26 February – 01 March 2020
Madrid, Spain








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For its second participation at ARCO Madrid, Bombon proposes Por la acción del pensamiento (For the action of thought), a project by Jordi Mitjà that functions as an extension of his solo exhibition It Happens Everyday at Fabra i Coats Center for Contemporary Art in Barcelona.
“(…) Jordi Mitjà revives and manipulates the most diverse techniques, objects, images and sounds. From a chance finding to working with iron, from the world of books to research on materials, from local stories to disused customs, Mitjà works by engaging with the area where he lives and where he grew up. He says that he made his early creations in secret using remains that he found in his father’s metal workshop, but his father, believing they were scrap, threw them away and since then he has never distinguished between art and rubbish, between what he gathers and what he makes. His work is therefore born of an ambivalent process between territory and decontextualisation, invention and copying, accumulation and rejection, which trigger his practice and a reflection on the creative act that blurs the concepts of authorship and anonymity, construction and destruction, relic and remnant.
The confrontation between family profession and artistic practice relentlessly pervades his trajectory. What is excluded or marginal is vindicated as distinctive and genuine, where popular culture seamlessly mixes with all deviations of art, from artisan to amateur, from outsider to forger or copier. Inverting the syndrome of imposer, Mitjà reassesses figures such as the famous forger Elmyr de Hory or Uri Geller, the personality who used to bend spoons with the power of his mind and from whom the exhibition title is taken.
Between television trickery and the family workshop, appears the extraordinary speculation of day-to-day achievement. The most surprising appropriation and heterogeneous collection is thus found through day-to-day effort and waste. A duality that is not resolved but integrated, a non-exclusive dialogue between utility and artifice, work and pleasure.
Questioning the beginning and end – the origin and purpose – of his profession leads him to seek the limits of the elements with which he works. The same perseverance that bends and reduces what is solid, makes a thing that is insignificant, whether forgotten or ephemeral, great and virtuous. This is how Mitjà explores the dyslexia of things. He challenges the representation of images and plays with the aspect and use of materials, contradicting appearances and experimenting with their physical, temporal and, in addition, symbolic resistance, discovering, with humour or by force, our conventions.
Attracted by the process, study and accident, his way of doing moves between anarchic intuition and an obsessive insistence that he takes from here and there and then abandons, resumes and starts over.(…)”
Fragment of the text It happens everyday by Joana Hurtado
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