IN/OUT Swab Barcelona 2016
For this second edition, following last year's conceptual framework, we considered how to bring into focus that which is outside the field of vision, and that the same time, break with a temporal discursive line. We want this central mechanism to be made visible through fragments that break away and connect to the creation process. This can be materialized through works, documents, notes or even new artistic expressions that emerge after the work itself is completed.
Rasmus Nilausen – García Galería, Madrid
Marta de Gonzalo & Publio Pérez Prieto – Casa sin fin, Madrid
Francesc Ruiz – Galería Estrany de la Mota, Barcelona
Ana Laura Aláez – Moisés Pérez de Albéniz, Madrid
Regina Giménez – Ana Mas Projects, l'Hospitalet de Llobregat
Fito Conesa – Espai Tactel, Valencia
Jorge García – Addaya Centre d’Art, Alaró, Mallorca
Gloria Martin – Galería Silvestre, Madrid
Joan Fontcuberta – Angels Barcelona, Barcelona
Mar Arza – Rocío Santacruz, Barcelona
Ana Teresa Ortega – Espai Visor, Valencia
Imma Prieto and Frederic Montornés, curators of IN/OUT, talk about what the program's new edition brings.
How did IN/OUT arise, what was the intention behind its creation?
It was conceived in the previous edition of Swab Barcelona as a platform to showcase the work of artists represented by galleries that, for the most part, do not participate in the fair. It is a kind of invitation to be present within the framework of Swab Barcelona without the need to have a stand
What do you propose for this edition? Who will participe?
Following the line we started last year, the second edition of IN / OUT aims to continue reflecting on the idea of being inside or outside the art world, taking into account a number of variables. In turn, and this is the particularity of this year, we consider how to bring into focus that which is outside the field of vision, and at the same time break with a temporal discursive line. We want this pivotal mechanism to be made visible through fragments that break away and link to the creation process. This can be materialized through works, documents, notes or even new artistic expressions that emerge after the work itself is completed.
What does it mean to be outside or in?
It refers to a way of being present in a piece, a scene, a context, in a place, in the market, all of these circumscribed to the artistic context itself. The image that could best represent it would perhaps be that of an iceberg. That is, we only see what appears, knowing that what is hidden is precisely what keeps it visible.
We are in a moment of shifts in terms of ways of exhibiting, do you think it was necessary to incorporate that into the fair format? How does IN/OUT’s exhibition proposal dialogue its conceptual one?
I don’t know if we are in a new era. It is always interesting to offer the visitor, whether of a fair or not, ways of apprehending art that differ from that which the context itself justifies; that is, regardless of its commercial or non-commercial aspect. Regarding the fair, it is not about breaking with the purpose for which it was conceived; rather, it’s about expanding the gaze regardless of the justification behind the showcasing of the works. The program establishes a dialogue with the fair from the moment it is conceived and articulated within it, but I wouldn’t speak of conceptual dialogue, it does not make sense. The fair itself, at a conceptual level, depends on the galleries’ proposals, although this does exempt it from having clear objectives as a whole. In relation to IN / OUT, the conceptual framework is exclusive to the proposal. On the one hand, links to other proposals of the fair can be found, but this is something conceded a posteriori, of which we remain unaware of the moment.