The line is the primary formulation in the imaginary of Anne-Marie Schneider (Chauny, France, 1962), in which autobiographical activity also has a strong presence. The line refers to gestural writing and gives shape to the enigmatic world of personages whose bodies are often taken apart and fitted back together in fragments, prolonged in domestic space and projected on to the landscape.
The ship is going under, the ice is breaking through
Lothar Baumgarten has opened up new possibilities of artistic expression and reflection through an oeuvre that questions Western systems of thought and representation as well as the ways our perception of and relation to other cultures are constructed.
This presentation of holdings from the Museo Reina Sofía Collection, largely made up of recent acquisitions, approaches the languages and artistic practices that defined the period between the end of the 1990s and 2007 – both in Spain and internationally - by way of a series of shared questions that heralded the start of the century and run up to the present time.
The Museum of Modern Art, New York, and the Museo Reina Sofía have organised one of the most comprehensive retrospectives devoted to Belgian artist Marcel Broodthaers (1924–1976). His remarkable output in the 1960s and 1970s established him as one of the most important artists on the international scene, and one of the most influential for numerous contemporary artists from that time to the present day.
Tamar Guimarães (Belo Horizonte, Brazil, 1967) presents a project, designed specifically for the Fisuras (Fissures) programme, in the Museo Reina Sofía. The artist’s work spans the fields of installation, film and sound.
The retrospective by Basque artist Txomin Badiola (Bilbao, 1957), housed in the Palacio de Velázquez, presents a broad selection of his output – photographic works, drawings, sculptures and multimedia installations – spanning from the 1980s to the present day.
I Am Also not a Book is the title of the last part of a trilogy of exhibitions which includes It is not new, it is a book (from September, 2014 to May, 2015) and I call them simply books (from May to October, 2015). On this occasion, the title refers to the 1973 work by John M. Belis, I Am Also not a Book, which consists of a card with the sentence “Attach this card to any book-type object and it will become a genuine John M. Belis,” and which can indeed be affixed to any book-shaped object.
Damián Ortega (Mexico City, 1967) started out as a newspaper cartoonist in the 1980s, approaching the political scene with acerbic wit. His artistic concerns shifted when he joined the Taller de los Viernes (Friday Workshop) in Tlalpan (active from 1987 to 1992), a self-styled school and the place where he would come into contact with a creative community that was both diverse and an alternative to the dominant reactionary muralism in Mexico at the time. It was in this milieu that he realised his first sculptures, continuing the ironic tone from his previous profession.
The exhibition Campo Cerrado takes its name from the homonymous novel by Max Aub and looks to examine Spanish art in the complex and controversial 1940s, a decade that has received little attention and one that exists in a critical and historiographical vacuum, despite its importance in structuring modern sensibility in Spain.
The work of Erlea Maneros Zabala (Bilbao, 1977) analyses the conditions and effects of image production, addressing the contexts generated and the modes of distribution. The issues raised by her work can be found in the academisation of languages of abstraction, the notion of authorship and the relationships established between handicrafts and mass production through the use of mechanical resources in production processes.
This exhibition brings together an extensive selection of materials from the C.A.D.A. Archive and Work, recently acquired by the Museum on the basis of the dialogue with the artists who conserve the original material, Lotty Rosenfeld and Diamela Eltit, and the researches of the Red de Conceptualismos del Sur, besides other complementary materials.
The retrospective on Cuban painter Wifredo Lam (Sagua La Grande, 1902 – Paris, 1982), organised by the Centre Pompidou, Museo Reina Sofía and Tate Modern, acknowledges the common desire to consider modernity in all its complexity and endeavours to redefine Lam’s work inside a history of international art in which he stands as a key figure.
The retrospective devoted to Ulises Carrión (San Andrés Tuxtla, Veracruz, Mexico, 1941 – Amsterdam, 1989) explores his multifaceted artistic and intellectual work. It spans his beginnings as a young, successful and well-respected writer in Mexico, his spells in France, Germany and England between 1964 and 1972, when he sharpens his resolve to innovate in language, ending at the time he definitively settles in Amsterdam, the place where he realises a wide array of artistic, literary and cultural activation activities.