{"id":39146,"date":"2020-09-16T11:10:21","date_gmt":"2020-09-16T09:10:21","guid":{"rendered":"https:\/\/www.centrobotin.org\/?p=39146"},"modified":"2020-11-16T13:48:57","modified_gmt":"2020-11-16T12:48:57","slug":"architecture-into-art-a-dialogue-closes-the-centro-botins-2020-exhibitions-programme","status":"publish","type":"post","link":"https:\/\/www.centrobotin.org\/en\/architecture-into-art-a-dialogue-closes-the-centro-botins-2020-exhibitions-programme\/","title":{"rendered":"ARCHITECTURE INTO ART: A DIALOGUE CLOSES THE CENTRO BOT\u00cdN\u2019S 2020 EXHIBITIONS PROGRAMME"},"content":{"rendered":"\n<ul class=\"wp-block-list\"><li>This exhibition engages in a dialogue with the built fabric of the Fundaci\u00f3n Bot\u00edn art centre in Santander, while addressing the relationship that artists have with the space in which they present their works<em>.<\/em><\/li><li>Curated by Benjamin Weil, artistic director of the Centro Bot\u00edn, the exhibition will be open to the public from 9 October 2020 to 14 March 2021. <\/li><li>Leonor Antunes, Miroslaw Balka, Carlos Bunga, Martin Creed, Patricia Dauder, Fernanda Fragateiro, Carlos Garaicoa, Carsten H\u00f6ller, Julie Mehretu, Jorge M\u00e9ndez-Blake, Muntadas, Juan Navarro Baldeweg, Sara Ramo, Anri Sala and Juli\u00e3o Sarmento will all be represented in the show.  <\/li><\/ul>\n\n\n\n<p>Centro Bot\u00edn presents <em>Architecture into Art: A Dialogue, <\/em>a major new exhibition, open to the public from 9 October 2020 to 14 March 2021<em>. <\/em>The show conducts a conversation with Renzo Piano&#8217;s building, which has become an icon and a landmark of Santander&#8217;s Paseo Mar\u00edtimo since it opened in June 2017, and addresses the relationship that artists establish with the physical site in which they show their work, the strategies by which they appropriate the exhibition space and the architectural space, investigating the mutual influence architecture and art exert on one another and offering reflections on how architecture shapes our lives and articulates social interaction and how while art brings viewers closer to reality from new angles.<\/p>\n\n\n\n<p><em>Architecture into Art: A Dialogue, <\/em>which will be open to the public from 9 October 2020\nto 14 March 2021, brings together a selection of works by artists who have run\none of the Fundaci\u00f3n Bot\u00edn\u2019s Visual Arts Workshops and exhibited their work in\nSantander, along with pieces created by former recipients of the Foundation\u2019s\nannual Visual Arts Grants. Thus, we can see works by Leonor Antunes, Miroslaw\nBalka, Carlos Bunga, Martin Creed, Patricia Dauder, Fernanda Fragateiro, Carlos\nGaraicoa, Carsten H\u00f6ller, Julie Mehretu, Jorge M\u00e9ndez-Blake, Muntadas, Juan\nNavarro Baldeweg, Sara Ramo, Anri Sala and Juli\u00e3o Sarmento \u2013 for all of whom\narchitecture is a crucial concern to the point of affecting, in some cases, the\nformal definition of their artistic research.<\/p>\n\n\n\n<p>In the words of Benjamin Weil, artistic director of\nthe Centro Bot\u00edn and curator of the exhibition: \u2018If the original purpose of\nbuilt structures was to provide a roof for human groups and their domesticated\nanimals, nowadays they also serve as an agora in which a whole spectrum of\nsocial functions are carried out, ranging from commercial and administrative activities\nto professional practices and cultural spaces, such as museums.\u2019<\/p>\n\n\n\n<p>It has become increasingly\ncommon for new museums to be designed by internationally acclaimed architects.\nThe Centro Bot\u00edn is one of the most recent art spaces of the many devised by\nRenzo Piano, whose roster of built work includes the Whitney Museum of American\nArt in New York, the Fondation Beyeler in Basel and (in collaboration with\nRichard Rogers) the iconic Centre Pompidou in Paris. <\/p>\n\n\n\n<p><strong>The functionality of the architecture<\/strong><\/p>\n\n\n\n<p>If the object\nof architecture is, in the first instance, functional, the fact that its\ndominant criterion is utilitarian does not preclude aesthetic concerns. Thus,\nthe early 20th century witnessed the emergence of the highly influential Modern\nMovement, with its core principle that \u201cform follows function\u201d, a tenet\nperfectly exemplified by the work of Le Corbusier and the Bauhaus architects \u2013 Walter\nGropius, Marcel Breuer or Mies van der Rohe, among others.