黑料不打烊

This exhibition from the MUSAC Collection recreates an 18th-century gallery in order to promote research into models of exhibition and the assignment of value to works of art. In this hall we have taken as an example the installation process followed at the Royal Academy of Arts in London where, starting from an imaginary line above the visitor"s head, a hierarchy of placement is established in relation to the different genres of painting. Along this imaginary line, large-format portraits and history paintings predominate, with other works located above or below the line. How can we today transpose this approach to exhibiting art works into the metalanguage that is curatorial work? Can we interpret this method from a contemporary standpoint? Can we propose a semiotic analysis by establishing new relationships and, consequently, new ways of seeing and understanding works of art? Starting with a contemporary collection, the translation into classical genres of painting is not automatic, instead it forces us to reinterpret their position, to find new connections and systems of classification. This series of interpretations of the collection focuses on the study of formal aspects of the museum space as a setting for other possibilities and highlights the idea of the exhibition as a tool for seduction and knowledge.

The room also features three classical sculptures from the artistic reproductions collection of the National Museum of Sculpture. These sculptures engage in a dialogue with the MUSAC Collection and open up a conversation on the idea of reproductions in the museum space. These fragile, beautiful, precise objects speak to us of a new way of understanding and accessing art. The architecture of the building also plays a crucial role when it comes to defining the space occupied and having to fit this canon into a zigzag space, far from the gallery of paintings where this reflection began.