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.
Alexandre Estrela (Lisbon, 1971) uses film and video as the core mediums in his artistic practice, which questions the materiality of the image, dialoguing with a history of experimental film, video and photography, which finds some of its symbolic evidence in the films of Marcel Duchamp, in photographs by Man Ray or cut-up narratives from Burroughs, for example.
The work of Juan Giralt (Madrid, 1940–2007) was initially self-taught in the Informalism that predominated the 1950s. During 1970s and 1980s his new interpretation of figurative painting, turning him into a reference point of New Figuration in Madrid.
Andrzej Wróblewski (1927–1957) is, despite his short life, one of the most important Polish artists of the 20th century. This exhibition, the first retrospective held outside his country, enables his work to be contemplated in a way that goes beyond the reductionist clichés of socialist realism.
Regarded as one of the most relevant contemporary artists in the field of Video art, Hito Steyerl (Munich, 1966) approaches current themes in her work, for instance the impact the proliferation of images and the use of the Internet and technology have on our lives.
In October the Museo Nacional Centro de Arte Reina Sofía will present an exhibition devoted to Ignasi Aballí (Barcelona 1958). The output of this Catalan artist offers a conceptual reflection on the representation and perception of mediums such as painting, the object or photography.
Constant (Constant Anton Nieuwenhuys, Amsterdam, 1920 – Utrecht, 2005) realised scale models, paintings, drawings and collages displaying his concept of a nomad city of the future – New Babylon – a complex and expansive labyrinth that transformed the whole world into one sole network.
The catalogue-boxes of the Museum Abteiberg-Mönchengladbach (1967-1978)
By virtue of the renewed conceptions of art which developed in the 1960s and 1970s, museums were forced to renovate their way of presenting art works, and also their idea of what art publications could be.
Danh Vō’s (Bà Ria, Vietnam, 1975) art work subverts and plays with classic appropriation and opportunistic strategies of Western art in its approach to other cultures. His installations, sculptures, photographs and works on paper, particularly his early work, often calls on his origins and experiences, interspersing them with cultural, social, and historical references.
Nasreen Mohamedi (Karachi, 1937 – Baroda, 1990) was one of the first Indian artists to embrace abstraction, moving away from the more conventional doctrines of Indian modern art in the early decades of the 20th century. She chose non-figuration, an artistic practice marginalised at that time by independent India, which was essentially dominated by an anthropomorphous aesthetic and academic realism determined by art schools from the colonial period.
The work of Ree Morton (Ossining, NY, 1936 – Chicago, 1977) can be found in the specific art scene in the USA around 1970, characterised by a strong reaction to Abstract Expressionism, in what Lucy Lippard defined as “Eccentric Abstraction”.
The exhibition I call them simply books, devoted to the «book as book», can be seen as part two of the previous one It is not new, it is a book, that it was a purely conceptual approach to the book. The title is a quotation by Peter Downsbrough, an American artist who has published numerous «books» since 1972.
Biblioteca y Centro de Documentación
May 5 - October 12, 2015 Palacio de Velázquez. Parque del Retiro
Carl Andre. Sculpture as Place, 1958-2010 offers an in-depth study of a crucial period in contemporary art by virtue of the work of Carl Andre. The artist’s oeuvre falls under the categories of Minimalism, Land Art and Conceptual Art, reflecting the formal concerns of his epoch.
Actively working since the mid 1980s, Federico Guzmán (Seville, 1964) has always viewed artistic practice as a commitment to his environment. His spells in New York and Bogotá at the end of the 1990s lead him to lay great emphasis on this idea as he became particularly aware of art as a tool for social change, as well as understanding the figure of the artist and seeing his work as something inextricably linked to the context he lived in.
The Kunstmuseum Basel is considered one of the finest public municipal museums in the world. The two cornerstones of its collection are the works dating from the 15th and 16th centuries, on one side, and artworks from the 19th century to the 21st , on the other, with the ensemble of the latter making it one of the most significant collections of contemporary art in Europe.