By Cesar Antonio Molina, Manuel Borja-Villel, Yolanda Romero
What's the museum's position? What can be its services and actions in modern society? What different operational and organizational versions might be proposed to aid triumph over the modernist place wherein the museum, as a repository of inventive essences, could make a common truth obvious in an immanent method? to discuss those questions, the organization of latest paintings administrators of Spain - ADACE - constituted as a discussion board for mirrored image and debate, held in Baeza a convention during which these answerable for Spain's museums mirrored, including their international colleagues, in addition to artists and thinkers, on those issues in an idea-sharing consultation. the result of this assembly are released during this ebook. It good points interventions by means of Manuel Asensi, Mieke Bal, John Beverley, Manuel Borja-Villel, Benjamin Buchloh, Gustavo Buntinx, Jean-Francois Chevrier, Nuria Enguita Mayo, Javier Gonzalez de Durana, Beatriz Herraez, Paulo Herkenhoff, Martin Jay, Ana Longoni, Ute Meta Bauer, Simon Marchan, Antoni Muntadas, Juan de Nieves, Martha Rosler, Suely Rolnik, Yolanda Romero, Rene Scherer, Allan Sekula, Teresa Velazquez and Santos Zunzunegui.
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I grew up in a time when it was important to know if Oswald assassinated Kennedy. Lots of people didn’t believe he did, but we don’t have any other answer. There are other mysteries… In a certain way, history is a place where we fight for coherence, sense and meaning. Artists help us in this task. But at the same time it is also a place where we are in touch with something that challenges all of that. I believe today we live in a period when the attempts to transform everything into something coherent are very problematic.
I mean: there are history courses of art, there are books… but museums are the places in which contact can be made with the objects in a coherent and meaningful way. They are places for incredible experimenting on how to juxtapose, reorganise, re-tell, avoid or not build a story that surpasses the ability of the object to speak out to us without such a story, and transcend or not the object of this narration… all are subjects which museums confront in an extraordinarily interesting way. It is a great challenge to try to avoid the more traditional narrations of the nineteenth century of national development or the internal narration of art, or the development of style or a certain type of telos.
72 ible face of the two-dimensional plane the forces that animate it. They dissolve the separation between the picture and the wall as it is understood in the visible face of the plane, and enter into composition with the forces of the environment. From this initial gesture, the artist would invent strategies that were more and more effective in embodying the question she pursued. The Bichos, with their three-dimensional deployments, were an important moment in that they required the receivers’ direct action in order to be carried out; but it was still possible to understand them through perception alone.