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Ro Caminal 

Els ocells cantaven malgrat feia fred (The birds sang thought it was cold), 2019

Videoinstallation screen format 16:9 | Colour

Variable dimensions | 24’37”
 

Els ocells canten malgrat feia fred [The birds sang though it was cold] (2019), 24 minutes and 37 seconds of oblique glances that show their erratic seams, dérives between slopes that fade away before the day awakes and the shadows vanish. An audio-visual piece woven of pain, dew and tenderness, which tries to recover the anonymous voices of a village in Catalonia, La Joncosa del Montmell, where something as slippery as oil was and is the structure of the domestic economy.

Voices cracked by the cleaving of life and time whisper softly yet clearly memories that dream of years whose breath can still be felt on the back of the neck; voices of the sole survivors of the Spanish Civil War, small stories that are not part of any great history, not even of the history of the vanquished. In the chinks and margins, here and there collecting leftovers, remnants, in the belief that what defines the conditions of history is never the time and the situation as described by the dominant discourse. Ro Caminal installs, almost unbearably, nocturnal images of an olive grove which never cease to contain the promise of a landscape that opens, the utopia of things to come, of what is borne for the sake of what is hoped for. The story of those who did not emigrate, of those whose eyes have been blackened by so much looking at the sun. Of those who knew no other delirium than that of dust, that of the intensity of their bodies bent on a journey to the heart of fear, amid outbursts that announced again and again the twilight of their birth and who, even so, were not devoured by the silence.

Moving deeper into a territory we think we know well where the constantly skirring monsters we start can be driven away by weaving myths that make it possible to endure, day upon day. A landscape so familiar it turns strange; for, as Adorno says, ‘Even the tree that blossoms lies the moment one perceives its bloom without the shadow of terror’. Eyes never seen because the invitation is to enter them. She shakes the conviction of the peasant idyll of a peaceful life. The light of old moons playing in the black and silver foliage of the olive trees, slippages through the geography of their knots, knots that are like scars, where fragility has turned to hardness.

As Caminal recovers the oral tradition, she cradles, not without a trembling in her hands, the breath of lives in extinction. Displaced from their angle, she unties the certainties of the place in search of a village of the future, in a failed archaeology whose visit to her own people can only restore to her her condition as an outsider. Made and unmade beneath the rhythm of her steps, between the movements of her hands, these images that refuse either to be tamed or to reveal their secret do not show the folds of what will be the new beliefs. Something is unwilling, as Wordsworth would say, to pass ‘into a region of futurity’. So it is no surprise that Carminal should bestow on the roots of the olive trees the aridity of the stones, that slightest excess that can produce a meeting of the utopias that are woven in the closure.

Andrea Soto Calderón


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Ro Caminal

(Barcelona, 1966)

Ro Caminal’s investigations in the visual arts have been marked from the outset by what happens at the borders, in the textures of experience, in that liminal zone in which the modes of representation and perception of the Other come into play. Her artistic practice has constantly sought to trace undisciplined relationships between art and anthropology, research and experimentation, exploring various ruins of the singular which are what articulate our present.

As a general rule the processes of historical construction of images place themselves in the service of certain significations to mark out territories, to conquer, build up, destroy, instrumentalize and legitimize certain actions, unifying intensities and pacifying differences. In contrast, from her explorations of the audio-visual, although also at times with mixed-media installations, Caminal, transposing diverse methodologies, from a collaborative and participatory approach to production, opens up spaces where those who are excluded from the right to occupy the image itself can share the power of enunciation, have a voice. Forms of fragile interruption, moments of tension not exempt from the contradictions this gesture implies, yet without renouncing the power of those bodies that resist and insist.

Her work has been shown in numerous collective and individual exhibitions in institutions in this country and abroad, of note among which are the International Biennial of Video Art and Animation (Puebla, Mexico), the 2016 TIVA/Taiwan International Video Art (Taipei City, Taiwan), Kino Palais (Buenos Aires), Artellewa Art Space (Cairo, Egypt) and Galerie Éthiopiques (Saint-Louis, Senegal).

Andrea Soto Calderón

 


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Patricia DauderSense títol (Untitled), 2013
Edition
21 x 29,7 cm.


