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La visita guiada como formato artistico
- 1. Jordi Ferreiro UNA VISITA GUIADA SOBRE LA VISITA GUIADA COMO FORMATO ARTÍSTICO Jordi Ferreiro ferreiro@gmail.com
- 2. Momento #0
- 3. Momento #1
- 4. Momento #2
- 5. Momento #3
- 6. “Yo venía a una visita guiada pero creo que me he equivocado”
- 8. Andrea Fraser - “Museum Highlights”
- 9. Superflex - “The Cockroach Tour” https://www.youtube.com/watch?v=J0ouDD-GLGI
- 10. Momus - “An unreliable tour guide" https://www.youtube.com/watch?v=-qxO6z2CdWQ
- 11. Lundahl & Seitl - “Symphony of a Missing Room” https://www.youtube.com/watch?v=TuS4gZINXW4
- 12. Xavier Le Roy - “Retrospectiva” https://www.youtube.com/watch?v=PMgeV_AM1XE
- 13. Víctor Ramírez “Mi última semana de trabajo”.
- 14. Nina Beier and Marie Lund - “The imprint”
- 15. Enric Farrés y Joana Llauradó - “Un col·leccionisme heterodox. El llegat T.F” https://www.youtube.com/watch?v=PxX7pT1VAX8
- 16. International Institute for Important Items http://www.iiiiassociation.org/performances%20didactiques/embarcadere.html
- 17. Marco Peri - The Art du déplacement in the museum
- 20. Tino Sehgal - “Circumstances and Occurrences: Ranjana Leyendecker” https://www.youtube.com/watch?v=nLKkQlXfoeg https://www.youtube.com/watch?v=kGr_DFhnbPI
- 21. “Los guías museísticos representan la forma más extrema de un intento de satisfacer las demanadas imposibles y contradictorias que el museo hace al público. Los guías son la personificación del dominio que ejercen los museos.“ Andrea Fraser
- 22. “I always manipulate no matter what. I mean I manipulate when I am talking to you, trying to convince you or bring across my ideas in the best way possible.” Luís Camnitzer
- 23. “El pensamiento es un proceso escultórico y la expresión de las formas pensadas en el lenguaje es también arte… …la lengua, la laringe, el aire, las ondas sonoras, el oído de otras personas, todo esto tiene que ver con la idea de escultura en el futuro”. Joseph Beuys
Hinweis der Redaktion
- Nace el museo con una intención pedagógica. La figura del “guía de exposiciones” posteriormente la del “mediador”.
- The name of the exhibition is based on a line from “Let there be light”, a poem by Samuil Marshak written in 1945. Drawings, photographs and documents (about 160 items) narrate about the early days of the War and the evacuation of the Museum, about life of the Museum staff in Leningrad and Sverdlovsk, about their daily work in order to preserve the Hermitage collections, about scientific and exhibition work and lectures, about the return of the collections after the Victory back to St. Petersburg and about the Hermitage re-opening. In the introduction to the exhibition catalogue Mikhail Piotrovsky, Director of the State Hermitage Museum, says “Our mission and duty is not only not to forget those times, but also to make our contemporaries and descendants remember them as well. Not only did the Hermitage survive during the War, but it also gave a good example of how to store and distribute the memory of symbolic confrontation between evil, which was the Siege of Leningrad, and culture. The Hermitage has narrated its war story since then up till now, including by this exhibition, which, being prosaic, is dragging at out heart strings”. The cold and deserted Museum held scientific meetings, arranged exhibitions, there were created scholarly works and even the library was open. On 19 October 1941, a meeting dedicated to the 800-year anniversary of the Azerbaijani poet Nizami was held, and on 10 December 1941 – a meeting dedicated to the 500-year anniversary of Alisher Navoi, the Uzbek poet and philosopher. The exhibition displays an “Invitation card for ceremonial meeting dedicated to the 800-year anniversary of Nizami”, a porcelain glass and a casket inspired by the works of Navoi and especially painted for this event by M.N. Mokh, the Leningrad artist and restorer. The Museum life in the besieged Leningrad can be seen in the works of the artists A.V. Kaplun, V.N. Kuchumov and S.M. Mikhailov. Drawings of the artist V.V. Milyutina, who came to the Hermitage from the Vyborgskaya side every day during the Siege, recreate empty halls with bags of sand lying on the parquet flooring and broken windows. B.P. Kudoyarov, photojournalist of the “Komsomolskaya Pravda” newspaper, left us impressive evidence of the military life of the Hermitage in his pictures “The Pavilion Hall of the Hermitage”, “Duty of the Hermitage Staff on the Roof of the Winter Palace” etc. The objects of military life of the Hermitage staff, as well as construction, household and restoration tools used during the war and in the restoration of the museum are of undoubted interest. They were found in the attics and basements of the museum buildings during restoration. Some exhibits narrate about the Museum life in the evacuation. This section displays watercolour works painted by the artist and restorer N.N. Maximova who worked in Sverdlovsk; there are some photographs of the time. Scholarly works written by the Hermitage staff, as well as works of art and books received in 1942-1944 that became a part of the Museum’s collection, are an integral part of the exhibition. The vast majority of the damaged works of culture and art in the post-war years was renovated. However, several exhibits still preserve the wounds received during the Great Patriotic War. The sculpture “Esmeralda” by the Italian sculptor Antonio Rossetti, a marble vase, created by an unknown Italian master of the XVIII century and other exhibits are among them. Monuments and fragments of building structures of the museum halls damaged during the shelling are exhibited for the first time ever. Photographs, documents and books, included in the final section of the exhibition, tell us about the long-awaited victory, returning of the collections back to the Museum and the Hermitage re-opening. An illustrated scientific catalogue was brought out by the State Hermitage Publishing House to commemorate the exhibition “We shall remember those years…”. A Hermitage Chronicle of War and Victory (2015). Exhibition curator – Olga G. Zimina, Deputy Head of the Scientific Library of the State Hermitage Museum.
