Agustine Zeguers, Daniel Llaría, Leire Lacunza Miranda, Luis Lecea, Nazario Díaz Valerian Goalec, Resbalar (una cosa) at CEM Can Felipa, Barcelona

Resbalar (una cosa) by Agustine Zeguers, Daniel Llaría, Leire Lacunza Miranda, Luis Lecea, and Nazario Díaz Valerian Goalec, curated by Lorenzo Galgó and Iñigo Villafranca Apesteguia, at CEM Can Felipa, Barcelona, 14/10/2024 – 12/01/2025.

Exhibition text:
It is difficult for us to think of something static, an object that does not slip. To slip is to move involuntarily on a surface, with alteration of the balance and without ceasing to touch it. We observe slipping by paying attention to the possibilities of reorientation and connection that it offers us. If we understand that walking on two legs is the normal way of moving through a space, slipping would be a way of doing it, since it implies a wear and tear of the body, an overexertion, an entering into crisis.

We stand in front of a thing and when we question it, we push it; the thing then slips, it is more displacement than thing. The dematerialization of the artistic object is an underlying question that runs through the history of art from the avant-garde to the present and that narrates a process of transfer of importance from the object → to the idea. Framed in a material culture that prioritizes the production of consumer goods and spectacles over the creation of contexts, we employ the immaterial as a framework from which to activate conversations around visibility, reproducibility, and the politics intrinsic to all artistic production.

To reduce art to things is to close the way to agitation. The structures that support the work of art force the realization of finished, marketable, and reducible objects. Stability is sought. On the other hand, when we portray non-objectual art we are referring to another series of attitudes from which to broaden the ideas of production. We understand that every (artistic) process is comparable in the language of the material, however, we do not consider necessary the imposition of the veil of language on things.

What we propose are not so much objects but gestures, attitudes, exercises, or manners. The exhibitions promise to be a compilation of objects, images, and contrasted experiences, fixed and presumably accessible from contemplation. Let’s make something clear: making objects is one possibility among many others when one speaks of making art. From the outside, this exhibition is designed as a bait, a rich image and a heady aroma, a light that captivates and a buzz that questions. Once inside, the exhibition unfolds and uses the images as scaffolding from which to work a whole set of critical frameworks with the material, highlighting the relational, performative, processual, and linguistic in art.