Technology has set out to leave this world as a space setting by Stanley Kubrick: no objects. First he has swept the elepés, then the CDs, later the DVDs and now he goes for the works of art. Technology is like the Sarlacc, that creature that appeared in "The Return of the Jedi": he wants to swallow the material world in a digestion of a thousand years. With the exhibition «Intangibles», which Telefónica presents today, it is shown that its ambition has no horizons. Not only does he face the works of art, but, like a modern succubus, he wants to own it, enter his veins, metamorphose into it, imitate it, replace it. It's almost a mimesis of that alien that John Carpenter portrayed in that "superhit" of the teen horror movie that was "The Thing," but with a keyboard and something nicer. Technology now pretends to know what its limits are, which is as if the infinite wondered where the end of its extension lies. The exhibition, which can be visited from tomorrow, tries to cross that barrier that usually separates visitors from the works of art that it contemplates and that painting or sculpture or drawing in turn interact, are not a world united only by the thread from the vision, which has always been a weak rope, easily broken, that depends on something as fragile as attention, which, as all those who have been students know, is something very volatile (especially in mathematics). Here we have taken the work of Joaquín Torres García, Roberto Matta, Juan Gris, René Magritte, Paul Delvaux, Eduardo Chillida, María Blanchard and Antoni Tàpies, who are people who have always opened their way independently, at their own pace. Under VR technology, photogrammetry or videomapping has been approached from another point of view. Literally you want the visitor to get into them, interact with their supposed digital materiality, which is a beautiful paradox. An intention that will have its pedagogical aspect, of course, as entering the labyrinth of knowledge, the secrets and mysteries that surround the works of art, but well, as a seasoned student and not in Dan Brown's plan, as if each canvas were A wired spell. Here the question that arises is that possible future of starting to make exhibitions without loans, going from the millions of insurances and the issue of transfers of the various museum treasures. The digital visitor of the following generations may no longer value originality, the main work, but the possibility of literally diving into it. As if it were a David Hockney pool.
. (tagsToTranslate) javier ors