The Daltons

09/17/20 to 10/31/20 at Trafalgar 53, Barcelona

The Daltons is a collaborative project between artists Miguel Fructuoso, María Sánchez y Miguel Ángel Tornero. In this exhibition color blindness is the starting point to reflect around empathy, individualism and collectivity, and what is considered to be rare or common. The exhibition includes a series of formal and conceptual exercises in relation to color, to suggest that everything can be questioned.

When Miguel Ángel Tornero and María Sánchez began conversations about the theme of this exhibition, they learned that their friend and painter, Miguel Fructuoso, had just been diagnosed with color blindness. This coincidence initiated an intensive collaboration between the three, in the search for consensus on color as an exercise to question even the most universal conventions.

The starting point of the paintings in this exhibition are the Ishihara tests, which are used as a diagnostic test of color blindness. These tests contain circular drawings with numbers ranging in color from green to red. The ability to distinguish the number from the background is what determines whether or not someone is color blind. The artists selected some of the tests, printed them in large format, and Fructuoso, accompanied by Sánchez and Tornero, tried to reproduce them. In some cases, this reproduction could be successfully executed, due to an ability to match one tone to another, even if the conventional color was not accurately perceived. The conversations and negotiations that took place during this process were recorded in the video piece, “El camino de abajo”.

In the video, “Romancero sonámbulo daltónico”, the experience of how a person with colorblindness perceives colors is reproduced in the environment of a browser, thanks to the Sim Daltonism application. Google searches are dictated by the poem “Romancero sonámbulo” by Federico García Lorca. The results become a visual accumulation of an image bank, a universal iconography dictated by Google’s own code, which in this case makes it possible to question a double convention: that of color, and that of stereotype.

According to the artists themselves, the physical pieces are not the conclusion of the questions initially posed, but rather a procedural document of a transit and an attempt - perhaps unproductive, as it is impossible - to put oneself in the place of the other. Recently Miguel Ángel Tornero stated: “I don’t have much more information about what this show is about than when we began. There is something useless, failed in this sense… ”. To which Fructuoso replied: “This is what art is.”