11 sections that clearly function as stations or stages of a narrative, taking up the theme at a particular point, developing it and then leaving it at a very different one. In other words, it sees the story as a possible collective imagination. Most of the works that make up this exhibition, all belonging to the IVAM Collection, are divided into three thematic blocks, although the exhibition as such begins on the terrace outside. There, on the extreme left, at the end furthest from the entrance, the visitor will find Richard Serra’s sculpture Untitled (To Encircle Base Plate Hexagram, Right Angles Inverted), made in 1970. A circular piece, almost five metres in diameter, embedded on the ground and rising only a few centimetres above it, like a railway track rotating on its own axis, which is being exhibited for the first time. Near it, and intended to remain permanently in that position, is Marjetica Potrc’s Chabola solar (Solar Shack, 2003), a clear example of relational art, the interior of which can be visited during opening hours. Between this outside space and the foyer, acting as a link between them, is Serge Spitzer’s conveyor belt, Übergang (Crossing), made in 1983. Eighteen linear metres of art in motion that symbolise much of this sense of change and transformation, a message that can also be seen and read in the large glass panel on the façade of the building. A declaration of intentions for the whole of 2015.
In transit
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