Premiére_, a call for life in museums
The gallery Raquel Ponce reeled yesterday, 4th of January, Premiére_, a manifestation of the visitor in the museum space
Three of the four walls of the downtown madrid gallery take the shape of the future Museo de Arte Contemporáneo de Córdoba. The bodies of the dancers Inés Pereira and Allan Falieri humanize the space and personalize the arquitecture of the incomplete cultural centre in this groundbreaking projection. Their extremities, bodies and heads appear in a sequence of movements to the rythem of the walls, beams and light of the open and sterile place.
The video has been directed and produced by the platform of collective initiatives Taller de Casquería, adding another polemical proposal which in this case gathers the different reactions that any sort of artistic manifestation may have on the viewer. In what clearly presents itself as an accusation and manifestation against the temple-museum model, which distances the viewer from the work, raising an armour around the piece, Premiére_ is a cry for communication between the viewer, the work and the space surrownding it and reflects the kindest facet of art, which is often the most forgotten and which inevitably dissapears upon being exhibited to the public as a testimony of something more than human and almost divine.
Two promising figures from the Compañia Nacional de Danza are responsible for recapturing the contact between the viewer and the exhibition space. Both dancers are also responisble for the coreography, which in this case is filled with auto reflects and instinctively synchronized to the arquitecture that surrounds them. A challenge that both artists make their own and that may well be the most admirable quality.
A clear message, represented in an attractive format through dance, make this video recording one of the best examples to explore the role of the contemporary viewer in the work and the space before them and viceversa. Democratization of art, liberalism of space, creation equality, are all valid terms to describe the goal of this recording but none is quite so direct or sincere as witnessing the taped performance before your very eyes, which anticipates a new museum model where the viewer is a decicive factor of its own existence. Alfonso Carbajo Agrasar