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Tirant lo Món is like a Pandora’s box. The video starts out as the documentation of an exhibition, but we quickly realise that it’s much more than that. Rossell uses the video as the time and space of his performance. He plays with moving images and uses text as the thematic thread.
Immediately after the images of an exhibition of the artist, we are confronted with the image of a world map being perforated by bullets until it is nothing more than a black stain. At this moment Rossell starts his performance for the camera, reading an affidavit describing his work and the concepts that he puts forward in his art works. His statement, surreal, ironic and poetic at the same time, is a sort of reflection on the abuse that we subject the world to (ecologically and economically, without realising its fragility) as well as an attempt to offer art, through its creator, the artist, as a space for reflection and emotion.
Rossell’s character is close to the dalinian attitude, somewhere between the earthly and the celestial. He will cover himself in dirt (looking for a direct contact with physical matter) and create a new planet, with a genious-like will power.
Rossell’s work is influenced by the historical avant-gardes, combining their elements with postmodern ones. A multidisciplinary artist, Rossell has been a great driving force behind the Catalan performance scene, the development of video art and the incorporation of the new possibilities offered by technology. Some of his contemporaries and fellow comrades are Carles Hac Mor, Ester Xargay, Miralda and Joan Brossa.