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 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.
The surrealist movement, definitely visible and theoretically debated with the publication of the Manifeste du Surréalisme (1924), written by André Breton (Tinchebray, France, 1896 - Paris, 1966) is a cosmology organised by and about Breton himself. His revolutionary pretensions, which are visible in all his publications, expositions and determinations, are understood as the will of general subversion (through action) in all areas of daily life, starting from poetry and art and moving to ethics, religion and politics. Thus, Surrealism is not only an artistic and literary expression, but a stance against the traditional values of culture and the bourgeois society and against realism in art. He supports the idea of an inner model in all creative acts, of otherness, absolute automatism (applied to poetic and artistic practice) as well as the adoption of meta-artistic methods that come from psychoanalysis, such as hypnosis, which allow the release of human consciousness and a return to a primitive and primordial state of thought.
This exhibition presents an approach to the evolution of the surrealist movement in the context of the exile and emigration of most of its members to the United States which happened following the German occupation of France. During the period encompassed in the exhibition, artists such as André Breton, André Masson, Max Ernst, Roberto Matta and Wilfredo Lam contact American artistic groups and meet the young artists that a few years later, play an important role in the renewal of American art.
Ramón Gomez de la Serna (Madrid, 1988 - Buenos Aires, 1963) is one of the artists who introduce the avant-garde to Spain. At the same time he is a pioneer of a trend characterised by humour, which the Museo Nacional Centro de Arte Reina Sofía pays tribute to in Los humoristas del 27. This exhibition is held a few months before this one, which presents the character of this prolific writer, inventor of the universal greguerías.
The exhibition Galería Cadaqués (1973-1997) is part of the series of exhibitions dedicated to historical art galleries -the last one was dedicated to showing the Archivo de la Galería Juana Mordó in 2001- and is organised by the Documentation Centre of the Museo Nacional Centro de Arte Reina Sofía.
Alfred Stieglitz (New York, United States, 1864-1946) captures in his photographs the vitality and energy of New York in the early twentieth century. This city, with its skyscrapers and its fast pace of life, looked, to many European artists, the very image of modernity. If, in the past, traveling to Europe was a rite of passage for American artists, New York would later become the destiny for European artists.
Movement and speed as a reference of modernity and the machine as a symbol of technological progress have been around since early avant-garde artistic discourse. But it is in the Paris of the Sixties where, focused around the Denise René gallery, a group of artists, many of them Latin-American, give programmatic basis to Kinetic Art. From this moment the kinetic factor is begun to be understood as a trend that seeks expression in the movement of the creative arts through various channels: shaping an illusion of a virtual movement in the optic impression of the spectator that does not really exist; inducing the spectator to move in space, to mentally organise the reading of a particular sequence, or performing real movements of images through the use of motors.
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.
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.
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.
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.