The exhibition focuses on the “abstract” ouvre by Wols produced since the Second World War and in the photographs taken shortly before the war. “The street” and “the cosmos” are an original key reading of Wols’ work, whose contribution to twentieth-century art is yet to be fully recognized.
The exhibition proposes a journey through the places and characters that have shaped the films and the biography of Amos Gitai. Fragments of his films and documents drawn from his personal archive, examine the way in which the filmmaker has interpreted his own genealogy.
For her first solo exhibition in Spain, the artist Tracey Rose (Durban, South Africa, 1974) presents her new project entitled (x). It consists of a video-installation and an energy space created from two pieces that feature light, acoustic and chromatic elements.
Throughout her career Elly Strik (the Hague, Netherlands, 1961) has been particularly interested in those visionary artists that have probed the limits of human nature, such as James Ensor and Francisco de Goya.
Books that are photosis the first of two shows programmed by Museo Reina Sofía on photobooks. This show features a selection of about 150 photobooks published in Spain from the year 2000 onwards, especially in the last four years.
The artists of Idea: Painting-Force take a new approach to concepts such as Academia and Tradition, developing them not as weighty and repetitive dogma but rather as a source of energy from which to work contemporarily.
An essential figure in post-war photography, since his debut in the 1970s Chris Killip has been forging a new path in documentary photography: the depiction of the working classes, in the midst of the dismantling of the industry that had created and maintained them since the beginning of the 19th century.
One True Art - 16 Responses to the Question What Art is
One True Art - 16 Responses to the Question What Art is is a performative artistic experiment in which the aim is to come up with a definition of art or reflect on the reasons why this definition is impossible.
Conceiving of artistic creation as a critical intervention and making use of different contributions, Loboda explores the power of attraction exercised by the fetish and the influence of the irrational, revealing how blurry the boundaries are between the real and the imagined.
With his works Roman Ondák (Žilina, Slovakia, 1966) creates temporary situations in which the presence of objects and persons, as well as modifications made to the exhibition space, may go unnoticed by viewers in their initial approach.
Since the end of the 1960s Cildo Meireles (Rio de Janeiro, 1948) has been developing new possibilities for the redefinition of conceptual art, based on a relationship with the viewer's sensorial experience, the critical use of ideological and economic circulation systems, and also an ethical connection with the world, which are the foundations of the artist's ongoing critical interpretation.
All of the poetic suggestions and all of the plastic possibilities
Together, Museo Reina Sofía and the Centre Georges Pompidou have organised a large exhibition devoted to Salvador Dalí. The exhibition is conceived as a contribution to the reappraisal of Dalí as a thinker, a writer and the creator of a very particular vision of the world.
Using drawing and collage as her main work tools, Azucena Vieites (Hernani, 1967) engages in a process of appropriation and iconographic resignification of materials and references that are linked to the contemporary cultural imaginary.
Although recognised primarily as a painter, in the making of his works Mitsuo Miura goes beyond traditional pictorial media. His art can thus be situated halfway along the path towards sculpture or installation, due to its tendency to use chromatic forms in space.
Cristina Iglesias has been very interested in redefining sculpture as an expanded field that leads to a questioning of the object in its relationship with space and architecture. Her sculptures integrate with the architecture of the places they occupy, and thus play with the interweaving of reality and appearances.
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.
Categories such as collective, attitude, movement and even network are of questionable value when defining Fluxus, the identity of which has been the subject of debate since its first public appearance at the Festival of Wiesbaden fifty years ago.
Using methodological and conceptual strategies drawn from spheres of discourse such as theatre, dance, anthropology, archival work and journalism, the projects of Sharon Hayes (Baltimore, Maryland, 1970) explore the sometimes tense relations between history, politics and language, and they dissect the symbolic and narrative mechanisms through which the collective imaginary is built. In her performances, videos and installations, Hayes shows how the process of documenting a historical event ends up conditioning the way we see that event. She also proposes a critical reflection on topics such as the frictions arising between the public and the private – the personal and the collective – in today's media culture and the cathartic and empowering effect of the act of using one's voice and occupying urban space.
Mateo Maté (Madrid, 1964) uses ordinary objects from daily life, in many cases even objects linked to his own domestic routine, to explore how in late modernity the spaces we inhabit are racked with tension and violence, where what is private and social, political and existential, individual and collective mix together and become blurred. Interested in the potential symbolic value of the cartographic metaphor, Maté creates sculptural and performative spaces which, although they seem familiar to us, are also profoundly unsettling, as if they were plagued with latent dangers, perturbing enigmas. In his work, the Madrid-born artist suggests that in a context such as this one, in which our most immediate surroundings have become undecipherable geographies, full of threats and uncertainties, we must rethink and reinvent the notion of living, we must be capable of surpassing our gaze and concretising once again the spaces and objects around us.
The inauguration of the Documentation Centre and Library's new exhibition area will feature an exhibition of some of the pieces of experimental art created – outside of official cultural channels – in the mid sixties. These works of art represent a renovation of poetic language and a transgression of established limits. The frontiers between genres become blurred and poets decide to apply their avant-garde spirit to painting, music and theatre.
Emilio Ambasz, an Argentine architect and graphic and industrial designer, strives in his projects to "give poetic form to the practical" and he is considered one of the most important forerunners of what is known today as "green architecture." Convinced that any architecture project that does not try to propose new or better forms of existence is not very ethical, Ambasz designs organic spaces that seek harmonious integration between construction and nature, between architecture and landscape, either by burying the buildings, completely or partially, or by taking vegetation to its façades and/or roofs and indoor areas.