Sin perder casi nada – Presque sans rien perdre (2015) In a display of postcards hitched to a picture rail, “Sin perder casi nada” (Whilst losing almost nothing) proposes a series of “surprise envelopes” dating from the Spain of the 1960s. Presented as they were, on the same support as in a souvenir shop, the […]

ADAM Oriol 2016

Sin perder casi nada – Presque sans rien perdre (2015)

In a display of postcards hitched to a picture rail, “Sin perder casi nada” (Whilst losing almost nothing) proposes a series of “surprise envelopes” dating from the Spain of the 1960s.

Presented as they were, on the same support as in a souvenir shop, the closed envelopes promise “magnificent views of the entire peninsula in color and monochrome” for one peseta. Mass-produced and distributed under Franco, these envelopes praised the country’s sights of interest in a period of promoting a tourism development policy. The device sets our minds back to an outdated means of communication and an obsolete prosperity. Arranged as they were presented to buyers, sealed and unblemished by usage, these covers form a mute collection of sorts, determined to preserve its secret. This muteness evokes the patchwork of silence and smokescreens which itself sealed the representation of Franco’s Spain at the time of its tourist development. It also evokes the amnesia that continues to obfuscate the comprehension of Spain’s history and present day reality. Snatched from our view, the postcards withheld in the envelopes sharpen our desire by virtue of their absence. In other words, our imaginations strain for them. A simple slogan suffices to unleash a swarm of clichés.

Courtesie de l’artiste et Parra & Romero

 

Since 2014 and in connection with Art Brussels, a partnership has been established between ArtContest, Atomium Expo and ADAM to show the first prize winner of the contest.

ADAM-95X45