VARIATIONS & REPETITIONS-Xavier Ristol
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ZEITGEIST
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– VARIATIONS & REPETITIONS –
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1
2
–02 03
– 4
– 304 05 (presented in diverse forms) with the idea of the
remix and the figure of the DJ (punk philosophy;
everyone can be a DJ Warhol?); the link between
TAKE AWAY. the video artist and cinema, advertising, television
and contradictory ways of understanding images.
EXHIBITIONS TO TAKE AWAY The problems of the computer code. These are the
themes, the formats, the materials that we can
find in Take Away. Exhibitions to Take Away.
Martí Manen Let us forget for a moment the concept of
a work of art. Let us talk of material. On a CD-
ROM we can find material to experiment. The
The relationship with the exhibition space concept of material suggests to us something un-
and with the exhibition itself has changed and polished, unfinished, something that still requires
evolved throughout its history. Probably, the case a process. In Take Away we will work with artistic
(1) TABLE FOR ANTEROOM TO DIRECTOR’S OFFICE. JOSEP ALBERS, 1923; (2) LA TRAICIÓN AL SR. ALBERS, 2001; (3) LA REPRESENTACIÓN DE UN DRAMA, 2001; (4) MESA FLORERO, 2004; (5) MESA COMEDOR, 2004.
of the presentation of the work of art has been material.
one of the most difficult to change, owing to the Let us forget for a moment the exhibi-
aura of the artistic work. The constant rethinking tion as a presentation of something finished. If
of contemporary art should be seen reflected in a we no longer have works for this exhibition, but
new mode of presentation, or of contact, with the we have substituted them with materials, how
person observing art. The concept of museum has can it be a finished thing? The materials must be
changed although it still very much assumes the manufactured, and we have now seen that the one
function of preserving and justifying the history who creates a path between the material offered,
that, in some way, can detract from the relation- who discards without having seen everything (it
ship we can have with contemporary art. is not necessary for us to visit everything in an
The participation of viewers (making interactive exhibition but only what appeals) is
them something more than simple viewers), has the viewer.
often been no more than an anecdote or has been Let us allow the viewer to decide the best
regarded as a puerile act without real possibilities way of relating with the material.
of changing the meaning of the work. The viewers To offer future exhibitions, present ready-
rarely construct or have an important role in the mades for an exhibition (like a soup).
works of art, becoming involuntary and necessary In Take Away we find an exhibition
extras that, as one of their maximum goals, have project with future exhibitions. The exhibition
assumed that they have the right to comment on material in each box can become exhibition pro-
what they see before them. posals (in plural, as each viewer can give a per-
The exhibition itself has rarely been put sonalised vision of what should be presented and
into the hands of viewers. If it has, often what how). We do not see works of art, but we provide
has been handed over to viewers has been the the possibility of creating the wrapping for a set
construction of some works that afterwards have of artists’ works.
formed part of an already rigorously curated ex-
hibition.
Will we be capable of leaving an exhibi- – 6
tion project in the hands of a stranger? Will this
stranger be capable of fully exploiting the raw
material provided to create an exhibition? Will he
– 7
or she give us a solution that we would not be able
to conceive?
Exhibitions are aimed at a range of pub-
lic. They seek a homogeneous response from the
viewer (posed in the singular as we do not offer
options to stand out). The exhibition becomes a
social act, a space of exchange between people,
where we will function consciously before what
Each copy of the four thousand that make up this edition con-
is offered to us. Up to now, we would have been tains a text like this. Potentially, four thousand people can read
able to talk about this event in itself, about how these words. If every one of these four thousand people gave
roles of social exchange are marked out in an ex-
hibition, but we now find a problem: the basis of
this publication to someone else, and that person to another,
the exhibition is changing and no longer offers us and the latter to someone else, the number of readers would
SILLA ROBINSON, 2007
this possibility. Let us accept, for a moment, that be, at least, sixteen thousand. All these people could read this
Alzado, perfil y planta. Elevation, cross-section and floor plan.
the basis is the works. Until now, at least, they
have been the raw (or conceptual but, frankly, ob- text aloud at the same time. Although it is difficult for them to
jectualised) material that has served to give form do so simultaneously. They would pronounce it out of step:
to an exhibition idea. We could establish links or one begins now, then another, one a little later. Another now.
counterpoints, provoke emotions or reflections,
offer information or approaches, but always from Some do not read it aloud but in silence. Another laughs. Some
a singular point of view of the curator, so that the stop reading at this point. Someone reads it in another lan-
interpretation of the works would serve to under- guage. Some read it very close to where you are and you can
stand the idea of the exhibition. A predetermined
interpretation of a work was provided (through see how their eyes move from left to right. (Only you can read
the context in which it was presented). what is written here. The copy you have is the only one with
Now, the new artistic formats oblige the these lines. You take a few seconds longer than those around
viewers to have different relationships with the
work. This is now not an individual but an in- you to finish reading. The other three thousand nine hundred
dividualised relationship. Faced with a work in and ninety-nine copies do not contain these words. And now
CD-ROM format the viewer will act intuitively you could compare it with one of the others. Or, perhaps, you
during a new time.
It will not be a time of observation or even would prefer not to do so. You could directly ask the person
of participation. The link between the viewers and next to you if they have read it. If the answer is yes, you would
the works is so great that, depending on the path
assume that the other three thousand nine hundred and nine-
taken by the viewers, they will find one work or
another. Now, the viewers definitively construct ty-nine copies would be saying the same as yours, although
the work because it is made for them as singular they deny it.) Perhaps all these people – the four thousand
individuals.
who can potentially receive a copy, the four thousand who
This new type of work (which obliges a
new viewer relationship with it, which is inac- have received this publication from the last one, the next one
tive until there is action by the viewer, which will and the following one – are thinking about you. You think about
have a different development, length and content
them, reading aloud, unsynchronised and thinking about each
according to each participation) needs a new ex-
hibition model. What we do, with a traditional other. Among these thousands there is one who takes a few
exhibition model, is to distort the new work, be- seconds longer than you to finish reading. Their copy contains
cause we offer the viewer something perennial,
objectualised, which we must observe carefully as
more words. And now, they could compare it with yours. Or,
that it why it has been selected. We make a work perhaps, they would prefer not to do so.
that the viewer must create into a closed and val-
ued work.
SILLA ROBINSON, 2007 SILLA ROBINSON, 2007 The interactivity that on line or off line
Despiece. Quartering. Estructura de roble claro que soporta el respaldo y el asiento de tablero
– 5
works ask of us; the possibilities of interaction,
chapado roble oscuro.
Light oak wood frame supporting dark oak wood veneered back and seat. not yet put forward, with digital photography;
55,5 x 75 x 92,3 cm
the involvement of sound in the artistic fieldI turned up at my parent’s house. 06 07
– 9
Lunes 14 de diciembre de 2009
– 8
Pues sí, eso es.
Tratar un libro de tapa dura -de pasta gruesa- como a una revista. Un trato
desenfadado y fresco, forzar el cartón de la tapa, doblarlo por detrás, hacerlo
todo más acogedor, más cálido, ¡que crujan esos goznes, por Dios! Hagamos
bajar al libro del pedestal, tratémoslo de tú a tú, qué el saber que contiene se – 10
nos muestre llanamente y sin misticismos... ¡QUÉ PUÑETAS, SE TRATA
DE UNA ABERRACIÓN!, no os dejéis seducir, es un despropósito.
