Publication: Un espacio tomado quizás por fantasmas
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Publication Date
2022
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Fundación Cerezales Antonio y Cinia
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Abstract
El espacio expositivo, el cubo blanco, puede, potencialmente, llegar a convertirse en un elemento activo y productivo que pueda desplegar sus múltiples vertientes en cada exposición. De hecho, no solo comisarios e historiadores se proponen aprovechar este potencial, sino que los propios artistas vienen empleándolo como recurso desde hace tiempo. En este ensayo, Mela Dávila Freire reúne y comenta una serie de piezas, en su mayoría publicaciones de artista, cuyos autores emplean el espacio de la página, el espacio metafórico o incluso el espacio físico real de la sala de exposiciones para convertirlo en uno de los elementos en juego en sus piezas: desde Marcel Duchamp hasta Luz Broto, pasando por la revista Aspen y otros proyectos de Martí Manen, Noe Lavado y Helena Rovira, Joyce Wieland, Christo y Jeanne-Claude, Mason Williams, Joe Goode, stanley brouwn, Félix González-Torres, Patricia Dauder y Graciela Carnevale.
The exhibition space, aka the white cube, can potentially become an active and productive element which unfolds its multiple aspects in each exhibition. In fact, not only curators and historians aim to take advantage of this potential, but artists themselves have been using it as a resource for some time. In this essay, Mela Dávila Freire presents and comments on a series of pieces, mostly artist publications, whose authors use the space of the page, metaphorical space or even the actual physical space of the exhibition hall to turn it into one of the elements at play in their pieces: from Marcel Duchamp to Luz Broto, including Aspen magazine and other projects by Martí Manen, Noe Lavado and Helena Rovira, Joyce Wieland, Christo and Jeanne-Claude, Mason Williams, Joe Goode, stanley brouwn, Félix González-Torres, Patricia Dauder and Graciela Carnevale.
The exhibition space, aka the white cube, can potentially become an active and productive element which unfolds its multiple aspects in each exhibition. In fact, not only curators and historians aim to take advantage of this potential, but artists themselves have been using it as a resource for some time. In this essay, Mela Dávila Freire presents and comments on a series of pieces, mostly artist publications, whose authors use the space of the page, metaphorical space or even the actual physical space of the exhibition hall to turn it into one of the elements at play in their pieces: from Marcel Duchamp to Luz Broto, including Aspen magazine and other projects by Martí Manen, Noe Lavado and Helena Rovira, Joyce Wieland, Christo and Jeanne-Claude, Mason Williams, Joe Goode, stanley brouwn, Félix González-Torres, Patricia Dauder and Graciela Carnevale.