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New avant-garde design territories

The frontiers between the traditional disciplines of design are blurring. This interdisciplinary space, at times vague, at times unclassifiable, engendering all sorts of exchanges, blends, transactions, frictions and superimpositions, sketches a map of the territory with new points of convergence and new crossings of information and action, and suggests heretofore unexplored paths of investigation.

The exhibition CreuatsCruzados-Crossed: New Territories of Avant-garde Design seeks to identify this new cartography of design and, in doing so, fixes its gaze on the Òplaying fieldÓ (processes, movements, strategies, devices) as well as the results (objects) and their protagonists (authors).

The exhibition selects thirty-eight pieces of diverse conception, format and creators. All of them represent, in this context, the points of convergence, but also the points of departure in this territory that we seek to define. The pieces defy any sort of disciplinary label or classification. And it is not their authors' intention to forge any consciousness of movement or group, despite the existence of lines of work probing common territories using similar strategies. In many cases, the pieces have the capacity to generate their own universe beyond the simple crossing of disciplines.

This exhibition is meant to be an introduction to this new non-parcelled, mestizo, frontier, mutant territory that not only suggests new hybrid forms of work, but also recasts disciplinary orthodoxy by incorporating new creative parameters and new attitudes towards investigation, and which, therefore, generates new objects, new spaces, new images: in sum new stimuli for our collective imagination.

Shunning classifications of the disciplinary order in the organization of the pieces, we propose that the exhibition be seen following three itineraries, according to different criteria of linking. We recognize, on the one hand, the arbitrary nature of the decision and the endless possibilities that exist for structuring the route, and, on the other hand, the will to understand each piece as a singular entity independent from the rest - as, in certain manner, a micro-exhibition.

Arrangement of the works based on the definition of twenty-one concepts, in a sort of micro-reference dictionary. Each work is described with three of these concepts. This generates a narration in which the pieces are laid out as in a game of dominoes, such that each shares one or two concepts with the previous and next piece.

Arrangement that combines two different aspects but in some cases coinciding in terms of dimension: one the one hand, size - objectively quantifiable feature - and, on the other, the realm in which the work is framed in relation to the user, from intimacy to a global setting - a more subjective trait.


Arrangement of the pieces in relation to the space each of them occupies in its adaptation to the setting - in this case, Sala 1of the CCCB - whether due to technical requisites or in seeking a better space-work-viewer relationship. The random coexistence of the pieces creates unpredictable relations that expand the narrative possibilities.

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