For the Spanish Pavilion in the Venice Biennial 2011, Dora García created an “extended performance” project with the title “L’inadeguado, Lo inadecuado, The inadequate”. This performance consists of objects, conversations, monologues, theatre, silences and debate. The protagonists are experts in the notion of ‘inadequacy”, they represent independent, underground, dissident, unofficial, marginal and exiled positions. The performances have been extending throughout the duration of the Biennale, starting on the 1st June and will continue until the end of November.
At De Rijks-show at Ellen de Bruijne Projects, the video “The Inadequate” will be on view. This is one of two videos which form part of the extended performance, together with the video Mad Marginal 2010.
What does ‘inadequate’ mean?
In this respect, we refer to the following quote by Erving Goffman in Encounters (1961): ‘To be awkward or unkempt, to talk or move wrongly, is to be a dangerous giant, a destroyer of worlds. As every psychotic and comic ought to know, any accurately improper move can poke through the thin sleeve of immediate reality.’
Max Andrews, co-director of the curatorial office Latitudes in Barcelona, Spain, writes in Frieze: “The two documentary films that are casually presented on screens in the corner rooms of the Pavilion crystallize many strand of García’s research through talking-head interviews, voice-over commentaries and films of workshops in psychiatric hospitals. […] García’s formidable radicalism-jamboree […] provides a timely context for considering the normalization of outrageousness, of genius, madness and the mirage of authentic art.”
The murder of kraker Louis Seveke occurred a few days before my 2005 Collaboration With We Vs Death, and the connection between the death of Gary Webb, from where I’d once lived, and that of Seveke in my new home provoked a reflection on if and how to respond to such an event in a country that was not my own, though I had lived there for years. This led to an extensive research project, culminating four years later in the Krakersmonument, a site-specific, time-based work.
The public was asked to journey to the edge of the city of Amsterdam, to a spectacular view of the industrial harbor, where a modest box with a button and solar powered speaker played an audio track. The audio track was recorded in one take, with no editing – a performance artifact – taking up the story of the Dutch politician Wijnand Duyvendok who resigned from parliament because “there was no space for debate,” as one fellow Groene-Links politician put it. The site-work then becomes a proposal for “another kind of space, another kind of debate.”
My main partner in thinking through the death of Louis Seveke was the guitarist for We Vs Death, the Utrecht based musician, Bart de Kroon, who is also a student of Genocide Studies; his guitar playing can be heard on the Krakersmonument audio track.