Allan Sekula, Erie, Estats Units 1951, Barceloneta Swimming. Series: Methane for all, 2007, Fotografia cromogènica, 50,8 x 76,2 cm, Dimensions amb annexos: 53,1 x 78,5 x 4,5 cm, Col·lecció MACBA. Fundació Museu d'Art Contemporani de Barcelona.

Cristina Iglesias, San Sebastián, Espanya 1956, Hanging Corridor II, 2005, Filferro de ferro dolç trenat patinat i cable d'acer, 34 pantalles de 125 x 190 cm, Pes: 675 kg c.35-40 kg cada unitat, Col·lecció d'Art Contemporani Fundació "la Caixa.”

Recontextualizing the Last Half of the 20th Century

Sigmar Polke, Oels, Polònia 1941-Colònia, Alemanya 2010, Mephisto, 1988, Tècnica mixta sobre tela, 225 x 305,5 cm, Col·lecció d'Art Contemporani Fundació "la Caixa."

Samuel Beckett, Dublín, Irlanda 1906-Paris, França 1989, Not I, No jo, No yo, 1987, Vídeo monocanal, color, so, 15 min, Durada: 00:15:00:00, TC in: 00:01:04:00, TC out: 00:16:04:00, Col·lecció MACBA. Consorci Museu d'Art Contemporani de Barcelona.

Juan Muñoz, Madrid, Espanya 1953-Eivissa, Espanya 2001, Waste Land, 1986, Linòleum, fusta i bronze, 700 x 500 cm, Col·lecció d'Art Contemporani Fundació "la Caixa", Títol sense traducció.

Robert Morris, Kansas City, Estats Units 1931, House of Vetti II, 1983, Feltre i acer, Total 246 x 243 x 91,5 cm, Feltre rosa 548,5 x 166 cm, Feltre gris: 608 (604,5) x 187 (186) cm. Col·lecció MACBA. Fundació Museu d'Art Contemporani de Barcelona.

Bruce Nauman, Fort Wayne, Estats Units 1941, Shit in your Hat – Head on a Chair, Caga sobre tu sombrero – Pon la cabeza sobre una silla, Caga sobre el teu barret – Posa el cap sobre una cadira, 1990, Videoinstal·lació, Dimensiones variables, Col·lecció d'Art Contemporani Fundació "la Caixa."

 

Museu d’Art Contemporani de Barcelona
Plaza dels Àngels
+ 34 93 412 08 10
Barcelona
Volume!
Works from the collections of ”la Caixa” Foundation and MACBA
November 9, 2011-April 23, 2012

Volume! proposes an interpretation of the transition from the twentieth to the 21st century based on a paradigm shift in art in terms of materials, sensory aspects and programming. The exhibition questions the clichés that identify the 20th century as the "century of the image" and the 1980s with the supremacy of painting (the "great irony," as Brian O'Doherty writes in the afterword to his seminal work Inside the White Cube, of "a reconfirmation of all that had been laid bare and rejected"). Instead, the exhibition places the pre-eminence of sculpture and photography at the centre of change at the turn of the present century, by rejecting and surpassing the Minimalist principIes that had dominated sculpture until the seventies, and, in the case of photography, by going beyond the concept of the document in favour of a new aesthetic dimension.

Volume! identifies the turn of the century as the moment of consolidation of sound and voice as materials for artistic production. The new model is rooted in experimental video and cinema works that favour a narrative language that gradually frees itself from the image. Precedents for this interest can be found, however, in Dadaist phonetic poetry from the early twentieth century, and in the poésie sonore and Lettrist experiments that followed the Second World War. More recently, as well as the reflections of theoreticians such as Roland Barthes and Mladen Dolar, whose contributions steered the visual arts toward an interest in sound, we have had the new technological possibilities for recording, altering and reproducing the voice. The relationship between voice and image, vocal experimentation, the inner voice and the voice of power, are some of the approximations to the human voice that can be found in this exhibition.

The exhibition features 350 works by 75 artists and is the first in a series of presentations jointly organised by the two institutions in various cities, all aimed at suggesting different readings of the 5,500 pieces in the new collection.

The exhibition provides the ideal framework for investigating one of the Museum’s main avenues of work: the exploration of artistic practices from the mid-20h century to the present. Within MACBA's programming, this idea has fuelled a long-term project based on an organic and open concept of the collection, which connects the various presentations with the temporary exhibitions. MACBA is interested in expanding the perception of the arts beyond visuality, toward the fields of sound and voice as creative materials.

