After four years of developments and preparations, our exhibition «Round 1.1: A Hairy Decalogue» opened the evening of May 30 at the Mudas Museum of Contemporary Art in Madeira, Portugal. The show, a collaboration between the Barcelona-based art collective Adversorecto (Peter Freund and Werner Thöni) and Portuguese artist and professor Vítor Magalhães, runs May 30 - Oct 11, 2025. The opening intervention, «The Right Hand Doesn’t Know What the Left Hand Is Doing», a live performance art presentation featuring the trio, was launched during the May 30 opening.
WALL TEXT:
The Question of the Curator, or Three Torsions of Retraction
Prohibition. It will have come down to an absence. The classical exhibition of visual art begins and ends with a prohibition: Do not touch. Touch, of course, between the work on display and the observer whose reflections will have been sparked by this withdrawal from physical and intellectual possession. The same prohibition will have applied, like the flip side of a coin, to the requisite space individuating the works themselves.
Inhibition. This pervasive inhibition will have created openings and formed a placeholder for the missing element that makes possible the artistic presentation: the organizing concept, the combinatorial of objects, the pouring rain outside, the shrinking gallery space, the delay of the lost spectator, the guard's outgrown shoe, the empty elevator, the intermittent flashing of the exit sign, the janitor's bucket behind the closing of the closet door, the death of the old mason…. In the end, as in the beginning, the placeholder will have signaled the undefined prime mover: the absent curator. And yet this absence remains, at bottom, a lacuna.
Exhibition. It will have been no accident that the three words – prohibition, inhibition, and exhibition – have related histories. The invited curator ex post facto will have lofted the unexpected concept of the decalogue over a previously proposed exhibit of ten pieces like a nautical fishing net. The curator's surprise net will have in turn made prohibition into the inspiration for merging the individuated pieces into new works. The original exhibit proposal presented a «bout» between Karl and Ady: Marx and his furry companion. A beard and a dog. A forest paradise. A fashion show. A twitching neck and shoulders below an unseen beard. In the curatorial net, the dog will have turned herself inside out in order to reappear as a beard made of billiard sticks. The gallery rooms become a pool table for a match at the precise moment of initial contact. Crackk!
