The aesthetic approaches of the Equipo Crónica (Chronicle Team) (1964-1981) evoke the visual atmosphere of an era. The group materialises as one of the most coherent ideas from the figurative movement, which, at the beginning of the Sixties, attempts to leave informalist Spanish painting behind.
The Irish-born American painter Sean Scully (Dublin, 1945) starts to work with Abstraction at the beginning of the Seventies. He becomes interested in the humanisation of painting in opposition to formalist parameters; according to Scully his work can be summed up in the move “from the object line to the subject line”. The directions, represented by horizontal and vertical lines and the tensions they create, are at the heart of his production. This new geometrical approach, which moves away from the idea of purity and appropriates errors, reflects the troublesome relationship between the individual and the collective and opens up a new field of reflection, previously unknown to abstract painting.
Miquel Navarro (Mislata, 1945) is one of the predominant figures in what is known as “New Spanish Sculpture”. He begins his career in the Sixties with a pictorial style that he himself classifies as Expressionist and in 1974 he creates his first Ciudad (City), a collection of modular, repetitive and geometric forms grouped together in compositions that simulate urban networks and create cityscapes that are spatially positioned like a sculptural installation.
La Asociación de Amigos del Reina Sofía was established in 1987 as the result of a group of entrepreneurs coming together to create a collection. The acquisitions of pieces is done as an individual initiative, but the character of the collection is public, it cooperates with institutions and is made available to as many citizens as possible.
This exhibition is one of the most extensive on Latin American art seen to date in Spain. At the Palacio de Velázquez over four hundred works have been displayed showcasing the artistic wealth in Latin American regions starting from the Wars of Independence against Spain (c. 1800-1821) until 1980.
This Antonio Saura (Huesca, 1930 - Cuenca, 1998) exhibition, organised by the Musée Rath and Museum of Art and History in Geneva, is held to mark the fiftieth anniversary of the presentation of Museo del Prado collections in Geneva in 1939.
In the context of critical readings from art history, Memory of the future. Italian art from early avant-garde to post-war shows the approach to the first sixty years of twentieth century Italian art, under the premise that its continual renewal is rooted in tradition. The exhibition does not consider memory and the future as interchangeable terms, comparable or opposed, but defends the idea that modern Italian art arises from their mutual contamination and friction. Thus, Memory of the future breaks the chronologically linear art history story and allows more recent artistic and cultural memories to play a more active role. In this feedback of Italian art, the art of the future is assumed to be a tradition which is yet to be completed.
The purpose of this retrospective exhibition is to contextualise Antoni Tàpies' (Barcelona, 1923-2012) vast productions of sculptures and objects throughout his career, insisting on the unity and insolubility of all his work. For this, all works have been collected that were produced between 1946 and 1990 and which have as a common denominator the assemblage (assembly) as a process and technique, something which serves to support the three objectives of the exhibition, in the words of Gloria Moure, curator of the exhibition: "It highlights the radical, the compactness and the contemporaneity of Tàpies' work."
Organised into three main areas (drawing, painting and sculpture) related to Alberto Giacometti's productions (Borgonovo, Switzerland, 1901 - Chur, Switzerland, 1966), the Alberto Giacometti exhibition is the first retrospective exhibition of this artist in Spain. This exhibition was proposed in order to contextualise his work and highlight his attachments and positioning from events and names that mark his artistic and life career, which not only impacted on his work but also allowed him to move outside of the tightly defined limits in art. For this reason the reciprocity between his artistic biography and his work, among which includes literature (notes, writings on his work and dairies), is focused on. On the other hand, and in addition to the previous premise, the exhibition develops a line of reading material that seeks to highlight the idea of the artist’s trade present in Giacometti, where drawing as a fundamental means stands out.
Image in movement biennial ’90 exhibits a selection of works made between 1988 and 1990 whose common denominator is the use of video, film, television or computer, both as a support, and as a medium. The exhibition brings together a wide and varied set of works that are involved in some way with the term "image in movement" in its most extensive sense.
The exhibition, Masterpieces from the Guggenheim collection. From Picasso to Pollock manages to combine two unusual events: bringing together over one hundred and twenty masterpieces from the history of art in the first half of the twentieth century and bringing out the personalities of the two major collectors, on whom the foundations of the Solomon R. Guggenheim Foundation in New York were made. Thus, this exhibition presents the history of art interwoven between works of art and the story of a collection made up mainly by the legacies of Solomon R. Guggenheim (Philadelphia, 1861-New York, 1949) and his niece Peggy Guggenheim (New York, 1898-Padua, Italy, 1979), to which other funds and acquisitions made over the history of the institution have been added.
The retrospective exhibition Francesc Torres. The Dragon's Head offers a tour of the twenty years that make up Francesc Torres’ career (Barcelona, 1948). The exhibition brings together works the majority of which have never been exhibited in Spain, composed of works produced primarily in the United States, except the Fifty Rains (1990-1991) project which was created expressly for this occasion.