Buenas noches.miento nietzscheano, consciente de lo aparente Y esta capacidad de juicio perdida en el 08 09
del mundo y de lo que de convención contiene espectador (acostumbrado al puré masticado y re-
el lenguaje4, es espejo de la crisis que llevaba ya gurgitado de los media y lo institucional) es lo que
DESPUÉS DE ÉL, EL DILUVIO un tiempo infectando el espíritu de una Europa
en descomposición. El sujeto aparece como lími-
el artista debe recuperar. El arte como un acto de
amor que permita recuperar el carácter activo y
te interpretante y se llega a la conclusión de que revolucionario de la individualidad. Es esta rebe-
Alicia Yañez
todo conocimiento es lingüístico. La incapacidad lión artístico-amorosa lo que pretende el llanero
comunicativa del lenguaje, la imposibilidad de ex- solitario: la redención del mundo por la subjetivi-
presar y hacernos entender, genera un profundo dad. “Y, al fin, bombas y granadas en las manos de
Preludio #1 desasosiego que llega hasta nuestros días. cada cual” 11: kiss, kiss... bang! bang!
En la Viena finisecular, el solitario Kraus
En el tiempo en que todo se desmorona, emprende una titánica batalla lingüística contra el
en la era glacial de los sentimientos, aparece un mundo y no deja títere con cabeza. Es el último – 11
último intento de supervivencia, una tentativa profeta inventariando todo lo que va a morir. Su
desesperada de redimir al mundo en un acto épi- Die Fackel5 es la antorcha que ilumina y anuncia el
co-erótico que posee, en sí, visos de tragedia. Este fin en el tiempo del lobo que acecha al espíritu para
último profeta, este antihéroe weinegeriano, este darle muerte. Kraus lleva a cabo, tanto en sus es-
terrorista krausiano, este cowboy del Apocalipsis, critos como en sus oratorias de café, una apología
se detiene solitario, y otea el horizonte en llamas de la fantasía y de la imaginación que se yergue
a la espera del diluvio que borrará todo tiempo contra el espíritu realista: “El arte desordena el
pasado y del que renacerá, cual ave fénix, el uni- mundo. Los poetas de la humanidad establecen
verso. Su soledad ya no es solipsista sino narcisis- siempre el caos”6. Su fe en la lengua reside, no en su
ta. De lo único que posee certeza es de sí mismo función comunicativa, sino en la capacidad crea-
(de su ser-fragmento) y, sin embargo, necesita al dora de ésta. El artista, el poeta y el amante deben
Otro para poder encontrarse. Su creencia obtusa devolver al lenguaje la imaginación y la creación.
en el amor supone (como todo acto amoroso) re- La invención del lenguaje amoroso, a
conocer la idealidad de sí en el objeto amoroso. modo de juego íntimo, es una ruptura de lo nor-
Un acto de entrega y desposesión, que a su vez mativo que permite establecer una comunicación
implica cobardía y deserción, porque al (creer) ha- no lingüística entre los amantes. La imposibilidad
llar finalmente al ser amado, cesa la búsqueda de intrínseca al lenguaje se supera por medio de la
sí, aquella que nos recorre como un impulso vital creatividad. Es así como el ser puede hacer frente
y permite que el caos se instaure como forma de al vacío del mundo y a la sensación de extraña-
vida privilegiada. miento (Entfremdung). El sentirse extrañado es
uno de los leit motiv de la literatura desde Kaf-
ka a Cortázar, y dicho sentimiento está ligado a
El amor es más frío que la muerte1
lo lúdico7 y a la recuperación de un cierto goce
La (im)posibilidad misma del amor está estético en el juego lingüístico. Frente al extraña-
ligada a este acto de reconocimiento y de cese en miento, concebir nuevos sistemas no normativos,
la búsqueda. Es el saberse fragmento o compen- caóticos y anárquicos, permite al individuo libe-
dio inestable en el que lo transitorio permanece rarse de las ataduras que lo constriñen. La recu-
sobre lo cambiante. Y es, a su vez, la esperanza en peración del caos y del absurdo en lo cotidiano, la
una posible completitud, en una posible identifi- aproximación del arte y la vida, abre posibilidades
cación en un alter ego ideal, en lograr encontrar infinitas para el individuo. En el capítulo 68 de
finalmente a un compañero de viaje que nos haga Rayuela de Julio Cortázar8, los amantes, Horacio
sentir menos solos. Una ambivalencia experiencial y la Maga, se inventan un lenguaje íntimo al que
que hace del yo sustancial el funambulista en la llaman el gíglico: «Apenas se entreplumaban, algo
cuerda floja en el momento mismo de inestabi- como un ulucordio los encrestoriaba, los extrayuxtaba –
lidad, en la milésima de segundo que antecede la y paramovía, de pronto era el clinón, las esterfurosa 1
Liebe ist kälter als der Tod, Rainer Werner
inevitable caída al vacío. Lo que el amor contiene convulcante de las mátricas, la jadehollante emboca- Fassbinder, 1969.
de idealidad, lo posee en el mismo grado de dra- pluvia del orgumio, los esproemios del merpasmo en 2
Pensemos en la imagen del artista de À
matismo y escepticismo. una sobrehumítica agopausa». La propuesta que el
rebours de Joris-Karl Huysmans, 1884. Existe una
El reconocimiento no es sólo amoroso. En gíglico trae consigo, permite la aparición, desde el
edición en castellano, A Contrapelo, Ediciones Cá-
el intento por componernos, buscamos también vacío, de nuevas formas y sentidos.
tedra, Madrid, 1984.
pequeñas partes de nosotros que no sólo nos ha- La creencia en el arte como posibilidad de
gan comprender a nuestro Yo introspectivamente redención, el vivir de otra manera y atender a los Maurice Maeterlinck (1862 - 1949) diría
3
sino también a ojos de los demás. De ahí esta ma- problemas del espíritu se convierte en un impe- que aquel que sabe (o cree saber) qué es la felici-
nía moderna de la exposición de nuestro ser (con- rativo. El caos y el desorden se tornan necesarios dad es porque ya la ha perdido.
formado de música, imágenes o estados de ánimo) ante el orden y el letargo del tiempo presente. El 4
En Sobre verdad y mentira en sentido ex-
en la virtualidad. En nuestra Weltanschauung par- caos y la no sistematización, lo alternativo contra tramoral (1873), Nietzsche (1844-1900) lleva a
ticular, ya no es posible creer en los genios. Si en la lo aburrido, hacen de la imaginación un modelo cabo una crítica al lenguaje y a la idea de verdad
Europa fin-de-siècle habita el esteta antiheroico en de vida político contra la política institucional. La que tendría una importante repercusión en el pen-
su torre de marfil2, ésta es sustituida ahora por una pérdida de valor debe ser superada con la emoción samiento posterior. Nietzsche entiende la verdad
torre de cristal en la que es constantemente vigila- y con la imaginación para lograr la salvación de como mentira colectiva, fruto de una convención
do y sojuzgado. El exponerse es la búsqueda. todo lo que atañe al espíritu. Bailar hasta perder que deriva de la condición del hombre como ani-
Este retorno a una asunción romántica de el control, sentir la música hasta marearse, flotar mal social y le lleva a crear códigos, metáforas y a
la individualidad y del placer estético, hace que el y olvidarse de sí mismo y de la angustia vital, nos clasificar la verdad como buena y la mentira como
síndrome de Stendhal brille con actualidad. Es la hace pensar en las palabras de Weininger acerca mala. Ver Friedrich W. Nietzsche, Sobre verdad
belleza que produce mareos, la sensación inten- del vals: “en él un movimiento circular lleva en y mentira en sentido extramoral, Tecnos, Madrid,
sa de belleza que se agota y se torna trágica. Sus volandas al yo, que pierde así su soberanía aban- 1990.
