Next event organized by El Palomar is entitled Hedonismo crítico, but this expression also summarizes the artistic position that has governed this project since its inception. Behind this apparent oxymoron or word composed by contradictory terms, is defined a renovated way of understanding cultural production: the party is not incompatible with reflection, conceptual depth with having fun.
Mariokissme and R. Marcos Mota, its creators, have always been eloquent in choosing headings. Ever since the inaugural exhibition of this attic in Poble Sec (which in three years has become a reference place in Barcelona overground), they borrowed a phrase from Rafael Reig, Lo más revolucionario hoy es ser casto o tener una vida sexual frustrante, as a prelude of what would be a programming that would turn the tables of prefabricated ideas about identity, showing the fallacy of freedom and open-mindedness.
El palomar, incubator of own and others proposals, vantage point from which peeping horizons without forgetting the street: nest of suburban pigeons, but also bird trough for migrant ones before before taking flight to international biennials. Crossing point between forgotten yesterday and today marginalized, but from the margins is also node of relationships in networks of cutting-edge art.
Combining polyhedral work (as artists, curators, cultural managers, great hostesses and archivists of forbidden matter) have been tracing genealogies of queer, retrieving figures forgotten or distorted by history (from Mario Montez to Ismael Smith), bridging the gaps between them and current artists who are exploring the malleability of identities, body as a territory of new political challenges.
Labels constrict even what was born to escape from being confined, like queer culture. El Palomar returned freedom to the term extending its sphere of influence, applying this being in-between and through not only to the body that denies binary gender, also the art that denies hierarchies, institutional protocols of white cubes, that the same goes on partying or to feed pigeons with bread are equal holiday or going out to feed pigeons with bread made with sexual fluids (Lucia Egaña courtesy).
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Hedonismo crítico is included in a cycle curated by Martí Manen (Cuando las lineas son tiempo) for Espai 13, Fundació Miró, Barcelona.
Palomar team responds to the invitation with a festive event; the party as an ideal format for artistic production and exchange, because it diluted hierarchies, impulses are released and limits are transgressed. We suspect that the transgressor and regenerating component of party (reprising terms of Bataille and Bajtin) is secured seeing the list of guest artists.