{"id":1115,"date":"2010-02-01T06:16:17","date_gmt":"2010-02-01T06:16:17","guid":{"rendered":"https:\/\/montsebadia.net\/new\/el-entorno-de-la-cultura-se-ha-pervertido-entrevista-moritz-kung-director-de-canodrom\/"},"modified":"2025-02-26T11:24:39","modified_gmt":"2025-02-26T11:24:39","slug":"el-entorno-de-la-cultura-se-ha-pervertido-entrevista-moritz-kung-director-de-canodrom","status":"publish","type":"post","link":"https:\/\/montsebadia.net\/en\/el-entorno-de-la-cultura-se-ha-pervertido-entrevista-moritz-kung-director-de-canodrom\/","title":{"rendered":"“The cultural environment has been perverted.” Interview with Moritz K\u00fcng, director of Can\u00f2drom"},"content":{"rendered":"

Link to the article in A*DESK<\/a><\/p>\n

Until his appointment as the new director of Can\u00f2drom, the Swiss Moritz K\u00fcng regularly came and went to Barcelona to begin to define his programme of action and also to familiarise himself with the context and its agents. Responsible for the deSingel exhibition programme in Antwerp since 2003, K\u00fcng has worked equally with artists and architects. During the interview we had in Barcelona, \u200b\u200bhe made clear the natural distance he has in relation to all the controversy that has surrounded Can\u00f2drom as well as an open and dialoguing attitude.<\/p>\n

Montse Badia – What are the main guidelines of your project for Can\u00f2drom?<\/p>\n

Moritz K\u00fcng – I can talk about intentions but not about the programme. At the end of March we will present the first lines. The intentions are not new, in the sense that I already have a trajectory that makes sense. In the case of Can\u00f2drom and Capella – because they go together – for me it means following the direction that I have been defining in recent years. I am very interested in spatial conditions. The Can\u00f2drom and La Capella are not standard conditions. They are two places with original functions that have little to do with art. This is a constant in my work. The first exhibition I had, in 1992-93, was at an architectural association in Zurich. The exhibition space was in a basement, with a surface area of \u200b\u200b30 square metres and a small auditorium, no daylight and very raw walls. They were anti-exhibition conditions. I started with the project “Denkraum Museum”, something like the “space to think about the museum”. It coincided with the boom of new museums in Europe and I was interested in questioning the future typology of the museum as an exhibition place. I invited two artists, Andrea Fraser, who presented a performance, a guide to the Philadelphia Museum, which we showed on video. It was called \u201cMuseum Highlights: A Gallery Talk\u201d from 1989. I also invited Heimo Zobernig, who made a second space of 480 x 480 x 300 cm within the space. It was an empty, neutral space. A perfect space within the non-perfect space. What it created was that the things that were not perfect in the space were read, i.e. the uneven floor, the condition of the light, the placement of the columns, etc. At the same time, round tables were organised with art historians, museum directors, art critics, artists, philosophers (among others Bice Curiger, Jan Debbaut, Helmut Federle or Beat Wyss). There were no architects on the panels, because they were basically the audience.<\/p>\n

In a project there are always two aspects that interest me: art and architecture, their parallels. A more recent example: deSingel in Antwerp is a centre with a performance arts programme. It has two large galleries, one of which is the gallery, and the other one is the gallery. The main focus of the institution is auditoriums with a capacity of 1000 and 800 people respectively. This is the main focus of the institution. They also present exhibitions whose main theme is architecture. I was interested in introducing an exhibition programme in these particular conditions of deSingel, without an actual exhibition hall. My programme consisted of any place in the building being an exhibition space. The first exhibition with an artist was with Dominique Gonzalez-Foerster, who made interventions throughout the campus. This was an important exhibition because for the first time the exhibition as such disappeared. The work was fully integrated into the site. The interventions ended up generating added value to the space. All this was possible because the general director of deSingel gave me the freedom to do so.<\/p>\n

I consider this previous experience to be fundamental for my project regarding Can\u00f2drom. One fundamental thing is that there are two spaces, Capella and Can\u00f2drom, both “anti-white cube”. The Capella, central next to the Ramblas, and Can\u00f2drom in a well-connected periphery. The public at Can\u00f2drom must make a point of going, while the public at La Capella simply \u201cpasses by\u201d. One is like a \u201crestaurant\u201d (Can\u00f2drom) and the other is like a \u201cbar\u201d (Capella). In my project, both places will have the same programme but the emphasis will be different. At La Capella I would like a programme that progresses more actively, with lectures, presentations, film screenings, performances and also a programme of exhibitions, but a small one.<\/p>\n

