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The participants summarise their talks

  • What you see and what looks you: from minimalism to the minimal thing
    Javier Rodríguez Marcos
    Making use of the diagnosis Eugenio d'Ors established for the Baroque, it could be said that minimalism is a wind without north. Suddenly everything becomes minimal: the present, of course, but also the past. As we know, each artist creates both his successors and his predecessors. The tag of minimal art -popularized in the 1960's- has extended to posterior art and to architecture- like a special turning point in the 1990's- and also to the architecture and art which along the first half of the 20th century applied a less expressionist abstraction language  But the tale of that expansion is more a mystery than a love story. Has the extension of the term to fields other than sculpture implied a degeneration of its sense? At what point did we go from the minimal in singular to "the" minimal in plural? Is minimalism a rule or an exception? In opposition to what Frank Stella thought, what you see is not always -or almost never- only what you see.  
  • Minimalism and repetition: a poetics of the process
    Jorge Fernández Guerra
    The "minimalism" is one of the most successful expressions of the entire 20th century among all the artistic practices that arouse. This success most surely hides the importance and role that it had within the debate of the past century vanguard problems, especially in the musical realm. In order to understand its real role, we have to recover the idea of the "process" and clarify it, a concept that played a central role in the artistic discourse, especially in the 70's. 
Fundación Juan March
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