List of selected artworks. Maps for the tour in the museum

Preview

Search

Exhibitions

Results

  • Exhibition view. Especters of Artaud. Language and the Arts in the 1950s, 2012
    September 19 - December 17, 2012

    Specters of Artaud

    Language and the Arts in the 1950s

  • Exhibition view. Sharon Hayes. Habla, 2012
    May 30 - September 24, 2012

    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.

  • Rosemarie Trockel, VG Bild-Kunst Bonn. © VEGAP, Madrid, 2012
    May 23 - September 24, 2012
  • Exhibition view. Nacho Criado. Collaborating Agents, 2012
    May 5 - October 1, 2012

    Nacho Criado

    Collaborating Agents

  • James Coleman. Retake with Evidence, 2007. Video projection. Interpreted by Harvey Keitel. 35 mm Film in proportion 4:3 transferred to video HD © James Coleman
    April 25 - August 27, 2012
  • Exhibition view. Mateo Maté. Personal Universe, 2012 © VEGAP
    March 13 - June 27, 2012

    Mateo Maté

    Personal Universe

    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.

  • Exhibition view. Hans Haacke. Castles in the Air, 2012
    February 15 - July 23, 2012

    Hans Haacke

    Castles in the Air

  • Fernando Millán. Tú y yo, 1968. Unpublished. Collection of Tito Domínguez
    February 9 - September 7, 2012
    Program: Biblioteca y Centro de Documentación

    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.

    Biblioteca y centro de documentación
  • Paloma Polo. Posición aparente, 2012
    January 26 - April 23, 2012
    Program: Fisuras
  • Exhibition view. Emilio Ambasz. Inventions: Architecture and Design, 2011
    December 2, 2011 - January 16, 2012

    Emilio Ambasz

    Inventions: Architecture and Design

    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.

  • Exhibition view. Antoni Muntadas: Entre/Between, 2011
    November 23, 2011 - March 26, 2012

    Antoni Muntadas

    Entre/Between

    Considered one of the pioneers of media art and conceptual art in Spain, for over four decades Antoni Muntadas (Barcelona, 1942) has been creating projects that foment critical reflection about key issues in the configuration of contemporary experience. His aim is to detect and decode the control and power mechanisms through which hegemonic ways of seeing are built, exploring the decisive role played by the mass media in this process. In his works, which always have a clear processual dimension and often make a direct call for viewer participation, Muntadas uses a number of media, languages and discursive strategies, from interventions in public space to video and photography, from the publication of printed material to the use of Internet and the new digital tools, from multimedia installations to the organisation of multidisciplinary, collaborative research projects.

  • Exhibition view. Soledad Sevilla. Written on the Celestial Bodies, 2011
    November 10, 2011 - February 29, 2012

    Soledad Sevilla

    Written on the Celestial Bodies

    Having studied primary structures at the Computing Centre in Madrid, Soledad Sevilla (1944) creates installations that transform geometry into a subtle reflection on experience, matter, colour and light, intersecting sensitive and specific elements in her sculptures. Written on the celestial bodies, her largest work to date, is a site-specific piece that reproduces the vault of the Palace itself, recreating the image of the night sky.

  • Exhibition view. Locus Solus. Impressions of Raymond Roussel, 2011
    October 26, 2011 - 27 February 2012

    Locus Solus

    Impressions of Raymond Roussel

    The exhibition Locus Solus. Impressions de Raymond Roussel is dedicated to the body of work by the French novelist and poet and its influence on modern and contemporary art. Roussel (1877-1933) was the author of a literary opus made up of rich worlds, filled with spectacle, masks and phantasmagoria and built around the mechanisms and double entendres found in language. In its consideration of Roussel, Locus Solus is also taking a furtive glance at the history of 20th century art.

  • Exhibition view. René Daniëls. An Exhibition Is Always Part of a Greater Whole, 2011
    October 20, 2011 - March 26, 2012

    René Daniëls

    An Exhibition Is Always Part of a Greater Whole

    Multifaceted and complex, the work of René Daniëls (Eindhoven, Holland, 1950) reactivates and reformulates certain key elements of the historical avant-garde movements, attempting to connect the visual arts to literature and to daily life. Irony, ambiguity and double-entendre play a major role in his work, which is also rife with the frictions between abstraction and figuration, between reality and representation. Closer to René Magritte, Francis Picabia, Marcel Duchamp and Marcel Broodthaers than to the neoexpressionist artists of the 1980s with whom he is frequently associated, Daniëls understands painting to be something like fleece, like a play of appearances and disappearances, while at the same time believing that a work of art cannot be detached from its social context and that artists must avoid any inclination towards hermeticism and self-absorption.