In Sense títol (Untitled), Patricia Dauder retrieved an image she had first worked on in 2001. That image was the remains of a sculpture she had made with plaster and pigment. When this mass was wrapped in paper, it left marks on the paper, which the artist then cut out and photographed, and it was this kept and recurring image that she recovered years later on the occasion of the oil ceremony. Starting from the organic and even vegetal aspect of the image, Patricia reworked it, this time with archival images, which she transferred to paper and intervened in.

 

“Working with an element which is edible but needs to be processed, and from which you extract a substance, makes me think of a number of very embryonic works, begun in 2001 or 2002, which were the first more or less compact attempts at cultural stuff I had done. I made a paste of pigments and plaster and the piece began to take on a life of its own. As the weeks and months passed, you could see that a chemical reaction had been taking place, and in one of these phases I covered these pieces with paper. The substance of the paper itself produced forms, even cutting the shapes like a wrapper. Some of these wrappers were like strange skins, like a mark or an impression of that tuber. I kept a couple of these wrappers, and I started to photograph one of them. The piece originally had a yellowish green hue and I converted it to black and white. From that photograph and the paper I made an edition that was actually a false edition because the pieces were not serial; each one was unique. Then I took the photographs and transferred them to another medium, another sheet of paper, but each transfer was different. (…) The sources I tend to focus on are things that have to do with the world of landscape, with nature, phenomenology and the passage of time”.

 

Patricia Dauder

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Antoni Miralda – Joan Serinyana

Olidor, 2018

Sculpture | Pan made of olive tree wood and photographic fabric

Ceremonial action with garden fruits and new olive oil at Ca la Maria.

Barcelona, 28 November 2018. An initiative of Cal Cego, col·lecció d’art contemporani

The international artist Miralda and the contemporary art collectors of Cal Cego have many things in common, and others yet to be discovered. They are united by the pleasure of paddling the open sea between cultures and traditions, and the desire to create communities in which to enact little rituals of transformation. The rescuing of wooden dishes and old recipes are life projects which follow guidelines not of material profit but of enchantment. Out of this convergence between the artist and the collectors a project has sprouted, a ceremonial transmutation of oil into gold that takes place in Ca la Maria around a table with fruits from the urban garden: OLIDOR.

A liturgy led by Miralda, accompanied by Montse Guillén and the knowledge of Joan Serinyana, which takes place at dusk when light gives way to mysteries. The preamble of a visit to the little garden at the back of the house opens the doors of nature to the congregation. The group prepares the work table, laying out the fruits they have picked around a magnificent piece of olive wood, the Batea or wash bowl. In its configuration this still-life acts as a tabernacle. The guests choose an ingredient to emulsify in the new oil contained in the Batea, a hand-crafted piece with mythical resonances. Miralda grasps the Batea with both hands and carries it over to the guests’ table, a gesture of liturgical respect for an object that contains the memories if a hundred years.

The wooden chalice is pass from hand to hand and gently swirled, xinxollada, to emulsify the oil with the fruits: the aromatic herbs, pomegranate and lemon activate sacred flavours and symbolisms. In 18 individual cocktail shakers the oil is mixed with the spirits and the ice cubes, breaking the silence with the alchemical sonority of the receptacle that is agitated to make a whole out of diversity. The new liquid material is served in special glasses with teats and mother-of-pearl LEDs. The mystery of the transformation is manifested as the Blue Gold Margarita Cocktail, combining nature and culture, folk tradition and high art. Everyone drinks from the grail of light and their eyes reflect the perplexity of the experience.

To conclude this liturgy of transubstantiation and exaltation of the origins and the future, of the land and its offerings, the people serving the table place before those seated plates with gilded pieces of pa de pagès and invite them to use it to soak up the excess oil. The country bread with its crustand crumbis coated with edible gold. In a time of cultural upheaval and vital uprooting, the artist explores the invisible energies that pass between culture, gastronomy and society by interpreting popular rural and urban traditions in a visionary way. In this ritual action the artist practises, as he always does, a form of democratic creativity that fuses the present with the past, activating not only our perceptive faculties but also new forms of social experience.

