Activities, exhibitions and projects

Una ascensión en espiral. Mirar atrás desde el fin

Una ascensión en espiral. Mirar atrás desde el fin

La Virreina Centre de la Imatge

Image: Gente árbol. Raisa Maudit, 2024

From June 13 to October 13, 2024

Raisa Maudit works on her exhibition by marking a series of axes. Temporal axes, linguistic axes, emotional axes, and abstract axes. The exhibition space is a place from which to define a process stemming from a complexity that incorporates fear, error, belief, and the necessary doses of violence. And several centuries to negotiate with, several overlapping times. To understand the present—or a possible present—let us first go to the 12th century. It is in this century that several groups of women decided not to follow the established norms. The Beguines (secretly organized into beguinages) decided not to marry, created their own economy and system of representation, engaged in literacy work, began writing their books, and published the first autobiographies. And what do we know about them? What traces are there of their proto-feminism, their anarchy, their love of knowledge, their mutual recognition codes, their collectivity? It is said that the last Beguine died in 2013.

This story is not over. In their non-frontal attack, in their disregard for norms and power structures, the Beguines become a destabilizing element. They speak of sexuality and religion, use romance, break the rules by simply deciding for themselves. What remains of all this? What have we erased? Let us now move towards a future with machines where work and repetition—and robots—generate poetry and language through error. The gesture (that which was human) becomes something shared with the machine. Language becomes code. Hands and gestures do not write; they are the writing process. Translation becomes complicated. If in the 12th century there was a possibility of change through the actions of a non-dominant sector, what will happen with the idiot machines? What will happen with all those mechanisms that do not evolve? Are these machines elements that disregard the advanced version of capitalism that demands evolution and learning to generate more profits? And what is code? What is the code? Can we generate a code to stop understanding each other? Can we have other languages in which the emotional and the abstract enable those silences in history to become the main subjects and verbs?

And in the face of questions, in the face of doubts, a possibility of vision. Vision as that moment before linguistic construction, as that still unstable premonition forming before everything else. A complex vision that transforms code into codex, which—in its fragility—seeks a new idea of a table and needs to remain in the complex, escaping the messianic singularity to participate in a shared gesture.

An exhibition that is a destabilized board, seeking repetitions to rely on, starting from music as transmittable abstract material, searching for new worlds to believe in a possibility. No matter how remote it may be. If it is possible.


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