Art and Sound in the MUAC collections presents a reading of the artistic, documentary and associated collections that articulate audible elements. The show is structured on the basis of multiple perspectives and supports that invite the audience to rethink the frontiers of art and seek to argue for the importance of sound in contemporary artistic practices, with a focus on the Mexican artistic scene.
The exhibition curated by Pilar García and Marco Morales brings together the work of 32 sound artists with a selection of over 60 pieces that testify to the growing interest in sound as a central element that contributes to the reflection of contemporary art since the 60’s. However, it is not a historical review but rather a selection of work structured into five thematic nuclei that allow the audience to see and hear works where the acoustic aspect
is an integral part of the artistic proposal. The sound perceived in the exhibition gallery emanates from sculptures, monitors, projections, and documentary items that express different strategies to approach sound and the absence of sound.
The exhibition includes pieces that become instruments, sound installations, appropriations
of musical instruments as artistic objects, or works in which the sound is formulated through language as a code or in the form of the voice which enunciates memory, or
social and political denunciation. The auditory universe includes the dimensions of noise and silence, the latter being represented in two-dimensional works including oil paintings, drawings, photographs or collages as silent media for audible expression that evoke music in the form of a homage. Sound as representation of a moment or an urban landscape where the hubbub forms part of the city’s imaginary are also concerns of some of the works included.
From this perspective, we attend not only to the consonance and/or harmony of the sonic singularity of the exhibited works, since we cannot ignore the inclusion of noise, silence and a virtual dissonance in the aural reflection of the twentieth century. To the contrary, the exhibition offers possible reflections on the basis of reverberation and dissonance—both literal and metaphorical—between media and artists, proposing possible access routes amidst the noise, standing apart from the category of Sound Art, conceived solely as a support.
Artists: Terry Allen (U.S.A., 1943), Carlos Amorales (Mexico, 1970), Francois y Bernard Baschet (France 1920- 2014 y 1917-2015), Tania Candiani (Mexico, 1974), Arnaldo Coen (Mexico, 1940) y Mario Lavista (Mexico, 1943), Armando Cristeto Patiño (Mexico, 1957), Abraham Cruzvillegas (Mexico, 1968), Felipe Ehrenberg (Mexico, 1943) y Rodolfo Alcaraz, Manuel Felguérez (Mexico, 1928), Ana Gallardo (Argentina, 1958), Mario García Torres (Mexico, 1975), Thomas Glassford (Mexico, 1963), Douglas Gordon (Scotland, 1966), Jerónimo Hagerman (Mexico, 1967), Allan Kaprow (U.S.A., 1927-2006), Myra Landau, Ilán (Romania, 1926), Lieberman (Mexico, 1969), Israel Martínez (Mexico, 1979), Erick Meyenberg (Mexico, 1980), Leticia Obeid (Argentina, 1975), Yoshua Okón (Mexico, 1970), Fernando Ortega (Mexico, 1971), Carla Rippey (U.S.A., 1950), Manuel Rocha Iturbide (Mexico, 1963), Miguel Rodríguez Sepúlveda (Mexico, 1971), Kazuya Sakai (Argentina, 1927-2001), Carlos Somonte (Mexico, 1956), Rogelio Sosa (Mexico, 1977), Althea Thauberger (Canada, 1970) y Krzysztof Wodiczko (Poland, 1943).
Curators: Pilar García y Marco Morales
Translation: Fionn Petch, Celorio Morayta, servicio especializado de idiomas
Authors : Pilar García, Valeria Macías Rodríguez, Israel Martínez Guillén, Marco Morales Villalobos, Luz María Sánchez Cardona
Language : Spanish - English
Editor: MUAC, UNAM