Image &(Con)Text: S.M.S nº5

Presentamos el quinto número de S.M.S., una revista creada en 1968 en Manhattan como espacio colaborativo de artistas, caracterizada por la heterogeneidad de las manifestaciones artísticas que recoge, y que abogan por la libertad del autor y por la lucha contra la concepción mercantilista del arte

Desde el 8 de noviembre de 2022

The cycle Image & (Con) Text connects the Library with the Helga de Alvear Collection through a series of exhibitions that are a meeting place between disciplines displaying editions in which word and image come together. The connections between the two will range from more traditional publications, books where the image accompanies the text as illustration, to those more daring ones, which place one of their main values in the tension between the two domains and in the contribution to erasing the frontiers that separate them.

We begin the Cycle of exhibitions with S.M.S., a magazine created in 1968 in Manhattan as a collaborative space for artists, characterised by the heterogeneity of the artistic manifestations it contains, and which vindicated the commercialisation of art.

In the late 1960s, a modern loft on Manhattan’s Upper West Side owned by the artist, collector and art dealer William Nelson Copley became the S.M.S. Studio. A collaborative workspace that brought together artists, curators, performers and musicians who advocated the freedom of the author and the fight against the mercantilist conception of art, to which the expression hidden behind the acronym of its name (Shit Must Stop) referred.

With the aim of finding new places and ways of exhibiting, in 1968 they created the magazine S.M.S. Halfway between a periodical and a work of art, it was understood by its promoters as “a collection of multiple originals” that pushed the magazine format to its own limits.

Between February and December 1968, six issues conceived as six folders were published, with a print run of 2,000 copies, which were distributed bimonthly to subscribers for just over 100 dollars. In total, 73 artistic collaborations whose heterogeneity reflects the diversity of the generation, fame and aesthetic interests of the participating artists.

In each folder it is possible to find drawings, photographs, stickers, posters, sound works, objects, unfinished projects, poems, texts… brought together with the intention of erasing any boundaries between disciplines. Some works were easily subjected to mechanical reproduction techniques; others required additional manual work. Some are finished, others are sketches, drawings, studies, and even instructions that delegate execution to the receiver. There were no limits, except those imposed by the size of the folder containing them. And while in some cases a glance is enough to read or see the work, in others it is necessary to manipulate, unfold or assemble it in order to appreciate or read it in its wholeness. To this end, we have created and made available to the public in our library a complete facsimile of the first issue of the magazine in our library.

María Jesús Ávila

Nacida en Cáceres (1966), es Doctora en Historia del Arte por la Universidad de Extremadura. Desde 2008 es Coordinadora de la Fundación Helga de Alvear y del Museo del mismo nombre que gestiona.

Antes ha sido conservadora en el Museu do Chiado-Museo Nacional de Arte Contemporânea, Lisboa (1994-2007), responsable de la colección de la Culturgest, Lisboa (2008) y profesora asociada del Departamento de Historia del Arte de la Universidad de Extremadura (1995-1999) y de la Universidade Nova de Lisboa (2005-2006).

Ha comisariado exposiciones sobre artistas y arte moderno y contemporáneo: Más que espacio (2001), S.M.S. Un espacio de encuentro (2021) ...y el tiempo se hizo (2015), Arte Moderno en Portugal (Salamanca, Madrid y Badajoz, 2007-2008), A cor como experiência (2006), Primeiros Modernismos em Portugal (2005) o Surrealismo em Portugal 1934-1952 (Badajoz, Lisboa y Madrid (2001-2002). Entre los artistas comisariados Mitsuo Miura (2018), Jürgen Klauke (2017), Jean-Marc Bustamante. Espacios transitorios (2016), Heim Semke (2005), Sá Nogueira (1998), Ana Hatherly (1997) y Mário Eloy (1996). Ha sido miembro del equipo curatorial de la feria Foro Sur, Cáceres (2003 y 2007-2011).

Es co-autora de los dos primeros catálogos razonados realizados en Portugal: Joaquim Rodrigo (1999) y Julião Sarmento. Edições numeradas (2006), de los tres volúmenes de las colecciones del Museu do Chiado (2011-2013), autora del libro Ortega Muñoz y ha colaborado con artículos en numerosos catálogos y revistas de arte.

Paralelamente participa en proyectos de investigación relacionados con museografía y conservación de arte contemporáneo: miembro director del equipo del proyecto Domentação da Arte Contemporânea, financiado por al Fundação para a Ciência e a Tecnologia, miembro del Comité Científico de la revista MIDAS, dirección del Curso sobre Producción de exposiciones temporales de la Red Portuguesa de Museos (2002-2005) y El arte contemporáneo, una herramienta educativa pluridisciplinar (2013-2014), artículos en revistas y congresos especializados, como, Revista de APHA, Studies in conservation, Modern Paints Uncovered (Getty, 2006) o ICOM-CC (2011) o MDPI (2020), y co-directora de traabajos de investigación, másteres y tesis doctorales (actualmente co-dirige la Tesis Conservación y valorización de la Colección de fotografía y vídeo de Ângelo de Sousa).

Robert Rohm

Mel Ramos

Bruce Nauman

William Schwedler

Yoko Ono

Larry Wiener

Angus MacLise

Edward Fitzgerald

Neil Jenny

Diane Wakoski

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