More about Décret nº 1
The proposal for the Universal Exposition in Seville in 1992 was to put some enigmatic texts and pictograms on various signposts enclosure. The difficulty to decipher for ordinary visitor would have forced to think about the communicative function and esthetics of these places and, indirectly, on the message itself (the gist) of the entire Expo.
Juan Antonio Ramírez: Un neorrealismo pauperista
(La contra-arqueología lingüística de Rogelio López Cuenca)
Decree No 1 took its name from the “Decree No. 1 for the democratization of the arts “, published in the Gazette of the Futurists in Moscow in 1918, a proposal for radical removal of galleries and museums, shouting” all art for all people. “The title emphasized the intention of this work marrying into a particular artistic tradition of civil and active intervention, diverging from the common tendency to interpret the idea of ”art Street “as the mere transplantation outside the very thing that is exposed within the” temple of art. “
Decree No 1 was not a monument not a sculpture, or an object with an aesthetic value per se, but an intervention, an insertion, in terms of Cildo Meireles) – an ideological circuit. Its goal might not be completely satisfied since Décret # 1 never exposed to the public: the day before the official opening the pieces were removed and stored , remaining hidden during the celebration time of the Exhibition. Some of the signs will be exhibited in public for the first time in 2004, at the first edition of the Biennial of Contemporary Art of Seville ( BIACS ) . Since then, some of the pieces remain in the Centro Andaluz de Arte Contemporáneo (CAAC , Sevilla) and the rest in the MNCARS.