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Treball col·lectiu que consisteix en verificar la distribució de 44 professions entre 113 persones segons una nota apareguda últimament a la premsa (Collective Work Consisting of the Distribution of 44 Professions among 113 People Based on an Item in the Press)

  • Authors: 
    Grup de Treball (F. Abad; J. Benito; J. Carbó; A. Fingerhut; X. Franquesa; C. Hac Mor; I. Julián; A. Mercader; A. Munné; Muntadas; J. Parera; S. Pau; P. Portabella; À. Ribé; M. Rovira; E. Sales; C. Santos; D. Selz; F. Torres; M. Costa)
  • Date: 
    1973
  • Material: 
    Paper
  • Descriptive technique: 
    Seven typed sheets
  • Dimensions: 
    29,5 x 21 cm
  • Category: 
    Work on paper
  • Entry date: 
    2009
  • Register number: 
    AD05247
  • Donation of Grup de Treball, 2009
The origin of this work can be traced to a key historical event in the fight against Franco: the arrest by police of 113 members of the Catalonian Assembly, to which two members of the Grup de Treball belonged, and which included representatives of political parties and clandestine trade unions, as well as professional organisations and neighbourhood associations. This mass imprisonment took place in October 1973, inside the Santa Maria Mitjancera church in Barcelona. Using a language close to that of visual poetry, the work consists of a list that indicates the professions of all 113 of the detainees. The artists use a pronounced seriality and formal schematism, in line with the semiotic language of so-called "ideological conceptualism", which conceived of artistic work as an instrument of agitation. The piece was included in the catalogue of the Terrassa, Informació d’Art exhibition, a folder or dossier-type publication, the format in which the group most commonly presented their works. This exhibition formed part of a series of meetings organised by the Grup de Treball at different locations throughout the Catalonian territory. These meetings focused on the idea of instituting a type of exhibition based on communication and information as a means to defend the social purpose of art. With this as a premise, the works were displayed next to stands full of reference books and photocopiers that were available to the public, who in turn were expected to participate dynamically and reflexively.

Lola Hinojosa

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