calendario eventi  :: 

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23/9/2011

Four exhibitions

MUSAC Contemporary Art Museum, Leon

Paradigm Shift Serralves Collection 60’s 70’s

curated by João Fernandes, Agustín Pérez Rubio

Coordination: Helena López Camacho (MUSAC), Filipa Loureiro (Fundación Serralves)

Artists: Vito Acconci, Helena Almeida, Armando Alvess, Giovanni Anselmo, Richard Artschwager, John Baldessari, Artur Barrio, António Barros, Lothar Baumgarten, Bernd and Hilla Becher, Christian Boltanski, Fernando Calhau, Alberto Carneiro, Manuel Casimiro, Lourdes Castro, Jan Dibbets, Valie Export, Hans-Peter Feldmann, Hamish Fulton, Anna Bella Geiger, Gilbert & George, Dan Graham, Hans Haacke, Ana Hatherly, Alex Hay, Sanja Ivekovic, Joan Jonas, Imi Knoebel, Jannis Kounellis, David Lamelas, Álvaro Lapa, Gordon Matta-Clark, Cildo Meireles, Robert Morris, Leonel Moura, Antoni Muntadas, Bruce Nauman, Maria Nordman, Claes Oldenburg, Dennis Oppenheim, Gina Pane, Jorge Pinheiro, Adrian Piper, Vítor Pomar, Martha Rosler, Dieter Roth, Reiner Ruthenbeck, Julião Sarmento, Gerry Schum, António Sena, Richard Serra, Robert Smithson, Ângelo de Sousa, Francesc Torres, Ana Vieira, Lawrence Weiner, Hanna Wilke.

Paradigm Shift is the first large showing of the Serralves Foundation– Contemporary Art Museum Collection (Oporto, Portugal) ever to take place at a Spanish museum. Built by Alvaro de Siza, the museum was opened to the public on the 6th June 1999, and nowadays it is a worldwide reference for the international art scene, not only for the important collection it has amassed, but for the wide and varied scope of its exhibitions of the highest regard.

The exhibition, focusing on a selection of the principal contemporary art collection, surveys a period of shifts in artistic language—the 60's and 70's—that ushered in the new contemporary. With Paradigm Shift, MUSAC opens its exhibition space to a referential era, the decades spanning the 1960's and 70's. This period has been crucial to understanding the most up-to-date artistic practices—mainly from 1989 - present—that represent the core of our exhibition programming here at the Castilla y León Contemporary Art Museum.

Paradigm Shift presents an overview of a period that redefined the nature of art and its place in life, creating a new grammar that, even today, establishes the perimeters of what we consider to be contemporary art. In the mid 1960's, within a context of social and political change, a revolution in artistic practice broke loose both on form and content levels. From this, a myriad of concepts would emerge: brainchildren of the prevailing social milieu.
During these years, the concept “avant-garde” thus becomes comprehensive, forcing the broader aspects of life to seep into artistic experience. At this time, the condition of an artwork is redefined as both an interaction with life and a criticism of the autonomy, the essence and inwardness of art that translates into minimalist experiences.

In that way, Paradigm Shift is organised around a number of conceptual nexus which would lay the foundations for defining artistic practice from this period into our days.

Among other practices, the idea of landscape are revised by currents such as land art, which makes use of the framework and materials of nature to redefine the genre; a social-spatial revision and critique of architecture and urban planning by way of new practices such altering the perception of edifications in their environment.

During this period, the use of new materials also becomes popular, sculpture specially, either inferior materials or those recycled from pre-existing objects, such as in arte povera or the use of simple forms and materials such as in American minimalism.

In this paradigm shift, an intersection of formal languages takes place, and film and video, photography and text are used as platforms for conceptual projects. Thus, text becomes a substrate for the conceptual and photography and video emerge as vehicular media and documentation for actions. The exhibition will be also completed by three video programs to show at MUSAC’s Hall 2 from September 2011 to January 2012:

Laurence Weiner
24 September - 23 October

A First Quarter, 1973
Videoworks of Lawrence Weiner, vol.1, 1970 - 1974
A Second Quarter, 1975

Ângelo de Sousa
25 October - 27 November

Compilação, 1972 -1976

Feminisms
26 November, 2011 - 8 January, 2012

Valie Export. Körperaktionen, 1973-76
Joan Jonas. Vertical Roll-Loop, 1972
Joan Jonas. Left Side Right Side, 1974
Hannah Wilke. Gestures, 1974
Sanja Ivekovic. Instructions #1, 1976
Anna Bella Geiger. Declaração em Retrato, 1974

Credits:
Christian Boltanski. Inventaire des objects ayant appartenu à une vieille dame de Baden-Baden 1973
Arquivo fotográfico Fundação de Serralves – Museu de Arte Contemporânea, Oporto

Dennis Oppenheim. Directed Seeding – Canceled Crop 1970
Arquivo fotográfico Fundação de Serralves – Museu de Arte Contemporânea, Oporto

Bruce Nauman. Boucing in the Corner 1 1969
Arquivo fotográfico Fundação de Serralves – Museu de Arte Contemporânea, Oporto

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Serafín Álvarez

Entre las cosas no designa una relación localizable

curated by Agustín Pérez Rubio

Entre las cosas no designa una relación localizable is a project by Serafín Álvarez (León, 1985), one of the four artists chosen in the 1st Call for Exhibition Projects from the Platform to Support Art in Castilla y León, P4, assigned to the Museo de Arte Contemporáneo de Castilla y León1.The project started to take form in 2008 and is now being presenting for the first time in the open area just outside the assembly hall at MUSAC. It mixes together traditional ideas such as the human fascination for flying, for journeys, and even for science-fiction, with a contemporary and critical gaze.

