Esto no es un museo. Artefactos móviles al acecho

This is not a museum. Mobile devices lurking
ACVic Centre d’Arts Contemporànies
From 11/15/2011 to 02/05/2012
Opening: Saturday October 15th at 19:30

This is not a museum. Mobile devices lurking is an exhibition curated by Martí Peran and produced by ACVic Centre d’Arts Contemporànies in collaboration with AC/E Acción Cultural Española. It is a  part of the project Ceci n’est pas une voiture, promoted jointly by ACVic, Can Xalant and IDENSITAT. During the various stages of development, Universitat de Barcelona, Museo Centro de Arte Reina Sofía, Roulotte and Cercle Artístic Sant Lluc, have collaborated, or are currently collaborating.

The exhibition has arisen, according to Martí Peran, "as an exercise in documentation and reflection on the construction of mobile devices as elements for an expanded conception of the museum, or in some cases as an alternative to it."  It has a first selection of more than 50 case studies from various cities and countries. Presented as an information archive, the exhibition also showcases some of the original artifacts and various productions derived from its street work. A tour is foreseen for the exhibition, during which some new cases will be added relating to the specific contexts in which it will be displayed.

The entire project Ceci n’est pas une voiture has come together through different phases held  temporarily and  in various spaces. This exhibition is one of them and has been preceded by a period of residence and project production, carried out in Vic and Mataro with the aim of promoting new projects using  pre-existing mobile devices, Idensitat Touring device and CX-R from Can Xalant. The projects Servicio Público de Optimización de Trastos (S.P.O.T.) by Makea collective and Càmping, Caravaning, Arquitecturing from Miquel Ollé and  Sofia Mataix,
who have been in residence at  ACVic and Can Xalant, are presented together with the projects of A77 - Adriana García Galán - Amor Muñoz - Ana Dumas - Anna Recasens - Antimuseo - Cinéma Numérique Ambulant (CNA) – CLUI - Colectivo Cambalache - Colectivo Descarrilados - Colectivo Kabaret Machine - Cristian Añó and David Armengol - Diego Pérez - Domènec - Fabiana de Barros - Fanzinoteca Ambulant - Felix Mathias Ott - Floating Lab Collective - Iñaqui Larrimbe - Ivan Puig and Andrés Padilla - Josep M. Martin – La Fundició - Lluc Mayol, Matias Rossi and Ricardo Duque - Makea Tu Vida – Marksearch - Miquel Ollé and Sofia Mataix - Núria Güell  - Nuria Montiel - Pablo Helguera - Pablo Rojas Schwartz  - Pau Faus - Platoniq - Public Works - Raimond Chaves - Rallyconurbano - Raumlabor - Sabrina Artel – Soundlab - Straddle3 and Todo por la Praxis - Theo Craveiro - Toni Tomàs and Carles Porta - Virginia de Medeiros - Vitor Cesar

> Access to the presented projects of the exhibition [text + image]


This is not a museum

The exhibition takes on a production which is characterised by an accumulation, selection and management of initiatives and strategies unfolding and passing through urban space. Some are camouflage, others struggle for visibility, develop parallel actions, others form part of these actions to stand as formalising processes, some construct spaces, others are parasites, some imitate self-built devices already in existence, others set out ingenious innovative devices. Most are in search of direct interaction, wandering through predominantly urban public space and, in their entirety, presuppose a search for alternatives to more institutionalised art or as suggested by Marti Peran, "a subversion of the logic of the museum". To be located outside the museum, while lurking around it at the same time, hints at many questions. The plurality of forms, situations, places and times, suggest, in some cases,  possible answers, while others exploit this long agony raised by the recurring theme of the death of art.

Ideas about territory, society and education are also present in most case studies  presented in the exhibition, but are also generated through the evolution of this complex project entitled Ceci n’est pas une voiture. ACVic  feels very much at ease with these expanded processes, dilated in time, extended across different locations, and inter-related through negotiations among several of the parties involved, whether individuals or collective self-managed institutions. As an organisation, Acvic is interested in art, education and territories, establishing networks through and among these concerns, but at the same time generating rhizomatic structures, in which some nodes strive for, and achieve, independence from others. Some, though having hardly any point of connection, form part of the network, but from these unbreakable links emerge the educational component designed as an aesthetic and political practice linked to a territorial context.

