Pepe Espaliú (Cordoba, 1955 - Madrid, 1993) is one of the leading artists of the Spanish generation of the Eighties. Painter, sculptor, illustrator and writer, he develops a coherent and meaningful work very closely associated to his reflections on his own identity. His work is thanks to one of the most profound conceptualisations of living with AIDS, which caused his death and which he boldly accepted on an artistic level and where he produced some of his most important works.
The project Desapariciones (Disappearances)by Aballí (Barcelona, 1958) sets out from the literary and film work of the Frenchman Georges Perec (1936-1982), particularly the novel La disparition (1969), whereby Perec performs constrained writing as he leaves out the letter “e” from the text. Aballí takes this element to reflect upon the referential and the subversion of the conventions that cause a work of art to be considered in a particular way.
Black Mountain College was an art school located in the south-west of North Carolina, United States and had its doors open between 1933 and 1956; some of the most iconic names on the American art scene at that time attended. Its liberal educational system encompassed different artistic disciplines which were taught based on experimentation. Students were divided into "Junior" who worked in small groups and "Senior", who agreed to a system of individualised tutoring. There were no loans or notes; the only assessment was an exam the student requested when they thought they were ready.
Carmen Calvo (Valencia, 1950) begins to stand out on the Spanish art scene during the Seventies. The influences of Pop Art, received largely through its Valencian version embodied by Rafael Solbes and Manolo Valdés, members of Equipo Crónica, are part of her beginnings.
Pablo Picasso (Malaga 1881 - Mougins, France, 1973) made around two thousand, two hundred prints, from eighteen years old until 1972, one year before his death. His great talent and creativity generates one of the most extensive and varied artistic productions of the twentieth century. Within the range of exhibitions on Picasso at the Museo Nacional Centro de Arte Reina Sofía, some of them include his print productions, such as Picasso Grabador, held in 1993 and Picasso: las grandes series, which is held in 2001.
To mark Antoni Gaudí’s (Reus, 1852 - Barcelona, 1926) 150th anniversary the Museo Nacional Centro de Arte Reina Sofía and the Centro de Cultura Contemporánea de Barcelona are recreating in this extensive exhibition the universe of the central figure in Catalan Modernism and architect of international prestige. This exhibition is a journey through the influences, history, creative works and impact of Gaudí's work on a wide outlook built through more than four hundred works ranging from the early nineteenth century until the mid-twentieth century.
This exhibition compiles a selection of forty-six Spanish artists belonging to the Telefónica España Collection of Contemporary and Avant-garde Art, loaned to the Museo Nacional Centro de Arte Reina Sofía in 1997. The artists present in the exhibit work with Abstraction from 1950 to 2000 and are linked to both Informalism and geometry. The El Paso, Parpalló and Pórtico groups, Basque sculptors, and “Spaniards in New York” predominate the development of quality abstraction that, by and large, is prevalent in second half of the 20th century in Spain.
Jacinto Salvado (Mont-Roig del Camp, 1892 - Le Castellet, 1983) is one of the Spanish painters who participated in the avant-garde movements attached to the School of Paris, however, his poor relationship with Spanish artists in the Parisian capital has caused an undeserved historiographical absence. The value of his work in the context of the trends of renewal among the European avant-garde has now been revised for this exhibition at the Museo Nacional Centro de Arte Reina Sofía exhibiting some of the most emblematic pieces of his career.
Jean Nouvel (Fumel, France, 1945) is one of the most renowned architects worldwide. He is the winner of the prestigious Pritzker Prize in 2008 which he shares with other contemporary experts in the field of architecture such as Canadian Frank Gehry, the Briton Norman Foster, the Spaniard Rafael Moneo, the Italian Renzo Piano and the Japanese Tadao Ando among many others. Nouvel began working for architects Claude Parent and Paul Virilio until he decided to start his own firm.
Cristino de Vera (Santa Cruz de Tenerife, 1931) began his career in Spain in the Fifties. He first exhibits his work at a group exhibition at the Xagra Gallery in Madrid in 1952, a solo exhibition does not come until 1957 when he exhibits his latest work in Sala Alfil.
Señores de la danza (Lords of the Dance) is a video installation adapted onto two screens for this exhibition. Two films are shown in a loop, and after a succession of images in the form of a prelude two characters appear wearing helmets, dressed only in a swimming costume and painted gold.
Edward Ruscha’s (Omaha, United States, 1937) work is an obligatory reference when addressing the art scene of the Sixties on the United States West Coast. Influenced by the aesthetics and intentions of Pop Art, Ruscha follows the path woven by artists such as Jasper Johns, Roy Lichtenstein, David Hockney, Robert Rauschenberg and Andy Warhol. It was specifically the intention that was exhibited in their works -that they knew what they were going to paint before painting it- that made Ruscha interested in the work of these other artists.
Elliott Erwitt (Paris, 1928) is one of the great photographers belonging to the legendary Magnum agency founded by David Saymour, George Rodger, Henri Cartier-Bresson and Robert Capa in 1947. His optimistic view on life and sense of humour reflected widely in his numerous productions distance him from the work of other photographers at the agency. His main objective is not to denounce social injustice, but it seems that Erwitt is more interested in revealing a paradoxical human nature through the contrast of situations and sarcasm.
Francisco Pérez Mateo (Barcelona, 1903 - Madrid, 1936) is the only sculptor, known until now, whose work you can attach to the new realism or the new objectivity and one of the few who develops a sporting-themed sculpture. These features together with the fact that most of his work is missing and that his artistic career was cut short by an early death, fighting at the Carabanchel Bajo front on the 6th or 7th of November 1936, make Pérez Mateo a unique sculptor.