For Miralda, the materiality of the form and of collective action is of the greatest importance; he has never practised an idea of art as an autonomous cultural territory. Everything is world, all roads lead back to the origin. The Batea of olive wood with its sinuous veins is the silent protagonist, the most prized piece of this ceremonial.

Pilar Bonet


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Antoni Miralda

In the imaginaries and ceremonials of the artist Antoni Miralda, small-scale domestic tasks and large constructions in the public space are creative processes of the same intensity. In much the same way, his physical displacements make him a nomad, while his alchemy of colours and flavours bestows on him a shamanic identity rooted in place – places; a hard-to-classify artist, an anomaly that gives him the highest privilege when it comes to eroticizing delicacies and delighting in gastronomic encounters.

He was born in Terrassa (Barcelona), a place of ​​textile factories and densely woven social fabrics. He travelled and settled as a young man in the Paris and New York of the Seventies, where he energized the processes of his highly individual aesthetic warp and weft and his relational scenarios. He has always guided his works and collaborations like an anthropologist, a way of working far removed from solipsism. For Miralda, art is a stove on which you can cook and a table to be shared. The furniture of this unusual artist’s studio is rich in Pop reminiscences and magical chiaroscuros: cannibalism, aphrodisiac delicacies, organic fruits, martial miniatures, colourful advertising icons, cookery books, pagan weddings, videos, grandmother’s recipes and virtual museums.

His productions, unclassifiable and as such indispensable, have been shown and taken place in leading museums in cities and international events around the world. A wealth of publications disseminate the works and analyze his creative spirit. Together with Montse Guillén, he runs the FoodCulturaMuseum life project, a museum at the mercy of the elements, without time or coordinates. A project for eternity.

In 2018 Antoni Miralda was awarded the prestigious Velázquez Prize for his incomparable way of working the concept of ritual and party in a playful and participatory manner, with an emphasis on the political and critical nature of his works. In other words: the artist knows that bread is more important than money, and friendship more than success.

Pilar Bonet

 


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Joseph Beuys

Difesa della Natura, 1982

Multiple | color offset on cardboard, signed by the artist
35,5 x 44,5 cm.

The relationship of the human being with nature is one of the central questions in the thought of Joseph Beuys. From 1971 on Beuys was a frequent visitor to Italy, where he developed the project DIFESA DELLA NATURA, his proposal for the emergence of a new culture in which art was to become an everyday act that went beyond the artistic context. The gallery space run by Lucrezia De Domizio and Giuseppe Durini in Pescara provided Beuys with the opportunity to experiment with different systems of agricultural cultivation – he saw agriculture as linked to the centrality of the human being liberated from all ideology of power – and to pursue this investigation of the truth through his own presence in nature. At Pescara he organized encounters, actions and debates as forms of collaborative practice, of betterment and defence. Between 1971 and 1985, Beuys carried out a series of works associated with the Difesa della Naturaproject, articulated in the following actions: Encounter with Beuys (1974), Grassello (1979), Piantagioni (1984), Olivestone (1984) and Unfinished Projects (1985).

 Encounter with Beuys (1974) is a debate in which the artist posits nature as possessing an infinite, continuous, linear time and space and a terrestrial physicality that cannot be different from or far removed from a curved, infinite, continuous and linear cosmic spirituality. In this context, he puts forward the notions of free creativity and the expanded concept of art, linked to the belief in the universal power of human creativity and the conviction that art can bring about revolutionary change. In Grassello(1979) Beuys used slaked lime (grassello) to restore his house and studio in Germany, and synthesized the reaction of the Italian material on coming into contact with German water in the formula Ca(OH)2+ H2O. The essence of the work is the journey of the material from Pescara to Düsseldorf, a process documented photographically by Durini. Piantagioni (1984) was a collaborative project combining agricultural wisdom and the ecological function of plants, organized for human purposes, which resulted in the planting of 7000 oaksin Kassel. Olivestone (1984) consists of a sculpture made from fivestone vats used by the Durini family since the sixteenth century to decant and purify olive oil. Beuys created larger stone cuboids, placed the vats inside them and filled them with 200 litres of oil from the Durini estate. As in communicating vessels, the oil seeps through the sculpture, producing a reflecting mirror effect. Olivestone combines plant and mineral elements, the solid and the liquid, feminine and masculine aspects, chaos and order, utility and aesthetics.

