The exhibition MACBA Collection. Under the surface, which will consist of about thirty works from the MACBA Collection and three from the Contemporary Art Collection of the “La Caixa” Foundation, will be presented on the floor 0 of the museum since October 10 this year Until the same dates of the next 2018.
The collected works share the interest in the problems derived from representation and its limits, as well as the concern for the relevance and potential incidence of the artist and the art in the contemporary society. Although they do so from diverse theoretical and formal presuppositions, many of them adopt a post-minimal language, which covers abstract forms with a deep personal and political content. Contents of a very diverse nature underlie a certain contemporary fascination with material and surface.
In MACBA Collection. Below the surface is a route in which they find their place works made in various formats. The first area of the exhibition brings together artists such as Ignasi Aballí, Antoni Tàpies, Lucio Fontana, Karla Black or Art & Language who, from questioning to painting as a representation space, work the surface of the work, Layer of pigment or denying its materiality. The dramatically objectified painting of Angela de la Cruz, along with proposals that experiment with the film surface like Blue (1993) by Derek Jarman, or others that provide a powerful political load to the chromatic layer, as the installation of Latifa Echakhch À chaque stencil Une révolution (2007), complete the beginning of the sample.
The following areas explore the transitions of the pictorial plane into space with works that privilege volume. The cell structures of Absalon, as will Gregor Schneider, also critically rework concepts such as “place” and “habitat” while problematizing the very idea of space. The minimalist ancestry of Charlotte Posenenske and Rita McBride, on the other hand, prioritizes domestic or urban elements of the urban culture to redefine them in the context of the city or in the museum’s white and artificial space, respectively.
The exhibition also presents works in which, under the idea of surface, memory and intimacy prevail. Thus, in Atrabiliarios (1993) by Doris Salcedo, the boxes covered with translucent parchments that hide uneven shoes are testimony to the disappearance. In the same way, the traces of dust of Ignasi Aballí on a wall speak of the passage of time.
The work of Michelangelo Pistoletto, Architettura dello Specchio (1990) will close the exhibition incorporating in its false pictorial epidermis all the images of the royal city.
* Beginning in January 2018, and associated with the idea of ”construction” and “interior”, works by Pep Agut and Jordi Colomer will be added to the final scope of the exhibition.
Curator: Antònia Maria Perelló+info