Mujeres creando are a group of Bolivian women who act from the premise of individual creative feminine attitude. Formed in 1992, their starting point is a strong opposition to injustice and male chauvinism dominant in their society, and use a direct and comprehensive discourse, the most effective sort for their environment. Disobedience to colonialism and globalisation is the basis of their ideology, declaring "faced with occidental Latin American feminism, we have decided to create our own thinking and reflection about who we are as women, what we want and what we are building".
Más allá del documento is one of five exhibitions from Versiones del Sur dedicated to Latin American art and held simultaneously at the Museo Nacional Centro de Arte Reina Sofía Sabatini building, the Palacio de Velázquez and Palacio de Cristal between late 2000 and early 2001. With various curators, the five exhibitions look at the particularities, connections and fragmentation of Latin American art since its beginnings until its most recent artistic creations from different points of view.
No es sólo lo que ves: Pervirtiendo el minimalismo is one of five exhibitions from Versiones del Sur dedicated to Latin American art and held simultaneously at the Museo Nacional Centro de Arte Reina Sofía Sabatini building, the Palacio de Velázquez and Palacio de Cristal between late 2000 and early 2001. With various curators, the five exhibitions look at the particularities, connections and fragmentation of Latin American art from its beginnings until its most recent artistic creations from different points of view.
The exhibition Heterotopías. Medio siglo sin-lugar: 1918-1968 is part of the Versiones del Sur, five exhibitions dedicated to Latin American art and held simultaneously in the Museo Nacional Centro de Arte Reina Sofía Sabatini building, the Palacio de Velázquez and Palacio de Cristal between late 2000 and early 2001. With various commissioners, the five exhibitions look at the particularities, connections and fragmentation of Latin American art since its beginnings until its most recent artistic creations from different points of view.
F[r]icciones is one of five exhibitions from Versiones del Sur dedicated to Latin American art and held simultaneously at the Museo Nacional Centro de Arte Reina Sofía Sabatini building, the Palacio de Velázquez and Palacio de Cristal between late 2000 and early 2001. With various curators, the five exhibitions look at the particularities, connections and fragmentation of Latin American art since its beginnings until its most recent artistic creations from different points of view.
The centrepiece to the Canary Island artist Carmela Garcia’s (Lanzarote, 1964) work is the dual need to rethink and change the world. Creating from a gender perspective is not only a simple way of projecting the need for another future it signifies a stage to claim a different consideration of femininity in the world. After taking this position, García experiences a need to reassess the construction of history, to narrate in a different way the stories of those who built the imaginary, establishing a new order of reference in articulation as well as building an everyday radically different in operational and symbolic terms .
The figure of the Minotaur; half man, half bull, appears on multiple occasions throughout Pablo Picasso’s (Málaga, Spain, 1881 - Mougins France, 1973) career. According to the original myth, this strange animal is born from the encounter between a bull and Pasiphae, wife of Minos. On hearing about his wife’s adventure Minos orders Daedalus to construct a labyrinth where the Minotaur is taken prisoner and is eventually killed by Theseus.
With the exception of the exhibition entitled Die Maler in der Theater, organised in 1986 in the Scrin Kunsthalle in Frankfurt, there has not been any other devoted to providing a broad and collective vision of the beginnings of the relationship between plastic arts and the sphere of performing arts. Unlike the Frankfurt exhibition, which spanned the whole of the 20th century, El teatro de los pintores en la Europa de las vanguardias (The Theatre of Painters in Avant-garde Europe) concentrates on a specific period: from its early years right up until practically the Thirties, a time when the Russian Revolution, inter-war Paris, Italian Futurism and the Weimar Republic in Germany determined a context that enabled these collaborations.
Unlike other collections such as the Guggenheim, Nasher, Beyeler, Panza di Biumo, Gelman and Sonnabend collections, all of which have been exhibited in the Museo Nacional Centro de Arte Reina Sofía, the Grothe Collection is remarkable in that is focuses on a very specific number of artists yet forms a complete and representative selection of the artistic career of each and every one.
