ENG: Recent Works the exhibition catalog for Muntadas' multimedia installation, Stadium VIII, at the Ivam Centre del Carme in Valencia. It presents essays by Carmen Alborch, Margaret Morse, and Eugeni Bonet an documentation of The Board Room (1987), Stadium (1989), Video is Television? (1989), Home, Where is Home? (1990), Words: The Press Conference Room (1991), The Limousine Project (1990), TVE: Primer intento (1989) and Quarto do Fundo (1987). In the accompanying book, Media Stadium, sport, spectacle, and strength converge in photographs taken from news and media sources.

FRC: "Standard/Spécifique" est un regard sur la transformation du paysage urbain dans trois villes : Madrid, Paris, New York. Les villes se définissent par leur architecture, leur urbanisme, leur activité, leur signalétique qui, tous ensemble, constituent leur identité, comme autant de références historiques caractéristiques. D'une certaine manière, ceux-ci tendent à s'unifier de plus en plus, à se généraliser en fontion d'intérêt divers, principalment économiques et commerciaux.

ENG: “Híbridos” is half catalogue published by the Art Center Reina Sofia, and the other half publication of the artist Antoni Muntadas. The catalogue shows the materialization of an exhibition that was made at Centro de Arte Reina Sofía between February and March of 1988, where two main targets were scored. On the one hand it was intended to demonstrate the breadth of vision and diversity of interests and media present in the work of Antoni Muntadas; but the purpose was not to provide a retrospective.

ENG: ..Whereas much of Muntadas’s previous work has relied upon the advertising image or the media image as a means of delivering his comment, Exhibition eliminates any outward signs of image-manipulation. Instead we are confronted with the “context” of a reading. The various media, normally found within an avant-garde art gallery situation, are present (omnipresent?). They constitute the code of our looking. Each medium — each unit of the lighted display — is reduced to its own specific parameters. Again, there is an appeal to the Modernist aspect of self-criticality.