SALON GALIĆ
1 — RIOT! — Eric del Castillo
Riot!toiR
Riot!toiR
Prije svega pitanje:
Before everything else, a question:
- Za kojom specifičnom procedurom poseže Eric del Castillo u tvorbi novih diskurzivnih platformi što ih uvodi u prostor Salona Galić u Splitu?
- For which specific procedure does Eric del Castillo reach in the creation of new discursive platforms he introduces to the space of Salon Galić in Split?
Moguće bi bilo odgovoriti kako je to tzv. „postprodukcijska“ procedura koju u povijest umjetnosti svojim readymadeom uvodi još Marcel Duchamp, a teorijski u recentnije vrijeme aktualizira i eksplicira Nicolas Bourriaud. Prema toj proceduri umjetnik suvremenu kulturu i sve ono što je u njoj sabrano i sadržano shvaća kao skladište podataka iz kojega odabire fragmente od kojih, potom, kreira nove značenjske komplekse. Umjetnik uzima gotove slike ili objekte te ih uz određene intervencije postavlja u nove mreže odnosa omogućujući im snalaženje u sasvim drugačijem semantičkom okolišu i posvema neočekivanim čitanjima. Takve su ekologije i reciklaže zapravo protokoli artikulacije novih razgovora koji su počesto izrazito kritički određeni.
The possible response might be the so called „postproductional“ procedure that was brought to the discipline of art history by Marcel Duchamp and his ready-mades, and theoretically actualised and explicated by Nicolas Bourriaud more recently. According to that procedure, the artist perceives contemporary culture and every part of it as an information warehouse from which he selects fragments used to create new, meaningful complexes. The artist takes finished images or objects and, by using specific interventions, places them into new relational networks, enabling them to adapt to a completely different semantic surrounding and unexpected interpretations. Such ecologies and reutilisations are actually the protocols of articulating new discussions that are often very critically determined.
Otpor i neposredna (re)akcija imanentni su svakom avangardnom ili neoavangardnom postupku. A upravo u okviru takvih postupaka, ili preciznije letrističkih i situacionističkih praksi, izdvaja se i détournement, metoda subverzije originala i na promijenjenom originalu pokretanja novih diskurzivnih platformi. To su gotovo uvijek platforme konfrontacije i revolta. U konačnici Bourriaudova „kultura uporabe“ - a uporaba jest minimum détournementa - afirmacija je i zagovaranje koncepta Drug, 2015. Comrade, 2015, Intervencija na brončanoj skulpturi. 2 — RIOT! — Eric Intervention del Castillo on bronze sculpture.
Resistance and immediate (re)action are intrinsic to every avant-guarde or neo avant-guarde procedure. In the context of such approaches, more precisely letrical and situationist practices, détournement stands out as a method of subversion and initialisation of new discursive platforms based on the edited original. These platforms are almost always ones of confrontation or rebellion. Finally, Bourriaud’s „culture of use“ – and use is the minimum of
3 — RIOT! — Eric del Castillo
„nemira“ i neprestane preobrazbe, odnosno koncepta izmicanja bilo kakvom konačnom uokvirivanju. Nemir i preobrazba podržavaju se reinterpretacijama, kolažiranjima, remiksiranjima, rekontekstualizacijama, itd. Čini se kako su „kultura uporabe“ i détournement važne sastavnice Ericove umjetničke metodologije, a ideja protesta koju sadrže projicira se i na narativnu okosnicu cijeloga izložbenog ansambla i njegovog krovnog naslova – RIOT! Naravno, pozivanje na détournement nije nasumično jer ta procedura operira s urbanim prostorom i proizlazi iz aktivističkog garda. Njega Chris Jenks, prebirući po situacionističkim aktima, uzima kao moguću metodologiju istraživanja grada. Dakako, poprište javnog protesta i nemira jest ulica. Ulica zapravo postaje dijagnostičkim mjestom društvenih neuralgija: različitih oblika nasilja i izrabljivanja, višedimenzionalnih deprivacija i socijalnih isključenosti, društvenih rasporenosti ekonomskom i drugom nejednakošću. Na ulici se raskrinkavaju globalni problemi, prokazuju „policije svijeta“ i destruktivni „paraziti“ društava, zagovaraju solidarnost, potpora, ravnoteža, pravda, čovječnost. Zapravo na ulicama se ogleda svijet u neprestanoj mijeni, možda u kolapsu, odnosno dinamici višeslojnog urušavanja. Čini se da RIOT! Erica del Castilla parafrazira i reaktualizira temeljna pitanja koja je u predgovoru seminalne knjige AK Thompsona Black Block, White Riot: Antiglobalization and the Genealogy of Dissent (2010.) postavila Bernardine Dorhn.
