A group show that attempts to overturn the dramaturgy of the museum and put the works back at the center, in response to their will, energy and poetic intent. What would happen if we separated the work from the museographic context that surrounds it? Would it be possible to consider museography as a kind of aphasia, and propose the dismantling of the museum's dramaturgy, the one that tells us how to move through the spaces, how to observe the artistic experiences they offer us, and how to apprehend the knowledge that emerges. from them? If we were to assume that this turnaround was possible, what other meanings would be generated for the interpretation of the work, but also for the re-signification of the museum as an institution? Could we, from this position, address the work's will, its desire, its energy, its poetic intention? As Martinique poet and philosopher Édouard Glissant asserts when he says that the poem must never deny the path of the world, can the museum place works and their ways of experiencing the world at the center of everything? Poetic Intention, which takes its title from Glissant's book of the same name, is understood as an exercise that proposes a break with the institutional framework, offering a space for reflection and critique in which the concept and experience of "art" is presented as a generative and emancipating principle. This new approach to the Collection uses, for the most part, works acquired in recent years that seek new scenarios of relationship with existing works in the Collection, but also with works on loan from artists inside and outside the Collection. In this way, a new narrative of stories is configured, embracing absences and fostering other discourses, as common spaces and scenarios of the possible, to question and update the forms of relationship that artistic practices establish with subjects.
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