SESSION C.2: Artist Talk: Time, Space, Matter
Day 2. Friday, 28th October.
18:30 – 20:30
Venue: CCCB: Centre de Cultura Contemporània de Barcelona
I would like to talk about an archive-exhibition that has taken place in the year 2078.
This archive-exhibition depicts the events during and after the last international conference held at the University of Barcelona in the year 2042, before the closure of the University in that same year.
Until its official reopening in 2075, the University building remained without purpose for decades and soon became a squat for homeless artists. During this period, the University became subject to vandalism and was basically stripped off.
After the Global Black Out of the ‘internet’ at the time in 2069, the entire digital archives of the University and library were erased, which meant the loss of the entire history of the University, its library, as well its entire fine arts collection.
Assisted by the researchers of the Department of Art History, which was resurrected in 2076, we have been able to look for any remaining clues. One of these led us to a number of drawings made at the University itself by a homeless artist.
Based on these drawings, we can be fairly sure that the last conference at the University may be attributed to the artists’ collective Anonymous Bastards. The slogan ‘No Ghosts, No Nation’ had been applied to the conference-hall entrance in their characteristic no-nonsense style…
This paper, depicting an imaginary exhibition, explores a dystopian archaeology that shows how specific micro-structures in our society and the artist in question may deteriorate over time. It is an absurd, yet critical view of the future of certain events, locations, and the artist as a self-driven, mythologized, and hyper-unique individual in a high-technological society.
The paper functions as a blueprint for a site-specific lecture-performance for the international conference about art and speculative futures.
Brussels based visual artist Joachim Devillé (Belgium, 1978) creates site-specific, fictitious archive exhibitions situated in the future and based on fictional events. Through this praxis of a utopian archaeology and using the exhibition as a medium, Joachim Devillé investigates an absurd, yet critical view of the future of certain events, locations, and the artist as a self-driven, mythologized, and hyper-unique individual. These future, imaginary events are site-specifically linked to the locations where these fictitious archive exhibitions are taking place.