Cabello /Carceller
01 Jun - 29 Jul 2006
CABELLO / CARCELLER
"Ejercicios de Poder (Power Exercises)"
The Galería Elba Benítez presents the Ejercicios de poder project by Cabello / Carceller ( Paris, 1963 / Madrid, 1964) as part of Photoespaña06. Since 2005, Cabello /Carceller have joined the roster of artists represented by the Galería Elba Benítez, and this is their first exhibition at the gallery. The Ejercicios de Poder project analyses the role played by film discourse in the construction of images of masculinity and power. The project consists of a video lasting 8’15” and 4 photographs taken during shooting.
“ In societies openly hostile towards anything they cannot pigeonhole as being “correct”, the construction of a real or mental place where one can live with an acceptable level of freedom becomes an indispensable goal. Each of us builds our own personal utopia wherever we are able”. (1)
Cabello / Carceller
“Taking a strong, committed stance in questions of gender, their work emerges from an attempt to practise art by transcending the corseting categories of masculinity and femininity. They believe artistic works should desist from reflecting a particular gender, marked by norms and conventions.” (2) Questions of gender were tackled by Cabello / Carceller in the 90s with an approach characterized by a reliance on self-portraiture. On viewing these disturbing, double and ambiguous self-portraits, it was hard for the spectator to distinguish between masculine and feminine. During this period, in works such as Un beso 1996, Identity Game 1996 and Autorretrato como fuente, 2001, Cabello / Carceller visualized their defence of the ambiguity of the human condition by depicting their own faces, bodies and experiences using a variety of mixed media including video, installation and photography. In their most recent work, the artists have preferred to employ third parties in their analysis of the construction of gender identities. The video Casting: James Dean. Rebelde sin causa, [Audition: James Dean. Rebel Without a Cause] 2004, is an example of this. In it, they simulate a kind of audition in which women have to play the part originally acted by James Dean in the film. In this manner, the artists analyse the vocabulary associated with virility, and the major role film has played in the construction of the male image in the collective imagination.
The work of Cabello / Carceller does not limit its focus to dealing with themes revolving around gender-related codes established and accepted by society, in addition, it provides a thought-provoking defence of the individual search for self-realization. They defend the goodness of difference, in short, of individual freedom. One of the tools in this search is the journey, and though the destination or objective of this journey may not be clear, it will, nevertheless, lead towards the discovery of new realities: Return ticket 2000 and Utopía (ida y vuelta) 2002.
Midway between the Anglo-Saxon art tradition which analyses identity in isolation from its territorial context and the European tradition, according to which social prototypes and hierarchies are observed in their specific geographical setting, Cabello / Carceller have elaborated their analysis of the construction of identity by employing places and architectures conventionally associated with the performance of specific social acts and events. Swimming pools, bars and cinemas are popular and prominent places for the plurality of social behaviour. Each of these places is intrinsically associated with recognizable atmospheres and codes of behaviour. Cabello / Carceller reveal the “hidden side” of this behaviour to us. The artists offer images of these places depicting them in quite anachronistic circumstances, in terms of the time and the purpose that supposedly justifies their existence: outdoor swimming pools in winter, bars after the party is over, and cinemas between screenings. Works like Sin título (Utopia) 1998, Alguna Parte 2002, and The end 2004, present us with unusual images and moments in the life of these much-frequented places. Once again the artists defend the manifold facets and perceptions of a single reality.
