Curator: Nekane Aramburu
The histories of collections, both public and private, are rarely continuous histories linked together in a compact manner. Collections are pacts of love and memory, verifications and bets, affirmations and doubts, pleasure and thesis. Museums impose the responsibility of safeguarding, documenting and publicising these fragments of artistic progression as objects, but also as the transmitters of ideas and experiences.
Immersed in a fundamental renovation which coincides with its tenth anniversary, Es Baluard first and foremost wishes to construct itself as a museum and bestow personality on its different spaces, improving zonal circulation and progressively shaping functions in accordance with their properties and sense. As a result, with “Implosió” (Implosion),we begin to work on the genesis of what will be the epicentre of its future strategies, strengthening the reproduction of stem cells on the basis of its collections as a new way of understanding the history of Balearic creation and its international relations with polyhedral visions. This intra-impulse is an internal detonation designed to give rise to a shock wave which shakes states and ideas from the inside, causing the generation of a fissionable nucleus. As in physics, a shock wave forged from the entrails themselves liberates large quantities of energy by way of a cathartic and reinforcement phenomenon as, when something implodes, the atoms become closer to one another and increase in density.
This large exhibition is constructed through four consecutive areas differentiated in order to analyse them from the perspective of things glocal (the context of the Balearic Islands and the presence of international contemporary art). The areas “Implosió” is comprised of are articulated through certain stylistic continuities following customary historiography, but also proposing new interpretations of the same and having an impact on hot spots whose shock waves allowed for advancement in contemporary artistic practices.
The stem cell that impulses the cells produced from this regeneration articulates the reading of what has occurred in artistic production from the late 19th century until our times via three interpretation systems which co-exist symbiotically and in parallel. Because of this, these three channels are monitored throughout the museum’s main floor through cross-linked routes: Experience, Reflection and Exercise. In this way, “Implosió” may also turn into a stable platform for instructing gazes and supporting them in the decoding of that which exists beyond what is apparently real.