Developing an artistic process which seeks ways of inhabiting the world by the non- action.
The project originates from the idiom “caerse del caballo,” materialized to the point of absurdity through its foundational piece La Caída. Cañadas develops and documents a series of practices that connect this fall, which echoes Saul on the road to Damascus, with the literalness of the stuntman’s craft. These practices also draw on gestures and ways of doing from the artist’s own childhood, where minimal acts of violence were recurrently enacted in a ludic manner. The project draws upon the poetry of Samuel Beckett, with the exhibition title itself alluding to his work.
Through rhythmic, mechanized repetition, the project interweaves the recurring motif of the fly, Barthes’ punctum, and the figure of the mute, idiotic observer. The exploration of animal-human dialogues becomes a central axis of this heterogeneous body of work, aligned with the work of Nicanor Parra, the idiocy celebrated in Lars von Trier’s Idioterne (1998), or Hito Steyerl’s defense of the poor image, among others.
Through the interrelations among these images, the project invites viewers to engage in a dialogue with the dynamic potential inherent in non-action, uncovering the latent significance of inframince moments and its capacity to bear the weight of the contingent.
A project designed to embrace an awareness tied to stimuli,
non-linear in its approach.
There are records of actions: at times driven by reason devoid of emotion, at others emerging from the body, escaping logic—it was a necessity.
The image contends with the word, sometimes embracing it; they bear witness to destruction,
to the attempt to comprehend something, to non-action as the only possible solace.
(A reflection on the possibility of not wanting to say anything, and on the incapacity to do so.)
