Museografías de artistas 'd’après' el cubo blanco. Desalojos, tránsitos y entropías del vacío

  1. Blasco, Selina 1
  1. 1 Universidad Complutense de Madrid
    info

    Universidad Complutense de Madrid

    Madrid, España

    ROR 02p0gd045

Journal:
Anales de historia del arte

ISSN: 0214-6452

Year of publication: 2019

Issue: 29

Pages: 187-206

Type: Article

DOI: 10.5209/ANHA.66058 DIALNET GOOGLE SCHOLAR lock_openOpen access editor

More publications in: Anales de historia del arte

Abstract

In this text, the starting point is Brian O’Doherty’s connection (as he wrote in his celebrated essay about the White Cube) between the invisibility of art and the visibility of the exhibition space. Pulling the thread of this idea, some reflections (all speculative and absolutely open-ended) are proposed about artistic practices that reflect and propose literally the empty gallery or museum as well as those which keep off or block the access to the works of art. Going after these sort of fired works it is possible to meet portable museums and hesitate new ideas about the radical in transit condition of museums and works of arte, as well as imagine which are or could be new spaces where could be placed. It can also lead to see how provocative the retorical gesture of the empty museum can be when it is displayed in real situations of scarcity and precariousness, and examine some actions taken, from real life, as response.

