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The contemporary art collection of Josep Maria Civit i Gomis is one of the best in Catalonia, and one of the European collections with the finest personality when it comes to selection criteria and the development of poetics. As a professional and impassioned tradesman, Civit has been the director of a prestigious visual communication and corporate strategy studio, distinguished nonetheless by the production of works where concepts, rationalist anti-rhetorical reductionism and abstract sensuality are brought together with great efficacy, projecting themselves outwards into the social sphere.<\/p>\n
As the result of a moral and aesthetic revolution in the knowledge society, the Civit Collection participates in political engagement through the freedom of art and of art\u2019s values. In contemporary art, unlike literature (which preserves memory) or communication (which seeks an immediate, practical return), nothing is laid out in clear prose: difficulties in understanding situate the spectator closer to interpellation and communion than to the intelligibility of taste. As Civit himself has said, \u201cI collect ways of thinking.\u201d<\/p>\n
The Civit Collection began during the final stage of the avant-garde century, around the time of the France\u2019s May 68 and the agony of the late Franco regime. This was the final period of terminal linguistic and sociological art, known as \u201cminimalist and conceptual art\u201d. Just after this, and ignoring neo-expressionist currents (which represented a return to \u201cprimitive\u201d painting and the neo-avantgarde style in the emerging art market), the collection unfolded fully with postmodernity, which meant the closure of the 20th century\u2019s oscillation of tendencies as the 21st century was augured in: a hedonist moment when a liquid society would loosen up the historical dialectic of opposites, and art, featuring deconstructive formal variety and cult-like rhetoric, would restore the value of the image in relation to major changes in technology, advancing sociability and globalisation.<\/p>\n
With the postmodern period in full swing, the Civit Collection took a different look at the images that went along with the formulation of expressionless<\/i>, as Germano Celant called them. Taking this a step further, Civit accentuated the invisibility-visibility of the frame and political conflict (which is always present), although outside of geopolitics, while simultaneously strengthening the invisibility of the narratives (which run alongside the work, in the process of reading them). In this way, the collector, who is also a reader of the works of others, draws from these works those concrete qualities that are specific to the limits of formal, sensorial art.<\/p>\n
Maximums in minimums\u2014closer to the crisis of language leading to experimental poetry and concrete music, than to problems of representation and information. An art in action that defends its own autonomy without a psychological subject or ideological predetermination. A collection of great works that express emotional exaltation set apart from codified language, as seen in the folds and turns of set phrases. Research, experimentation and closed forms for an open system.<\/p>\n
Along with the high intrinsic visual and conceptual value of each work selected by this collector of affects, the exhibition strives to create a network of associations and relationships between works, so that in moving through the show there might be a sense of collectiveness and orchestration in its complexity. Although the minimal common denominator is maximum expressive radicality, the maximum denominator is minimal language, rational hygiene opposed to habitual visual contamination and hybridity, typical of the collapse of hyper-knowledge in the realm of hyper-consumption.<\/p>\n
This is why this series of exhibitions presenting the entire Civit Collection have as their unifying title Cartographies<\/i>, understood more as a perceptive electric map, a type of neurological circuitry (like in our brains), rather than a scientifically defined territory in the older tradition of linearity and social mechanics (whether understood historically as progress, or in terms of the Western reading sequence, from left to right). These cartographies are thus conceived as free itineraries of the mind through the domain of art.<\/p>\nUrbanisation of the Exhibition Space<\/h4>\n
How has Civit the collector constructed the layout of the exhibition space? As if it were a free musical and linguistic score. First of all, however, it is an opening, a kind of dialectic and dialogic exercise with two, sharply defiant highlights: the vocation of art in the service of pedagogies of participation (Read, Look, Perceive<\/i>, by Muntadas), on the one hand, and on the other the negation of what we have just described, not being able to touch or to read, with the Braille text of a blind survivor of the Auschwitz extermination camp, in a piece by Jo\u00e3o Onofre. The unstopping audio of a sound art piece by On Kawara A Million Years<\/i> reminds us that we are still alive, while at the same time rendering homage to all those who have previously lived and now are dead. With this brilliant proposition, viewers are driven to keep on moving, even while it is clear that they must recognize themselves in a radically amputated, interrogatory past, in a present charged with emotions and novel research.
\nThis cartography of the soul thus moves between past nihilism and the double faith of those who persist in the radicality of free artistic action.<\/p>\nThe Exhibition: Recreate the Birth of Language<\/h4>\n
We enter the exhibition. The pieces are aligned down the first wall, like a hyper-sensorial syntactic phrase made of colours, an example of how the variation of light, in spatial and material situations, frees art up from all ethical responsibility, due to its very absence.<\/p>\n
In a second space, language grows from chromatic, semantic magnetism to end up manifesting itself in forms, creating free associations of groups of different systems, to the point of uniting dissimilarities between pure abstraction and Nazi social propaganda, with a name and surname (Johann Sebastian Goebbels<\/i>, a work by Bernad\u00ed Roig.<\/p>\n
In a third space, abstraction takes on volume so that volume might find an imaginary presence in object-based meanings, after which, in new associations, they interfere in the public sphere, inciting a dialogue between them. The opera is closed off once again in silence, with its heroes, corresponding to the scientific adventurer in the role of an enlightened artist, as seen in the work of Prats. The silence of Cage resonates in the muted piano. Art speaks when it chooses to remain silent.<\/p>\n
The exceptional exhibition proposal here presented by Civit reconstructs the formal and communicative constitution of the language of art out of nothing, using colour as a phoneme, stains as semantics, associations as syntax, with responses to reality employed as dialectics and silence as history.<\/p>\n
In a time when reactionary thinking is once again imposing itself in Europe, as a foundational civilization for knowledge suffers from persistent destruction, Civit the communicator and collector welcomes us to enjoy the experience of the sensory, with the certainty that in the expressive search for beauty, the artist can communicate freely, unable to turn back. Authentic communication, artistic communication, communicates the communication of incommunication.<\/p>\n
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Vicen\u00e7 Altai\u00f3[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][rdy_button text=”View the exhibition” align=”left” margin_top=”0″ margin_bottom=”0″ background=”#000000″ background_hover=”#fbc817″ text_color_hover=”#000000″ border_radius=”0″ link=”url:https%3A%2F%2Fwww.civitart.cat%2Fen%2Fexhibitions%2Fcartografies-1%2F|title:%5B%3Aca%5DExposici%C3%B3%20Cartografies%201%5B%3A%5D||”][\/vc_column][vc_column width=”1\/2″][\/vc_column][\/vc_row]<\/p>\n
<\/p>","protected":false},"excerpt":{"rendered":"
[vc_row][vc_column][vc_column_text] REFOUNDING COMMUNICATION THROUGH THE LANGUAGE OF ART [\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][rdy_button text=”View the exhibition” align=”left” margin_top=”0″ margin_bottom=”0″ background=”#000000″ background_hover=”#fbc817″ text_color_hover=”#000000″ border_radius=”0″ link=”url:https%3A%2F%2Fwww.civitart.cat%2Fen%2Fexhibitions%2Fcartografies-1%2F|title:%5B%3Aca%5DExposici%C3%B3%20Cartografies%201%5B%3A%5D||”][\/vc_column][vc_column width=”1\/2″][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text] On the Design Studio and the Art Collection: […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":10430,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"yoast_head":"\n