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This Is Tomorrow Amb James Lingwood 19/10/2009 ––– Auditori MACBA ––– 19 H

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This Is Tomorrow Amb James Lingwood 19/10/2009 ––– Auditori MACBA ––– 19 H La història de les exposicions: més enllà de la ideologia del cub blanc (primera part) Curs dd’’’’artart i cultura contemporanis Tardor del 2009 This is Tomorrow Amb James Lingwood 19/10/2009 ––– Auditori MACBA ––– 19 h Organitzada d’una manera espontània i democràtica, This is Tomorrow és una exposició que vol posar una cosa de manifest. Els principals artistes i arquitectes britànics de la nova generació han unit els seus talents per demostrar que la capacitat de pintors, escultors, arquitectes i dissenyadors de treballar junts i en harmonia no es va extingir amb els constructors de catedrals o els dissenyadors d’interiors georgians –com afirmen els crítics de l’anterior generació i els membres de la Royal Academy of Arts–, sinó que encara està en ple auge. En grups de tres o de més, s’han apoderat dels espais lliures de la Whitechapel 1 Gallery per crear-hi les estructures que han volgut. Lawrence Alloway This is Tomorrow , vista de la instal·lació, Grup núm. 2 This is TTTomorrowTomorrow , Whitechapel Art Gallery, 8080----8282 WWhitechapelhitechapel High Street Londres, del 9 dd’’’’agostagost al 9 de setembre de 1956 12 grups i 37 artistes: Robert Adams, Lawrence Alloway, Peter Carter, J.D.H. Catleugh, Theo Crosby, John Ernest, Germano Facetti, Ernö Goldfinger, Richard Hamilton, Adrian Heath, Nigel Henderson, Anthony Hill, Geoffrey Holroyd, James Hull, Anthony Jackson, Sarah Jackson, Kenneth Martin, Mary Martin, Richard Matthews, John McHale, Frank Newby, Eduardo Paolozzi, Victor Pasmore, Helen Phillips, Michael Pine, Toni del Renzio, Emilio Scanavino, Alison Smithson, Peter Smithson, James Stirling, Leslie Thornton, William Turnbull, John Voelcker, John Weeks, Denis Williams, Colin St. John Wilson, Edward Wright 1 Lawrence Alloway, This is Tomorrow: a la Whitechapel Art Gallery, del 9 d’agost al 9 de setembre de 1956, nota de premsa de l’exposició, ALTSHULER, Bruce (ed.). Salon to Biennial - Exhibitions That Made Art History, vol. 1, 1863-1959. Nova York/Londres: Phaidon Press, 2008, p. 366. Comissari: Theo Crosby Total de visitants: aproximadament 19.000 A primera vista podria semblar que una exposició titulada This is Tomorrow –dedicada a les possibilitats de col·laboració entre arquitectes, pintors, i escultors– ha de proclamar un programa per al futur. Hi ha importants precedents per situar l’art en una perspectiva temporal que confia en el futur per a la seva plena realització. En els seus inicis, l’art modern és ple de teories sobre la integració de totes les arts, juntament amb la materialització dels ideals previstos per a una altra època. Però l’endemà d’ahir no és avui, i l’ideal d’una arquitectura i un art simbiòtics no s’ha fet realitat. (...) Aquest espectador haurà de rebre, a més de l’efecte global, els missatges rivals de les dotze obres exposades, perquè, naturalment, les intencions de cadascun dels grups no coincideixen amb cap efecte global. Les obres són el resultat de decisions adoptades en condicions humanes habituals i no manifestacions de lleis universals. La llibertat de l’artista i els arquitectes es transmet a l’espectador, que no es pot fiar de les respostes ja apreses evocades per una pintura en un marc, una casa en un carrer, unes paraules en una pàgina. En circular per l’exposició, el visitant s’haurà d’adaptar a les característiques de cada obra (un passeig a través de quatre cubs enfront de la visió de símbols humans en un pavelló, etc.). Això és un recordatori de la responsabilitat que té l’espectador en la recepció i interpretació dels nombrosos missatges presents a la xarxa de comunicacions de tota l’exposició. Lawrence Alloway 2 *** La idea era que hi havia algunes coses que eren noves en el nostre entorn visual, com ara el cinema, la màquina de tocadiscos, Marilyn Monroe i els còmics. Totes aquestes imatges de la cultura popular contrastaven amb la manera com vèiem les coses que podien ser configurades directament per l’experiència òptica. Les il·lusions visuals s’agafaven dels llibres. No eren un adornament, eren només ampliacions d’imatges, i així era com les percebíem. Així doncs, vam ajuntar aquestes coses i les vam presentar de la manera més engrescadora possible. La màquina de tocadiscos funcionava sense parar, i podies triar sense posar-hi monedes; però l’ús de la màquina era tan constant que mai no escoltaves el que volies, perquè el que havies triat se sentia una hora més tard. Hi havia tots aquells jocs amb so, il·lusions òptiques i imatges. A la casa dels horrors hi havia fins i tot una habitació que era una càpsula espacial. Hi havia una mena d’ulls de bou de ciència-ficció on es veien alienígenes que miraven a través 3 de les finestres. Richard Hamilton James Lingwood Codirector