The retrospective exhibition Francesc Torres. The Dragon's Head offers a tour of the twenty years that make up Francesc Torres’ career (Barcelona, 1948). The exhibition brings together works the majority of which have never been exhibited in Spain, composed of works produced primarily in the United States, except the Fifty Rains (1990-1991) project which was created expressly for this occasion.
The exhibition, Masterpieces from the Guggenheim collection. From Picasso to Pollock manages to combine two unusual events: bringing together over one hundred and twenty masterpieces from the history of art in the first half of the twentieth century and bringing out the personalities of the two major collectors, on whom the foundations of the Solomon R. Guggenheim Foundation in New York were made. Thus, this exhibition presents the history of art interwoven between works of art and the story of a collection made up mainly by the legacies of Solomon R. Guggenheim (Philadelphia, 1861-New York, 1949) and his niece Peggy Guggenheim (New York, 1898-Padua, Italy, 1979), to which other funds and acquisitions made over the history of the institution have been added.
Image in movement biennial ’90 exhibits a selection of works made between 1988 and 1990 whose common denominator is the use of video, film, television or computer, both as a support, and as a medium. The exhibition brings together a wide and varied set of works that are involved in some way with the term "image in movement" in its most extensive sense.
Organised into three main areas (drawing, painting and sculpture) related to Alberto Giacometti's productions (Borgonovo, Switzerland, 1901 - Chur, Switzerland, 1966), the Alberto Giacometti exhibition is the first retrospective exhibition of this artist in Spain. This exhibition was proposed in order to contextualise his work and highlight his attachments and positioning from events and names that mark his artistic and life career, which not only impacted on his work but also allowed him to move outside of the tightly defined limits in art. For this reason the reciprocity between his artistic biography and his work, among which includes literature (notes, writings on his work and dairies), is focused on. On the other hand, and in addition to the previous premise, the exhibition develops a line of reading material that seeks to highlight the idea of the artist’s trade present in Giacometti, where drawing as a fundamental means stands out.
The purpose of this retrospective exhibition is to contextualise Antoni Tàpies' (Barcelona, 1923-2012) vast productions of sculptures and objects throughout his career, insisting on the unity and insolubility of all his work. For this, all works have been collected that were produced between 1946 and 1990 and which have as a common denominator the assemblage (assembly) as a process and technique, something which serves to support the three objectives of the exhibition, in the words of Gloria Moure, curator of the exhibition: "It highlights the radical, the compactness and the contemporaneity of Tàpies' work."
In the context of critical readings from art history, Memory of the future. Italian art from early avant-garde to post-war shows the approach to the first sixty years of twentieth century Italian art, under the premise that its continual renewal is rooted in tradition. The exhibition does not consider memory and the future as interchangeable terms, comparable or opposed, but defends the idea that modern Italian art arises from their mutual contamination and friction. Thus, Memory of the future breaks the chronologically linear art history story and allows more recent artistic and cultural memories to play a more active role. In this feedback of Italian art, the art of the future is assumed to be a tradition which is yet to be completed.
This Antonio Saura (Huesca, 1930 - Cuenca, 1998) exhibition, organised by the Musée Rath and Museum of Art and History in Geneva, is held to mark the fiftieth anniversary of the presentation of Museo del Prado collections in Geneva in 1939.
This exhibition is one of the most extensive on Latin American art seen to date in Spain. At the Palacio de Velázquez over four hundred works have been displayed showcasing the artistic wealth in Latin American regions starting from the Wars of Independence against Spain (c. 1800-1821) until 1980.
La Asociación de Amigos del Reina Sofía was established in 1987 as the result of a group of entrepreneurs coming together to create a collection. The acquisitions of pieces is done as an individual initiative, but the character of the collection is public, it cooperates with institutions and is made available to as many citizens as possible.
Miquel Navarro (Mislata, 1945) is one of the predominant figures in what is known as “New Spanish Sculpture”. He begins his career in the Sixties with a pictorial style that he himself classifies as Expressionist and in 1974 he creates his first Ciudad (City), a collection of modular, repetitive and geometric forms grouped together in compositions that simulate urban networks and create cityscapes that are spatially positioned like a sculptural installation.
The Irish-born American painter Sean Scully (Dublin, 1945) starts to work with Abstraction at the beginning of the Seventies. He becomes interested in the humanisation of painting in opposition to formalist parameters; according to Scully his work can be summed up in the move “from the object line to the subject line”. The directions, represented by horizontal and vertical lines and the tensions they create, are at the heart of his production. This new geometrical approach, which moves away from the idea of purity and appropriates errors, reflects the troublesome relationship between the individual and the collective and opens up a new field of reflection, previously unknown to abstract painting.
The aesthetic approaches of the Equipo Crónica (Chronicle Team) (1964-1981) evoke the visual atmosphere of an era. The group materialises as one of the most coherent ideas from the figurative movement, which, at the beginning of the Sixties, attempts to leave informalist Spanish painting behind.