Ramon Parramon

Mobile devices lurking
The need for a critical analysis about the functions and rôles of the Museum has been approached from different points of view. The so-called Institutional Critique undertook this task, firstly, through the work of a generation of artists who questioned the processes of aesthetic legitimacy imposed by the institution itself; the second generation of Institutional Critique, from the 90s onwards, was characterised by incorporating the critical analysis within the institutional structure itself, an introspection which aimed to underwrite the untouchable museum's capacity for expansion. This makes it imperative to create tools for a variety of third-generation Institutional Critique, capable of examining the museum from the outside with the aim of rehabilitating the aesthetic experience as the foundation of a free subjectivity and a plural public sphere. The creation of mobile ‘paramuseum’ devices must be interpreted as a response to this need, and, consequently, as a possible tool for this third generation institutional Critique.

The prospect of subverting the logic of the Museum by building mobile devices has a long tradition. Since Marcel Duchamp’s famous suitcase (Boîte-en-valise, 1941) or Roger Filliou’s hat (Galerie Légitime, 1962), initiatives to move the aesthetic experience beyond the limits of the museum have multiplied. However, this same tradition of “travelling art” (Isidoro Valcárcel Medina, 1976) has also been the object of a recent co-optation by the conventional Museum. Indeed, in the last decade we have witnessed a proliferation of attempts to expand the perimeter of the traditional Museum with portable structures (the temporary pavilions of the Serpentine Gallery since 2000, the project for the Temporary Guggenheim Tokyo in 2001 or, as a perfect example, the recent Chanel Contemporary Art Container by Zaha Hadid in 2008).     

Faced with this invasive phenomena, Ceci n’est pas une voiture aims at reflecting on and documenting those other initiatives which, circulating in public space, collide with these conventional museum prostheses; to the extent that instead of extending the square metres of the museum, they reformulate the functions of the exhibition display as a nomadic platform nurturing direct and self-managed participation, development of social research and dissemination of educational experiences. In other words, if the temporary pavilions of the conventional museum seek to expand the extent and space of presence in order to reinforce the expansion of the museum’s narrative models, the nomadic devices that loom around the museum would be those which, traveling through the same social landscape, experiment with ways of understanding the exhibition cell as a space for reception and creation of plural and critical narratives against the hegemonic model.

Martí Peran

Esto no es un museo. Artefactos móviles al acecho

Esto no es un museo. Artefactos móviles al acecho

Ceci n'est pas une voiture, project phases

The project Ceci n’est pas une voiture is conceived as a work in progress that combines processes of research, workshops, production and dissemination. With this objective, a series of activities are being carried out which began in July 2010, and which will continue until January 2011.

Phase 1. Consulta Museus portàtils. he group of students from the course “Contemporary Art Politics: New mechanisms of production and management”, from the MA in Advanced Studies of Art History (UB), developed a first statement of the question, presenting the Question mode in Can Xalant (May-July 2010) http://canxalant.org

Phase 2. iD Mataró–Vic. Production of two projects, selected from a public open call, to be developed as residency projects in ACVic and Can Xalant, and to use Idensitat’s travelling devices and CX-R by Can Xalant (June–September 2011). http://idensitat.net

Phase 3. Espais, trànsits i dispositius mòbils. Workshop led by Raumlabor, organised by Idensitat at Cercle Artístic de Sant Lluc. http://idensitat.net

Phase 4. Exhibition. This is not a museum. Mobile devices lurking. ACVIC. Centre d'Arts Contemporànies. Exhibition documenting different case studies. (October 2011- January 2012). http://acvic.org

Phase 5. Debates MNCARS Madrid. The symposium is organised through 3 work tables, according to the different discussion subjects purposed by the Public Programmes department of the museum MNCARS: Radical Pedagogies; Other institutionalities and Mobility and Social Space. (November 2011)

Phase 6. Roulotte publication, especial issue. The publication will look at the exhibition materials, the workshops given through the process, as well as the interventions presented at the symposium. http://roulottemagazine.com

Professor of Art Theory at the University of Barcelona. Critic and curator of exhibitions, he has collaborated in different contemporary art catalogues and books. Co-editor of Roulotte, he collaborates with specialized journals and magazines (Exit Express, Artforum International). Director of the international program Roundabout. Encounter Program between Barcelona and other cities (Mexico, Reykjavik, Bangkok, Jerusalem, Santiago de Chile, Istanbul). He has recently presented, among others, the following projects: Post-it City. Occasional Cities (CCCB, Barcelona, 2008; MAC Santiago de Chile, Centro Cultural São Paulo, 2009); After Architecture (Arts Santa Mònica. Barcelona, 2009).






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