The First Art Newspaper on the Net   Established in 1996 United States Tuesday, January 23, 2018


Museo Nacional Thyssen-Bornemisza opens last exhibition in 25th anniversary series
Rivane Neuenschwander, I wish your wish, 2003. Cintas. Dimensiones variables. Thyssen-Bornemisza Art Contemporary Collection, Vienna.


MADRID.- With Art Lesson the Museo Nacional Thyssen-Bornemisza is concluding the programme of exhibitions and activities organised to mark its 25th anniversary, in this case encouraging visitors to reflect on the role of education in museums. This innovative project, devised and produced by the museum’s Education Department, takes as its starting point a temporary exhibition of works by contemporary artists which establish a dialogue with the Permanent Collection. In addition, it includes a series of artistic interventions that take place in time and space in different parts of the museum while the exhibition is open to the public. Art Lesson thus aims to forge ties between cutting-edge cultural creation and the museum, and between its works and the activities of museum educators.

The project is devised as an organic whole that is gradually completed, which means that the museum will be particularly active during the months it is on display, changing its habitual rhythm to one of experimentation, participation and investigation. A comprehensive programme of activities will allow visitors to become active agents and to be part of this process of transformation. In addition, for the first time the museum will become a space for creation, with an artist’s residency to be awarded in collaboration with the Casa de Velázquez, Fundación Banco Santander and CNP Partners. This residency will allow two creative figures to work with the museum’s Education team both on the process of preparing the exhibition and while it is on display.

What is Art Lesson?
Can a museum offer educational experiences outside traditional education? Who creates the meaning of what is on display and where? How can an exhibition produce emotions and sensations?

In museological contexts exhibitions traditionally possess a historical development of a linear nature. Art Lesson questions that model and proposes other ways of reading objects from the past using a contemporary viewpoint. The title encompasses numerous readings, from the most literal to the most ironic, given that this is a “non-lesson in art”. It looks at art’s relationship with different sectors of the public and the educational strategies that aim to connect them. The exhibition will thus focus on the generating and management of knowledge, offering a reflection on who generates it and where; for whom it is created; who receives it and how; how it is transmitted; and who endows that knowledge with authority.

Overall, Art Lesson refers to the emancipation of the public and how that public’s contributions can, if not change the idea of the museum as we know it, at least transform its place in it.

The museum’s Moneo galleries, located on Basement level 1, house works by Cinthia Marcelle, Luis Camnitzer, Pavel Kogan, Eva Kot’átková, Rineke Dijkstra, Alicia Martín, Dennis Adams, Dora García, Rivane Neuenschwander, Erwin Wurm and Ryan Gander, among other contemporary artists, which question where knowledge resides, refer to the museum as a personal experience and seek to transform the role of the viewer and his/her place within that museum.

A second part extends the exhibition into other spaces of the Permanent Collection through a series of installations by artists such as Kota Ezawa, Antoni Muntadas, Herz Frank, Mateo Maté, Oriol Vilanova, Olafur Eliasson and Raphael Lozano Hemmer. These establish dialogues between past and present which reinforce concepts contained in the museum’s works and aim to transform the viewer’s experience, placing him/her in situations different to the habitual ones. This section also features interventions by the artists in residence and by the museum’s Education Team.

THE EXHIBITION: Questioning / Reformulating
The first part of the exhibition is organised into the following concepts:
1.- Questioning knowledge. Some works on display in the initial galleries, for example This Same World Over by Cinthia Marcelle, or Ruth Drawing Picasso by Rineke Dijkstra, offer an invitation to reflect on the processes of learning characteristic of each person: where they come about and how we personally experience them, what is the truth and if there is no one, single truth, and in what places these procedures arise. In order to explore whether there are other accesses to knowledge the exhibition proposes analysing the need for change in teaching/learning processes.

2.- The role of the viewer. Educational action aims to change the visitor’s role from passive/receptor to active/producer: an inquisitive viewer who contributes to the museum and helps to construct it. The viewer as a generator of knowledge and thus as an active participant is the starting point for this second section, in which the public can play at changing its role and move from being mere spectators to become – or not – the work itself, as suggested by artist Erwin Wurm.

3.- The made to measure museum. This section looks at the idea of a museum for people, a museum of small things, inviting the visitor to wander around Malraux’s Imaginary Museum and to change their experience, as in Dennis Adams’s performance. The dialogue focuses on the works, offering new narrative threads that connect them in order to show visitors how interpretation can go beyond the limits that tradition, through education, has imposed on us.

4.- Materializing the impossible. Art is a utopia and we are unable to define it or assimilate it all. Art, however, is a mediator between the utopian and the real and can make the invisible visible. Dora Garcia’s 100 Impossible Artworks became real when she materialises them. The educational act comes about on those immaterial boundaries where the conversation between the public and the work of art is located. Educational action facilitates paths that bring us closer to artistic creation and this takes place in another impossible space, the museum; a fictive, symbolic space in which the works follow on from each other on the gallery walls, in a time and space other than the one they were intended for.

