Barcelona, 1962. Musician, performer, visual artist. He has performed more than 80 time in Europe, America and Asia. The central axis of his work is the politicisation of life itself, looking also at subjects ranging from therapy to his immediate surroundings, passing through personal and collective memories, and the current historical and geopolitical environment. The contextualisation of each action becomes part of each piece. He is currently working on the politicisation of the body, both in performance and in video format.
His pieces contain a reflection on the creative process. His videos seek to break with narrative by avoiding a linear format, creating new works based on performances where the video becomes meta-action and the moment of the action mutates to a moment that isn’t always real. Despite not being present during the actions, music is as important an element as image in the videos. All his work contains a recognition of low technology.
I usually speak during my performances. My performances are usually political. In this performance, I won’t speak of politics.
What Europe is
For this action I’ll try to establish cultural bridges by using everyday objects to explain political events that have recently taken place in our country.
Independence series 3
The reason for this piece is simply to make people think. To make people think what independence means, to think about the possibility of being independent, if such a thing is possible for anyone. It’s also an attempt to highlight the dumbing-down rhetoric and manipulation surrounding this concept, normally hidden behind subterfuge or ambiguous synonyms.
No pain | zero-day
Nowadays, thanks to the technology available to us, we can regret, pity, and express solidarity towards other people’s suffering and, in this way, avoid looking at the suffering taking place next to us. Pain is natural, but is it always inevitable? Proximity is frequently the most difficult border to cross.
This video shows the previous action going on over the course of a month.
La creu III
Starting from a ritual destruction process in which a context is given to both the destroyed objects and the action itself, a series of lasting actions emerged. The video depicts the whole process in a non-linear way. La creu was the result of several ideas. The first is a fleeting but very intense image regarding the cross each of us bears. In this case, it is the list of things to be done, which grows day after day, and which becomes a source of stress that feeds itself.
Starting from a ritual destruction process in which a context is given to both the destroyed objects and the action itself, a series of lasting actions emerged. The video depicts the whole process in a non-linear way. Reconstrucció is a review of my personal diaries. The video shows an action that took several hours and its accompanying audio in just a few minutes.
The action takes place in nature and in the gallery. To a certain degree it’s about our separation and isolation in relation to our bodies and nature. We live with our backs to nature and at the same time we treat it perversely. The work takes place with nature although the material is the body. But, in reality, the pain we inflict on others goes beyond the damage we cause nature. The lack of empathy towards what exists outside ourselves stops us from seeing that someone always ends up suffering the consequences of our actions. When we torment inanimate objects, or those that are more resistant than ourselves, we could be led to believe that our actions are innocuous, when they aren’t. In fact, I’m not talking about nature.
Between autumn 2017 and spring 2018, Maria Cosmes and I created a garden containing weeds and wasteland plants in our workshop yard, a space wrested from cement, a subversive space in the face of civilisation, to return to nature some part of what belongs to it. Weeds and wasteland plants live on the fringes of fields and paths, at the edges of the tidy urbanism of life, at the edges of capitalist utilitarianism. This garden on the edges is also a reflection of our lives, which have failed to take root anywhere but which nevertheless resist. We too are weeds, living within the ruins of this world that destroys life, a world that is incapable of seeing that it is in ruins.
This is a work about a three-year process that collected images of paper, posters, stickers, newspapers, etc., half torn off or littering the streets of the city, Barcelona and others; a reflection of the oversaturation of information in our society. The subjects depicted on the papers were mainly, although not exclusively, of activist content, and by photographing them ripped or damaged this became a metaphor for how those actions, and the promises that could have been received in exchange, were just wet paper. A cynical but quite realist view of daily reality.
The eleventh season of FLUX CLUB is here: a fortnightly video club that reflects the vitality of video creation in our city. It’s an extension of the FLUX Video Auteur Festival, with sessions open to everything currently going on in the field of video in Barcelona, complementing the festival from the point of view of its content and extending its sphere of influence beyond the few days programmed for the festival itself. FLUX CLUB includes all kinds of sessions: screenings, video performances and debates offering direct contact between the audience and the filmmakers. These sessions focus on a range of subjects, from monographic by well-known directors to specific themes, from groups of up-and-coming authors to students; they may cover video poetry or video dance. FLUX CLUB is a space for the dissemination of video creation in the city of Barcelona.
Habitual Video Team is a non-profit association whose main objectives are to promote activities related to visual arts and specifically video art.
A fundamental area of their work is the organization of festivals, cycles and video shows, such as the FLUX, and INFLUX [vídeo a escena], dedicated to audiovisual performing arts.
Another branch of Habitual Video Team’s activities is video documentation (recording and editing) of mainly small format cultural events such as concerts, poetry, performances or theatre shows. It has a video archive of over 1.000 recordings. In 2012 they launched the SUMMA project with the aim of converting this audiovisual heritage into a non-profit online video archive.