  • Exhibition view. alighiero boetti. game plan, 2011
    October 5 - February 5, 2012

    Alighiero Boetti (1940-1994), who identified with arte povera early in his career but soon distanced himself from this movement, was a prolific, unclassifiable artist who, trying to avoid any form of artistic self absorption, explored different modes and degrees of collaboration throughout his career. His oeuvre can be placed within the context of relational aesthetics and in his art notions such as multiplicity, duality and division play a key role (thus his decision in 1972 to starting signing his work Alighiero e Boetti) and a balance is sought between the intellectual and the sensible, order and disorder, individuality and collectivity. Fusing conceptual rigour, a vocation towards the experimental and a playful spirit, Boetti always allows chance and coincidence to influence his work. His work, strongly poetic and iconic, uses a wide range of techniques and tools – from drawing and painting to mail art or the production of handicrafts – and it conceives of the spectator as an accomplice or even a playmate.

  • Exhibition view. Andreas Fogarasi. La ciudad de color/Vasarely Go Home, 2011
    September 14, 2011 - January 9, 2012

    Andreas Fogarasi

    La ciudad de color/Vasarely Go Home

    Program: Fisuras
  • Der Arbeiter Fotograf. Neuer Deutcher Verlag. Berlin, N. 10, 1929. Illustrated magazine. Biblioteca y Centro de Documentación. Museo Nacional Centro de Arte Reina Sofía. Madrid
    24 agosto - 30 noviembre, 2011
    Program: Biblioteca y Centro de Documentación

    This exhibition features a selection of magazines acquired on the occasion of the exhibition A Hard, Merciless Light. The Worker-Photography Movement, 1926-1939. The magazines show the link between documentary expression and working-class consciousness, exploring the importance of images in the founding of a new political and social ideal and suggesting that the struggle for power begins with the struggle for representation.

    Biblioteca y centro de documentación
  • Vista de sala de la exposición. Elena Asins. Fragmentos de la memoria, 2011
    June 15 - October 31, 2011

    Elena Asins

    Fragments of Memory

    The work of Elena Asins (Madrid, 1940) reflects both the constructive tradition of 20th century avant-garde movement and as well as practices arising out of the computation and information theory of the 1960s.

  • Exhibition view. Lili Dujourie. Nature's Lore, 2011
    June 10 – September 25, 2011

    Lili Dujourie

    Nature's Lore

    In the tradition of the Flemish primitives, the body of work by Lili Dujourie (Roeselare, Belgium, 1941) establishes an intellectual and sensory connection with the viewer, at the same time that it presents a critical reflection on specific ideas and categories in art history.

  • Vista de sala de la exposición. Leonor Antunes. walk around there. look through here, 2011
    June 10 - September 5, 2011

    Leonor Antunes

    walk around there. look through here

    Program: Fisuras

    The sculptural interventions of Leonor Antunes (Lisbon, 1972) build their meaning from within their dense materiality, without making reference to a specific symbolic content, transforming the places in which they are installed and making visible the tensions and energy that exist in such places. Her work vindicates the material autonomy of forms and also a certain autonomy of meaning, the strength of the pure gesture. Notions such as measure, scale or proportion also play a key role. For Antunes, who lives and works in Berlin, restriction is something that articulates her proposal. Like artists such as Duchamp,

  • Exhibition view. Maja Bajevic. To Be Continued, 2011
    May 27, 2011 – October 3, 2011

    Maja Bajevic

    To Be Continued

    Maja Bajevic (Sarajevo, 1967) bases her work on a poetic and subtle review of historical and social fractures, which involves awareness of the spectator as an agent or audience alike.

  • Exhibition view. Lygia Pape. Magnetized Space, 2011
    May 25 – October 3, 2011

    Lygia Pape

    Magnetized Space

    The work of Lygia Pape (1927-2004) arose in a setting very much characterised by a spirit of renewal. In Brazil, one of the most innovative art contexts in the second half of the 20th century, the tensions inherent in the arrival of modernism coexisted with the opposite extreme: dictatorships, false economic miracles and cultural movements based on local considerations, yet doomed to live in exile.

  • Exhibition view. James Castle. Show and Store, 2011
    May 18 – September 5, 2011

    James Castle

    Show and Store

  • Exhibition view. Yayoi Kusama, 2011
    May 11 - September 12, 2011

    The work of the Japanese artist Yayoi Kusama (Matsumoto, 1929) unfolds in the international art scene that began at the end of the 1950s and is the origin of today's globalisation. Her career, spanning almost six decades, started with her earliest solo exhibitions at the age of just 23, in Japan. She crossed international borders in 1958, heading for New York, which by that time was the unquestioned epicentre of art worldwide.