<\/p>\n\n\n\n<p>A rigorously\nfunctional approach to the design of buildings and furniture was central to the\nthinking of a number of artists whose pursuit of a new purity of form, some\nsixty years ago now, led to the parsimonious use of\ncarefully selected materials to produce objects bearing simplified geometric\nforms. These artists were also committed to engaging with\nthe exhibition space as an integral part of their artistic reflection and art practice,\nincluding the perceptual twists resulting from the dynamic relationship between\na sculptural object, colour or light and the space in question.<\/p>\n\n\n\n<p>Architects think\nup buildings, and only occasionally involve themselves in their construction, delegating\nthat task to engineers or other qualified professionals and limiting their\ninput to supervising the process to ensure that the building is true to its original\ndesign and intention. Many minimalist artists followed the architects\u2019 example in\nthis, dissociating themselves from the process of material elaboration whose\nbasis is the initial idea. Effectively shunning the craft aspect of work and\naspiring instead to achieve formal purity and entrusting others with the actual\nembodiment of their works, their goal was to achieve the neutrality and\nperfection of the industrially produced object. The originality of the work did\nnot depend on the fact that the artist had produced it with his or her own\nhands. Rather, the concept materialised in the work was privileged over manual\ndexterity.<\/p>\n\n\n\n<p><strong>EXHIBITION\nITINERARY<\/strong><\/p>\n\n\n\n<p>The exhibition\noccupies the second floor galleries at Centro Bot\u00edn, shared between two spaces\nseparated by an open, diaphanous wall, which sets the rhythm of the exhibition.\nWhile the first room is dedicated to works in two dimensions, the works in the\nsecond room are three-dimensional, reflecting the idea of \u200b\u200barchitecture as both\nobject and subject, though it is not easy to define the actual borderline in\nmany of the pieces in the show.<\/p>\n\n\n\n<p><strong>Architecture\nas object<\/strong><\/p>\n\n\n\n<p><strong>Many of the\nworks in this exhibition are formally indebted to the philosophy of Minimalism<\/strong>. In many cases the artists only worked on the concept, leaving to others\nthe task of physically creating the works. This is the case of <em>Seven Sliding\nDoors Corridor <\/em>(2016), by <strong>Carsten H\u00f6ller<\/strong>, which uses electronic\nmechanisms and materials to generate a prototypical physical experience of\nmodernity, combining references to corporate architecture and science fiction.\nThe piece consists of a corridor with seven sliding doors and a reflective\nsurface which has different degrees of opacity or transparency, through which\nit is possible to see from inside to outside or from outside to inside. For\nBenjamin Weil, this work \u2018establishes the sculpture as a space within the architectural\nspace and reflects on how these two spaces relate to one another through the\ndynamic established between what this sculpture occupies and the sculpture\nitself.\u2019<\/p>\n\n\n\n<p><em>The same room also houses<\/em><strong> Anri Sala<\/strong>\u2019s<em> No\nWindow No Cry (Renzo Piano &amp; Richard Rodgers, Centre Pompidou, Paris) (2012)<\/em>,\nconsisting of a full-scale replica of a window of the famous Paris museum,\nwhere this piece was first shown. Placed here in front of the Centro Bot\u00edn window,\nthe work establishes a relationship between windows in the first museum\ndesigned by Renzo Piano (Pompidou Centre) and in one of the most recent (Centro\nBot\u00edn), bringing out a certain degree of formal continuity between the two\nbuildings despite the forty years that separate them. In its new location, the\nwindow enables Sala to frame the view and in so doing appropriate it, in clear\nreference to the art-historical concept of the <em>veduta<\/em>.<\/p>\n\n\n\n<p>Since the early nineties,<strong> Miroslaw Balka has been <\/strong>listening to the architecture of the\nsettings in which he exhibits his sculptures. Always in dialogue with space, he\nconsiders that the footprint that remains in architecture is architecture<strong>. <\/strong>His piece here, <em>196\nx 230 x 141<\/em> (2007), consists of a hollow triangular structure which suggests\nthe entrance to another space \u2013 to a mine, perhaps \u2013 with the bare bulb that\nilluminates its interior turning off as soon as the visitor approaches and\nenters a corridor, which gets narrower. The sculptural presence of this object,\ntoo, clearly alludes to architecture.