Electronic Frequencies
wo 26 jul 2017 23:00 uur
Sound Art in Spain (1961–2016). part 3. 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 • Arte Sonore en España 1961 – 2016 • ISBN: 978-84-7075-642-9 • http://www.march.es/arte/palma/exposiciones/arte-sonoro/?l=1
