Paintings of Collectors’ Cabinets as Dialectical Image. A Return to the Future of the Installation Art
DOI:
https://doi.org/10.5944/etfvii.11.2023.34413Keywords:
Installation Art; art collectors’ cabinets; contemporary art; curatorship; theory of artAbstract
Walter Benjamin did not clearly define the term «dialectical image», but it seems to refer to the configuration of meaning that occurs when a historical image reaches a higher degree of actuality than it had in its own time, when integrated into a constellation of meaning with another contemporary image. In this article we will propose that the art collectors’ cabinets genre could achieve a renewed relevance if we put it in relation to installation art, the leading form in the framework of contemporary art, according to Groys. In this dialectical image, the collectors’ cabinets would nuance their counter-reformist aspects, while the installation art would find a genealogy that would give historical meaning to its dialectical relationship with modernist iconoclasm.
Downloads
References
Benjamin, Walter: «Experiencia y pobreza», en Discursos interrumpidos I. Buenos Aires, Taurus, 1998, pp. 165-174.
Benjamin, Walter: La obra de arte en la época de su reproductibilidad técnica [urtext]. México, Itaca, 2003.
Benjamin, Walter: «Historia y coleccionismo: Eduard Fuchs», en Discursos interrumpidos I. Buenos Aires, Taurus, 1989, pp. 86-139.
Benjamin, Walter: Libro de los pasajes. Madrid, Akal, 2004.
Benjamin, Walter: Tesis la historia y otros fragmentos. México, Itaca-UACM, 2008, §18A, p. 58.
Bishop, Claire: «Antagonism and Relational Aesthetics», October, 110 (Fall 2004), pp. 51-79.
Bishop, Claire: «But is it installation art?», Tate etc, 3 (2005). [En línea] https://www.tate.org.uk/tate-etc/issue-3-spring-2005/it-installation-art [fecha de consulta: 03/04/2023
Bishop, Claire: lnstallation art: a critical history. London, Tate, 2005.
Bishop, Claire: «El arte de la instalación y su herencia», Ramona, 78 (2008), pp. 46-51.
Bishop, Claire: «¿Qué es un curador? El ascenso (¿y caída?) del curador auteur», Denken Pensée Thought, 7 (2011), pp. 105-119.
Bryson, Norman: Visión y pintura. La lógica de la mirada. Madrid, Alianza, 1991.
Coulter-Smith, Graham: Deconstruyendo las instalaciones / Deconstructing Installation Art. Madrid, Brumaria, 2009.
Díaz Padrón, Matías y Mercedes Royo. David Teniers, Jan Brueghel y los gabinetes de pinturas. Madrid, Museo del Prado, 1992.
Fried, Michael: «Art and Objecthood», Artforum, 5/10 (1967), pp. 12-23.
Groys, Boris: «La topología del arte contemporáneo». Esfera pública (2009). [En línea] http://esferapublica.org/nfblog/la-topologia-del-arte-contemporaneo/ [fecha de consulta: 03/04/2023]
Groys, Boris: «El curador como iconoclasta», Criterios, 2 (2011), pp. 24-28.
Groys, Boris: Arte en flujo. Ensayos sobre la evanescencia del presente. Buenos Aires, Caja negra, 2016.
Kabakov, Ilia; Groys, Boris: «De las instalaciones, un diálogo», Lugar a dudas (cuartillas), 4 (2008). [En línea] http://www.lugaradudas.org/archivo/pdf/cuartilla5.pdf [fecha de consulta: 03/04/2023]
Larrañaga, Josu: Instalaciones. Hondarribia, Nerea, 2001.
Luelmo, José María: «La historia al trasluz: Walter Benjamin y el concepto de imagen dialéctica», Escritura e imagen, 3 (2007), pp. 163-176.
Marr, Alexander (ed.): «Picturing collections in early modern Europe». Intellectual History Review, 20/1 (2010), pp. 1-4.
Rebentisch, Juliane: Estética de la instalación. Buenos Aires, Caja negra, 2018.
Rosenthal, Lisa: «Frans Francken the Younger’s Discovery of Achilles: Desire, Deception, and Inalienable Possession», en Melion, Walter; Woodall, Joanna; Zell, Michael (eds.): Ut Pictura Amor. The Reflexive Imagery of Love in Artistic Theory And Practice, 1500-1700. Boston, Emory University, 1962, pp. 704-729.
Scarpa Sonino, Annalisa: Cabinet d’amateur. Le grandi collezioni d’arte nei dipinti dal XVII al XIX secolo. Milano, Berenice, 1992.
Stoichita, Victor: «La visita en el gabinete de pintura», en VV.AA.: Historias mortales. La vida cotidiana en el arte. Sabadell, Círculo de lectores, 2004, pp. 231-247.
Stoichita, Victor: La invención del cuadro. arte, artífices y artificios en los orígenes de la pintura europea (1993). Barcelona, Del Serbal, 2000.
Stoichita, Victor: «El museo y la ruina, el museo como ruina», en Cómo saborear un cuadro. Madrid, Cátedra, 2009, pp. 255-280.
Tejeda, Isabel: «Pasajes de espacio, tiempo y espectador: instalaciones, nuevos medios y piezas hibridas en la colección del IVAM», en Instalaciones y nuevos medios en la colección del IVAM. Espacio. Tiempo. Espectador. IVAM, Valencia, 2006, pp. 27-67.
Van Suchtelen, Ariane; Van Beneden, Ben (eds.): Room for Art in Seventeenth-Century Antwerp. The Hague, Mauritshuis, 2009.
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2023 Ramón Salas Lamamié de Clairac

This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
Authors who publish in this journal agree to the following terms:
- Authors retain copyright and grant the journal right of the first publication with the work simultaneously licensed under a license Creative Commons Reconocimiento-NoComercial 4.0 Internacional that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.
- Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
- Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as to earlier and greater citation of the published work (See The Effect of Open Access).