Igansi Aballi, retrospective in Reina Sofía Museum

 

 

On October 28 opens, in the museum Reina Sofia, Sin principio / sin fin (Without beginning / without end), a route through the artistic work of Ignasi Aballí (Barcelona, 1958), one of the greatest exponents of conceptual art in our country, with several works never seen before and specially designed for the museum spaces.

 

 

 

Since his early years, Aballí creates to challenge the viewer's attention and tests the power and influence of images using texts, files and documents as tools and as excuses to blow up the meanings, conventions and prejudices. Thus, the invention and reorganization of texts (as the Dada), the appreciation of the materials and processes of creation, the presence and absence, the appropriation and contextualization of images are constant in his work, a job eminently critical with the society in which it develops and which he himself has said it is saturated with images and devoid of meaning.

 

 

Lo oculto, la desaparición... en Biblioteca, de Ignasi Aballí en museo Reina Sofía.

 

 

The exhibition (Without beginning / without end), directs our thoughts to the alleged uselessness of art, and offers a journey through the aesthetic ideas of the artist who questions the very representation of the artwork and asks himself - using paint, sculpture, collage, photography, video, and unorthodox materials (dust, rust, cuts ...) - about the system of conventions on the representation of the work of art, life and art in the contemporary world.

 

 

Repeticiones, listados, catalogación de palabras... en Mapamundi, de Ignasi Aballí en Museo Reina Sofía.

 

 

Within the his "work objects", Aballí includes the analysis of language and, in particular, the relationship between text and image, and the dichotomy between presence and absence (which works with concepts like disappearance, transparency, invisibility and illegibility) . And we must emphasize its desire cataloger and collector, inventories, tireless repetition and inventories - Basic Terminologies color series, Listings, Mapamundi - all made between 1998 and 2015, that have no other purpose than make us see, paradoxically, the difference between things.

 

 

Thirteen years have passed since its beginnings, and in all this time the Video Art Festival PROYECTOR has grown and consolidated its position as an essential event in this discipline. Since its inception, the initiative has tried to give visibility to a discipline that has always been relegated to the background in the usual exhibition circuits. Although video creation is not new, since it emerged by its own in the 60s of last century, the way to get to know it and enjoy it has not always been easy. On many occasions, the exhibitions only included a few isolated pieces within the main route, as if the video was the anecdotal contribution to the whole. However, our daily lives are invaded by moving images, and there is a paradox that video art, despite being a format of artistic expression very much in tune with the habits of today's society, remains a minority discipline

Frame from “Hel City”, by Gregorio Méndez Sáez, 2019

To some extent, PROYECTOR was born to reverse this situation, to value video as a creative format and to offer a wide, itinerant space to host a multitude of proposals, coming from inside and outside our borders. In this time, the growth of the festival has led it to travel the world, but also, to be a benchmark that each year arouses more interest. In the open call to receive proposals, they reach almost half a thousand, and a hundred works selected by the jury are a representative sample of different ways of understanding video creation, with pieces mainly from Europe, Latin America, Southeast Asia and the Middle East.

In turn, PROYECTOR wants to be more than a video showcase and offers a large program with talks, workshops, masterclasses, meetings with artists, visits and concerts. A complete experience that always has the moving image as a backdrop.

El Instante Francisco Ruiz de Infante. El bosque que se mueve (errores de medida)

In this evolution, another circumstance stands out: video is a creative format that has its own codes, but it is also one of the disciplines most open to artistic hybridization and the widening of uses. The video may, therefore, be the genuine idea of an author who conceives an autonomous project to be carried out in this format, but it can also be the complementary result of an action or the documentary record of a previous performance being recorded to guarantee its survival. The versatility of the moving image and the potential that it has acquired in recent years allows us today to speak of numerous branches of art that focus on the fusion of languages and the integration of techniques and methodologies from other sectors, and in many of them, the video is still a cornerstone. So it is with technological art, interactive sound art, performance recording, the transformation from big data to image, artificial intelligence, and a long etcetera. Precisely for this reason, PROYECTOR offers a panoramic vision of this reality, with an extremely interesting program that plays with the variety and wealth of proposals.

Frame from “Herdança”, by Thiago Rocha Pitta, 2007

The 2020 edition will run from September 9th to 20th. As usual, the program displays in various venues throughout the city of Madrid, each of which will house a small section of the activities. This year the festival will count with the collaboration of the Casa Árabe, White Lab, Cruce, El Instante Fundación, ¡ésta es una PLAZA!, Extensión AVAM (Matadero Madrid), Institut Français de Madrid, Medialab Prado, Quinta del Sordo, Sala Alcalá 31, Sala El Águila, Secuencia de Inútiles and White Lab, in addition to the collaboration of the INELCOM Collection and the video art collection of Teresa Sapey.

The festival is also the ideal place to articulate the cultural fabric, since it involves numerous professionals in the sector, from curators to creators, from centres managers to critics and teachers. The 2020 program also has the collaboration of the FUSO Festival and the Museo Reina Sofía, which are providing some of their pieces for the exhibition.

In short, an appointment that lovers of contemporary art should not miss and that promises many novelties in this 13th edition.