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MACBA presents the exhibition PUNK. Its Traces in Contemporary Art
- Coinciding with the 40th anniversary of the explosion of punk, MACBA has brought together over one hundred works by 60 Spanish and international artists in an exhibition curated by David G. Torres that follows its traces in art up to the present.
- Punk is a manifestation of discomfort in the face of the economic, political, social and cultural systems, and it draws together the evolution of thought in the second half of the 20th century. The exhibition includes works that anticipated it and also works from artists who were instigators and activists as well as others that reflect their traces.
- Following its run at CA2M in the Community of Madrid and ARTIUM in Vitoria-Gasteiz, at MACBA the exhibition has grown with the incorporation of new works. The exhibition will travel to the Museo Universitario del Chopo in Mexico City, its next international stop.
Title: PUNK. Its Traces in Contemporary Art Opening: Thursday 12 May 2016 at 7.30 pm Dates: from 13 May to 22 September 2016 Organised and produced by: Museu d’Art Contemporani de Barcelona (MACBA), CA2M (Community of Madrid) and ARTIUM (Vitoria-Gasteiz). Exhibition at the Museo Universitario del Chopo: October 2016 Curator: David G. Torres
The exhibition PUNK. Its Traces in Contemporary Art is (not) an exhibition about punk. It is an exhibition that ends up revealing the main elements that define it through the traces punk has left in the production of contemporary art. ‘Ever get the feeling you’ve been cheated?’ was the question Johnny Rotten launched into the air in 1978 at the last San Francisco concert of the iconic punk band The Sex Pistols. And the response, given the social and political crisis of the 1970s, was full of anger, nonconformity, refusal, provocation... Punk is an attitude that emerged between 1976 and 1978 in London and New York as an expression of complete rejection of the system. It captures the ‘No future’ slogan of previous movements like Dadaism and Situationism but in contrast to them it emerged in the midst of mass culture, something which made it transcend the 1970s, the Anglo-Saxon context and the music scene. Punk became an adjective that describes a way of understanding the world and confronting the socio-political context and conventions, as does much of contemporary art with a strong critical and questioning ethos.
MACBA has brought together over a hundred works including paintings, installations, photographs, videos, documentary traces and unique pieces in a tour that features themes like violence, noise, refusal, nihilism and sexuality, among others. PUNK. Its Traces in Contemporary Art highlights the extent to which echoes of this attitude, the motivations that lead to dissatisfaction, inconformity, loss of faith in progress and criticism of the system’s icons, are intrinsic to the practice of many artists. Some of the main factors of the crisis of the 1970s present in the birth of punk are still in force today, and contemporary artistic creation shows that ‘punk is (not) dead’.
Informació per al visitant
Ràdio Web MACBA: Ten Years Exploring Online Radio
- An international trailblazer and the first podcast project in a Spanish art institution, RWM won the 2009 Museums and the Web Best of the Web Podcast Award.
- RWM offers an archive of over 600 audio files ranging from online radio to accidental archives and oral memory, accessible 24 hours a day, 365 days a year.
- In the course of the last ten years, RWM has collaborated with leading international figures including John Baldessari, Allan Sekula, Georges Didi-Huberman, Juan Muñoz, Suely Rolnik, Graham Harman, Franco ‘Bifo’ Berardi, Amos Gitai, Chris Dercon, Kenneth Goldsmith, Muntadas, Seth Siegelaub, Donna Haraway, and many others.
- To celebrate this tenth anniversary, RWM and MACBA coordinator Anna Ramos will talk to gramophonic collector Anki Toner in a radio-beyond-radio experience that will take place at 7 pm on 26 May, at the MACBA atrium.