  • Exhibition view. Leon Golub, 2011
    May 6 - September 12, 2011

    The art of Leon Golub (Chicago, 1922 - New York, 2004) challenges the dominant model of the development of art from the 1950s onward. Oblivious to the media experimentation taking place in most artistic production during these decades, Golub's work is based on a pictorial renovation in which genres believed to be exhausted, such as historical painting or portraits, once again show unexpected expressive and critical capacity.

  • Exhibition view. A Hard, Merciless Light. The Worker Photography Movement, 1926-1939, 2011
    April 6 - August 22, 2011

    A Hard, Merciless Light

    The Worker Photography Movement, 1926-1939

    A Hard, Merciless Light. The Worker Photography Movement, 1926-1939 examines the period during the history of 20th century photography in which photography joined forces with various worker movements (ranging from trade unionism to the creation of “workers' states” like the Soviet one), motivated by growing working-class consciousness and the idea of taking over the means of production and reproduction of images. By looking at the artistic avant-garde in its interconnection with the political avant-garde, this exhibition challenges hegemonic historiography that focuses primarily on other movements arising in the history of photography, such as the New Vision. The exhibition displaces the importance of mechanical vision and instead considers photography's relationship with social movements, shifting the debate toward photography as a document. It presents photographs (many of which are vintage copies), films and other documents, with special attention being paid to periodicals, the fundamental medium for the circulation of images and the ideas associated with them during these years.

  • Exhibition view. Roberto Jacoby. Desire Rises from Collapse, 2011
    February 25 - May 30, 2011

    Roberto Jacoby

    Desire Rises from Collapse

    Program: Fisuras

    The work of Roberto Jacoby (Buenos Aires, 1944) moves constantly through areas on the very edge of artistic production. Ever since his early years as an artist linked with the famous Instituto Di Tella, which led to the mythical and revolutionary Tucumán Arde (1968), his work has been understood as a never-ending expansion of the notion of artistic activity. Among other tasks, he has written lyrics for the well-known glam rock group, Virus, he has studied sociology and political theory and he has worked as a theatre critic and as a journalist for the underground press. Such versatility has made systematic exhibition of his work a complicated endeavour, something to which this exhibition hopes to put an end.

  • Vista de sala de la exposición. Asier Mendizabal, 2011
    February 9 - May 2, 2011
    Program: Fisuras

    In large part the work by Asier Mendizabal (Ordizia, 1973) history ceases to be a practice connected to the past and instead reveals the cracks through which history becomes an activity intimately linked to the present. His enigmatic work, not easily deciphered, turns anecdotes into an event that makes the past current; a past in which the history of art and the ideology of shape have a fundamental weight that refers back to their link with social groups and their use as a tool for identification, glorification or repudiation. The media he uses, even considering the weight of Basque sculpture over the 20th century, reveal a range of resources that suggest readings far from reflection on space or the artistic medium and that are thus presented in a way that rejects all metaphysics.

  • Vista de sala de la exposición. Efrén Álvarez. Económicos, 2011
    February 2 - May 30, 2011

    Efrén Álvarez

    Económicos

    Program: Fisuras
  • Vista de sala de la exposición. Dorit Margreiter. Descripción, 2011
    January 12 - April 25

    Dorit Margreiter

    Description

    For over a decade, the artist Dorit Margreiter (Vienna, 1967) has been reflecting on modern architecture, on its preservation and its destruction, and on the relationship between visual systems and the economic and social contexts of architecture. Her activity shows a connection with that of a generation of Austrian artists, such as Florian Pümhosl, Martin Beck and Mathias Poledna, who, with the specific condition of the artistic medium as their point of departure, meditate on recent history and on the social and political weight of modernity, thus diluting its formal specificity.

  • Vista de sala de la exposición. Miroslaw Balka. ctrl, 2010
    November 26 – April 25

    Miroslaw Balka (Warsaw, 1958) came to maturity at a time when certain factions in his native Poland, notably elements in the Catholic Church and in Solidarity, the independent trade union, were beginning to confront the repressive Soviet regime that had prevailed since the end of the Second World War. In the mid-1980s he graduated from the conservative Academy of Fine Arts in Warsaw with a body of work that obliquely referenced this turbulent socio-political context. A number of related figurative sculptures, that included Black Pope and Black Sheep, 1987, soon followed. By the beginning of the Nineties, as a more liberal, democratic climate evolved in the aftermath of the fall of the Berlin Wall, Balka’s work underwent a marked change. An abstract iconography, that related to the body through forms of measurement and proportion, replaced the representational imagery he had formerly favoured. Although space as much as the objects that occupy it now became a primary preoccupation, his abiding concerns have nonetheless remained constant: above all, an acuity to the ways that history shapes and governs the present. Since he feels the weight of history as an inevitability, his work is imbued with its shifting valencies. Everyday I walk in the paths of the past, he said in a recent interview, contemporary time does not exist (1).  

