Curated by Jordi Antas
Marc Badia (Barcelona, 1984) and Jan Monclús (Lleida, 1987) present, together and in a cross-dialogue, the Arranz Bravo Foundation within the Gallery program Weekend of Barcelona 2017. The exhibition explores the similarities between the success-failure binomial and the concept of absurdity or “doing in spite of everything”. A combination that allows us to understand and approach certain dysfunctional interests shared by the two artists such as error, decision, joke or absurd challenge. It is a crisis that prioritizes dramatic anticipation, the search for another model of hopeful longing, or the pursuit of irrational fantasies, against more categorical aspects such as the reasoning or the conventional weight of our society, giving rise to unique moments that are released and developed from an off-center, unplanned and unsettled position.
The proposal has as its starting point the first “fail” recorded by a camera, dating back to the year 1912. This is the filming in which the Austrian Franz Reichelt (1878-1912) wanted to try their parachute design by jumping from the top of the Eiffel Tower. In the images of the film we can see Reichelt in the moment before the jump and as this falls sharply producing his instant death. An action that has passed into history, more as a symbol of stupidity than a sacrifice to technological progress, and remembered as a disproportionate action.
Let me die alone but please film it, a title composed by a simple phrase, low relief, halfway between the marginal and the heroic, raises a dialectic centered on expanded painting through the making of a written story with four hands. A reflection that
takes protagonism from a meta-pictorial discourse arising from a crossroads of roles: on the one hand the figure of loser, understood as a dysfunctional entity that prioritizes the unproductive ideal to installed normalization; on the other, the enthusiast, who operates from a character more characteristic of desire and exaltation. Two positions gathered in an exercise of maximum intensity, under a multitude of micro-stories that mix reality and fiction, as well as other reflections and concerns about own expectations and uncertainties
of the emerging artist.