Coming from London and based in Lavapiés since 2019, The Ryder gallery has established itself in the Madrid circuit thanks to the conceptual density of its exhibitions, which easily combine artists from different generations, interests and origins. In this exhibition, the discursive framework is inspired by ‘On Being Sane in Insane Places’ (1973), an experiment with enormous impact on modern medicine designed by the psychiatrist and psychologist David Rosenhan. In this study, several volunteers faked hallucinations to be admitted to psychiatric institutions. Once inside, they stopped simulating symptoms and acted “normally”, but remained hospitalized and treated with drugs for weeks. Standard related news Yes ‘Fueled, Oasis, Fueled’, by Mónica Mays in the Pedro Cera gallery: Dream or nightmare ? Nerea Ubieto standard Si ‘Epojé’, by Fernando sinaga in the Fernando Pradilla gallery: Philosophical thought in form(s) Francisco CarpioThe appointment, curated by Pepe Suárez, child psychiatrist, is presented as a “game scenario” that explores the fine line that separates the healthy from the sick in the field of mental health, focusing attention on the conditions necessary for healthy development in an environment, the current one, perceived as adverse. The proposal omits biological and genetic factors to focus on three key cultural axes in the construction of identity: gender, family and society. In the first area, the pioneering works in the Spanish context of Miguel Benlloch and Cabello/Carceller stand out, who, From a playful perspective, they question the normative impositions that condition the free construction of sexual identity. Three of the most interesting proposals are articulated around family ties: Francisco Ruiz de Infante explores the interferences of duality in the construction of the self based on his relationship with his twin brother; Melike Kara places her work in the Kurdish context and claims the transmission of feminine knowledge within the same lineage; and Simon Lehner confronts the father figure through a convoluted and ironic genealogy of “toxic masculinities.” Some of the works included in The Ryder exhibitionFinally, changes in collective identity are addressed in the work of Jon Rafman, who revives the video game arcades of the 80s and 90s as community spaces, and in the work of Cristina Stolhe , who documents the arduous training of skater Sara Hurtado while suggesting the alienating impact of social networks. Although deliberately incomplete, the set opens up relevant reflections and avoids falling into obvious conclusions. However, its approach is weakened by ignoring the numerous criticisms directed at Rosenhan’s experiment, such as those exposed by Susannah Cahalan in her book ‘The Great Pretender’ (2019), where very significant irregularities are revealed, such as the manipulation of the data. obtained or the omission of discrepant testimonies. ‘On Growing Sane in Insane Places’ Collective. The Ryder Gallery. Madrid. C/ Miguel Servet, 13. Commissioner: Pepe Suárez. Until January 18. Three stars. By presenting Rosenhan as a heroic figure confronted with a flawed system, the exhibition flirts with a simplistic narrative, currently on the rise, that portrays psychiatric knowledge as intrinsically pathologizing and oppressive.
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