MB – And what about the programme that La Capella has developed so far?<\/p>\n

MK – For me at the moment it is not clear. I will soon meet with its director, but I think everything can be resolved. For now, what I can explain to you is my proposed intentions. At Can\u00f2drom, which is not so central, the exhibitions will be the strongest point. The fact that there are two places is very interesting because they can attract different audiences.<\/p>\n

At this moment, when I move in the field of intentions, a first rule is “back to the basics”. The environment of the Culture has been perverted. There are too many mediators of culture, there are more mediators than artists and this is strange. So one of the intentions is to do things pragmatically. It is not a response to the crisis. Of course we are in a moment of crisis, but also in a process of healing, of getting back on the ground. The Can\u00f2drom building is a good personification of all this. You can see it as the opposite of the Mies van der Rohe Pavilion. My intention is to position the Can\u00f2drom as \u201cthe other Pavilion of Barcelona\u201d. When you compare both buildings you can see that they are opposites. On the one hand, you have the absolute architectural icon, the Mies van der Rohe Pavilion. It is a beautiful and fantastic building, but it is very authoritarian. The Can\u00f2drom is an engineering building. It is very sophisticated, light, elegant as a structure, which plays with tensions. It has a very basic finish. This is very interesting in relation to the identity of the Can\u00f2drom. I will try to position it in this way and the programme will also take this aspect into account. I am interested in putting it on the map not only as an art centre, but also as an architectural icon to be discovered. I want to make this potential visible.<\/p>\n

MB – When do you plan to start your programme? When will the works be finished?<\/p>\n

MK – It is a very deep renovation and there are always delays. The architects want to finish the exterior of the building in March or April. The interior of the building may be ready at the end of 2010 or beginning of 2011. We all want it to be done well even if that means opening later.<\/p>\n

MB – Can\u00f2drom will begin its journey with “Can\u00f2drom 00:00:00” What is your involvement in the project which, if I am not mistaken, was a call for proposals thought out and launched before your election as director?<\/p>\n

MK – “Can\u00f2drom 00:00:00” is a transitional project. Part of an agreement between the Ministry of Culture and the artistic sector, which has involved CONCA in its execution. The “Can\u00f2drom 00:00:00” project responds to this desire. CONCA announced the competition and I was invited to participate in the jury, which also included the architect Xavier Monteys, the artist Vicen\u00e7 Viaplana, the curator Neus Mir\u00f3 and Pilar Parcerisas, as a member of CONCA. The jury reviewed 75 proposals and we had a lot of time to discuss. Finally we chose nine projects. I really like the title “Can\u00f2drom 00:00:00” because it is like the zero issue of a magazine. It creates expectations. It is a good idea to communicate that we are here, working. At the moment, CONCA is my basic interlocutor until the Consortium is created, although I also maintain relations with the Barcelona City Council and other cultural actors.<\/p>\n

MB – You have worked in very different contexts (Antwerp, Venice,…) and on one occasion in 2004 in Barcelona at the Sala Montcada… Are you familiar with the Spanish, Catalan and Barcelona context? Do you follow it closely? Have you seen how it has evolved?<\/p>\n

MK – Each exhibition has its own history. La Caixa had the idea of \u200b\u200binviting four curators a year. The idea was that each one would do an exhibition in which they would invite a Spanish artist and another international one. To me it seemed a questionable idea and I tried to turn it around. My proposal consisted of inviting only one artist, the American Ann Walsh. Her concept \u2018Art After Death\u2019 consisted of interviewing dead artists (Yves Klein, Joseph Cornell) through a medium. Ann visits places where the artist has been or places where their works are and the medium contacts their spirit. It is a speculative work. For Montcada, I wanted her to contact a Spanish artist and she proposed an interview with Remedios Varo. The project involved trips to Mexico, London and other places where there were works of hers. But La Caixa didn’t like it and since at that time I was obsessed with the idea of \u200b\u200bexhibiting in Spain, I thought of another proposal. I invited Lara Almarcegui (E) and Adrian Schiess (CH). Looking back, I think Lara’s project was fantastic. I like the idea of \u200b\u200bre-questioning things. By questioning and rethinking things you generate cultural production. Showing what is known is boring, it’s not interesting. In the case of Lara and Adrian it was a very conceptual proposal. Lara proposed lifting the entire floor of the Sala Montcada to see what was underneath. This was done during the dismantling and assembly period. To me this seemed to be the most significant moment, the time of transgression. At the end the documentation of the process was shown in a slide projection. Adrian brought sheets of paint that were installed on the floor, covering Lara’s performance, like an echo, a spatial reflection.<\/p>\n

