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PAC Murcia 2010 DOMINÓ CANIBAL

The commissioner chosen for this edition is Cuauhtemoc Medina. In a completely different line to that posed by Bourriaud, Medina has changed the format of the exhibition, using a single exhibition hall for 12 months. In it, each artist will embark on its own work from the work done by the previous artist. Mitchell explains the implications of this way of working: "The idea of the project is about to propose a counter-model for arts festival unlike biennials, museums and site-specific interventions, which assumes a certain territory made of continuities and discontinuities practices between artists and creative movement. "

"My starting point is the operation of dominoes, which is a cross extendidísimo production point. Based on Chinese dice games, migrated to Italy, published by Iberian colonization of the New World, and very popular in Latin American cultures. From a historical standpoint, refers to the migratory route of the game that goes from Cathay to the Caribbean, through the European routes of early capitalism, is a map of the historical process that sparked the modern world. Also, the ideological use of so-called 'domino effect' referred to the terrors of the Cold War and beyond. "

"The domino effect continues referring Medina DOMINO CANIBAL exposure to be held between January and December 2010 in Room Murcia-veronicas will refer to the chain of historical moments and storylines that define the link between colonization, post-colonialism and capitalist globalization . Following the multicultural debates of the eighties and nineties and expanded artistic globalization, global flows are defined and differences in cultural and economic integration. "All these implications are explored in the form of arts participation and interaction, rather than in terms of any policy issue.

Maintaining the integrity of individual presentations, the format suggested by Commissioner opts for a form of work in which each artist works on what is already done by the precedent, either destroying, appropriating or redo, setting in motion dynamics of an artistic practice collaborative and highlighting the value of the process.

PAC MURCIA 2010, organized by the Ministry of Culture and Tourism of the Region of Murcia, is supplemented by a program of galleries, a seminar organized in collaboration with CENDEAC residency and fellowships for artists from Murcia in Berlin and Mexico City.



"Jimmie Durham's departure opens Cannibal Domino project, taking the place of the exhibition, the ancient Church of Verona in Murcia, Spain, as the axis to question the division between inside and outside the western sacred space: the same religious temple as the showroom.
Durham has occupied the former nave of the church as the repository of a heterogeneous collection of objects, debris and things: the mass grave, the classification subversive or residual map of the world. The crux of the operation is to introduce into the esthetic and religious temple, "profane" in its etymological sense more deeply, all that remains "at the temple," meaning that it is "before" the feast or is excluded for spatial purity invest sanctum. Chunks of cement, wire, refrigerators, barrels, broken glass and debris from "the sacred", they shall discuss the space of the showroom in gargantuan attempt to connect inside the temple with all that sacred to be expelled, ie turn it into a "temple of confusion".
The result is an invasion that disturbs the Western notion of a transcendent spatiality defined by denying the chaos, the living and the world's pollution. If this DIY home to a world map that excluded the religious artifact, is because it resists any representation and metaphor, which is any device that means "sense" as a rejection of immanence. On the one hand, the project is the result of research behavior of the concrete: the inventory of what Durham collected for about a month in the city of Murcia and surroundings is home to the outcome of the routes that for one month Jimmie Durham has been doing in the city of Murcia and the region of its environment, both its industrial archaeological dig, the layered approach to culture and violence that make it up and establishing a constant conversation with its inhabitants. The objective is indeed to bring up the "all" excluded from the temple, not only by the mass of accumulated deposit, but that everything introduced into the church is that which draws near, what replaces him and what it implies contact. Technically, we could say that the installation of Jimmie Durham is an enormous feast metonymic.
For purposes of Domino Cannibal, the one-year project will work with six other artists taking part, destroying, and devouring the banquet resignifying that Durham has created, involves the installation of Durham have opened the game with something like 28 mules, 6 or have defiled the temple with the body altogether. The challenge that has left Jimmie Durham Cristina Lucas, The Bruce High Quality Foundation, Kendell Geers, Tania Bruguera, and Francis Alÿs Neueschwander Rivane that during 2010 will involve the Board of Murcia Verónicas perhaps be summed up in monstrous impose a mandate: "Bring that stuff in here!" That is, continue to contaminate the false paradise. "
Cuauhtemoc Medina, Commissioner.


Jimmie Durham is a sculptor, essayist and poet. Born in 1940 in the United States came into contact with the arts because of his involvement with the movement to defend civil rights in the sixties. Between 1973 and 1980, Durham was a political organizer of the movement of American Indians and served as director of the International Indian Treaty Council and as representative of the United Nations. In the early eighties, Durham refocused attention on the art, using waste and other found objects to create a sculpture which posed a radical challenge to traditional American Indian representation. In 1987 he moved to Cuernavaca, Mexico, and in 1994 to Europe.

Committed to anti-colonial activist movements, his work lash out current manifestations of colonialist culture. He questioned the validity of normative artistic discourse and way of transmission by modifying the institutionalized language, ironic about the Eurocentric rationalism, and subverts the logic blurring attacks to proposals that can be considered performative.

It is significant the introduction of stones into parts of 2004, elements that speak of the relationship of humans with nature (a nature that in the period defined Illustrated in contrast to man, when laying the foundation of equality between white citizens Europeans). However, in other cultures do not understand nature as opposed to men, but it is part of it.

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