The Ejercicios de poder project was conceived and produced in 2005 for the El espacio recuperado exhibition organized by the Fundación COFF at the former factory of Tabacalera in San Sebastián. This building, similar to the swimming pools, bars or discotheques, is portrayed by Cabello / Carceller at a juncture when the function the site was built to serve is inactive, since the factory was closed down some time ago. It is, moreover, a tobacco factory, a place linked to women and their condition as workers. The women –the Cigarette Girls– were the main work force at factories, but despite this, they never wielded power. The video Ejercicios de poder: Casos Liam Neeson (La lista de Schindler) / Fred MacMurray, Jack lemmon (El apartamento) [Power Exercises: Case studies: Liam Neeson (Schindler’s List) / Fred MacMurray, Jack Lemmon (The Apartment], with a duration of 8’15”, analyses the codes and conduct associated with the image of male power. Based on scenes from the films alluded to in the title, Cabello/Carceller analyse the body language and arguments presented by the characters in the exercise of their pow er image. The men are acted by masculinized women, and the film sets of the factory and office are depicted by the real images of the decrepit, abandoned factory. Consequently, nothing is as it seems on first glance. In this manner, Cabello / Carceller aim to provoke viewer’s to adopt an active and participatory stance, using analysis and thought to complete the meaning of the work. Furthermore, the characters and scenery of Ejercicios de poder reflect out-dated social behaviour, hierarchical power structures and work systems, but ones which are often still prevalent. Once again this work by Cabello / Carceller analyses the power of cinema, both past and present, to create prototypes and behavioural blueprints. The Ejercicios de poder project is complemented by 4 photographs taken during shooting for the video. These images, like the video, reflect the cinematic style and photography of the late 40s and early 50s. The ambivalence of character and space encourage the spectator to consider the possibility that changes have taken, and are taking, place in the models of behavioural codes as depicted by the central characters of the video, as well as in the system which gives rise to this type of power exercises.
Cabello / Carceller live and work in Madrid. Their major individual exhibitions include among others: No es él at the Galería Joan Prats, in 2005; En construcción (cap_2) at the Centre d’art la Panera and the Sala de Verónicas Murcia, in 2004; t. i (todo incluido o maneras contemporáneas de viajar en la utopía) Diputación Provincial de Málaga, in 2002; Viaje itinerante hacia ninguna parte at the Galería Buades –Honourable Mention as Best Exhibition in Photoespaña01- in 2001, and Sin necesidad aparente de título (Capítulo II) at the Sala La Gallera in Valencia, in 1999. They have also taken part in numerous group exhibitions. In 2006 they presented their work at the Sala Juana Francés, in Saragossa; El: nuevos masculinos, at the Centro Cultural Conde Duque; Filipiniana. S XX, XVI Certamen de Artes Plásticas UNED Casa de Velázquez in Madrid; Catarsis. Rituales de purificación, at ARTIUM; at the X Bienal de Artes Plásticas Ciudad de Pamplona and at Identidades críticas, Sala Puerta Nueva, Cordoba and Museo Patio Herreriano, Valladolid. In 2005, their work was featured in El espacio recuperado, CICC, Fundación COFF, San Sebastián. In 2004, they participated in No lo llames performance, Museo del Barrio, New York and Domus Artium 2, Salamanca, in the 4a Biennal d’Art Leandre Cristòfol, Centre d’Art La Panera, in Encuentro entre dos Colecciones. Arte portugués y español de los 90, Fundación la Caixa / Fundación Serralves, CaixaForum, CAAM, Las Palmas de Gran Canaria. In 2003, their work was selected for display in Monocanal, at the MNCARS, CGAC, Sala Díaz Cassou, Centre d’Art Santa Mònica, Museo Patio Herreriano, Palacio Condes de Gabia / Centro José Guerrero, Koldo Mitxelena Kulturunea, Obra Cultural Cajastur. In 2002, at Madrid al descubierto, Sala de Exposiciones de la Comunidad de Madrid; in 2001, Trans Sexual Express, Centre d’Art Santa Monica, Künsthelle Mücsarnok, Budapest and, in 2000, at the Premio Altadis, Paris-Madrid. They also work as curators –organizing, for example, the Zona F exhibitions at the EACC in Castellón, in 2000– as art critics, and teachers at the Universidad Europea of Madrid. Their work forms part of numerous collections, such as, Ayuntamiento de Barcelona, Ayuntamiento de Lleida, ARTIUM, Fundación la Caixa, Fundación Altadis, Caja de Ahorros del Mediterráneo and the ARCO Electronic Art Collection.
Pia Ogea
© Cabello /Carceller
Ejercicios de poder no1, 2005.
Black and white photography mounted on aluminium, 180 x 122 cm.
