This event was conceived as a discursive space, set midway between a clinic and a science fair, a laboratory to interrogate and expose the experience of producing spaces of encounter for independent managers and other agents involved in the production process of such content
BOOK – Legible – Visible explores the relationship between artists’ print publications and audiovisual works, two of the most important media underpinning the social and cultural landscape of our time.
SEMINAR – In mathematics, the conditions of the contour arise in the context of differential equations and allude to the connection between an unlimited domain and a limited domain, to the conditions of border and confinement versus infinite optionality. Due to its similarity, this image can be used to think about the complex articulation that takes place between three of the foundational and fundamental elements of the museum, such as its artistic collections, the documentary archive and the library.
EXHIBITION – Sampler #2. This is Mail Art brings together a series of contents from the MACBA Archive relating to artistic practices that treat sending things by mail as a distribution system.
TALK – Intervention at “Archives of the Commons 2. The Anomic Archive”, International Seminar, hold at Museo Nacional Centro de Arte Reina Sofía, MNCARS.
EXHIBITION – “Sampler #1. Documents on the Stage” presents a set of materials from the collections and documentary fonds of the Macba Archive, as a daily exercise in opening contents that usually remain hidden by the conditions of conservation and access proper to archival procedure.
Before the bubble bursts, we speak to Kit Hammonds and Bernhard Cella about the boom, the recovery of supposedly obsolete printing techniques, the risk-aversion of institutional art collections, about professionalisation and about digital generation. We also look at some of the strategies they have used to explore the medium, which range from placing the book at the centre of the exhibition space, to inventing bizarre taxonomies, turning stolen books into artworks, and being seduced by the eroticism of publication raves.
TEXTO – El mundo en el que vivimos es un disparate. Hace tiempo que lo asumí. Vivo en la contradicción constante, incómoda por no saber estar fuera de esta sociedad del espectáculo que tanto repudio. Pero que no suene catastrofista, que de lo que quiero hablar aquí es de lo que nos salva de todo eso, de lo que llamamos arte (el de verdad), de lo que es fin en sí mismo, finalidad sin fin. El trabajo de Antonio González es de esos, un refugio.
TALK – Such a pleasure to be part of the conversation about Enric Farrés’s work with those three amazing guys that respond to the name of Marc Ligos, Borja Bagunyà and Enric Farrés himself.
TEXTO – Published in Transfigurations. Curatorial and Artistic Research in an Age of Migrations. London: Royal College of Arts, 2014.
I’M OFF. An interview with Maite Muñoz. By Rafa Montilla
TEXTO – El coleccionismo y la archivística que hoy nos ocupan no se pueden entender sin la pasión de las personas responsables de que una recopilación de fragmentos en apariencia inconexos se convierta en un fenómeno necesario.
TEXT – I’M OFF. A FICTIONAL AUTOBIOGRAPHIC STORY IN EPISTOLARY FORM. Chapter 2: About Salvation Mountain
TEXT – I’M OFF.A FICTIONAL AUTOBIOGRAPHIC STORY IN EPISTOLARY FORM. Chapter 1: On Twentysix Gasoline Stations.
PUBLICATION – The MACBA Study Center – in the context of Research Field 04 ‘Curatorial and Artistic Research’ of the MeLa Project– has carried out research into the protocols of archiving and the methods of classifying documentation produced by exhibitions in the field of contemporary art, as well as investigating how these practices impact upon the writing of art history.
contemporary art + research + curating + archives + artists’publications
EXHIBITION – A.XMI. XAVIER MISERACHS ARCHIVE. Exhibition. MACBA. 12 Nov. 2015 – 28 Mar. 2016
Our work as a collective emerges from our shared interests around contemporary art and its related cultural practices. We understand curating as a place of intersection between theory and praxis and as a necessary platform that allows for the fluidity of their symbiotic co-existence.
DESIGN – Proud of my colleagues Leland Palmer and their project about censorship in the context of contemporary art and grateful of be part of it in some way as an editor and graphic designer.
EXHIBITION – It seems impossible to interpret the history of contemporary art, especially from the second half of the 20th Century, without taking into account the relevance of documentary heritage in a wide sense.