NIVELES DE EXPOSICIÓN

Abstract

En su ensayo Studio and Cube, Brian O'Doherty analiza la relacion entre el lugar donde se produce el arte y el lugar donde se muestra, lo que indica un momento en el que los dos convergen. O'Doherty describe la forma en que, en 1964, el artista griego Lucas Samaras reconstruyo parte de su estudio en la Green Gallery de Nueva York, senlando que en la obra de Samaras el espacio de la galeri de arte esta inundado por las mitologis del taller que historicamente preceden a las del White Cube. La superposicion de Samaras nos lleva a pensar que el origen del espacio expositivo es el taller y es, por lo tanto, el artista quien determina el lugar que se convierte en el modelo de galeris y museos. De hecho, al observar la evolucion de la pro- duccion artistica podrimos entender la logica y las formas del arte contemporaneo. La transferencia de esta tesis a la arquitectura y la superposicion de la logica de la produccion y la de la exposicion en un grupo representativo de oficinas nos llevari a arrojar luz sobre los escenarios en los que se representa de verdad la arquitectura actual. La cuestion tipologica, la comunicativa o el enfoque estrategico, sirven como lentes a traves de los cuales se leen las galeris como lugares contemporaneos de produccion arquitectonica.

Abstract_

In the essay Studio and Cube, Brian O’Doherty analyses the relationship between the place where art is produced and the place where art is shown, indicating a moment where the two coincide. O’Doherty describes how, in 1964, Lucas Samaras reconstructed part of his studio in the Green Gallery in New York, observing that in Samaras’ work the art gallery space is inundated by the mythologies of the atelier that historically precede those of the white cube. By placing his studio in the gallery, he deliberately makes both places coincide, subverting their dialogue. The overlay of Samaras leads us to think that the origin of the exhibition space is the atelier and it is the artist who determines the place that becomes the model for galleries and museums. In fact, observing how the production of art has evolved to this day can help us to understand the logic and forms of contemporary art. The transfer of this hypothesis to architecture and the superposition of the logic of production and that of the exhibition in a representative group of practices would lead us to shed light on the scenarios in which architecture is truly represented today. The typological question, the communicative one or the strategic approach, serve as lenses through which galleries are read as contemporary places of architectural production.