<\/p>\n\n\n\n<p>The work by<strong> Jorge M\u00e9ndez-Blake<\/strong>, <em>From the Bottom of a Shipwreck\n<\/em>(2011), uses bricks to construct two tower-like structures, which allude to\nthe architecture of the first industrial era in a theatrical <em>mise en sc\u00e8ne<\/em>\nof a volume of St\u00e9phane Mallarm\u00e9\u2019s Symbolist poetry and function, in some sense,\nas a pair of hugely oversized bookends or suggest the walls of a library.<\/p>\n\n\n\n<p>For Benjamin Weil, artistic director of the Centro Bot\u00edn and curator of\nthe exhibition, \u2018there are artists who choose to create work that take direct\ninspiration from the linguistic structure of architecture; others, in contrast,\nopt to address themes that have more to do with the ornamental aspect, in order\nto posit, perhaps, a reflection on the status of the work of art in the\nbuilding\u2019. The fact is that although architects are often personally involved in\nthe finishing of their constructions, in some instances the finish is the\nresult of collaboration with a visual or decorative artists. For this reason, <strong>a\nnumber of the works in <em>Architecture into Art: A Dialogue <\/em>invoke the\ngreat tradition of fresco painting and monumental sculpture, which occupies a\ncentral place in the history of architecture<\/strong>. For example, <em>in Attempt at\nConservation<\/em> (2014)<strong>Carlos Bunga <\/strong>chooses to enclose a\nthree-dimensional painting on cardboard in a display case set into the wall of\nthe room, while <strong>Sara Ramo <\/strong>makes a direct reference to architecture with\ntwo works that formally allude to the decorative arts: <em>Intractable (tribute\nto Ivens Machado) <\/em>(2019), a column of monumental proportions; and <em>Slit<\/em>\n(2019), an incision in the wall, in which the artist places various objects she\nhas collected. For Ramo, every built space is a shell, a skin or a mask, and as\nan artist she seeks to turn buildings around, dig up the floors, get behind the\nplaster, dress the columns, open little doors\u2026 As she herself remarks, \u2018You\nhave to look for the entrails of the space and invoke the instinctive,\ninaugural architecture, the cave-architecture and the ceiling-architecture, shelter\na spirit, make room for a void. Dig down and see the population of a strange\ncommon imaginary embody itself, become flesh and matter and insist precisely on\na void full of life. An empty continent housed by walls, ceilings and pipes.\u2019<\/p>\n\n\n\n<p><strong>Martin Creed<\/strong>&#8216;s mural piece, <em>Work\nNo. 2696 <\/em>(2016), generates a distortion of our spatial perception with a\ncomposition of coloured pigments and mirror stripes, materials traditionally\nused in the decorative arts. Though its occupation of the space is decidedly\nminimalist on a visual level, the work makes a big impression thanks to the dual\npresence of the painting itself and the mirrored stripes that reflect the space.<\/p>\n\n\n\n<p><strong>Anri Sala<\/strong>\u2019s <em>All of a Tremble (Encounter I)<\/em> (2017) takes the shape of a projection screen covered in wallpaper that obstructs the view of the city. Saka takes his cue from the process of semi-industrial wallpaper production to create a musical instrument &#8211; actually made from rollers once used to produce the painted patterns. The hand-drawn motifs on the wallpaper appear at first to be the work of the mechanism we see affixed to the wall. It seems impossible to determine whether the roller is printing on the wall, or is interpreting the wallpaper patterns as if they were musical scores. Getting closer, one comes to realize the two halves of the wallpaper printing rollers activate a set of metal tines that turn the motifs on the paper into a melody. However, it remains unclear if the sound configures the image or if it is the image that produces the sound.<\/p>\n\n\n\n<p>The structure of <strong>Leonor Antunes\u2019s<\/strong> diaphanous hanging mesh metal scrim is inspired by patterns found in traditional weavings from Oaxaca (Mexico); while the piece is essentially related to decorative arts, it also has a very powerful architectonic presence.