entre, hacia, hasta, para, por, según, sin
15 March 2019
9 June 2019
With: Rossella Biscotti, Manon de Boer & Latifa Laâbissi, Valentina Desideri & Stefano Harney, Fernando Gandasegui, Jon Mikel Euba, Quim Pujol, Alex Reynolds, María Salgado and Marc Vives. Curated by: Anna Manubens
Manon de Boer, images from An Experiment in Leisure (2016-2019). Courtesy of the artist and Auguste Orts.
The title of this exhibition [between, towards, until, for, through, if, without] is a sequence taken from the list of prepositions that some of us memorized at school. While prepositions seem to have no autonomous or complete semantic value, they shape the meaning of a sentence from seemingly minor syntactic intervals. They seem to have less power than a name or a verb, but read one after the other they actually sound just as that: power or push. They are a sequence of starts, of thrusts, of drives, of desires that don’t know where to aim yet or between which two things they will be creating a fold.
entre, hacia, hasta, para, por, según, sin looks at how the minor works within, towards, until, for, through, if, without the major.
The exhibition is dedicated to intermediate positions –pre-positions, pos-positions, quasi-positions– between steady and legible positions. It is the result of an obsession with the blurry watery lapses that surround the mainland of sharpness. The exhibition lingers in what takes place between one decision and the next, particularly when they are split by the unforeseen. That is, when suddenly a cut, a fault or a bifurcation interrupts and modifies the foreseen trajectory.
In some cases that cut feels like and accident. In others it is more like a humming that insists on haunting and affecting what we do. And sometimes, with luck, the cut is pleasant and it thus becomes easy to let oneself be moved by it. In any case, what the unforeseen underlines is a fold between agency and patience. Between what we would like to see happening and what actually happens to us. The exhibition observes patient practices; works that work with what works them.
Running against the project understood as a purely volitional, autonomous and directed decision – a neoliberal fantasy -, the exhibition turns to practices that do with what (over)comes. To works that resulted from the ability to incorporate a cut or that propose strategies to continue doing in spite of it, with it or against it.
entre, hacia, hasta, para, por, según, sin gathers works that inhabit the in-between or speak of how to inhabit it, but also, and more importantly, intends to operate as an in-between; as an interval. The exhibition wants to enlarge the in-BETWEEN’s space-time. This is, to become an occasion for some artists to bite into something that is chewing them, but WITHOUT obliging them to reach a fixed, definitive or steady result. This is why the exhibition title opens with "between" and closes with "without".
The idea here is that the force that brings forward an artistic practice comes from before the exhibition and will continue after it. Between both points, it is about sustaining impulses, accompanying a testing time or facilitating the return something that is otherwise constantly postponed.
The black tape on the walls is used to indicate some gaps with which the exhibition opens. They correspond to the space reserved for artists who have started working on something that does not yet have materialization.
About what they will be doing, we neither can nor want to foresee too much, but the reasons that led us to start those processes are explained in the show and the publication. These works will all be related in one way or another to the intermediate, to the remnant or to vacancy.
On May 18 (shortly before closing the exhibition), we will share what took place in and thanks to the blank spaces and times.
Manon de Boer, images from An Experiment in Leisure (2016-2019). Courtesy of the artist and Auguste Orts