GRAVITY & DISGRACE EP. II

By putting pre-existing images back into context (Rosângela Rennó, Tacita Dean) or through the creation of images as a fictionalised account of the past (Jorge Barbi), art questions and interprets memory as a determining factor in its critical reception. The slippery ground that becomes solid through the grasping of conventional forms, both in their banality as in their monumentality (Asier Mendizabal, Damián Ortega), has an effect on the possibility that these could become elements for reflection regarding their formal configuration as meaningful devices. On the other hand, the slippery area that is established between the presumed truth of the image and the paradocumentary narrative (Regina de Miguel, Iñaki Garmendia) corresponds to a thoughtful plan on the possibility of art for reinventing itself out of conceptual models of other disciplines; either scientific or poetic.

Also unstable and slippery is the place of the creator, his space for social intervention in a wider field. From the reiteration of simple existence and the right to passivity as a form of active resistance (Mladen Stilinovic) to the reconstruction of a mythicised real as opposed to a real edited by the sum of that which is supposedly inevitable (João Tabarra), various possibilities and itineraries have been covered for the consolidation of alternatives to the linear nature of the obliging self-reference or to the populist and cynical joy that defines a significant part of contemporary artistic production.