Edition of 3 + AP
"Ejercicios de Poder (Power Exercises)"
The Galería Elba Benítez presents the Ejercicios de poder project by Cabello / Carceller ( Paris, 1963 / Madrid, 1964) as part of Photoespaña06. Since 2005, Cabello /Carceller have joined the roster of artists represented by the Galería Elba Benítez, and this is their first exhibition at the gallery. The Ejercicios de Poder project analyses the role played by film discourse in the construction of images of masculinity and power. The project consists of a video lasting 8’15” and 4 photographs taken during shooting.
“ In societies openly hostile towards anything they cannot pigeonhole as being “correct”, the construction of a real or mental place where one can live with an acceptable level of freedom becomes an indispensable goal. Each of us builds our own personal utopia wherever we are able”. (1)
Cabello / Carceller
“Taking a strong, committed stance in questions of gender, their work emerges from an attempt to practise art by transcending the corseting categories of masculinity and femininity. They believe artistic works should desist from reflecting a particular gender, marked by norms and conventions.” (2) Questions of gender were tackled by Cabello / Carceller in the 90s with an approach characterized by a reliance on self-portraiture. On viewing these disturbing, double and ambiguous self-portraits, it was hard for the spectator to distinguish between masculine and feminine. During this period, in works such as Un beso 1996, Identity Game 1996 and Autorretrato como fuente, 2001, Cabello / Carceller visualized their defence of the ambiguity of the human condition by depicting their own faces, bodies and experiences using a variety of mixed media including video, installation and photography. In their most recent work, the artists have preferred to employ third parties in their analysis of the construction of gender identities. The video Casting: James Dean. Rebelde sin causa, [Audition: James Dean. Rebel Without a Cause] 2004, is an example of this. In it, they simulate a kind of audition in which women have to play the part originally acted by James Dean in the film. In this manner, the artists analyse the vocabulary associated with virility, and the major role film has played in the construction of the male image in the collective imagination.
The work of Cabello / Carceller does not limit its focus to dealing with themes revolving around gender-related codes established and accepted by society, in addition, it provides a thought-provoking defence of the individual search for self-realization. They defend the goodness of difference, in short, of individual freedom. One of the tools in this search is the journey, and though the destination or objective of this journey may not be clear, it will, nevertheless, lead towards the discovery of new realities: Return ticket 2000 and Utopía (ida y vuelta) 2002.
Midway between the Anglo-Saxon art tradition which analyses identity in isolation from its territorial context and the European tradition, according to which social prototypes and hierarchies are observed in their specific geographical setting, Cabello / Carceller have elaborated their analysis of the construction of identity by employing places and architectures conventionally associated with the performance of specific social acts and events. Swimming pools, bars and cinemas are popular and prominent places for the plurality of social behaviour. Each of these places is intrinsically associated with recognizable atmospheres and codes of behaviour. Cabello / Carceller reveal the “hidden side” of this behaviour to us. The artists offer images of these places depicting them in quite anachronistic circumstances, in terms of the time and the purpose that supposedly justifies their existence: outdoor swimming pools in winter, bars after the party is over, and cinemas between screenings. Works like Sin título (Utopia) 1998, Alguna Parte 2002, and The end 2004, present us with unusual images and moments in the life of these much-frequented places. Once again the artists defend the manifold facets and perceptions of a single reality.