In Álvarez’s recent projects and exhibitions, he regularly intermeshes technology, scientific oddities and web culture in his artistic experiences. The end result is a constantly mutating vernacular predicated on an analysis of the cultural constructs that govern human subjectivity today. The project posits a questioning of universal signifieds and signifiers which, grounded in the speed of a means of transport (the airplane), and conventions on the measurement of time (time zones), allows the artist to make displacements between different cities in such a way that the local time zone at the time of taking off and at the time of landing are the same.

This synchronicity enables the realisation of false “tele-transportation” which is used to carry out a series of actions, which will be shown later in the exhibition hall under an aesthetic formulation. Nonetheless, the thrust of the project does not lie in this fictitious instantaneity, but rather in the intermediary path, in the displacement itself and, in short, in those interstices that enable the realisation of heterogeneous experiences.

Entre las cosas no designa… explores a particular reading of globalisation, of displacements and of the possibility of rehearsing a temporal multiplicity or, as the artist himself says: “speed, subjectivity, displacement or physical and psychological alteration are some of the elements around which this project revolves, critically using speed and technology yet at once fascinated by them.”

The exhibition will be rounded off by a publication to be designed by the Barcelona-based studio ferranElotro. This artist’s book embraces both the works created as well as the whole process necessary to bring them to reality, from the plane tickets to photos of the places visited with the purpose of documenting the actions and opening up new lines of research for the project.

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Fermín Jiménez Landa & Lee Welch

curated by Latitudes

Amikejo is a series of four exhibitions by artist duos at MUSAC’s Laboratorio 987. Amikejo was a tiny state that existed from 1908–1920 between the Netherlands, Belgium and present day Germany and was founded on a desire to foster more effective international communication through the synthetic language Esperanto – Amikejo means ‘place of friendship’ in Esperanto. This episode-place was a unique synthesis of cartography, language, nationhood, politics, economics and subjectivity, and is entreated as a twin site to Laboratorio 987 by lending its name and conceptual borders to the exhibition series.

Fermín Jiménez Landa (Pamplona, Spain, 1979) & Lee Welch (Louisville, USA, 1975) did not know each other before the invitation to participate in Amikejo. As if engaged in international diplomacy, the artists have had to understand each other personally and artistically before issuing what might be regarded as a joint statement based on what they have agreed and negotiated, in the form of an exhibition. Jiménez Landa and Welch have chosen to establish their collaboration in relation to the notion of the micronation and devices which delineate sovereignty – borders, stamps, anthems, and so on. Their project refers to other historical episodes in addition to Amikejo itself as well as taking inspiration from methodologies which combine fixed parameters with improvisation, such as the directing technique of filmmaker John Cassavetes.

Their works in MUSAC comprise a constellation of diverse performative, discursive, interactive and displayed elements, some of which are directly apparent in the Laboratorio 987, while others document occurrances at remote locations, or exist only in the imagination. A platform-like structure and sculptures that take the form of portals or border markers constitute spaces and tools for assembly and discussion as well as hosting further two-dimensional and video works. A marching band from León was recruited to compose and perform a national anthem for a new autonomous island state and the founding of this micronation has been documented in video and photography. Companioning this, a series of letters have been sent by the artists using stamps from Moresnet, the republic which anteceded Amijeko. Jiménez Landa’s and Welch’s joint endeavour considers how art can produce new understanding, memories and communicative possibilities together with an audience.

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Daniel G. Andújar

Capital

curated by María Inés Rodríguez

CAPITAL by Daniel G. Andújar is a graphic performance, a theoretical meeting/workshop and an installation produced by Technologies To The People/MUSAC, for the Vitrinas Project.

Daniel G. Andújar’s artistic practice has, for years, been based on the rereading, reappropriation, and recontextualization of audiovisual material. CAPITAL departs from a workshop that took place in León, which allowed him to explore aspects of social cooperation as the best way to support a model that allows the distribution and expansion of its contents to the participants, the users, and the audience. It is a project that treats the cultural user as an active and emancipated individual, thus questioning the role of the audience as a passive element and a static consumer. Its most important objective is to create a direct dialogue between the participants, which will allow, from within the artistic practice, to generate reflection surrounding the new processes that are transforming our reality, but also lead, potentially, to a more open, complex, and critical reading of the themes that concern this artist.

This project is also an attempt to take on the archive as a way to manage collective intelligence, and to use it strategically to diffuse and generate public opinion. CAPITAL includes a research component, as well as the creation of a sort of map, an atlas that will allow us, however fleetingly, to travel through the chaos and help us discover that which the mechanisms of visibility of reality sometimes hide from us. This process has as its essential objective to create a close dialogue between the participants, which, parting from the artistic practice, will allow to generate platforms for reflection about the processes that transform our reality.

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Press Dept:
Izaskun Sebastian Marquinez izaskun@musac.es
Paula Álvarez: paula@musac.es
tel +34 987 091103 F. +34 987 091111

MUSAC, Museo de Arte Contemporáneo de Castilla y León
Avenida de los Reyes Leoneses, 24 - 24008 León Spain
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Saturdays and Sundays: 11:00 - 15:00 / 17:00 - 21:00 hs. Closed on Mondays
The ticket office closes 15 minutes before the closing of the museum.

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