détournement – is the affirmation and advocacy of the concept of „unrest“ and continous mutation, the concept of evasion of any kind of final classification. Unrest and mutation are supported by reinterpretations, collaging, remixing, recontextualisations, etc. It seems that the „culture of use“ and détournement are important segments of Eric’s artistic methodology, and their inherent idea of protest is projected to the narrative framework of the whole exhibition ensemble and its main title – RIOT!
Parafraziram:
I paraphrase:
- Kako zapravo postajem politički čovjek? Kako učim živjeti drugačije ne bi li i drugi mogli živjeti? Želim li uistinu naučiti živjeti drugačije kako bih mogao živjeti autentično, demokratično, izjednačeno, čovječno?
- How do I actually become a political man? How do I learn to live differently so others can live too? Do I really want to learn to live differently so I could live authentically, democratically, equally, humanly?
Odgovori na ova pitanja u recentno vrijeme artikuliraju se kroz vizualnost kakvu amalgamira i Eric del Castillo, kroz RIOT!
In recent times, answers to these question are articulated through the sort of visuality amalgamated by Eric Castillo, through RIOT!
Of course, call to détournement is not arbitrary because such procedure operates with urban space and originates from activistic attitude. Going through situationist acts, Chris Jenks considers it as a possible methodology of exploring the city. The streets are the site of public protest and unrest. It actually becomes a diagnostic place for societal neuralgias: various forms of violence and exploitation, multidimensional deprivations and social isolation, societal ruptures caused by economic or other inequalities. Global problems, „policies of the world“ and destructive „parasites“ of society are exposed, and support, balance, justice and humanity is advocated on the streets. It is right here that the world is seen through constant mutation, perhaps even in the collapse, i.e the dynamics of multilayered crumbling.
Upravo aktivističke prakse i taktički mediji upozoravaju i animiraju građansku svijest o ugroženim ljudskim pravima širokog spektra. Vladajući, pak, ideološki okviri, podržani sustavima kontrole i prismotre što ih uvode u svakodnevicu, najčešće percipiraju aktiviste kao prijeteće subjekte, čak i kao potencijalno kriminalne i terorističke agente. Generiraju se apparatusi zaštite postojećeg poretka i namjerno zamagljuju kategorije. Oponentski stav, neslaganje, neposluh počesto se objašnjavaju kao paravani terorizma. Kao što Thompson supsumira u spomenutoj knjizi, vladajuće ideologije potpomognute medijskom praksom i raznim kampanjama doprinijele su doživljaju aktivista anti-globalističkog pokreta kao konceptualne inačice čudnog i neshvatljivog „Drugog“. Negativnom medijskom kampanjom i zazorom od „čudnog i neshvatljivog“ podržan je i učvršćen „jasniji“ i „prihvatljiviji“ koncept poslušnog građanina koji je odigrao odlučujuću ulogu u stratigrafiji društva kontrole. Thompson dalje upozorava kako poradi
Activist practices and tactical media animate civil awareness and warn about the wide spectrum of endangered human rights. However, governing ideological framework, supported by systems of control and surveillance they bring into everyday life, most often perceive activists as threatening subjects, even as potentially criminal and terrorist agents. Apparatuses for protection of the existing order are being generated and they deliberately blur categories. Oppositional attitude, dissent and defiance are often interpreted as fronts for terrorism. As Thompson subsumes in the mentioned book, governing ideologies supported by media practice and various campaigns contributed to the view of anti-globalist movement activists as a conceptual version of the strange and unintelligible „the Other“. Negative media campaign and discomfort caused by the „strange and unintelligible“ supports „clearer“ and „more acceptable“ concept of law obiding citizen that played a key role in the stratigraphy of the society of control. Thompson further warns that, because of the increased use of
It seems that Eric Castillo’s RIOT! paraphrases and reactualises essential questions posed by Bernardine Dorhn in the foreword of AK Thompson’s Black Block, White Riot: Antiglobalization and the Genealogy of Dissent (2010).
