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.
01/ Les temps multiples – José Manuel López, 1987
02/ Robots, uníos – Eduardo Polonio, 1987
03/ Proyecto inmaterial – Pedro Bericat, 1991
04/ Ob-lectum – José Manuel Berenguer, 1993
05/ Mascletá virtual – Leopoldo Amigo and Miguel Molina, 1998
06/ El ojo del silencio – José Antonio Sarmiento, 1986
07/ Saltamartí – Jori Mitjá, 2000
08/ Autor – Lily Greenham, 2007
09/ Untitled #205 – Francisco López, 2011
10/ Concierto Zaj para 30 0 60 voces – Esther Ferrer, 2012
11/ Aeolian Transmission – Pablo Sanz, 2012
12/ Madrid vivo – Javier Maderuelo, 1982