From February 10, to April 1, 2024

This thing we are calling a prologue, could well be an epilogue, or an afterthought. We are not starting from scratch, we are not even starting, we are turning back. There is a desperate optimism in the triennial (or biennial) repeated attempts to define the present and plant its flag on the future. They are always, somehow, late to the party. The accelerated temporality with which the artworld picks up and discards its themes and topics only increases this sense that everything becomes prematurely old.

Now that the future has ceased to be the repository of all the unfulfilled promises of modernity to become the source of our planetary anxieties, what is the point of continuing to organise biennials? As an institution that serves to organise the modern and make it legible, what legitimacy does the museum still have?

This prologue gathers two interventions that deal with these questions better than we could do ourselves. Dora Garcia’s The Kingdom (2003) is part of the permanent collection at MACBA (information about the image emission device of The Kingdom), Reconstruction: Barcelona Art Report [2001] by Antonio Gagliano and Verónica Lahitte was commissioned specifically for this event.

Artists

Antonio Gagliano, Dora García, Verónica Lahitte

Curated by

Alicia Escobio Alonso, Yaiza Hernandez Velazquez, Yolanda Jolis, Anna Ramos, Isaac Sanjuan

In 2021, MACBA launched the triennial Panorama, which aimed to "deepen its collaboration and dialogue with local artists and cultural agents". This second edition of Panorama retains the same aim but works towards it through a year-long series of interventions that take the project’s title literally, in order to question both the continuing relevance of the triennial (or biennial) format and its capacity to offer a panoramic image of the present.