<\/p>\n\n\n\n<p>The piece by <strong>Patricia Dauder, <\/strong><em>Floor <\/em>(2018), consists ofa set of ninety worn pieces of parquet flooring, laid down in the exhibition space to form a rectangle on which the artist has placed an apparently burnt work on paper. <em>Floor <\/em>relates directly to the architecture of the space it occupies and reflects on the memory trapped in architectural elements, while its structure also gestures towards Minimalist art. The parquet has been torn up and removed from the place where it had a function, and it is this displacement that transforms it into sculpture. The work originated in 2011, when the artist used to walk around Brooklyn and Queens discovering a dark old city that did not conceal its decadence and exposed to view the layers of history its houses contained. Floor is just a delimitation on the ground, almost without volume, without body; a listless layer of eroded materials. But, at the same time, it is the vestige of a hypothetical dwelling and the memory of those who occupied it. According to Dauder, \u2018the ground beneath our feet is also the place into which all that has vanished goes and where we find the remains of old buildings, of old shelters. Under the ground lies the subterranean, hidden from view; past stories, the negative of architecture\u2019.<\/p>\n\n\n\n<p><em><strong>Architecture\nas subject<\/strong><\/em><em><strong><\/strong><\/em><\/p>\n\n\n\n<p>The work of Modernist architects have inspired a series of works by <strong>Juliao Sarmento<\/strong>, who trained as an architect before turning to art. \u2018In his painting, architecture has a very strong presence, and not only on a literal level but also in relation to the construction of his pictorial space,\u2019 says Benjamin Weil. For instance, the title of the canvas <em>Neutra Blue Lilies<\/em> (2011), one of a specific series of works begun around 2009-10, refers to the Austrian architect Richard Neutra, a major contributor to the shaping of the Los Angeles landscape as a mecca for a laid-back lifestyle in contact with nature, pioneering the use of new materials in residential architecture, something that Sarmento incorporates almost as an image in his painting. Many of the Los Angeles houses that captivated Sarmento with their morphology, their organic construction, the purity of their lines and their Minimalist aesthetic have become authentic icons, and some have had a significant cinematic presence as film sets, such as the Neutra house we see in Curtis Hanson\u2019s 1997 L.A. Confidential, based on the neo-noir novel of the same name by James Ellroy.<\/p>\n\n\n\n<p><strong>Carlos Garaicoa<\/strong> also studied architecture, and makes good use of it in his reflections on the decrepitude that besets his native Cuba. In <em>The Word Transformed<\/em> (2009) he combines the architectural structure of billboards with the language of propaganda to create collages that restore the integrity of dilapidated buildings. The installation, which consists of eight light boxes and a large table covered with cutting mats of the kind used by graphic designers, is a kind of architectural construct in its own right.<\/p>\n\n\n\n<p><strong>Juan Navarro Baldeweg<\/strong> is the only one of these artists to have practised architecture as a profession, in parallel with his researches into form in the field of the visual arts. The painting of interior scenes has a venerable tradition, but his two diamond-shaped works\u2013 <em>Silver Room with Figure<\/em> (2006) and <em>Red Room with Figure<\/em> (2005) \u2013 approach their theme in a way that is closer to the architectural plan or axonometric than to the space of a real room, while the drawing of the figure, which serves as an indicator of scale, takes the form of a decorative element.<\/p>\n\n\n\n<p>A similar if more conceptual approach informs the work of <strong>Fernanda Fragateiro.<\/strong> Her installation consists of three elements: <em>Elevation (Quiet Side); Ordinariness and Light, after Alison and Peter Smithson (2018); and Blue Window<\/em> (2018) are all related to the Smithson\u2019s Robin Hood Gardens social housing project, whose architecture, once emblematic of the Modernist utopia, came to exemplify the shortcomings of that paradigm. Years of campaigning by architects and heritage organisations failed to prevent the demolition of one of the post-war Brutalist housing blocks in 2017, in what the artist regards as an act of institutional vandalism. At the time, she was working on <em>Elevation (Quiet Side)<\/em> (2018), an aluminium grid which mimics the west fa\u00e7ade of the residential complex. With this work Fragateiro created, in real time, a fictional archaeology: in her sculpture the force of the Robin Hood Gardens utopia rises up against its demolition and against the savage neoliberal policies that time and again, have been directed at destroying modern collective housing and with it the promise of resolving the housing problems of ordinary people. The structure of the oversized mural relief replicates the gigantic fa\u00e7ade of one of the buildings and points to how the over-rationalising of dwelling may fail to consider the specific needs of the actual resident. In this way, Fragateiro questions the purposefulness of the modernist utopia, in some sense equating it to conceptual sculpture.