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A COUPLE OF QUESTIONS ABOUT THE COLLECTIVE EXHIBITION ANSWERED BY FOUR ARTISTS |
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Beyond of the curators, the people who define lists and contents, we have asked four of the artists taking part in Pensa/Piensa/Think a couple of questions to sound out their opinions about collective shows.
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LLUÍS BISBE
WHAT IS THE THING THAT JUSTIFIES A COLLECTIVE EXHIBITION?
The same as for an individual exhibition: that it should serve to say something that hasn’t been said before. If, in addition, the relationship between the selected pieces, or the relation all of them have with a particular theme, is really strong, if there is a good line of continuity, so much the better.
HOW DO YOU SEE THE ROLE OF THE ARTIST IN A COLLECTIVE EXHIBITION?
To contribute their very best without prejudicing the other works; I’m not sure why, but all that comes to mind is moral platitudes along the lines of ‘live and let live’ and that kind of thing.
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| Luis Bisbe. Mooooooore, 2007 |
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Joking apart, we artists can help oils the wheels to make sure that the pieces go together with one another to the best effect, and keep an eye on the quality of the overall result, which is always in each of our own best interests.
ALICIA FRAMIS
WHAT IS THE THING THAT JUSTIFIES A COLLECTIVE EXHIBITION?
The collective exhibition creates conflicts, discrepancies and coexistence between the concepts of the works. Collectives help situate the artist in a collective framework of ideas, thoughts and ways of doing things. Above all, collective shows help young artists to feel part of a group, to get to know themselves and relate to other professionals, and this helps them to mature.
The strength of the collectives is the things that transgress the actual understanding of the individual work. The things that reveal something new in the society of thought. Difficult but necessary.
HOW DO YOU SEE THE ROLE OF THE ARTIST IN A COLLECTIVE EXHIBITION?
The artist is only the owner of the work, or the director of the work; the works in collectives speak for themselves. An artist normally wants to be in a collective in order to feel, within his or her own solitude, part of a group of thought, part of a certain moment in art; the artist needs collectives so as to enter into dialogue and competition with other artists. Artists don’t make themselves. We artists need a lot of people in order for our work to be understood: personally, I like collectives because they help me keep in touch with people I admire, people I learn from, people I love, and out of this situation there very often comes an impulse to create new platforms for art. But then there are years like this one, when we have seen this Documenta, this Munster, this Venice Biennale, out of which no really new forms of thought have emerged; I mean that the art world is more individual, is more in the hands of curators and gallery owners, and very little given over to collective creativity. More group shows, please!
TERE RECARENS
WHAT IS THE THING THAT JUSTIFIES A COLLECTIVE EXHIBITION?
The first thing is being in accord with the theme of the exhibition. Second, agreeing with the politics or the beliefs of the curator. Third, presenting your work in the form that comes closest to your ideals. Finally, enjoying the works by the other artists.
But it isn’t always like that when power is involved: money, recognition, etc. You’re invited to take part, they pay you a fee and there’s a bit of production. You don’t quite get the theme, but that’s why you have to discuss. Or you simply prefer to stand your ground than give in, and speak your mind directly. It’s an opportunity to get things clear.
HOW DO YOU SEE THE ROLE OF THE ARTIST IN A COLLECTIVE EXHIBITION?
The communication by means of the art is the most important thing. If the work is in process, the curator is like a filter. This may |
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| Tere Recarens. Cosas que merecen ser escritas, 1998 |
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or may not be beneficial for your work. The best of all is when a natural collaboration is created. If you have to fight to be able to do what you want, you’re taking that energy away from the total energy of your project.
The problem is when the curator is expecting a monumental work. And this is where the mistake arises, because things are not to be measured by how big or small they are, but by the intention. |
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