síntomas pueden reflejarse en ciertas fugacidades donándose a una vertiginosa experiencia sin meta
cotidianas que, al desaparecer (aparición y des- ni sentido”9. La juventud asfixiada por la décadence
5
Die Fackel (la Antorcha) era el diario fun-
aparición van de la mano), nos dejan el regusto del tiempo presente se ve abocada a la decadanse. dado en 1899 por Karl Kraus (1874-1936) que
amargo de la felicidad3: en el acto de reconocer dirigió, publicó y escribió hasta su muerte, y desde
una canción, todo lo que ello implica de memoria el que atacó la hipocresía, el psicoanálisis, el reina-
El último profeta do de Francisco I y Sisí Emperatriz, el nacionalis-
y pasado reactualizado, y en el impulso que nos
transporta desde el tarareo tímido al canto furio- Cuando ya no queda nada que esperar, el mo pangermánico, y la política entre otros.
so, desbocado, orgiástico incluso. Notar la música Silencio (como el juego) es otra de las soluciones 6
Kraus en Die Fackel, citado en Josep Ca-
muy dentro del estómago, ardiente y apremiante, necesarias. En él, la capacidad de pensamiento se sals, Afinidades Vienesas, Anagrama, Barcelona,
y cantar y gritar y sentir cómo sube hacia alguna torna posible y deja entrever cierta “verdad de lo 2003, p. 110.
zona del córtex cerebral para alcanzar finalmente real” como en el destello benjaminiano. El Silencio
los lacrimales. Es un dejarse llevar, el yo en volan- es como la imagen en su doble régimen en la que
7
En conexión con las ideas planteadas por
das transportado por la intensidad emocional que tan sólo, en un instante fugaz, podemos adivinar Schiller en sus Cartas sobre la educación estética del
se hace pasado al pronunciarse y que deja el vacío qué es lo que hay detrás. Aquello insalvable por hombre. Ver Friedrich Schiller, Cartas sobre la edu-
tras de sí. La disolución en la dimensión musical el lenguaje, intransmisible e incomunicable. Es cación estética del hombre, Aguilar, Buenos Aires,
entraña al mismo tiempo el regreso y la pérdida, en este lugar de fricción, en este vacío, donde se 1981.
un permanecer-tristeza que nos habla de la produce el pensamiento revelador que puede con- Julio Cortázar, Rayuela, Ediciones Cáte-
8
desesperanza del ser consciente de su finitud. El ducirnos a la acción. dra, Madrid, 2001.
choque dialéctico que se da en un sentimiento o La recuperación de este no-espacio, está
en una percepción es este mismo reconocimiento presente en algunos cineastas como Antonioni o
9
Citado en Josep Casals, op. cit., p. 34.
stendhaliano: finito e infinito; posesión y despose- Haneke. La llamada trilogía de la glaciación10 de 10
El séptimo continente (1989); El vídeo de
sión; turbación y clarividencia. éste último es prueba de ello: sus largos planos Benny (1992); 71 fragmentos de una cronología del
secuencia (de más de nueve minutos) con accio- azar (1994). Existe una magnífica edición de la
nes repetitivas sin finalidad aparente, permiten al trilogía por ediciones Cameo del año 2006.
La (im)posibilidad (in)finita
espectador una sucesión de estados anímicos y
Bertold Brecht, Diario de trabajo (1938-
11
A partir del pensamiento vienés de fines perceptivos que dejan entrever lo que hay tras las
1955). Citado en Georges Didi-Huberman,
– 12
del XIX y del postestructuralismo francés se ha apariencias de la vida cotidiana. Desde el silencio
Cuando las imágenes toman posición, Antonio Ma-
normalizado la desconfianza en el lenguaje, pareja hanekeano se construye el espectador activo por
chado libros, Madrid, 2008, p. 69.
a la existente en torno a las imágenes. El pensa- excelencia.
–the people on the stalls and I know exactly where viewer, in this case me. All these stories, all this I have never had an emotional link with him and, 10 11 Yes. I feel the way works are displayed in and keep it at home. There are things without To what extent do you let yourself be in- there is a mass promotion and attack to promote
I have to look. There are around ten or twelve poetry involved in the world of art is what inter- to be honest, I don’t expect to have a Tàpies in museums is very cold. I believe that if next to a importance, objects I never show, which I collect fluenced in your choices? Do you take into ac- bottomless collecting. Maybe I’m wrong and in
booksellers who almost always have interesting ests me the most. I am a romantic. my collection. There are many artists who don’t painting by Basquiat or Warhol there were per- because I find them interesting. But the art col- count the views of critics or the filter of the gal- some years I will say to myself “Gosh, why didn’t
RAFAEL TOUS’ CABINET things. I go at eight o’clock in the morning, when
they have not yet finished setting up the stalls For us it is natural to establish a reading
interest me and not because they’re bad artists. In
this respect, in all my collections and in general
sonal and daily objects of the artists themselves, it
would be easier for people to enter the universe of
lection and the library will be public. lery or institution to approach a determined artist
or choose a specific work?
I keep all the Pokemons in the world!” Of course,
it’s a phenomenon. Some children keep them and
OF WONDERS and they take out the bundles, still unopened.
They let me touch them, give me the parcel
of your collection as another conceptual work.
Do you recognise yourself as an artist?
in my life, there is a highly personal aspect of
collecting strictly what I like. So, I don’t think
these artists. However, what is actually offered is
a mythologizing of these figures without a human
In terms of public institutions, how do you
see their attitude in the Spanish case in relation Absolutely not. I don’t like art criticism,
I’m sorry. I believe that the only ones who can ex-
some lose them. I don’t understand how someone
can lose a collection, although I did lose many
and tell me: “Open it, have a look, and take out about the future, it is quite similar to the story of content, thereby obstructing the viewers’ identifi- to the promotion of collecting and of contempo- things when I was a child, because they took them
Creatures anything that interests you.” I have found real Yes and no, we are all frustrated artists. I Orson Welles in Citizen Kane who, when he was cation with contemporary art. rary art in general? Could you mention some in- plain the work are the artists and that’s why I buy from me. One day my mother got mad with me
wonders there: old photographs, postcards or have had to devote myself to an industrial-busi- dying, utters a word that nobody understands: If my art collections were presented with ternational reference? directly from them. In the first place, they offer because I had plastered a wall in my room with
out-of-print books which cannot be found any- ness activity most of my life. Rosebud, which is the sledge of his childhood. other pieces from my collections, for instance me a wider range of works, while in a gallery I will my collection of cinema programmes and she
Could you tell us about your experience where else. Artists, such as Marcel Duchamp, ac- He has great works of art but he remembers an comics, many viewers would probably positively I’d ask the Government to set up the per- find the selection of pieces that the gallery owner took them down. Instead of keeping them in a
as a collector? I like the Mercat de Sant Antoni a lot, but cumulated objects establishing strange relations object from a time when he was happy. It is this identify with the fact of collecting, and I think it tinent tax modifications so that people are not likes. In the artist’s studio I can see practically a folder, that day I stuck them on the wall and they
in fact I like all the flea markets. For instance, between them, or Joseph Cornell, who was a tai- emotional link with things to which I’m refer- would be a good thing. scared to collect and open their doors to collect- retrospective, with documentation and, above all, all disappeared.
