The English ships which put in at the ports of Tenerife allowed some products to be sold which they had brought for the purpose. The expression used was „you can buy on board“, where there was no duty to pay. The purchasers were the “cambulloneros” who then devoted themselves to dealing in the goods on land.
El inglés, la lengua del Imperio, Amando de Miguel
Perhaps as a result of their trumpeted ultra-outlying status the Canaries are seen as one of those places where the seams of the current neo-liberal regime are shown with a certain clarity. The exceptional location that islands occupy in general in literary tradition is indeed the case for the Canary Islands but not so much because they are remote and inaccessible but, on the contrary, because they are a constant place of passage where a multitude of cultural connections are made.
I do not know what being Canarian is. And the truth is, I don’t care. What does matter to me are the meetings which take place in the Canaries, the connections. These meetings arise from a series of historical, geographical and cultural characteristics and perhaps by analysing them we can illuminate a way out of the loop of the inside-outside dichotomy into which we tend to fall when talking about our situation. It is a matter of talking not so much about the place of the meetings and more about the meetings that take place.
In the setting of the programming of web pages, the embed code is used to incrust an external element. These external elements, link-images, fulfil the role of enriching the site with outside content creating furthermore a link which gives us the opportunity to explore new routes along which we can wander. Thus the incrusted element is recontextualised and acquires new readings that its creators did not at first imagine.
The EMBED_IMG exhibition attempts to insert into the artistic contexts of the Canary Islands the work of four artists who are doing their work in Berlin. The works that are shown here formalise in different ways the very idea of the contemporary flow of images and their insertion in other contexts. In this way, the value of what is adopted as one’s own is played down, and we wonder whether perhaps the Guanches and the religious festivals are not at present a greater insertion than Tinder and mass tourism.
Photography: all images Teresa Arozena
TEA Tenerife Espacio de las Artes, Canary Islands, Spain
JUDITH DOROTHEA GERKE, CHRISTIN KAISER, LINDSAY LAWSON,
Januar 26 – May 3, 2017
Curator: Alby Álamo