Allora & Calzadilla
The absence of a predetermined meaning might open a space of indecision for the viewer. The acoustic element, to mention something that the works presented at the Fundació have in common, further disrupts the implicit norms encountered when entering the museum. At a time when audiences are seen as raw material, as objects of calculation subjected to the need to be monitores, the work of Allora & Calzadilla offers us the possibility of renegotiating the profound differences that have been imposed for separating the body of work from the viewer.
This crisis in the viewer's experience has its own rationale. The circumstances in which this exhibition was produced cannot ignore the fact that Puerto Rico, the country in which Allora & Calzadilla live and work, has become the paradigm of a crisis of multiple dimensions. The climatic vulnerability exposed by two succesive hurricanes, Irma and María, at the end of 2017, is but the tip of the iceberg adrift in the caribbean Sea. The crises of sovereignty and debt have been added to that of the ecological.
Marked by these conditions, the work encourages us to rethink the experience of the museum in the twenty-first century. In other words, it might help us understand how art audiences will be governed. For a start, the exhibition has become a political laboratory full of paradoxes. Puerto Rico's multiple crises announce a model of neoliberal politics in which utopia- even in museums- has been eradicated. A crisis of governance, local at first, yet becoming global at a speed that hinders any kind of interpretation.
Therefore, while the exhibition is untitled, it has very specific agenda. In a global world, crises have no borders and can modify even the models of subjectivity that seemed immune since they were protected by art institutions. Nothing can resist change. But there is a right we must keep on claiming: the right to interpret these transformations.
Fundació Antoni Tápies, 2018
English / Catalan
15 x 23 cm