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.
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.
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.
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.