Under the premise that the Museo Nacional Centro de Arte Reina Sofía is an exhibition, collection and communication space, during autumn of 2010 a project is developed and produced involving four artists who intervene in the relationship between the Museum and the public. To do this, their creations occupy a series of spaces that do not normally exhibit work.
This exhibition includes Hans Peter Feldmann’s (Dusseldorf, Germany, 1941) most representative works, from the Seventies until today. Fascinated by the few images that he found around him during the German post-war period, he begins to collect them, cut them out and stick them in albums, something he continues to do. From his earliest pieces, Feldmann organises his images into series and the effect his collection produces is abundant, which leads him to produce numerous series of photographs such as the Time series where he collects, like film photo stills, trivial facts. There is not normally anything extraordinary in them, only the invisible flow of time which has been stopped in order to be examined. Feldmann subsequently expands his reflection in the book 100 Years, a series of 101 photographic portraits of his family or friends who are aged between eight months and 100 years. Feldmann presents images that are materially poor and aesthetically undefined, as if he wanted to force the limits of their expressive qualities, facing social space covered with superlative images and touched up to encourage consumption.
The exhibition held at the Museo Nacional Centro de Arte Reina Sofía dedicated to Ibon Aranberri (Itziar-Deba, 1969) at the Benedictine Abbey of Santo Domingo de Silos (Burgos), is inspired by the collective memory of humans and analyses how cultural heritage is transformed by history and our industrial culture.
Jessica Stockholder (Seattle, United States, 1959) is one of the most influential sculptors of her generation. Her work spans over three decades and is characterised by a commitment to colour and materials. The interpretation of objects has become the distinguishing feature of Stockholder’s creations, as she participates both in the spheres of conceptualisation and construction, through associations between the recognisable and the abstract.
The heterogeneous proposals of Antoni Miralda’s (Tarrasa, 1942) productions included in this retrospective exhibition, claim knowledge and experiences of other cultures from different perspectives. His artistic production is perishable by nature and develops in spaces outside the art circuit. This artist has investigated the ephemeral art of food for more than four decades. Miralda uses a vibrant and inclusive language, extremely humorous and based on the celebration of the senses. His pieces lack a material presence, he gives them a transient nature and leads them to a collective space, bringing them closer to spectator participation. Many of his actions are documented only in photographs, videos and films.
The exhibition New Realisms: 1957-1962 focuses on one of the most important periods of changes in art during the twentieth century, beginning with the completion of Modernism and ending during the peak of Postmodernism. This period brings together a heterogeneous multiplicity of decisive manifestations and creates a new discourse on art and its contexts, leaving Abstraction and the mastery of painting behind. At this time interest shifts from the conventional art object to processes, while questioning the production systems and the consumption of art; the foundations for a great change in the paradigms of art during the sixties are laid.
Photography and Related Practices 1970s to the present
The use of images of the New York from early deindustrialisation and abandonment of the city during the Seventies are juxtaposed in, and exposed to, the counterpoint of more recent works by artists who, fully aware of the practices of their predecessors, continue finding an aesthetic potential in this area. Mixed Use, Manhattan is based on atime when the city served as an experimentation workshop. In this place fundamental artistic aspects intertwine, such as the future of the performing arts or the relationship between work and exhibition spaces, with other high social significance, such as sexual identity, socialisation modes and uses of public space.
Realismos entre XIX y XXI (Tributo a Juan Antonio Ramírez)
In their efforts to distance themselves from a linear narrative of modernity, The Museo Nacional Centro de Arte Reina Sofía addresses the Museum's vision as not merely a container of objects, but as an entity capable of producing new discourses for their Collection and generating new knowledge. For this reason through Two Different Readings of the Collection, two exhibitions have opened at the same time about the meaning of collecting and relating the Museum's Collection from two different points of view. Artists Rosa Barba and Juan Luis Moraza, have made an exhaustive study on the Museum's Collection to then choose a selection of works which can offer the public two alternative visions and proposals on the Collection.
Sobre el futuro de la fuerza colectiva dentro del archivo
In their efforts to distance themselves from a linear narrative of modernity, The Museo Nacional Centro de Arte Reina Sofía addresses the Museum's vision as not merely a container of objects, but as an entity capable of producing new discourses for their Collection and generating new knowledge. For this reason through Two Different Readings of the Collection, two exhibitions have opened at the same time, about the meaning of collecting and relating the Museum's Collection from two different points of view. Artists Rosa Barba and Juan Luis Moraza, have made an exhaustive study on the Museum's collection to then choose a selection of works which can offer the public two alternative visions and proposals on the Collection.
How shall we sing the Lord’s song in a strange land?
Modern art’s origins have been consistently placed during the rupture with traditional art forms emerging in the late nineteenth century. This has resulted in the fact that European history's inseparability from its colonies, and therefore, centre-periphery relations, has been ignored since the sixteenth century. Principio Potosí a project that rethinks the origins and expansion of modernity based on colonial baroque painting and on colonisation processes. The exhibition establishes a dialogue between the work produced ex profeso various international artists, with numerous colonial baroque art works from between the sixteenth and eighteenth centuries that come from mainly Bolivian and Spanish convents, churches, archives and museums.
