About peepingMonster. Contradiction and Oxymoron as a Productive Lifestyle


This is bricolage, babe!!! ...in other words, this is an outrageous oxymoron!!!

All monsters are a deviation from the latin monstrare which means to show, to present something to others and receive their attention, their looks. This passivity, however, is very much in contrast with the insistence of a deliberate peeping activity from the one that always gets shown. To peep is to look while trying not to be caught in the act of looking. This contradiction is for some, simply, a way of being.

is an artist, researcher and writer of contemporary art, as well as, and founder of peepingMonster.

Ruben Verdu's "Solvitur Ambulando" was chosen as one of the best 10 shows in Spain in 2011 in a selection made by curator Max Andrews for FRIEZE. He has recently shown "In Absence of Tongues and Cheeks" at JiM Contemporani in Barcelona, Spain; and also participated in "The Name, The Nose" at MuseoLaboratorio Ex Manifatture Tabacchi of Città Sant’Angelo, Italy; "Coup de sac! Art et design autour du sac en plastique" at Mudac (Musée de design et d’Arts Appliqués Contemporains) of Lausanne, Switzerland; "Art in The Parking Space" that took place in Los Angeles, and "CO$MOPOLI$" at Pristine Gallery of Monterrey, México. He has been a seminar leader at the "Art & Law Residency Program", and a respondent to the "Art & Law Residency Program" Symposium in New York. He has also participated at "How to Philosophize with a Hammer", White Box Gallery, New York; "La Gran Aventura", Can Felipa, Barcelona; "Solvitur Ambulando", La Capella, Institut de Cultura de Barcelona; "Notebook", Komando Kultura Kontemporanea Barcelona; "The Waste Land", White Box Gallery, New York; "L’Escola Moderna", Galeria H2O, Barcelona; "Select Collection of 20th Century Art" Contemporary Art Space Osaka (CASO), Osaka, Japan; "Ruben Verdu: Love Without Contact", Stanlee and Gerald Rubin Center for the Visual Arts, El Paso, Texas; "Swallow", Experimentem l'Art, Barcelona.

The challenge of attempting a cohesive account, and of organizing into a consistent narrative the disparity of interests that I am drawn to examine, is a consideration that I neglect in favor of activities more in accord to the important role a liquid, dissolved and meandering attention has on the core of contemporary thought. If the results are evidence enough of a kind of restlessness, and a nomadic pattern of fascination that unleashes a kind of polymorphic authorial drifting that makes itself difficult to domesticate and pinpoint, I like to argue, however, that this unsettling has no other choice, and simply takes advantage of what I like to call cultural opportunism. If anything, this simple pick of words hopes to foreground the kind of critical operation I try to exert on today’s practice and discourses of art.

Cohesive notions of work risk to be taken under severe suspition today. Many notions have fallen to the voracity of that “dialectic of disinhibition” that Sloterdijk spoke of, but none so as the notion of fidelity to self. I care little about the creator myth of the individual, or, I should say, about the overblown emphasis and nostalgic aura given to it. I prefer, instead, to dig into the cultural symptomatology that the public sphere exhibits. If the art world props and supports its products arguing for an entitlement of relevance, it does so solely under a dialectical engagement that is set forth rooted on the establishment of an extensive quotational rhizome. Today’s creative efforts are simply very busy trying to find exploitable niches of relevance, nothing more. This is my point of departure. One can begin to see, then, how in the present context, one of lack of grand ideological conceits, opportunism is king. Within it, choices tend toward conceptual lacunae and the overlooked. It is the linking of these disconnected niches what takes us right into the pulsing schizoid narratives that best suit our sense of contemporary dissolve.