Echoing the formal and material innovations introduced by the historic avant-gardes in the early 20th century, contemporary artistic practice has dethroned the eye as the hegemonic sense and reinstated hearing in a real and contingent body. The white cube, that "machine for looking" associated to an idea of the museum as inherited from the past, is showing its age. The viewers, re-embodied, have acquired a near-choreographic quality and outstripped its limits through a multiplicity of experiences. The three-dimensional nature of the Euclidean volume (from classical physics) has been replaced by the volume of sound and voice. This change in material has worked profound changes on the perceptive system and on behaviour: based on the convention dominated by what is visual, we can begin to narrate a multi-sensorial history of art.

The narrative itinerary proposed by this exhibition has been conceived according to a circular diagram that connects the different Museum levels. From a chronological point of view, the itinerary begins at Level 1, branching out from there in two directions: one leading from the visual space of painting and photography toward sculptural volume, further developed on Level 2; and another leading to acoustic volume, developed mostly on Level 0. Each area contains a series of superimpositions that form the poetic humus of the different narrations and metaphors.

Artists featured in the exhibition are: Vito Acconci, Art & Language, Ibon Aranberri, Jean-Michel Basquiat, Samuel Beckett, Joan Brossa, Miquel Barceló, Xavier Basiana, Pierre Bismuth, K.P. Brehmer, Marcel Broodthaers, Luis Claramunt, James Coleman, Tony Cragg, Toni Cumella, Jean Dubuffet, Latifa Echakhch, Öyvind Fahlström, Luis Feito, Àngel Ferrant, Lucio Fontana, Gunther Förg, Peter Friedl, Ferran Garcia Sevilla, David Goldblatt, Luis Gordillo, Rodney Graham, Eulàlia, Richard Hamilton, Joan Hernández Pijuan, Roni Horn, Craigie Horsfield, Cristina Iglesias, Joan Jonas, Šejla Kameri?, Anselm Kiefer, Manolo Laguillo, Les ready-mades appartiennent à tout le monde ®, Antoni Llena, Allan McCollum, Josep M. Mestres Quadreny, Henri Michaux, Manuel Millares, Joan Miró, Xavier Miserachs, Robert Morris, Rabih Mroué, Reinhard Mucha, Muntadas, Juan Muñoz, Bruce Nauman, Kristin Oppenheim, Jaume Orpinell, Pablo Palazuelo, Sigmar Polke, Florian Pumhösl, Joan Rabascall, Robert Rauschenberg, Xavier Ribas, Gerhard Richter, Dieter Roth, Thomas Ruff, Anri Sala, Antonio Saura, Jean-Louis Schoellkopf, Thomas Schütte, Allan Sekula, José María Sicilia, Michael Snow, Haim Steinbach, Thomas Struth, Antoni Tàpies, Jan Vercruysse, Moisès Villèlia, Jeff Wall and Akram Zaatari.

Volume! coincides in time with the unveiling of two more selections from the new contemporary art collection: the first of these, The Persistence of Geometry, opens at CaixaForum Madrid in mid-December while, at the end of January 2012, Guggenheim Museum of Bilbao hosts The Mirror Reversed. Later on, in November of 2012, CaixaForum Palma hosts a further fresh take on the collection. Finally, MACBA and ”la Caixa” Foundation follow-up all these initiatives with joint projects aimed at generating increased understanding and enjoyment of the most recent art and increasing the presence of the new collection and their joint actions on the international contemporary art scene.

Curator of the exhibition is Bartomeu Marí. Head of the MACBA Collection: Antònia Maria Perelló. With the collaboration of Nimfa Bisbe, director of ”la Caixa” Foundation Contemporary Art Collection. The exhibition is organised and produced by: Museu d’Art Contemporani de Barcelona (MACBA).

Latifa Echakhch, El Khnansa, Marroc 1974, For Each Stencil a Revolution, 2007, Paper de calc a la tinta impregnat amb alcohol de metil·lè, Dimensions variables, Col·lecció MACBA. Consorci Museu d'Art Contemporani de Barcelona.

Thomas Schütte, Oldenburg, Alemanya 1954, For the Birds, 1997, Construcció de fusta pintada, 217 x 137 x 91,5 cm, 217 x 201 x 91,5 cm, 217 x 95 x 91,5 cm, Col·lecció d'Art Contemporani Fundació "la Caixa."

James Coleman, Ballaghaderreen, Irlanda 1941, So Different...and Yet, 1980, 1980, Vídeo monocanal, color, so, 54 min, Interpretació d'Olwen Fouéré i Roger Doyle, Durada: 00:55:03:00, Col·lecció MACBA. Fundació Museu d'Art Contemporani de Barcelona,Títol sense traducció.