nouvel accrochage --non thématique, celui-là-- des collections du Reina Sofia...

Après le séminaire à l'EHESS, puis la conférence à Beaubourg de Manuel Borja Villel, directeur du musée Reina Sofia de Madrid, on peut lire également (traduction anglaise e-flux sinon, version espagnole http://www.museoreinasofia.com)

" We reclaim a space for critiquing history while upholding the value of narrating the past, not as a means to discover "the way it really was," but, following Benjamin, to seize hold of memory in the present state of emergency "when it flashes up at a moment of danger," thereby "wresting tradition away from a conformism that is about to overpower it." This history materializes in a web of open-ended, fragmentary narratives that speak to us of hands, gazes and minds, all of them synchronized at one moment, crystallizing into an image, an object or a document. Above all else, this narrative involves conveying and activating experiences—experiences that refer to a past time and yet remain in the present, ones that can only be perceived from the present. Its end is not to find an escape route, but to enrich reflecting on experience, a kind of learning that does not stem from indoctrination, but from activating the ability to respond critically to the world and, of course, to the museum itself.

This position implicitly entails the need to create a new vocabulary, a new nomenclature. The Greek tragedies taught us that children bear their parents' burden, or just the same, that we are born with a destiny predetermined by a language and social structure that shape it. But it is also true that we can rewrite our own history, even though in order to do so we must forge new concepts that allow us to apprehend and explain a different reality. The museum has chosen to distance itself from the linear narratives of modernity, as they have traditionally been exhibited, but also from the banal oblivion of postmodernist history, evident in new exhibition models. We have also wanted to distance ourselves from conventional distinctions between center and periphery, thereby attending to the complexity of relationships established between the local and universal. In the following itinerary, we propose four large sections that follow a historical sequence, without wishing to impose a strict chronological order upon them. These groupings propose alternative routes and lines of flight that leave the narrative open-ended. In this manner, visitors are invited to create their own routes and form their own interpretations"

Il faut lire les regroupements, ici par exemple une partie du niveau O:

1. Arte e información: las prácticas conceptuales en España
2. Las escenificaciones del yo: ritos identitarios al final de la modernidad
3. Mike Kelly "A continuous screening of Bob Clark’s film Porky’s"
4. Dan Graham "Rock My Religion"
5. Visiones críticas y narraciones de lo global
6. El retorno reflexivo de los grandes géneros
7. La vuelta del artista y la configuración del sistema del arte en la España democrática
8. Derivas de la escultura en el arte español actual