“Atlas of the Ruins of Europe” showing at CentroCentro Madrid

The exhibition, open until the end of January, elaborates a new account of the history and memory of Europe, searching for new narratives and a personal reflection of the visitor.

 

C.A.S.I.T.A. [Loreto Alonso, Eduardo Galvagni y Diego del Pozo) Vallas de la frontera entre Ceuta y Melilla 1985-2014 2014. Serie de 12 grabados intervenidos  Cortesía de los artistas

C.A.S.I.T.A. (Loreto Alonso, Eduardo Galvagni y Diego del Pozo) Vallas de la frontera entre Ceuta y Melilla 1985-2014. Serie de 12 grabados intervenidos. Cortesía de los artistas

 

CentroCentro, Madrid’s Town Hall cultural centre has recently inaugurated the exhibition “Atlas of the ruins of Europe“, a new project which is part of the centre’s seasonal program reflecting on Europe since last May. Organized and produced by CentroCentro, the exhibition explores the ruins of modern European infrastructures, taking more than  140 examples -prints, books, paintings, photographs, video and other documents- from over a hundred artists, ranging from the century XVI to the present.


 

Practical Information

“Atlas of the Ruins of Europe”
September 29, 2016 – January 29, 2017
CentroCentro
Plaza Cibeles, 1
28014 Madrid

 


The project takes ruins as a tool and language to read the history and memory of Europe against the current. As explained by the curators, Julia Morandeira and Jose Riello, “in this exhibition the ruin is understood not only as a result of wearing-out or the material and symbolic destruction, but also in its expressive dimension: it is a narrative element that can be used to build new accounts, as a witness but also as an index for any past and future imaginable events, as a commodity at the service of different ideologies and as a fragment full of potential. ”

 

C.A.S.I.T.A. [Loreto Alonso, Eduardo Galvagni y Diego del Pozo) Vallas de la frontera entre Ceuta y Melilla 1985-2014 2014. Serie de 12 grabados intervenidos  Cortesía de los artistas

C.A.S.I.T.A. [Loreto Alonso, Eduardo Galvagni y Diego del Pozo) Vallas de la frontera entre Ceuta y Melilla 1985-2014. Serie de 12 grabados intervenidos. Cortesía de los artistas

Vladislav Shapovalov  The Republic of Lizards  2016. Collage fotográfico  Cortesía del artista

Vladislav Shapovalov, The Republic of Lizards 2016. Collage fotográfico. Cortesía del artista.

 

The exhibition presents a journey through four sections. Nature / Culture / Body explores how debris has articulated an ideal throughout history as well as a confrontation between culture and nature; Infrastructure refers to the institutional fabric that directs, produces and governs the idea of Europe; Superstructure discusses how to produce and organize the territory; finally, Destruction / Repair refers to the ruin of war, iconoclasm, reconstruction and memory.

 

George Bailey (activo en 1811) Sectional Perspective of the dome área looking east  Reproducción a partir del ejemplar del Sir John Soane’s Museum, Londres.

George Bailey (activo en 1811) Sectional Perspective of the dome área looking east, Reproducción a partir del ejemplar del Sir John Soane’s Museum, Londres.

 

The exhibition is organized by the logic of Aby Warburg’s image atlas. It exposes an atlas of anachronistic images without any explanation, which allows the visitor to recombine them to make his own speech. “This exhibition does not say or show” explain the curators, “it presents a discontinuous, incomplete account of Europe with the potential to be rewritten and re-imagined“.

 

Giovanni Battista Piranesi (1720-1778) Anticuus bivii viarum Appiae at Ardeatinae, segundo frontispicio para el vol. II de Le Antichità Romane Roma, 1756

Giovanni Battista Piranesi (1720-1778) Anticuus bivii viarum Appiae at Ardeatinae, segundo frontispicio para el vol. II de Le Antichità Romane Roma, 1756

Jacques Philippe Le Bas (1707-1783) La basílica de Santa María después de su destrucción en el terremoto de Lisboa, en Recueil des plus belles ruines de Lisbonne causées par le tremblement et par le feu du premier Novembre 1755 París, 1757

Jacques Philippe Le Bas (1707-1783) La basílica de Santa María después de su destrucción en el terremoto de Lisboa, en Recueil des plus belles ruines de Lisbonne causées par le tremblement et par le feu du premier Novembre 1755 París, 1757

 

The exhibition has been possible thanks to the collaboration of institutions such as the Historical Library Marqués de Valdecilla (UCM), the National Library of Spain, Bibliothèque Nationale de France, CA2M-ARCO Foundation, Municipal Newspaper Library of Madrid, Goethe Institute (Madrid), The Menil Collection (Houston), Metropolitan Museum (New York), MNCARS, Museu d’Art Contemporani de Barcelona (MACBA), Cerralbo Museum, National Museum of Anthropology, National Museum of Decorative Arts, Prado Museum, University College (London), and Victoria & Albert Museum (London) as well as different contemporary art galleries and national and foreign artists.

 

André Romão Anfiteatro / Parlamento 2012. Impresión digital.  Cortesía del artista y García Galería, Madrid

André Romão, Anfiteatro / Parlamento, 2012. Impresión digital. Cortesía del artista y García Galería, Madrid


 

News source: Centro Centro
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