d’Artangel juntament amb Michael Morris. Artangel ha encarregat i produït ambiciosos i irrepetibles projectes amb artistes contemporanis en tota una sèrie de suports, des d’escultures públiques i performances fins a cinema i vídeo alternatius. Entre els aproximadament 80 projectes produïts durant els últims quinze anys cal esmentar House de Rachel Whiteread (1993-1994), The Cremaster Cycle de Matthew Barney (1994-2002), The Palace of Projects d’Ilya i Emilia Kabakov (1999), Seven Walks de Francis Alÿs (2005), Vatnasafn/Library of Water de Roni Horn a Islàndia (2007) i Seizure de Roger Hiorns (2008), així com una ambiciosa instal·lació d’imatges animades amb artistes com ara Kutlug Ataman, Atom Egoyan, Douglas Gordon, Steve McQueen i Tony Oursler. El 2006, Artangel va produir The Margate Exodus , una versió lliure del llibre de l’Èxode del Vell Testament en una ciutat de la costa anglesa. Una de les obres més importants d’aquest polifacètic projecte va ser Waste Man , de 25 metres d’alçada, dissenyada per Antony Gormley, construïda per la comunitat local i cremada en públic. A més de la seva activitat amb Artangel, Lingwood ha estat comissari de diverses exposicions per a institucions artístiques nacionals i internacionals, com ara Double Bind de Juan Muñoz (2001) a la Sala de la Turbina de la Tate Modern, Field Trips - Robert Smithson i Bernd and Hilla Becher al Museu Serralves de Porto, i l’exposició de Douglas Gordon What Have I Done (2002) a la Hayward Gallery de Londres. També ha organitzat importants retrospectives 2 Lawrence Alloway, Reyner Banham, David Lewis, This is Tomorrow , catàleg de l’exposició, Whitechapel Art Gallery, Londres 1956, np. 3 “Pop Daddy”, d’una entrevista amb Richard Hamilton de Hans-Ulrich Obrist, Tate Magazine, núm. 4, (març-abril 2003), http://www.tate.org.uk/magazine/issue4/popdaddy.htm amb Vija Celmins, Juliao Sarmento, Thomas Struth i Thomas Schütte. James Lingwood formava part de l’equip de comissaris que, el 1990, va organitzar l’exposició The Independent Group: Postwar Britain and the Aesthetics of Plenty , que va viatjar des de l’ICA de Londres fins a l’IVAM de València i el Museum of Contemporary Art de Los Angeles. This is Tomorrow : plànol on es pot veure la situació dels 12 grups BibliograBibliografiafiafiafia The Whitechapel Art Gallery Centenary Review: 1901-2001 , London: The Whitechapel Art Gallery, 2001, pp. 67-70. ALLOWAY, Lawrence; et al. Modern Dreams: the Rise and Fall and Rise of Pop . Cambridge: MIT Press, 1988 ALLOWAY, L.e, Reyner Banham, David Lewis, This is Tomorrow , exhibition catalogue, London: Whitechapel Art Gallery, 1956 ALLOWAY, L. « The Development of British Pop », Lucy R. Lippard, Pop Art , London: Thames & Hudson, 1978, pp. 38-9 ALTSHULER, Bruce. « This is Tomorrow ». ALTSHULER, Bruce (ed.). Salon to Biennial - Exhibitions That Made Art History , vol. 1, 1863- 1959. New York/London: Phaidon Press, 2008, pp. 353-372 BANHAM, Reyner. ‘This is Tomorrow: Synthesis of the Major Arts’ , Architectural Review, 120, September 1956, pp. 186-88 CROSBY, Theo. ‘This is Tomorrow: An exhibition at the Whitechapel Art Gallery’ . Architectural Design, 26, September 1956, p. 302 Displayer, an interview with Beatriz Colomina about « This is Tomorrow », http://displayer.hfg-karlsruhe.de/ HAMILTON, Richard. Collected Words 1953 – 1982 , London: Thames and Hudson Ltd., 1982, pp. 22-31 HAMILTON, Richard. « Pop Daddy », Tate Magazine, Issue 4, March/April 2003 http://www.tate.org.uk/magazine/issue4/popdaddy.htm HAMILTON, Richard; GLOZER Lazslo. Richard Hamilton. Retrospective , exhibition cat. of « Introspective », MACBA / Buchhandlung Walther König, Colònia - Ludwig Museum Colònia, 2003 MASSEY, Anne, The Independent Group: Modernism and Mass Culture in Britain , 1945-59 , Manchester: Manchester University, 2008, pp. 95-108. MASSEY, A.. “This is Tomorrow: exhibition in the Whitechapel Art Gallery, 1956”. A LICHTENSTEIN, Claude; SCHRENBERGER, Thomas (eds.). As Found: the Discovery of the Ordinary . Baden: Lars Müller Publishers, 2001, pp. 176-193. MASSEY, A.. « The Independent Group: Towards a redefinition », The Burlington Magazine , 129, n1009, April 1987, p. 232-242. MASSEY, A.. « The Independent Group as Design Theorists », From Spitfire to Microship, London, 1985, pp. 54-57. ROBINS, David (ed), The Independent Group: Postwar Britain and the Aesthetics of Plenty , Cambridge, Mass.; London: MIT Press, 1990 (El Independent Group: la postguerra británica y la estética de la abundancia ; IVAM Centre Julio Gónzález, Valencia: IVAM, 1990) WALLIS, Brian; ALLOWAY, Lawrence; et al. This is Tomorrow Today: The Independent Group and British Pop Art . New York: Institute for Art and Urban Resources, 1987. Altres recursos Tate Britain symposium ‘In Between Concept, Practice and Discipline: The Legacy of the Independent Group’ , March 2007 http://www.tate.org.uk/britain/eventseducation/symposia/7898.htm
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