“Painting first became interesting when photography came in because it lost its responsibility somehow, and liberated painting so to speak. [...] And I believe it is exactly the same thing with radio art. I believe that radio art is art done with radio in a time where radio has lost its responsibility [for representing reality]”
Goodiepal in a conversation, 2014
The Museu d’Art Contemporani de Barcelona celebrates the tenth anniversary of Ràdio Web MACBA. RWM, Spain’s first museum-based radio project, was founded in 2006 in order to experiment with the new podcast format, making it a world pioneer of its kind. Over the years, the museum’s activities have ensured a constant flow of artists, curators, philosophers and academics who have shared knowledge and discourses that belie hegemonic narratives and are not usually aired on conventional radio. The result is over 500 podcasts and many texts, essays, conversations, and transcripts that complement the audio material. In short, RWM is radio beyond radio: a sound laboratory that has produced over a thousand files, which users can access anytime, free of charge. With the support of MACBA, the radio project has thus organically grown into "accidental" archive. Ten years on, RWM has shed the formal limitations of podcasts and now accompanies its research with essays in text form. As Knut Auferman said at the Radio As Art symposium, this brings RWM into the realm of “filecasting” at the service of research. In this spirit, Ràdio Web MACBA embarks on its second decade.
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Tanya Barson, new Chief Curator, and Pablo Martínez, new Head of Programming
Six months after the arrival of Ferran Barenblit as Director of MACBA, the Museum completes its contents team with the appointment of the Curator of International Art at Tate Modern and the Head of Education and Public Activities at CA2M.
Barcelona, 27 April 2016 – The process of the open call for the posts of Chief Curator and Head of Programming at the Museu d’Art Contemporani de Barcelona has concluded with the appointment of Tanya Barson and Pablo Martínez. Ferran Barenblit, Director of MACBA since October 2015, completes his team with the incorporation of Tanya Barson as Chief Curator and Pablo Martínez as Head of Programming. Tanya Barson, former Curator of International Art at Tate Modern, will be in charge of the Collection, Exhibitions and Publications departments. Pablo Martínez, former Head of Education and Public Activities at CA2 Centro de Arte Dos de Mayo, will be in charge of the MACBA Study Centre, Programme of Independent Studies (PEI), Public Programmes and Education.
They will join MACBA on 1 September 2016.
There were 29 candidates for the two posts: 12 men and 17 women, 14 of them from abroad.
Ferran Barenblit, Director of MACBA, in agreement with the Committee of Experts, has praised Tanya Barson for ‘her intellectual ambition, her longstanding experience at Tate Modern, one of the most important museums in the world, where she contributed to the development and presentation of the Collection; and her exhaustive knowledge of post-war art, with particular interest in non-hegemonic narratives in the transition between modernity and contemporaneity’. Regarding Pablo Martínez, with whom he worked in the creation of CA2M, Barenblit has emphasised ‘his critical reflection on museums based on public attitudes; his capacity for creating new formats of contact between art and the public; and his experience as a researcher, a key faculty for planning the future of the MACBA Study Centre and PEI’. In the words of Barenblit: ‘With these new appointments, together with MACBA’s team, the Museum will be ready to face the challenges ahead with a programme of excellence and rigour, and further explore its relation to the public and its international projection.’
The Committee of Experts was formed by: Isabel Balliu i Badia, Director of Resources and Acting Manager at the Institut de Cultura de Barcelona; Carles Sala Marzal, Director of Cultural Infrastructures, Heritage and Coordination at the Institut de Cultura de Barcelona; Ferran Barenblit, Director of MACBA; and Joan Abellà Barril, General Manager of MACBA.
TANYA BARSON (London, 1972) joined the Tate in 1997. Since 2007 she has been Curator of International Art at Tate Modern. Previously she was Curator of Exhibitions and the Collection at Tate Liverpool (2004–7).
She has curated solo exhibitions of Mira Schendel (2013), Ellen Gallagher (2007), Helio Oiticica (2007), Jake and Dinos Chapman (2006), Frida Kahlo (2005) and Assume Vivid Astro Focus (2005). Among the group exhibitions she has curated are Afro Modern: Journeys through the Black Atlantic (2010), Inverting the Map: Latin American Art from the Tate Collection (2006) and the Turner Prize (2001). She was part of the organising team of Adventures of the Black Square: Abstract Art and Society 1915-2015 at the Whitechapel Art Gallery (2015).
She has developed new formats of collaboration between Tate and Latin American organisations, projects such as Sala Siqueiros in Mexico City, MALI in Lima and TEOR/éTICA in San José de Costa Rica. She is currently preparing one of the inaugural exhibitions for the opening of Tate Modern’s new building in July, dedicated to Georgia O’Keeffe.
