David Bestué
Poetics and Politics of Storage and Circular Use
Following the Poetics and Politics of Storage and Circular Use research-action work group, this three-episode miniseries looks at the symptoms and possible responses to the current challenges of temporary storage and palliative curating of works and legacies. In this second instalment, Anna Manubens, David Bestué, Lucia C. Pino and Francesc Ruiz share experiments and valuable experiences to shape a new institutional hypothesis. They speak of celebratory arrivals, orchestrated destructions, unobscured forms of maintenance, and networks of adoption of works that involve care without ownership. They also explore the possibility of making space and creating forms of public memory that accompany heritage objects through their processes of decay, crumbling, and material transformation.
David Bestué
David Bestué’s practice sits at the intersection of sculpture, architecture, and language, although it also extends to other forms such as curating and essay writing. In A FONS ÀUDIO #64, we focus on his works in the MACBA Collection, taking us back to the beginnings of his career, to contextualize his collaboration with the artist and performer Marc Vives, under the alias Bestué/Vives—a key phase that precedes his later research into architecture, memory, and materiality. Over the course of a decade, the duo developed a body of work marked by constant experimentation, in which sculpture and performance merge with narrative fiction. After the dissolution of the shared project, Bestué directed his research toward the relationships between architecture, memory, and materiality, a line of inquiry materialized in works such as Uralitas, also documented here.