Picasso precedente del giro curatorial: las exposiciones retrospectivas de París y Zurich (1932) como propuestas previas a la figura del curador como creador

Bárbara Bayarri Viñas

doi:10.24310/ba.45.2024.15983

Authors

Bárbara Bayarri Viñas Universidad Autónoma de Barcelona Spain https://orcid.org/0000-0002-0265-0213

DOI:

https://doi.org/10.24310/ba.45.2024.15983

Keywords:

Curator, Curatorial turn, Museums, Exhibition, Picasso

Abstract

The following pages begin with the first exhibitions curated autonomously and independently by artists in the mid-19th century, until the figure of the curator as creator emerged in the 1960s. Betwixt these two events Picasso’s retrospective exhibitions –held at the Galeries Georges Petit and the Kunsthaus Zürich in 1932– represent the cornerstone here. The Paris and Zurich retrospectives are a representative example of the artist as curator and its correspondence with the later emergence of the curator as creator. For this reason they can be considered one of the artistic precedents of the curatorial shift of the second half of the 20th century.

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Author Biography

Bárbara Bayarri Viñas, Universidad Autónoma de Barcelona

PhD student of the Picasso Doctoral Degree and member of the Teaching and Research of the Department of Philosophy of the Autonomous University of Barcelona, ??Masters Degree in Research in Art and Design (EINA), Masters Degree in Cultural Management (UOC) and Graduate in Philosophy (UAB). His PhD thesis, in progress, is entitled: The generation of knowledge in art museums: Picasso's Las Meninas as a device for the emergence of new practices and discourses, and focuses on contemporary museum practices and discourses and on how knowledge is generated and transferred in museums.

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