PABLO MARTÍNEZ (Valladolid, 1979) is an educator and researcher. Since 2009 he has been Head of Education and Public Activities at CA2M, where he innovated programmes such as PicNic Sessions, the Universidad Popular and Las Lindes, a research group on critical educational practices. Previously he had been Coordinator of Educational Programmes at the Museo Reina Sofía (2004–8) and Educator at the Museo Patio Herreriano. He was also Associate Professor of Contemporary Art at the Fine Arts Faculty of the Universidad Complutense de Madrid (2011–15).
He writes for art-agenda and is Editorial Secretary of the journal of art and visual culture Re-visiones. He is currently doing research on the funeral of Buenaventura Durruti, an investigation on the potential of images for constructing political subjectivity. He has done research residencies at Vrije University, Amsterdam (2014), Tate Britain (2008), and the Bronx Museum of the Arts (2007). Together with Vincent Meessen, he directed the 19th and 20th Image Study Days at the Comunidad de Madrid. He is co-editor, with Yayo Aznar, of Arte actual. Lecturas para un espectador inquieto and editor of the forthcoming No sabíamos lo que hacíamos. Lecturas sobre educación.
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Andrea Fraser. L’1%, c’est moi
► The first solo exhibition in Spain of Andrea Fraser, curated by Cuauhtémoc Medina and Hiuwai Chu.
► Her work, imbued with intelligence and humour, questions the assumed normality of work in art. A reflective exercise that explores the roles of some of the agents involved, such as artists, collectors, gallerists, patrons and audiences.
► A selection of more than thirty key works created over three decades including installations, performances, videos, text-based works and documentation.
► In June, as part of a conference on performance and institutional critique, Fraser will present the performance May I Help You?
Title: L'1%, c'est moi
Opening: Thursday, 21 April 2016, at 7.30
Dates: 22 April – 4 September 2016
Organisation and production: Museu d'Art Contemporani de Barcelona (MACBA) and Museo Universitario Arte Contemporáneo (MUAC), Mexico City.
MUAC Exhibition: October 2016 Curators: Cuauhtémoc Medina and Hiuwai Chu
El MACBA más accesible
- La accesibilidad se despliega en todo el museo e incluye la Colección y programas de actividades, como MACBA en familia y MACBA se vive, entre otros.
- Un programa a largo plazo y permanente, con vocación de integrar cada vez a más públicos, que cuenta con el apoyo de Fundación Repsol.
- El proyecto cuenta con un equipo multidisciplinar y transversal que trabaja en coordinación con expertos en la materia, con los colectivos de diversidad funcional y con el Instituto Municipal de Personas con Discapacidad (IMPD) del Ayuntamiento de Barcelona.
- Interpretación en lengua de signos, bucle magnético, información en braille, reproducción de obras, formación de educadores y visitas guiadas adaptadas permanentes son algunas de las mejoras realizadas durante los últimos dos años.
El MACBA presenta las acciones implementadas de su programa de accesibilidad iniciado en 2014, con el apoyo de Fundación Repsol, y las apuestas de futuro del mismo con la voluntad de ampliar el alcance del proyecto a un mayor número de visitantes e integrar a más públicos de forma inclusiva y participativa.
Desde el convencimiento de que el arte debe actuar como elemento cohesionador e integrador, que permita a todos los ciudadanos disfrutar de una experiencia artística intensa, el MACBA está desplegando un amplio programa de accesibilidad con el fin de garantizar el acceso al arte a todos los públicos de forma inclusiva. En ese sentido, se ha trabajado en tres ámbitos: la integración de la accesibilidad en las salas, la mejora de la atención al visitante con diversidad funcional y la consolidación y ampliación del programa de visitas guiadas adaptadas.
I will fear no evil, exhibition by José Antonio Hernández-Díez at MACBA
- The museum hosts the first solo exhibition in an institution in our city of the Venezuelan artist residing in Barcelona, José Antonio Hernández-Díez.
- I will fear no evil features his first experimental videos and other early works of the late eighties and early nineties, and presents them in dialogue with a new project created for the occasion.
- A ‘new Christian iconography’ in a series of works articulated around death, consciousness and resurrection.
