{"id":7784,"date":"2013-05-28T01:09:36","date_gmt":"2013-05-28T01:09:36","guid":{"rendered":"http:\/\/a-desk.org\/2013\/05\/28\/renewing-tapies\/"},"modified":"2013-05-28T01:09:36","modified_gmt":"2013-05-28T01:09:36","slug":"renewing-tapies","status":"publish","type":"post","link":"https:\/\/a-desk.org\/en\/magazine\/renewing-tapies\/","title":{"rendered":"Renewing T\u00e0pies"},"content":{"rendered":"

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\n\u201cContra T\u00e0pies\u201d at the T\u00e0pies Foundation is presented as an ambitious critical re-writing of the artist; in other words the exhibition endeavours to update the figure of the artist and his work, adapting it to the languages of the most contemporary curators, making it an attractive discourse. It\u2019s about dealing with the present, or rather non-present, of T\u00e0pies. Even assuming the many risks, the operation in itself is framed within a curatorial tightrope-walk of our present, and any curator, if they want to come out smiling, needs to make sure the ropes are tied good and fast, and procedures are followed to the letter. This seems to be the greatest point of friction here; that is, making the intentions and the results coincide in such a way that the exhibition forms an organic whole that no longer needs to lean on a curatorial hypothesis that in this case flies way overhead. <\/p>\n

It is frequent among today\u2019s curators for the processes of re-renewing, re-discovery and re-writing of canonical figures to go through filters of displacement, de-consecration and proximity. A large number of these post-mortem exercises are not so much a settling of scores as the reclamation of unrecognised universalities. But \u201cContra T\u00e0pies\u201d is neither one thing nor the other. Nor is it a corrective de-idealisation of his figure as an artist. The problem in judging this exhibition lies in the multiplicity of pathways that it opens up, beyond the strict methodological programme and mapping self-imposed by curator Valent\u00edn Roma and the institution. <\/p>\n

Looking at it carefully \u2013 in this sense it is an exhibition to lose oneself in, for which one is grateful \u2013 it would seem that T\u00e0pies long hegemonic shadow over Catalan art (and by extension Spanish art) does not exist, or rather it\u2019s not the time to show it. On the other hand, the exercising of liberation from the \u201canxiety of influence\u201d in current generations that Harold Bloom spoke of is stressed. Only the presence of Pep Agut connects these equidistant points.<\/p>\n

There is a whole series of possibilities and potentialities suspended in the air like \u201clines of force\u201d that pulling in opposite directions or never really seem to be at full tilt: we don\u2019t know if this is a restoration of T\u00e0pies as a politically committed artist or whether he is incriminated as one who collaborated with the powers that be. The exhibition could have been a defence of T\u00e0pies against his admirers, a much more effective way of combating his numerous detractors. But it isn\u2019t exactly that either. Instead of \u201ccontra\u201d the exhibition could very well have used the generic prefix \u201cpost\u201d: that is, a sufficiently broad category to include a bit of everything (revision, renewal, creation of discourse and so on) in the first significant exhibition since his death. <\/p>\n

David G. Torres ironically said in this same space <\/a> that the inclusion of T\u00e0pies in other group exhibitions \u201chis inclusion was for merely formal reasons (paintings with stains with paintings with stains)\u201d. Apparently in this case it is a question of turning this formalism around through \u201ccontentism\u201d that scrutinizes a line of argument and then goes on to assign artists and works to it \u2013 some of them diametrically opposed.<\/p>\n

It is as if there were not infinite other weighty arguments in the works selected to dissuade against this type of association of ideas. Some \u201chits\u201d in the exhibition point to this renewed formalism of content: Rock My Religion<\/em> by Dan Graham, the video by Bruce Nauman and, especially, Beuys singing on television to\/against Ronald Reagan. Each of these seen in a monad of experience is delightful but, against T\u00e0pies? The main problem with this exhibition lies in the homogenizing dominance of the concept \u2013 that abstract world which here has become a hypothesis more than a thesis \u2013 on the uniqueness of objects (the specific details). They rebel against the totalizing effect to which they are submitted and in doing so dismantle the concept itself. <\/p>\n

The prize in this section goes to Sal\u00f3 o le 120 giornate di Sodoma<\/em> by Pasolini. The puritanical and scatological in T\u00e0pies\u2019 work does not justify the lewd exhibition of this film, played in a continuous loop within an institutional art space. In my opinion, the thematic connection with T\u00e0pies is surpassed by curatorial exhibitionism. If there is a film in the history of cinema that demands a self-imposed and self-critical restriction in its use it is precisely Sal\u00f3<\/em>. Otherwise its violence and torture are rendered banal by a click of the loop button presenting Sal\u00f3 <\/em> as if it were video art and suitable for all audiences. <\/p>\n

In my eyes this reduction to the banal contaminates the rest of the exhibition, which in itself could have been a great deal more rigorous without the presence of \u201chits\u201d (although of course that would have made it less fun, less clever, less postmodern). It could also have been less experimental, in short, less \u201cContra T\u00e0pies\u201d. What is really interesting is the model of institutionalism that the exhibition proposes from now on; time will tell whether the ban has been lifted on other post-contemporary readings or if, conversely, this first attempt will be relegated to the ever-unfortunate category of \u2018strangeness\u2019, cancelling in passing any other future possibility or the opposite, as institutional criticism has done: broadening the limits of the institution. <\/p>\n","protected":false},"excerpt":{"rendered":"

\u201cContra T\u00e0pies\u201d at the T\u00e0pies Foundation is presented as an ambitious critical re-writing of the artist; in other words the exhibition endeavours to update the figure of the artist and…<\/p>\n","protected":false},"author":1261,"featured_media":7738,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","footnotes":""},"categories":[6783],"tags":[],"coauthors":[],"acf":[],"yoast_head":"\nRenewing T\u00e0pies – A*Desk<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/a-desk.org\/en\/magazine\/renewing-tapies\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Renewing T\u00e0pies – A*Desk\" \/>\n<meta property=\"og:description\" content=\"\u201cContra T\u00e0pies\u201d at the T\u00e0pies Foundation is presented as an ambitious critical re-writing of the artist; 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