Thursday, 28 January 2010


exhibition view, Carlos Garaicoa tables, David Shrigley 'It is It' painting, 2004

exhibition view

Claire Fontaine 'Passe-partout (Paris 10eme), 2006

Jenny Holzer, 1998

Martha Roesler, 'If it's too bad to be true, it could be DISINFORMATION', 1985

Carlos Garaicoa, 'To Transform Political Speech into Acts, Finally', 2005

Liam Gillick, 'An Experimental Factory in the North of Europe', 2004 (wish it was an experimental factory in the Caribbean!)

Lawrence Wiener, 1989

Gabriel Kuri, 'Quick Standards', 2006

Kendell Geers, 'Batons (circle)', 1994

exhibition view

Claire Fontaine, 'Foreigners Everywhere', 2007

Stan Douglas, 'Set for Inconsolable Memories, Vancouver), 2005

Allora & Calzadilla, 'Citizen-Ship', 2005

Stanley Brouwn, '1KM', 1976

Adrian Paci, 'Centro di Permanenza Temporanea', 2007

Jesus 'Bubu' Negron, 'Igualdad' 2004

Tania Bruguera 'Tatlin's Whisper no. 6', 2009

Carolina Caycedo, 'Herstory', 2009

Lutz Bacher, Carolina Caycedo

Lutz Bacher, 'Jokes (Barry Goldwater)', 1987

Exhibition reading room with lamps by Jorge Pardo (another way of being cuban different to Tania Bruguera's!)

David Lamelas, 'The Dictator'. 1978

Christoph Buchel, 'Parade', 2005

On Kawara 'I am Still Alive', 1984

in the Project Room: Carolina Caycedo, 'Swarm', 2009

Carolina Caycedo in front of her work

two cheverista women! curator Maria Ines Rodriguez and Carolina Caycedo

It is it and something else...
curated by Maria Ines Rodriguez

This season, Espacio 1414 presents three exhibitions that propose reflections
on the position of the artist towards the real, a confrontation of what the world
is and what it could be. Both It is It, Swarm and the works selected for the
Painting Room prove the complexity of the contemporary world and the geopolitical,
social and economic implications it entails. The new cartographies of
power that have arisen in the wake of contemporary conflicts, have redefined
new kinds of hierarchies and interests affecting civil society. Whether at a local
or a global level artists generate, through their work, another kind of cultural
construction that questions the universality of notions relating to territory,
totalitarianisms, displacement, belonging or exclusion and, therefore, the limits
of contemporaneity. Based upon the exhibited works, we state that art
continues to be one of the few remaining possibilities we have to create
interstices between terror and escape, room for reflection and discussion that
allows both artists and public to build a critical position towards the context in
which they live.

If, as writer Édouard Glissant pointed out, “the role of artists is to make certain
things visible in the mind and the imaginary so that change can come about”,
we might add that the role of the spectator, in turn, is to assume itself as an
active and emancipated player towards what the artist proposes, so that the
possible change suggested by Glissant can take place.

María Inés Rodríguez.

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