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Antonio Gagliano's Buno opens at the Fundaciˇ Joan Mirˇ in Barcelona
Buno develops from the understanding that Montju´c can also be one of those monstrous animals.
BARCELONA.- Antonio Gagliano presents an exhibition that develops from the work of Johannes Buno, a pioneer German draftsman that illustrated time through images.

Buno, the exhibition, a review of chronological time and its ways of representation, can be seem from July 3rd to September 7th at Fundaciˇ Joan Mirˇ’s Espai 13.

At the end of the Seventeenth Century, Johannes Buno became one of the last instigators of the ars memoriae with the invention of a genuine method to help us remember things with ease. He tried to draw the history of human culture, establishing relations between great blocks of time and images. These mnemonic images were diagrams showing a series of historical facts distributed in a strategic manner that resulted in allegorical figures of animals.

Buno develops from the understanding that Montju´c can also be one of those monstrous animals. During the Twentieth Century, the mountain became a construction, not only historical, but also historiographical, that discovered its point of origin in the infrastructures that were built for the 1929 International Exhibition. At the basement of the show at the Palau Nacional, a diorama of the Altamira cave provided Spain with its mythical past. Interestingly enough, this element has also become the cornerstone of the “center of intelligence accumulation”, which, in Gagliano’s words, is what the entire mountain has been transformed over the years.

Antonio Gagliano creates exchanges between facts —understood as historical events— and myths —as the stories that allow their understanding. This subject of the Altamira cave becomes an example of this double vision of history that Gagliano suggests: caught between its own mythical condition in a universal visual culture and its structural status for the understanding of a historical moment.

Gagliano focuses his research on all that memory that has been stored inside the institutions of Montju´c, spreading it out through new connections and historiographical exchanges. The artist completes his work on time representation by using three regular structures that are part of the traditional methods of conveying knowledge: a publication, drawings or representations, and the projection of images.

The first object in the exhibition is a free-of-charge publication that describes the concept of the show, which the viewer can take home. The review of the Altamira caves is included in this first piece. The publication serves as foundation for three projections that take place in different parts of the gallery, which, accordingly, present several historical cases of time representation and mnemonic systems that Gagliano interconnects.

The third part of the exhibition, described by the artist as galaxia transferida a lÝnia artificial [galaxy transferred to an artificial line], is a group of forty pieces hanging from the walls showing historical documents redrawn by Gagliano on aluminum. Some of these documents, shown in pairs, cannot be made public and are, therefore, released in this drawing and exhibiting manner.

This exhibition ends the series Arqueologia preventiva [preventive archaeology], curated by Oriol Fontdevila and included in the activities commemorating the 1714 Tricentenari. During the 2013–2014 program, four artistic proposals by Oriol Vilanova, L˙a Coderch, Lola Lasurt and Antonio Gagliano have been presented, interpreting the concept of collective memory and examining different ways of explaining history in the present. As surveyors do prior to an excavation, these series hope to follow the heritage and the elements that, having reached the present, put us in relationship with our past.






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