• 01:26 Empezar una colección con papeles encontrados dentro de libros.
  • 03:15 Sobre “Los Papeles del Siglo”.
  • 06:01 Establecer un principio de procedencia.
  • 06:59 Transformación de una colección en un archivo.
  • 08:23 “El visitant ideal d’una col·lecció sentimental”.
  • 09:46 El inabarcable mundo natural, la clasificación y las taxonomías como herramientas de conocimiento.
  • 12:21 Estudiar filosofía como forma de perder el tiempo. Pragmatismo y formación académica.
  • 14:50 La mentira y la mediación performativa. Control de la recepción y relación con la gente.
  • 17:18 Rodearse de libros, la inmersión en los archivos y obsesionarse con ellos.
  • 18:29 Buscarse aliados, buscarse enemigos.
  • 20:44 “Recent pintat”: anécdotas, terreno simbólico y legitimación.
  • 28:56 Investigación, acumulación, escritura y rentabilidad. Las otras vidas de los proyectos.
  • 31:18 Una postal tiene el mismo valor que una instalación. La importancia de documentar los procesos.
20/01/2016 37' 10''

Catalan

Enric Farrés, artist, publisher and cultural agitator, started his degree in philosophy because the faculty was on his way to the Massana art school where he was a student. Despite the seeming randomness of his decision, his working methods seem to be influenced by academia. He researches, compiles references and becomes obsessed with a subject until he can squeeze some meaning out of it and generate contents. With all this information his projects materialise in very diverse, autonomous but complementary ways, ranging from publications to visits or presentations.

His work reflects a profound interest in literature, libraries, archives and collections. He goes on researching until he can understand how different contexts function and demonstrate the workings of their mechanisms. He considers mediation and reception as a fundamental part of his projects, channelled through presentations and performative visits.

SON[I]A talks with Enric about his latest projects, collecting obsessively, the value of the ephemeral, the use of lies as a creative strategy and the complicit relationship with those around him, as well as other aspects of his work.

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