The subalterns speak, we discover television; we sharpen our eyes and prick up our ears and listen to groups in danger of exclusion. Before us are the hypnotic performances of Sigalit Landau and the secret images of Osvaldo Lamborghini.

Antoni Abad, Judith Barry, Eugeni Bonet, Hans Magnus Enzensberger, John Grimonprez, Abdellah Karroun, Alan Pauls, Paul Preciado, Gayatri Chakravorty Spivak and so many other writers and artists in one click.


"I take elements from the world, I remove them from their usual context and put them back together according to other orders, so that, thanks to a new and unusual relation of contrast, similarity or assumption, I re-examine that which we call reality." (Eulàlia Grau)

The photomontages of the artist, which include images taken from the media, denounce the institutions of education and family, gender stereotypes, class differences, worker exploitation and the structures on which power is founded.

Antoni Miralda (Terrassa, Spain, 1942) has turned something as universal as food into a creative universe. Miralda has developed a method based on participation and on the ritual and ceremony related to gastronomy. Employing a non-conformist language, baroque and full of humour, that celebrates the senses and brings art close to life; he undertakes an ethnological exploration of human behaviour in his work.

The book includes an essay by the cultural Catalan journalist Josep M. Martí Font, a reissue of the text ‘Miralda’s Mahamastakabhisheka’ (1984) by Vicent Todolí, curator of the project, and testimonial texts by different authors

A maze, ten metres in diameter, with transparent plastic walls, lead into the Àngels Ribé show at MACBA. It is a reconstruction of the work presented by the artist in 1969 at the Château de Verderonne, France, marking the start of her artistic career in the period between the late 1960s and mid-1980s.

The catalogue presents Ribé's body of work from this period and illustrates her untiring interest in playing with space, incorporating the random coming together of ephemeral elements, using unconventional materials and exploring the narrative possibilities of the setting.

In 1968, the young activist Palle Nielsen approached the Moderna Museet in Stockholm with a proposal for turning the museum into an adventure playground. For a month, his ‘Model for a Qualitative Society' offered a space exclusively for children, without parents or educators. In his essay, Lars Bang Larsen analyses the utopia of a self-organized society that aimed to encourage personal freedom and collaboration between individuals. The documentation of this work forms part of the MACBA Collection.

Nobody who is interested in issues of gender, race or class can ignore the provocative thesis that the Indian thinker Gayatri Chakravorty Spivak formulates in her text "Can the Subaltern Speak?" which sparked a heated debate that still continues today: Manuel Asensi Pérez, who translated the text, provides critical commentaries that make this at times cryptic work accessible to lay readers.

The exhibition Invocable Reality explores possible perspectives on reality from art practices through a selection of works by eleven artists from different backgrounds and generations. The works in Invocable Reality approach reality in a subtle way. They start from the ‘here and now’ of the reality that the artists intend to ‘investigate and conquer’: incorporating fragments in the exhibition space (Roman Ondák), turning the gallery into real space (Antonio Ortega), filming it (Lutz Mommartz, Jeremy Deller and Mireia Sallarès), trying to direct it (John Smith), looking for connections in space and time (Enric Farrés-Duran), influencing it (Núria Güell), showing the devastating effects of a mediated reality (Phil Collins), demonstrating the impossibility of its representation (Rafel G. Bianchi) or showing how we have turned death into something unreal (Jill Magid).

To complement the project Are you Ready for TV?, which offers an unusual reading of the relationship between television as a medium on one hand, and art and philosophy on the other, a new trilingual (Catalan, Spanish and English) digital publication has been launched.
It will be published in instalments that include introductory texts by Chus Martínez and Hans Magnus Enzensberger, and essays by the artists and historians Judith Barry, Ina Blom, Tamara Chaplin, Dora García, Mario García Torres, Johan Grimonprez, Albert Serra and Temporary Services (Brett Bloom, Salem Collo-Julin and Marc Fischer).

Eugeni Bonet (Barcelona, 1954) is undoubtedly one of the main theoretical referents in the fields of cinema, video and digital media in Spain. For forty years his writings have shown the evolution of these disciplines, establishing genealogies, working methods and the links between four different generations of artists. At the same time, his audiovisual programmes introduced subjects and tendencies that were practically unknown at each successive moment, to the point where many of them became authentic and indispensable textbooks. Moreover, Bonet has also followed a notable trajectory as a curator of exhibitions and artist, with various videos and experimental and feature films to his name. This book, published specifically for this project, compiles Bonet’s most important writings, many of which appeared in rare magazines and fanzines, out-of-print catalogues and even unpublished texts.

Before Our Eyes is a project started in 2000 when the Moroccan curator Abdellah Karroum began organising the Expéditions du bout du monde, a travel programme that brought about exchanges between local and international artists in the Rif, a region hitherto devoid of structures for contemporary art. Two years later, the initiative was expanded with the creation of L’appartement 22 in Rabat, a space for production and exhibitions. In 2011, the network incorporated the international residence located in the Rif Mountains, near the Mediterranean, in order to facilitate the research of those artists who need to explore the area.

Since 2004, artist Antoni Abad has developed a series of innovative, geographically diverse, multidisciplinary and socially committed projects designed to fit the needs of different human groups at risk of social exclusion. invites these groups to express their experiences and opinions using cell phones to instantly publish them on the web in the form of audio, video, text and photos. Participants thus transform these devices into digital megaphones to amplify their individual and collective voices.

Sigalit Landau, who began her artistic career in the nineties, reinterprets her sculptural works through the use of the body in performances in front of the camera. Here, she works repeatedly with symbols, images, places and narratives as therapeutic representations of the wounds caused by her historical, personal and cultural condition. Phoenician Sand Dance draws its title from the almost constant presence of the sand and sea. The book features and analyses the works exhibited in the Capella MACBA from 21 November 2014 to 15 February 2015. Landau’s video sculptures, where people and objects interact, condense a time in which the actions seem to have no beginning or end. They speak in a hypnotic way of the lack of progress and improvement; they describe the needs of the other, whether in play, survival or conflict.

Osvaldo Lamborghini (Buenos Aires, 1940; Barcelona, 1985) is one of the most unique and fascinating writers of contemporary Argentinean literature. During his lifetime he only published three books – El fiord (1969), Sebregondi retrocede (1973) and Poemas (1980) – and, posthumously, Novelas y cuentos (1988), Tadeys (incomplete, 1994) and Teatro proletario de cámara (Proletarian Chamber Theatre, 2008). However, he has already achieved the status of cult author, joining the equally reductive category of myth.

The biography of Lamborghini certainly fulfils almost all the rigours of the accursed poets, while his career refutes any attempt at classification. However, there is an aspect to Lamborghini’s output – consisting of his work with photographic collages, books with intervened images and texts, as well as posters and drawings – that awaits further investigation. This catalogue presents a selection of this material, drawn from his personal archive and never previously shown in public.

Following the same pedagogic spirit as earlier issues, volume six of the Desacuerdos series looks at the art and education binomial. It starts off with interviews with René Schérer and Jacques Rancière – two key authors in relation to changing approaches to education – and then goes on to explore the peculiarities of the Spanish context and the transformations that came about as a result of Franco’s regime. It thus gradually sheds light on the debates, strengths and weaknesses of education in relation to contemporary art in Spain.

To reconstruct the disorder of a possible city. To use the model, not as an element in a project, but as the representation of something that already exists.
Jordi Colomer