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2012<\/p>\n
Photographic series<\/p>\n
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The Object and its Place<\/em> comprises some of \u00c1lvaro Perdices’ most recent production: a series of photographs created using manipulated snapshots or photographic collages that had their origin in two former projects:\u00a0Zabana, Inshallah<\/em>\u00a0and\u00a0NEGADA, AbiertA y desnudA<\/em>. A sample of this project was shown in our stand at ARCO 2012 and was acquired by the Coca-Cola Foundation.<\/p>\n The exhibition is completed with a video filmed at the \u00c9cole des Beaux Arts in Oran, and in which Gustave Courbet\u2019s \u201cRealist Manifesto\u201d is read aloud, casting a very particular light on all these images.<\/p>\n 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 The same structures, the same affectation produced by an outdated stale academicism, only now it boasts the features of a non-Western, pronouncedly Orientalist look\u201d.<\/p>\n About the same time, he presented his exhibition\u00a0NEGADA, AbiertA y desnudA<\/em>, at the Espacio de Arte Contempor\u00e1neo in Castell\u00f3n (EACC), which, according to Astrid Mania, dealt with \u201cambivalent power relations and the tension provoked when traditional and normative behavioral patterns are suddenly broken up\u201d. For Juan Vicente Aliaga, Perdices attempted \u201cto evince the ebb and flow produced between those who are part of the art system\u2019s ruling machinery and the producers who take part on it.\u201d<\/p>\n The images of this new exhibition,\u00a0The Object and its Place<\/em>, were generated at those two \u201cplaces\u201d (not only physical places, of course) and at the warehouse of the Natural Sciences Museum in Madrid. And even if they seem to be closer to describe \u201cpictorial\u201d or \u201cconceptual\u201d relations, they actually go far beyond. In fact, such quick quasi formal association (pictorial\/ conceptual) might lead us to a comfortable identitarian standpoint, without space for resistance\u2026<\/p>\n As we all know, good manners are often related to protocol and good behavior, which always provide solutions. As a response to this comfortableness, we prefer a certain form of estrangement or even silence (\u201ca negative silence\u201d): although the \u201cthing\u201d looks palpable, it is actually out of reach, out of any reach and out of any proper place.<\/p>\n This apprehension is partially produced by the dissolution of rules and relations between things. In other words, Perdices locates what was born as a political object (Agamben) into an apparently dull place. From the \u201cbattlefield\u201d, the object has been put in a stage that appears to be both insubstantial and strongly meaningful.<\/p>\n \u201cIt seems that the place of the strange (or the \u2018strange object\u2019)\u201d, as the artist has pointed out, \u201cgives us back a certain pleasure\/ displeasure experience that opens up internal emotions that could range from pulsional to active feelings. This \u201cpassing\u201d goes through dark tunnels and roads that provoke tranquility out of obscurity and negativity. It\u2019s the tranquility of living in the mystery that permits us to travel by divagations.\u201d<\/p>\n The Other Place would be the place of the obtuse, the caustic, the absurd, the useless, the mistaken, the accidental. As a result, the works \u2014these photographs\u2014 abandon their apriorism and their likely schematic approach, acquiring a new physicality as well as a new logic.<\/p>\n — Juli\u00e1n Rodriguez<\/p>\n Museo de Arte Contempor\u00e1neo
Helga de Alvear ><\/a><\/strong><\/p>\n