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--- On Sat, 9/18/10, e-Flux <i...@mailer.e-flux.com> wrote:
From: e-Flux <i...@mailer.e-flux.com>
Subject: The Interpreted City: Ruben Santiago at Centro Galego de Arte
Contemporanea
To: hieror...@yahoo.com
Date: Saturday, September 18, 2010, 11:39 AM
September 18, 2010
Centro Galego de Arte Contemporánea
(CGAC)
Rubén Santiago
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The Interpreted City
1 October – 28 November 2010
Rubén Santiago
Cálculo (Calculus)
Centro Galego de Arte
Contemporánea (CGAC)
Rua Ramón del Valle-Inclán
15704 Santiago de Compostela
Spain
www.cgac.org
Curator: Pablo Fanego
The Interpreted City is a public art initiative organised by the Concello de
Santiago, Xacobeo and the
Centro Galego de Arte Contemporánea, designed to offer a set of unprecedented
approaches to the city of Santiago de
Compostela and create situations that enable us to superimpose an
intersubjective map on her ordinary codification.
The Interpreted City hopes to establish connections between history and our
immediate reality through the specific
proposals of a number of artists of international renown: Lonnie van Brummelen
& Siebren de Haan, Mircea Cantor,
Andreas Fogarasi, Latifa Echakhch, Daniel Knorr, Goshka Macuga, Rubén Santiago,
Florian Slotawa and Michael
Stevenson.
Rubén Santiago (Spain, 1974) works on the mechanisms of the social construction
of memory and the consensual
production of symbolic value.
From a process approach and through multiple means, Rubén conceives each of his
art works as an opportunity to create
dissent around a range of themes or collective concerns.
His proposal for The Interpreted City consists of a series of interventions in
two separate yet interconnected
areas: the city's canal network and the basement of the Centro Galego de Arte
Contemporánea.
On the one hand, the hydraulic engineering elements in the subsoil that branch
out in the verticality of our homes have
been used to support an innocuous action of great symbolic consequence: the
artist altered the proportion of chemical
substances needed for the purification of water for common use. By means of
this 'infiltration in the ordinary' his
intention was to arouse a little concern over a basic public service and prompt
reflection on those socialisation
structures that remain hidden.
The starting point of his intervention at CGAC is the outward appearance of the
building designed by Álvaro Siza and
the history of its surroundings: the museum's location on land rich in springs,
a feature that to a great extent defined
the architectural conception. Rubén devised an alternative system for
evacuating the water that stems from the
ground floor of the museum by means of a path that runs through the different
galleries, perforating the walls, and
leads us to a square that lies in its surrounding area.
The poetics defining the other pieces that complement Ruben's project unfolds
around this condition of the 'stone'
museum as a structure exposed to the erosion and continuous changes produced by
the passage of time: the presentation of
a kidney stone belonging to a resident of Santiago de Compostela and a series
of readings of the humidity recorded in
the same exhibition space of the basement over a certain period of time.
In short, the artist is interested in exploring the museum as a medium for the
articulation of subjectivities and
immaterial capital that reflects the community of users that define it. His
intervention affects the museum space both
on a physical plane—determined by geography, architecture and town planning—and
on the conceptual plane,
understanding the museum as an institution central to the task of recognising
the present and shaping the future through
experience and memory.
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