4 — RIOT! — Eric del Castillo
5 — RIOT! — Eric del Castillo
pojačanog korištenja anti-globalističkih aktivističkih procedura pojedincu zapravo prijeti isključenje iz kategorije građanina i uživanja inherentnih prava.
anti-globalist activistic procedures, individuals are threatened by exclusion from the category of citizens and enjoying their inherent rights.
Ideja konfrontacije prisutna je u svim radovima Erica del Castilla, bez izuzetka. Riječ je o digitalnim kolažima (zastavama), objektima, instalacijama, on-line arhivima, apsorpciji rada njegovih kompatriota Alfreda Lópeza Casanove i kolektiva Huellas de la Memoria – (Eric cijelu dionicu izložbe gradi potaknut uvidima u horror meksičke stvarnosti!) - ali i o drugim postupcima koji sabiru iskustva revolta, sažimaju teme poput revolucije i rata, društvenih nemira, konzumerizma, nejednakosti generiranih različitim opresivnim političkim i ekonomskim sistemima. Kako sam Eric potvrđuje, u radovima se susreću i strukturiraju poetički, politički, etički i estetički elementi. Ozbiljan diskurs današnjeg vremena promatra se katkada i kroz ironijski i kontradiktorni vizualni jezik popularne kulture. Nadalje, u podtekstu izložbe Eric propituje je li i u kolikoj mjeri u umjetnosti samoj uopće sadržana ideja revolta. Kroz radove koje izlaže, on se ne fokusira na neko određeno geografsko područje, već kolažiranjem različitih vizualnih predložaka naglašava univerzalnost protesta i pobune kojim god impulsom oni bili izazvani. Svejedno radi li se o Siriji, Meksiku, Sjedinjenim Američkim Državama, Grčkoj, Turskoj, ili o nekom drugom prostoru.
The idea of confrontation is present in all of Eric del Castillo’s artworks, without exception. We are talking about digital collages (flags), objects, installations, on-line archives, absorption of his compatriots Alredo López Casanova’s and Huellas de la Memoria Collective’s work – ( Eric constructs whole part of the exibition inspired by the insights from the horror of Mexican reality!) – but also about other procedures comprising the experiences of rebellion and compressing topics such as revolution and war, social unrest, consumerism, inequalities generated by various oppressive political and economical systems. As Eric himself confirms, poetical, political, ethical and aesthetical elements are present and structured in his work. Sometimes, the serious discourse of our time is observed through the ironic and contradictory visual language of popular culture. Furthermore, in the exhibition subtext, Eric questions if, and in what measure, the idea of rebellion is present in art at all. In the exhibited artworks he does not focus on a particular geographical area. Instead, by making collages from different visual templates, he accentuates the universality of protest and rebellion, whichever impulse they are caused by. It does not matter if it is Syria, Mexico, the United States, Greece, Turkey, or some other place. As a „visual remixer“, Eric creates