<\/p>\n\n\n\n<p>This critical approach to architecture as a construct also feeds the work by <strong>Muntadas<\/strong>. <em>Fences <\/em>(2009) is a series of twelve photographs of the gated entrances to houses in residential areas of S\u00e3o Paulo which invites us to reflect on the way in which, when trying to keep their property safe from strangers, people end up walling themselves in, transforming their home into a kind of prison and thereby turning the whole concept of security inside out.<\/p>\n\n\n\n<p><strong>Julie Mehretu<\/strong> also reflects on the significance of the architectural space as a framework for social structures and interactions. The artist has made frequent references in her work to architecture, using technical drawings and the silhouettes of buildings as the basis for many of her compositions. <em>Epigraph, Damascus<\/em> (2016) is a polyptych of etchings that forms part of a body of work in which Mehretu engages with the destruction caused by the civil war in Syria.<\/p>\n\n\n\n<p>&nbsp;\u2018For years, Mehretu has used architecture and its representation as the basis of her work, not in an obvious way, but as a background, something we can appreciate throughout the history of art when we think about many of the paintings that have a landscape in the background, such as the <em>Mona Lisa<\/em>.\u2019 So writes Benjamin Weil, for whom this landscape creates the context that enables us to understand the foreground. &nbsp;In Mehretu\u2019s case, architecture establishes the idea of \u200b\u200border, of social organization delimited by the architectonic urban plan, expressed in a free visual language which derives from a very established structure: architecture.A catalogue will be published as a complement to the exhibition, with texts by each of the artists in which they discuss their relationship with architecture. <\/p>\n","protected":false},"excerpt":{"rendered":"<p>This exhibition engages in a dialogue with the built fabric of the Fundaci\u00f3n Bot\u00edn art centre in Santander, while addressing the relationship that artists have with the space in which they present their works. Curated by Benjamin Weil, artistic director of the Centro Bot\u00edn, the exhibition will be open to the public from 9 October [&hellip;]<\/p>\n","protected":false},"author":869,"featured_media":38958,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[14],"tags":[],"class_list":["post-39146","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-exhibitions"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.2 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>ARCHITECTURE INTO ART: A DIALOGUE CLOSES THE CENTRO BOT\u00cdN\u2019S 2020 EXHIBITIONS PROGRAMME - Centro Botin<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.centrobotin.org\/en\/architecture-into-art-a-dialogue-closes-the-centro-botins-2020-exhibitions-programme\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"ARCHITECTURE INTO ART: A DIALOGUE CLOSES THE CENTRO BOT\u00cdN\u2019S 2020 EXHIBITIONS PROGRAMME - Centro Botin\" \/>\n<meta property=\"og:description\" content=\"This exhibition engages in a dialogue with the built fabric of the Fundaci\u00f3n Bot\u00edn art centre in Santander, while addressing the relationship that artists have with the space in which they present their works. Curated by Benjamin Weil, artistic director of the Centro Bot\u00edn, the exhibition will be open to the public from 9 October [&hellip;]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.centrobotin.org\/en\/architecture-into-art-a-dialogue-closes-the-centro-botins-2020-exhibitions-programme\/\" \/>\n<meta property=\"og:site_name\" content=\"Centro Botin\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/CentroBotin\/\" \/>\n<meta property=\"article:published_time\" content=\"2020-09-16T09:10:21+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2020-11-16T12:48:57+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.centrobotin.org\/wp-content\/uploads\/2020\/09\/arte-arquitectura-1200x400.