Of the dysfunctions of democracy, of the limits, of peace, of art
Eric Dicharry has completed the Mugetatik conceptual exhibition and the performance of the opening ceremony to the are of a game of clues. It is carried out in stages ahead of the spaces. Once the first is over, the next challenge is easier to understand.
To complete the second space, he discarded the paper he had previously published in Maiatz magazine, completely debunked it and wrote the words that compose it in two sheets, he pasted it on the wall of a corner. As the public approached the act of openness, I had already put them to work and now they were part of the exhibition. From this text, which was uttered very carefully, he first invited them to choose the word that he most meant. Then, to release the word from the wall and ruin the page, to make a ball. Finally, throw that ball to the wall. For example, Gabi Mouesca, as he was in the audience, took the word “bil.”
In this interactive way, Dicharry wanted to show that the people have been robbed of the word, that politicians do what they want with their promise to the citizens, with their votes. The need to show disagreement with the dysfunction of democracy is the essence of this branch of the exhibition. There were also other actions for reflection, within the performance, on that day of mid-November.
Today, in this corner of the exhibition there are only the grumetes used to sew the leaves to the wall. Agrafas and two words expressly abandoned from this paper festival: “rights” and “margins”. The others, like those who go to the paper basket, have done a lot on the ground. However, this paper, created for Maiatz magazine, appears on the screen, moving on the black, accompanied by the rhythm created by Xabi Erkizia for the exhibition. The audience then also appears on another screen, each with its own page in hand. Also on Facebook.
The hacks are clearly heard. And that's the core element of Dicharry's exhibition. The Argialde room has placed five axes in the air, hanging with almost invisible threads, in the round hole that forms the glass ceiling. Making a wink to Jorge Oteiza (his work appears among the books he has placed in the showcase), he brings to memory the chromlech and the time when the pastors threw axes on the four sides to delimit the camp, or armed conflicts... We are proposed to travel in space-time to our roots through a tool loaded with symbolism. Peace is the name of this set of axes that are at the center and, in fact, beyond the idea of denominating sculpture, its artistic proposal to drive the peace process in Euskal Herria.
Eric Dicharry gives title to this multiform and participative exhibition, and he becomes curious, as he knows no limits on the forms of expression. She is an anthropologist of learning, an ex officio researcher, and a creator who has immersed herself in conceptual art, always accompanied by philosophical and philosophical currents.
Among those studied, the Mascaradas de Zuberoa, the feast of the Basque Country and contemporary art, the irrision of the Basques and the ecology of Education stand out. He will tell us about them and others in an interview at the Kaieran de Argia.
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