Title: No tinc por de cap mal (I will fear no evil). Opening: Thursday 17 March 2016, at 7.30 pm Dates: 18 March to 26 June 2016 Organisation and production: Museu d’Art Contemporani de Barcelona (MACBA) Curators: Latitudes (Max Andrews & Mariana Cánepa Luna)
MACBA presents I will fear no evil, an exhibition by the artist José Antonio Hernández-Díez (Caracas, 1964) curated by Latitudes (Max Andrews & Mariana Cánepa Luna). The early experimental video works of Hernández-Díez, together with other early works of the late eighties and early nineties, have been reconstructed and placed in dialogue with a new project created for the occasion. The exhibition focuses on what the artist termed a ‘new Christian iconography’ in his first solo exhibition held at the Sala RG in Caracas in 1991, through a series of works articulated around death, consciousness and resurrection. A disquieting series of installations that deal with the application of medical and communication technologies and their interlacing with systems of paranormal belief.
Informació per al visitant
MACBA PROGRAMME 2016
[This text will be available in English soon]
El pasado 28 de noviembre el MACBA cumplió veinte años. Esta efeméride nos permite imaginar las próximas dos décadas para el Museo. ¿Cómo queremos que sea el MACBA de 2035? Ahora es el momento de empezar a trazar este futuro. A lo largo de los próximos años nos plantearemos cómo, desde el espacio del arte, se puede repensar el mundo en el que vivimos, girando la realidad sobre sí misma, interrogándola sobre su ordenamiento y subrayando sus contradicciones.
¿Cómo entender hoy los museos? Se sitúan en una intersección entre disensión y obediencia, comunidad cercana y turismo, élites y masas. Son grandes plazas públicas que, en muchas sociedades occidentales, han acompañado el desarrollo del Estado del bienestar: ascendieron con su expansión y se tambalearon con su declive. En el marco de un capitalismo cognitivo en el que el conocimiento está continuamente amenazado por su comercialización y determinado por la espectacularización de la cultura, el MACBA quiere convertirse en un lugar de encuentro y un espacio donde pueda configurarse una nueva subjetividad política. Si hasta hace pocos años los museos se ponían a prueba institucionalmente una y otra vez, ahora buscan construir nuevas formas de institucionalidad que respondan a las demandas de la ciudadanía y que sean porosas, tanto respecto a las condiciones marcadas por las estructuras neoliberales como a la voluntad de estar en contacto directo con la acción política y social.
FERRAN BARENBLIT NEW DIRECTOR OF MACBA
Ferran Barenblit (Buenos Aires, 1968) has won the International Competition for the Post of Director of the Museu d’Art Contemporani de Barcelona (MACBA). The General Council of the Museu d’Art Contemporani de Barcelona has named Ferran Barenblit as the new director of MACBA. The Council has endorsed the proposal of the Committee of Experts set up to this effect on 12 May 2015.
The jury wishes to emphasise that, among all the candidates, Ferran Barenblit has distinguished himself for his presentation of a rigorous, precise and clear project for all the areas of the Museum, in particular the Collection and exhibition programme. In particular, the Committee valued his vision of the future of cultural institutions and the role of their directors, as well as MACBA’s role in the Catalan contemporary art system, Barcelona and its proximity to the Raval. Also valued were his precise, conscientious and determined ideas for the use of MACBA’s new spaces. Besides the solvency of his academic education and professional career, the jury has taken into account his knowledge, evaluation and diagnostic (precise, accurate and realistic, but also enthusiastic) of the institution’s current situation and its position in the global, national and local context. Finally, the Committee highly valued the importance given in his project to the work of intermediation with the public. In this sense, the Committee valued not only the appropriateness of his analysis and his proposals, based on incrementing public activities and the education programme (from primary to tertiary education), but also his capacity to connect the Museum’s practices to the city’s lively urban scene.
Ferran Barenblit studied Art History at the Universitat de Barcelona (1991) and Museology at New York University (1995). Since 2008 he has been director of CA2M Centro de Arte Dos de Mayo de la Comunidad de Madrid. From 2002 to 2008 Barenblit was director of the Centre d’Art Santa Mònica. In 1996–98 and 2000–1, Barenblit was the chief curator of Espai 13, at the Fundació Joan Miró. From 1994 to 1996, he was assistant curator at The New Museum, New York.