The Centro de Arte Reina Sofía has been chosen by Baron Hans Heinrich Thyssen-Bonemisza as the venue for displaying one of his latest acquisitions: the painting Mata Mua (Autrefois) by Paul Gauguin(Paris, 1848 - Atuona, French Polynesia 1903).
A selection of the best works from the Beyeler Collection is presented for the first time in public. The exhibition in the Centro de Arte Reina Sofía brings together previous exhibits devoted to private collections, for instance the Panza di Biumo, Nasher, Sonnabend and Phillips collections.
In this exhibition sixty-two works by Ferran García Sevilla (Palma de Mallorca, 1949) are presented under the title La torre de papel (The Tower of Paper). His artistic career gets underway in the Sixties with his initial work being linked to Conceptual Art; it later moves into the pictorial sphere at the beginning of the Eighties.
Ulrich Rückriem (Düsseldorf, Germany, 1938) begins working as a sculptor in the Sixties after an intensive education in a stonemasons workshop where he learns the profession and stone cutting techniques - filing, splitting, smoothing and polishing. His experience in this craft forms the base from which he begins to formulate his own sculptures.
Dada and Constructivism, two art movements characterised by having emerged at critical moments in history: World War I and the Russian Revolution. Nevertheless, despite these similarities, they have often been considered by historians as counter-posed given that the first focuses on intuitive thought and the transrational while Constructivism delves into objective beauty and pure forms.
The body of work by Philip Guston (Montreal, Canada, 1913 - New York, USA, 1980) is on display in Europe for the first time, although his later work was previously exhibited in Whitechapel in London. Following the initial waves of surrealist and metaphysical language, Guston becomes one of the preeminent figures of Abstract Expressionism in the Fifties.
This exhibition recaptures the artistic atmosphere of Berlin, considered one of the hubs of modern art during the first three decades of the century, between 1900 and 1933. The exhibition displays not only works produced in the city by Berlin artists, but also others that have appeared via other exhibitions or channels.
Richard Artschwager (Washington, 1923 - Albany, 2013) has dedicated his output to exploring the construction of meaning in works of art. By challenging conventional painting and sculpture, and operating outside stylistic classification, Artschwager's artistic output is primarily made up of: furniture sculptures made from wood and Formica as an imitation of wood as well as pictures painted on industrial material called celotex and sculptural forms painted or covered in rubber that he calls “blps”.
Disappointed by the reaction to his work and in an act that questions the mechanisms of access to contemporary art, in 1970 John Baldessari (National City, USA, 1931) burns his pictorial work, produced between 1953 and 1966, giving rise to the Cremation Project. From then on the American artist uses words and photography as his mediums of expression, considering them ideal for an easy and direct public reception.
Russia is the first country to begin importing works by Henri Matisse (Le Cateau-Cambrésis, France, 1869 - Nice, France, 1954). Following the significant success of his paintings at the Salon d'Automne in Paris in 1905, the works of the young artist begin to reach Russia, although the collector Sergei Ivanovich Shchukin - who also purchases works by Claude Monet, Paul Gauguin and other young avant-garde artists such as Pablo Picasso, André Derain, Maurice de Vlaminck and Kees Van Dongen - becomes interested in Matisse's work even before his first exhibition is held in 1904 at the Parisian gallery Vollard.
Duncan Phillips, the grandson of a steel magnate and son of a businessman, shows an interest in art from an early age, which is encouraged by his family via a modest annual fund dedicated exclusively to acquiring works of art. The sudden death of his father and brother causes him to honour them by publicly exhibiting acquired works in one area of their mansion. Duncan Phillips acquires around three hundred paintings and adds them to the two dozen or so works already in his possession to open the Phillips Memorial Gallery in 1921, thus turning the collection into the first modern art museum in the USA.
The premature death of Werner Bischof (Zurich, Switzerland, 1916 - Trujillo, Peru, 1954), at the age of just thirty eight, after his jeep falls off a cliff with two other passengers in the Andes Mountains, cuts a promising career short that had already shown signs of great potential during its eighteen years of development.
Them symbolic and ceremonial nature of the medal means that it is the form chosen by the Fábrica Nacional de Moneda y Timbre (The Royal Mint of Spain) to commemorate the bicentenary of Carlos III, whose reign was a particularly productive period for Spanish numismatics. Emblematic pieces minted in the Royal Mints around the Peninsula and overseas have been arriving; however, it is the field of medals that marks a more prominent period, as, in contrast to the rigidity of coins, medals embody the spirit of Illustration and reflect the creative freedom of engraving artists.
Rufino Tamayo (Oaxaca, Mexico, 1899 - Mexico City, 1991) is one of the preeminent figures in twentieth-century pictorial movements in Mexico. A tireless worker and incessant traveller, Tamayo's influences from a wide range of cultures is reflected in his paintings and makes them universal in the process. Furthermore, his artistic oeuvre also encompasses movements such as Impressionism, Cubism, Futurism and metaphysical painting.