Return of the Imaginary. Realisms between the 19th and the 21st Centuries,
Installation view
During a large part of its existence, the Museum has concentrated on eliminating the discontinuity of History. Far from recognizing the tension of the art work between its opaqueness and the openness to other languages, it has neutralized it in a contemplation presented as an auratic ritual.
Dates: May 20 - August 30, 2010
Location: Sabatini building, Floor 2
Two Readings On The Collection represents, together with La Colección Reescrita (Re-writing the Collection), an attempt to reinsert the set up of diverse times and heterogeneous durations implied in historical narrative, and its own materiality, within the Museum. As an institution which imposes order among objects, artifacts, documents, and the relationships between them and their audiences in a series of narrations, the Museum must not only analyze what narratives it is communicating, but also what devices it is using in its narration. As part of its archivist condition, the Museum is aware that, in order to re-integrate art as an anomaly or a symptom, it must not only explore the histories that integrate it, but also the forms through which this historicity would become manifest. Two Readings On The Collection consists in two perspectives on this discontinuity of times through an engagement with the very devices that constitute them.
Juan Luis Moraza's of the Imaginary. Realisms from the 19th to the 21st Century, alludes to anachronism as the staging of time and to the history of art as the anthropology of image through a homage to Juan Antonio Ramírez, staunch defender of art history as an iconic-verbal discourse.
Rosa Barba avoids interpreting the past with the categories of that very same past, presenting in A Curated Conference a choreographed collection of multiple artistic declarations relating to how memory transforms the past.
Dates: July 14 - November 14, 2010
Ibon Aranberri's work always presumes the presence of an active and critical observer, in front of whose gaze the work would fan out into a multi-dimensional puzzle. Aranberri often speaks about his work in terms of archeology, of the presence of the culture of the archive in his production; the work of art as a mute archive, with no key, no possible catalog, posed in the face of the spectator as an approach tot he complexity of historical memory for the social subject.
