capturing these spectres of the past, by helping these short stories and hidden accounts take shape, they become visible signs of the way reality has been created in our present. By way of example, I’ll talk about a project we did in Helsinki. It arose from reading about the work of Alvar Aalto—the best-known Finnish architect and one of the fathers of modern architecture—and focused on one of his buildings, the Kulttuuritalo, a cultural centre and concert venue in Kallio, an old working-class neighbourhood now becoming gentrified. After reading different sources that talked about how important the building was, its fascinating technical and formal innovations, its key role in the architect’s career and the evolution of postwar architecture, the unique design of the bricks and its acoustic properties, in one text—amongst a huge pile of information—I spotted the sentence “Built mainly by volunteers.” What did “built mainly by volunteers” mean? Why? Under what circumstances? Although I carried out research at several archives, such as the city archive and the museum of architecture archive, I couldn’t find any clear answers: only one tiny archive in a flat in the neighbourhood revealed all the details of this amazing story of collective creation: between 1954 and 1958 over 5,000 volunteers— workers, union members, members of leftwing organisations, youth associations and the Communist party—gave over 150,000 hours of their free time after work and at weekends to build this magnificent building that was at the centre of the neighbourhood’s social, cultural and political life for workers in Helsinki. However, this major achievement for the Finnish working class had later been appropriated by the hegemonic historiography and been forgotten by most of the city’s inhabitants. When we finally managed to interview some pensioners who had taken part in this collective process in their youth, they were puzzled as to why it had taken so long for someone to ask them about what was perhaps the most important episode in their life. The project aimed to rescue the voices of workers who took part in the collective construction of this symbol of modernity and icon of the Finnish workers’ movement. At the same time, the project also breached the gap between the age when the Kulttuuritalo was built and the present day, when the building has become an architectural monument stripped of all its ideological content. As well as endeavouring to relive the past, it also aims to reflect on the way we experience historical time.
A few days ago, a friend of mine asked me about a large number of contemporary artists who have suddenly discovered modern architecture—an interest he found somewhat superficial and saw as a nostalgic longing denuded of all its critical power. “As a fetish?” I ventured. “And maybe because they use obsolete devices to shape projects: slides, vinyl films, opaque projectors… a fascination with everything vintage.” When there’s nothing to say, nothing to question, we can always fall back on the document, the archive, the historical anecdote, the display. This nostalgic backwards gaze towards a past that was full of future perpetuates the helplessness of the present. If we fail to understand that rereading the past is only worthwhile if it is a dialectic weapon loaded with ammunition in the fight to transform the present, this gaze simply becomes the accomplice of hegemonic accounts and perpetuates the discourse that has always sought to defuse the critical, transformative power of these moments we are now looking at afresh.
Text from “Avantsala + Fuga. Art Jove 2013” catalogue, Barcelona 2013
Max Andrews reviews Domènec exhibition ‘Y la tierra será el paraíso’ in frieze, a show looking to the fraught legacies of Spain’s mass communal housing.
Show runs at Adn Galeria, Barcelona, until 16 March 2019.
Campus Bellissens,Universitat Rovira i Virgili, Av. de la Universitat, 1, 43204 Reus. Amb Martí Anson, Dani Montlleó, Xavier Arenós i Domènec
Two light box, 66 x 50 cm each.
Welcome to Barcelona (2018) and Welcome to Madrid (2018) is welcoming to two cities in Spain, after two major expositions on the Philippines presented at the end of the 19th century. In 1887 the General Exposition of the Philippine Islands, promoted by the Overseas Ministry, took place in the Retiro Park in Madrid. In the general catalog the project was introduced explaining “Spain did not yet know what in foreign lands was the subject of study and praise”, despite being the metropolis after more than three hundred years of colonial rule. And he continued “The productions of that fertile soil, the works that reveal the privileged aptitude of their children for the arts all, the results of the influence of the metropolis in a colony never selfishly exploited, were known to us by references or fragmentary way.” (*) Good wishes were accompanied by a desire to show the strength of the domination of the archipelago, in a voracious propaganda attempt, just a decade before finally losing the colony. A year later, at the Universal Exhibition of Barcelona in 1888, the Pavilion of the General Company of Tobacco from the Philippines was presented, a company that represented one of the largest commercial interests overseas, founded by Marquis of Comillas, slave trader, businessman and shipping magnate.
