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Una Voz, Una Imagen
September 10 - november 20 - 2022
Location: Centro de Cultura Contemporánea Conde Duque Madrid. Sala de Bóvedas.
Graphic and exhibition design SOLAR (Ana Herreros y Pablo Canga) + Marta Jarabo
Location: Centro de Cultura Contemporánea Conde Duque Madrid. Sala de Bóvedas.
Graphic and exhibition design SOLAR (Ana Herreros y Pablo Canga) + Marta Jarabo
The exhibition ‘ONE VOICE / ONE IMAGE’
arises from the desire to explore different formats for the analysis and interpretation of the images of our time, “as a double dimension between presence and representation” in the words of curator Maria Virginia Jaua.
This is an unusual exhibition in terms of its material production. The work is constituted by the thought of each artist, whose critical impulse seeks to activate the reflection of the visitor and explore new ways of interpreting and producing the work of art of our time. The result is presented in sound format: thirteen locutions, one for each of the invited artists (Ignasi Aballi, Angela Bonadies, Gonzalo Elvira, Esther Ferrer, Pedro G. Romero, Dora Garcia, Narelle Jubelin, Eva Lootz, Antoni Muntadas, Javier Pefiafiel, Alvaro Perdices, Paloma Polo and Isidoro Valcarcel Medina), in which they reflect on images of their choice that “they are not strictly those of its production and that, nevertheless, go through them”.
The spatial proposal seeks not only to transfer the exhibition concept, but also to propose a new relationship between curator, artist, community and museum. It is part of a spatial and conceptual investigation that reviews the Western tradition of the ‘White Box” and analyzes the influence of the container on the artistic content.
In addition to the organization of the rooms, this approach resonates with the immateriality of the works through the choice of a single element: the mirror, whose symbolic choice evokes the construction of contemporary social reality, defined by duplicity, subjectivity and the dissolution of
meanings.
Consequently, the pieces give rise to a game of reflections, dissolving in space, multiplying their registers and expanding their meanings.
The main intervention is concentrated in the access vault in which two parallelepids of equal dimensions, one horizontal and the other vertical, receive the viewer. On the first one, the room text is shown, thus surpassing the traditional exhibition systems in which graphics and architecture operate independently. The second indicates in which room each artist is located thanks to some LED signs, whose red light and movement define the entrance atmosphere. All in all, the introduction room seeks to break down the hermeticity, the silent hollowness of the ‘White Box’ and the consequent alienation of the spectator: the context manifests itself, the visitor is questioned; he perceives himself in relation to others through his reflected image, he is invited to get involved, to be part of the exhibition.
The rest of the rooms house the works of the artists, whose voices flood each of the four remaining vaults. The images are projected on a real scale on rear-projection screens, as if they were an extension of space, a portal that the viewer can lean out and explore its content while immersed in the locution.
arises from the desire to explore different formats for the analysis and interpretation of the images of our time, “as a double dimension between presence and representation” in the words of curator Maria Virginia Jaua.
This is an unusual exhibition in terms of its material production. The work is constituted by the thought of each artist, whose critical impulse seeks to activate the reflection of the visitor and explore new ways of interpreting and producing the work of art of our time. The result is presented in sound format: thirteen locutions, one for each of the invited artists (Ignasi Aballi, Angela Bonadies, Gonzalo Elvira, Esther Ferrer, Pedro G. Romero, Dora Garcia, Narelle Jubelin, Eva Lootz, Antoni Muntadas, Javier Pefiafiel, Alvaro Perdices, Paloma Polo and Isidoro Valcarcel Medina), in which they reflect on images of their choice that “they are not strictly those of its production and that, nevertheless, go through them”.
The spatial proposal seeks not only to transfer the exhibition concept, but also to propose a new relationship between curator, artist, community and museum. It is part of a spatial and conceptual investigation that reviews the Western tradition of the ‘White Box” and analyzes the influence of the container on the artistic content.
In addition to the organization of the rooms, this approach resonates with the immateriality of the works through the choice of a single element: the mirror, whose symbolic choice evokes the construction of contemporary social reality, defined by duplicity, subjectivity and the dissolution of
meanings.
Consequently, the pieces give rise to a game of reflections, dissolving in space, multiplying their registers and expanding their meanings.
The main intervention is concentrated in the access vault in which two parallelepids of equal dimensions, one horizontal and the other vertical, receive the viewer. On the first one, the room text is shown, thus surpassing the traditional exhibition systems in which graphics and architecture operate independently. The second indicates in which room each artist is located thanks to some LED signs, whose red light and movement define the entrance atmosphere. All in all, the introduction room seeks to break down the hermeticity, the silent hollowness of the ‘White Box’ and the consequent alienation of the spectator: the context manifests itself, the visitor is questioned; he perceives himself in relation to others through his reflected image, he is invited to get involved, to be part of the exhibition.
The rest of the rooms house the works of the artists, whose voices flood each of the four remaining vaults. The images are projected on a real scale on rear-projection screens, as if they were an extension of space, a portal that the viewer can lean out and explore its content while immersed in the locution.
