Inauguración de la exposición 'No news, good news'

No news, good news

Exhibition title: No news, good news
Dates: 17.10.2019 to 01.03.2020
Place: CAAM – Los Balcones 11. Planta 2. Las Palmas de Gran Canaria. Spain.
Hours: Tuesday to Saturday from 10am to 9pm. and Sundays from 10 a.m. to 2 p.m.
Produces: CAAM, Cabildo de Gran Canaria
Collaborate: Gobierno de Canarias

Free admission

Cartel de la exposición colectiva ‘No news, good news’

No news, good news is the title of an intersubjective project that aims to make visible the traceability processes of images in the significative constructions of the imagination. The capacity for geographical reading of yesterday’s images bears no relation to those of today. Without a doubt, graphic modes have changed. The image, which has become the image-symptom, aims to write more than record, and is not so much a word than a text, as part of the taxonomic machinery. To represent the contemporary world, it has become necessary to operate at depth: regular representations no longer match lived experiences, and images are produced as a measurement of gatherings of information and formal constructions.

This exhibition’s perspective lies in its process-driven, cartographic nature, in highlighting forms of study surrounding the image and dialogue as a construction mediated by the Other, for both the creator and the observer. Its structure addresses the background of archives, as well as the language of historiography and processes. In studying the displacements of images, it places particular emphasis, perhaps even to a utopian extent, on the deconstruction of the encyclopaedic archive (making a figure of the symptom) and the critical methods that challenge the process of producing images. This zetetic nature is inherent in the exhibition’s forms of interrelation. Whilst constituting attempts at representation, they also entail questioning the status quo of representation in the world and its multiple states of formalisation. They intend to challenge the forms of representation that make up our imaginations and, therefore, govern our actions.

The works become itineraries that unfold into networks, or overlapping networks, challenging the capacity of the image to represent reality or, in any case, showing its opacity, its ironic inability to translate its relationship with representation. A way, as Georges Didi-Huberman would say, of approaching trajectories of thought among images.

IMAGE GALLERIES


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