The Ejercicios de poder project was conceived and produced in 2005 for the El espacio recuperado exhibition organized by the Fundación COFF at the former factory of Tabacalera in San Sebastián. This building, similar to the swimming pools, bars or discotheques, is portrayed by Cabello / Carceller at a juncture when the function the site was built to serve is inactive, since the factory was closed down some time ago. It is, moreover, a tobacco factory, a place linked to women and their condition as workers. The women –the Cigarette Girls– were the main work force at factories, but despite this, they never wielded power. The video Ejercicios de poder: Casos Liam Neeson (La lista de Schindler) / Fred MacMurray, Jack lemmon (El apartamento) [Power Exercises: Case studies: Liam Neeson (Schindler’s List) / Fred MacMurray, Jack Lemmon (The Apartment], with a duration of 8’15”, analyses the codes and conduct associated with the image of male power. Based on scenes from the films alluded to in the title, Cabello/Carceller analyse the body language and arguments presented by the characters in the exercise of their pow er image. The men are acted by masculinized women, and the film sets of the factory and office are depicted by the real images of the decrepit, abandoned factory. Consequently, nothing is as it seems on first glance. In this manner, Cabello / Carceller aim to provoke viewer’s to adopt an active and participatory stance, using analysis and thought to complete the meaning of the work. Furthermore, the characters and scenery of Ejercicios de poder reflect out-dated social behaviour, hierarchical power structures and work systems, but ones which are often still prevalent. Once again this work by Cabello / Carceller analyses the power of cinema, both past and present, to create prototypes and behavioural blueprints. The Ejercicios de poder project is complemented by 4 photographs taken during shooting for the video. These images, like the video, reflect the cinematic style and photography of the late 40s and early 50s. The ambivalence of character and space encourage the spectator to consider the possibility that changes have taken, and are taking, place in the models of behavioural codes as depicted by the central characters of the video, as well as in the system which gives rise to this type of power exercises.
Cabello / Carceller live and work in Madrid. Their major individual exhibitions include among others: No es él at the Galería Joan Prats, in 2005; En construcción (cap_2) at the Centre d’art la Panera and the Sala de Verónicas Murcia, in 2004; t. i (todo incluido o maneras contemporáneas de viajar en la utopía) Diputación Provincial de Málaga, in 2002; Viaje itinerante hacia ninguna parte at the Galería Buades –Honourable Mention as Best Exhibition in Photoespaña01- in 2001, and Sin necesidad aparente de título (Capítulo II) at the Sala La Gallera in Valencia, in 1999. They have also taken part in numerous group exhibitions. In 2006 they presented their work at the Sala Juana Francés, in Saragossa; El: nuevos masculinos, at the Centro Cultural Conde Duque; Filipiniana. S XX, XVI Certamen de Artes Plásticas UNED Casa de Velázquez in Madrid; Catarsis. Rituales de purificación, at ARTIUM; at the X Bienal de Artes Plásticas Ciudad de Pamplona and at Identidades críticas, Sala Puerta Nueva, Cordoba and Museo Patio Herreriano, Valladolid. In 2005, their work was featured in El espacio recuperado, CICC, Fundación COFF, San Sebastián. In 2004, they participated in No lo llames performance, Museo del Barrio, New York and Domus Artium 2, Salamanca, in the 4a Biennal d’Art Leandre Cristòfol, Centre d’Art La Panera, in Encuentro entre dos Colecciones. Arte portugués y español de los 90, Fundación la Caixa / Fundación Serralves, CaixaForum, CAAM, Las Palmas de Gran Canaria. In 2003, their work was selected for display in Monocanal, at the MNCARS, CGAC, Sala Díaz Cassou, Centre d’Art Santa Mònica, Museo Patio Herreriano, Palacio Condes de Gabia / Centro José Guerrero, Koldo Mitxelena Kulturunea, Obra Cultural Cajastur. In 2002, at Madrid al descubierto, Sala de Exposiciones de la Comunidad de Madrid; in 2001, Trans Sexual Express, Centre d’Art Santa Monica, Künsthelle Mücsarnok, Budapest and, in 2000, at the Premio Altadis, Paris-Madrid. They also work as curators –organizing, for example, the Zona F exhibitions at the EACC in Castellón, in 2000– as art critics, and teachers at the Universidad Europea of Madrid. Their work forms part of numerous collections, such as, Ayuntamiento de Barcelona, Ayuntamiento de Lleida, ARTIUM, Fundación la Caixa, Fundación Altadis, Caja de Ahorros del Mediterráneo and the ARCO Electronic Art Collection.
Pia Ogea
© Cabello /Carceller
Ejercicios de poder no1, 2005.
Black and white photography mounted on aluminium, 180 x 122 cm.
Edition of 3 + AP