DE
EN
artists & participants
Franz Ackermann,
AES+F,
Pablo Alonso,
Vasco Araujo,
assume vivid astro focus,
Matthew Barney,
Paco Barragan,
Judith Barry,
Catarina Campino,
Dinos Chapman,
Jake & Dinos Chapman,
Berlinde De Bruyckere,
Elena del Rivero,
Inka Essenhigh,
Janieta Eyre,
Jan Fabre,
Timothy Hutchings,
Yayoi Kusama,
Lee Bul,
Hew Locke,
Fabian Marcaccio,
Teresa Margolles,
Masbedo,
Tony Matelli,
Jonathan Meese,
Julie Mehretu,
Arnaldo Morales,
Juan Munoz,
Lars Nilsson,
Manuel Ocampo,
Chris Ofili,
Grayson Perry,
Bernardi Roig,
Julian Rosefeldt,
Thomas Schütte,
Christian Sery,
Raqib Shaw,
Elisa Sighicelli,
Eve Sussman,
Sam Taylor-Wood,
Janaina Tschäpe,
Adriana Varejao,
Javier Velasco,
Bill Viola
press release
Since the mid-eighties there have been many writers who have attempted to define contemporary culture using the terms “Baroque” and “Neo-Baroque”.
Omar Calabrese. La Era Neobarroca. Madrid, 1994. Severo Sarduy. Ensayos Generales sobre el Barroco. Buenos Aires, 1987 Paul Virilio. El instante real. Madrid, 1992 Katherine Hayles Chaos bound: Orderly disorder in contemporary literature and science, 1-28. Ithaca, N.Y.: Cornell University Press Christine Buci-Glucksmann. La manera o el nacimiento de la estética. Madrid, 1992. Jean Baudrillard. La precesión de los simulacros. El complot del arte. 1995.
We refer to Neo-Baroque not just as a simple return to the ways and forms of a defined period in history, but as a kind of cultural organisation with its own strategies for representation.
All spheres of thought allow for a state of plurivocity and polimorphy, out of which inhomogeneous models of rationality emerge which cannot be retraced back from one to the other, and scarcely connected at all in terms of their respective projects of organisation.
Along these lines, a discourse has been developed, initially focussed on analysing the economy of a cultural model defined through ideas such as complexity, simulation, variation, inconsistency, movement, inversion, metamorphosis etc. which, in the context of the visual arts have been translated into formal procedures like transversality, the pre-dominance of heterogeneity, the hyper-theatricalization of representation, simulation, the rhetorization of forms, the allegorical impulse, the prevalence of connotations, the metamorphosis of forms of perception, representation etc.
From this perspective, we can see a close parallel and symmetry with the Baroque of history, dominated by rhetorical games, its vision of infinite spaces, its taste for illusion and its overall its bearing as an all-powerful machine for representation.
The exhibition project Baroque and Neo-Baroque. “The Hell of the Beautiful” takes up the themes outlined above in order to channel a series of individual and collective exhibitions developed during the course of 2005 to culminate in a large-scale collective exhibition that will be held between the end of September and December 2005 in various exhibition spaces throughout the city, involving the work of 100 Spanish and international artists.
F. Javier Panera, Chief Curator DA2
Pressetext
only in german
Baroque and Neobaroque / BARROCOS Y NEOBARROCOS
The Hell of the Beautifull
Kurator: Javier Panera, Paco Barragan, Omar Pascual
mit Franz Ackermann, AES+F, Pablo Alonso, Vasco Araujo, assume vivid astro focus, Matthew Barney, Judith Barry, Philipe Bradshaw, Fernanda Brunet, Berlinde De Bruyckere, Lee Bul, Catarina Campino, Jake & Dinos Chapman, Inka Essenhigh, Janieta Eyre, Jan Fabre, Walter Goldfrap, Timothy Hutchings, Charles Jushaz, Yayoi Kusama, Hew Locke, Fabian Marcaccio,Teresa Margolles, Masbedo , Tony Matelli, Jonathan Meese, Julie Mehretu, Arnaldo Morales, Juan Muñoz, David Nebreda, Lars Nilsson, Manuel Ocampo, Erwing Olaf, Chris Ofili, Grayson Perry, Elena del Rivero, Bernardi Roig, Betsabe Romero, MP & MP Rosado, Julian Rosefeldt, Raquib Saw, Thomas Schütte, Christian Sery, Raqib Shaw, Elisa Sighicelli, Suling Wang, Eve Sussman, Janaina Tschäpe, Tim White, Adriana Varejao, Javier Velasco, Bill Viola, Sam Taylor-Wood, Liu Zeng