It is quite a primitive habit which goes when I go to New York, on Saturday and Sun- lor and made small boxes with buttons, pieces of ring. I’m sometimes accused of not collecting ac- ing. In the United States all collections ceded to I can talk to them. For me, the person who creates
back to childhood. I’ve been collecting since I day I visit the Flea-market on Sixth Avenue, or cloth, thimbles, stuffed birds and other objects. In cording to a determined plan, but what interests One of the most documented cases is that the State are completely tax deductible, which is the work is very important, if the person doesn’t Are there any collectors in your family?
was ten. At that age, I used to collect everything, Broadway. If I go to Paris, the same: I know for some way the interest that these great artists had me is spontaneity. of Frederic Marés, who also collected in a broad why there are so many collectors. However, in interest me, neither does the work.
and at the time I remember that I was interested instance that there are old books on Saturdays in the object can be similar to what happens to me. sense. Nobody doubts that your art collection Spain almost nothing is deductible; here the per- One of my daughters is a natural born col-
in the picture cards of cinema stars. At the Jesuit and Sundays at the former Abattoir de chevaux Spontaneity is clearly one of the start- will finally form part of a public museum, at least centage is so tiny that nobody cares. Private col- In your buying process, you ignore the lector. All my sons have somehow gradually been
school where I used to go in Barcelona, they were (horse slaughter house). Do you establish relations between your ing points of your passion for collecting. How- there is an institutional interest in this happen- lecting or artistic management initiatives are less role of the gallery. Do you believe that the task polluted by my life. Another of my daughters
banned because they were considered obscene. In other words, I am interested in this conceptual art collection and photography col- ever, you don’t leave the future of your objects ing. But what do you think about the rest of your expensive than public ones, and that is why they of the gallery owner does not fulfil an important now also collects wine corks, bottle labels, cards
They featured pictures of Ava Gardner, Lauren world of flea markets, antique shops, paper, ob- lection with all your collections of magazines, to chance; you devote many hours to making collection? Do you believe that a future Rafael should be further encouraged. For instance, at a function as an art distribution channel? from the places where she goes and postcards
Bacall, Greta Garbo… they were beautiful black jects and weird things. For instance, now I am also postcards, posters, labels, picture cards…? records, cataloguing… Tous Museum is possible or imaginable, such management level, the programme at Metrònom from the places where she travels. All my children
and white picture cards, some of which I still have. collecting glass balls with pictures inside, not the as that of Frederic Marés, where your collec- would be impossible in any other public centre in With the gallery, the situation is similar to buy books, so that is something I have achieved. I
Then I started collecting cinema posters ones which only have snow, but those that have I have no formal training. I am a post-war Nonsense. I have my work concentrated tion of wonders can be accessible to the public? Barcelona with the same budget. They would not that of collectors. I have met gallery owners who have always promoted collecting within my fam-
and all kinds of travel brochures because I was an old picture, something very usual in the 1920s baby and I studied at the Jesuit school, which was in an intensive timetable to have free afternoons. even have enough to start with the 25 million pe- work for love of art, like me. Gallery owners who ily, I do it out of pure selfishness, it is a guarantee
very keen on the idea of travelling. My father and 1930s. In the United States they were made horrible because they didn’t teach you anything, I normally spend Tuesdays, Wednesdays and At Metrònom we are starting a stage where setas that Metrònom has per season to programme are friends of the artists, who have helped them in that in the future what I have won’t disappear. I
took National Geographic which included brief with liquid resin, people made them at home, they they focused on training in the national spirit Thursdays in Metrònom, and I devote the other we wish to involve scientists in artistic projects. the experimental music concerts, dance, the ex- their careers, who bought their works, who didn’t know many people whose children, after their
ads that said: “Write to this address and we’ll put a flower inside, or a crab or a butterfly, and the and religion. days and the weekend to my things, my objects, We are talking with scientists linked to the uni- hibitions in the main hall, and in the small one, exploit them, and who even had a bed in their parent’s death, have thrown everything away or
send you tourist information on Manitoba, Togo result when it solidified was beautiful. They are All I know of culture I have learnt by my- my pleasures. Also, I never go to bed before 2 versity to foster at the Foundation interactions video sessions, the catalogues, staff salaries… homes in case they needed to sleep there one day. have sold it cheaply because they never realised
or Belgian Congo.” objects which have yellowed over time, with these self, reading, looking. I have not studied fine arts am, which is when I am most relaxed at home. I between science and art, recovering, somehow, A single exhibition in any public space These are for me great gallery owners. But there the real value of these collections. My children do
I used to write and enjoyed receiving en- things floating inside. or art history, I am self-taught. However, it is clear put on some music and set about classifying my the 18th century enlightened spirit. I like those needs this budget. Moreover, the public exhibi- is also the figure of the exploiting gallery owner understand. And they also know that my collec-
velopes with stamps from all over the world, full that there are relations between, for instance, my collection, my books, objects… I have everything museums that wealthy people had in their homes tion is managed by politicians; and politicians, who obliges artists to pay for the catalogue or who tion of conceptual art or my library will be public
of travel brochures, some of which I still have. In Given the way you describe your relation- collections of aucas and my collection of original classified, everything arranged, I know exactly which featured paintings, engravings, maps, an- with few exceptions, know nothing of culture. asks them for work in exchange for an exhibition some day, because their father wishes it so.
other words, my passion for collecting is innate. At ship with collecting, do you believe that it can be comics, in fact the first are the antecedents of where everything is, and I do it all myself, I don’t cient books, human skeletons, fossils, physics and who does not promote them at all. The worst
fourteen, I started working in textiles in Sabadell considered that the act of collecting has some- comics and I have aucas from the 18th century. have a secretary to organise the catalogues or the equipment, china objects and all kinds of won- Metrònom has played a major part as a thing about this country is that there is a tre- Do you live with the works and objects of
and at that time I temporarily abandoned collect- thing to do with attempting to conserve memory, There is harmony and coherence between every- books, or the posters, postcards, but everything ders mixed together. In these cabinets of curiosi- context for building your art collection. Could mendous lack of professional galleries and that’s your collection?
ing, until I got married at twenty-five. to retain experience? thing. It is possible to establish relations which is in its place and well classified following some ties there was an intensive work relating art and you explain how it has influenced your role as why the international repercussion of Spanish art
My father-in-law was an art collector. link some pictures with others, from the aucas to rules I defined myself. A collection is useless if science. And this is the project that excites me a collector? is limited to three or four names while there are I live with part of them, but I would like
I used to go with him to buy pieces at antique Yes, I preserve my memory, that of the conceptual art or the new technology project we you cannot find or consult what you have. now. For me it has the same importance, the same thousands of French, Swiss, German or American to share them with more people. It is like when
shops and art galleries in Barcelona. He mainly moment when I find these things but I also like are currently developing at Metrònom. value, I feel the same tenderness for my corks as Metrònom has always formed part of my artists known internationally. In our country this you cook and friends come, you like it when they
collected classical art and Catalan impressionism: recovering the memory of those who made them. It must be a problem storing all of these for one of my paintings, although it seems an ec- concept of a collector. Faced with the lack of doesn’t happen, perhaps because of the bad insti- say that it’s good.
