I had the opportunity to travel to Barcelona, Spain, from 18th to 22nd January, with a small cohort of photography students. I have been extremely excited about the trip as it was my first time traveling to Europe. The trip itself were pretty relaxed on its activities, and I could plan my own itinerary in conjunction with the main group. Throughout the trip, there was no unpleasant experience, and I had a great time exploring new places and getting lost in its neighborhood.
Of all the activities planned for the trip, I visited Museu d’Art Contemporani de Barcelona with the group. There were about six exhibitions in the museum. Although there were some installations which I could not comprehend, there were many little “nuggets of wisdom” which I could draw from. Overall it was an extremely great learning experience.
This exhibition is a tribute to Xavier Miserachs (1937-1998) and his most celebrated work, Barcelona, blanc i negre (1964). From 1961, Miserachs worked professionally in advertising, photojournalism, and above all, street photography. he produced a body of works that was characterised by its proximity to people, the central theme of his images, arising from his photographic walks in search of emotional situations.
Miserachs Barcelona present images in formats that suggest different emotional, temporal and aesthetic experiences in the form of large murals, an illuminated cityscape. the photographs then became a stage as we walk down a street. In the third room, we become the protagonist, fusing photography and audience participation. the epilogue brings together all information of Miserachs’s wanderings during the preparation of his photobook.
The presentation of the images as an installation are fascinating. There are no photo frames involved, and some images bend in like a folded book, as well as the incorporation of multimedia techonlogy in presenting photo images.
Through the works of Xavier Miserachs, I began to better appreciate his photographic style and work processes during his days in the dark room. The large collection of negatives in the archive are the testimony of his works. The marking found on his negatives gave some insights into the decisions he took in arriving at the final image.
Growth and Form Catalogue 1951 (2014)
Growth and Form was one of Richard Hamilton’s series of early exhibitions in the 1950s, inspired by an essay on animal morphology published in 1917 by the Scottish biologist and mathematician D’Arcy Wentworth Thompson.
‘Form poses a problem which appeals to the utmost resources of our intelligence, and it affords the means which charm our sensibility and even entice us to the verge of frenzy. Form is never trivial or indifferent. It is the magic of the world.” Albert M Dalq, ‘Form and modern Embryology’, Growth and Form Catalogue, 1951
Hamilton brought together a selection of scientific and organic material, using the most innovative technology of the day. understood as a true experience, this exhibition used every possible means o highlight Wentworth Thompson’s thesis and radically reformulated the idea of exhibition practice.
Form depends on beauty. Like the artistic avant-garde, science also break with what is established. the fascination with the efficiency and elegance of scientific explanations has been used to question some of the myths of modern science arising form the 17th to the 20th century.
‘Knowledge of form is the key to understanding not only in science but also in art. the invention of new optical machinery has extended the scientists’ knowledge of form and revealed to the artist a new visual environment.’ Herbert Read, foreward to Growth and Form Catalogue, 1951
This exhibition connected me a lot to my current work assignments, as I was interested in structure and form in my photography. It opened up my ideas about forms and the areas of forms and structures which I have not looked at previously.
Sergi Aguilar: Reverse/obverse
This exhibition takes us through four decades of the sculptural practice of Sergi Aguilar. it explores the certain consistent creative tension in the artist’s works, such as the dialogue between objects and the process, moderation and accumulation, solidity and lightness, the artificial and the natural, and place nd displacement.
Tools and measures
Signs and Landscape
Place and Territory
Fugues and Time
More interesting images of these installations which I did not understand