UNTIL SUNDAY 20/10
VAT. Guillem de Castro, 118
An external perspective re-reads the background of the IVAM from a new perspective. If a few months ago it was Pedro G. Romero the curator invited to scratch in such a slimy terrain as that of the "popular" within the museum collection, now it is Diana Guijarro who deals with an equally conflicting concept: contemporaneity. According to her, the important issue is not defining WHAT is contemporary, but to discover WHEN it is. indeed, every work of art was contemporary at the time and was subject to the standards of validity of the time, always elusive and changing. The artist Esther Ferrer told (p. xx) in his exhibition at the Center del Carme than the public, bored, he even threw objects at him during a long performance that he was unable to understand; today performance is an artistic discipline absolutely recognized and respected in the high spheres of art. Someone dare to take Marina Abramović! precisely, the one who shows it An indefinitely smooth common continuum he says he wants to achieve is to reflect on the anticipation of certain artistic movements, the role of the artist and the nature of museums, rescuing some pieces that could have been others, putting them in dialogue and proposing more or less visible connections. And popular it was a motley proposition, this new transparent and minimal exhibition shows chilling posters about the Nazism of John Heartfield, the audiovisual essay Rock my religion of And Graham on intellectualized punk-rock practices like Patti Smith's, drawings of George Gross o Sigmar Polke, small clay sculptures of Pablo Picasso o Jacques Lipchitz i of metall d'André Derain, Jorge Oteiza o Joel Shapiro, l’audiovisual Lip Sync of Bruce Nauman, press photos of theEFE agency com la de P.J. Harvey at the IBF 2001. Few things more contemporary (at the time) that the informative current affairs. S.M.
