10,000 Francs Reward: The Contemporary Art Museum, Dead or by Cesar Antonio Molina, Manuel Borja-Villel, Yolanda Romero

By Cesar Antonio Molina, Manuel Borja-Villel, Yolanda Romero

What's the museum's position? What may be its features and actions in ultra-modern society? What different operational and organizational types will be proposed to aid conquer the modernist place through which the museum, as a repository of inventive essences, could make a common truth obvious in an immanent manner? to discuss those questions, the organization of latest paintings administrators of Spain - ADACE - constituted as a discussion board for mirrored image and debate, held in Baeza a convention within which these liable for Spain's museums mirrored, including their overseas colleagues, in addition to artists and thinkers, on those issues in an idea-sharing consultation. the result of this assembly are released during this e-book. It beneficial properties interventions through Manuel Asensi, Mieke Bal, John Beverley, Manuel Borja-Villel, Benjamin Buchloh, Gustavo Buntinx, Jean-Francois Chevrier, Nuria Enguita Mayo, Javier Gonzalez de Durana, Beatriz Herraez, Paulo Herkenhoff, Martin Jay, Ana Longoni, Ute Meta Bauer, Simon Marchan, Antoni Muntadas, Juan de Nieves, Martha Rosler, Suely Rolnik, Yolanda Romero, Rene Scherer, Allan Sekula, Teresa Velazquez and Santos Zunzunegui.

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These are the structures of the Cold War, the map of those territories you talked about. For me the interesting thing would be how to incorporate what comes to us in the form of a document, either textual, architectural or another type. Carles Guerra started an extremely interesting debate: one about how to state history in a moment of strong acceleration, when besides this I think we are returning in a bad 68 way to the dominance of vision. In other words, we have frequently seen the falling of the Twin Towers, but we don’t know anything about it.

There are, as mentioned above, longerterm trends that no one personally could have experienced in their entirety when they were occurring. Historians therefore have had to resort to perspectives from above, less intimate panoramic surveys of a landscape from afar. Certain artists concerned with the relevance of history have also been drawn to this dimension of historical reconstruction, one which understands that patterns, if they exist at all, can only be seen from a distance and not experienced by participants first-hand.

Those were her beliefs and they are not beliefs that I can uphold, so there is this sort of marvel we experience in this radical otherness, and that is a very different drive. I think that perhaps it is a combination of both that is on the 65 table: the consciousness of continuity but also the consciousness of the strangeness, the difference in this continuity, which history brings to us. Paulo Herkenhoff I think the example you mention could only take place in the United States, the example of considering the past as a different country, given that in political sciences in the United States, common man generally does not have a concept of State, the United States as a State.

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