Leticia El Halli Obeid
Jon Mikel Euba
Mario Garcia Torres
Jorge Mendez Blake
Repetition and Survival. This project brings together the works produced on basis of artistic strategies of appropriation, citation, translation and recreation of historical pieces and events. With works by Rossella Biscotti, Tania Bruguera, Jeremy Deller, Jon Mikel Euba, Mario Garcia Torres, Sanja Ivekovic, Vicente Razo, Danh Vo, Ming Wong, Artur Zmijewski...
Curator: Alejandra Labastida
International Curator Competition - 2012
Artists: Rossella Biscotti, François Bucher, Tania Bruguera, Jeremy Deller, Leticia El Halli Obeid, Jon Mikel Euba, Iain Forsyth & Jane Pollard, Mario García Torres, Sanja Iveković, Martin Jenkinson, Magdalena Leite, Jorge Méndez Blake, Fabio Morais, Vicente Razo, Danh Vo, Ming Wong, Artur Zmijewski.
This project brings together the works produced on basis of artistic strategies of appropriation, citation, translation and recreation of historical pieces and events. It follows Deleuze's concept of repetition, which he deems as the power standing against singularity, as a violation and exception of special qualities covered by Law. In this regard, the project aims to provide new insights into understanding of repetition-based modern art applications. While it is trying to move away from the parameters of the act of appropriation, it is placing these parameters into affirmation of the political status of singularity. This singularity stands against the domesticated paradigm that stipulates equivalency and alterability to another thing.
"If repetition is possible, it is due to miracle rather than to law. It is against the law… If repetition exists, it expresses at once a singularity opposed to the general, a universality opposed to the particular, a distinctive opposed to the ordinary, and instantaneity opposed to variation / and an eternity opposed to permanence. In every respect, repetition is a transgression. It puts law into question, it denounces its nominal or general character in favor of a more profound and more artistic reality."
–Gilles Deleuze, Repetition and Difference
Deleuze states that unlike resemblance, repetition is an act that arises in relation only to that which has no equal or equivalent and therefore concerns non-exchangeable and non-replaceable singularities. It is essentially a force that opposes the singular–as a transgression or exception–to the particular capable of being subsumed by laws. This project aims to postulate that the proliferation of artistic practices generated around appropriation and citation strategies—the translation and recreation of historical pieces or events—responds to this force that affirms the political status of the singularity—of the non-replaceable being—versus the domesticated paradigm of the equivalent and interchangeable.
Most exhibitions that explore this tendency focus on the decision that the artist makes from the present in order to rescue specific events and works. This project proposes to extend the question in order to consider not only the recreative will of the artist but also this singular power that wills itself. Walter Benjamin refers to "translatability" as an inherent demand of the original and therefore as the supreme proof of the life of the works of art. The relation between a translation and the original is literally vital: the former emerges as the result of an act of survival of the latter. It is, of course, not just a simple relation of equality and similarity but rather a process of renovation and evolution that unchains the conditions of possibility for a critical reformulation.
Image: Vicente Razo
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