24画廊,博物馆:作为设计工具的调查

IF 0.1 0 ARCHITECTURE
Esteban Salcedo Sánchez
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引用次数: 0

摘要

摘要在20世纪70年代中期的马德里,我们可以发现一系列超越传统建筑实践、学术界既定领域以及编辑和机构活动通常动态的经验。事实证明,美术馆及其出版物、策展人、收藏家、评论家和访客是一个由代理人和机构组成的非正式网络的多产场所,通过各种形式的节目活动,在公民的批判性形成中建立了积极的中介。1974年在马德里德国学院举行的“新艺术行为”研讨会就是其中之一。事实证明,它的画廊是艺术和设计实践展览的先驱,这些实践基于西班牙对“概念艺术”的当地解释,公开推动了它们向其他知识领域的扩展。“马德里24家美术馆调查”活动是对多学科团体Grup de Treball(GdT)研讨会的贡献,旨在说明这一美术馆网络作为“反项目”的激活。一种基于彼得·艾森曼对“概念建筑”的定义的设计行为,它超越了艺术和争议,提供了一种替代方案。调查答案的展示积累了重新定义参与者之间关系框架所需的语言、界面、平台和媒介的价值。他们的协会聚集了一个有能力成为博物馆的社区:一个非物质化、碎片化和异质性的机构,挑战了艺术、公民和市场之间的传统关系。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
24 Galleries, a museum: The Survey as a Design Tool
Abstract In the mid-1970s in Madrid, it’s possible to identify a series of experiences that went beyond traditional architectural practice, the established domains of academia and the usual dynamics of editorial and institutional activities. The art galleries, with their publications, curators, collectors, critics and visitors, proved to be a prolific setting for an informal network of agents and institutions that, through programming events of various formats, instituted an active mediation in the critical formation of the citizenry. The seminar “Nuevos Comportamientos Artísticos” (“New Artistic Behaviors”), held at the Madrid’s German Institute in 1974, was one of these events. Its gallery proved to be a pioneer in the exhibition of practices linked to art and design, which openly promoted their expansion into other fields of knowledge based on a local interpretation of what was noticed in Spain as “conceptual art”. The action “Survey of 24 art galleries in Madrid,” was the contribution to the seminar of the multidisciplinary collective Grup de Treball (GdT), and serves here to illustrate the activation of this network of galleries as a ‘counter-project’. An act of design, based on Peter Eisenman’s definition of ‘Conceptual Architecture’, that transcends art and controversies to offer an alternative. The exhibition of the survey’s answers accumulated the values of language, interface, platform and medium necessary to redefine the framework of relations between its participants. Whose association gathered a community with the capacity to be a Museum: a dematerialized, fragmented and heterogeneous institution that challenged conventional relationship between art, citizenry and the market.  
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