Jean Baudrillard points out that, if appearances did not exist, the world would be a perfect crime, that is, without a criminal, without a victim and without a motive. A crime whose truth would have disappeared forever, and whose secret would never be revealed for lack of traces. In a world where more and more fires, more snowfall, more droughts, more floods and greater deforestation are announced, there is no more crime than to stare, sitting on the edge of that abyss. We should start by asking ourselves if it is possible that civilization itself is a trap. Highly civilized societies left atrocities such as the Roman circus, the Aztec sacrifices, the bonfires of the Inquisition or the Nazi concentration camps. Ronald Wright, in his Brief History of Progress, notes how savages never got that far. Civilization is a precarious asset, especially when some destroy and expel others incessantly.
Regarding this theme, artists such as Alberto Baraya, Gabriela Bettini, Sandra Cinto, Christian García Bello, Mona Hatoum, Cinthia Marcelle, Susana Solano, Baltazar Torres or Françoise Vanneraud show us how our earthly paradise has become a lost paradise, beyond appearances, in “El crime perfecto”, at Centro de Cultura Contemporáneo Conde Duque, in Madrid, Spain. This kind of shipwreck gives us the dimension of the world, a reality that is unraveling and with it utopia, like the cracks in a swimming pool. But far from being an Apocalypse without Apocalypse, the way to the solution is to be aware of the problem. Because it is the lack of consciousness that led us to an apparent impasse, from the accident on a planetary scale to the catastrophes of intimacy, which, far from being exclusively physical, are based on the difficulty of living that inner condition.
If art can contribute to something, it is the ability it has to question what surrounds us, to ask questions about space and time, to interrogate and question our perception of the world. Only in this way can we understand that in the perfect crime, the crime is perfection itself, and if we extrapolate this maxim to our contemporary world and its ecosystems, we need to start by recognizing that we have been both murderers and victims of a crime lacking motivation and a conscious author. , always blaming another who could be ourselves. Only from this collective consciousness, ceasing to assume the facts as if they were irreversible, can we strengthen peace with nature and with life to avoid that perfect crime and envision alternatives.
It is worth asking from time to time where we come from, what we are and where we are going. Because infinite progress, without limits and without apparent end, causes a kind of paradox: the problems of material progress only seem to be able to be solved with more progress. The question is whether we have learned the lessons of the past and are truly aware of how many civilizations disappeared victims of their own successes.
“El crime perfecto”, with Alberto Baraya, Gabriela Bettini, Sandra Cinto, Christian García Bello, Mona Hatoum, Cinthia Marcelle, Susana Solano, Baltazar Torres, Françoise Vanneraud
Curated by David Barro
From April April 20 to July 18, 2021
Centro de Cultura Contemporáneo Conde Duque
Conde Duque street, 11, 28015 Madrid, Spain
Tuesday to Saturday from 10:00 to 14:00 – 17:00 to 21:00 / Sundays and holidays from 10:00 to 14:00; Closed Monday