Given that the visual appearance of museum exhibition spaces has remained more or less unaltered since the 1960s, the presentation of what has come to be known as ‘sound art’ in these institutions supposes a number of challenges. Just as video art did when it first came on the scene, sound art has forced museums and arts centres (to paraphrase R. Murray Schafer’s well-known The Tuning of the World) to ‘retune’ the ways in which they present artworks in their permanent and temporary galleries. When sound comprises the entirety of a work of art (rather than being one of several components of an installation or taking the form of interpreted or experimental music), the actions and decisions of curators and exhibition designers must respond to a concept of sound not contemplated in definitions provided by acoustics or musicology.
Escuchar con los ojos. Arte sonoro en España, 1961-2016.
Fundación Juan March, Madrid.
1/ Soledad – Louis de Pablo, 1973.
2/ Tamaran – Juan Hidalgo, 1974.
3/ El sueño – Luis Mesa, 1985.
4/ Muestras sin valor – Comando Bruno y Avant-dernières pensées, 1986.
5/ Enyorança – Francisco Felipe, 1986.
6/ C1 – Anton Ignorant, 1986.
7/ Efemerópteros – Francisco López, 1986.
8/ Ortopoema – Felix Menkar, 1986.
9/ Keplero – Eduardo Polonio, 1986.