Cris, who like me as much as the installation of strawberries. ..
* What good taste reveals a good exhibition, curated a good job of behind-in this case Flora Fairbairn and Olivier Varenne - a good selection, fair, of works to bring together a leitmotif with which to compose a possible history / reading of Contemporary Art, questioning and review its value and its relationship with the public. And so it was "ON & ON" , one of the best shows not only the Lit House -that if you shone before, now it overboard, but the national exhibition scene in recent years has been an influx of public success. On the idea of \u200b\u200bthe ephemeral, with a range of facilities mostly site-specific , one of the concepts of ownership process and most interesting contemporary art. Works with multiple significant and, above all, a perfect balance between aesthetics and narrative, to which is added a feature common to all: the fact that he made material or organic matter, ie how the work itself deteriorio undergoes a transformation in the eyes of the public. Temporality that seems to even question the basic idea and essential: if art is the work itself or the process, if the devastating effect of time on it until even their extinction may become its artistic value, their true dimension. .. Just the opposite to that idea of \u200b\u200bmonumentality of classical art, the permanence of stone. In contrast, when an exhibition is about the ephemeral part of her curiosity and initiative of the audience that, once understood and is aware of the vulnerability (intentional) of the work, you might want to go back there to see the "state" organic of the works, check out the differences, the change .., as should be every so often to see what makes Justo Gallego Muñoz , who for 50 years with his own hands built a cathedral in Mejorada del Campo, Madrid: A fight almost lost, impossible against Time. That heroic challenge time is something, no doubt, characteristic of the contemporary. Working with food, "which later would rot unless it was stuffed like an animal" was a practice of the 60, with Vitoiro Stoicita to the head and other artists close to the proposed Arte Povera's , or art executed with poor materials.
The fact is that we have gone through a Fine Arts faculty considering some conceptual and we left it convinced that art is or should be stirring, a reflection of reality, expressions of opinion, crítca ... view works so well executed work in progress so logical that even possible to reconstruct the process itself, with so little free items, as well chosen, with a dramaturgy, staging .. is something we appreciate very much.
Of these perhaps the most seductive and one that best reflects their status porpia of site-specific , is that wonder installation Claire Morgan. Located in the stairwell, an area of \u200b\u200bstrawberries as if it were a tapestry, stooping, is interrupted by a gap that has dropped like a crow flying over and is now surrounded by flies ( like the classic image of the mouse on cat on dog "the trovamúsicos"), as if a harmonious order of things, oblivious to human intervention. All items have been hung from the ceiling transparent wires, clean and delicate device that always works with Claire, so all that is in direct contact with the ground is falling, remains. Initially the facility is beautiful, alive .. it, finally, the color has faded and there are only remnants of her own: the stalks of the strawberries. In any case, the clash between the living and the dead, how inevitably rotted strawberries .. and then the taxidermy of Cuevo .. produces a brutal shock, reflects on her own gender and status, which seems made to equal parts: More than a still life, be a "organicity in evolution" . 
Another facility also wonderful, a most memorable image that gives us the almost opposite effect of the ephemeral: how is this evoluciónn intrinsic to the construction and not destruction ... is that of Céleste Boursier-Mougenot : A locked room, decorated with musical instruments, drums and electric guitars, as you see in the image - and planted with reeds and plants, inhabited by birds. In which the relationship established between these two worlds eventually be initially decontextualized musical since, in the process of nest building, its natural target, the birds produce sound by touching the instruments, which is amplified and looped by reprouducida across the room to delight (visual and audible) of attendees. Relation of cause and effect created, caused, part of a staging complex, sophisticated, straight out of a dream .. only to be real. But who has the gift of possibility, of opportunity, to see something new, interesting, a phenomenon of reconciliation, in which two kinds of elements execute their own functions and in their combination / living together, produce another. 
Another shock, shocking, between the inert and live in their devastating power of growth, the office / garden, Gerda Steiner & Jorg Lenzlinger , which, as the title indicates proposes a hybrid in which laptops and jackets hanging on the backs of chairs seem to be the only indicators of human presence on which chemical flowers, a strange alloy that produces prisms, second hybrid of the work, which is also fluorescent and pink, with zenith of the table lights, shine even more. Like a weed descrontrolada, and almost engullese extend these elements of the work environment, causing a strange image, it is not known whether the natural or claims tencológico, fiction and reality ... * ephemerality
But not only present in materials in "ON & ON" , "llamdo for a small installation that flashes a light at short intervals, almost like breathing," the beat exposure "- his chance also appears to affect those who are the common elements or common areas an exhibition space and, by extension, the formality of public attitudes. In one room that seems to be a security guard is placed in a corner, with the usual gesture of hands clasped behind, and begins to sing an opera aria, naturally, which adds the component of humor, a of the great engines of art, and poses reflect on whether things are what they seem and why everything should work as planned, to the rule, to normal ... instead of becoming something else .. While the false security guard / soprano-ephemerality of the profession? - Sings, we discovered that one of the small rooms are not of wood but painted with chocolate. Another example of how the elements contribute to create poetic images that stir something inside the viewer, about the relativity of temporality, the revocation or durability of contemporary art, the works, the environment, then ..
Now, I say ... who may not like it, enchant even, interested in contemporary art course if you see this kind of exposure?? For anyone interested in quitting created succumb to that premise that "contemporary art is not my thing"-which is what we often think the lay public, and finish getting rid of its own cliché, like opening your eyes and discover how contemporary elarte is today one of the most fertile land and more capacity opposite reality-more so than the cinema, manifesting beauty and critical way, with a variety of topics, concepts, points of view .. . always surprising, as part of the most highly topical, here is a rare TOP 10, not to forget those who have been BEST SHOWS for me in recent years
- Plagiarism, On plagiarism culture ": COUNTRY ON, MADRID. 2005 . Multidisciplinary.
- " PASSIONS" BILL VIOLA: Fundacion La Caixa, Madrid. 2004. videoinstalación. (pictured)
- "POST-IT CITY, CITIES occasional" CCCB , BARCELONA. 20008. Multdisciplinar.
- " Phantasmagoria, DRAWING ON THE MOVE ." FOUNDATION ICO, Madrid. 2007. illustration (media / digital art and manual)
- "BAROQUE and neobaroc BEAUTIFUL AS HELL ." DA2 Domus Artium, Salamanca. 2005/-06. photography and installation.
- "BY WARHOL WARHOL" HOUSE ON, MADRID. 2008. Photography, prints and more.
- LISBON PHOTO: MOMENTS AND RANGES "CCB (Centro Cultural de Belém), LISBON. 2005. photography and installation,
- " Federico Fellini, THE CIRCUS OF DREAMS " CAIXAFOURM, MADRID. 2010. Video, photographs and posters.
- REBECCA HORN: " BODYLANDSCAPES " Retrospective: CCB (Centro Cultural de Belém), LISBON. 2005. Installation, esculltura and drawing.
- " THE TWENTIETH CENTURY THROUGH THE EYES OF Dexter Dalwood ": CAC, MÁLAGA. 2010. Painting and collage.
- "Gangs of the 80 " HOUSE ON, MADRID. 2010. Video file and others.
is, to win the House on, which undoubtedly took off with the expositionally Warhol exhibition wins, and that my congratulations for your program 5 stars.
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