Opening:14 Dic, 2017
Professional visitors:14 Dic, 2017
Opening to public:14 Dic, 2017
The history of discoveries it is understood through chance and serendipity. In this case it is a story of crossed roads between two persons that created their Works from two opposing points of views what occupies us. The exhibition invites us to reflect to what extent we have control in our lives and professional careers, or about the games the future holds for us.
In the end, each life is no more than the sum of contingent facts, a chronicle of chance intersections, of flukes, of random events that divulge nothing but their own lack of purpose
The New York trilogy, Paul Austier
The origin of the chain of coincidences draw from an artistic project of galleria SENDA that analyse the Rambla’s transits, main tourist artery of Barcelona, through the eyes of the recognized photographers Massimo Vitali and Jordi Bernadó. Vitali focus his work on the leisure spaces and hence on public spaces, on his part Bernadó discover us the inner of its buildings. After more than a year of work, the exhibition is finally placed in Arts Santa Mònica of Barcelona by the offering on the initiative of the institution.
While looking for extravagant places, Jordi Bernadó submerged himself in the underworlds of La Rambla and went in El Portal de la Pau, in the Quimet Sabaté studio. It is a unique painter’s workshop exaggerated and open to the public. In the first meeting, Jordi Bernadó took pictures and included them in the exhibition of Art Santa Mònica.
And so, in gratitude with his hospitality, Jordi hive as a gift a batch of his photography books to Quimet Sabaté. At that time, he activates unconsciously a two-way path. Quimet Sabaté decide to tear some pages away of Jordi’s books to use them as canvas, painting surrealistic elements and reproducing new compositions as of the original photographs. This works were sold as souvenir to tourists for a small fee.
It was only later when Bernadó discover that his pictures have been reused. At that moment he decides to exhibit his photographs adding the wrested pages painted by Sabaté in his exhibition “Fragmentos para una cronotopografía del simulacro” hold in MACUF in Coruña (2011).
Some months ago, Bernadó decided to take a new look of Sabaté’s studio containing a number of the photography’s intervened by the painter. In the present exhibition, we meet the result of this relationship and this ramified path through Bernadó’s photographs and Sabaté’s contributions.
Bernadó’s production of the last years is characterized by the induction to doubt, if the images he present are an expression of what we are looking to or just a simulation. Quimet use Bernadó’s photos adding erotic imagery and stereotypical surrealistic elements, creating a humorous vision without a further intellectual pretension. In this sense, we find images where the ambiguity, the paradox and the misrepresentation of Bernadó are merged with the superimposed fictions of Sabaté. The result is a game of mirrors that delve in the concept of representation as a simulation.