Integrated into that which during the 90s became known as New British Art, Sam Taylor-Wood (London, 1967) burst onto the art scene with solid ideas based on dialogue between the means provided by modernity -photography, video and film- and certain key iconographic traditions of western art, especially renaissance and baroque. From this pattern -extremely solid in its formal and visual order- she made loneliness and isolation, as well as desire and feasibility, the most recurrent themes of her work, all of them filtered by an aura that moves between the melancholy and the tragic.
The common denominator of Valentin Vallhonrat’s (Madrid, 1956) photographic work is the fact that he worked systematically in series. In this way, the Museo Nacional Centro de Arte Reina Sofía exhibits, in their programme Espacio 1, his series entitled En busca del amor, a project initiated in 1998 and comprised of a total of twelve photographs whose main theme portrays particular types of rooms offered by certain Japanese and American hotels specifically designed for honeymoons or sporadic romantic encounters. The way Vallhonrat approaches his capture of images emphasises the cold and distant, as well as the baroque and ornate, presentation of these rooms. The important focus in these photographs is not narrating about what occurs in the rooms, nor the location where the events happen, but to establish another reference to an over-represented reality, derived from a society that only understands itself through entertainment.
Ignacio Zuloaga (Éibar, 1870 - Madrid, 1945) is one of the last masters from the Spanish School. His iconography is considered an accurate portrayal of what the writer Miguel de Unamuno called "the internal history of Spain." Beyond the naturalist will, Zuloaga seeks the character of a people. For this reason, his paintings about Black Spain provoke controversy: in the newspaper El Imparcial José Ortega y Gasset declared in 1911: "Zuloaga is a great artist because he has the art of raising the tragic Spanish theme."
Francisco Toledo (Juchitán, Mexico, 1940) is one of the most important living artists in Mexico. His painting is based on the traditional Zapotec culture and works through his personal vision, partly inherited from Rufino Tamayo, an artist he meets during his stay in Paris in the Sixties. In the French capital he contacts Octavio Paz and is influenced by Paul Klee and Jean Dubuffet, as well as Antoni Tàpies’ material painting. During that time he spends a few months in Barcelona, where he works with printmaking at the Polígrafa Editorial.
The biography of Albert Porta (Barcelona, 1946), known as Zush, is defined by his experience in the Barcelona Psychiatric Hospital. He leaves with not only his artistic name, but also a developed social and political consciousness that leads him to create a land of fiction called Evrugo Mental State, in which Zush invents language, flag, anthem, currency, a system of diplomatic relations, and other aspects linked to the idea of a State. The entirety of Zush's pictorial work always refers to this State, a mental and emotional one that is also iconographic, represented by drawings, painting, collages, photomontage and artists' books. His work refers to his multiple, split personality, though Zush prefers to define it more as “psychomanualdigital” than “multifaceted”.
Sam Francis (San Mateo, USA, 1923 - Santa Monica, USA, 1994) is instrumental in the international recognition of new American painting in the Fifties. For four decades his presence in Europe and Asia, and his native country, bears witness to the unceasing vitality of American art. His work is influenced by abstract painting from the San Francisco Bay Area, headed by Mark Rothko and Clyfford Still, and French artistic traditions of colour, exemplified by Claude Monet, Paul Cézanne, Henri Matisse and Pierre Bonnard, who he discovers upon moving to Paris in 1950. Although initially Francis is linked to the New York School, his art never possesses the gestural imprint or the rawness of Jackson Pollock or Willem de Kooning, despite the respect he professes for them as artists.
The work of artist David Hammons (Springfield, USA, 1943), which begins in the Seventies, has been characterised by its commitment towards civil rights and its link to the Black Power movement in the United States - the defence of the rights of black people. Hammons commonly questions the separation between public and private spaces through an aesthetic with influences from Minimalism, Arte Povera and the school of Zen.
