Ignasi Aballí, Helena Almeida, Richard Billingham, Javier Codesal, Gregory Crewdson, Douglas Gordon, José Antonio Hernández-Diez, Pierre Huyghe, Vik Muniz, Thomas Ruff, Wolfgang Tillmans.
In an scène of the film “Pierrot le Fou” by Godard, that is a demonstration of supreme intelligence and hilarity. When the girl who accompanies to Jean-Paul Belmondo in the convertible through the French countryside asks to him: „but to whom are you looking at?“, The answer of Belmondo is straight forward: „To the spectator. To whom it is going to be?
With Archipelago (s) what I try has a double side. On the one hand, to put in the exhibition space the extreme visibility of a series of works that, essentially, watch the spectator. I mean: they do not resign to establish with this one dialectic of affection and commitments, of knowledge and shared fears, lived memories, illusions by halves denied reason why we could define as the weight of the world…
On the other hand, Archipelago (s) is as much, or not solely, a tribute to the cinema as a common place (a factory of dreams), but specially a decided choice by the visibility as a communicative action, whereas travel allowance for a certain morality, in its broader sense. With other words: Archipelago (s) like a great delta that in his end drags thousands of histories, passions, phobias, fights and victories, of hatreds, loves and failures. Archipelago (s) of extreme visibility, that need the cautious accomplice of the spectator, its shared history, so that that visibility explodes in thousand narrations, in hundreds of stories, million forgetfulness’s recovered moments and through that overdose of narrative visibility.
Luis Francisco Pérez