Arqueología del archivo en la obra de Herzog &
[EN] The aim of this article is to interpret the way the Swiss firm Herzog & de Meuron worked with the archive prior to the awarding of the Pritzker Prize in 2002. The study focuses on how they reveal their creative processes through their own exhibition projects, specifically two exhibition...
| Autores: | , |
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| Formato: | artículo |
| Fecha de publicación: | 2026 |
| País: | España |
| Recursos: | Universitat Politècnica de València (UPV) |
| Repositorio: | RiuNet. Repositorio Institucional de la Universitat Politécnica de Valéncia |
| Idioma: | español inglés |
| OAI Identifier: | oai:dnet:riunet______::21c024029dbe2ac9c8ef7b5c8895679d |
| Acesso em linha: | https://riunet.upv.es/handle/10251/234236 |
| Access Level: | acceso abierto |
| Palavra-chave: | Archive Exhibitions Reappropriation Herzog & de Meuron Kabinett Archivo Exposiciones Reapropiación |
| Resumo: | [EN] The aim of this article is to interpret the way the Swiss firm Herzog & de Meuron worked with the archive prior to the awarding of the Pritzker Prize in 2002. The study focuses on how they reveal their creative processes through their own exhibition projects, specifically two exhibitions catalogued in their archive as works of architecture no. 130 Centre Pompidou, Paris, 1995 and no. 183 CCA, Montreal, 2002 . The most relevant aspect in both exhibitions is the dialectical confrontation between two dispositives: horizontal operational tables tables and vertically arranged works of art tableaus . To reinforce this argument, a comparison is made between these two Herzog & de Meuron exhibitions and the exhibition devoted to George Didi- Huberman s Atlas, concluding that this exhibition format constitutes, in itself, a display of creative processes centred on the reappropriation of the archive. |
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