Enlightenment fan

The object world that refers to the world of fantasy, like a small figure, a pin or any kind of merchandising, is very important to me. They are small objects that, because of age or loss of interest, use to end up in the bottom of a drawer or a cardboard box, leading them to the trash. Since I really care about them, I decided to put them in a frame. Not only to upraise them, since the fact that they are placed randomly makes them preserve their nature of popular objects, but to be more conscious of their existence. Because they are representations of fictions that I have read, observed or listened. Witnesses of dreams that make that the reality could be more bearable.

These fan boxes do not have any artistic vocation, but they do share their format. They are physic compositions that use a frame. And they are also conceptual constructions. They random character regarding the distribution of the objects and the fact that not all the objects can be seen, or at least with enough clarity, bring the boxes closer to the idea of contemporary art that not everything that cannot be seen, does not exist. Actually, the fan boxes are sort of surprise envelopes, where you can suspect what you will find inside, but you need to open them to know for sure what you can find.

What really connects the fan boxes with art is the collector madness: the effort to look for new methods to allow their conservation and increase the amount of pieces. Of course there is a contradiction. The same desire of looking for a new system to rationalise their space creates a new conflict of location.

Jaume Vidal. Biography

When I was a child, I felt into a valve television.

I am what I am because when I was a child I was not going out to the street like all the other children to play with a kick scooter made of wooden packaging and bearings. The reason is that a television entered home, the first television in our street. I am son of Rin-Tin-Tin, Bonanza and Herta Frankel. And everything that followed, like Star Trek (UHF, black and white, and hours of emission not recommended for children). Local cinema and any kind of comic.  From Gordito Relleno to The Phantom, stopping by Tintín and Capitán Trueno and so on. Ligne claire and Makoki. Corben and Corto Maltese. Later came experimental cinema. All of these brought me to journalism. Apart from a period that I worked on an interviewing television program, I have worked in newspapers. I am very happy to have published in El Món, l’Avui, La Vanguardia, El Observador, El País, El Punt and El Punt Avui, where currently I am chief editor of Culture. I have commissioned exhibitions, which produce me very good memories. Journalists in comic, at Palau Marc de Barcelona; the one dedicated to Factoria Bruguera, at CCCB and another one dedicated to Enric Sió, at Galeria Alícia Ventura. It was also an interesting project the cycle Gargots at Galeria Sicart in Vilafranca, about drawing in contemporary creation. I have written some books, one about superheroes and power; one dedicated to the painter Vives Ferro and his look of La Habana, one volume dedicated to the drawer Pilarín and a Barcelona guide illustrated by Pep Brocal.