The Art of Crossing the Line
L'art de fer-ne un gra massa
Does an accurate way to measure things, as Horace wished, really exist or is it all about scales and nuances of what is called “fer safor” (“make a mess” in Valencia)? If media, aesthetics and society put down roots in crossing the line, why don’t we make it a field of knowledge that allows us to look at The World through a magnifying glass? And what if we call this parascience or vision saforology?
L’art de fer-ne un gra massa could be described as an essay, but it’s also an illustrated satire on cultural theory, humour, education about exhibitions and artistic works, comic delight, irony, jolliness and highbrow discussions. It’s a compendium of theatre dialogues where each concept turns into a gag. Presented as a monograph on the most renowned Catalan artist from new wave of contemporary artists, Oriol Vilanova, this book reinvents the genre of Great Artists’ Life and suggests a gallery of characters lured by excess.
“Fascinating… An essay in Montaigne’s meaning: a test, an attempt, an unusual invasion into current affairs, especially interesting for young readers… The depth of Fernández Porta’s analysis of contemporary cultural issues is truly stunning” (Jordi Llovet, Diari Ara).
“A unique writer. An essayist on the fringe and with narrative skills. Fernández Porta writes boisterously about diverse cultural elements” (Màrius Serra, La Vanguardia).
Eloy Fernández Porta (1974) was born in Barcelona. He has a PhD in Humanities from the Universitat Pompeu Fabra. Anagrama has published his essays on cultural criticism: Afterpop, Homo Sampler, €RO$, Emociónese así (‘Get Excited Like That’) and the most recent En la confidencia (‘In Confidence’). He was awarded the Premio Anagrama de Ensayo (Anagrama Essay Award) and the Premi Ciutat de Barcelona (Barcelona City Award). His work has been translated into English, French and Portuguese. He is considered a “fine analyst but also a great writer” (Maxence Grugier, Première), a “top class essayist” (Santi Balmes, Rolling Stone), “brilliant, hilarious, and bizarrely accessible” (Céline Ngi, Fluctuat). Recognised as “one of the most decisive proponent of spoken word in Spain (Eduard Escoffet), acts with Agustín Fernández Mallo, in the Afterpop duo Fernández and Fernández. She leads a new generation of bookworms who look at pop culture with the rigour of university research (Carlos Sala, La Razón) and she has “invented a form of thinking that is impressive in its freedom and causticity” (Nils C Ahl, Le Monde).