This project reflects on the structural violence implicit in the political and economic strategies around colonialism, and on the phenomenon of universal expositions as a kind of vain cartographies conceived from the metropolis to exhibit countries and dominated cultures, as cabinets of curiosities and catalog of exoticism that did nothing but increase geographical and cultural distance. Under the pretext of scientific and anthropological interest, the positivist and suprematist gaze articulated around moral, racist, and economic interests was imposed. National stereotypes, images of power, institutional criticism or the euphemisms of progress are raised here through the displacement of the subject of contemplation: they are not images of the two host cities that welcome us, but are images of the vision that those two cities offered from the Philippines in the context of two great celebratory events.
(Fragment of the text of the catalog of the exhibition Domènec. Not Here, Not Anywhere. Ateneo Art Gallery, Manila, 2019)
(*) Catalog of the General Exhibition of the Philippine Islands, Madrid, 1887.
Art Fair Philippines, Manila, Philippines
23 Feb 2019, Saturday / 11:00 AM – 1:00 PM
Domènec. Not Here, Not Anywhere opens on 17 February 2019 until 26 May 2019 at Ateneo Art Gallery, Manila (Philippines)
Wood, Photo series.
Y la tierra será el paraíso (And the Earth will be Paradise), title of this solo show, is a verse of the most popular L’Internationale Spanish version, the working class anthem, adopted by most of socialist, communist and anarchist political groups worldwide. The phrasing perfectly sums up the utopian character of modernity, an era in which the society believed that all good things were at hand.
And the Earth will be Paradise (2018) the most recent project of Domènec, consisting of a photographic series and wooden models that, stacked on top of each other, make up a sort of tower with sculptural appearance. These models represent the gigantic social housing projects of La Mina, a neighbourhood located in the limits of Barcelona, constructed at the end of the sixties to relocate the population coming from different shanty towns. Two archival photographs are shown next to the sculpture; one, from 1970, shows the dictator Franco and the mayor of Barcelona posing next to the model of La Mina neighbourhood project. Another one, shows a couple of gypsy women, relocated in this same neighbourhood, holding the model of their shack at Camp de la Bota, built by themselves with cardboard. Once again, we see the image of power presenting itself as the leader of the population through large construction campaigns, in front of the image of the most disadvantaged classes of society, which take over the urban space making use of all the resources they find at their reach.
The project is completed with a photographic series showing polygons of large social housing buildings. Domènec, who has taken these snapshots in cities far from each other such as Barcelona, Warsaw, Bratislava, Marseille, Nantes, Empuriabrava and Mexico City, shows the images without indicating their origins. In this way, he highlights the way in the existence and aesthetics of these buildings, located all in big cities’ peripheries, as a sign of harmful globalization and state control that relegates the marginalized of capitalism to the margins of the city, limiting their social mobility.
Once again, Domènec`s work seems to reveal the hidden face of Modern architecture, whose results were contrary to the objectives that were promulgated. If modernity, with its characteristic tendency to formulate promises of progress, of a better tomorrow for all, projecting through architecture a universal model of welfare for the working class, these images show the clash of those ideals with reality: neighbourhoods where the poorest social classes are forced to live in precarious conditions, segregated from social, cultural and economic centres. Working class, immigrants coming largely from the former colonies, and gypsy groups, are no longer treated as individuals from the moment they joined a kind of hive-building, becoming a mass, in otherness, feared and ignored by the rest of population with better working and economic conditions. (Rosa A. Cruz, fragment)
Collaborator: Angel Escalera
Photos: Roberto Ruiz, courtesy of ADN Gallery, Barcelona