A Critical Approach to the Project ‘Desacuerdos’
Daniel Fairfax traces recurrent threads in Josef Dabernig’s filmic practice — from the dissonance between image and sound to the use of humour and an emphasis on gesture — finding a poetic capacity to make the everyday uncanny. In the early 2000s, particularly in Europe and Latin America, radically different ways of understanding the public function of cultural institutions and their imaginaries begin to emerge. From a theoretical perspective, this is framed by the development of New Institutionalism, 1 which in Spain would lead to somewhat radical breaks: while most institutions sought to maintain the status quo, a handful of institutions and researchers attempted to challenge the historiographical assumptions upon which the hegemonic discourse on art and culture was based.
