FONS ÀUDIO
Bernat Daviu
Bernat Daviu (b. Fonteta, Baix Empordà, 1985) is an artist who considers himself a painter first and foremost. A painter aware that the death of painting has long been anticipated but has not yet arrived. As such, he expands it and allows it to mutate into objects, costume design, dance, performance, video, music, and art installations. He activates painting, sets it in motion, and turns it into a mirror of our surroundings. Daviu is interested in the borderlands between art and non-art. In this podcast, he talks about his 2020 work Stanza, in which painted canvases break free from the frame and start to dance and interact with other artistic disciplines.
Fito Conesa
Fito Conesa inhabits many languages and disciplines, stretching the chewing gum of his practice to stick on different forms of knowledge, ways of doing, and conversations that are often found outside the white cube. In this podcast, Fito Conesa takes us behind the scenes of the visually and sonically imposing video Helicon (2019), in which a seven-member brass band invokes the end of the world in an almost apocalyptic landscape, in which geological time, human time, and personal time collapse into one.
Núria Güell
Núria Güell’s artistic practice always starts with a contradiction or social conflict that she feels directly challenged or affected by. These give rise to long collaborative processes in which listening, legal research, negotiation, and confrontation—as well as affinities and affects—become essential creative tools. Her practice is part of her life, and it often involves taking legal, physical, and emotional risks. In FONS AUDIO #55, Núria Güell talks to us about the processes, conversations, research, and formalisation behind the making of Ayuda humanitaria (Humanitarian aid) (2008-2013), a piece she began during the years she spent in in Cuba, which became part of the MACBA Collection in 2021.
Deleted scenes
We dig up some unreleased fragments of the conversation with artist and researcher Eugènia Balcells, which we were unable to use the first time around. We share notes on her work Fuga—which she considers seminal to her practice and to her relationship with light—and on the educational project Veure la llum, which was carried out as part of her exhibition Seeing the Light at MACBA in 1996. To wrap up, we talk about her vison for the Eugènia Balcells Foundation: 400 hectares at Les Gavarres, where she can bring together her legacy and establish interdisciplinary dialogue in nature.
Eugènia Balcells
Eugènia Balcells (Barcelona, 1943) began her artistic career in the mid-seventies within the conceptual art scene. A pioneer of experimental film, video art, and video installation, she also works with visual scores, artist’s books, objects, performance art, photocopies, sounds, and photographs. Balcells considers herself an interdisciplinary researcher interested in the possibilities of physics, astronomy, mathematics, philosophy, sociology, music, and poetry. She brings these disciplines into the field of art, as an agora from which to reimagine and reinvent the world. In FONS AUDIO #54 we join Eugènia Balcells in looking back over a life dedicated to art, pausing to examine some of her works in the MACBA collection.