Prophetia explores the relationship between art and resistance through twenty-four contemporary artists with very diverse backgrounds, points of view and sensibilities, who metaphorically question, indict, and suggest alternatives to the abuses of the socio-political system that has prevailed in the construction of the European Union in recent years.Armed with their prophetic role, these artists chart a historical and chronological path that takes us from the introduction of the Euro on 1 January 2002 to the present. The exhibition begins with a video by Anri Sala, produced in 2002, which captures the moment when the European dream was still intact in some countries that aspired to join the European Union. The rest of the works in the show are much more recent, and reflect the current feeling of disenchantment among citizens.As the curator Imma Prieto explains, Prophetia is structured around three key concepts which are closely linked to the philosophical and ideological foundations of Europe.First of all, abduction, based on the classical myth of the Abduction of Europa, who was kidnapped against her will, as a symbol of the violation of the rights of citizens.Secondly, the correspondence or reciprocity between the individual and his or her representatives, which implies the notion of being requited or, in other words, an emphatic dialogue between two parties based on a relationship of equality and freedom.And thirdly, responsibility, which is the shortest path by which we can bridge the gulf that ultimately separates us from theories and reality. This is the step that artists take, and that legitimises them as “members of the resistance”.These last two concepts arise from Charter 77 by Czech philosopher and martyr Jan Patocka (1907-1977), a series of human rights guidelines that became a crucial document in the struggle for freedoms in the former Czechoslovakia.These three concepts connect the theses set out in the exhibition catalogue, which includes texts by Bojana Kunst, Ingrid Guardiola, Cécile Bourne Farrell, José Luis Corazón and Srecko Horvat, among others.All in all, the exhibition highlights a series of works that make it possible to talk about the prophetic vision of artists. And about how perhaps we can only approach a verification of reality through the sphere of the symbolic, which characterises art. The real is what emerges when the spectator becomes part of the work, and as such questions reality.Prophetia illustrates the way in which the work of art always aims further beyond, and reveals how art becomes an act of resistance and of responsibility.Participating artist in order of display in the exhibitions rooms:Anri Sala (Tirana, 1974), Jimmie Durham (Washington DC, 1940), Núria Güell (Barcelona, 1981), Luiz Simoes and Sabina Simón (São Paulo, 1962 and Barcelona, 1975), Renata Poljak (Split, 1974), Peter Schrank (St Gallen, 1952), Jake & Dinos Chapman (Cheltenham, 1966 and London, 1962), Kostas Bassanos (Athens, 1961), Jorge García (Toledo, 1977), Chus García-Fraile (Madrid, 1965), Filipa Cesar (Porto, 1975), Jesper Just (Copenhagen, 1974), Eugenio Ampudia (Madrid, 1968), Pelayo Varela (Oviedo, 1970), Marco Fedele di Catrano (Rome, 1974), PSJM - Pablo San José (Mieres, 1969) and Cynthia Viera (Las Palmas, 1973), Hannelore Van Dijck (Wuustwezel, 1986), Jordi Colomer (Barcelona, 1962), Mateo Maté (Madrid, 1964), Daniel García Andújar (Almoradí, 1966), Avelino Sala (Gijón, 1972), Stefanos Tsivopoulos (Prague, 1973), Antoni Muntadas (Barcelona, 1942), Goldiechiari – Sara Goldschmied (Arzignano, 1975) and Eleonora Chiari (Rome, 1971)
ProphetiaHome - Fundació Joan Miró Main address:
Home - Fundació Joan MiróWells Fargo CenterParc de Montjuïc s/nBarcelona, SpainHome - Fundació Joan MiróWells Fargo CenterParc de Montjuïc s/nBarcelona, Spain
13/03 - 07/06/2015
Prophetia explores the relationship between art and resistance through twenty-four contemporary artists with very diverse backgrounds, points of view and sensibilities, who metaphorically question, indict, and suggest alternatives to the abuses of the socio-political system that has prevailed in the construction of the European Union in recent years.Armed with their prophetic role, these artists chart a historical and chronological path that takes us from the introduction of the Euro on 1 January 2002 to the present. The exhibition begins with a video by Anri Sala, produced in 2002, which captures the moment when the European dream was still intact in some countries that aspired to join the European Union. The rest of the works in the show are much more recent, and reflect the current feeling of disenchantment among citizens.As the curator Imma Prieto explains, Prophetia is structured around three key concepts which are closely linked to the philosophical and ideological foundations of Europe.First of all, abduction, based on the classical myth of the Abduction of Europa, who was kidnapped against her will, as a symbol of the violation of the rights of citizens.Secondly, the correspondence or reciprocity between the individual and his or her representatives, which implies the notion of being requited or, in other words, an emphatic dialogue between two parties based on a relationship of equality and freedom.And thirdly, responsibility, which is the shortest path by which we can bridge the gulf that ultimately separates us from theories and reality. This is the step that artists take, and that legitimises them as “members of the resistance”.These last two concepts arise from Charter 77 by Czech philosopher and martyr Jan Patocka (1907-1977), a series of human rights guidelines that became a crucial document in the struggle for freedoms in the former Czechoslovakia.These three concepts connect the theses set out in the exhibition catalogue, which includes texts by Bojana Kunst, Ingrid Guardiola, Cécile Bourne Farrell, José Luis Corazón and Srecko Horvat, among others.All in all, the exhibition highlights a series of works that make it possible to talk about the prophetic vision of artists. And about how perhaps we can only approach a verification of reality through the sphere of the symbolic, which characterises art. The real is what emerges when the spectator becomes part of the work, and as such questions reality.Prophetia illustrates the way in which the work of art always aims further beyond, and reveals how art becomes an act of resistance and of responsibility.Participating artist in order of display in the exhibitions rooms:Anri Sala (Tirana, 1974), Jimmie Durham (Washington DC, 1940), Núria Güell (Barcelona, 1981), Luiz Simoes and Sabina Simón (São Paulo, 1962 and Barcelona, 1975), Renata Poljak (Split, 1974), Peter Schrank (St Gallen, 1952), Jake & Dinos Chapman (Cheltenham, 1966 and London, 1962), Kostas Bassanos (Athens, 1961), Jorge García (Toledo, 1977), Chus García-Fraile (Madrid, 1965), Filipa Cesar (Porto, 1975), Jesper Just (Copenhagen, 1974), Eugenio Ampudia (Madrid, 1968), Pelayo Varela (Oviedo, 1970), Marco Fedele di Catrano (Rome, 1974), PSJM - Pablo San José (Mieres, 1969) and Cynthia Viera (Las Palmas, 1973), Hannelore Van Dijck (Wuustwezel, 1986), Jordi Colomer (Barcelona, 1962), Mateo Maté (Madrid, 1964), Daniel García Andújar (Almoradí, 1966), Avelino Sala (Gijón, 1972), Stefanos Tsivopoulos (Prague, 1973), Antoni Muntadas (Barcelona, 1942), Goldiechiari – Sara Goldschmied (Arzignano, 1975) and Eleonora Chiari (Rome, 1971)
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