Openning: 12/12 — 18h

Exhibition open: 12/12 — 27/02 | Wednesday to Saturday — 15h – 19h

Currators: Andrea Rodríguez Novoa + Bruno Leitão

Artists: Edouard Decam, Elena Bajo, João Maria Gusmão e Pedro Paiva, Jordi Colomer, Letícia Ramos, Louidgi Beltrame, Marlon de Azambuja e Rosa Barba

“The philosophers have only interpreted the world, in various ways. The point, however, is to change it.” (Karl Marx).

Plagiarizing the future concerns itself with non-conforming artistic practices in which fiction is a tool for discussions of and constructions of the future. The exhibition gathers speculative predictions of the future, as if these predictions happened at the same time that they were anticipated. It proposes new conceptions of the future through the architecture and urbanism of cinema and speculative thought of visual arts and the moving image.

The exhibition explores social constructs thorough fiction. One attractive aspect of the dystopia as a hypothetical future in narratives of literature and in science fiction cinema is that it is evidence of the fine line between utopias and distopias. Furthermore, instead of creating fantasies, the dystopia anticipates the inevitable. This research reveals authentic recreations of the future, anticipating what has to come and converts these recreations into a plagiarism of those anticipations.

Dynamic perspectives and retrospectives are inherent to that narrative. A story is a return to the past (retrospective) that furthers the artists’ argument (prospective). Plagiarism by Anticipation is a narrative work of the French author Pierre Bayard in which he gives contenty to the work started by the former work of Demain who is remembered as the founder of the “critique of anticipation.”  In an ironic tone, Bayard informs us of the boldness of some writers that, more often than not, without modesty plagiarize future work and rob authors of their originality even as these artists have not been born yet. The author says: “While the classic plagiarism leads the writer to be inspired by one of his predecessors, plagiarism by anticipation leads the author to be inspired by one of his successors.”

In the same way that we study the consequences instead of the beginnings of an author’s work, plagiarism by anticipation would study of the consequences of future works. That is the objective of this exposition: the works that propose an imagined future will have already influenced it.

Art, literature, cinema, and architecture’s are generally constructed to disseminate the territory and history, keeping in mind the importance we will give to them afterward. This post-human recognition happens once all social constructions and cultural constructions are dependent of the impact that causes the collective conscious, which multiplies exponentially through a number of re-visits.

Considering Pierre Bayard’s hypothesis, the exposition explores the prospective importance, not retrospective, of the works and explore that which is to see, treating that which is to come as a past-future and not as the future. This re-visit of the future can facilitate thought and, consequently, artistic expressions with real political and social aspirations, suggesting new systems and a starting point for the development of future ideas.

The science fiction of the exhibitions imagines a future in which urbanism and new social models inspired discussions that are carried through by the visual arts of our society. Scientific fiction emerges as one of the forms of thought and conceptions of the future, in which urbanism and new social models. The art of anticipation positions the now as a moment of escape. In the face of a crises of the values of how we live at the movement, visual arts can open a space for conversations in which we consider new proposals for society.

Bayard also argues that the plagiarism of anticipation should be intentional because the non-intentional-plagiarism is not “plagiarism.” And it is also this that we propose with this experimental project, the artistic projects here show us a future in which we are not exposed from the moment of in which they announce, high and loud, as if we were to report something in a future that has already been lived.

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