Baza slika koju Eric kao „vizualni remixer“ stvara svojevrsni je kompendij memorije kojim se predstavlja moguća povijest revolta kroz posljednjih
6 — RIOT! — Eric del Castillo
nekoliko vrlo vibrantnih desetljeća. Široki je dijapazon Ericova tretiranja teme: od snažnih dokumentarnih fotografija do oslabljene ideje protesta prevedene u modnu (gotovo fetišističku) aplikaciju. Ericove arhivske akumulacije i konstrukti evociraju memoriju revolta, ali i zorno informiraju o nesigurnom, nestabilnom, prijetećem životnom kontekstu. Njega zanima snaga vizualnog, odnosno specifično mjesto gdje se dodiruju umjetnost i revolucija, ideja i uporaba, reprezentacija i čin. Ne nužno tim redom i u takvim parovima. Na samom kraju ove kratke tekstualne eksplikacije postavlja se pitanje: aktivizam ili pasivizam? Stvarnost ili obmana? Crvena ili plava pilula (Matrix, 1999.)? — Dalibor Prančević
a base of images, a kind of memory compendium via which a possible history of revolt through the last very vibrant decades is presented. Eric’s treatment of the theme is very broad: from powerful documentary photographs to the weakened idea of protest translated into fashion (almost fetishist) application. Eric’s archival accumulations and constructs evoke the memory of revolt, but also clearly inform about the insecure, unstable and threatening life context. He is interested in the strength of the visual, a specific place where art and revolution, idea and use, representation and act intertwine. Not necessarily in that order and in those pairs. At the very end of this short textual explication, there is a question: activism or passivism? Reality or deception? Red or blue pill (Matrix, 1999)? — Dalibor Prančević
Ref.:
Ref.:
Bourriaud N., Postproduction, Culture as Screenplay: How Art Reprograms the World (New York: Lukas and Sternberg, 2007.)
Bourriaud N., Postproduction, Culture as Screenplay: How Art Reprograms the World (New York: Lukas and Sternberg, 2007)
Jenks Ch., „Watching Your Step: The History and Practice of the Flâneur“ (u: Visual Culture, London: Routledge, 1995.)
Jenks Ch., „Watching Your Step: The History and Practice of the Flâneur“ (in: Visual Culture, London: Routledge, 1995)
Thompson AK, Black Block, White Riot: Antiglobalization and the Genealogy of Dissent (Edinburgh, Oakland, Baltimore: AK Press, 2010.)
Thompson AK, Black Block, White Riot: Antiglobalization and the Genealogy of Dissent (Edinburgh, Oakland, Baltimore: AK Press, 2010)
7 — RIOT! — Eric del Castillo
Turska (mladi Turci), 2013. Digitalni kolaž – digitalni print.
Turkey (Young Turks), 2013 Digital collage – digital print.
Umjetnost je Oružje (samostrel), 2016. Intervencija na drvenom štafelaju.
Art is a Weapon (crossbow), 2016 Intervention on wooden easel.
Meksiko (život ne vrijedi ništa), 2014. Digitalni kolaž – digitalni print.
México (La Vida no Vale Nada), 2014 Digital collage – digital print.
Red Pill / Blue Pill, 2016. kombinirana tehnika
Red Pill / Blue Pill, 2016 mixed media
USA (The Dream is Over), 2016. Digitalni kolaž – digitalni print.
USA (The Dream is Over), 2016 Digital collage – digital print.