Nonell, Casas, Rusiñol… I started buying small For instance, some years ago I bought a postcard Your hobby since you were a child of collections and the documentation. centricity, but for me the value does not exist, or at cultural venues in the eighties, when I opened tution or gallery management. I don’t know what
works of art, mostly sketches by these artists. This album in New York of a Catalan woman who collecting everything related to the image, from least it is something highly subjective. This is why Metrònom, I wanted to create a place where I the problem is but the result is that there are not Is the collection your alter ego?
period lasted from 1965 to 1970, when I realised wrote to a man living in New York. I bought them postcards, exotic travel brochures, pictures I’m lucky to have a lot of space where I I think I made the right decision when I started could show what I liked, such as the first exhibi- many internationally renowned Spanish artists.
that what I was doing was absurd because I was for 100 dollars but there were 500 postcards ar- cards… is it in fact the basis, the visual educa- can accumulate whatever occurs to me. The day I buying conceptual art at that time. They were tion of mail art. There was no place that wanted Yes. All the objects together in some way
buying works by dead artists which only ben- ranged by date from 1890. Nobody had touched tion, which in the 1970s naturally allowed you have to move will be a drama because I will have ephemeral projects that people believed would not to do so; that’s why I got together several friends What is your latest acquisition? represent the meaning of my life.
efited gallery owners and art dealers. That time this album. It’s quite funny because all the post- to begin collecting mail art, conceptual art, and to burn heaps of things or, like Tutankhamen, be preserved, they did not have any commercial or of mine, such as Joan Rabascall, Jaume Xifra, Pere
coincided with my divorce, which changed my cards of that time are very formal; today people later photography? take it all with me to the grave. I realise that many gallery value and museums were not interested in Noguera, Francesc Abad, Esteve Terrades, Josep My last purchase was an archive of pho-
life in terms of relations, social group, and it was put outrageous comments but, in the past, as eve- people would throw many of the things I have them. The same happened with photographs be- Maria Joan i Rosa and the art critic Gloria Picazo, tographs from the travel books of the publishing – 13
then that I decided to sell everything and to start rybody could read them, they wrote innocuous As a consequence of training myself, I away because they would consider them as being cause, at first, nobody believed that the series were and we opened an alternative cultural venue, where house Labor. There are around 15,000 or 20,000
a new collection with the money. It was probably things such as: “I hope you are well”, “Looking have been more interested in pictures than in of no interest, but luckily my children know the really limited and there was a tendency to believe we could exhibit strange things which were not original pictures from books such as Travelling
a mistake, maybe I should have kept it all. forward to seeing you soon” “How’s your family?”, text. Although I am a person who reads a lot, I passion that burns within me. that fraud was quite easy. shown in commercial galleries, as they were not through Nigerian Africa or Unknown Amazon.
From that decision in 1971, I bought a “I suppose it’s sunny in New York”, “Happy birth- don’t usually read theoretical texts. When I look When buying art, I have never been con- profitable, but which were works by artists who At an art level, the Floh series by the British art-
painting by Boix from the group of Valencian day”… one after the other, the same thing in all for some of my objects, previously classified, I al- In other words, in your case, the ap- cerned about prices going up or down in the fu- interested us. Until today, it has been the raison ist Tacita Dean. It is a work made from a series
artists Boix, Heras and Armengol, who had a hy- 500. I am interested in this physical memory of ways locate them visually, through photographic proach to the work or the object is always more ture. I have never bought art to speculate. I know d’être of this venue. We have exhibited painting, of family photographs of unknown people who
perrealist style resembling the American one. It the small, compact and very beautiful handwrit- memory. My collections are visual collections; I emotional than intellectual. that everything will cost more as objects get older, sculpture, photography, cinema, dance, comics, she met in a street market. Based on these pho-
was a huge piece and when I bought it I thought: ing of the lady who wrote them. Sometimes the buy something if I like it visually, not because it and above all if they are grouped in a collection, we are working in the field of digital art creating tographs, she created her fictional family. I liked
“Why have you bought such a painting? Where text does not fit on the postcard and she turns has a thematic content which especially interests I think that any project that distinguishes their value always grows. Imagine the day my laboratories, Metrònom Lab, where we can gen- it because it has a lot to do with my experience
are you going to put it?! It cost me 75,000 pesetas it over and continues writing on the picture. All me or because I need that work to fill a gap in itself, in whatever field, is successful because there grandchildren receive the 16,000 corks from half erate works using high technology. I believe that at the Mercat de Sant Antoni, which I mentioned
and was later on the record cover of a Valencian of them have stamps of Alfonso XII, who looks my collection. I am a man who likes looking. If I is an emotional involvement behind it, it is some- a century ago… I wish I had corks from half a Metrònom has been a platform which has allowed before. I think that in my life I have also done
band called Al Tall. The painting showed two young in the earlier postcards and very old in lost my eyes it would be the biggest misfortune in thing that rarely fails. For me it is the secret of life, century before. me to have a huge amount of information. We these kinds of things. I have just bought a series
hands holding a bird, one had held too tightly the later ones. This has a meaning and emotional my life. I need to see and observe. I can stop my to do whatever is necessary but out of love, for the But yes, I’d like my whole collection to al- have bought works from most of the people who of photographs by Iván Pérez.
and the bird had died and the other kept the bird value which interests me, it is like entering some- car in the middle of a road at night to look at the family, for books, for the business and it always ways remain intact. As you know, I have the idea have presented projects here, so I have contrib-
prisoner but it was still alive. one’s private world. stars and the moon, it seems silly but my passion works. Some believe that those who succeed are of donating it to the city of Barcelona, as soon as uted so that they can continue working. We have The consumer society has yielded new
is observing everything. always the most aggressive, but from my point I find a place to guarantee that the pieces are not also helped them to produce because everything ways of relating with objects. According to some
How many collections do you have at the Somehow your way of approaching the of view this is not so, without emotional involve- dispersed. presented at Metrònom has a production process. studies, one out of every three Americans has a
moment? objects which make up your collections has a lot Some studies on collecting describe sev- ment nothing makes sense. Metrònom has helped me above all to keep up to collection of some kind. How do you see the re-
to do with your interest in conceptual art, and it eral types of collector depending on whether The collections are interesting as they are date because it has allowed me to talk with many lations currently established with the objects?
