By Cesar Antonio Molina, Manuel Borja-Villel, Yolanda Romero
What's the museum's function? What could be its capabilities and actions in brand new society? What different operational and organizational types can be proposed to assist conquer the modernist place through which the museum, as a repository of creative essences, could make a common truth obvious in an immanent manner? to discuss those questions, the organization of latest artwork administrators of Spain - ADACE - constituted as a discussion board for mirrored image and debate, held in Baeza a convention during which these chargeable for Spain's museums mirrored, including their international 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 positive aspects interventions by means of 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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This is how new existential territories progressively gain consistency, accompanied by their respective cartographies of sense. In this process there ceases to be both separation and fusion between subjectivity and its others. Instead, becomings of oneself and of the environment are unleashed in singular, non-parallel directions, driven on by the effects of the encounters. 31 From the beginning of her artistic journey, the focus of Lygia Clark’s research consisted of bringing into the visible the resonant apprehension of the world, as well as its paradox in relation to perception, seeking to affirm the creative imagination that this differential could put into motion, and its transformative effects.
The sublime as opposed to beauty, which basically alludes to that which cannot be represented, to that which cannot be had in a significant manifestation, beautiful and elevating, but which always points to something that is ineffable, too big, too grandiose or infinite. Just simply beyond our ability to reason about it, beyond our ability to show it, beyond our ability to illustrate it, beyond our ability to make it ours. What, then, are these artists trying to do? I think it is putting us in touch with the fact that history has such moments.
The inhibition can be made even worse in dictatorial regimes (like those that ruled Brazil and most of Latin American countries in the 1960s-70s), where this kind of relation becomes an object of humiliation, prohibition or punishment, leaving their toxic marks in the body’s memory. Many of Lygia Clark’s students at the Sorbonne, with whom I filmed interviews in the context of the project referred to above, testified to this scary aspect of her proposals. At this point the artist becomes aware that the fulfilment of one of the central questions of her artistic research – the reactivation of this quality of aesthetic experience in the receivers of her creations – was not at all selfevident.