Scale is a funny problem The pollution of the scale of the works as one of the symtoms of the art-architecture complex
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Published
2020-12-30
Vicente Alemany Sánchez-Moscoso
Abstract
Since the early years of the 21st century, the main international centers of artistic diffusion competed for having the largest exhibition rooms designed by the most audacious architects. The artists had to conceive their projects adapting them to ever-larger formats. This expansion required them to reflect on what scale relationships could be established between the spectators and the works within the rooms. The global expansion of these contemporary art centers has been an unstoppable phenomenon, in which the architectural design of the buildings, and of all the elements that make up the museum experience, have played a fundamental role. A reflection is required on the type of experience offered by the works in these spectacular spaces in which they are in danger of becoming another element of design. At present other specialized spaces for large-scale works are being sought.
How to Cite
Alemany Sánchez-Moscoso, Vicente. 2020. “Scale Is a Funny Problem: The Pollution of the Scale of the Works As One of the Symtoms of the Art-Architecture Complex”. AusArt 8 (2). https://doi.org/10.1387/ausart.22025.
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Keywords
CONTEMPORARY ART, SCALE, ARCHITECTURE, MUSEUM
References
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Alemany Sánchez-Moscoso, Vicente. 2008. «La antropometría en el postminimalismo: Estudio sobre las relaciones métricas entre el espectador y las obras en la escultura norteamericana heredera del minimalismo de las décadas de 1960 y 1970». Tesis Univ. Complutense de Madrid
Beech, Dave et al. 2017. Size matters! (De)growth of the 21st century art museum. Verbier Art Summit, January 2016. Berlin: Köning
Bourgeois, Louise. 2001. Destrucción del padre, reconstrucción del padre: Escritos y entrevistas, 1923-1997. Traducción Rafael Jackson & Pedro Navarro. Madrid: Síntesis
Cooke, Lynne & Michael Govan. 2003. Dia: Beacon. New York: Dia Art Foundation
Eliasson, Olafur. 2004. The weather project. London: Tate Gallery
Foster, Hal. 2004. Diseño y delito: Y otras diatribas. Traducción de Alfredo Brotons Muñoz. Barcelona: Akal
Foster, Hal. 2015. El complejo arte-arquitectura. Traducción de José Adrián Vitier. Barcelona: Destino
Greenberg, Clement. (1958) 2019: «La nueva escultura». En Arte y cultura: Ensayos críticos, traducción de Justo G. Beramendi & Daniel Gamper. Barcelona: Paidós
Höller, Carsten. 2006. Site test. London: Tate Gallery
Kapoor, Anish. 1990. «Interview with Anish Kapoor». By Marjorie Allthorpe-Guyton. En Anish Kapoor: British Pavilion, XLIV Venice Biennale, May-September 1990. London: British Council
Kapoor, Anish. 2002. «Interview». By Donna De Salvo. En Marsyas, texts, Donna De Salvo & Cecil Balmond, 60-64. London: Tate Gallery
Krauss, Rosalind E. (1977) 1996: Pasajes de la escultura moderna. Traducción, Alfredo Brotons Muñoz. Madrid: Akal
Muñoz, Juan. 2001. Double bind at Tate Modern. Text by Susan May. London: Tate Gallery
O'Doherty, Brian. (1981) 2011. Dentro del cubo blanco: La ideología del espacio expositivo. Murcia: Cendeac
O'Doherty, Brian. 2007. Studio and cube. New York: Princeton
Serra, Richard. 1994. «Interview by Liza Bear». En Writings, interviews, 51-60. Chicago IL: Chicago University
Serra, Richard. 1999. Richard Serra: Escultura 1985-1999. Organizada por Richard Koshalek & Julia Brown. Bilbao: Museo Guggenheim Bilbao
Serra, Richard. 2005. Richard Serra: La materia del tiempo. Textos de Hal Foster et al. Bilbao: Museo Guggenheim Bilbao
Virilio, Paul. 2003. Unknown quantity. London: Thames & Hudson
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Articles

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