I have a collection of picture cards, post- can even be identified as an artistic act. the spirit of the collector is philatelic, in terms What other collectors do you relate to or a series of objects linked together rather than artists about very diverse issues.
cards, ex-libris, aucas (strip cartoons with rhym- of part of an ideal list which must be complet- admire? just isolated pieces. What is the value of your Well, I didn’t know that specific statistic
ing couplets), gozos (pictures of religious scenes), I think so, because the things I buy have ed; and, on the other, a “hunting” collector who collection staying together? It is crucial for the artists to sell their pro- but I know another English statistic which says
books… Now I also keep labels and corks from no intrinsic value, they become so when someone looks for weird things, exceptions, and has no I am most interested in other collectors ductions to support their careers. What is the that one out of every six children collects some-
the wines I drink. I like them if they are silk- decides to buy them, keep them and do something encyclopaedic spirit. Do you identify with either like myself, those who like collecting absolutely I imagine that, if I sold it, they would buy commitment that you establish with these artists thing and that girls give up collecting at the age of
screen printed, if they have drawings on the cork. with them. When I started collecting conceptual of these typologies or would you define yourself everything, such as Josep Maria Joan i Rosa, who it so it would not end up with foreign museums from whom you buy work? Do you follow them ten, while boys continue until the age of eighteen,
I collect everything new I see. If I see a funny art in the 1970s, nobody was interested in this differently? is the owner of the Figueres Toy Museum. or collectors, but as I will donate it there is no throughout their career; do you support them by except some natural born collectors who continue
object I buy it and once I have it I think: “why not kind of art. They believed that artists were crazy: I like his collection because it brings to- material value. Although they know that it has buying on a regular basis? all their life, as in my case. The consumer society
have two or three?” the idea of measuring trees with tapes, taking a From my point of view, there are two gether all kinds of materials: toys, games, picture an important value, because of the exhibitions at has created a different type of collecting. Now
I have an innate tendency to collect eve- photo and then keeping it, or performances such types of collectors. One would be the sniper col- cards, comic books… always related to the world MACBA, Koldo Mitxelena in San Sebastián, in Yes. It is what interests me most, espe- there is a brand of Spanish T-shirts, I won’t say
rything I consider interesting. For instance, now as those of Jordi Benito, who submerged himself lector who buys a work to sell it later, a concealed of childhood. Palau de la Virreina in Barcelona, Centre d’Art cially in the photography collection, which you’ll the name, which is very fashionable in the United
I have started a collection of maps of Catalonia. I in mud and was half drowned. All these works dealer, who buys to earn money. The second case I am also interested in Tomàs Mallol, Tecla Sala in l’Hospitalet de Llobregat, in Burgos, notice if you look. In the seventies, I bought States, some Americans have bought up to 150
did the same with comics: I started with one orig- were ephemeral and only photographs or Super is the person who does so for love of art, and this who collects everything related to cinema. Now Logroño or this one in Malaga. conceptual art by artists such as Francesc Torres, different T-shirts of this brand. Other people are
inal, then four; later they called me “the sketchers’ 8 films remain of the performances as there was would be my case. I don’t care about the future of a museum is open in Girona with his complete As it is a donation they are in no hurry to Francesc Abad, Jordi Benito, Carlos Pazos… and attracted to collecting Swatch watches. Another
dad” and they came to Metrònom to offer me their no video. In fact, nobody was interested in this these works in terms of their value in the market. I collection, the cinema apparatus and everything accept it. The first excuse is that they don’t have I have been buying works from a whole genera- example of the TV visual massacre to which chil-
portfolios of sketches and I bought them. I have kind of art. value them more at a sentimental level because of else. Another Catalan collector who interests me a building, the second that it costs money; they tion of artists, mainly Catalan. A single piece does dren are exposed, it’s not surprising that there are
a collection of 20,000 ex-libris which belonged my affection for them over time. Another thing is is Carulla, with a large collection of posters of the don’t appreciate what they are given. What I do not interest me at all; I have always bought blocks phenomena such as Pokemons, these Japanese
to Dalmau. A few days ago I bought 5,000 gozos. Both in your collection and in the concep- when you have a disappointment because a piece Spanish Civil War, among other things, and is not accept is that it is scattered as happened with of work from each period. So that when I show sketches, with all the paraphernalia of picture
I also have 10,000 aucas, which are brief stories tual works to which you refer there is an interest you have bought is not what you expected or the obsessed with collecting books by Grau Sala, so the Museu Clarà. The Clarà family donated a col- my collection publicly, such as at the Tecla Sala cards, mini plastic toys, “tazos”…
used in tombolas and raffles. in considering objects as a document or memory artist’s career is not what you thought. everything that falls into his hands related with lection of sculptures which are scattered through or here in Malaga, I can show something coher- The case of Harry Potter is something
I collect everything that has a printed im- of something ephemeral, of an experience. I know I’m an atypical collector, I’m only the artist comes to form part of his collection. different museums in Catalonia; the artist’s work- ent through a sufficiently broad selection of work similar; children buy all the books published, ob-
age on paper. I would like to have everything. interested in collecting what I like and many They say collecting is expensive, but it shop studio, which they ceded, has been sold to from each artist so that they work as small solo jects… It’s funny, don’t you think?
Yes, I was really interested in the docu- people accuse me, even art critics when I ex- depends on what you collect and when you buy build flats. I want to prevent something similar exhibitions. Now the TV series Sandokan has been
We would really like you to tell us about mentary aspect, but mainly the poetic aspect of hibit part of my collection, of being excessively it, you can collect things that don’t cost a penny. happening to me. The collection has a meaning, republished as a part work. I asked the stallholder
your Sundays at the second-hand book market each object. In fact, I consider myself a collector eclectic, that I don’t specialise in anything, that What is most important is the value you give to it is that of a person like me who had conceived What mechanisms do you follow when if it was selling well and he told me that it was
in Barcelona, the Mercat de Sant Antoni. of poems. In the case of photography, for instance, I’m filling gaps, that I have things missing. Of each thing. it in a determined way and I do not want it to be buying a piece? doing very well, mainly among women who are
I am really interested in analysing it as an act of course, there are things I don’t have because I’m destroyed. If public institutions don’t accept it, it now over fifty and followed the series on televi-
I have been going there for twenty-five voyeurism between the photographer, the camera, not interested in those who make them. For ex- Would you like to set up a cabinet of will belong to my children. But I think the weird- In 99% of the cases I buy directly from sion quite a long time ago. They buy the videos
years, whenever I stay in Barcelona. I know all the model or object to be photographed and the ample, in my collection I have no Tàpies, because wonders? est thing in the world is to compile a collection the artist. because they find the actor gorgeous. I mean,BINNENLAND. From Private to Public and in between
Dit is detweede editie van het RaamProject bij RUIM. In haar etalage, aan de Nieuwe Binnenweg 226A te Rotterdam, nodigt zij iedere twee
maanden een kunstenaar uit invulling te geven. Kunstenaars uit variabele disciplines worden per project uitgedaagd de interactie aan te gaan
met etalagepassanten. In deze editie is het Carme Nogueira die aan het werk gaat. Carme is RUIM opgevallen door haar eerdere projecten,
waarin ze haar werken letterlijk op straat exposeerde. Bij dit Raamproject zal ze inspringen op het binnen/buiten gevoel versus het publieke/
privé domein.
«I always had some suspicions about places that are supposed to be public. The further you step out of the city centre, the more people use public space. What
does public mean? A collective way of using, I guess. How to define the indefinable border between public and private space? In this search I found multiple
nuances of meaning between them. For instance, between Nieuwe Binnenweg1 and the gardens in the back is “project space RUIM”2. During the period
from 22nd May to 15th June this space is going to be my intermediate space.»
Carme Nogueria
BINNENLAND. De lo Privado a lo Público y sus lugares intermedios
Esta es la segunda edición de RaamProject en RUIM. En su escaparate, situado en Nieuwe Binnenweg 226A, en Rotterdam, se invita cada
dos meses a un artista a intervenir. Artistas de todas las disciplinas son desafiados a interactuar a través de la ventana con los transeúntes. En
esta edición la invitada fue Carme Nogueira. En muchos de sus proyectos anteriores, Carme ha trabajado en esta dirección, donde su obra fue
incluso expuesta literalmente en la calle. En este Proyecto su preocupación responde al binomio espacio interior/exterior frente al sentimiento
público y al dominio privado.
