|Cuándo:||05 dic de 2018 - 17 feb de 2019|
|Inauguración:||05 dic de 2018|
|Dónde:||Bonniers Konsthall / Torsgatan 19 / Stockholm, Stockholms Lan, Suecia|
|Comisariada por:||Caroline Elgh Klingborg|
|Organizada por:||Bonniers Konsthall|
|Artistas participantes:||Dora García|
Dora García’s artistic practice spans over various ﬁelds and the exhibition at Bonniers Konsthall highlights her interest in performance art, politics, and psychoanalysis. Through free association, the works are intertwined in the exhibition and thus open up for various possible readings. What is truth and who speaks the truth? Through ﬁlm, drawing, text and performance, Dora García explores the concept of truth. In contemporary information society, the boundary between true or false seems to erode more and more, especially in the political ﬁeld where the presence of “alternative facts” makes it diﬃcult to verify statements. The exhibition presents a series of works posing questions regarding truth, credibility and authority. A new work in the shape of a monumental hand-written chalk drawing covers the glass facade of the konsthall, making the text I Always Tell the Truth, but Not All the Truth visible to anyone who passes Torsgatan. The sentence is borrowed from the well-noticed TV interview with the French psychoanalyst Jaques Lacan, from 1974. The words carry ambiguity, and the insight that truth, in many ways, is constructed. Several drawings are shown in the exhibition rooms, covering walls and ﬂoors of the konsthall. The drawings are part of an ongoing series by the artist, titled Mad Marginal Charts, yet also provide a platform for performances that are activated during the exhibition period. Together with actors, Dora García creates situations that investigate and question social and cultural codes and expectations. As part of the exhibition, the newly produced feature ﬁlm by Dora García, Segunda Vez (Second Time Around, 2018), is shown, revolving around the Argentinian intellectual Oscar Masotta. Active as an artist during two years (1966-67), Masotta created three happenings that related in uncanny ways to the brutal dictatorship that was about to come.
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