Page 3 - The Future Belongs to No One. Eugenio Ampudia

ForewordBlanca de la TorreHow do we put together a publication that accompanies, completes, illustrates and is part of an exhibition whose predominant aspects are image in motion, the kinetic, the relational and direct experience? Especially if it is not one exhibition but several, or a mutable exhibition where some pieces are maintained and others progressively change according to the venue and specific contexts. How do we convey with a project the message that the future will always be here, with all its possibilities, belonging to everyone and no one – yet?All these questions and many more arise when it comes to producing an exhibition catalogue, as it is evident that a publication of this kind will always fall short of what we wish to transmit. Indeed, perhaps the need for a printed memory is somewhat pretentious, as it probably stems simply from the fetishist desire to hold on to the exhibition in question forever.The present publication is a response to this deliberate wish and, just as the exhibition is not one but one that ischangeable or several, so too should the catalogue be conceived. First there is the book itself: the one on paper, which we can smell, more literary in nature and functioning more as a fable of this adventure, and constituting another exhibition object. Then there is the link to a digital catalogue, whose purpose is closer to that of any exhibition catalogue, featuring images of the works on view. Through certain devices and merely by clicking, it solves the common problem of how to show the work in motion without restricting it to a flat and inanimate object. This device also allows us to meet the needs of a changeable exhibition and to show its different forms in the various venues that have magnificently hosted it and continue to do so throughout Mexico and Colombia.Although, as we have already stressed, it is a project that is constantly evolving, it contains Eugenio Ampudia’s key ideas in all their forms: his critical attitude, the analysis of the mechanisms for producing, promoting and consuming art, the strategies behind the artwork and the leading role of the spectator in contemplating, completing and interpreting it. But above all, this series of reconfigurations based on Ampudia’s work reveals a central concern in his artistic output: Eugenio’s ironic approach to Art the Institution – both with capitals – and how important it is for the artist to position himself in a space of resistance, making his way like a tightrope walker along the fine dividing line between subversion and the politically incorrect.3 | EUGENIO AMPUDIA. THE FUTURE BELONGS TO NO ONE YET3 | EUGENIO AMPUDIA. THE FUTURE BELONGS TO NO ONE YET