(de)construction
Analysing the link between art and politics as an aesthetic fact offers the possibility to look at the relationship established between the work of art itself and other social phenomena which determine its production. Today, some of the consequences have become one of the central thematic concepts, and one with the greatest mileage, of the different registers offered by this tandem of which political activism, economic strategy and scientific research are a good example and one that does not go unnoticed in the work of Beatrice Bizot.
Two years of pandemic, marked by the inauguration of her Vila Seca Memorial project for victims of the Civil War bombings, have given Béatrice the opportunity to continue working on her personal project and rediscover herself in her new space. During this convulsive period, she has never lost sight of the erratic movements that were taking place, or the disorders of the modern world which instantaneously allowed reflection on living with latent silence alongside the brutality of the moment.
Her work, which is especially based on the symbiosis of the human body with architecture, awakens and contests here the punitive sensation of mutation as a mechanism of contradiction where the impasse between destruction and construction as one of the inescapable factors of the human condition allows her bidirectionally to talk about the other more personal questions that were bothering her.
The artist observes and then acts. She is like a filter of the world and of human actions and their consequences, the sudden uncertainty and the unjust resurgence of war and destruction. That is why she seeks the precarious balance of our most intimate constructions but also that of the world around us. It is in that subtle band of fragility that Béatrice allows herself to talk about continual change, people and nature as well as the questions she presents us with. “The artist analyses it all and constructs the answers”.
We can find the footprint of the world as a metaphor for time in the tracks left by the materials in her works, which she uses to ask herself what we will have left after all this misery, all the cities and lives that have been destroyed. The lack of reflection on the transcendence of these acts has given rise to an urgent need to react and to rethink concepts such as reassignment, adaptability and reappropriation, delegitimise ourselves from the social model that we have been dealt and where the remains of all this senseless and decadent ethical-political landscape will move towards practice in what we can only consider to be merely functional. Our experience of her works can be situated in that precise moment, inviting us to interiorise, or in that moment of concentration or when we are seeking to discover something essential, such as a feeling, a thought or an internal truth. The artist understands it as a kind of charm, the magic of the setting up and the desired mutation that is involved to be able to celebrate beauty, even the beauty of devastation.
- Manel Margalef, Director of the Museum of Modern Art of Tarragona Provincial Council
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