Patty Chang (San Francisco, USA, 1972) is author and protagonist of the four videoperformances in this exhibition. In them, Chang tackles the issue of female identity with different examples and from different situations. The artist creates a dense network intertwining the autobiographical -the very body of the artist or references to episodes of her life- with the construction and socio-cultural acceptance of women.
Despite the fact that the work of Jiri Georg Dokoupil (Krnov, Czech Republic, 1954) had been exhibited previously in Spain, never had it been done so comprehensively as in this exhibition. A total of twenty-nine series made up of works on paper, canvases and sculptures compose this exhibit, in the Palacio de Velázquez, that spans from the end of the Sixties to the present day.
José María Sicilia (Madrid, 1954) is one of the most significant representatives of Spanish painting from the Eighties. He begins his artistic career at the School of Fine Arts of San Fernando in Madrid and in 1980 moves to Paris. From his arrival in France the artist works in large format and sees a constantly evolving painting.
The exhibition Signos del Siglo: 100 años de Diseño Gráfico en España (Signs of the Century: 100 Years of Graphic Design in Spain)aims to uncover the extensive labours of Spanish designers over the last century, revealing the invaluable contribution of modernisation and design in Spain. Although design is seen as a powerful communication tool that improves the environment and standard of living of citizens, its artistic value is more often of secondary importance.
When, in 1990, the Museo Nacional Centro de Arte Reina Sofía organised the major exhibition Antoni Tàpies. Extensiones de la realidad, Antoni Tàpies’ (Barcelona 1923-2012) work was presented emphasising the three-dimensional work of the artist, from a selection of objects, sculptures, works on paper and cardboard. This exhibition now is therefore the second major exhibition on Tàpies at the Museo Reina Sofía which consists of a selection of sixteen pieces by the artist, set in parallel at the Abbey of Santo Domingo de Silos.
Alexis Leyva Machado (Isla de la Juventud, Cuba, 1970), known in the art world as Kcho, is part of a generation of young artists that, following in the wake of Cuban avant-garde tradition from the Twenties, develop their work by regenerating their commitment to the formal and conceptual concerns of contemporary art. His work, essentially poetic and imbued with landscape and Cuban popular culture, forges a reflection on travel and the environment, on the continual evolution of time and matter.
The installation Dance & Disco, created by Ana Laura Aláez (Bilbao, 1964), represents the integration of a Club space inside the cultural and exhibition practices of a museum, whereby a flyer with a DJ lineup acts as the only source of information in the exhibition. Therefore, the space and its function is fully detached from the history of the place and the institution as it aims to push the relationship between art and life to the limit.
From the moment Jaume Plensa (Barcelona, 1955) begins his career as a sculptor he does not stop investigatiing the physical qualities of materials and the search for space as energy. This research leads to an evolution from a more objectual sculpture to that understood as architecture and installation, which provides the spectator with an experience.
This exhibition at the Silos Monastery of Santo Domingo coincides with the major retrospective the Museo Nacional Centro de Arte Reina Sofía is dedicating to the work of Antoni Tàpies (Barcelona 1923-2012). His major contribution as a painter through a tour of the highlights of his creations from 1943 to date is envisaged in the exhibition. Compared to the ninety works in the retrospective in Madrid this exhibition is comprised of a more modest number: sixteen pieces. The selection is based on the diversity of materials and techniques used by the artist in order to provide an overview of his work over the last fifteen years.
In this exhibition Teresa Lanceta (Barcelona, 1951) reinterprets traditional Moroccan fabrics. From them she configures a new artistic vocabulary and uses them as an excuse to reconsider traditional women's work. Like other artists such as Antonia Valero, Elena del Rivero, Ana Laura Aláez and Laura Torrado, Lanceta works with fabric, thread and embroidery to unite tradition and modernity.
Berlin magazine Der Sturm. Wochenschrift für Kultur und die Künste (Storm. Weekly magazine of culture and art) was one of Germany’s flagship publications from the early twentieth century. Its pages helped with the emergence of Expressionism and became a means of spreading the work of a number of artists and writers who became widely recognised in the following decades.