Vectors and study cases of the collection
This series of reviews and analysis of the vectors and study cases proposed by the new presentation of the museum’s permanent collection is displayed from 14th June on, as an open, organic formula. The space has been conceived as an area of intensification, research and mediation grounded on the museography located on the main floor of Es Baluard where, in several stages, a critical journey evolves through local, national and international artistic practice beginning with local 19th-century academicism referring to the natural landscape of Mallorca and expands in three different periods and styles, to position us in some of the discourses of contemporaneity which analyse this evolution between subversion of the landscape and the search for a esthetical and social equilibrium.
The museum is an open mechanism in which it is possible to investigate the readings proposed by the histories of art and show new methodologies for approaching them by questioning them and proposing new focuses and aspects. Away from centrality, from the periphery, converging and diverging lines therefore emerge, and the possibility of delving further into combinations of some works founded on the absence of others.
This exhibitive review of the museum’s collection configures a museographic arrangement based on a genealogy that vectorises dogmatic interpretations, alternatives and hitherto-unseen study cases. This work based on the fissure, margins and questioning of official and canonical art history makes it necessary to break down and analyse in greater depth in the Observatori the vectors and study cases set forth on floor 0.Thus, on the basis of the vectors of landscape and gender present in the exhibition route, we halt at specific study cases such as that of “Dada Women”, with contributions by Semiramis and Susana Blas, the study case of genders and transgenders with the LGTBIQ view of the collection of Juan Ramón Barbancho, the unknown figure of the artist Katy Bonnín and a new approach to the work of Joan Miró based on what we have called mysticism.
Through this pilot space for question marks and debates, doubts and finds, tools are conferred on the different interlocutors and users, giving rise to what we have called “Apocryphal Tutorials”, which shall take as their foundation the study cases proposed in this presentation and the lines that vectorise certain proposals of transverse interpretation.