This exhibition narrates the unpredictable deviations of the many alternative architectural models in Latin America from the mid-twentieth century, confronting the official stance marked by a neo-colonial and Eurocentric discourse. The exhibition facilitates the comprehension of the avant-garde as an attitude that is open to differences, from the recognition of heterogeneity and otherness, not as a judgement of imported and imposed standards.
The Museo Nacional Centro de Arte Reina Sofía offers this retrospective exhibition, the first of its kind in a European institution, of the remarkable drawings by Martín Ramírez (Tepatitlán de Morelos, Mexico, 1895 - Auburn, USA, 1963), considered one of the most notable masters of self-taught art in the 20th century. Ramirez, interned in numerous California psychiatric wards, produced some astonishing work with pictorial materials he himself made. His oeuvre explores the unique iconography that alludes to the bizarre nature between two worlds - the origin of rural and indigenous Mexico and the destination of the USA in a process of full industrial development. His drawings intimate certain narrative and autobiographical elements that preserve his identity and give meaning to an interior and exterior world in crisis.
In The Friar’s Doodle (2010),Tacita Dean (Canterbury, United Kingdom, 1965) portrays the doodles and graffiti that surround the colonnade of the Romanesque cloister of the Abbey de Silos and offers an image of what the monks may have drawn along the centuries. For the first time in this 13-minute, 16mm colour film, Dean uses a rostrum camera to produce animated images in which she closely follows the squiggly drawings - a contrast from the static images that characterise her work. The obstinate way in which Dean uncovers the original image underlines the necessary processes of discovery to decipher the scene as a whole, without letting the camera move back to show the composition in its entirety.
The Palacio de Cristal opened in 1887 with an exhibition on wildlife from the Philippines that formed part of a broader project dedicated to the then important Spanish colony. La saison des fêtes (The Season of Festivities) by Pierre Huyghe (Paris, 1962) was devised especially for the space, freely encompassing and framing its history and past uses. The original exhibition featured exuberant tropical plants with a colonialist ideology behind them; Huyghe's conception, however, distances itself from a strictly Eurocentric perspective.
This exhibition, entitled Retrospección (Hindsight) in reference to the collective vision in the career of Thomas Schütte (Oldenburg, Germany, 1954), spans thirty years and represents his permanent investigations through a critical dialogue with art of the past. Schütte's powerful aesthetics are based on advancing by looking back, subverting the previous modes of his own creation or borrowing from other cultures and other times.
Mario García Torres (Monclova, Mexico, 1975) is one of the most internationally renowned Latin American artists. This is his first individual exhibition in a Spanish institution, and, following a rigorous three-year research process, this Mexican artist living in Los Angeles unearths a new chapter in the intriguing relationship certain artists have with history.
Francisco López (Madrid, 1964) is one of the key exponents of experimental and electroacoustic music. His sound installations acknowledge the power of sound to transcend the perception and emotions of the people that participate in them. López has created Sin título #223 (Untitled #223) for the Museo Reina Sofía, a piece of sound art with specific sounds for a place with metal walls and ceilings and unusual dimensions - it is located in an unorthodox place in the Museo, in a metal corridor in the Edificio Nouvel. López has chosen the location for its acoustic conditions and installs a sound system that invites visitors to become submerged in a virtual sound world with extreme contrasts. He favours the exploration of sound as well as our own interior, hence the rejection of visual aspects as he leaves the installation in almost complete darkness, enabling him to penetrate a “virtual reality of sound” in a kind of ritual that is both collective and individual.
León Ferrari (Buenos Aires, 1920) and Mira Schendel (Zürich, Switzerland, 1919 - Sao Paulo, Brazil, 1988), are two of the twentieth century's most preeminent Latin American artists. El alfabeto enfurecido: León Ferrari y Mira Schendel (The Frenzied Alphabet: León Ferrari and Mira Schendel) is the first retrospective exhibition of their work in Spain. Without meeting one another, Ferrari and Schendel work in Argentina and Brazil respectively, both converging through their work as they advocate the presence of language as visual material and content. In contrast to conceptual artists, who focus on the ideal leading role of language, Ferrari and Schendel do not use this language in their works to produce art as an idea, but rather to express its particular materiality, employing it as a physical medium that can be moulded and sculpted.
The exhibition on Georges Vantongerloo (Antwerp, Belgium, 1886 - Paris, 1965) reveals the influence in his work of the re-conceptualisation of pictorial and sculptural space in abstract art at the beginning of the 20th century. The exhibition also homes in on the latter stages of his output, which undergoes a series of radical changes after World War Two, enabling him to reach an entirely original and profoundly intuitive artistic synthesis that subsequently transforms the disciplines of painting and sculpture.
The Abbey of Santo Domingo de Silos welcomes the exhibition dedicated to Belgian artist Francis Alÿs (Antwerp, Belgium, 1959). The starting point of the exhibition is the work Fabiola (1885), whose whereabouts are unknown since the beginning of the 20th century, by the French painter and academic Jean-Jacques Henner. It looks at the idealised portrait based on the hagiography of the saint published one year earlier by a British cardenal and translated into ten languages, which aslo gave rise to the worship of the saint, thus establishing her “patron image”.