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1200\" \/>\n\t<meta property=\"og:image:height\" content=\"400\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Covadonga Odriozola Eguiburu\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@centrobotin\" \/>\n<meta name=\"twitter:site\" content=\"@centrobotin\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Covadonga Odriozola Eguiburu\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"15 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.centrobotin.org\/en\/architecture-into-art-a-dialogue-closes-the-centro-botins-2020-exhibitions-programme\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.centrobotin.org\/en\/architecture-into-art-a-dialogue-closes-the-centro-botins-2020-exhibitions-programme\/\"},\"author\":{\"name\":\"Covadonga Odriozola Eguiburu\",\"@id\":\"https:\/\/www.centrobotin.org\/en\/#\/schema\/person\/70df4e57a8c0734c9f1a563bc8fb3edf\"},\"headline\":\"ARCHITECTURE INTO ART: A DIALOGUE CLOSES THE CENTRO BOT\u00cdN\u2019S 2020 EXHIBITIONS PROGRAMME\",\"datePublished\":\"2020-09-16T09:10:21+00:00\",\"dateModified\":\"2020-11-16T12:48:57+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.centrobotin.org\/en\/architecture-into-art-a-dialogue-closes-the-centro-botins-2020-exhibitions-programme\/\"},\"wordCount\":2963,\"publisher\":{\"@id\":\"https:\/\/www.centrobotin.org\/en\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.centrobotin.org\/en\/architecture-into-art-a-dialogue-closes-the-centro-botins-2020-exhibitions-programme\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.centrobotin.org\/wp-content\/uploads\/2020\/09\/arte-arquitectura-1200x400.jpg\",\"articleSection\":[\"Exhibitions\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.centrobotin.org\/en\/architecture-into-art-a-dialogue-closes-the-centro-botins-2020-exhibitions-programme\/\",\"url\":\"https:\/\/www.centrobotin.org\/en\/architecture-into-art-a-dialogue-closes-the-centro-botins-2020-exhibitions-programme\/\",\"name\":\"ARCHITECTURE INTO ART: A DIALOGUE CLOSES THE CENTRO BOT\u00cdN\u2019S 2020 EXHIBITIONS PROGRAMME - Centro Botin\",\"isPartOf\":{\"@id\":\"https:\/\/www.centrobotin.org\/en\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.centrobotin.org\/en\/architecture-into-art-a-dialogue-closes-the-centro-botins-2020-exhibitions-programme\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.centrobotin.org\/en\/architecture-into-art-a-dialogue-closes-the-centro-botins-2020-exhibitions-programme\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.centrobotin.org\/wp-content\/uploads\/2020\/09\/arte-arquitectura-1200x400.jpg\",\"datePublished\":\"2020-09-16T09:10:21+00:00\",\"dateModified\":\"2020-11-16T12:48:57+00:00\",\"breadcrumb\":{\"@id\":\"https:\/\/www.centrobotin.org\/en\/architecture-into-art-a-dialogue-closes-the-centro-botins-2020-exhibitions-programme\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.centrobotin.org\/en\/architecture-into-art-a-dialogue-closes-the-centro-botins-2020-exhibitions-programme\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.centrobotin.org\/en\/architecture-into-art-a-dialogue-closes-the-centro-botins-2020-exhibitions-programme\/#primaryimage\",\"url\":\"https:\/\/www.centrobotin.org\/wp-content\/uploads\/2020\/09\/arte-arquitectura-1200x400.jpg\",\"contentUrl\":\"https:\/\/www.centrobotin.org\/wp-content\/uploads\/2020\/09\/arte-arquitectura-1200x400.jpg\",\"width\":1200,\"height\":400,\"caption\":\"ARTE Y ARQUITECTURA: UN DI\u00c1LOGO CIERRA EL PROGRAMA EXPOSITIVO DE 2020 DEL CENTRO BOT\u00cdN\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.centrobotin.org\/en\/architecture-into-art-a-dialogue-closes-the-centro-botins-2020-exhibitions-programme\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.centrobotin.org\/en\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"ARCHITECTURE INTO ART: A DIALOGUE CLOSES THE CENTRO BOT\u00cdN\u2019S 2020 EXHIBITIONS PROGRAMME\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.centrobotin.org\/en\/#website\",\"url\":\"https:\/\/www.centrobotin.org\/en\/\",\"name\":\"Centro Botin\",\"description\":\"Exposiciones y actividades en Santander\",\"publisher\":{\"@id\":\"https:\/\/www.centrobotin.org\/en\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/www.centrobotin.org\/en\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/www.centrobotin.org\/en\/#organization\",\"name\":\"Centro