«Siempre he tenido sospechas sobre los lugares que se suponen públicos. Cuanto más te alejas del centro de la ciudad, más fácil es ver a la gente usando el espacio
público. ¿Qué significa lo público? Imagino que una forma colectiva de uso. Pero, ¿cómo definir el límite difuso entre lo público y lo privado? En este cuestio-
namiento he encontrado múltiples matices. Por ejemplo, entre la calle Nieuwe Binnenweg1 y los jardines interiores se encuentra el espacio de proyectos RUIM2. Nieuwe Binnenweg
Durante el periodo del 22 de mayo al 15 de junio este espacio va a ser mi lugar intermedio.»
Carme Nogueria
------------------------------------------------------------------------------------
1 FAM-RUIM
Most of the residents of Nieuwe Binnenweg are emigrants from different countries.
The back gardens aren’t visible from the street and there isn’t equal access to them. The
garden is divided into different properties.
2
After this project it was planned to do another one on the back garden with the col-
laboration of the residents.
ACHTER TUIN
1
Los habitantes de la calle Nieuwe Binnenweg en este tramo son mayoritariamente
emigrantes de diferentes nacionalidades. Los jardines interiores no son visibles desde
la calle y no todas las viviendas tienen el mismo acceso a ellos. La finca pertenece a
diferentes propietarios.
2
Posteriormente a este proyecto estaba prevista una actuación en torno al jardín poste-
rior en colaboración con los vecinos.
BINNENLAND was a project that took place in
RUIM, Rotterdam, from 22nd May to 15th June 2009.
It consisted of a three-week work video installation
from a specific work site and two sound installations:
“Gardens” (in collaboration with Marco Maril) and “A
conversation”, a discussion with the persons in charge
of the project venue. Original language: Dutch.
22nd May 2009 2nd June 2009 8th June 2009 12nd June 2009
BINNENLAND fue un proyecto que se llevó a cabo
en RUIM, Rotterdam, entre el 22 de mayo y el 15 de
junio de 2009.
Consistió en una instalación de vídeo que pudo visitarse
durante tres semanas, a partir de un trabajo in situ y dos
instalaciones sonoras: “Jardines”, en colaboración con
Marco Maril, y “A conversation”, una conversación con
las responsables de la sala. Idioma original: holandés.
22 mayo 2009 2 junio 2009 8 junio 2009 12 junio 2009
12
31st May 2009
Video screening. The
13
image shows me work-
ing in the back garden.
This video makes visible
what is just behind the 14th June 2009
glass but circumventing The space is opened to go into the back garden.
the intermediate space: Over the last few days, I was building a blackboard.
nd nd
22 May 2009 the project room. The 2 June 2009 This blackboard is put in front of the space to invite
Sound installation, in collaboration video was screened at Night screening of a 6th June 2009 the people in the street to go inside and join the
with Marco Maril. An audio work night. As it was getting video that shows me Night screening of a video that shows 10th June 2009 12th June 2009 discussion.
19th May 2009 from different socially active public dark, it became more picking up weeds from me constructing something in the Night screening of a video that shows Night screening of a video that shows The second sound installation “A conversation” can
Nieuwe Binnenweg spaces from the neighbourhood. visible. the back garden. back garden. 8th June 2009 me painting in the back garden. me drawing in the back garden. be heard outside.
19 mayo 2009 22 mayo 2009 31 mayo 2009 2 junio 2009 6 junio 2009 8 junio 2009 10 junio 2009 12 junio 2009 14 junio 2009
Nieuwe Binnenweg Instalación sonora, en colaboración Proyección de un vídeo Proyección nocturna de Proyección nocturna de un vídeo en Proyección nocturna de un vídeo en Proyección nocturna de un vídeo en Se abre el espacio para entrar en el jardín.
con Marco Maril. Un trabajo a partir en el que se me ve lim- un vídeo en el que se me el que se me ve construyendo algo en el que se me ve pintando en el jardín el que se me ve dibujando en el jardín La pizarra que construí durante esos días se instala
de sonidos de diferentes espacios pú- piando el jardín trasero. ve recogiendo maleza el jardín trasero. trasero. trasero. delante del espacio para invitar a la gente a unirse a
blicos del barrio socialmente activos. La grabación pone al del jardín trasero. la discusión.
descubierto lo que está La segunda instalación sonora, “A conversation”,
justo detrás del cristal, suena en el exterior.
pero eliminando el es-
pacio intermedio: la sala.
El vídeo se proyecta en
horario de tarde y a me-
dida que va oscureciendo
se va haciendo visible.
1. -What idea did you have about this gar- Floor: You just told me that in Spain the gar- 1.-¿Qué idea tenéis de este jardín? Floor: De otro modo tendríamos que tener en 1.-Wat is het ideaalbeeld, dat je voor ogen behouden. Een park is voor breder publiek
den? dens are in the front of the House and are Floor: Permitir a los residentes usar el jardín cuenta permisos y todas esas cosas. hebt met deze tuin? maar in onze tuin heb je de mogelijkheid
Floor: To allow residents to make use of the open to neighbours. I have the feeling that in que se fue degradando durante los últimos Floor: Dat we buurtbewoners de mogelijk- om je eigen zaadjes te planten, barbquen en/
garden that has been deteriorating over time the Netherlands, gardens are indeed a little años debido a los empresarios. Normalmente 3.-Quizá debido a mi base cultural como es- heid geven om gebruik te maken van de bin- of biertje te drinken. Met deze vrijheid komt
because of entrepreneurs. Usually people are a more hidden and behind the house. I must la gente se pone celosa al mirar el jardín pañola, tengo la sensación de que el jardín es nentuinen die in de loop der tijd verloederd dus dat niet iedereen van deze vrijheid ge-
bit jealous looking down at the wild garden. say that I never (really) was educated with the salvaje. Por ello ideamos una amable inter- bastante privado, ¿cómo lo sentís vosotras? zijn door de ondernemers. Normaal gespro- bruik kan maken.
This is why we devised a nice interpretation idea of a private space. It was never an issue pretación del descontento relacionando las Floor: Me acabas de decir que en España los ken zitten mensen een beetje jaloursig naar Floor: anders kom je weer aan met vergun-
of the discontent, linking the ideas of local that concerned me until we approached it. ideas de los residentes locales con los artistas jardines están delante de la casa y que son beneden te kijken naar de rotzooierige tuinen. ningen enzo.
residents with artists from our network. Obviously there are separate houses for richer de nuestro network. accesibles para los vecinos. Tengo la sensación Voor deze onvrede bedachten wij een mooie
Anique: The first image was of an unused people in the Netherlands. But houses here Anique: La primera imagen que tenía era la de que en Holanda los jardines están real- invulling, door de ideeën van buurtbewoners 3.-Ik, met mijn culturele achtergrond uit
space, a space lost in the city. You could cre- are closer together and many people do not de un espacio desaprovechado, un espacio mente un poco más escondidos y detrás de te koppelen aan kunstenaars uit ons netwerk Spanje, heb het gevoel dat deze tuin toch
ate, for example, the largest garden in Rotter- have enough space. So you must either have perdido en la ciudad. Aquí podrías hacer, por la casa. Debo decir que yo nunca me eduqué en er zo opnieuw invulling aan te geven. nog erg privé is, hoe is dat gevoel bij jullie?
