{"id":975,"date":"2013-10-25T16:35:34","date_gmt":"2013-10-25T16:35:34","guid":{"rendered":"https:\/\/montsebadia.net\/new\/nuevos-relatos-vs-colecciones-inamovibles\/"},"modified":"2025-02-19T13:14:52","modified_gmt":"2025-02-19T13:14:52","slug":"nuevos-relatos-vs-colecciones-inamovibles","status":"publish","type":"post","link":"https:\/\/montsebadia.net\/en\/nuevos-relatos-vs-colecciones-inamovibles\/","title":{"rendered":"New stories vs. immovable collections"},"content":{"rendered":"<p><a href=\"https:\/\/a-desk.org\/en\/magazine\/nuevos-relatos-vs-colecciones\/\">Link to A*DESK<\/a><\/p>\n<div class=\"lRu31\" dir=\"ltr\">\n<p><span class=\"HwtZe\" lang=\"en\"><span class=\"jCAhz ChMk0b\"><span class=\"ryNqvb\">For some time now, the programming of contemporary art museums and foundations has not been mainly based on exhibitions and projects curated by independent (or \u201cmulti-dependent\u201d to be more precise) collaborators outside the institution.<\/span><\/span> <span class=\"jCAhz ChMk0b\"><span class=\"ryNqvb\">The crisis of the institutions, which is both economic and identity-related, is responsible for the fact that collections have returned to the forefront of their programming.<\/span><\/span><span class=\"jCAhz ChMk0b\"><span class=\"ryNqvb\"> Collections are alive, they evolve and show the origins and DNA of museums, they shape their identity and personality.<\/span><\/span> <span class=\"jCAhz ChMk0b\"><span class=\"ryNqvb\">Although it may be more rewarding for museums to show their \u201cstar pieces\u201d again and again (a Jeff Wall here, a Gerhard Richter there), it is much more risky and enriching to try to create new stories and provide fresh perspectives on their works.<\/span><\/span><span class=\"jCAhz\"><span class=\"ryNqvb\"> This is precisely what the \u201cla Caixa\u201d Foundation has been doing for quite some time.<\/span><\/span> <span class=\"jCAhz\"><span class=\"ryNqvb\">With the cycle \u201cThe Artist\u2019s View\u201d, it welcomed the \u201cviews\u201d of Juan Usl\u00e9 and Luis Gordillo or, more recently, by Rosa Mart\u00ednez, with the three-part exhibition What to Think?<\/span><\/span> <span class=\"jCAhz\"><span class=\"ryNqvb\">What to wish for?<\/span><\/span> <span class=\"jCAhz\"><span class=\"ryNqvb\">What to do?<\/span><\/span> <span class=\"jCAhz\"><span class=\"ryNqvb\">Caixaforum is now launching a programme called Comisart (yes, the name could have been a little more sophisticated) aimed at emerging curators, a concept that &#8220;la Caixa&#8221; translates as &#8220;under 40 years old and whose experience includes the realisation of three curatorial projects&#8221;.<\/span><\/span><span class=\"jCAhz\"><span class=\"ryNqvb\"> The first of the three proposals in this programme is Arte Ficci\u00f3n (Fiction Art).<\/span><\/span> <span class=\"jCAhz\"><span class=\"ryNqvb\">And the title is the least appropriate part of this project, curated by Jaime Gonz\u00e1lez Cela and Manuela Pedr\u00f3n Nicolau, which starts from the classic parameters of science fiction to generate a different story, a proposal that activates the works in a way that has never been done before.<\/span><\/span><span class=\"jCAhz\"><span class=\"ryNqvb\"> It is true that science fiction is a genre that, from a temporal distance, allows us to analyse the present in a critical way and even to predict a future that is not always encouraging if we think of Blade Runner, 1984 or The Road.<\/span><\/span> <span class=\"jCAhz\"><span class=\"ryNqvb\">Jaime Gonz\u00e1lez Cela and Manuela Pedr\u00f3n Nicolau place us in an indeterminate space and time, in which the absence of the human figure is striking, which only appears alienated in Aernout Mik&#8217;s video installation.<\/span><\/span> <span class=\"jCAhz\"><span class=\"ryNqvb\">The selected works project other worlds, show parallel dimensions or present objects that respond to other realities.<\/span><\/span> <span class=\"jCAhz\"><span class=\"ryNqvb\">In the exhibition we find the Disney-ized cities of Ante Timmermans, the marine horizons of Hiroshi Sugimoto, the strange and obsessive behaviors of the protagonists of Aernout Mik, the stopped-time clock of Jorge Barbi, the paradoxical signs of Rogelio L\u00f3pez Cuenca or the bicycle loaded with bags as an icon of a nomadic and homeless life of Andreas Slominski.<\/span><\/span><span class=\"jCAhz\"><span class=\"ryNqvb\"> But the curatorial narrative is not only shaped by the spatial arrangement of the works, but by a very measured intervention as a path to follow (with lines literally painted on the floor) and by interrelating the works based on classic concepts in the field of science fiction, such as utopia, dystopia, cataclysm, genesis, paradox and virus.<\/span><\/span><span class=\"jCAhz\"><span class=\"ryNqvb\"> Because it is true that the works can speak for themselves, but what we must ask of an exhibition is that it be able to articulate a narrative, from among the many possible ones, and to generate a situation or a universe in which we feel called upon.<\/span><\/span> <span class=\"jCAhz\"><span class=\"ryNqvb\">And Arte Ficci\u00f3n (despite the title) achieves this.<\/span><\/span><\/span><\/p>\n<div class=\"OvtS8d\"><\/div>\n<div id=\"ow48\"><\/div>\n<\/div>\n<div class=\"UdTY9 WdefRb\" aria-hidden=\"true\" data-location=\"2\">\n<div class=\"kO6q6e\"><\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Link to A*DESK For some time now, the programming of contemporary art museums and foundations has not been mainly based on exhibitions and projects curated by independent (or \u201cmulti-dependent\u201d to be more precise) collaborators outside the institution. The crisis of the institutions, which is both economic and identity-related, is responsible for the fact that collections [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[28],"tags":[],"class_list":["post-975","post","type-post","status-publish","format-standard","hentry","category-textos-en"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v24.1 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>New stories vs. immovable collections - Montse Badia<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/montsebadia.net\/en\/nuevos-relatos-vs-colecciones-inamovibles\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"New stories vs. immovable collections - Montse Badia\" \/>\n<meta property=\"og:description\" content=\"Link to A*DESK For some time now, the programming of contemporary art museums and foundations has not been mainly based on exhibitions and projects curated by independent (or \u201cmulti-dependent\u201d to be more precise) collaborators outside the institution. 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