{"id":2286,"date":"2018-05-25T14:27:36","date_gmt":"2018-05-25T14:27:36","guid":{"rendered":"http:\/\/canserrat.org\/?p=2286"},"modified":"2019-08-27T16:07:18","modified_gmt":"2019-08-27T16:07:18","slug":"2017_annual-exhibition-__-far-away-treasure-by-quim-packard","status":"publish","type":"post","link":"http:\/\/canserrat.org\/ca\/2017_annual-exhibition-__-far-away-treasure-by-quim-packard","title":{"rendered":"(English) 2017 ANNUAL CAN SERRAT EXHIBITION, ‘Far away treasure’ by Quim Packard"},"content":{"rendered":"

Ho sentim, aquesta entrada est\u00e0 disponible nom\u00e9s en Angl\u00e8s Americ\u00e0<\/a>. For the sake of viewer convenience, the content is shown below in the alternative language. You may click the link to switch the active language.<\/p> <\/p>\n\n

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\u2018FAR AWAY TREASURE\u2019 June 17th, 2018<\/b><\/p>\n

Can Serrat annual show #2017 residents projects<\/span><\/i><\/p>\n

With Marion Balac, Duncan Gibbs, Amery Kessler, Anna Wolfe-Pauly.<\/span><\/i><\/p>\n

Curated by Quim Packard<\/span><\/i><\/p>\n

For its 2018 annual curated exhibition, Can Serrat collaborated with Quim Packard, who was invited to follow projects produced in residency for the duration of 2017. Quim worked closely with Nyamnyam who co-curated the event in their space in Barcelona. <\/span><\/p>\n

The exhibition was an open work session that involved cooking, eating, and talking about the concept of artist residencies and their relation with colonial ideology and global capitalism. The meal was made with ingredients foraged around the forest of el Bruc near the residency of Can Serrat. During the session we weaved together the history of artist residencies and there shared past with colonial exploration and foraging for food. Works by Marion Balac, Amery Kessler, Duncan Gibbs and Anna Wolfe-Pauly, artists who were in residency during the year 2017 in Can Serrat were shown to thread together the ideas of the workshop. \u00a0<\/span><\/p>\n

The history of exploration is heavily tangled with the history of exploitation. The main objectives behind many exploration missions was to discover new places to exploit and extract dry. The figure of the heroic explorer is haunted by its colonial past. The artist, the explorer, and the colonialist share a common background. A common background that taints the artistic practice with the intrinsic ideology of colonialism, imperialism, and global capitalism. As artists travel the world to show their work, expand their network, and get inspired by local surroundings they carry along this ideology. How artists conceive their practice and how it is structured within a global economic system is implicitly tied to this heritage. Through this workshop we debated this link and talk about artistic practices that might have aimed in a different direction. Rethinking more locally-based models of the artistic economy and profession by understanding its colonial past was one of the goals of this activity.\u00a0 While eating and cooking we talked about our relation with the resources the art sector needs to function and if other means of interacting are possible. It is becoming increasingly undoubtable that we must manufacturer, consume, farm, and produce locally. We discussed how can this be translated to the modes of production, organization, and economy of the art sector.<\/span><\/p>\n

In October, 2018, a publication will also be produced in collaboration with the designer Carles Murillo<\/a> and the nonprofit organization l\u2019Autom\u00e0tica<\/a>.<\/span><\/p>\n

___<\/span><\/p>\n

The session was conducted and orchestrated by Quim Packard and Nyamnyam.<\/span><\/p>\n

Schedule :<\/b><\/p>\n