p3_ antimuseu
DESCRIPTION
Série: "Do Museu-Templo aos Espaços Alternativos" Curso ministrado no SESC-SP, Vila Mariana, a convite do Departamento de Programação e Curadoria de Artes Visuais. (São Paulo, Jun.-Jul., 2013) Parte 3 - AntimuseuTRANSCRIPT
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Sesc Vila Mariana – Artes Visuais.Curso: Repensando Espaços Expositivos: do Museu-templo aos Espaços Alternativos.
Prof. Wesley Macedo
do museu-temploaos espaços alternativos
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#3 antimuseu
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“The Precession of Simulacra”
“It is always a question of proving the real by the imaginary; proving truthby scandal; proving the law by transgression; proving work by the strike;
proving the system by crisis and capital by revolution; and for that matterproving ethnology by the dispossession of its object (the Tasaday). Withoutcounting: proving theater by anti-theater; proving art by anti-art; proving
pedagogy by anti-pedagogy; proving psychiatry by anti-psychiatry, etc., etc.”
(Jean BAUDRILLARD: 1985)In: BAUDRILLARD, Jean. Simulacra and Simulation. University of Michigan Press: 1985
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“anti-museu”“O conceito de “anti-museu” (...) não é uma novidade, tampouco uma
surpresa, nem mesmo um ponto de vista radical. (...) pode ser considerado original ao ser uma “outra”, entre muitas “outras” interpretações do que
vem acontecendo em torno da arte e dos museus (“alta-cultura”), no passado recente e no presente moderno.”
(Martin GROSSMANN: 2001)Capítulo 5.1.: O Anti-Museu. In: GROSSMANN, Martin, O Hipermuseu; a arte em outras dimensões, Livre-
Docência, ECA-USP, São Paulo, 2001, p.192-222.
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“antimuseu”“No front mais vanguardista foi se configurando o capítulo heterogêneo do museu
que quer deixar de sê-lo, dissolvendo-se na realidade, negando qualquer solução convencional e representativa. (...) Durante o período da cultura pós-moderna,
consolidou-se a idéia genérica do antimuseu como crise definitiva da caixa branca, pura e definida da arquitetura moderna, seguindo o impulso de
ampliação das possibilidades de conteúdos e continentes para um museu.”
(Josep Maria MONTANER: 2003)Capítulo 7: O Antimuseu. In: MONTANER, Josep Maria. Museus para o século XXI. Barcelona: Gustavo Gili, 2003.
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GROSSMANN:Com a consolidação da idéia de Modernindade, fortemente influenciada pela
crítica de Baudelaire, instaura-se a crise do Museu enquanto instituição oficial para o lugar de exposição da Arte.
MONTANER:De um lado, a desmaterialização da obra de arte, com as novas formas de
produção artística (minimalismo, land art, arte conceitual, etc,) nas décadas 1960/70; de outro, a crise do modelo do cubo branco enquanto forma
tradicional de exposição nos museus de arte.
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Para Grossmann, “anti-museu” é uma resposta {s críticas que o Museu vem recebendo; é uma outra forma de se
produzir arquitetura de museus de arte, diferente do padrão estabelecido como tradicional / convencional.
Para Montaner, “antimuseu” é um conceito que categoriza os museus instalados em edificações existentes, como escolas, galpões, armazéns e fábricas, como resposta à
crise do museu enquanto cubo branco moderno.
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“é melhor exibir numa f|brica que num museu novo, recém criado”
Joseph Beuys .
I love America and America loves me, 1974.Performance realizada por Joseph Beuys, em galeria de NYC
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antimuseus_espaços alternativos para exposição da arte contemporânea
instalados em edificações pré-existentes;_intervenções arquitetônicas para criação de museus ou centros de
arte contemporâneos, realizados a partir de 1970;_espaços que mantêm as caracterísitcas da construção original e
são utilizados como espaços expositivos diferentes do padrão cubobranco, muitas vezes utilizados por artistas para site-specifics.
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EUA, 1970National Endowment for the Arts
_ organização sem fins lucrativos com financiamento do Estado_ diretor de artes visuais: Brian O’Doherty
_ um dos programas mais significativos para fomento da arte contemporânea“Spaces for Artists” / “Alternative Spaces”
“artists needed to have somewhere to exhibit that they generated themselves” (O’Doherty)
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_ um dos primeiros espaços foi o Jeffrey Lew’s Loft 112 Greene Street, NYC, onde artistas como Jeffrey Lew, Gordon Matta-Clark, Alan Saret, entre outros, criaram um espaço para artistas exporem fora do circuito estabelecido de galerias de arte, além de terse tornado lugar de significativa importância paramanifestações artísticas, invenção e liberdade, queforam temas centrais da produção entre 1970-1974.
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_outra figura central para a questão dos espaçosalternativos em Nova Iorque foi Alana Heiss que, nadécada de 60, atuou com o planejamento de espaços nasantigas docas da St. Katherine Docks, em Londres, nointuito de transformar o espaço em ateliers e estudiospara artistas.
_Brooklyn Bridge Eventao voltar para os eua, no fim da década de 60, AlanaHeiss é convidada a ser diretora do Municipal ArtsSociety (MAS) de Nova Iorque e busca implementar nacidade um programa semelhante ao que atuava emLondres. Na ocasião do aniversário da Brooklyn Bridge,em maio de 71, convida artistas à intervirem no espaçoao longo dos piers da ponte.
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_workspace / institute for art and urban resourcesEm 1971, Alanna Heiss cria o projeto Workspace paraidentificar imóveis da Prefeitura, abandonados ousubutilizados para serem transformados e alugados paraartistas. Esse projeto culmina na criacao do Institute forArt and Urban Resources (IAUR), em maio de 1972,independente do MAS e dirigido por Alana Heiss. Nomesmo ano, o Instituto adquire antigas salas comerciaise o ultimo andar de um edificio publico em LowerManhattan.
