Exhibition at the CCCB
From 25 January to 28 May 2012, the CCCB presents the exhibition Global Screen,
based on the book of the same name by Gilles Lipovetsky and Jean Serroy, curators
of the exhibition together with Andrés Hispano. The exhibition is coproduced by the
San Telmo Museoa (San Sebastian) and the CCCB.
The aim of the exhibition is to show every aspect of the power of the screen: seduction,
spectacle, creation of archetypes and models, information, communication, shock factor,
interactivity, surveillance, etc. It is a power that technological advances serve to renew,
increase and diffract from the initial format, the big cinema screen, to today’s proliferation.
Screens that are present everywhere, at all times, screens that allow us to see and do
everything: TV screens, video screens, touch screens, spy screens—interactive,
recreational, informational... The screen has become a constituent element of hypermodern
societies.
The 24 January sees the inauguration of both the physical exhibition and the virtual
exhibition: a space under construction, a testing ground to explore the possibilities and needs
of the exhibition genre in the virtual world, not forgetting the force of the physical exhibition
which is irreplaceable, and the new links that can be created by active visitors who move
between the two worlds.
This exhibition is the second phase in a project that started on 1 October 2011 with the
activation of Global Screen’s virtual platform. The initial objectives and challenges of this
platform were to publicise the incubation of the expository project; gathering ideas, texts and
bibliography on the subject and, most of all, obtaining the active participation of users who
submitted the videos that serve as the counterpoint (counter field) to the discourse (field) of
the exhibition curators. Field and counter field create the dialectical tension of the physical
exhibition. On the one hand, the way the curators see the influence of screens in the
hypermodern world, in the form of seven thematic sections (history, politics, sport,
advertising, excess, surveillance and games) illustrated by images created by filmmakers,
video artists, documentarians and image professionals in general, and, on the other, a
counter exhibition created by the users themselves.
For a long time, the screen, first in the cinema and then the television, was based on oneway communication, a synonym for passive spectators. The computer introduced another
logic, in which spectators became actors who use the screen to look for information, create
communication links and even publicise their own creations.
This radical turnaround had to have a place in an exhibition devoted to screens: this is no
traditional exhibition, where the curators propose and the public is simply invited to visit; it is
a new kind of exhibition, where the public is involved as creators. They do so with their
videos, which are shown here, on the screens in the exhibition. Audiovisual works may
continue to be submitted throughout the exhibition and its subsequent tours.
Global Screen will continue in a third phase, with the creation of an archive to record the
conceptual and formal evolution of the project and the works submitted by all the contributors
and co-creators.
EXHIBITION STRUCTURE
The basic idea is to create a single screen that is the canvas of the exhibition, an audiovisual
strip running through the galleries from start to finish. This continuous screen will show the
various themes or sections of the exhibition, presented in the form of audiovisual works:


The Empire of the Stars
This opening section presents us with two pre-cinema screens,
the Sistine Chapel and the planetarium, evoking the starry skies
as a metaphor for the stars of the cinema. Starting with these
faces, it continues to the stars of television, taking us to the egostars of YouTube and the new digital media.
The field proposed by the exhibition curators:
1- History Screen
The idea of this section is to understand how our imaginary is
structured by the images of different historic events that have
become archetypes of the modern world, and the way these
images from television, cinema and the Internet have influenced
the events themselves and our view of history.
.
2- Political Screen
We see how screens have served political discourse: first in the
cinema, to impose an ideological dogma, particularly in
totalitarian regimes; then on television, disseminating a model of
political communication and borrowing advertising techniques,
and now it is a question of selling a product.
3- Sport Screen
If there is one area where the screen culture is particular visible,
it is sport. Sport now enjoys a truly cinematographic staging that
has made it a globalized spectacle, as well as a metaphor for
social life, providing a viewing model for the world.
.
4- Advertising Screen
Screens have also served the economy and the market, creating
new archetypes, spreading an ideal of the good life and helping
to form a consumer civilization. Advertising has been the number
one form of expression of a century of mass production and
consumption, and this section helps to explain its internal
workings and its influence on other screens.
5- Excess Screen
The screen, like everything in the age of hypermodernity, races
inexorably on in its headlong course, pushing back boundaries
in an exponential proliferation that is never enough. The image
has become an excess image that creates an ever stronger
impact both in subject matter (sex, violence, speed, etc.) and
form (multiple shots, pace of editing, soundtrack overkill, etc.).
6- Surveillance Screen
One of the most spectacular phenomena of the new screens is
also one that raises the biggest problems: the multiplicity of
video surveillance systems, spy planes, location systems, GPS,
Google maps, body scanners, etc. that pose a threat to public
and private liberties. Today, people are constantly being
photographed, filmed and watched, and not just for reasons of
safety or politics, but also for commercial purposes.
