Fundació Antoni Tàpies

Franz Kline

Art and the Structure of Identity

Lygia Clark

Ausstellungskat

Merce Cunningham

Artwork by Merce Cunningham. Edited by Germano Celant. Contributions by David Vaughn. Text by Melissa Harris.

Merce Cunningham. Catalogo della mostra (Porto, 10 settembre-7 novembre 1999; Rivoli, 20 gennaio-2 aprile 2000; Vienna, 2000). Ediz. spagnola e inglese

"The aim of this book is to help make the work of Antoni Tapies more widely known through the study of the collection housed by Fundacio Antoni Tapies, and to disseminate the activities devoted to modern and contemporary art that have taken place at the Fundacio over the 1990-2004 period"--P. 140.

The Fundació Antoni Tàpies, Barcelona

Nuria Enguita Mayo

Tourism conceived as a political and cultural phenomenon, in full expansion thanks to the globalising process of late capitalism which, together with the consumer and leisure society and the information, communication and transport technologies, is radically transforming our territories and (space-time) perception of the world. A contemporary practice, mobility, yet different according to the place one is speaking from: perpetual present and pure space, deterritorialised, for the globalised; impossibility of the present and physically confined space for the localised. The uses of time and space are clearly differentiated and at the same time they themselves differentiate. The pursuit of happiness, the desire for escape, the discovery of the Other and the return to nature are, according to some tourism analysts, the generators of the imaginaries of desire when it comes to embarking on a journey. A critical analysis of these constructed imaginaries which will reveal some of the mechanisms which induce that desire in capitalist society has been the impulse behind this project. Tour-isms is structured through two interconnected realities, the ''tourist-subject'', a subject who activates environments and standardised memories legitimised by the individuality of experience and exploration; and an agent of transformation, a social player actively involved in processes of transformation of the territories s/he visits. And the ''touristified spaces'', which reveal some of the economic, political and cultural processes which impose new forms of socialisation and new uses and behaviours on the borders of private and public, what is and what can be historical. Tour-isms does not set out to make a totalising analysis of tourism or to offer a historical future for it, nor does it wish to propose a superficial criticism of tourism or the tourist or to establish new models for this practice. Tour-isms is a transversal project which links a series of people and groups who, f

The Defeat of Dissent : Critical Itineraries

Tour-isms

Sanja Iveković

Sanja Ivekovic : selecció d'obres. [... Fundació Antoni Tapies, Barcelona, 31.5. - 22.7.2007 ...]

Manuel J. Borja-Villel

Marcel Broodthaers

Michael Compton

Maria Gilissen

His talent for reinventing the language of art made Marcel Broodthaers (Brussels, 1924 - Cologne, 1976) one of the most creative artists of the second half of the 20th century. His work is a symbiosis of all the artistic disciplines: "I am not a filmmaker. For me, film is the extension of language. I begin with poetry, then visual art, and finally cinema which brings together several different elements of art. Which is to say: writing (poetry), the object (visual art), and the image (film). The difficult thing, of course, is the harmony between these elements." For Broodthaers, catalogues, books and exhibitions are films which in turn become part of subsequent exhibitions and publications.

Cinéma

Dan Graham

Since the 1960s, Dan Graham's heterogeneous practice has touched on such disparate subjects as tract housing, the Shakers, punk music, and architectural theory; he has made videos, architectural models, closed-circuit installations, and glass pavilions. Graham, who came of age during the emergence of earth art, minimalism, and conceptualism, has situated his work on the borders between these different strains of contemporary practice. Although varying widely in subject and medium, Graham's artwork and writings display a consistent interest in spectatorship, public-private relationships, and the constructed environment. Graham's extensive writings on his own work (collected in Rock My Religion and Two-Way Mirror Power, both published by the MIT Press) have made him, by default, the primary interpreter of his own art. This October Files volume provides a counterweight, gathering key texts by critics and theorists that offer alternative accounts of Graham's art. The essays span thirty years and include hard-to-find texts from exhibition catalogs and journals. The authors include such distinguished theorists, critics, and artists as Benjamin H. D. Buchloh, Beatriz Colomina, Thierry de Duve, and Jeff Wall.

12 May-12 July 1998

Fundació Antoni Tàpies

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