congress / events

10x10: Art Is Dangerous

Blandine Roselle

exhibition / installation

2011-09-08 - 2011-09-11 Four Domes Pavilion

informacje o biletach

photo: Dries Verstraete; Enrique Marty,

In the context of the 10x10 exibition, Blandine Roselle, an independent curator based in Lille, France will show the work “Art Is Dangerous” by Spanish artist Enrique Marty.

Blandine Roselle on “Art Is Dangerous”:

In order to match the “Art For Social Change” theme, I selected a piece of work whose name bears witness to a similar slogan ; in this way, like in the Congress, it refers to either artists, professionals, or members of the audience. “Art Is Dangerous”, made by Enrique Marty, does not precisely feature meanings of art and of those who create it. His work brings back to a whole series of issues on how we consider art, and of the true reasons that make us part of it.

The word “Danger” draws our attention; we come close like a child who gets a kick out being scared, but who knows at the same time that nothing could happen. Can art be dangerous? Does it have to be? What are its real issues?

Under the wall letterings, we see two vindictive characters standing up before us. Do they fight? Do they resist? Do they defend themselves? Tattooed like Yakuza, they belong to crime aristocracy. Does it mean that this aristocratic syndicate would be the one which confiscate distant cultures, and make profits out of it, regardless of their true meanings? Unless it's all about some sort of takeover on close but underground - relegated cultures?

Besides, all tattoo designs printed on their bodies bring us back to fights. Is it a predators theory of evolution, an allegory of the market system? Perhaps the drawings should remind us some sort of struggle for the defense of esthetic beliefs and art characters? Or do they correspond to some kind of fight to bring this piece of art to life?

As far as realistic weapons they are presenting: does it imply some kind of dangerousness, a certain impact? Are they the attributes of a denied helplessness (although armed, they look vulnerable and ridiculous with their socks on)?

Closer to parody than to self-protest, punk haircuts and tattoes lead us to an easy and visible recycling. Does art hide itself behind arguments and ceremonials? Is it just a mere component of individual demands, a representation of a social status?

The artist questions the world of art with a bitter and striking irony (components and exclusions, references and models, hidden or confessed purposes). Playing tricks, rather than going to a frontal clash, may be the only way for not being left out and digested. To a certain extent, Enrique Marty's dwarves echo those of “PomaraƄczowa Alternatywa”: they make the audience burst out with sarcastic laughter!

artist: Enrique Marty (born in Salamanca, Spain, in 1969; lives and works in Salamanca)

curated by Blandine Roselle

Photo credit: Enrique Marty, "From the series 'Arts is Dangerous' (Pablo and Ruth)", 2010, oil paint on latex on polyurethane, human hair, textiles, metal; dimension hxbxd: male figue 155x90x53,5 cm / female figure 143x60x35 cm, courtesy the artist / DEWEER gallery, Otegem, Belgium, photo: Dries Verstraete