MB – You have also worked on long-term projects such as “Curating the Campus” and “Curating the Library” could you explain in what do they consist of and are you considering any projects of this type for Barcelona?<\/p>\n

MK – For me it is very important to start things, projects that are produced over time. If you start something now, it will not be an immediate success. It takes at least three years, or better yet five. Time is a fundamental tool in my work. That is why there are a number of artists with whom I have been working for years. Not because I don’t know more or don’t know what to do, but because I am interested, from a curatorial point of view, in the evolution of these artists in relation to time. One example is Matt Mullican, with whom I have collaborated eight times since 1993. This explains the importance of time in my work. The projects “Curating de Library” and “Curating the Campus” began when I arrived at deSingel. Curating the Library was the first and consisted of a very simple idea: invite people with a different background (artists, architects, writers, collectors, scientists, designers, etc.) and give them 400 Euros to buy books that have been important to them. The number of books doesn’t matter. It can be a single book for 400 Euros or 80 books for 5 Euros. Then that person comes to Antwerp and explains why these books are important to him or her. Curating the Library is a library that keeps growing. It is a small project but it has a strong identity. It is almost an art project.<\/p>\n

Regarding Curating the Campus, since deSingel was located in the city’s beltway, the idea was to advertise and make visible all the activities that were taking place. Making it explicit with words didn’t seem like a good idea, because people saw it while driving, so I proposed to the director to ask artists to do this work. I asked Matt Mullican and he made two logos, one consisting of a globe to allude to the term “international” and another in which you can see spectators in front of a black rectangle (which could be a stage, a monitor or a projection). These are 10 x 10 metre flags. This was the initial context for starting “Curating the Campus”. Every year we include one or two works. It is a progressive format that involves the visual arts in the functioning of the centre. Itziar Okariz, for example, was invited and did a performance in which she urinated. This intervention is a trademark of the artist. And I think deSingel was the first institution to invite her to do this performance. Because the institution is above all the domain of the artists and not just of the public. If the two elements are brought together it is perfect.<\/p>\n

MB – Speaking of institutions, how do you see the institutional map in Barcelona? What do you know about it?<\/p>\n

MK – At the moment, not much. I know people, of course, directors of institutions, gallery owners, curators, critics, but I have no direct involvement. Now I will dedicate myself to getting to know more, to talking to them, to getting to know artists. In every community, all the actors have the same objective, to be part of something. Opinions, ideas and directions may be different but in the end the objective is common. An institution must have a clear and precise direction. An institution, or a director, must know what is being done. I think it is important for a dynamic cultural community and I think Barcelona is one. It is important that the visitor feels what the objective is, the direction of the institution. An institution cannot be for everyone. When you try to please everyone, in the end you please no one.<\/p>\n

MB – And who are you addressing? Who will Can\u00f2drom-La Capella address?<\/p>\n

MK – Sometimes I say things that are not popular. I once participated in an international symposium of curators in Switzerland, very interesting, they had us for three days in a monastery, discussing and debating. At one point the question came up: “Who are we working for?” I said, and I still believe, that I’m basically doing it for myself. My colleagues couldn’t believe it when they heard it. “And the public?” they asked. I have to be totally convinced to do something I’m committed to, and once I’m convinced, then I can share the conviction, defend it and convince others. That’s why I say that I’m basically doing it for myself. The starting point is always my own curiosity, not the curiosity of others.<\/p>\n

MB – What do you think is the role of art and the artist in our society?<\/p>\n

MK – There are many artists and there is no one truth. There are fashions. I can only answer in a very personal way. The work that fascinates me is difficult, it’s the one I don’t understand at first glance, it has an enigma. So I’m interested in it because it leads me to want to discover something. If the work is capable of provoking a moment of curiosity, it doesn’t leave you indifferent, then it’s interesting. Art can’t be nice or pretty. Art is something that provokes an opinion, that irritates, that is an obstacle. Why? Because only through an obstacle can you become aware of your own situation. Of course, that art can be comfortable, but that is not the type of work that interests me.<\/p>\n

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