Prácticas artísticas (1984-2014)

La finalidad de este proyecto es proporcionar a los estudiantes una herramienta visual e intuitiva donde puedan ubicar los principales hitos culturales y sociales; modelos visuales que a modo de plantilla ofrezcan una imagen sintética de cómo se relacionan los acontecimientos, las palabras, los autores y las imágenes en el lapso temporal 1984-2014.

Nota aclaratoria:;xNLx;Como norma general, los libros reseñados en el apartado de publicaciones han sido datados en el año de su edición original, salvo en aquellos casos en que este es anterior al período contemplado. En estos casos, se ubican en el año de la primera edición en español.;xNLx;;xNLx;;xNLx;;xNLx;El Proyecto ha sido subvencionado por la Universidad Complutense de Madrid, en la convocatoria PIMCD-2014, Programa de Apoyo a Grupos Innovadores.;xNLx;

Double Bind. Juan Muñoz

The second commission in The Unilever Series, created for the Turbine Hall at Tate Modern, was completed by the Spanish artist Juan Muñoz and opened to the public on 12 June. Muñoz created a new installation that dramatically alters the 155 metres long x 35 metres high (500 x 115 feet) space. The work presents the viewer with a series of intriguing scenarios, which play on perspective and illusion, visibility and invisibility. Titled Double Bind, the installation is divided into two parts. On the upper, bridge level of the Turbine Hall, the visitor sees, beyond a balcony rail, a patterned floor, through which two elevators rise and descend, locked in perpetual motion. The floor appears to be pierced with a series of large black holes or shafts, some of which are illusions.

Caída del Muro de Berlín

La decisión del nuevo equipo dirigente de la República Democrática Alemana (RDA) al abrir las fronteras con Alemania Occidental equivale a liquidar el muro de Berlín. El valor simbólico que esta edificación ha tenido desde hace 28 años, como separación entre el mundo de la democracia occidental y el del socialismo de cuartel, subraya la trascendencia del viraje que acaba dar el Partido Socialista Unificado de Alemania Oriental.

Beerdigung (Funeral). Gerhard Richter

If one stands close to the three-metre-wide painting, only light and dark grey tones can be recognised, patches strung together and horizontally smudged. From a greater distance, one starts to distinguish a crowd of people, lining a path. The large-format painting Funeral by Gerhard Richter depicts the burial of Andreas Baader, Gudrun Ensslin and Jan-Carl Raspe, German terrorists from the Red Army Faction (RAF). Thousands of supporters, journalists and bystanders gathered in Stuttgart on 27th October 1977, when the three terrorists were buried at Dornhalden cemetery.

The Physical Impossibility of Death in the Mind of Someone Living. Damian Hirst (1991)

Glass, painted steel, silicone, monofilament, shark and formaldehyde solution. Size: 2170 x 5420 x 1800 mm | 85.5 x 213.4 x 70.9 inch The Physical Impossibility of Death in the Mind of Someone Living’ has become embedded in popular culture as one of the most iconic images of contemporary art. Conceived by Hirst in 1989 whilst at Goldsmiths, the ‘Natural History’ work consists of a thirteen-foot tiger shark preserved in a tank of formaldehyde, weighing a total of 23 tons. The shark is contained within a steel and glass vitrine three times longer than high and divided into three cubes.

S/T (Billboard of bed). Félix González-Torres. (1992)

Billboard, dimensions vary with installation. Between February 20 and March 18, Felix Gonzalez-Torres’s “Untitled” (1991) peppered the New York skyline, on six billboards throughout Manhattan, Brooklyn, and Queens. With locations ranging from 10th Avenue near the Javits Center to the far corners of Brighton Beach, the work reached diverse populations and altered the associated media landscapes. The provocative yet ambiguous image on each—an enlarged black-and-white photograph of the artist’s recently shared double bed—stood out amid the text-heavy advertising signage that dominates the city. Devoid of the text, logos, or captions typically associated with billboards, this work summoned a second look or even a momentary pause, the introspective quality of the image bringing a perceptible stillness to the surrounding bustle of the city.

Tate Thames Dig. Mark Dion

Wooden cabinet, porcelaine, earthenware, metal, animal bones, glass and 2 maps Dimensions Unconfirmed: 2660 x 3700 x 1260 mm. During the summer of 1999, U.S. artist Mark Dion and a team of volunteers drawn from local groups combed the foreshore of the Thames at low tide along two stretches of beach at Millbank and Bankside, near the Tate Gallery (now Tate Britain) and Bankside Power Station, which would become Tate Modern the following year. As with Yard of Jungle 1992 (Museo Arte Moderna, Rio de Janeiro), where he literally removed and examined a yard of jungle floor, Dion focused on a natural, historical constant. In this case, he turned to the banks of the River Thames, looking for fragments of individual and ephemeral histories. London's location, its growth and its fortunes can be attributed to the Thames. The two sites yielded a wide variety of artefacts and tokens of life as lined Millbank on the north shore of the Thames and

When Faith Moves Mountains. Francis Alÿs

Alÿs visited Lima in 2000 just before the collapse of the Fujimori government and found ‘a desperate situation that called for an “epic response”, at once futile and heroic, absurd and urgent.’ He returned in 2002 to organise When Faith Moves Mountains, persuading 500 Peruvian students to walk in a line up a sand dune on the outskirts of the city, digging as they went, thus displacing the dune by a few centimetres. The action – Alÿs’s most visually spectacular to that date – was filmed from various positions and the images were subsequently used on postcards, whilst the artist also encouraged the spread of news of the work through rumour and myth.

The Forgotten Space. Allan Sekula

Film essay / Feature documentary 112 min. DCP, Digibeta, DV CAM, colour / black & white 16×9 Dolby digital The Forgotten Space follows container cargo aboard ships, barges, trains and trucks, listening to workers, engineers, planners, politicians, and those marginalized by the global transport system. We visit displaced farmers and villagers in Holland and Belgium, underpaid truck drivers in Los Angeles, seafarers aboard mega-ships shuttling between Asia and Europe, and factory workers in China, whose low wages are the fragile key to the whole puzzle. And in Bilbao, we discover the most sophisticated expression of the belief that the maritime economy, and the sea itself, is somehow obsolete.

The Artist Is Present. Marina Abramovich. (2010)

A pioneer of performance art, Marina Abramović (born Yugoslavia, 1946) began using her own body as the subject, object, and medium of her work in the early 1970s. For the exhibition Marina Abramović: The Artist Is Present, The Museum of Modern Art’s first performance retrospective, Abramović performed in the Donald B. and Catherine C. Marron Atrium every day the Museum was open between March 14 and May 31, 2010. Visitors were encouraged to sit silently across from the artist for a duration of their choosing, becoming participants in the artwork. This comprehensive photo gallery contains a record of each participant. Please select “Show info” to see the date and duration of each visitor’s participation.” The Artist Is Present is Abramovic’s longest performance to date. here

House. Rachel Whiteread

Concrete casting of Whiteread. House, 1993. R. Whiteread. Whiteread is one of the few artists of her generation to have produced important public sculptures, some of which have achieved a monumental status and significance.Ghost, her breakthrough piece from 1990, is a plaster cast of a living room, modelled on a typical Victorian terraced house in north London, similar to the one in which the artist grew up. In its melancholic beauty, Ghost is a resonant monument both to the individuals who once occupied this room, and to our collective memories of home.

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