- Duchamp y John cage, el arte moderno y el arte contemporaneo se traspasan poderes.
- El discurso museístico es una ficción legitimada.
- Flux-tours Los flux-tours se empezaron a hacer durante los años 70 en el barrio de SoHo de Nueva York. Se hacían mostrando exactamente todo aquello que nunca hubiera cabido en un tour de turistas o incluso de urbanistas. Consistían en mostrar todos aquellos espacios muertos de la ciudad: callejones sin salida, puertas imposibles de abrir, espacios que nunca podrían atraer la atención, pero que formaban parte de la identidad del barrio.
- Museum Highlights (1989) involved Fraser posing as a Museum tour guide at the Philadelphia Museum of Art in 1989 under the pseudonym of Jane Castleton. During the performance, Fraser led a tour through the museum describing it in verbose and overly dramatic terms to her chagrined tour group. For example, in describing a common water fountain Fraser proclaims "a work of astonishing economy and monumentality ... it boldly contrasts with the severe and highly stylized productions of this form!" Upon entering the museum cafeteria: "This room represents the heyday of colonial art in Philadelphia on the eve of the Revolution, and must be regarded as one of the very finest of all American rooms."
- Created by SUPERFLEX as part of Science Museum Arts Projects. The Cockroach Tour of the Science Museum is active from January 2011 - August 2013
- Over the years, the musician, writer and performance artist has appeared regularly as "the unreliable tour guide" at venerable institutions and museums such as the Schirn Kunsthalle, the Nobel Museum and the Witney Biennale. According to the NY Times, MOMUS's spontaneous, absurdist and irreverent performances „intent to challenge art-world pieties and unsettle museumgoer expectations.”
- Symphony of a Missing Room is a guided museum tour where the visitors depart on both a collective and an extremely personal journey. Via wireless headphones, a voice takes visitors, led by performers, on an itinerary that traverses layers of physical and imaginary architecture of the museum and its curatorial space. By the use of multi-sensory illusions and binaural sound recordings the visitor's attention is steered away from the visible and tangible world and diverted into a new perception of the self, time and space. The work gathers its narratives and histories from the institutional collections and architectures it inhabits and has previously inhabited. While Symphony is concerned by physical displays of history described and embodied by museums, it is also a learning machine, that absorbs and reconstitutes its own past, reciting the lessons of that past each time it is physically refashioned, and each time begins again. ”Symphony explores the idea of the museum as an observer and keeper of history. But history is proposed here as a kind of "backwards prophesying": as one must call into the imagination an event that someone tells you will happen, one must similarly imagine an event you are told once did happen. The art museum thus becomes a repository of disjunct visuals that project, prophesy and document both the past and the future” Lundahl & Seitl Symphony of a Missing Room is since 2009 commissioned for a series of museums in Europe; it is an artwork in a constant state of becoming. Symphony of a Missing Room is a collaboration with designer Jula Reindell.