 From this starting point various elements, including multiples in limited and unlimited editions such as cases of wine and bottles of olive oil, graphic material, stamps, documents and so on are the material means of disseminating these ideas of Beuys in this great project holistic conceived with a view to liberating the Western world from its materialism and achieving a social harmony based on direct democracy and mutual solidarity, irrespective of people’s economic, religious or political status.

Montse Badia


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Joseph Beuys

Ölflasche, 1984

Multiple | Bottle of oil olive, with printed label
26 cm

The relationship of the human being with nature is one of the central questions in the thought of Joseph Beuys. From 1971 on Beuys was a frequent visitor to Italy, where he developed the project DIFESA DELLA NATURA, his proposal for the emergence of a new culture in which art was to become an everyday act that went beyond the artistic context. The gallery space run by Lucrezia De Domizio and Giuseppe Durini in Pescara provided Beuys with the opportunity to experiment with different systems of agricultural cultivation – he saw agriculture as linked to the centrality of the human being liberated from all ideology of power – and to pursue this investigation of the truth through his own presence in nature. At Pescara he organized encounters, actions and debates as forms of collaborative practice, of betterment and defence. Between 1971 and 1985, Beuys carried out a series of works associated with the Difesa della Naturaproject, articulated in the following actions: Encounter with Beuys (1974), Grassello (1979), Piantagioni (1984), Olivestone (1984) and Unfinished Projects (1985).

Encounter with Beuys (1974) is a debate in which the artist posits nature as possessing an infinite, continuous, linear time and space and a terrestrial physicality that cannot be different from or far removed from a curved, infinite, continuous and linear cosmic spirituality. In this context, he puts forward the notions of free creativity and the expanded concept of art, linked to the belief in the universal power of human creativity and the conviction that art can bring about revolutionary change. In Grassello (1979) Beuys used slaked lime (grassello) to restore his house and studio in Germany, and synthesized the reaction of the Italian material on coming into contact with German water in the formula Ca(OH)2+ H2O. The essence of the work is the journey of the material from Pescara to Düsseldorf, a process documented photographically by Durini. Piantagioni(1984) was a collaborative project combining agricultural wisdom and the ecological function of plants, organized for human purposes, which resulted in the planting of 7000 oaksin Kassel. Olivestone (1984) consists of a sculpture made from fivestone vats used by the Durini family since the sixteenth century to decant and purify olive oil. Beuys created larger stone cuboids, placed the vats inside them and filled them with 200 litres of oil from the Durini estate. As in communicating vessels, the oil seeps through the sculpture, producing a reflecting mirror effect. Olivestonecombines plant and mineral elements, the solid and the liquid, feminine and masculine aspects, chaos and order, utility and aesthetics.

 From this starting point various elements, including multiples in limited and unlimited editions such as cases of wine and bottles of olive oil, graphic material, stamps, documents and so on are the material means of disseminating these ideas of Beuys in this great project holistic conceived with a view to liberating the Western world from its materialism and achieving a social harmony based on direct democracy and mutual solidarity, irrespective of people’s economic, religious or political status.

Montse Badia


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Joan Morey

Non Serviam (I Will Not Serve), 2014

Limited edition poster | Work derived from the performance

97 x 68 cm

 

NON SERVIAM [GETHSEMANE] † JOAN MOREY

NON SERVIAM [GETHSEMANE] is a specific mise en scène of a performative character which takes as its point of departure the obtaining of olive oil from the press. On the basis of this process and the resulting production of the oil a link of an almost abstract nature is established with ‘The Desiring-Machines’, the first chapter of Gilles Deleuze and Felix Guattari’s Anti-Oedipus. In an exercise of appropriation, this text is used to elaborate the script of a sound work which articulates the different parts of the project and its extension as a limited-edition graphic work.

