Amor fati. Vicenç Altaió. (2012)
‘Amor fati: let that be my love henceforth!’
wrote Nietzsche. The Latin term amor fati ser ves to denominate the destiny predetermined by the accidents of love’s reason and unreason, just as obsessive love, the sickness of those in love, was known to Western medicine as amor heros. While subjective passionate love has
been the germinative and dialecticalforce behind numerous literar y and artistic works, and even of medical diagnosis, as in the pioneering study by Arnau de Vilanova in the thirteenth century, amor fati, with which it is often incomprehensibly confused, has more of a moral standing, in that whereas in the one, feverish love has a tendency toward erotic delirium, in courtly love the loversubmitsto the loved one. In fact the amor fati of classical antiquity is resituated by modern philosophy of liberation, far from any kind of predetermination, as a positive negation of histor y in a permanent present in circular ascent. In the binar y pendulum motion of political histor y and culture between predetermination, destiny or order and freedom, or between ideal, norm and abandon, religion and law, and science with them, have applied values, norms and therapiesto elusive realities. However, the standing accorded to free love within the artistic avant-gardes and the rediscover y of the individual body as such in the new behaviours of conceptual art, in parallel with gender studiesand feministliberation, effectively turned the art of representation towardsthe breakdown of syntax and the pain of the injured body rather than in the narrativities of the social.
We are indebted to the artist Begoña Egurbide for a different approach. Instead of continuing to insist on the dismembering of the image she is concerned to bestow value on the reunification of timesthat are subjected to the arbitrariness of the initial images with which the viewer, like the artist, engages. As if the waking were asleep and a choice were possible. Thus, thanksto open mechanisms
of viewpointin linear systems, consciousness convertsthe gaze into a
construction based on the streamof singularly archetypalimages. Each generation sees and
names the same things differently and in doing so we alter not only the order of perception but also the order of understanding and behaviour. Arts Santa Mònica, attentive to the dynamics established
between memor y and innovation, creativity and society also celebrates the engagement with issues of a subjective order inscribed in nature — a nature in this case with no supposed evolution otherthan
— on the part of philosophers, psychiatrists, historians and legislators.
Vicenç Altaió. Director of Arts Santa Mònica
Translated by: Andrew Langdom Davies