{"id":19211,"date":"2022-03-02T19:48:28","date_gmt":"2022-03-02T20:48:28","guid":{"rendered":"https:\/\/museumofnonvisibleart.com\/authorsite\/?p=19211"},"modified":"2022-03-02T21:09:50","modified_gmt":"2022-03-02T21:09:50","slug":"paco-barragan","status":"publish","type":"post","link":"https:\/\/museumofnonvisibleart.com\/authorsite\/paco-barragan\/","title":{"rendered":"Paco Barrag\u00e1n"},"content":{"rendered":"

\"\"Paco Barrag\u00e1n<\/a> (Oviedo, Spain) is a curator and culture theorist that believes that the so-called \u201cwhite cube\u201d is dead. Since 2016 he doesn\u2019t do \u201cwhite cubes.\u201d Between 2015 and 2017 he oversaw the visual arts section of Matucana 100 in Santiago de Chile. As a curator he is interested both in the history of museology and exhibition design and the history of the making of the art market. Why? Because you can\u00b4t have a good command of curatorial practices without a profound knowledge of the art market, which had a profound impact on museological and curatorial practices. Most of the known museological displays, from the Period Room to the Impressionist or Expressionist hang respond after all to profound commercial goals. For this reason, Barrag\u00e1n wrote a book about the history of art fairs and biennials<\/a> since ancient Greece and Rome until today as he understands that we need a longue dur\u00e9e<\/em> perspective. At this very moment he\u2019s finishing a book about the history of collecting since Assyria until today. Museums are the result of all kinds of collecting, so it has sense to dive into that. Barrag\u00e1n thinks that a curator must be a narrator, a museologist, and an exhibition designer. Today curators are only narrators, the so-called Harald Szeemann model<\/em>, but we need to go back to the practices of Wilhelm Bode, Ludwig Justi, Alexander Dorner and Alfred H. Barr, Jr. to do our job properly. In other words: to be a Gesammtkurator<\/em>. That is also the reason why we only see \u201cwhite cubes\u201d, from Tate to MoMA to Mori Museum, because curators these are only narrators and have no love for the past. But the future of curating lies in creating \u201ccontextual museologies\u201d, id est, better and more attractive presentations.<\/p>\n

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“The Nine Mile Twine\u201d, re-staging Duchamp\u2019s 1942 twine and performance of First Papers of Surrealism exhibition \u201cThe Vertigo of Modern Life\u201d, 18 February 2022, Domus Artium (DA2), Salamanca, Spain Photo: Santiago Santos<\/figcaption><\/figure>\n
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Re-staging the Expressionist \u201cDie Br\u00fccke Hang\u201d of 1905-1911, “The Vertigo of Modern Life”, 18 February 2022, Domus Artium (DA2), Salamanca, Spain Photo: Santiago Santos<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

Paco Barrag\u00e1n (Oviedo, Spain) is a curator and culture theorist that believes that the so-called \u201cwhite cube\u201d is dead. Since 2016 he doesn\u2019t do \u201cwhite cubes.\u201d Between 2015 and 2017 he oversaw the visual arts section of Matucana 100 in Santiago de Chile. As a curator he is interested both in the history of museology […]<\/p>\n","protected":false},"author":3,"featured_media":16239,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[6],"tags":[],"class_list":{"0":"post-19211","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-interview","8":"entry"},"_links":{"self":[{"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/posts\/19211","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/comments?post=19211"}],"version-history":[{"count":2,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/posts\/19211\/revisions"}],"predecessor-version":[{"id":19246,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/posts\/19211\/revisions\/19246"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/media\/16239"}],"wp:attachment":[{"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/media?parent=19211"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/categories?post=19211"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/tags?post=19211"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}