Only a few months after its official opening, Museo Patio Herreriano presented an ambitious exhibition entitled Cuatro dimensiones, a project that seeked to survey the developments in the field of sculpture taking the works in the Colección de Arte Contemporáneo as a point of departure. The works on show succeeded in portraying the vigorous way by which sculpture in Spain had reemerged after the sterile years of Conceptual art. Cuatro dimensiones put forward four perspectives around the medium of sculpture between 1978, the year in which Spain’s Constitution was officially signed, and 2003, when the exhibition took place. It included works by artists that flourished in our country in coincidence with the consolidation of democracy and also those by artists from successive generations that contributed to Spain’s assumption of the international artistic languages when the world was about to plunge into the global arena that defines our times.
Una dimension ulterior takes that show as a reference in order to explore the developments in the field of sculpture up until our present day. It is formed by some of the works included back then and many belonging to contemporary artists working today. If Cuatro Dimensiones eluded the grand tales of Art History, Una dimensión ulterior seeks to enhance the value of minor histories. This is why we have chosen the indefinite article “Una” (“a”) instead of the definite article “La” (“the”), because, as it is well known, there is no longer room for univocal readings of the art of our times, and the one we have here at stake is only one of many other possibilities. However, what we try to put forward here is our humble ambition to present some of today’s key aspects of sculptural practice.
The Contemporary Art scene has changed drastically since Cuatro dimensiones was shown here, and sculpture is probably the field that has suffered these transformations in its own skin in severe fashion. Strongly affected by the rise of digital technology, one that is capable of diluting not only the hardest forms but also the most vehement discourses, sculpture stands today as a language of resistance in the context of today’s liquid times.
Una dimensión ulterior whirls around a number of themes that seek to shed light on certain tendencies. The rooms on the third floor focus on form and antiform while the rooms on the second floor address issues as relevant as the uncanny, the links to our vernacular roots, the bonds between language, body and matter, the opposition between the organic and the mechanic within the realm of nature and the tensions between the fragment and the whole.
Una dimensión ulterior points at minor histories, but these might well configure an alternative gaze when placed together. Following the example of the dialogue between José Díaz and Ángeles Marco, the show seeks to offer other readings away from established canons, eschewing predictable associations in order to trace new historiographic models that might refresh institutional practices around Spain’s art of recent decades.