Tag Archives: media art

Muntadas, atencion percepcion requiere participacion

16.05.2019 — 18.05.2019

Torre Colpatria de Bogotá

 

Atención: La percepción requiere participación

Intervención sobre la fachada de la Torre Colpatria de Bogotá

Babel Media Art

 

Antoni Muntadas es uno de los primeros artistas en utilizar nuevas tecnologías en las artes visuales y que ha realizado un exploración artística del espacio virtual mantenido por mucho tiempo un interés sobre el pensamiento crítico e ideológico, la memoria histórica, las estructuras de poder político, las industrias culturales, los diferentes contextos sociales y la interacción entre espacios públicos y privados. Muntadas se define a sí mismo como un “intérprete de las imágenes que se producen en el mundo actual” y que pretende “identificar por qué algunas imágenes adquieren más visibilidad que otras”.

 

Uno de sus proyectos On Translation: El Aplauso realizado en1999, propuso una lectura particularmente crítica del contexto colombiano; cuestionando la forma en que los medios televisivos presentaban la situación de violencia extrema, generando una desensibilización paulatina del público frente a las imágenes del conflicto. Para esta ocasión, la obra que hemos decidido presentar se titula Atención: La percepción requiere participación; una pieza que busca inducir al espectador al ejercicio de la acción, incita a no ser entes pasivos como espectadores, incluso en el acto de la contemplación estética. Muntadas pretende que los ciudadanos se conviertan en un elemento activo en la resolución de los conflictos internos, invitándolos a involucrarse con la construcción de la realidad.

 

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Antoni Muntadas

Macba, Barcelona

Exposición permanente

 

On Subjectivity, obra de Antoni Muntadas, presente en la exposición Un siglo breve: colección Macba.

Esta nueva muestra presenta un recorrido cronológico a través de la Colección MACBA desde 1929 hasta el presente. En 1929 Barcelona acogió la Exposición Universal, para la que Mies van der Rohe diseñó el Pabellón Alemán o Pabellón Barcelona junto con Lilly Reich. Por iniciativa de Josep Lluís Sert y Josep Torres i Clavé, se fundó el GATCPAC (Grupo de Arquitectos y Técnicos Catalanes para el Progreso de la Arquitectura Contemporánea). André Breton escribió el Segundo manifiesto surrealista y, en París, un grupo de artistas abstractos, liderados por Joaquín Torres-García y Michel Seuphor, fundó Cercle et Carré. Aquel mismo año se inauguró el Museo de Arte Moderno de Nueva York (MoMA) y Virginia Woolf publicó su ensayo feminista Una habitación propia

 

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muntadas-contexto

 

Galeria Joan Prats presents the exhibition Edicions II by Muntadas, which gathers a selection of serial works the artist has developed since 2003 up to the present day in different formats: publications, prints, videos, objects, installations and other graphic materials. This exhibition completes the work started in the exhibition Edicions, made at Galeria Joan Prats in 2003.

 

«The first time Muntadas talked to me about the exhibition Edicions II at the Galeria Joan Prats, he referred to it as an “exhibition of deltas”. I asked him to elaborate: “my projects are one, they are units. But these units diversify into huge quantities of postcards, there could be up to 100.000 postcards, and could even include 17 metal plaques distributed throughout the city in the form of signage, or a web page. So, the project finally appears as the sum of three collections of remains; that is of deltas” (…)

 

Editions allowed Muntadas to achieve a more porous and plural circulation by its multiplication and intervention capacities across diverse media and in different time frames. While his projects usually consist in one video, one installation, or one urban intervention, his publications are rarely made up of a single unique element (…)

 

A truly genuine notion of project has also emerged throughout Muntadas’ career. The artist tackles the project, on the one hand, as the logic behind a series of procedures, based on the repetition of processes and strategies and on the other, the project defines itself following the logic of a work in progress, generating moments of aperture. In this way, the notion of project, as Muntadas states, has allowed him to depart from a type of intuitive and immediate practice while helping him to structure flexible environments, open to unpredictability, developing platforms to work in the long run (…)

 

The editorial work and the publications is where Muntadas has experimented more precociously and with more intensity than in any other medium the collaborative methods that have ended up impregnating the whole of his work. Here is where one finds the deployment of strategies that catalyse translation no longer, as just a metaphor, so much as in particular a process of bidirectional exchange.»

 

Fragments of Oriol Fontdevila’s text Piscine Obliviousness. Amphibious editions, from the exhibition catalogue.

 

Muntadas, born in Barcelona and living in New York since 1971, was a pioneer of video and installation in the mid-seventies, and continued working with photography, video, installation, audio, and urban interventions. Iterations of his iconic projects, such as Between the Frames: The Forum (1983-1993), The Board Room (1985), and the on-going series On Translation (1995- …) and The Construction of Fear (2008- …) – have been exhibited in institutions and galleries of the USA, Latin America, Europe and the Mid-West. Muntadas participated in the Documenta’s 1977 and 1997 editions, the Whitney Biennial of 1991, the Bienal de São Paulo of 1983, the Bienal de La Habana of 2000, the Taipei Biennal of 2002, the Gwangju Biennale of 2004, the Instanbul Biennal of 2011, and the Paris’ La Triennale of 2012. In 2005, he represented Spain in the Venice Biennale, where he created an integral project about the architectonical evolution of the Biennale throughout its history. His works have been included in exhibitions at MACBA, Barcelona; Laboratorio Arte Alameda, Mexico City; Weserburg Museum, Bremen; Espacio Fundación Telefónica, Buenos Aires; Württembergischer Kunstverein, Stuttgart; and Estação Pinacoteca, São Paulo. Since 2011 he has been working on the project Asian Protocols, presented to the public for the first time at Total Museum of Seoul (2014), and for the second time at 3331 Arts Chiyoda of Tokyo (2016). The next step of the project will be its development in China.

 

A catalogue has been edited especially for the exhibition