Among the three exhibitions to open the Centro de Arte Reina Sofía in 1986, Procesos brings together a compendium of works that use the cutting-edge tools and technological supports, applying them to the world of creation.
At the dawn of the Internet, still a long way from its domestic ubiquity, the latest innovations in the field of programming and the transmission of information are displayed in this exhibition by means of new ways of creating, capturing, dealing with, transmitting and storing information content. At a time of clear and inevitable technological and cultural change, new instruments, supports and channels significantly widen the fields and methods of artistic expression and consider new relationships between the creator and viewer of artworks.
The exhibition, curated by Susana Mataix, highlights the disappearance of set definitions in art disciplines, interspersing them here in the same language - the language of technology. Moreover, the concept of authorship also undergoes significant modifications in terms of traditional standards; few of the works exhibited are signed by one sole artist since what is represented does not lie with either the author or the work itself, but with the innovation of the technique used to carry it out. The laser, hologram, electronic graphics, online data bases, “logics” (nowadays known as programmes or software), satellite or cable television and CD ROMs are used alongside other mediums and supports to achieve these artistic aims.
The common thread of the exhibition is the participation of visitors in the creation process as well as the interactive nature of the works on display. These are arranged into three areas: “Memory”, where new forms of registering and storing knowledge can be contemplated; “Communication”, clearly showing the greater accessibility to the culture of this new instant world, and finally “Creation”, which shows the possibilities open to the new artist.
A compilation of films that are based around new technology, such as Blade Runner, Back to the Future, Cocoon, Dune and Tron play a key role and are exhibited alongside holograms, photomontages and a workshop on electronic graphics with special effects that enable scenes and images to be manipulated. Another of the exhibition's protagonists is the audiovisual programmes for learning to write novels, and, in the field of Artificial Intelligence, Eliza, a psychotherapist that talks to the “patient” to analyse what they are saying and responds with comments or questions.
The Baschet brothers' electronic music and sound sculptures, operated by the visitors, coexist alongside works brought from the Siggraph Art Show in 1985, a computer exhibition from San Francisco. There is also Manorine, an installation that generates sounds through the body movements of a dancer in the Centro de Arte space.
Furthermore, there are two video installations by Nam June Paik and Antoni Muntadas, together with a selection of video art that includes participation from well-known artists such as Bill Viola, Joan Jonas, Marina Abramovic, Ant Farm, Peter Campus, Joan Bastida and Paloma Navares.
The exhibition concludes with the participation of two Spanish artists - the Ensayo sonámbulo de TACTIL-VISION (1958-1960 ) is a 17´30´´ piece created by José Val del Omar that arranges the artist's original system involving illuminaion by impulses, and Menina K (1986) by Juan Carlos Eguillor.