dam to make the Netherlands’ biggest market. the garden in your home or you need a lot of ejemplo, el jardín más grande de Rotterdam (realmente) con la idea del espacio privado. Anique: het eerste beeld was dat de ruimte Floor: je vertelde me net dat in Spanje dat de
We involved artists in this project to re-define money to live in the countryside. The city is para construir el mayor mercado de Holanda. Nunca fue un tema que me preocupase hasta niet gebruikt werd en dat is zonde van zo’n tuinen om het vrijstaande huis lopen en ze
this empty space. often framed more and more around a back Implicamos a artistas en este proyecto para que nos hemos acercado a él. Obviamente en lap grond midden in de stad. Je zou er bi- eigenlijk toegankelijk zijn voor bijvoorbeeld
garden. redefinir este espacio vacío. Holanda hay casas individuales para la gente jvoorbeeld de langste tuin van Rotterdam van buren en overzichtelijker. Dat gevoel ken-
2.-Will the garden be open to the public? Anique: I think that the main peculiarity in más rica. Pero aquí las casas están muy juntas kunnen maken aan de langste winkelstraat nen wij inderdaad kennen wij wat minder in
Floor: I do not think we should leave it com- Rotterdam is that there are blocks where a 2.-¿Estará abierto al público el jardín? y mucha gente no tiene suficiente espacio. Así van `Nederland. We koppelden kunstenaars Nederland zijn de tuien inderdaad wat meer
pletely open as if it is more intimate and large extension of greenery is hidden within. Floor: No creo que debamos dejarlo com- que o bien tienes un jardín en tu casa o neces- aan dit project ter ondersteuning van de her- verborgen en liggen dan ook achter de won-
personal, it remains safer. This will stimulate You can also see that there is life inside and pletamente abierto: si es más íntimo y per- itas mucho dinero para vivir en el campo. La invulling van deze brakke grond. ing, Alleen heb ik dat nooit zo (erg)ervaren
mutual contact; people may then make ar- want to know more about it. In Rotterdam, sonal se mantiene más seguro. Esto estimula ciudad está cada vez más dibujada alrededor dat iemand een privé stukje grond heeft. Het
rangements with each other through a blog there are even public gardens that are more el contacto mutuo, la gente tiene que llegar a de los jardines interiores. 2.-Moet deze tuin toegankelijk zijn voor is me nooit zo opgevallen totdat wij erover
or something similar. You achieve teamwork like parks where some schools have their acuerdos a través de un blog o algo similar. Anique: Pienso que la característica más im- het grote publiek? sproken. Er zijn Uiteraard losstaande huizen
if you keep the group small. playing fields. It is a discovery, and you should El trabajo en equipo es más fructífero cuanto portante de Rotterdam es que hay viviendas Floor: Ik denk niet dat we hem helemaal voor de wat rijkere in Nederland. Maar om-
Anique: I agree. This garden is designed to be aware of it in Rotterdam. There are many más pequeño es el grupo. con una gran extensión de verde escondida en open moeten gooien, het is eerder beter als dat Nederland wat dichter behuisd is hebben
control and see what happens and how peo- gardens open to the public that are not easily Anique: Estoy de acuerdo. Este jardín está su interior. Puedes ver que hay vida y querer het intiem en persoonlijk blijft, veilig. Dit zal veel mensen die mogelijkheid ook niet vaak
ple relate to it. A bigger garden or park works visible; in other words, there are hidden. diseñado para controlarlo y ver qué sucede, saber más. En Rotterdam existen jardines que het onderlinge contact stimuleren, ze maken genoeg. Dus je moet of wat centjes hebben of
differently from a small garden where you can cómo se relaciona la gente con él. Si piensas son más como parques donde incluso algu- dan mogelijk met elkaar afspraken middels je moet op het platte land gaan wonen, wil je
interact. 4.-Where will the garden entrance be? en un jardín o parque de grandes dimensiones, nos colegios tienen sus zonas de recreo. Es un een blog of iets in die richting, teamwork be- de tuinen om je huis hebben. In de stad is dat
Floor: Now we have around 300 square feet, Floor and Anique: At Café Patricia! funciona diferente a cómo lo hace un jardín descubrimiento y hay que prestar atención a reik je als je de groep iets kleiner houden. vaak wat meer ingekaderd en betreft het vaker
so we think that the ideal number is up to 30 pequeño, donde puedes interactuar. estas cosas en Rotterdam. Muchos jardines Anique: daar ben ik mee eens voor deze tuin, een binnentuin.
people, otherwise they would get in the way. Floor: Nosotros ahora tenemos alrededor de abiertos al público no son fácilmente visibles, om controle te houden en te kijken wat daar Anique: Ik denk dat het voornamelijk Rot-
But the more space there is, the more peo- 300 pies cuadrados, así que pensamos que lo es decir, están escondidos. in eerst ontstaat, hoe mensen daar mee om- terdams is dat er huizenblokken zijn waar een
ple can participate. Of course, it is tempting ideal es que el jardín pueda albergar a unas 30 gaan. Als je denkt aan de mogelijkheid van de grote lap groen binnen verborgen zit. Je moet
to open the garden to visitors to take a look personas; de lo contrario estarían juntos pero 4.-¿Por dónde se entrará en este jardín? langste tuin/park zal dat anders zijn dan een er boven wonen en in kunnen kijken wil je
around but it should not be a park. se estorbarían. Pero cuanto más espacio, au- Floor y Anique: Por Café Patricia! privé tuin waar je je voor aan kan melden. daar weet van hebben. In Rotterdam zijn er
Anique: Yes, we want to apportion responsi- tomáticamente más gente puede participar, y Floor: we hebben nu maar iets van 300 vier- zelfs publieke tuinen die meer naar een park
bilities but also remain free. Our garden is not por supuesto es una tentación abrir a menudo kante meter, dus daar willen we maximaal 30 neigen waar bijvoorbeeld ook scholen zitten
a park for a large audience but you can bring el jardín a los visitantes para que echen un vis- mensen op zetten anders gaan ze elkaar maar met speelplaatsen. Het is wel een ontdekking,
seeds to plant, have a barbecue or drink beer. tazo, pero no debería ser un parque. in de weg lopen. Maar het meer oppervlakte en je moet het wel van Rotterdam weten. Er
Not everyone knows how to use freedom. Anique: Sí, y nosotras queremos asignar re- wordt kunnen daar automatisch meer mensen zijn heel veel tuinen publiekelijk open waar
Floor: Otherwise we’d have to consider li- sponsabilidades, pero también mantenerlo li- aan deelnemen en uiteraard wordt de tuin een ik nog geen weet van heb en deze zijn dus
cences and that kind of stuff. bre. Nuestro jardín no es un parque para una sin de zoveel tijd opengesteld voor bezoekers moeilijk zichtbaard, zeg verborgen.
gran audiencia, pero se pueden traer semil- om even rond te kijken maar het moet niet
3.-Perhaps given my Spanish cultural back- las, hacer una barbacoa o beber cerveza. La een park worden 4.-Waar komt de ingang van de Tuin?
ground, I have the feeling that the garden is libertad es algo que no todo el mundo sabe Anique: ja we willen het verantwoordelijk- Floor en Anique: Bij Café Patricia!
quite private, how do you see it? tomar. heidsgevoel stimuleren maar ook de vrijheid
– 14You can also read
