Exhibition Text: A PHILOSOPHY OF DISORDER
Every organized entity we find hides a fiction: there exists AN order, A programme, we may be able to save ourselves as A logic protects us.
On picking up the notes on the exhibition we clutch on at fragment of discourse which calms us, even if its very nature is full of questions. Stating that this specialized chaotic space is AN exhibition room protects us, that we are being shown an exhibition, that we are in the territory of art. We trust that they act as a guide or at least they facilitate a context in which we can build, forgetting that each person is a context in him or herself.
If I call on the resource of NO and write: This is not an exhibition of/for/with/on Cocteau, it would be easy to deactivate my words playing at opposites.
Thus I recur to something loaned, using something that doesn’t belong to me and that I won’t know how to return: a title that Cocteau never used. I won’t be the first, but I will try to be the most honest when dealing with affective economies. I hold on to disorder knowing that it is going to be an imposture, I’ll try to play being him while I uncover some logics, some systems...
“The details never come to light and the faithful possess their own language that will stop them being understoold, if by chance, they are heard without them realizing it.”
Jean COCTEAU, Les Enfants Terribles, 1929
If I turn for help to the notes on the exhibition (object) in an contemporary art (object) exhibition (place), I will trust to find the language, a code for the chosen, for those who state they are a part of it, or at least, want to be.
Infancy generates its own mechanisms of belonging, we learn them by applying them to our experience so as to integrate them into social, professional, class identity or prestige order... Each one of these has the words which allow access, identification on the part of the rest of the group. The difference comes from the flexibility when constructing reality in childhood solidifying, giving a weight to the language which it didn’t have before.
“Yet the whole question of the distinction between 'language' and 'reality' was eventually forced into consciousness, initially in a surprising way.”
Raymond WILLIAMS, Marxism and literature, 1977
Let us build reality as we please, coming to an agreement with the rest of the players, in order to accept that others have said the words that make up our experience, that our capacity to define the game has been almost reduced to nothing.
The protagonists of the Cocteau’s novel not only played but show is that playing is to belong to another place, they “were” involved in the game, as you can be in a trance or in an modified reality. Modified, belonging and constructing. Deciding on the value of the objects that make up “the box of treasures” being critics, spectators and producers of their own art.
Is art a childish gesture or a challenge to recover a power that we held as children?
“It was a treasure. Treasure impossible to describe, as much as the objects in the drawer had modified their usefulness, taking on symbolic values, and not offering to the profane but a spectacle of a jumble of spanners, of tubes of aspirins, of aluminium rings and of curlers.”
Jean COCTEAU, Les Enfants Terribles, 1927
The first impression is always that of disorder, one of a chaos of elements whose logic we have to work out. We are here looking for something to grasp at which allows us to generate a story, in which the reading will give us some sort of clue.
Lets remember what we already know or sense:
Espai Tactel, after eight years inaugurates its third space, which will function at the same time as Espai Tactel Torrmix in Barcelona.
It is an art gallery and a payroll of thirteen artists, possibly each one of the works corresponds to each one of them.
Being on the second floor of a building might lead us to think of the day to day of living together, along with a exhibition space and a place of work, and then a private spacer
In the working space we find a print of Cocteau – not only novelist, dramatist, filmmaker... – also a composition in which the artists of the gallery dialogue and which we perceive as anterior. This space may well be what gives us the clues which lead us to think that these exchanges between the gallery’s artists and other previous creators continues in the private zone, in the living space, like in the brothers’ room in the novel, with its internal rules and logic, a disordered philosophy which comes into conflict with the apparent external order.
And if, the novel, the Terrible Children that gives its name to the project and speaks to us of how the gallery wants to present itself:
- As the expression that has gone into our daily language
- As the story that is told in the book
- As the legacy of, in the words of Paul Valery, one of the most “diverting” minds what we can translate as degenerate, but not just that.
We should not forget the presence of the notes on the exhibition that tries to shake us up, reminding us that an exhibition is the crossing of lonelinesses.
“Here I am busting my gut to make these things, do these things that are part of my personal truth, and I put them out in front of this unknown group of people.”
David WOJNAROWICZ, Weight of the Earth, Tape Journal, November 1988
I have already revealed my role as curator and educator of this anarchy, not much different to the mess that makes up our lives. I’m just one more who decides to take a risk of “being”, of making this reality be stronger that other and that wishes to share this state
“(...) he realized that the hand he was holding was hot and that this calming warmth allowed him to continue with his game. Game is a very inexact term, but this is how Paul termed this state of semi-consciousness in which children are submerged.”
Jean COCTEAU, Les enfants terribles, 1929
In 1975, the year of his murder, Pasolini shared his first memory, a curtain. This chapter brings us to the following “ impotence before the pedagogical language of the house”, because this simple curtain had already started Pasolini’s education, laying out the social environment, aesthetic taste, political position that his family, unconsciously, tried to communicate to him.
They are these same objects, in the form of works of arts, with which make up Ismael Chappaz and Juanma Menero , the way in which they have presented them here is by living with the artists that make up the current universe of Espai Tactel. Following thus education and play.
Y esta hoja de sala no es más que un reflejo de como un invitado ha intentado sumarse a ese productivo desorden en el que se ha decidido mostrar una selección de la caja de tesoros. Los motivos de porque estas obras estén aquí son, como apunta el texto de Rimbaud que también forma parte de la muestra, un pequeño adelante en el camino al fin del mundo. Un capítulo más de esta filosofía en proceso que, entre todos, estamos escribiendo.
And these notes on the exhibition are no more than a reflexion on how a guest has tried to join in with this productive disorder in which they have tried to show only a selection of the treasure chest. The reasons why this works are here are, as the text by Rimbaud points out and that also form part of the selection, a small step forward in the way to the end of the world. One more chapter of this philosophy in a process that, between every one, we are writing.
“This might be nothing more than the end of the world, moving forward.”
Arthur Rimbaud, Childhood, 1874
Eduardo García Nieto
Curator and educator
AGGTELEK (Gema Perales (1982) y Xandro Vallès (1978)), Raphäel BARONTINI (1984), Edmond Bille (1878), Henry Bischoff (1882), Rodolphe Théophile Bosshard (1889), CHRISTTO & ANDREW (Christto Sanz (1985) y Andrew Weir (1987)), Fito CONESA (1980), Hans Erni (1909), Antonio FERNÁNDEZ ALVIRA (1977), Leonor Fini (1907), Natacha LESUEUR (1971), Jean Lurçat (1892), MOMU & NO ES (Lucía Moreno Murillo (1982) y Eva Noguera Escudero (1979)), Amanda MORENO (1982), Gérard de Palézieux (1919), Miguel RAEL (1974), Germaine Richier (1902), Auguste Rodin (1840), Michael ROY (1973), Carlos SÁEZ (1988), Roland Topor (1938), Luis ÚRCULO (1978), Vicky USLÉ (1981) y Félix Vallotton (1865)
(The names in capital letters correspond to the artists of the gallery)