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Il ciclo di incontri con esperti e professionisti attivi del mondo dei musei si propone di individuare e seguire le linee evolutive del concetto di museo. L’obiettivo è quello di mettere a confronto esperienze che stimolino il dibattito sull’istituzione attraverso testimonianze dirette e interventi di studiosi, curatori e progettisti di fama internazionale.
Il ciclo di lezioni prevede quattro incontri dedicati al tema della museografia dal ‘900 al XXI secolo e strutturati per quattro grandi temi: la ricerca, l’esposizione, la curatela e la comunicazione. Gli incontri costituiscono nel loro complesso un racconto sul museo, inteso non solo come edificio e struttura, ma anche come gestione, allestimento, soluzioni espositive e tecniche spaziali.

Calendario degli incontri:

martedì 19 aprile, ore 16.30 - 19.00
Studiare _ uno sguardo sul Novecento
con Marco Albini, Margherita Guccione, Fulvio Ira

sabato 7 maggio, ore 11.00 - 13.30
Esporre _ dalla modernità al contemporaneo
con Adrien Gardére, Hans Günter Merz, Bartomeu Marì Ribas

venerdì 13 maggio, ore 16.30 - 19.00
Curare e gestire _ la macchina museo: uno sguardo internazionale
con Maristella Casciato, Pippo Ciorra, Moira Gemmil

martedì 24 maggio, ore 16.30 - 19.00
Guardare al futuro_ strategie
con Manuel Blanco, Pier Luigi Sacco, Philip Ursprung

Per maggiorni informazioni:

http://www.fondazionemaxxi.it/it/schede/lezioni-museografia-studiare

Born in Buenos Aires, Argentina, in 1941, Guillermo Gregorio has lived variously in Europe and the United States since 1986. He was an active participant on the Argentine music scene throughout the 1960s, ’70s, and early ’80s.

“What affects me more than any other thing,” Gregorio says, “is my involvement in visual arts, and my architectural and design experience.” In his compositions, a reinterpretation of the fundamental and structural concepts of Constructivism converges with the historical experiences of Argentinean Conceptualism, Fluxus, intermedia synthesis, certain aspects of serialism, and graphic music. In addition to the acceptance of sound as material, constructive and geometrically generated ideas are used in scores ranging from conventionally notated statements to graphs, including planimetric projections of spatial structures. In January 2001, he founded the Madi Ensemble of Chicago, which performs original and historical scores that draw from the conceptual foundation of diverse Argentinian avant-garde currents.

“I prefer to put this music in the field of New Music,” he explains, “because New Music is not defined. There is more new space to move. In that context, the music many times is not improvised, even when it partially includes improvisation, but it is basically all written in order to give a consistency to the work. Listen two or three times to the work and you will recognize that there is structure. This structure configures itself in different shapes at moments when the music is played because the connections are not the same as the syntactic connections of conventional music, even modern (i.e., New) music.” These shapes, especially on Coplanar, are inspired by the visual art of the East European Constructivists and their Argentinean heirs, the Madi and Concrete Art movements.

“The Concretists (whose main mentor was the painter and theoretician Tomás Maldonado) supported the “fixed” coplanar. In it, the active aspect resides in the interaction of complementary or contrasting proportions of the surfaces and colors, meticulously calculated. It seems that the first artist who produced this kind of object was Juan Alberto Molenberg, showing his “White Function” in 1946. Others who followed him were Raul Lozza and Juan Mele. The Madists, by contrast, invented the “mobile coplanar,” whereby the viewer could alter the appearance of the artifact by manipulating it. The real promoter of this kind of hand-adjustable object was Carmelo Arden Quin, a pivotal figure of the Madi Movement, who since 1944 had been experimenting with various types of artworks with moveable parts.”
[from the liner notes, available in .pdf for free]

Coplanar 1 + 2 (for guitar, synthesizer, and ensemble), Coplanar 4 (for oboe, clarinet, tuba, and cello), Coplanar 3 (for piano and strings), White Coplanar (for clarinet, viola, and cracklebox), Construction with Coplanar (for oboe/accordion, clarinet/alto saxophone, tuba, and cello), Madi Piece (for guitar and strings), Swiss Coplanar (for voice, tuba, and piano), Coplanar 5 (for bass clarinet, clarinets, strings, and piano)

http://www.newworldrecords.org/album.cgi?rm=view&album_id=15053