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
Eduardo Coutinho (São Paulo, 1933 - Rio de Janeiro, 2014) is an essential name in Latin American documentary film. His work is shaped by political issues but manages to avoid demagogy, as he addresses the everyday lives and subjectivities of marginal majorities with a sensibility not altered by melodrama. He was interviewed on the occasion of the film and video series Eduardo Coutinho. Retrospective, held at Museo Reina Sofía between February and April 2013.
Gabriel Pérez-Barreiro, director of the Patricia Phelps de Cisneros Collection and curator of the exhibition Concrete Invention, provides an explanation of this show about the development of concrete abstraction in Latin America from the 1930s to the 1970s.
Revolving around 4 countries –Argentina, Uruguay, Brazil and Venezuela– and five guiding concepts– Geometry, Dialogue, Ilusion, Universalism and Vibracion– the exhibition includes works such as “Book of Creation” by Lygia Pape or “Physichromie500” by Carlos Cruz-Díez, as well as some conceptual pieces like the iconic “Fio” by Cildo Meireles.
In this video the artist Azucena Vieites explains the process she carries out in her work of appropriation and iconographic resignification of materials and references linked to the contemporary cultural imaginary, using drawing and collage as her main work tools. Also, preceding Vieites' exhibition at Museo Reina Sofía a children's workshop called Coloring Book took place, in which a group of children modified, by coloring them in, some of her drawings.
Losing the human formevokes an image of the 1980s in Latin America that establishes a counterpoint between the effects of violence on bodies and the radical experiments in freedom and transformation which impugned the repressive order. Stricken bodies / mutant bodies. Between horror and festivity, the materials gathered show not only the consequences of mass disappearances and massacres under dictatorial régimes, states of siege and internal wars, but also various collective urges to devise modes of existing in a permanent state of revolution.