In much of the work by Asier Mendizabal (Ordizia, 1973) history ceases to be a practice linked to the past and instead reveals the cracks through which it becomes an activity intimately connected to the present. In this interview he comments on some of his work, hermetic and complex, where the resource of narration becomes something that updates both history and its visual forms. The ideas of monument, public sculpture and photomontage are modern archetypes that Mendizabal uses as a possibility of that which is collective.
The educational program Sound familiar?, for children and accompanying adults, consists of an interactive visit through some of the rooms of the Collection. It was designed by Pablo Martín Jones and is also performed by him, along with Raúl Márquez and David Escudero. Sound familiar? This activity is an educational and artistic project that offers a musical interpretation of certain pictorial works of the second and fourth floor of the Museo Reina Sofía Collection, in order to explore sensibilities other than the exclusively visual approach to different works of art.
Nacho Criado (Mengíbar, Jaén, 1943 – Madrid, 2010) is considered one of the most important figures in the last 40 years of experimental art in Spain. The Palacio de Velázquez, one of the Museum's venues in Parque del Retiro, offers a retrospective of his work, providing insight into the multitude of media, practices and homages present in his art, and also their material realization. The Palacio de Cristal, the other Reina Sofía venue in the park and the second site of the retrospective, reconstructs the 1991 exhibition Piezas de agua y cristal, where cultivated mushrooms exemplify the 'collaborating agents' that give this exhibition its name.
Conversation with Lynne Cooke, the exhibition curator, and the artist Sharon Hayes (Baltimore, Maryland, 1970). Using methodological and conceptual strategies drawn from various spheres of discourse, Hayes' projects explore the relations between history, politics and language, using performances, videos and installations to create a collective imaginary. These processes of documenting a historical event end up conditioning the gaze of the individual, leading to a critical reflection about the frictions generated between the public and the private.
Conversation with Lynne Cooke, the curator of the exhibition devoted to the German artist Rosemarie Trockel. Trockel's work explores different methods and a wide range of materials, thereby eluding classification. Her creations question the legitimizing categories of art, social order and gender identities. Also, in this collection, Trockel gives her attention to lesser known artists, chosen out of the empathy she feels for the frankness and inventiveness with which they look at questions that she too asks herself.
In this video, Walter Grasskamp, art historian and critic, and Hans Haacke himself present the exhibition Castles in the air. Associated with North American conceptual art and a pioneer of what is known as institutional critique, Haacke, through his work, questions museum, political and economic institutions in the context of today's globalized society.
This video looks at Museo Reina Sofía's Collection 3, giving special attention to the set up of the exhibition and to the contributions made by Manuel Borja-Villel, the director of the Museum, Rosario Peiró, the head of the Collections Department, and Jesús Carrillo, the head of Cultural Programs. Learning about the set-up process helps expand visitors' vision and enriches their understanding of this section of the newly arranged Collection, starting with the projection of works in the exhibition rooms where the stories are told, with commentary by the people directly involved.
In this video, the director of the Museum, Manuel Borja-Villel, the head of the Collections Department, Rosario Peiró and the head of Cultural Programs, Jesús Carrillo, discuss some of the key ideas that make up the new Collection rooms. The visit, which covers the two floors of the Nouvel building, explores a field in continual expansion: practices that no longer follow a single direction but rather come from positions that are not only markedly different, such as tropicalism and feminist art, but also from artistic practices that overlap with one another and others that choose to intervene in repressive contexts such as the dictatorships in Spain and Latin America.
Fluxus to the People is a program of concerts, activities, guided tours, lectures and also a documentary exhibition, all of which explore the imagination of the collective, the idea of art as a community tool and the process of de-specialization of the artist figure that is at the heart of the Fluxus movement. This program has consciously been given the format of a festival. Firstly, it defends the playful and participatory nature of many of the avant-garde manifestations from 1960 onwards. Secondly, it explores new ways of approaching contemporary art through public activity.
This educational program explores new ways to appreciate the artistic process and sets out to break with the traditional staticity of people viewing art; the aim is to raise viewers' awareness of the physicality of the works and also of their own corporal
The team of Spanish and international curators responsible for the exhibition Encounters with the 1930s takes us on a tour through this show, which is divided into in six sections: realism; abstraction; international expositions; surrealism; photography, film and posters; and Spain: the Second Republic, the Civil War and exile. The show gives priority to the connections existing between artists and the moments of fracture and stylistic eclecticism, emphasizing the diversity, audacity and complexity of the art made during that decade.
This exhibition looks at how Antonin Artaud's desire to transcend the limits of language – both spoken and written – lived on in the work of a series of creators linked to the avant-garde movements of the mid 20th century. The curators Kaira Cabañas and Frédéric Acquaviva take us through this selection that includes about three hundred works.
Construir universos is a workshop led by the young artist Ignacio Chávarri. In it the participants reinterpret the exhibition by the German artist, Rosemarie Trockel: a cosmos. The experiences they have in the rooms activate the creative process: the children take as their point of departure both the contents of the Museum and the items they find in their personal space (bedroom, drawers, backpack…) and they put them together in a private cosmos that contrasts with the collective cosmos that they create all together.
Joshua Chuang, the curator of the exhibition, leads viewers through this collection of photographs by Robert Adams. With a photographic style that is austere and direct yet also full of nuance and expressive potential, Robert Adams (Orange, New Jersey, 1937) has been widely regarded as one of the most lucid chroniclers of the profound changes taking place in the landscape of the American West in recent decades. The Place We Live, the first retrospective on Robert Adams to be held in Spain, takes a look at the main projects undertaken by this photographer