In his famous study The Raw and the Cooked (1964) the Belgian anthropologist Claude Lévi-Strauss develops an anthropological study about the confrontation between advanced and primitive societies through a summary of concepts of culinary culture - on the degree of the complexity in their food - the conclusions of which he extrapolates to a general plan that allows him to state the inevitable tendency of Western societies in the first world to define their identity by comparing themselves to the other, a phenomenon that is not reciprocal. The exhibition curator, Dan Cameron, intends to submit this idea to criticism, offering an alternative -he begins by inverting the terms in the title- and, through the work of fifty-four artists, he highlights how colonialism, in the field of artistic production and within the emerging trends of the Nineties, is based on the exchange of multiple cultural positions. That is, Cameron aims to include art in the debate on cultural identity, to do this, he brings together works in which dehierarchises the speaker's viewpoint and breaks the theoretical and artistic bipolarity that is dominant in the U.S. and Europe.
This exhibition is a selection of works recently included in the Museo Nacional Centro de Arte Reina Sofía collection and has been organised especially for their exhibition at the Wifredo Lam Center in Havana. The work of young artists who represent a range of techniques and disciplines that are current trends on the Spanish art scene have been chosen for the occasion. The selected artists assume in all cases a high degree of experimentation and innovation applied to different media present in the exhibition: painting, sculpture, installation and photography.
The hundred-year-old Zachêta Gallery in Warsaw, Poland, holds an exhibition of Spanish Art from the Eighties and Nineties featuring the work of forty-seven artists. All of the works selected belong to the Museo Nacional Centro de Arte Reina Sofía Collection, which opens and consolidates its activity throughout the Eighties.
How shall we sing the Lord’s song in a strange land?
Modern art’s origins have been consistently placed during the rupture with traditional art forms emerging in the late nineteenth century. This has resulted in the fact that European history's inseparability from its colonies, and therefore, centre-periphery relations, has been ignored since the sixteenth century. Principio Potosí a project that rethinks the origins and expansion of modernity based on colonial baroque painting and on colonisation processes. The exhibition establishes a dialogue between the work produced ex profeso various international artists, with numerous colonial baroque art works from between the sixteenth and eighteenth centuries that come from mainly Bolivian and Spanish convents, churches, archives and museums.