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.
The exhibition offers a journey through the ten-year career path of Anish Kapoor (Bombay, 1954), from his early work where he begins to formulate his own language, until he achieves his own sculptural grammar, based on the contamination of issues from the field of painting and the psychology of perception. The limits of this exhibition are placed between the piece 1000 Names (1979-1980) and a selection of thirty-one other pieces with which he represented England in the 44th Venice Biennale (1990), this selection is similar to the one that can be seen at Museo Nacional Centro de Arte Reina Sofía.
The retrospective exhibition of Markus Lüpertz (Liberec-Reichenberg, Czech Republic, 1941) traces the career of one of the greatest living German artists of recent decades. A representative of German Neo-Expressionism along with Georg Baselitz, A. R. Penck (Ralf Winkler) and Jörg Immendorff. Emerging in the early Sixties, Lüpertz and his generation conducted a special reformation of painting from the painting itself, in many cases making references back to the vanguards of the beginning of the century. Lüpertz’s intense and complex career is synthesised in the hundred and thirty-five pieces (paintings, drawings and sculptures) now brought together, and are organised into three chronological groups, although there are extensions to the reasons and resources in them.
The exhibition devoted to Joan Brossa (Barcelona, 1919-1998) offers the possibility to see the work of a Spanish artist whose proposals have prominently affected the development of the visual arts in the second half of the twentieth century, from fields of experience different to conventional art and ideas close to poetic practice and objectual art. For this exhibition over a hundred works have been collected, they have been made along a journey that began fifty years ago and have been signalled by the active role of Brossa in the Catalan avant-garde, post-war, with his participation in the group Dau al Set, along with Antoni Tàpies, Joan Ponç and Arnau Puig. Worth noting is the homogeneity of his work over the years and his recognition by the new generation of artists in the eighties.
In this exhibition at the Crystal Palace, Nacho Criado (Mengíbar, 1943 - Madrid, 2010) submitted eight new projects under the theme Pieces of water and glass, where the pieces merge with the materiality of architecture and the enclave of the building, in front of a small lake in Retiro Park. In this way, glass is the common element in all the presented pieces, which he emphasises as visual antimatter (in the Duchampesque sense of the term) and in which he also explores their sensual, symbolic and especially metaphorical loads. The pieces that make up the exhibition have been chosen especially for the exhibition but - as indicated by the exhibition curator, Simon Marchan- it must be noted that there are certain recurrences in them "as they reflect a dilated time, almost untimely, to creations that reject nomadism and ooze manifestations of the present." In that way, within an artistic career influenced by his forays into Land Art, Conceptual Art, Arte Povera and even the Minimal, without categorically ascribing to any of them, Nacho Criado uses glass to set up games of transparency and reflection, and for this he also alludes to and envokes, explicitly or implicitly, water.
The exhibition dedicated to Gilles Aillaud (Paris, 1928-2005) consists of nearly fifty paintings which allow for a complete view into the work of one of the leading representatives of the pictorial trend called critical figuration that emerged in Paris around 1963. For the exhibition's curator, Christian Derouet, his style of painting is one that wants to "find a proper expression of what is real again, without nostalgia for the past." The two principles upon which he bases his work and his aesthetic discourse are the recovery of real painting, to which he confers a transitive value (that is to say, the painting has to be something), and the radical denial of neo-avant-garde rhetoric of modernity. Although Aillaud decides to devote himself to painting late in life, in around 1963, he never abandons his other occupations: playwriting and set design. In this regard, it is important to note the personal, artistic and professional links he maintains with Eduardo Arroyo and Antonio Recalcati, with whom he worked several times in the staging of various texts signed by him.