_clocktower galleryEm 12 de Abril de 1973 é inaugurada a ClocktowerGallery – centro experimental com estúdios ocupadospor diversos artistas e sala principal de exposições, comfoco em mostras individuais.
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Gordon Matta-Clark durante sua performance Clockshower.(Fotografo desconhecido), 1973.
http://www.moma.org/interactives/exhibitions/2012/artistinplace/
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The Clocktower GalleryAlternative Art Space | New York City – EUA
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AIR – Art International RadioThe Clocktower Gallery
(New York City – EUA)
Último pavimento de edificio públicoUso original: escritórios de repartições públicas
Inauguração: 1973
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MoMA PS1PS1 (Public School 1) Contemporary Art Center | NY – EUA
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MoMA PS1PS1 Contemporary Art Center(Long Island City, Queens / Nova Iorque – EUA)
Edifício original: Escola Pública
Inauguração do PS1: 1976
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_a antiga escola publica n.1 / public school n.1Em 1975, o IAUR torna-se ciente da eventualdisponibilidade de ocupar uma antiga escoladesativada (Public School N.1), então ocupada comoarmazém de depósitos pela Prefeitura de Nova Iorque.O espaço corria o risco de ser demolido ou vendido.
O Instituto se interessa pelo local e passa a negociarsua ocupação. Em 22 de Abril de 1976 o IAUR assinacontrato de ocupação da antiga escola pública (PS1),por 20 anos.
De 9 a 26 Junho é realizada a emblemática exposição Rooms, que convida um grupo de 78 artistas a intervirem em seus espaços (salas de aula, corredores, banheiros, porão, ático e os espaços externos de pátios e estacionamento).
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_artforum, outubro de 1976edicao especial da revista sobre o PS1:"The Apotheosis of the Crummy Space”.
_1976-1993o espaco segue com uma programacao deexposição individuais e mostras coletivas
_1994dois anos antes do término daquelecontrato de uso da PS1 pelo IAUR(assinado em 1976), o edifício é fechadopara obras de reforma e modernização ereabre em 1997.
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_o novo PS1 aberto em 1997projeto do arquiteto californiano Frederick Fisher para modernizacao do edificio e criacao de novos espacos
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5POINTZAlternative Art Space for Graffitti | New York City – EUA
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5POINTZAlternative Art Space for Graffitti | New York City – EUA
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VÍDEOhttp://www.youtube.com/watch?v=_0Zt_NeNAuo
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STOREFRONT FOR ART & ARCH.Alternative Art Space | New York City – EUA
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Storefront for Art and Architecture(New York City – EUA)
Edifício original: térreo comercial
Inauguração: 1982 / 1993(Proj.: Steven Holl e Vito Acconci)
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CAPCCentre d’Arts Plastiques Contemporains | Bordeaux – FR
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CAPCCentre d’arts plastiques contemporains(Bordeaux – FR)
Edifício original: Alfandêga
Inauguração do CAPC: 1974
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LE MAGAZINCentre National d'Art Contemporain | Grenoble – FR
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LE MAGAZINCentre National d’Art Contemporain (Grenoble – FR)
Salão industrial de estrutura metálica, construído para a Feira Mundial de Paris, em 1900, por Gustave Eiffel.A Estrutura foi comprada pela Fábrica de equipamentos hidráulicos Bouchayer and Viallet e reconstruída em Grenoble. Também fabricou material para a I Guerra Mundial. De 1970 – 75 foi utilizado como armazém.
Inauguração do LE MAGAZIN: 1986
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Tinglado 2Espai d’Art Contemporani | Tarragona – ES
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Espai d’Art Contemporani TINGLADO 2(Tarragona – ES)
Edifício original: Armazém do Porto Tarragona
Inauguração do EAC: 1988
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Museu Vostell Malpartida| Cáceres – ES
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Museu Vostell Malpartida(Cáceres – ES)
Edifício original: lavatório de lãs de pasto
Inauguração do Museu: 1976 / 98
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Palais de TokyoCentre d’Art Contemporain | Paris – FR
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Centre d’Art ContemporainPALAIS DE TOKYO(Paris – FR)
Antiga fábrica de tapetes Savonnerie até 1826. Durante a década de 1930 serviu à manutenção militar. Em 1961, passa a ser sede do Museu de Arte Moderna da Cidade de Paris que em 1977 transfere-se para o Pompidou. Durante as décadas de 80-90 abrigou centro de fotografia e escola de cinema. No fim da déc. de 90, o MinC cria na ala oeste o Centro de Arte Contemporânea.
Inauguração do CAC: 2002
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Dia: BeaconDia Art Foundation | Beacon – NY
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Dia: Beacon Art Foundation(Beacon – NY)
Edifício original: fábrica de biscoitos
Inauguração do DIA: Beacon: 2003
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Storm King Art CenterMountainville – NY
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Storm King Art CenterParque de Esculturas
Mountainville (Hudson River Valley) NY – EUA
Sítio 500 acres (+2.000.000 m2)
Inauguração: 1960
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“Spider 1996” by Louise Borgeois
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“Solarium” by William Lamson
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Illiad by Alexander Lieberman
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“Adonai” by Alexander Lieberman
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Storm King Wavefield, by Maya Lin
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Three Legged Buddha” by Zhang
Storm King Art Center in Windsor, NY
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Andy Goldsworthy's
Winding wall at the Storm King Art Center,
New York
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Musée Graffiti Paris - FR
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do museu-temploaos espaços alternativos
#4 | o caso do Brasil