The Centre Cannot Hold (Things Fall Apart), 2019
Floral foam, Light fitting, magazine, plastic cup
16cm x 11cm x 5cm (series of 6)
Floral foam, Light fitting, magazine, plastic cup
16cm x 11cm x 5cm (series of 6)
Turning and turning in the widening gyre
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity.
The Second Coming (W B Yeats, 1919)
A 2016 analysis by research company Factiva showed that lines from the poem were quoted more often in the first seven months of 2016 than in any of the preceding 30 years.[5] In the context of political turmoil after the Brexit referendum and Donald Trump's election, commentators repeatedly invoked its lines: "Things fall apart; the centre cannot hold."[6]
Wikipedia, 2019
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity.
The Second Coming (W B Yeats, 1919)
A 2016 analysis by research company Factiva showed that lines from the poem were quoted more often in the first seven months of 2016 than in any of the preceding 30 years.[5] In the context of political turmoil after the Brexit referendum and Donald Trump's election, commentators repeatedly invoked its lines: "Things fall apart; the centre cannot hold."[6]
Wikipedia, 2019
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The Centre Cannot Hold (Nevertheless)
Floral foam, Light fitting, magazine, plastic cup, polystyrene, plastic laminate, wood panel
90 x 15 x 21 cm 2019
Nevertheless - Collective exhitibion
Atelier Concorde: 11.05.19 - 22.05-19
Artistas
Irene de Andrés, Yuri Firmeza, Maria Rojas, Juan Pablo Ordoñez, Margarida Alves, Nina Fraser, Irit Batsry, João Bento, Paulo Lopes, Natalie Woolf, Eunice Gonçalves, Nuno Godinho, Anne Öhrling Dersèn
A curatorial project by Andrés Jurado
the less,
the lens,
the lenses,
never let the lenses, never let the lens ever let the less.
"For me, curating is a film, or a piece of theater. A found footage film or a theater of objects, to be more fair. This exhibition is based upon both possibilities. Nevertheless, it is more or less a strategy meant to dialogue within the plot enacted by the market. Easily, we can say that between the product placement in film and the prop made for the stage there is no way out of the marketization.
However, inside each work, each gesture of those who identify their selves as artists and play whit lenses there is a refraction, a glow. Above and below those who plays with objects, epitomizing them or incarnating them, there is—nevertheless—an alternative.
This project proposed the artists to engage in the creation and production of objects imagining its cinematic or either theatrical performativeness. This can be interpreted as “too general”, nevertheless, after assuming all the alterations advised in the contemporary arts by The Performative Turn, the less is to consider this performativeness of the art object in two circumstances, the cinematic and the theatrical. The proposed scenario for this endeavor is the market. How the artists lens sees an object in the film market? How an artist without lenses sees an object meant to act in the theater of market?
This can be hypothetically resolved if we imagine our object of art as part of a theater play or part of a screenplay. So the question is: how do you imagine your piece of art performing in that market plot?"
Andrés Jurado, 2019
