| Museo |
Museo de Arte Contemporáneo Helga de Alvear
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| Inventario |
00182
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| Clasificación Genérica |
Instalación; Audiovisual; Arte Sonoro
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| Objeto/Documento |
Instalación
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| Autor/a |
Bulloch, Angela (Lugar de nacimiento: Ontario, 1966)
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| Título |
The Disenchanted Forest x 1001
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| Materia/Soporte |
Metal
Papel Somerset
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| Técnica |
Serigrafía
Sonido en 7 canales
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| Características Técnicas |
Techo y suelo suspendido = Formado por una estructura de madera y 105 serigrafías sobre papel Somerset. Entre ambas estructuras una red de cable luminescente. En los muros que rodean la estructura se colocan las 1001 placas de metal numerado formando una hilera.
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| Descripción |
Instalación con estructura de madera, 105 serigrafías sobre papel Somerset, cable luminiscente, 1001 placas de metal y sonido en 7 canales
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| Datación |
2005
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| Descriptores Onomásticos |
Hecker, Florian [Compositor de la música electrónica que se incorpora en la instalación]
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| Historia del Objeto |
La obra ha participado en las siguientes exposiciones:
Preis der Nationalgalerie für junge Kunst 2005; Berlín: Hamburger Bahnhof-Museum für Gegenwart, 02/09/2005-16/10/2005,
Tate Triennial 2006; Londres: Tate Britain, 01/03/2006-14/05/2006,
Helga de Alvear. Conceitos para uma colecção; Lisboa: CCB, 30/06/2006-22/10/2006,
Theanyspacewhatever; Nueva York: The Solomon R. Guggenheim Museum, 24/10/2008-07/01/2009, Spector, Nancy [Originating with a desire to present a contemporary group exhibition that would capture the spirit of the art that emerged during the early 1990s, this presentation has evolved into a collaborative venture among ten artists who share certain strategies and sensibilities: Angela Bulloch, Maurizio Cattelan, Liam Gillick, Dominique Gonzalez-Foerster, Douglas Gordon, Carsten Höller, Pierre Huyghe, Jorge Pardo, Philippe Parreno, and Rirkrit Tiravanija. Though each artist is recognized for his or her own practice, they are linked by a mutual rethinking of the early modernist impulse to conflate art and life. Rather than deploy representational strategies, they privilege experiential, situation-based work over discrete aesthetic objects. The exhibition model (in essence, a spatial and durational event) has become, for these artists, a creative medium in and of itself. This show foregrounds this aspect of their work through individual, site-specific projects and installations that, in many cases, absorb and extend the conventions of museum practice. As these works overlap and intersect in the museum´s rotunda, the collaborative nature of the artists´shared history comes to the fore. During the past two decades, they have joined together in various constellations to create multiauthored works that extend the fluidity of their practices while tempering the authority of a singular artistic vision. Collective projects range from codirecting films and organizing exhibitions to franchising the use of a Japanese manga character and initiating a land-reclamation project in rural Thailand. The exhibition´s title, suggested by Gillick, is derived from the writings of the French philosopher Gilles Deleuze, who used the term any-space-whatever to describe a cinematic moment defined by multiple perspectives that are unmoored from the coordinates of time and space. In relation to this exhibition, the notion of ever-shifting views reflects the ideas of diversity, mutability, and potentiality that inform the work of the participating artists. Their goal is to activate their environments, eschewing self-reflexive critique in favor of engagement, entertainment, and seduction, so that the everyday becomes a source for provocative new narratives. -Nancy Spector, Chief Curator]
Arte sonoro; Madrid (m) (Área Metropolitana de Madrid, Comunidad de Madrid): La Casa Encendida, 23/04/2010-13/06/2010, Costa, José Manuel [comisario]
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| Bibliografía |
ÁLVAREZ-FERNÁNDEZ, Miguel. Arte sonoro. Artecontexto. Madrid (m): Artehoy Publicaciones y Gestión, 04/2010, nº 26pp. 130-131; il. color.
COUTINHO, Bárbara; ALVEAR, Helga de; KRÜGER, Werner. Helga de Alvear. Conceitos para uma colecção. Lisboa: Fundação CCB, 2006. pp. 11-13, 38; il. color.
DRAXLER, Helmut; et álii. Prime Numbers. Angela Bulloch. Colonia: Walther König, 2006. pp. 86-109,190-195,261,264. il. color. Texto en alemán e inglés
LÓPEZ ANAYA, Jorge. Aproximación a las tendencias contemporáneas = Approximation to contemporary trends. Lápiz : Revista Internacional de Arte. Madrid (m): Publicaciones de Estética y Pensamiento, S.L., 12/2007, 237. p. 63; il. color.
LORÍA, Vivianne; ALVEAR, Helga de. Entrevista a Helga de Alvear. La colección como reflejo del alma. Lápiz : Revista Internacional de Arte. Madrid (m): Publicaciones de Estética y Pensamiento SL, 02/2006, nº220p. 72; il. color.
OBRIST, Hans-Ulrich. Conversaciones en Cáceres. Madrid: Centro de Artes Visuales Fundación Helga de Alvear / This Side Up, 2012. pp. 44-45.
REMEDIOS LASSO, Javier. Helga de Alvear : Los cimientos de una gran colección - Tesis Doctoral. Cáceres (m): Universidad de Extremadura, 2015. pp. 662-663.
REVUELTA, Laura. Ruido, mucho ruido. ABC Cultural. Madrid (m): Diario ABC, 01/05/2010, pp. 28-29; il. color.
SONNA, Birgit. Die digitale Wunderlampe. Art : das Kunstmagazin. Hamburgo: Gruner + Jahr AG & Co KG, 02/2008, 2. p. 63; il. color.
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| Forma de Ingreso |
Donación
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| Catalogación |
Díaz Pena, Roberto
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| Derechos de explotación |
© de las reproducciones autorizadas, el autor, 2024
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