At the beginning of the summer of 1972, the “Pamplona Encounters” were held - the most extensive and significant international avant-garde art festival held in Spain. Imbued with the idea of diffusing art into life, these were ephemeral encounters, set up as an opportunity to subvert the order established at the end of the dictatorship in Spain.
This exhibition brings together the work of two key exponents in the stylistic and theoretical definition of Russian Constructivism: Liubov Popova (Ivanovskoïe, Russia, 1889 - Moscow, 1924) and Alekxander Rodchenko (San Petersbourg, Russia, 1891 - Moscow, 1956). It constitutes the most complete selection of works to date of these two artists, amassing around 350 pieces realised between 1917 and 1929 by both that includes: paintings, cinema and theatre posters, sketches of clothing designs, furniture, books, photographs, documentaries and work by their contemporaries.
The work of artist Francesco Lo Savio (Rome, 1935 - Marseille, France, 1963) is displayed individually for the first time in Spain through this exhibition, which compiles a wide range of works realised over a five year period. It features paintings from his early period, monochromes, filters, metal works, and his Articolizioni totali (total articulations) in addition to a series of works related to architecture, a discipline he studies before immersing himself in painting.
Crystal Times. Reflexión sin sol/Proyecciones sin objeto
Joëlle Tuerlinckx (Brussels, 1958) presents her first individual exhibition in Spain with the installation created for the Palacio de Cristal, in Madrid's Retiro park, whereby she recreates and modulates the exceptional lighting conditions in the Pavilion through a trio of “beams”. The exhibition is concluded in the Edificio Sabatini with a display of archive material and diverse works related to the Palacio de Cristal project and to Tuerlinckx' working process and reflections.
The work of Isidoro Valcárcel Medina (Murcia, 1937) - Winner of the National Prize for Plastic Arts in 2007 - represents an attitude of engagement that is a long way from commercial art, making it difficult to place in usual exhibition contexts and spaces. For the Fisuras programme in the Museo Nacional Centro de Arte Reina Sofía, he has come up with a series of 'circumstances', actions that emerge from different places around the Museo Reina Sofía throughout the course of the autumn season. In these 'circumstances' Valcárcel Medina conveys his critical stance on the concept of the artistic and the institutionalisation of art, along with irreverence encapsulated in the way he sees conventional forms of meaning.
The work of David Maljkovic (Rijeka, Croatia, 1973) focuses on memory and collective amnesia in addition to the possible reconstruction of the future - issues closely linked to the recent history of former Yugoslavia. His installations combine video, drawing, objects and architecture, with a special interest in architectural symbols and their meaning today.
Representantes del tiempo (Time Proxies) is Matthew Buckingham's (Nevada, USA, 1963) first individual exhibition in Spain. The exhibit of the multi-talented artist, displaying photography, video, audio, drawing and sculpture in different installation formats, is made up of a selection of works that identify and call into question the diverse processes of memory and the contrast between recollection and reality.
Todo lo que no es ración es agio (Everything that is not a Portion is Speculation) (2009) is the title of a video by Patricia Esquivias (Caracas, 1979), produced as part of Fisuras, the programme featuring the Museo's own productions. The work is the final installment in the Folklore series, started in 2006, whereby the artist explores, uncanonically, diverse themes related to the history and idiosyncrasies of Spain by means of everyday situations and phenomena in popular culture. Esquivias' work looks at the theme of Spanish folklore as it reflects on the fact that from the Eighties onwards art and folk have disappeared from contemporary artistic expression. The video is projected onto an area in transition, between the Edificio Sabatini and Edificio Nouvel, and is based on a still of the Museo Nacional Centro de Arte Reina Sofía, taken from the surrounding area, in which the contrast between Sabatini's architecture and the contemporary building by the French architect can be discerned. This contrast serves as a backdrop for Esquivias to reflect upon the relationship between Spain and modernity.
The exhibition Atlas Group (1989-2004), Un Proyecto de Walid Raad (Atlas Group 1989-2004. A Walid Raad Project) is an archive project developed by Walid Raad (Chbanieh, Lebanon, 1967) between 1989 and 2004. Its aim is to research and document Lebanon's recent history, particularly during the war from 1975 to 1990. For the first time in Spain, the Museo Nacional Centro de Arte Reina Sofía offers the possibility of exploring a significant part of the works that comprise the Atlas Group project.
The exhibition Los Esquizos de Madrid. Figuración madrileña de los 70 (The Schizos of Madrid. Madrid’s Figurative Movement in the 1970s) looks at Madrid's complex cultural environment during the last years of Franco's regime and the first period of democracy. The retrospective coordinates the activities and work of a group of painters known as “Los Esquizos de Madrid” (The Schizos of Madrid), whose exploits as a group span from 1970 to 1985, a period in which they decided to embrace figurative painting as they operated on the margins of the dominant aesthetic and political conventions at the end of the dictatorship.