By Cesar Antonio Molina, Manuel Borja-Villel, Yolanda Romero
What's the museum's function? What may be its capabilities and actions in modern-day society? What different operational and organizational types can be proposed to aid conquer the modernist place during which the museum, as a repository of creative essences, could make a common fact seen in an immanent manner? to discuss those questions, the organization of up to date artwork administrators of Spain - ADACE - constituted as a discussion board for mirrored image and debate, held in Baeza a convention within which these accountable for Spain's museums mirrored, including their overseas colleagues, in addition to artists and thinkers, on those concerns in an idea-sharing consultation. the result of this assembly are released during this booklet. It good points interventions through Manuel Asensi, Mieke Bal, John Beverley, Manuel Borja-Villel, Benjamin Buchloh, Gustavo Buntinx, Jean-Francois Chevrier, Nuria Enguita Mayo, Javier Gonzalez de Durana, Beatriz Herraez, Paulo Herkenhoff, Martin Jay, Ana Longoni, Ute Meta Bauer, Simon Marchan, Antoni Muntadas, Juan de Nieves, Martha Rosler, Suely Rolnik, Yolanda Romero, Rene Scherer, Allan Sekula, Teresa Velazquez and Santos Zunzunegui.
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Extra info for 10,000 Francs Reward: The Contemporary Art Museum, Dead or Alive
Those who wield the power of making images and making images circulate, have the power to create, let us say, a documentary recording of 66 significant events. In such a way, a king displaying his coronation or a great battle or a general about to be surrendered to or whatever were to be the moment that is documented, could also of course be duplicated through other means, recorded, etc. But in general it was mostly done by images. The only example that comes to my mind is the minting of coins in which the effigy of the king was on a coin.
We have reached a point where the actors of the event, those who represent it and those who distribute it, are the same. The epitome of this would be the images of Abu Ghraib; in other words, I produce the event, document it and place it in circulation. What I want to say is that as the object of discussion during the next few days is going to be the museum, I think that what is most needed is more than a notion of history that re-thinks different causalities of the event, what is really needed is a new theory of the event, which alludes to us not waiting for something to happen but rather make it happen, us creating the event.
We precisely ignore what will be the meaning of acts of this type because there are numerous unforeseen consequences that take place which the perpetrators, and even those who used the act initially for a certain proposal, cannot dominate entirely. , are very weak excuses for the way in which historians in one hundred or two hundred years from now will feature our era, which is an era, it seems to me, of confusion over the direction and side we are on in a bunch of battles that do not seem to have any obvious side to lean to.