How do we deal today with the tradition that runs through us and hurts us? This is the question that Arts Santa Mònica raises in the exhibition L'art que ens travessa . To try to resolve this issue, about twenty artists are invited to this exhibition to discuss and share lines
of work around the topic. This collective process has led to the series of newly produced pieces that are presented in this exhibition and that offer a set of critical readings of the traditions that have shaped us and that continue to do so. Thus, from the horizontality as a method of work, begins a collective process that has led to the series of pieces of new production that are presented in this exhibition.
This exchange of experiences served to open spaces for thought, debate and creation, and to establish a common framework and narrative. This new way of doing Santa Mònica, marked by the direction of Enric Puig Punyet, is committed to collective creation and institutional hierarchization, and embraces various formulas of horizontal participation.
The art that crosses us is a continuation of the discursive line of Puig Punyet, working on the construction processes of art centers today and which, on this occasion, has led to the participation of artists Greta Alfaro, the group Ayllu, Anna Carreras, Albert Gironès, José y sus Hermanas, Verónica Lahitte + Antonio Gagliano, Robert Llimós, the group Muaj !, Agustín Ortiz Herrera, Mónica Rikić, Xesca Salvà and Montserrat Soto. The exhibition begins with the piece Altar to Our Lady of the Roles and Pleasures of Migrants , by the Ayllu collective. This group is made up of a collaborative research and artistic-political action team made up of racialized migrants, sexual and gender dissidents from European ex-colonies in Latin America and the Caribbean. The engineer and digital artist Anna Carreras questions, in L'algorisme despullat , the relationship between technology, nature and the environment. One of the most outstanding proposals is that of the artist Greta Alfaro, who presents Narciso . The piece consists of a two-hour screening of the flooding of a hall of a Carlist knights' club, which represents "the epitome of patriarchy and a decision-making space reserved for the elite." The exhibition also includes texts by the writer Cristina Morales and the music of the singer and composer Maria Coma, based in Berlin with roots in Berguedà and Mallorca.