The human brain, possibly the most complicated entity/object known to man. From there spur human relations, emotions and interactions; all the particularities of 'getting along', of social behaviours, of adjustability, of identity; the disjunctions of human interaction or the affinities that bring us together.
Relations are frustrating or gratifying, sometimes they come with successful rapports, others with frustrated relationships, unfulfilled expectations, sometimes we are whitewashed by the ammoniac, the bleach of other people's existence, and other times we are warmed by generosity or compatibility. As social beings, it is often difficult to find our position with regards to others and to define affection as part of a moral obligation or as voluntary. But what is interesting is that getting along goes beyond this, it implicates to a certain degree time and space, because in the course of our lives, we not only interact with other people, but also with our surroundings; we occupy space at a given moment in time, and because we rely so much on circumstances, we are never in the same place at the same time.
With Getting Along, we hope to bring forward and consider the dynamics of social situations and the condition of belonging. Getting along is complicated, in part, determined by our sense of humour, our forgiveness, our touch, and perhaps most important, by our responses as an expression of our willingness, not to conform to the common, but to be ourselves.
By taking on board artists from very different backgrounds, both geographic and artistic, a wide spectrum of interesting issues and dialogs surface, always lurking within the social condition, and often beyond. This may be seen in Harrell Fletcher's work, I Been Wanting to Go Home, where on an impulse, while on a cross-country trip with a friend, Fletcher decides to visit his great aunt Grace who is at a nursing home. The piece is a transcript of the conversation between the artist and his aunt, a conversation that awakens the past, and although Fletcher had only seen his aunt very few times in his life, their conversation reveals the thread of familiarity, of continuity, of common ground and of belonging, of roots. We often attempt to find our place in this world, to define our spatial temporality, why and who we are, and often we do this through others.
David Estes (USA) for instance, embarks on an investigation of ourselves in the world, on the disparity of who we are and who we want to be. His work evokes people in relation to other people, but often in quirky non-space situations such as his series Untitled (Drawings: graphite with gesso on masonite). For example, in Untitled(Rump), a pair of feminine legs, a little child and a diver occupy the same space, but each in his own particular way, each doing his or her thing, all together, but not together. Rose Tang on the other hand is a social rebel with an attitude, never intending to fit in, her art is subversive and instead questions the authenticity of Chinese society today; the dilemma of the past versus the present.
In conjunction, the artists in this exhibition explore our stance with regard to the outside world, how we exteriorize and how we relate. Some do it in a didactic way so that what remains is a lesson, others are more playful and interactive, but each work brings together bits and pieces of experiences, of 'moments' of humanity; reconstructions of social spaces, of communities, or of everyday people in their everyday urban life, the self, and how we fit into the world. Yasmin Sabet, Madrid 2006