Nemiri, 2016. Akril na staklu (izbor)
Riots, 2016 Acrylic on glass (selection)
Eric del Castillo rođen je 1962. u Mexico Cityju. Nakon studija filma i slikarstva, svoju umjetničku karijeru započeo je 1986. služeći se ponajprije tehnikom kolaža, aproprijacije i remixa. Iako se u osamdesetima prvenstveno bavio performansom, intervencijama na objektima te instalacijama, kroz čitavu njegovu djelatnost proteže se kolaž, i to ne samo kao najvažnija umjetnička tehnika već nadasve kao način promišljanja i djelovanja. Godine 1995. sudjelovao je u programu Razmjene umjetničkih razidencija SAD (NEA) i Meksika (FONCA), a 1996. boravio je na umjetničkoj rezidenciji u Headlands Center for the Arts, SAD. Od 1987. izlagao je na 14 samostalnih izložbi i sudjelovao na više od 100 grupnih izložbi, od kojih se izdvajaju: 2014. Scherzo Vol. 2, Institut za suvremenu umjetnost, Zagreb, Hrvatska 2013. Scherzo, Galerija Meštrović, Split, Hrvatska 2005. Anthologie der Kunst, Bundeskunsthalle, Bonn, Akademie der Kunste, Berlin, (2004) i Zentrum fur Medienkunst, Karlsruhe (2004), Njemačka 1998. Abductions, Instituto Cultural Mexicano, San Antonio, SAD 1996. Open House, Headlands Center for the Arts, San Francisco, SAD 1995. Telling Stories/Telling Tales, The Banff Centre for the Arts. Alberta, Kanada 1993. Small Worlds, Galería del Progreso, Madrid, Španjolska 1993. Collage of the 20th Century, Museo Centro Cultural Arte Contemporáneo A.C., Mexico City
Eric del Castillo was born in Mexico City in 1962. After studying film and painting, in 1986 he began his artistic career using the techniques of collage, appropriation and remix. Although his work in the 80s was dedicated to performance, object interventions and installations, collage extends throughout his artistic work not only as the most important artistic technique, but as a way of thinking and acting in general. In 1995, he received fellowship from the National Fund for Arts and Culture (FONCA), Mexico, and the National Endowment for the Arts (NEA), USA. In 1996, he was resident artist at the Headlands Center for the Arts in San Francisco. Since 1987, he has participated in 14 solo shows and more than 100 group exhibitions. The most important are: 2014 Scherzo Vol. 2. Institute for Contemporary Art. Zagreb, Croatia. 2013 Scherzo. Galerija Meštrović, Split, Croatia. 2005 Anthologie der Kunst. Bundeskunsthalle, Bonn, Akademie der Kunst Berlin, (2004) and Zentrum fur Medienkunst. Karlsruhe (2004) Germany. 1998 Abductions, Instituto Cultural Mexicano, San Antonio, USA. 1996 Open House. Headlands Center for the Arts, San Francisco, USA. 1995 Telling Stories/Telling Tales, The Banff Centre for the Arts. Alberta, Canada. 1993 Small Worlds. Galería del Progreso. Madrid, Spain. 1993 Collage of the 20th Century. Museo Centro Cultural Arte Contemporáneo A.C. Mexico City.
Živi i radi u Splitu. He lives and works in Split.
www.ericdelcastillo.eu www.facebook.com/ericdelcastilloarchive www.facebook.com/armyofmearchive Nemiri, 2016. Akril na staklu (izbor)
Riots, 2016 Acrylic on glass (selection)
19 — RIOT! — Eric del Castillo
Eric del Castillo Otvorenje / Opening: Ponedjeljak, 16. svibnja 2016. u 20:00/ Monday, May 16, 2016 at 20:00
Prijevod / Translation: Božo Kesić
Salon Galić, Marmontova 3, Split 16. — 30. svibnja 2016. May 16 — 30, 2016
Fotografije / Photographs: Darko Škrobonja
Radno vrijeme / Working hours pon. - pet. / Mon - Fri 10:00 - 12.00, 17:00 - 20:00 subota / Saturday 10:00 - 13.00, 17:00 - 20:00
Tisak / Print: Grafis, d.o.o.
Izdavač / Publisher: Hrvatska udruga likovnih umjetnika - Split, Obala hrvatskog narodnog preporoda 24/I, 21000 Split hulu-split@st.t www.hulu-split.hr Za izdavača / For the publisher Vice Tomasović
Tekst u katalogu / Catalogue text: Dalibor Prančević
Naklada / Print run: 300 Hvala / Acknowledgements: Marija Paparella Legentil, Neli Ružić, Nikola Križanac, Cecilia del Castillo Guillermo del Castillo, Alfredo López Casanova, Colectivo Huellas de la Memoria
20 — RIOT! — Eric del Castillo