Faula rodona. Sols i embogits; entre la precisió total i una cançó de Sau
(Circular Fable. Alone and Maddened; Between Total Accuracy and a Song by Sau)
Faula rodona started four years ago when Pere Llobera found himself looking at Richard Dadd’s painting Titania Sleeping. The real madness of its painter, who produced all of his paintings while a patient in a psychiatric hospital, gave us not an aphorism but a weighty axiom: “there is no art without conflict”. The apathy of the world today and the fact that, as Imre Kertész states, “we live in a metaphysically abandoned world” call on the artist to generate this invocation of conflict and wonder inside the Chapel of the Santa Creu.
Mishima went to talk to some students hostile to him at the university. One of the youths shouted, “Mishima! Be sensible!” To which he replied: “How can you expect me to be sensible if I’ve come here today?” This would be the spirit of the exhibition: to keep, contrary to all logic and prudence, the Chinese plates spinning on their poles and to end up sewing the sticky web of this project to which everything the artist was seeking and everything that has crashed into it by accident has adhered.