Bot\u00edn\",\"url\":\"https:\/\/www.centrobotin.org\/en\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.centrobotin.org\/en\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/www.centrobotin.org\/wp-content\/uploads\/2020\/04\/centro-botin-logo.jpg\",\"contentUrl\":\"https:\/\/www.centrobotin.org\/wp-content\/uploads\/2020\/04\/centro-botin-logo.jpg\",\"width\":960,\"height\":734,\"caption\":\"Centro Bot\u00edn\"},\"image\":{\"@id\":\"https:\/\/www.centrobotin.org\/en\/#\/schema\/logo\/image\/\"},\"sameAs\":[\"https:\/\/www.facebook.com\/CentroBotin\/\",\"https:\/\/x.com\/centrobotin\",\"https:\/\/www.instagram.com\/centrobotin\/\",\"https:\/\/es.wikipedia.org\/wiki\/Centro_Botin\"]},{\"@type\":\"Person\",\"@id\":\"https:\/\/www.centrobotin.org\/en\/#\/schema\/person\/70df4e57a8c0734c9f1a563bc8fb3edf\",\"name\":\"Covadonga Odriozola Eguiburu\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/secure.gravatar.com\/avatar\/48c4aac1f03fd76242db12082a29fad5476a159cc21ea7fc00508223eae41475?s=96&d=mm&r=g\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/48c4aac1f03fd76242db12082a29fad5476a159cc21ea7fc00508223eae41475?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/48c4aac1f03fd76242db12082a29fad5476a159cc21ea7fc00508223eae41475?s=96&d=mm&r=g\",\"caption\":\"Covadonga Odriozola Eguiburu\"}}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"ARCHITECTURE INTO ART: A DIALOGUE CLOSES THE CENTRO BOT\u00cdN\u2019S 2020 EXHIBITIONS PROGRAMME - Centro Botin","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.centrobotin.org\/en\/architecture-into-art-a-dialogue-closes-the-centro-botins-2020-exhibitions-programme\/","og_locale":"en_US","og_type":"article","og_title":"ARCHITECTURE INTO ART: A DIALOGUE CLOSES THE CENTRO BOT\u00cdN\u2019S 2020 EXHIBITIONS PROGRAMME - Centro Botin","og_description":"This exhibition engages in a dialogue with the built fabric of the Fundaci\u00f3n Bot\u00edn art centre in Santander, while addressing the relationship that artists have with the space in which they present their works. Curated by Benjamin Weil, artistic director of the Centro Bot\u00edn, the exhibition will be open to the public from 9 October [&hellip;]","og_url":"https:\/\/www.centrobotin.org\/en\/architecture-into-art-a-dialogue-closes-the-centro-botins-2020-exhibitions-programme\/","og_site_name":"Centro Botin","article_publisher":"https:\/\/www.facebook.com\/CentroBotin\/","article_published_time":"2020-09-16T09:10:21+00:00","article_modified_time":"2020-11-16T12:48:57+00:00","og_image":[{"width":1200,"height":400,"url":"https:\/\/www.centrobotin.org\/wp-content\/uploads\/2020\/09\/arte-arquitectura-1200x400.jpg","type":"image\/jpeg"}],"author":"Covadonga Odriozola Eguiburu","twitter_card":"summary_large_image","twitter_creator":"@centrobotin","twitter_site":"@centrobotin","twitter_misc":{"Written by":"Covadonga Odriozola Eguiburu","Est. reading time":"15 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.centrobotin.org\/en\/architecture-into-art-a-dialogue-closes-the-centro-botins-2020-exhibitions-programme\/#article","isPartOf":{"@id":"https:\/\/www.centrobotin.org\/en\/architecture-into-art-a-dialogue-closes-the-centro-botins-2020-exhibitions-programme\/"},"author":{"name":"Covadonga Odriozola Eguiburu","@id":"https:\/\/www.centrobotin.org\/en\/#\/schema\/person\/70df4e57a8c0734c9f1a563bc8fb3edf"},"headline":"ARCHITECTURE INTO ART: A DIALOGUE CLOSES THE CENTRO BOT\u00cdN\u2019S 2020 EXHIBITIONS PROGRAMME","datePublished":"2020-09-16T09:10:21+00:00","dateModified":"2020-11-16T12:48:57+00:00","mainEntityOfPage":{"@id":"https:\/\/www.centrobotin.org\/en\/architecture-into-art-a-dialogue-closes-the-centro-botins-2020-exhibitions-programme\/"},"wordCount":2963,"publisher":{"@id":"https:\/\/www.centrobotin.org\/en\/#organization"},"image":{"@id":"https:\/\/www.centrobotin.org\/en\/architecture-into-art-a-dialogue-closes-the-centro-botins-2020-exhibitions-programme\/#primaryimage"},"thumbnailUrl":"https:\/\/www.centrobotin.org\/wp-content\/uploads\/2020\/09\/arte-arquitectura-1200x400.jpg","articleSection":["Exhibitions"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.centrobotin.org\/en\/architecture-into-art-a-dialogue-closes-the-centro-botins-2020-exhibitions-programme\/","url":"https:\/\/www.centrobotin.org\/en\/architecture-into-art-a-dialogue-closes-the-centro-botins-2020-exhibitions-programme\/","name":"ARCHITECTURE INTO ART: A DIALOGUE CLOSES THE CENTRO BOT\u00cdN\u2019S 2020 EXHIBITIONS PROGRAMME - Centro