The Tale of The Bird in The Utrotopical Forrest…

"Turn him to any cause of policy,

The Gordian Knot of it he will unloose,
Familiar as his garter"

(William Shakespeare, Henry V)

…And then one day a bird flew into the Utrotopical forest. Although
he looked familiar at the same time he appeared to be out of place.
No one knew where he came from or what he had been through,
but he looked touched by something they couldn’t quite put into
perspective. Soon enough the animals found out that he had been
invited by one of the birds in the Utrotopical forest, a bird that was
well known among the other animals as a free spirit and who was
well respected for that. He had status in the forest, one could say,
and he had been places and seen things that others never saw
before. They were accustomed to the fact that he invited other
birds, but this one was different than the ones before.
The Utrotopical forest was well known for its hospitality towards
foreign animals. And the forest was well known among many other
animals all around the world. It was well organized - not a leaf or a
branch was out of order- and the birds new exactly how to behave
in this structure. This forest was an example for others who strived
to be just like that. Every animal, every plant and every tree had its
task and order. And so they had been living, year after year.
At first the new bird was pleasantly surprised by the rules of the
Utrotopical forest. But after a short while he felt suffocated. As a
free soul, living outside any forest, not considering any tree or
branch to be his own, the bird felt that he had to free the other
animals from this structure that was restraining them. Being on his
own there was only little he could do. But soon enough he knew
how to free them from their invisible chains. He decided to tell
every animal he encountered: You are dead.
The animals of the forest became very upset. Instead of thinking of
the meaning of his words, trying to think about what he meant, they
went on to the well-respected bird and complained about his guest.
The well-respected bird felt offended by the actions of the bird he
considered his friend and felt he betrayed his hospitality and that of
his fellow-animals. He asked the bird to leave the Utrotopical forest
and never show his feathers in these woods again. The bird was
surprised, but at the same time amused and excited in a peculiar
way. Why wouldn’t these animals want to hear the truth and refuse
to loose the invisible chains they are wearing? He went on with his
mission, because no one could force him to leave this place, until he
said those words to every animal of the forest. And then he left,
silently; in the same way he came.
Some of the animals started thinking about his words afterwards.
Some even left the forest and started to live a free life outside the
forest. But most of them still regard this peculiar visit of that
strange bird as an unfortunate episode. The well-respected bird was
a little less respected after that, although after some time most
birds forgot about the incident. And lived happily ever after…

The events that happened around Pontevedra’s Biennial and artist

Guillermo ‘Habacuc’ Vargas’ presence and performative actions,
made me write this short fable to try and entangle the Gordian knot
of structures and interests behind them. But as in the ancient Greek
myth about the knot, it probably can only be entangled by a
straight, clean cut of a sword.
When I was asked to write a comment on Vargas’ ‘CAMISETA’
action, I was still struggling with the facts myself. As a
representative of ‘a structure’ in the contemporary art field,
although my institute operates in the periphery as an artist-
initiative, I am fully aware of the knots we are entangled in. That’s
why we do our utmost best to stay outside the undermining
constructions, being the contemporary mainstream, which is not an
easy field to survive in. But some things make you vulnerable and
strong at the same time. If there is one thing that can be put on the
account of Habacuc, it’s that he made me reconsider my position. I
hope he did that to all the parties involved with this structure,
although that can be doubted.
Just to give a little hint of what is at stake here: it is about bio-
politics, neo-colonial perspectives, ‘otherness’, deconstructing
constructions, context, Foucault’s heterotopia of deviation, etc.
What I am sure about is that the role of the artist as a ‘thorn in
one’s side’, always pushing where it hurts, is of very great
importance. I think at this moment a lot of artists are not prepared
to be declared an outcast or an outlaw anymore, the lone ranger
that follows his path no matter what, because there is too much at
stake for them. That is why we should all reconsider our position
and embrace the one’s who make us look at ourselves.
Habacuc on his behalf should try and make his points more clear.
Although he declares his artist name was only chosen because it
sounds so ‘funny’, he clearly takes an example to the only prophet
in the Hebrew bible that questions God’s wisdom: “Yahweh, how long
will I cry, and you will not hear? I cry out to you “Violence!” and will you
not save?”. Please let us hear what you have to say in an
unmistakable clear voice. There are people out there willing to back
you up…