Starting from the commission to develop an artistic project on the basis of a very specific element, olive oil, Joan Morey incorporated that element into his discourse and his research work in the field of performance, in which he explores how we relate to others and how relations of power and subjugation are exercised. The notions of non serviam (the words attributed to Lucifer in his refusal to serve the God of the heavenly kingdom) and of Gethsemane (from the Aramaic word for an oil press, the name of a garden on the Mount of Olives in the Cedron valley, in the east of Jerusalem, considered a sacred place) are, together with a number of passages from the first chapter of Deleuze and Guattari’s Anti-Oedipus, ‘The Desiring-Machines’, are the articulating axes of a performance in which actions and aesthetic elements associated with erotism and sadomasochism appear, and in which oil is present as a liquid lubricant of bodies and machines. The whole is governed by ceremonial patterns of exquisite elegance which contrast with the brutality of the concepts on and around which it reflects.

GETSEMANÍ [GETHSEMANE] by Joan Morey was an event produced by CAL CEGO. Contemporary Art Collection which took place in December 2014 on the occasion of the presentation of the new olive oil.

Mise en scène – Conductor actors: Ingrid Agut, Guust Selhorst. Music: La Rêveuse, Dietrich Buxtehude, Johann Adam Reinken. Styling: Mónica Zafra. Photography: Teddy Iborra Wicksteed. Sound piece – Voice: Nicholas Chettle. Text: words from L’Anti-Œdipe. Capitalisme et schizophrénie (Paris, Les Editions de Minuit, 1972) by Gilles Deleuze and Felix Guattari. Voice: Michaël Rudy Cermeno. Voice recording and editing: Miquel Mestres  (Angel sound studio).

NON SERVIAM is a hors commerce limited-edition graphic piece printed by offset lithography in black ink on white Pop’Set paper (Antalis) containing the script of the event based on ‘The Desiring-Machines’, the first chapter of L’Anti-Œdipe. Capitalisme et schizophrénie (Paris, Les Editions de Minuit, 1972), by Gilles Deleuze and Felix Guattari.

Graphic piece – Design: Miquel Polidano, Joan Morey. Edition and text correction: la correccional (textual services). Words on the obverse: Extérieur et intérieur ne veulent plus rien dire (Outside and inside no longer have any meaning whatsoever). Models in the images: Manel Muñoz, Marc Vilajuana. Barcelona, ​​Joan Morey © 2014


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Joan Morey

(Mallorca, 1972)

 Joan Morey has produced an extensive body of performances, videos, installations and sound and graphic works since the late nineties that explore the intersection between theatre, film, philosophy, sexuality and subjectivity. His work embodies and at the same time criticizes one of the most refractory and most transcendental aspects of human consciousness and behaviour: how we relate to others, be it as oppressed or as oppressors. The dark and ominous tone of his work must be seen as a reflection of a universal human history characterized by domination, exploitation and inequality.

His art practice combines three fundamental genres of contemporary art: performance (in the form of scenarios that develop over time, in which human bodies and the audience have usually been involved), appropriation (taking and reformulating existing texts, forms and styles from literary sources, whether classical or from contemporary subcultures) and institutional critique (with which it engages and examines the ideologies and the power of our social, cultural and political institutions).                                                                                 

Morey makes use in his work of the whole spectrum of rhetorics to be found in the mise en scène, the actors, the objects, the costumes, the scripts and the spoken word. Not himself a performer in his performances, he establishes the rigid instructions that define the formal parameters the performers must respect (or suffer), effectively determining how the audience perceives the works and the precision with which these must be documented.

Joan Morey was born in Mallorca in 1972 and lives in Barcelona. He holds a BA and a DEA in Fine Arts from the University of Barcelona. In 2017 he presented the performance TOUR DE FORCE at the Centre de Cultura Contemporània de Barcelona and the screen performance COS SOCIAL. Lliçó d’anatomia [SOCIAL BODY. Anatomy Lesson] in the context of the Premi de Videocreació awarded by the Xarxa de Centres d’Arts Visuals de Catalunya, Arts Santa Mònica and LOOP Barcelona. That same year he was awarded the Premi Ciutat de Barcelona de Artes Visuales by Barcelona City Council. In 2018-2019 he presented COLAPSO, an awarded project in two exhibition chapters (at the Centre d’Art Contemporani de Barcelona Fabra i Coats, and at the Centre d’Art Tecla Sala in L’Hospitalet); and a performance in the Model prison in Barcelona, ​​this being the first occasion on which the protagonist was not bodies but the panoptic architecture itself.

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