2024 Inserció Bonart Segell IMPULSA CULTURA


Bòlit_PouRodó inaugurates 'L'idiota', curated by Martí Peran in collaboration with Rafa Ruiz

Vera Chytilová. Las Margaritas. 1966.
Bòlit_PouRodó inaugurates 'L'idiota', curated by Martí Peran in collaboration with Rafa Ruiz
bonart girona - 03/07/24

Bòlit_PouRodó opens on July 5 at 7 p.m. the exhibition L'idiota, curated by Martí Peran in collaboration with Rafa Ruiz and which gathers the interventions of Ester Jordana, Esperanza López Parada, Carlos Losilla, Chantal Maillard and Javier Peñafiel.

In this chamber exhibition, a visual proposal gathers together more than a hundred "clinical files" of idiots, real and fictitious, from the most diverse origins, the reflections in interview format of Ester Jordana, Esperanza López Parada and Carlos Losilla and the works of Javier Peñafiel and Chantal Maillard.

The repertoire is very heterodox, incomplete and, even, somewhat arbitrary given that it does not have the function of capturing an archetype but, otherwise, wants to open up its figure in numerous and dissimilar incarnations. The idiot is a fugitive.

The repertoire certainly invites bewilderment: are all these idiots really idiots? It happens, however, that this is not the right question. What this archive mumbles is a statement: we are all idiots. Another thing is that we have tried hard to deny it, either because of the obsession to constitute ourselves as subjects trapped in an integral personality, because of obedience to the mandate to contain our power of imagination or because of negligence intellectual which, paradoxically, forces us to deny the idiocy of the world under various belief systems. In this tessitura it is necessary to recompose the idiot that we are. If it is not feasible to do it all at once, then we go in parts.

The threat of the idiot has been neutralized through two elementary processes of capture: clinical seclusion and artistic confinement. By identifying idiocy as a mental pathology, that capacity for a sovereign and playful life has been arrested by diagnostic culture in order to reduce it to a paradigm of abnormality. At the same time, when the nonsense of the idiot made it feasible, his nonsense has been identified with art so that the absurd acquires a certain value and thus returns to the sphere of dignity. Despite these warnings, the idiot resists.

The repertoire of idiots is idiotic. A meeting of fools unable to form a community. Everyone is an idiot for their own idiosyncrasies. As it has to be. The repertoire consultant, consequently, will not be able to catch the figure of the idiot; however, a recognized strawberry will arrive. Idiocy can be accessed through very different thresholds and it is not necessary to cross them all. The idiot is because of radical skepticism (Pirró d'Elis, Stephen Daedalus...), because of excess of a supposed good-natured naivety (Mishkin, Lazzaro...), to preserve animality (Benjy, Rotpeter...), because of the simple and light nature (Hirayama, Ulrich...), for drastic idleness (Oblómov, Bartleby...), for perpetual childhood (Bella Baxter, Kenneth Koch...), for laziness (Heinrich, Zeno...), for nonsense (Tzara, Harpo...), by the fall (Herteveig, Lenz...) and even by imposture (Henrick, Goldsmith...). It doesn't matter which one might insinuate itself as our mirror, but it would be foolish to ignore them all. At the moment, we are bothered by Cual and Egolactante, two idiots who decided to go to this strange meeting.


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