Bernardí Roig

Bernardí Roig (Palma de Mallorca, 1965) Bernardí Roig's artistic practice refers to a society trapped in an era characterized by a lack of historical memory and identity. characterized by a lack of historical memory and identity. Through painting, installations installations, video, filmic appropriation or even essayistic drifts (as can be seen in his compilation of "The (as can be seen in his collection of "monologues" in the book Binissalem), he concentrates on the conflicts that arise conflicts that arise from the absence of communication between us. In a world taken over by mass-media, Roig's individuals have lost the ability to distinguish between truth and fiction. distinguish between truth and fiction as well as between what really matters and what is trivial. In October 2014, Bernardí Roig presented the intervention No/Escape at the Phillips Collection in Washington, D.C. Phillips Collection in Washington D.C. becoming the first Spanish artist proposed to participate in the to participate in the Intersections project that invites to dialogue with the funds of the prestigious American institution. of the prestigious North American institution. If in La Lonja in Palma de Mallorca in 2012 he photographed thousands of people he photographed thousands of people to turn their faces into tiles of twitching gestures, in his exhibition at the gallery Max Estrella in 2011 he presented a video in which he appropriated a sequence of The Year of the appropriated a sequence from Alan Resnais's Last Year at Marienbad to execute the tremendous act of the tremendous act of sewing his mouth shut. This brutal silence anticipates his photographic meditation on the passage of time on the passage of time in Shipwreck of the Face, 2013-2014 (a series of self-portraits executed over a year that reveal the self-portraits executed over the course of a year that reveal how he becomes a monstrous being) and the poetic (crazed) condition of the contemporary subject in POETS, 2015 (polaroids of art world characters characters of the art world reduced to the condition of "abandoned" beings, strange "poets" exclusively covered "poets" covered exclusively with a white sheet).

 

This new exhibition by Bernardí Roig (Palma, 1965) at the Gallery Max Estrella is an attempt to alleviate the soot overload on the walls, saturated with images in which there is nothing to see. But not only the images are tired, the eye is exhausted and the walls are exhausted. Even the light no longer comes from the ceiling to illuminate and guarantee the scene, it is now at ground level, it has ceased to be affirmative.A television is usually a black box that is always full of imprisoned images waiting to be spilled. De-visager, 2022 are those images where, in no more than thirty seconds of eternal continuous seconds of eternal continuous session -and in debt to Bergman-, the close-up of an old head without gender tears off, again and again, the mask of its own face to show again that same face. An infected temporal circularity where what is revealed is exactly the same as what is hidden. It is an insisted image of itself, without compassion, that shows all the territory seized to the likeness. The same is the same as the same.