This exhibition of the MUSAC Collection recreates an eighteenth-century gallery to encourage an investigation into exhibition models and the assignment of value to works of art. In this room we have taken as an example the installation process followed at the Royal Academy of Arts in London where, starting from an imaginary line above the visitor's head, we establish a hierarchy of location related to the various genres of painting. On that imaginary line, portraits and history painting predominate, in larger formats, and the rest of the works are placed on a higher or lower plane. How can we today transfer this way of installing the works of art to the metalanguage that is curatorial work? Can we read this method from a contemporary position? Can we propose a semiotic analysis by establishing new relationships and, consequently, new ways of seeing and understanding the works of art? Starting from a contemporary collection, the translation to the classical genres of painting is not automatic, but forces us to reinterpret their position, to find new connections and classification systems. This series of readings on the collection focuses on the study of formal aspects of the museum space as a stage for other possibilities and highlights the idea of the exhibition as a tool for seduction and knowledge.
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