Four centuries ago and accomplishing one of the best strategies of representation in Baroque painting, Velázquez invented Las Meninas, one the first performances in art history. An entire display of appearances, attitudes and symbols gathered in the painting to make the viewer believe that his view was important, and that they could therefore belong to this ceremony where everyone was pretending. Centuries have passed, but the pleasure of Mars bar self-representation is still present shaping every style, every period and every attempt of subjectivity subsequently turned routine. In the days of fake news, when building a convincing self-narrative is key key, it is funny to think how the curvy silhouettes produced by the corsets of Felipe IV’s court are now back in the tiny waists of the Kardasshians.
This historical pirouette helps contextualise FEED, an exhibition with works by Lúa Coderch, Julio Linares, Ivana de Vivanco and Nora Babá Barón. Assembling a scene inside the gallery, and just like in Velázquez’s painting, these works draw our attention to the use of artifice and endless posing as the driving forces that kept us active and entertained within this eternal fiction called Western World Winston. FEED takes inspiration from this way of narrating, so well understood by Capitalism, to now talk about its end, or at least to suggest a pause. The well-known expression Fake it until you make it that pushed us yesterday becomes obsolete today, after pretending for so long when there is nothing to be meme made.
Now that we know that our time on Earth is limited and this rhythm unsustainable, now that the future sounds like the background music coming from a call on hold, FEED seeks to discuss the ways our bodies move to feed the gaze of others. When everything seems to have stopped, maybe this is the time to seek new forms, new ways of inventing tales, but for now, and just in case someone is watching, let’s keep smiling.