Here and Now
by Francisco Ali-Brouchoud*
Conversations in Alice-Ville Posadas Contemporary Art
Herrero, in recent years, has been developing works with two recurring
focal points: the everyday and the conversational. These are constantly
taking on successive formulations, whilst at the same time deepening
in their conceptual dimension. The production of Herrero can be
located in that which Hal Foster terms the ‘ethnographic
shift’ in contemporary art. Here, the artist assumes the
role of investigator and the art that of an intensive field study.
The proposal is to map and interpret a terrain - the society and
culture in which the artist finds himself immersed - as if it
were a terra incognita. A deconstructive attitude is adopted,
permitting the peeling away of the layers naturally accumulated
through the dynamics of social interchange.
this case it concerns, amongst other things, the system of art
itself: the networks of affinity between artists; the relations
– more and more promiscuous and direct - between culture
and the market, and the trends in consumption that derive from
these; the means by which a cultural institution is organized
in time and space, and the place it occupies in society.
Alice Ville is not an ‘interior world’ of the artist,
it is not a reintroduction of the idea of authorship through an
imposed and projected special subjectivity that has to be accepted
to justify the fragile autonomy of art. It concerns a work in
progress whose materials arise from the context itself, a microcosm
whose meaning is potential, deitic, and must be negotiated with
those who participate in the experience: museum staff, viewing
public and the like.
interaction with the community is produced through the means of
communication, employed by the artist not to transmit a ‘message’,
but rather a hint. Through this, it is possible to modulate and
modify the ways in which the museum public relate to the work
and to a determined cultural program (‘contemporary art’),
proposing a visible dialogue that dissolves the boundaries between
producer and consumer; between reality and representation.
current art practice presents itself - in many of its manifestations
- as an exercise aimed at dismantling that which could remain
of the ‘aura’ of artistic object, inevitably this
returns to a recycling of its ‘sanctity’. This ‘sanctity’
is questioned thanks to the continuous efforts of the industry
of culture, where there is no regard for the initial critical
intentions at the time of production.
is the basic economy of this reconstitution which is evidenced
and once again put into question by the work of Herrero. Healthy
ambiguities are promoted in elevating to the category of museum
object components of everyday life, elements of use and meaning
as varied as those who employ them. Or in redefining the playful
attitude of the institutional spaces, in which the mise en scène
of the artist makes resonant the political implications of considering
practice as discourse and discourse as practice.
*Curator, artist and art critic, he writes in several publications.