Botin","isPartOf":{"@id":"https:\/\/www.centrobotin.org\/en\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.centrobotin.org\/en\/architecture-into-art-a-dialogue-closes-the-centro-botins-2020-exhibitions-programme\/#primaryimage"},"image":{"@id":"https:\/\/www.centrobotin.org\/en\/architecture-into-art-a-dialogue-closes-the-centro-botins-2020-exhibitions-programme\/#primaryimage"},"thumbnailUrl":"https:\/\/www.centrobotin.org\/wp-content\/uploads\/2020\/09\/arte-arquitectura-1200x400.jpg","datePublished":"2020-09-16T09:10:21+00:00","dateModified":"2020-11-16T12:48:57+00:00","breadcrumb":{"@id":"https:\/\/www.centrobotin.org\/en\/architecture-into-art-a-dialogue-closes-the-centro-botins-2020-exhibitions-programme\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.centrobotin.org\/en\/architecture-into-art-a-dialogue-closes-the-centro-botins-2020-exhibitions-programme\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.centrobotin.org\/en\/architecture-into-art-a-dialogue-closes-the-centro-botins-2020-exhibitions-programme\/#primaryimage","url":"https:\/\/www.centrobotin.org\/wp-content\/uploads\/2020\/09\/arte-arquitectura-1200x400.jpg","contentUrl":"https:\/\/www.centrobotin.org\/wp-content\/uploads\/2020\/09\/arte-arquitectura-1200x400.jpg","width":1200,"height":400,"caption":"ARTE Y ARQUITECTURA: UN DI\u00c1LOGO CIERRA EL PROGRAMA EXPOSITIVO DE 2020 DEL CENTRO BOT\u00cdN"},{"@type":"BreadcrumbList","@id":"https:\/\/www.centrobotin.org\/en\/architecture-into-art-a-dialogue-closes-the-centro-botins-2020-exhibitions-programme\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.centrobotin.org\/en\/"},{"@type":"ListItem","position":2,"name":"ARCHITECTURE INTO ART: A DIALOGUE CLOSES THE CENTRO BOT\u00cdN\u2019S 2020 EXHIBITIONS PROGRAMME"}]},{"@type":"WebSite","@id":"https:\/\/www.centrobotin.org\/en\/#website","url":"https:\/\/www.centrobotin.org\/en\/","name":"Centro Botin","description":"Exposiciones y actividades en Santander","publisher":{"@id":"https:\/\/www.centrobotin.org\/en\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.centrobotin.org\/en\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/www.centrobotin.org\/en\/#organization","name":"Centro Bot\u00edn","url":"https:\/\/www.centrobotin.org\/en\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.centrobotin.org\/en\/#\/schema\/logo\/image\/","url":"https:\/\/www.centrobotin.org\/wp-content\/uploads\/2020\/04\/centro-botin-logo.jpg","contentUrl":"https:\/\/www.centrobotin.org\/wp-content\/uploads\/2020\/04\/centro-botin-logo.jpg","width":960,"height":734,"caption":"Centro Bot\u00edn"},"image":{"@id":"https:\/\/www.centrobotin.org\/en\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/CentroBotin\/","https:\/\/x.com\/centrobotin","https:\/\/www.instagram.com\/centrobotin\/","https:\/\/es.wikipedia.org\/wiki\/Centro_Botin"]},{"@type":"Person","@id":"https:\/\/www.centrobotin.org\/en\/#\/schema\/person\/70df4e57a8c0734c9f1a563bc8fb3edf","name":"Covadonga Odriozola Eguiburu","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/secure.gravatar.com\/avatar\/48c4aac1f03fd76242db12082a29fad5476a159cc21ea7fc00508223eae41475?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/48c4aac1f03fd76242db12082a29fad5476a159cc21ea7fc00508223eae41475?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/48c4aac1f03fd76242db12082a29fad5476a159cc21ea7fc00508223eae41475?s=96&d=mm&r=g","caption":"Covadonga Odriozola Eguiburu"}}]}},"_links":{"self":[{"href":"https:\/\/www.centrobotin.org\/en\/wp-json\/wp\/v2\/posts\/39146","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.centrobotin.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.centrobotin.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.centrobotin.org\/en\/wp-json\/wp\/v2\/users\/869"}],"replies":[{"embeddable":true,"href":"https:\/\/www.centrobotin.org\/en\/wp-json\/wp\/v2\/comments?post=39146"}],"version-history":[{"count":10,"href":"https:\/\/www.centrobotin.org\/en\/wp-json\/wp\/v2\/posts\/39146\/revisions"}],"predecessor-version":[{"id":40711,"href":"https:\/\/www.centrobotin.org\/en\/wp-json\/wp\/v2\/posts\/39146\/revisions\/40711"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.centrobotin.org\/en\/wp-json\/wp\/v2\/media\/38958"}],"wp:attachment":[{"href":"https:\/\/www.centrobotin.org\/en\/wp-json\/wp\/v2\/media?parent=39146"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.centrobotin.org\/en\/wp-json\/wp\/v2\/categories?post=39146"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.centrobotin.org\/en\/wp-json\/wp\/v2\/tags?post=39146"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}