Holey
Holey begins in the form of a question: How do we relate to the contemporary image? To the image that consists of many images circulating non-stop all the time, leaving us electrified and exhausted? What will happen when technical images finally eat up the world? Why keep doing exhibitions? Shouldn't we rather conjure up a blackout?
Focusing on the gaze and the possibles of the imagination, this exhibition is conceived, more than ever, as a bodily experience, in which the works of the artists are intermingled with the architecture of the building and the exhibition elements, in a continuum that invites us to spend a while, wandering, moving away from anxiety and capture, reconciling ourselves with the alchemy of vision. If writing fixes the volatility of language, we would like to make the image orality and not writing. That is to say, we would like to make the image not only a technique but something that overflows, becoming feral, bordering on onomatopoeia. We would like to stay among the holes that are the possibility of every image.
The fact that the temporal dimension of the exhibition is just as important as the spatial dimension invites Holey to be visited on different occasions. In a game of fade in and fade out, appearances and disappearances, the sonic image and the perceptive possibilities of sound will gradually occupy the Santa M貌nica, evidencing a fundamental desire of the project: the image is interwoven with many languages and subjects. The image is time, the image is stone, the image is seams, the image is machine, the image is skin, the image is violence, the image is secret codes, the image is ritual, the image is light, the image is obstacle, the image is popular, the image is desire... The image speaks in a language that escapes us, but at the same time we marvel at everything that goes too far, and that's where it stays, and plays.
In Holey, national artists with newly produced projects coexist with international artists with work already produced. The work methodology proposed by Santa M貌nica enables artists, curators and collaborators to meet in a porous process, collectively shaping the project, over long periods that have enabled us to gradually discover how to tell our concerns and desires around the radicalism of some images that do disarticulate and counter-conjure the automated and saturated gaze. The exhibition is also a series of conversations, and two series of activities, which interrupt, divert, and accumulate experiences and questions about those images, which, like disturbing flashes of light, interrupt our world to remind us that there are still possibles.
We are in what we could call a period of interregnum, on the threshold between a past and a future in which the image will cease to be what it was, and what it is, but we do not know what it will be either. Let's go into the holes without forgetting that we have eyelids.
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Holey begins in the form of a question: How do we relate to the contemporary image? To the image that consists of many images circulating non-stop all the time, leaving us electrified and exhausted? What will happen when technical images finally eat up the world? Why keep doing exhibitions? Shouldn't we rather conjure up a blackout?
Focusing on the gaze and the possibles of the imagination, this exhibition is conceived, more than ever, as a bodily experience, in which the works of the artists are intermingled with the architecture of the building and the exhibition elements, in a continuum that invites us to spend a while, wandering, moving away from anxiety and capture, reconciling ourselves with the alchemy of vision. If writing fixes the volatility of language, we would like to make the image orality and not writing. That is to say, we would like to make the image not only a technique but something that overflows, becoming feral, bordering on onomatopoeia. We would like to stay among the holes that are the possibility of every image.
The fact that the temporal dimension of the exhibition is just as important as the spatial dimension invites Holey to be visited on different occasions. In a game of fade in and fade out, appearances and disappearances, the sonic image and the perceptive possibilities of sound will gradually occupy the Santa M貌nica, evidencing a fundamental desire of the project: the image is interwoven with many languages and subjects. The image is time, the image is stone, the image is seams, the image is machine, the image is skin, the image is violence, the image is secret codes, the image is ritual, the image is light, the image is obstacle, the image is popular, the image is desire... The image speaks in a language that escapes us, but at the same time we marvel at everything that goes too far, and that's where it stays, and plays.
In Holey, national artists with newly produced projects coexist with international artists with work already produced. The work methodology proposed by Santa M貌nica enables artists, curators and collaborators to meet in a porous process, collectively shaping the project, over long periods that have enabled us to gradually discover how to tell our concerns and desires around the radicalism of some images that do disarticulate and counter-conjure the automated and saturated gaze. The exhibition is also a series of conversations, and two series of activities, which interrupt, divert, and accumulate experiences and questions about those images, which, like disturbing flashes of light, interrupt our world to remind us that there are still possibles.
We are in what we could call a period of interregnum, on the threshold between a past and a future in which the image will cease to be what it was, and what it is, but we do not know what it will be either. Let's go into the holes without forgetting that we have eyelids.
