Exhibition at Museo CAV La Neomudéjar, Madrid, Spain
11 January – 5 March 2017
c/Antonio Nebrija s/n, Madrid
When exile is internal, that which is intimate is denied. The depersonalization or even dehumanization of a being takes on many aspects that are not necessarily the fact of individuals making History(ies) but also the fact of individuals transmitting History(ies), which although it is always taught in the singular form, is in fact plural.
But while memory can disappear, the impression, the one written in the flesh, is indelible. It is transmitted in spite of time and place.
It is in the folds of what is intimate that the impression is revealed and summons the individual to manifest it.
And when the past becomes real time again despite its forced marriage to silence, it becomes likeness and image must become repentance.
Museo – Centro de Artes de Vanguardia – Residencia artística Internacional –LA NEOMUDÉJAR– calle Antonio Nebrija s/n 28007 MADRID – SPAIN
Le Maschere Nude – On family, individual and collective memory, stories and history. “[…] from one painted [portrait] to another, it is a plural collective memory that newly finds physical expression. A senso comune where the flesh of one joins the flesh of the world.”*
Disorient – What happens when we lose our perimeters, our orientating devices, our socio-cultural or emotional pillars? (in collaboration with performer-artist Valentina Lacmanovic)
*L. ALLEGUE. (2012) « senso comune », in L’intime, le privé, le public dans l’art contemporain. E. Chiron, A. Lelièvre (Dir.). Paris. Publications de la Sorbonne, p.p. 165-173. ISBN 978-2-85944-700-7
Les auteurs ainsi que les directrices de l’ouvrage, Eliane Chiron et Anaïs Lelièvre, ont présenté le contenu du livre lors de la journée d’étude organisée au centre Panthéon, à Paris, à l’occasion de sa parution.
october.was shot at Tiananmen, Beijing (China) in 2007 and Granada (Spain) in 2009 with mobile phones. The sound was recorded the same way at Granada. It is a first approach within a wider project on historical memory reconstruction.
Interviewed by Carolyn Christov-Bakargiev, William Kentridge says:
All my work is part of a single project. I don’t see a great shift. In Il Ritorno d’Ulisse I was looking at the body as a metaphor for our relationship to memory and the unconscious, acknowledging that there are things happening under the surface, which we hope will be well contained by our skin. We hope that our skin will not erupt, that parts of us will not collapse inside. The body in this sense is other to us; we shepherd it along like an ox, hoping it will come quietly to market and not run away. In recent works such as stereoscope I’m interested in the co-existence of all those contradictory strands, and what it means to synthesize them into one subjectivity.
Stereoscope is about the cost of trying to bring these disparate parts of oneself together.
In Cameron, Christov-Bakargiev, Coetzee. “William Kentridge” (1999) London, Phaïdon, p.23.