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Roberto Jacoby

Desire rises from Collapse

Creator: José Luis Espejo
Podcast: Inaudible
  • Image 1 of the program Roberto Jacoby
    Exhibition view. Roberto Jacoby. Desire rises from collapse, 2011
  • Image 2 of the program Roberto Jacoby
    Exhibition view. Roberto Jacoby. Desire rises from collapse, 2011
  • Image 3 of the program Roberto Jacoby
    Exhibition view. Roberto Jacoby. Desire rises from collapse, 2011
  • Image 4 of the program Roberto Jacoby
    Exhibition view. Roberto Jacoby. Desire rises from collapse, 2011
  • Image 5 of the program Roberto Jacoby
    Exhibition view. Roberto Jacoby. Desire rises from collapse, 2011
  • Image 6 of the program Roberto Jacoby
    Exhibition view. Roberto Jacoby. Desire rises from collapse, 2011

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This conversation between Roberto Jacoby and Ana Longoni, the artist and curator of the show, respectively, pays special attention to the music that has accompanied Jacoby’s exhibitions at the Museum. The conversation looks at Jacoby’s relationship with rock music (he was the lyricist for the Argentine group Virus), considering it as an alternative medium in the materialisation of his discourse, and also a genuine tool to develop a personal politics centred on reclaiming enthusiasm in a hostile context.

Jacoby’s work subverts the different meanings of performance art and happenings, as they are commonly known, from the presentation of a ghost action based on stories in the media about it to the institutional decontextualisation of the act. In this respect, the act is not trying to show the limits of art, its language and its distribution centres as much as seeking to restructure personal relationships within a repression that is almost incomparable in magnitude and cruelty: the 1970s dictatorship in Argentina. Based on what both interviewees refer to as a strategy of joy, Roberto Jacoby’s work employs aesthetic manoeuvres in the most personal stratum of politics.

The exhibition was constructed from the archive of the artist’s work, trying to make a poetic reconstruction of 1968, a year that was both very different and similar to 1968 in Europe, so critical in the reorganisation of the Museo Reina Sofía’s collection. In Buenos Aires, as in Paris, the negation of the established structures of artistic production and the use of a table in a bar as the centre for the re-conception of the city and its micropolitics were unmistakable. It is no coincidence that at one point Jacoby describes his work as a deviation.



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