Noticias de interés

The term “systems art” wasn’t the most popular moniker among the many new art-world labels that emerged in the 1960s and ’70s. But it has grown much richer with age. Half a century ago, systems—from mass communications to the Cold War military-industrial complex—were expanding rapidly, as protocols began to organize geopolitics and everyday life at several scales. Today, those protocols have only multiplied. We increasingly understand the world as an ecosystem—and frame racism, sexism, and ableism as systemic issues. Meanwhile, algorithms, global finance, and supply chains exert an ever more powerful—if often invisible—force on all of us. Systems thinking has become unavoidable, and art has become a crucial tool for making invisible systems legible—and for fighting back. Jack Burnham coined the term “systems art” in Artforum in 1968, though many of the artists he wrote about then are better remembered as Minimalists. Kenneth Noland, Robert Morris, and Dan Flavin developed structured approaches to making art. They turned their studios into systems and found procedural ways of working through rules, seriality, and repetition: Morris, for instance, used modular units that were standar

La exposición no sólo permite conocer la importancia del Correíllo La Palma en la conexión y el desarrollo de las islas, sino que también con el puerto de Los Cristianos que, desde 1888, fue siempre escala obligatoria para el buque en sus rutas. Esta iniciativa responde al compromiso de Museos de Tenerife con la democratización de la cultura, la descentralización de la actividad museística, la educación y la difusión del patrimonio insular en todo el territorio de la isla. Por ello, hemos decidido acercar la exposición a distintos municipios para garantizar que residentes y visitantes puedan conocer de cerca el papel clave del Correíllo La Palma en la conectividad y el desarrollo del archipiélago, pero también de la isla. La exposición invita al visitante a sumergirse en el ambiente portuario de principios del siglo XX, poniendo en valor el papel del Correíllo La Palma como elemento clave en la conectividad del archipiélago. A través de piezas originales del buque, obras de arte, objetos de la época y material audiovisual, el público puede conocer de cerca la relevancia histórica y social de esta embarcación, así como el proceso de recuperación y conservación que ha permitido prese

The upcoming presentation of the Bayeux Tapestry, a 230-foot-long embroidered cloth depicting the Norman invasion of 1066, figures to be the blockbuster exhibition of the year for the British Museum. The institution is pricing tickets like it is. On Thursday, the museum said that tickets to see the tapestry, which goes on view September 10 through July 11, 2027, will cost £33 for a standard adult ticket, or about $45. That’s the high end, for “peak” times. During off-peak times, i.e. non-holiday, non summer weekdays until 5:10 p.m., an adult ticket will cost £27. Tickets for Students and disabled visitors are a flat £25. All tickets get you a 40-minute visit with the tapestry. The first two weeks of the exhibition and the last two weeks of the exhibition will be treated as “peak” tickets no matter the timing. If that wasn’t all confusing enough, the British Museum said it is also offering “super off-peak” tickets for £25, available for the last time slot of each weekday, i.e. 3:30 p. m. to 4:20 p.m. Members get tickets for free, but still must book a time slot, with each member getting only two free visits to the tapestry during the exhibition’s [...]