Each of the performances of the programme is extracted from their original context as studies or scenes from earlier projects and given an independent life. These live-action fragments encompass ritualistic exercises following the artist’s rules, tableaux vivants, and dramatic orations based on texts by the artist or by playwrights such as Samuel Beckett. Whenever possible the performances maintain their original interpreters, yet inevitably they are reinforced or degraded through their repetition, adding another layer to the artist’s exploration of control.
Access to all performances is unrestricted.
Third floor of the Centre d'Art Contemporani de Barcelona - Fabra i Coats. Photo: Eva Carasol.
This reading was originally conceived as the closing performance of BAREBACK: Power and death (2010), which took place at the former chapel of La Casa de la Misericòrdia in Palma de Mallorca. The speaker, dressed in the clerical attire of a priest, delivers a personal and theoretical address, a form of self-reflective homily or sermon, accompanied by an image of a billboard showing an unmade double bed with the hollows left by two heads in the pillows. This image documents artist Félix González-Torres’s Untitled (1991), a public art project about private loss, a memorial to the artist’s partner who had recently died of an AIDS-related illness. The text begins as a reflection on the experience of the act of lending authority to the voice and announces itself as a series of digressions around its ostensible topic: the practice of unprotected sex and the homosexual “barebacking” subculture, in which the risk of HIV infection is considered irrelevant or even desirable. The speech hinges on the elision of the words community—in particular, the gay community—and communion. While acknowledging the Christian ceremonial connotations of the latter, the text more abstractly deals with communion as the intimate union of feelings and bodies, and the compounding of the private, political, and philosophical spheres in the life and work of individuals such as Michel Foucault, Roland Barthes, and the speaker himself.
‘COLLAPSE. Desiring Machine, Working Machine’ is the first chapter of a three-part project curated by Latitudes. The second part of COLLAPSE will take place at the Centre d’Art Tecla Sala, L’Hospitalet de Llobregat from November 23, 2018 (and on view until January 13, 2019). Titled ‘Schizophrenic Machine’, the third comprises a major new performance event which will take place on January 10, 2019, at an especially resonant – yet, for the moment, deliberately undisclosed – location in Barcelona. Share: #JoanMoreyColapso
Two recent texts reflect on the current Spanish art scene, both noting the damaging effects of not only the ongoing budget cuts, but on the deleterious political interference in the programming of numerous museums and art centres throughout the country – perhaps the most notorious of which saw the resignation of MUSAC's Eva González-Sancho after three months as director of the León museum, followed by the resignation of the museum's artistic committee. The texts are written by Manuel Segade, a Spanish-born independent curator based in Paris; and by British Barcelona-based curator Max Andrews of Latitudes, offering critical and analytical perspectives from both the inside and the outside of Spain. "Art and Society in Spain on the Edge of Critical Emergency" by Manuel Segadewritten for the September 2013 issue of Artpress (see pages below), offers a brief genealogy from the 1990s until today, mapping the rise and the activities of art centres, museums, art fairs, commercial galleries and artists. (Click on the images below for a larger view of the text.)