Metanarratives. MUSAC Collection

Metanarratives is staged as an exhibition space creating knowledge based on experience. Can we consider the regression of postmodern legitimacy? Define the meaning of artwork by reinterpreting modernity? Satisfy our desire for contemplation in the transcendence of artwork? As visitors we step into a physically demarcated area where we may navigate, hear, view, and construct our own unique narrative. This ability to weave together place, narrative, and immanence is the essence of this exhibition. Here we participate in the ability to develop narratives from concrete or abstract spaces, from insinuated or hidden stories, with symbolic or familiar, internal or external landscapes.

These image installations will prompt us to traverse, crowd, and circle around places and volumes depicting tales that range from the ordinary to extraordinary. It is in this terrain that the presence of artwork is recovered. Marjetica Potrč (Ljubljana, 1953) reproduces the builds and informal architecture of the neighbourhoods of Caracas. Carmela García (Lanzarote, 1964) follows the traces in Paris of women such as Gertrude Stein and Djuna Barnes through the places that were the settings for meetings or domestic experiences. Olafur Eliasson (Copenhagen, 1967) compiles a survey of different types of building in the city of Reykjavik, in which the scale of the photographs is tied to the size of the buildings. Leandro Erlich (Buenos Aires, 1973) transports us to a typical Buenos Aires street, where we stroll along the cobbles and follow the rhythm of daily life, as we view the reflection in the water. Carlos Garaicoa (Havana, 1967) creates a nocturnal cityscape in which the perspective and view from above influence our attitude to it and vaguely position the scene as a cultural construct. Lastly, Pierre Huyghe (Paris, 1962) places us in an imaginary scientific expedition with the music of the Gymnopédies by composer Erik Satie in the background.