I like to be a resident

This project is the result of the exchange between La Capella and the Jerusalem Center for Visual Arts (JCVA) as part of the "Roundabout" program. Encounter Program ". The program was launched in 2002 with the purpose of building links between the context of contemporary art developed in Barcelona and that of other cities around the world. On this occasion, the work format was not the mere export of exhibitions from one place to another, but we decided to resolve it by means of stays. Curator Nirith Nelson, head of the JCVA, went to Barcelona to visit different artists until he decided to invite Daniel Chust Peters and Domènec to a stay in Jerusalem. In turn, Martí Peran, director of the "Roundabout" program, after a stay in Israel, proposed to Doron Rabina and Koby Levy to make a stay in Barcelona. The results of this experience were shown in May 2007 at Tel Aviv Artists' Studio and, now, in Barcelona. I Like to Be a Resident, being an exhibition derived from a very specific work process, is not articulated from any literary coordinate. In fact, it is hardly a simultaneous presentation of the work of four artists, absolutely independent of each other, and generated from the experience of the stay in a singular context. This peculiarity of the project is what wants to express the title I Like to Be a Resident, adding a dose of irony about the gears of the world of art; In spite of everything, it is clear that after the same title they also plan different references to the conflicting relationships between identity and territory that transcend the works of the four artists. Domènec's Real Estate project is a compilation of materials that account for the conflicting management of the territory in the context of the Palestinian conflict. Settlements, administrative violence and the destruction of property are part of a political agenda that strives to conquer the territory with the intention of permanence; But, paradoxically, the protagonist of this siege is a culture with an enormous tradition in ephemeral architecture (Sukkah). In a parallel direction, Nakba (made with Mapasonor / Ságar Malé) is a collection of testimonies of Palestinian displaced people in which place names are limited to designating a remnant of absolutely transformed sites. Daniel Chust Peters, in the Airsoft project, has made a sculpture of ceramics specifically designed to be offered to the JCVA donor who, with his economic collaboration, was the one who, after all, stay The gift (a model wrapped in the studio that the artist occupied in Jerusalem) was made with the intention of delivering it to the recipient and documenting the moment by photograph. If the present is still in the exhibition, there is only one waiting to be able to make the delivery effective. Thus, the work is a gesture of imposition of transparency on the mechanisms that organize the dynamics of the art, while seeking a democratic staging in which the various actors that ironically gravitize the world of the art, art.   Doron Rabina, during his stay in Barcelona, ​​recorded different Details, with a willingly voyeuristic and flaneled attitude. The result is videographic works that reveal the ambivalences of the bodies that occupy the public space and prove unfruitfully to be together: to some it prevents the legislation; to others, the solitude of their sexuality. Painting on a cardboard on the street, which reproduces a herd of monkeys, raises the same question: voluptuousness and desire linked to group dynamics. Alongside these works, Doron Rabina has added two recent series of photographs (Drunks) and the work Bare Back (2004) that complement the projects conceived in Barcelona. With the photographs, small dramas are re-created on desire, with bodies thrown on copious or wrapped scenes of juicy dead natures. Exactly the same ambiguity generated by precious crystals derived from fracture and accident. Koby Levy has developed the All Earth project, Traveling with Yosi Romano as a result of his stay in Barcelona. The work uses Barcelona as the starting point for a trip to the Atlantic coast of the Mediterranean coast. The first impulse to make this journey is biographical: descending from North African immigrants and professionally linked to other Tel Aviv minorities, Koby Levy tries to make a trip that instructs her on difference by approaching her the origin The result, however, is that the trip is revealed in a different way: tourists, immigrants, migratory birds, mobile landscapes ... Everything that happens during the trip accentuates what was suspected when you leave: it is not possible to build a story articulated on identity, always nourished with the accumulation of fragments that can only be cacophonically compressed.