  • Exhibition view. ATLAS. How to carry the world on one’s back?, 2010
    November 26 - March 28, 2011

    ATLAS

    How to carry the world on one’s back?

    Atlas is a proposal to put the frame of thought introduced by German art historian Aby Warburg (1866-1929) into the context of historical knowledge and images. This is not a monographic exhibition on Warburg, but a journey through the history of images from 1914 until the present day, where warburgism constitutes the genius loci.

  • Exhibition view. Jean-Luc Mylayne. Into the Hands of Time, 2010
    November 19, 2010 - April 4, 2011

    Jean-Luc Mylayne

    Into the Hands of Time

    Designed in close collaboration with the artist, this retrospective exhibition is the first presentation in Spain of the work by Jean-Luc Mylayne (Marquise, France, 1946). For thirty years the artist has devoted himself with tenacious rigour to the photography of birds. Each of his large format images presents common birds (robins, swallows) in their natural habitat. The images are scrupulously theatrical, never random and sometimes made with lenses manufactured according to his specifications in order to create a complex spatial field. His approach combines an accurate conception with formal acuity and infinite patience.

  • Exhibition view. : VAL DEL OMAR overflow, 2010
    October 5- February 28, 2011

    Filmmaker, inventor, poet, graphic artist and hard-to-classify artist, José Val del Omar (Granada, 1904 - Madrid, 1982) is very closely linked to the medium of film as a cursed creator, an eccentric in the context of Spanish film making which does not favour experimentation; over time he has gradually become a cult figure. Val del Omar largely devotes himself to technological explorations, both in aspects concerning cinema as well as the challenges posed in his time (sound film, embossed, colour, widescreen, etc.), such as electro-acoustics, radio, television and educational applications of audio-visual media. Some of his inventions seek practical solutions in Franco's Spain, others venture into the notion of total spectacle, with an unusual visionary instinct, like the overflow of the screen and the pursuit of an acoustic and visual Cubism through diaphonic sound, all involving, and "tactile-vision", with techniques based on pulsed illumination.

  • Autumn 2010, 2010
    September 22 — December 21, 2010
    Program: Fisuras

    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.

  • Exhibition view. Hans-Peter Feldmann. “An Art Exhibition”, 2010
    September 22, 2010 – February 28, 2011

    Hans-Peter Feldmann

    “An Art Exhibition”

    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.

  • Vista de sala de la exposición. Ibon Aranberri. Gramática de meseta, 2010
    July 14 – November 14, 2010

    Ibon Aranberri

    Gramática de meseta

    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.

  • Exhibition view. Jessica Stockholder. Peer Out to See, 2010
    July 14, 2010 - April 25, 2011

    Jessica Stockholder

    Peer Out to See

    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.

  • Exhibition view. Miralda. De gustibus non disputandum, 2010
    June 24 - October 17, 2010

    Miralda

    De gustibus non disputandum

    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.

  • Exhibition view. New Realisms: 1957-1962. Object Strategies Between Readymade and Spectacle, 2010
    June 16 - October 4, 2010

    New Realisms: 1957-1962

    Object Strategies Between Readymade and Spectacle

    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.

  • Exhibition view. Mixed Use, Manhattan: Photography and Related Practices 1970s to the present, 2010
    June 10 - September 27, 2010

    Mixed Use, Manhattan

    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.

  • Exhibition view. El retorno de lo imaginario. Realismos entre XIX y XXI, 2010
    20 May - 27 September, 2010

    El retorno de lo imaginario

    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.

  • Exhibition view. Una conferencia comisariada. Sobre el futuro de la fuerza colectiva dentro del archivo, 2010
    May 20 - August 30, 2010

    Una conferencia comisariada

    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.

  • Exhibition view. The Potosí Principle. How shall we sing the Lord’s song in a strange land?, 2010
    May 12 – September 6, 2010

    The Potosí Principle

    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.

  • Exhibition view. Drifts and Derivations: Experiences, journeys and morphologies, 2010
    May 5 - August 23, 2010

    Drifts and Derivations

    Experiences, journeys and morphologies

    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.