THE INTERVENTIONS: Transforming
With the interventions that take place on the three floors that house the Permanent Collection the act of combining the paintings hanging on the walls of the galleries with those by present-day creators aims to generate new interpretations. This interaction between the museum’s works of art and contemporary artists arose from the desire to find answers to the same questions as those asked in the first part of the exhibition, as well as in the Education

Department’s daily life when working with the public, in the conversations that emerge from that activity and in the educators’ reflections on those situations.

1.- Interventions on the idea of Questioning knowledge. The installation in Room 8 of six works by Kota Ezawa, alongside various elements from a 15th-century German altarpiece suggests several narratives. Again, two works by Mateo Maté, Uniformed Landscapes and Restricted Area, in Rooms 28 and 29, openly question acquired knowledge and propose that the work of art can be understood from other positions.

2.- Interventions based on The role of the spectator. We Only Meet When We Move by Olafur Eliasson, installed on the museum’s ground floor, aims to involve viewers and modify their perception. A video by Herz Frank entitled Ten Minutes Older, refers to the transformation of the observer, on the second floor. In Room 45 of the permanent collection the work 33 Questions per Minute [Relational Architecture 5] by Rafael Lozano-Hemmer encourages an active approach to the generation of knowledge, proposing that what is generated should become part of the museum’s own knowledge base. Pursuing that direction, the educational tools and resources devised to facilitate access to the works in the collection aim to read the artistic art from other positions, through the sensory and the experiential.

3.- Interventions on the idea of The made to measure museum. The criteria that give rise to collections and how collections are shown and interpreted are ideas latent in both the installation by Oriol Vilanova in Room 43 and in the work of the museum’s Education team. The concern that the museum should not become enclosed within its own walls has led to projects such as the educational suitcases, “Big Valise”, which aim to offer a response to this idea of a de-localised museum.





Today's News

November 19, 2017

Major retrospective includes vast array of work from Robert Rauschenberg's career

Fashion giant Azzedine Alaia dies at 77

Online exhibit shows hidden depths of Picasso's 'Guernica'

Jackson Pollock's largest painting makes DC debut at the National Gallery of Art

Tintin and Snowy drawing sells for 500,000 euros

Exhibition presents more than 100 privately held works from the 6th to the 19th century

Ketterer Kunst announces December auctions: From Modern to Contemporary art

Nationalmuseum Sweden acquires 18th-century French master drawings

MoMA highlights the transformative history of computers on Postwar artists

AC/DC guitarist Malcolm Young dies aged 64

The Fundació Joan Miró opens "Sumer and the Modern Paradigm"

Detectorist finds rare Richard III coin near the battlefield where he died

Exhibition at The Contemporary Austin includes new and recent outdoor sculptures by Carol Bove

Swiss artist Daniel Robert Hunziker opens exhibition at Von Bartha, Basel

Portrait by Cy Twombly offered at Heritage Auctions' Modern & Contemporary Art Auction

Largest ever Del Kathryn Barton exhibition opens at the National Gallery of Victoria

Cranbrook Art Museum opens exhibitions by artists at the intersection of art and street culture

Exhibition presents an homage to the late French artist Raymond Hains by Jérémy Demester

Museo Nacional Thyssen-Bornemisza opens last exhibition in 25th anniversary series

Yorkshire Sculpture Park opens largest solo exhibition to date by artist, illustrator and printmaker Ed Kluz

Ian Davenport's first solo exhibition in Dubai on view at Custot Gallery

Exhibition spotlights dramatic Japanese prints in innovative installation

Works by Charles Schulz, Granville Fisher, J.C. Cockburn will be auctioned on live TV

Exhibition of Jack Pierson's Angel Youth series on view at Maccarone

Most Popular Last Seven Days



1.- National Air and Space Museum releases "VR Hangar" app

2.- Inrap discovers a mikveh in the medieval Jewish quarter of Saint-Paul-Trois-Châteaux

3.- Wellcome Collection acquires 17th century portrait of internationally renowned and hirsute Barbara van Beck

4.- The Colonial Williamsburg Foundation names Ghislain d'Humieres to oversee its core operations

5.- LACMA exhibits for the first time two photographic series by Richard Prince

6.- Jade and gold burial suit, finest to survive ancient China, featured in Nelson-Atkins exhibition

7.- Peru recovers 79 pre-Hispanic textiles from the Museum of Gothenburg in Sweden

8.- Vincent van Gogh's 'Watermill at Kollen' on display at Het Noordbrabants Museum

9.- Saint Louis Art Museum will acquire 'Portrait of Charlotte Cram' by John Singer Sargent

10.- British Museum opens the Sir Joseph Hotung Gallery of China and South Asia



Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .

 

Founder:
Ignacio Villarreal
Editor & Publisher:Jose Villarreal - Consultant: Ignacio Villarreal Jr.
Art Director: Juan José Sepúlveda Ramírez


Royalville Communications, Inc
produces:

ignaciovillarreal.org avemariasound.org juncodelavega.com facundocabral-elfinal.org
Founder's Site. The most varied versions
of this beautiful prayer.
Hommage
to a Mexican poet.
Hommage
       

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful