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2009
Video 9:28 min
Photo series<\/p>\n
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The exhibition ZABANA, INSHALLAH (Zabana, if Allah wills<\/em>) comprises a two-years term project starting in the Summer 2009, when Perdices participated in a technical project for the Ahmed Zabana Museum (Zabana was the first martyr of Algerian independence), in Oran.<\/p>\n The project involved the rearrangement of the museum\u2019s hall of archeological objects. The artist\u2019s task was that of an intermediary between the museum\u2019s staff and the plan for the new reading of the hall\u2019s objects. But, rather than an intermediary, Perdices became a spectator of the dismantling process \u2012by means of gestures and movements\u2012of an institution that was part of both an encyclopedic program and a colonial policy. \u201cOn the other hand\u201d, as he himself has pointed out, \u201cI discovered the Mus\u00e9e Ahmed Zabana shared one of its walls with the \u00c9cole des Beaux Arts, where Yves Saint Laurent received his first drawing lessons\u2026 By the way, even today the teaching models and the truths are still loyal to the principles of 19th century French Academy, the same ones Courbet decided to smash. The same structures, the same affectation produced by an outdated stale academicism, only now it boasts the features of a non-Western, pronouncedly Orientalist look\u201d.\u00a0\u201cI\u2019m not sure if the encounter of my work with these recent riots or revolutions occurring in the Arabian scene is actually a\u00a0coincidence<\/em>. I\u2019d rather say they both respond to that need to express the instinctive, the individual, instead of the institutionalized. Or perhaps, it has to do with the modern ideal of minorities: a need to dismantle. It\u2019s interesting to see this parallelism between art and life. In fact, there are certain actions that could only be caused by the effect of circumstances: contexts themselves produce or generate their own particular effects. On the other hand, if I were to draw a line from my earliest works (The Black Photos<\/em>) to the most recent ones (Negada, abierta y desnuda<\/em>, [Denied, open and naked] in the Espacio de Arte Contempor\u00e1neo de Castell\u00f3n, or\u00a0Zabana, Inshallah<\/em>), that line would certainly point to the space of emancipation by means of a personal taste, or the individuality of a certain behavior or a specific voice\u2026 It is interesting how these elements can agitate, and even politicize \u2012from their mere formality\u2012 the field of the normative.\u201d<\/p>\n Five photographs (50cm x 70 cm tin framed) showing different images from the \u201ctransformation\u201d process of the Ahmed Zabana Museum, as well as a 10 minutes video showing old typewritten signs from the Museum, shots from the neighboring (and obsolete) Fine Arts School and Courbet\u2019s\u00a0Realism Manifesto<\/em>, all these images are literally merged with each other to put up the axis of this intense and meditated project.<\/p>\n