Bibliographic References

  • Adamou, Natasha (2013). Impossible objects: Gabriel Orozco’s Empty Shoe Box (1993) and Yielding Stone (1992) en Sabotage: (Self-)Destructive Practices in Latin American Contemporary Art Symposium, en UCL, abril.
  • Barriendos, Joaquín y Spricigo, Vinicius (2009). Horror Vacui: Crítica institucional y suspensión (temporal) del sistema internacional del arte Una conversación con Ivo Mesquita sobre la 28ª Bienal de São Paulo, en Estudios visuales: Ensayo, teoría y crítica de la cultura visual y el arte contemporáneo nº 6, págs.140-163 http://70.32.114.117/gsdl/collect/revista/index/assoc/HASH01e8/86458362.dir/ r95_16nota.pdf
  • Belting, Hans (2017). Inside the White Cube Revisited, en Lerm Hayes, Christa-Maria (Ed., 2017), Brian O’Doherty/Patrick Ireland. Word, Image and Institutional Critique. Amsterdam: Valiz.
  • Bloemink, Barbara J. (1995). The life and art of Florine Stettheimer. New Haven: Yale University Press.
  • Bonnet, Anne-Marie (2017). White, Grey Zone. En Lerm Hayes, Christa-Maria (Ed., 2017), Brian O’Doherty/Patrick Ireland. Word, Image and Institutional Critique. Amsterdam: Valiz.
  • Brennan, Mike (s.f.) The eloquence of absence: omission, extraction and invisibility in contemporary art. The empty gallery. http://www.modernedition.com/art-articles/absencein- art/empty-art-gallery-shows.html
  • Buchloh, Benjamin (1983). The Museum Fictions of Marcel Broodthaers, en Bronson, A.A… y Gale, Peggy. Museums by Artists. Toronto: Art Metropole.
  • Buchloh, Benjamin H.D. (2013). Passages. Michael Asher. En Artforum, vol. 51, nº 8.
  • Copeland, Mathieu, en Qualifying the Void, en Copeland, Matthieu y Armleder, John (2009, Eds.). Voids. A Retrospective. Zurich: JRP Ringier; Geneva: Ecart Publications; Paris: Éditions du Centre Pompidou; [Metz]: Centre Pompidou Metz.
  • Colard, Jean-Marc (s.f.) Considérations anachroniques sur le Louvre en ruine, http://www. jeanmaxcolard.com/media/portfolio/telechargements/consida-rations-anachroniquessur- le-louvre-en-ruine_a3rw.pdf
  • Cotter, Lucy (2017). Between the White Cube and the White Box, en Lerm Hayes, Christa- Maria, Ed. (2017),), Brian O’Doherty/Patrick Ireland. Word, Image and Institutional Critique. Amsterdam: Valiz.
  • Crimp, Douglas (1993). On the museum’s ruins. Cambridge, Mass.: MIT Press. Traducción online https://es.scribd.com/doc/79152513/En-Las-Ruinas-Del-Museo-Douglas-Crimp-1
  • Darlington, Quinn (2012). Modernism’s miniatures: space and gender in the Stettheimer dollhouse and Duchamp´s Boîte-en-valise. Indiana University. http://citeseerx.ist.psu. edu/viewdoc/download?doi=10.1.1.476.3601&rep=rep1&type=pdf
  • Duncan, Carol (2007). Rituales de civilización. Barcelona, Nausicaä.
  • Falguières, Patricia, en O’Doherty, Brian (2008). White Cube. L’espace de la galerie et son idéologie. Zürich: JRP Ringier.
  • Filipovic, Elena (2009). A Museum that is Not. e-flux journal #4. https://www.e-flux.com/journal/04/68554/a-museum-that-is-not/
  • González García, Ángel (2015). La casa del fuego. Sobre los museos en general y los de arte en particular. En Museografías. Madrid: Oficina de Arte y Ediciones.
  • Grasskamp, Walter (2007). The White Wall. On the Prehistory of the White Cube. En Eigenheer, Marianne, Ed. (2007), Curating Critique pp. 316-339. Frankfurt am Main: Revolver. Versión online http://www.on-curating.org/files/oc/dateiverwaltung/old%20 Issues/ONCURATING_Issue9.pdf
  • Groys, Boris (2013). Becoming Revolutionary: On Kazimir Malevich, en e-flux journal #47 https://www.e-flux.com/journal/47/60047/becoming-revolutionary-on-kazimirmalevich/
  • Kachur, Lewis (2001). Displaying the marvelous: Marcel Duchamp, Salvador Dalí, and surrealist exhibition installations. Cambridge (Massachusetts); London: MIT Press.
  • Kennedy, Christine y Jackson, Georgina, Eds. (2006). Beyond the White Cube: A Retrospective of Brian O’Doherty/ Patrick Ireland. Dublin: Dublin City Gallery The Hugh Lane.
  • Le Bon, Laurent (2107). He Who Dares Nothing, Wins Nothing, en Copeland, Matthieu y Armleder, John (2009, Eds.). Voids. A Retrospective. Zurich: JRP Ringier; Geneva: Ecart Publications; Paris: Éditions du Centre Pompidou; [Metz]: Centre Pompidou Metz, pp. 163-166.
  • Lerm Hayes, Christa-Maria (Ed., 2017), Brian O’Doherty/Patrick Ireland. Word, Image and Institutional Critique. Amsterdam: Valiz.
  • Lippard, Lucy (2004). Seis años. La desmaterialización del objeto artístico. De 1966 a 1972. Madrid: Akal
  • Mesquita, André; Ribas, Cristina; Sandeville Jr., Euler; Vivacqua, Flavia; Adams, Gavin; Hiche, Gisella y Kunsch, Graziela Mirar el vacío Una visión colectiva sobre la Bienal de San Pablo, en ramona. Revista de artes visuales nº 95. http://70.32.114.117/gsdl/collect/revista/index/assoc/HASH5d85/0b1d9f32.dir/ r95_28nota.pdf
  • Morra, Johanne (2013). Seemingly Empty: Freud at Berggasse 19, A Conceptual Museum in Vienna. En Journal of Visual Culture nº 12, pp. 89-127.
  • Mühling, Matthias; Althaus, Karin y Böller, Susanne, Eds. (2014). Florine Stettheimer. Catálogo de exposición. Munich: Lenbachhaus: Hirmer.
  • O’Doherty, Brian (2008). Studio and cube: on the relationship between where art is made and where art is displayed. New York: Buell Center, Forum Project.
  • O’Doherty, Brian (2011). Dentro del cubo blanco: la ideología del espacio expositivo. Murcia: CENDEAC.
  • Power, Kevin, ed. (1995). The perfect moment. Catálogo de la exposición de James Lee Byars. Valencia, IVAM.
  • Rondeau, James (2008). Thinking Space. En Frieze nº 113.
  • Sheikh, Simon (2009). “Positively White Cube Revisited”, en e-flux journal, n.3, 02, http:// www.e-flux.com/journal/view/38
  • Smithson, Robert (1993). El paisaje entrópico. Una retrospectiva 1960-1973. Valencia: IVAM.
  • Sussman, Elisabeth (1995). Florine Stettheimer: Manhattan fantastica. New York: Whitney Museum of American Art.
  • Steyerl, Hito (2005). White Cube und Black Box: die Farbmetaphysik des Kunstbegriffs. En Mythen, Masken und Subjekte: kritische Weißseinsforschung in Deutschland pp. 135- 143. Münster: Unrast.
  • Tackert, Christian (2007). Display als Dispositiv. Die Ideologie der Ausstellung als Thema zeitgennösisscher Architektur. En Kunstforum International 186, pp. 181-187.
  • Zolghadr, Tirdad (2009). Spare Me! Sometimes no art is better than more art. En Frieze nº 121
Data source: Dialnet