“Little do they tell us about the aesthetic expositions, which on the other hand prefer to deal with the beautiful, great and attractive, that is, the feelings of a positive tone, their conditions of appearance and the objects they wake up, disdaining instead the reference to the contrary, repulsive and unpleasant feelings. ” (Sigmund Freud- Lo Siniestro, 1919).
Subjected to the aesthetics of pleasure and inhabited by the culture of postmodernism that blindly obeys to “Likes” – visible in the devices of social networks-, it became unthinkable in the initial conversations with the collective of artists, to develop a possible format that called a large audience in this dilapidated scenario.
The significant ruin alludes – in its etymology – to the action of falling, to name something that runs from time left in disrepair, which was spoiled. Loss dimension that operates as a cause of desire for the conception of this project. Ruin and decay: locate as well as the reverse of the artificial ideals of success proposed by the legitimizing circuits of art.
On the other hand, the omnipresence of the threat of demolition, always imminent when not having news of the date of consumption, pressed in a latent way as what was not said and therefore disturbing. Thus installing the logic of the ephemeral (this being the trait par excellence that identifies our era), so that an artist cannot ignore this because he himself is an effect of his context in which – in addition – artistic practices are inserted.
Concomitantly with this logic, gradually the lines of work were opting for decisions that for some consist of making a specific site work and for others in the choice of works that make sense in the uniqueness of this space by vehicularizing a possible dialogue.
Being located on the scene as inhabitants who circulate temporarily through this house about to collapse, generated an effect of strangeness on the artists who named as their own a space to show their work; What speaks of a subjective movement to appropriate what was given as something strange.
Holding acts to assemble the exhibition, worked like a “ritual” that invited the elaboration of a duel by activating a transition time between the old and the new. That is, in a clear direction to the old to fall, in order for the new construction to come. Enrolling in a project that borders the aesthetics of distaste, of the sinister, involved making a bet on the symbolic: the commitment to desire that is renewed each time the subject faces the possibility of losing something. Testimony of this are the bare walls – without veil – shelling and rough covered by mold, spiderwebs climbing through the lamps, the real exposed brick configuration itself a texture. The uninhabited rooms, dingy that distill moisture and populated with some objects echo a past everyday life realizing a warm vestige of vitality: shelves covered by dust, religious imagery that hangs from the walls, the transparency of the curtains and furniture from another time. Inventory of objects that act as spectra that permeate each environment through which the viewer travels, thus inaugurating a time to resignify this space.
The enunciation of the creative process raised, recounts an excavation task in the sense of exploring the decay that inhabits us while referring to the emergence of desire (desire to make) that becomes visible in the decision of this group of artists to “get down to work” capturing a moment in front of the imminence of the collapse.
* “Danger of collapse” collective exhibition in a demolition PH.
Participating artists: Andrés Arzuaga, Elena Blasco, María Laura Rodríguez, Viví Gaitán, Florencia Valente, Paola Calcerano, García Mar, Nicolás Crespo, Elena Cialdoni.