The Heterotopias exhibition with works from the CIRCA XX Collection becomes the new proposal of the MACA
08.07.2016
This selection of works from the CIRCA XX Collection is titled HETEROTOPIAS, a neologism coined in 1967 by French philosopher Michel Foucault, which he constructed from the Greek words "heteros" (different) and "topos" (place), as a critique of history's exclusive interest in time. The concept of HETEROTOPIA reclaims the contemporary world par excellence, an era where space is heterogeneous, simultaneous, juxtaposed where the near and the far coexist, one beside the other and the dispersed; where we find those "other places" in which elements distributed through time form a set of relationships, a map of networks and synergies, a fatal interweaving of time with space. For Foucault a museum or a library is a heterotopic place, a counter-space that brings together opposing spaces that organize themselves without any logic, generating "a place without place" where time ceases not to accumulate and pile up upon itself. A collection of artworks such as CIRCA XX responds to that same concept: the idea of accumulating everything, of constituting a kind of general archive, the will to enclose in one place all stages, all forms, all times that are in turn outside of time… a sort of perpetual and indefinite accumulation of time in an immovable place… To review that place where diverse contradictory utopias coexist is the interest of this exhibition. Apparently discordant concepts that coexist becoming permeable: space/time, optical/chromatic, perceptive/non-visible; finite/non-finite… Through transgenerational connections we propose a reading without chronology. Only to look. Early artists linked with artistic avant-gardes that seek the essence of forms by banishing the superfluous and retracing steps back to the origin, to the foundation of forms to be witnesses to the conjugations of black and the dissipations of transparency. More information in the full note Other artists experiment with color and geometry: formal logic and constructive tradition are combined with computation and new technologies proposing visual games, concrete optical effects, dynamic, as virtual as they are perceptible subjected to a frenetic rhythm established by the repetition and interaction of colors. And transforming perception, placing emphasis both on what is seen and what is suggested, later artists announce cold and distant environments subjected to the very fact of seeing or not seeing, dazzled by color or by its absence, traversed by a blinding light close to invisibility that constructs a mental state in permanent blur, an artificial atmosphere that embodies the abstraction of reality. The HETEROTOPIAS constructed in real time and space are the places where utopias are fulfilled. More information in the full note.
The set of works that make up the CIRCA XX Collection was acquired by the Government of Aragon from its owner Pilar Citoler at the end of 2013, through a mixed formula that included purchase and donation. Since then it has been assigned as part of the permanent collection fund of the IAACC Pablo Serrano in Zaragoza for its custody and exhibition. A set of 1200 works that includes paintings, drawings, graphic works, photography, sculpture, installations and video, which has become one of the reference collections in the national and international panorama. This selection of works is titled Heterotopias, a neologism coined in 1967 by French philosopher Michel Foucault, which he constructed from the Greek words "heteros" (different) and "topos" (place), as a denunciation of history's interest only in time. The concept of Heterotopia claims the contemporary world par excellence, an era where space is heterogeneous, simultaneous, juxtaposed where the near and the far coexist, one beside the other and the dispersed; where we find those "other places" in which elements distributed through time form a set of relationships, a map of networks and synergies, a fatal intertwining of time with space. Through transgenerational connections we propose a reading without chronology. Only to look. Early artists linked with artistic avant-gardes that seek the essence of forms by banishing the superfluous and retracing the path until reaching the origin, the foundation of forms to be witnesses of the conjugations of black and the dissipations of transparency. Other artists experiment with color and geometry: formal logic and constructive tradition are combined with computation and new technologies proposing visual games, concrete optical effects, dynamic, as virtual as perceptible subjected to a frenetic rhythm established by the repetition and interaction of colors. And transforming perception, placing emphasis both on what is seen and what is suggested, later artists announce cold and distant environments subjected to the very fact of seeing or not seeing, dazzled by color or by its absence, crossed by a blinding light close to invisibility that constructs a mental state in permanent blur, an artificial atmosphere that captures the abstraction of reality. The Heterotopias constructed in real time and space are the places where utopias are fulfilled.