7- Games Screen
This category of screens introduces a new perspective: fun,
games and spectacle, creating alongside reality another world
where pleasure is the guiding principle. This immersion into a
fictional world that seems real lets the player split in two and
live another parallel life. In this case, the theme is presented
not by an audiovisual but by an augmented reality installation,
allowing visitors to experience the interaction (and confusion!)
between physical reality and the new virtual reality to emerge with video game screens.

The Counter Field
The Global Screen project has developed a participatory open screen mechanism that
comprises the visual contributions of anyone interested in collaborating in this process of
joint reflection on the role of screens in the contemporary world. These short audiovisual
pieces will be processed on Global Screen’s virtual platform and form part of the physical
exhibition and its subsequent tours.
GENERAL INFORMATION
Dates
25 January to 28 May 2012
Opening times
Tuesday to Sunday and public holidays: 11 a.m. to 8 p.m.
Closed on Mondays except public holidays
Admission fee
Regular: 5 € / Combined entry to two exhibitions: 7 €
Concessions: 3 € for the under-25s, senior citizens, large families and group visits, and for
everyone all day Wednesday / Combined entry for concessions 5 €
Free admission for the under-16s, Friends of the CCCB, senior citizens in possession of a
Targeta Rosa, the unwaged and on Sundays from 3 to 8 p.m.
CREDITS
Global Screen is a coproduction of the Centre de Cultura Contemporània de
Barcelona (CCCB) and the San Telmo Museoa in Sant Sebastian. It will run at the
CCCB from 24 January to 28 May and at San Telmo Museoa from 2 July to 30
September 2012.
Original idea and project design
GILLES LIPOVETSKY AND JEAN SERROY
EXHIBITION
Direction
Jordi Balló
Curators
Gilles Lipovetsky, Jean Serroy and Andrés Hispano
Coordination
Miquel Nogués
Documentation and audiovisual production
Joana Abrines, with the collaboration of Sol Polo / Dept. of Audiovisuals and
Multimedia at the CCCB
Audiovisuals
The Empire of the Stars
Production: TONI CURCÓ
History Screen
Production: TONI CURCÓ
Political Screen
Production: JOSÉ ANTONIO SORIA
Sport Screen
Production: DAVID CARABÉN / Editing: ARTURO BASTÓN
Advertising Screen
Production: CANADA
Excess Screen
Long Live the New Flesh, 2009
Abstract Action, 2010
Hypersex, 2012
Screenplay and production: NICOLAS PROVOST
Hipervelocitat, 2011
Production: JOANA ABRINES
Surveillance Screen
Production: BENET ROMÁN - LA CHULA PRODUCTIONS / Music: FRANK RUDOW
Game Screen
Creative direction: RORY LAMBERT
Studio: BOOLAB
Execution production: COKE FERREIRO
Creative supervision: LUCAS ELLIOT
Design: NICO CASAVECCHIA
Programming: ANDREAS BLICK
Modelling and 3D animation: JUAN JOSÉ SURACE
Augmented reality using String and 3D using Unity
Space design
OLGA SUBIRÓS WITH THE COLLABORATION OF MARTA BANACH AND POL ESTEVE
Graphic design of the exhibition
DAVID TORRENTS AND SILVIA MÍGUEZ / DIGITAL MAQUETTE: TOMÀS JIMÉNEZ
Exhibition assembly
CENTRAL DE PROJECTES
Production of Skin Screen
NIVELL PUBLICITARI
Montage of audiovisual installations
DEPARTMENT OF AUDIOVISUALS AND MULTIMEDIA OF THE CCCB WITH THE COLLABORATION
OF EIKONOS
Lighting and coordination of assembly
PRODUCTION AND ASSEMBLY UNIT OF THE CCCB
WITH THE COLLABORATION OF THE PUBLICITY AND EXTERNAL RESOURCES SERVICE, THE
GENERAL ADMINISTRATIVE SERVICES, THE SYSTEMS SECTION AND THE CENTRE OF
DOCUMENTATION AND DEBATE AT THE CCCB.
VIRTUAL PLATFORM
Direction
JUAN INSUA
Coordination
MARIA FARRÀS DRAGO WITH THE COLLABORATION OF CLARA BOFILL AND LAURA MORENO
Multimedia management
EDGAR RIU
Blog dynamics
LUCÍA CALVO
Graphic design
LUIS PÉREZ
Audiovisuals
RAÚL ARROYO / TONI CURCÓ / MIREIA SUBIRANA / CLARA BOFILL
Consultants
MARA BALESTRINI / MIREIA SUBIRANA
Website programming
ISOCO
Virtual environment programming
CURRYSAUCE / HÉCTOR ZAPATA / SERGI MUSSULL / NÚRIA BARTRA / JORDI MARQUÈS /
LLUÍS BARTRA
Press service of the CCCB · Mònica Muñoz – Irene Ruiz · 93 306 41 23 ·
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