- “Retrospectiva” por Xavier Le Roy es una exposición concebida como una coreografía de acciones que llevan a cabo una serie de intérpretes durante todo el periodo expositivo. Estas acciones componen situaciones que permiten explorar cómo usamos, consumimos o producimos tiempo. Esta exposición usa el concepto de retrospectiva más como modo de producción que como muestra de la trayectoria de un artista. La exposición pretende reformular elementos coreográficos de una selección de piezas previas para que devengan acciones en vivo en las cuales intersequen las estructuras teatral y museística. Basada en coreografías individuales de Xavier Le Roy creadas entre el 1994 y el 2010, la exposición se despliega en tres ejes de tiempo: la duración de la visita del público, el trabajo diario de dieciséis intérpretes, y el desarrollo de una pieza nueva a lo largo del periodo de exposición. Seis o siete intérpretes en alternancia: Idurre Azkue, Quim Bigas, Cristina Blanco, Pere Faura, Sergi Faustino, Núria Gregori, Mizar Martínez, Guillem Mont de Palol, Elena Murcia, Mariona Naudin, Cristina Nuñez, Aimar Pérez, Karolina Rychlik, Clara Tena, Carme Torrent, Javier Vaquero.
- “Mi última semana de trabajo”. "Visita guiada en anglès amb accent en rus” "Visita on tota la informació fos errònia però no de forma exagerada" - és a dir, que se la puguessin creure com vaig fer una “Visita "trenecito", només basada en anècdotes, que és el que fan amb gaudí i el que precisament no fèiem nosaltres.“ “Vaig inventar-me una recerca que llegia tota la obra de Tàpies en clave gay”
- Intervenció artística en forma de recorregut guiat i dramatitzat per diferents espais del museu, que es repeteix 3 dissabtes del mes de novembre. Aquest recorregut presenta l’origen i la desaparició d’una de les col·leccions més fascinants de la història recent catalana. És la col·lecció de T.F., anarquista que a través de la seva activitat a les Patrulles de Control dins del Comitè Central de Milícies Antifeixistes de Catalunya, va anar reunint un conjunt heterodox de peces per tal que no fossin destruïdes pels seus companys revolucionaris. És un viatge que va de la iconoclàstia a la iconodúlia, tot passant per cadascun dels períodes històrics representats al museu. Projecte d'Enric Farrés i Joana Llauradó guanyador de la convocatòria Art Jove 2014 de l’Agència Catalana de la Joventut de la Generalitat de Catalunya, dins la modalitat d’arts visuals en relació amb l’àmbit museístic i patrimonial.
- The Art du déplacement in the museum is a project by Marco Peri, (Italy) Art historian, Art mediator, and Laurent Piemontesi, (France) founder of the group Yamakasi, founder of Art Du Déplacement (ADD or Parkour). *Art du déplacement (parkour): the art of shifting position is an activity for everyone, it is the art of moving in the space that is all around us – an idea for mindful, meaningful dynamism. The intention here is one of freedom, where movement follows beauty, intelligence, adapting to the environment to re-read it in a more creative fashion without any ties to well worn predetermined paths. There are thousands of works of art around visitors, and experiencing art is like experiencing more views of the world than there are artists to portray it – but usually, within the confines of an exhibition hall, the museum’s visitor is encouraged to be timidly contemplative rather than actively explore. The Art du déplacement introduces the experience of dynamism to museum halls as a natural counterpart to the stillness of the works of art exhibited. The human body inmotion is but the first step to reclaim the expositive space. The Art du déplacement therefore attempts to suggest new narratives, different modalities to feel the expositive environment through the languages of body and movement. The Art du déplacement does not offer any additional elements on the exhibition, but rather it offers its vision for the visitor to experiment the architectonic space dedicated to the exhibition, and thus renew the capacity to imagine different modalities to live the museum for its participants. The experience of art is lived intensely, the exhibition has its rhythm, a physical tension which becomes a force of open dialogue with all that the museum has to offer. The key is to let oneself go, partaking in emotions – the museum thus becomes a relationship space, a stage, the place where one’s own perspective on art can be capsized thanks to the expressive freedom engendered simply by moving. The path_ 2 hours (approx.) 1) outdoors: within urban spaces contiguous and adjacent with the museum ones, architectonic elements are used as jumping platforms, or climbed, and in any case played with 2) indoors: a dialogue between the body and the museum, as the sum of both space and its contents: small groups of visitors will follow three different paths based on separate energy levels: high energy, middle, easy.
- The Thermos Museum is a comedic but also edifying experience; suitcases unfold to reveal numerous astonishing displays. However, the public are not free to reign: visitors are escorted around the museum by the mysterious and disenchanted Tour Guide. Digression seems to rule over Flask information. Truths are blurred, and the concept of a museum is played with. The exhibits are presented in themed tableaux, such as “Thermos at War” (featuring audio-visual effects) and “Flasks of the world” (uniquely educational).
- -“Constructed Situation” -The artist has been sneaked in to perform incognito under the name of his paternal grandmother.