{"id":7686,"date":"2013-05-02T10:02:00","date_gmt":"2013-05-02T10:02:00","guid":{"rendered":"http:\/\/a-desk.org\/2013\/05\/02\/el-futur2049\/"},"modified":"2013-05-02T10:02:00","modified_gmt":"2013-05-02T10:02:00","slug":"el-futur2049","status":"publish","type":"post","link":"https:\/\/a-desk.org\/en\/magazine\/el-futur2049\/","title":{"rendered":"El Futur"},"content":{"rendered":"

\"el_futur_estel_boada.jpg\" El Futur (The Future) is the title the collective Morir de Fr\u00edo<\/a> has chosen to carry out a fairly common action: an open call \u2013 to receive proposals \u2013 to proceed to the selection of the most suitable and\/or interesting ones \u2013 to exhibit them in public. What is not so common is that those responsible for the project are all under 25 years old and still studying. First wake-up call.<\/p>\n

Second wake-up call: the subject and the proposals. Almost in a natural act of survival, this generation is demonstrating their need to rise to the surface. Suffocated by each letter of the word crisis, or perhaps more by the rhetoric and practices surrounding them; lamenting each announcement of yet another closure, subsidy withdrawal, diminishing grants, and above all, worn out by each time they’ve heard \u201cbefore such and such\u201d, \u201cin another time\u201d, along the lines of what Caterina Almirall already pointed out here <\/a> a few months ago<\/p>\n

The collective Morir de fr\u00edo is made up of Anna Dot (collaborator of A*DESK who actually talked about the subject in first person a few days ago), Palma Lombardo, Blai Marginedas, Raquel Vila and Alba Vilamala, all of whom have various fronts open. Aside from their respective studies, they carry out critiques of all sorts and curate projects of different forms. In this exhibition, that first opened at the Escola Massana on 3 April, that can also be seen until 29 April at the Fine Art Faculty of the UB, they pack a hefty punch: they\u2019ll be talked about. El Futur brings together pieces by Adri\u00e1n Montenegro (Espejo en blanco y Pelos en la espalda); Ana Gallardo (El futur mola); Aurora Caja (S\u00fabdits); Daniel Moreno Rold\u00e1n (Exercicis d\u2019\u00c0rea); Xavi Rodr\u00edguez Mart\u00edn (De la utopia de la projecci\u00f3 infantil, a la dist\u00f2pia futura de la frustraci\u00f3 adulta); Estel Boada (B\u00e9ns de campana, D\u00e9u els d\u00f3na i el diable els escampa); Harley Mart\u00ednez (El milagro espa\u00f1ol. Cad\u00e1veres que viven tras inyecciones de resignaci\u00f3n); Miquel Garcia (La Asamblea); Neus Casas and N\u00faria G\u00f3mez (Mapa Utilitari dels desnonaments); and Sergi Selvas (Chat Between Gods).<\/p>\n

Amongst all of them what stands out is the performance proposal by Estel Boada, with her invitation, fresh like her cheeks, to the participants in the show to play poker for the authorship of their pieces. In the opening at the La Massana, we saw how the participants signed a contract in a blue room (dark, with a heavy atmosphere), where the green baize stood out under a spotlight in the centre of a space, packed with people. Not all the participants selected in El Futur played; those who accepted the challenge of the future were: Daniel Moreno, Xavi Rodr\u00edguez Mart\u00edn, Miquel Garcia and Estel Boada herself. Daniel Moreno ended up winning at La Massana, but who ultimately won (after the game in the Fine Arts Faculty) was Miquel Garcia, becoming spontaneous author (by contract) of the works in play. <\/p>\n

El Futur signifies two things in a particularly, noteworthy manner: one that sap still runs through the tree however much it is chopped back (a good example being, that Estel Boada is herself at the moment curating the Ciclo Macarena<\/a> of sporadic and extra-institutional interventions). Secondly, that the Future that Morir de Fr\u00edo let us glimpse is not at all, despite what one might think, disastrous. <\/p>\n

Because talking of pruning: a well-watered tree, with lots of light, sprouts thick branches and grows magnificently. Branches are generally cut back to strengthen a tree and make it more \u201charmonious\u201d. But if it’s pruned badly, it’s not that the tree dies, so much as it sprouts where it’s not expected, following a new order. And it’s as Montse Badia said yesterday, despite the contradictions and anachronisms that persist in the sector, working in art \u201chas to do with being critical, questioning things, a dissatisfaction, with looking for and creating meaning”, something that is indispensable today. In the face of the current, Dantesque panorama, with the harassment and destruction of centres for contemporary culture (in Catalonia alone: Espai Zero1, B\u00f2lit, Can Xalant, Can Felipa, Centre d\u2019Art Santa M\u00f2nica, CA Tarragona\u2026) and culture in general, it’s essential, acting as a sort of life-saver, to open the door to a plan B (or F, for future) \u2013 while continuing to fight for what cost so much to achieve and has proven to be good. Let us be faithful to the future, and like any tree that has grown wild, let us grow right where it is not expected. <\/p>\n","protected":false},"excerpt":{"rendered":"

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