Naturalezas españolas (Spanish Nature) is an historical review of the most significant art movements in Spain spanning four decades and analysed from the monographic perspective of nature. The common thread of the exhibition is divided into the following sections: “Facing Nature”, “With Nature”, “On Nature”, “Beyond Nature”, five propositions representing the five different models between art and nature.
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.
The Palacio de Velázquez is the venue for the exhibition organised by Grupo 16 in collaboration with the Museo Nacional Centro de Arte Reina Sofía. El Salón de los 16 is an initiative by the editorial group to promote the dissemination of Contemporary Art. In its first editions this annual conference focuses on bringing together the work of new generations of artists from Madrid though, as time moves on, the El Salón de los 16 broadens its plan to incorporate the whole of Spain. This, the eleventh exhibition, displays foreign artists' work alongside preeminent figures in Spanish art in what is considered an overview of the best exhibitions from 1990-1991.
The exhibition Dibujos germinales. 50 artistas españoles. 1947-1998 provides a general and previously unimagined vision of drawing in Spain during the second half of the twentieth century, through fifty artists from different generations (from Eduardo Chillida to Eva Lootz or from Luis Gordillo to Azucena Vieites). Because it is an extended period and a relatively common practice for most of the authors, there is a need to find a conceptual unity that seeks to convey a general idea and propose a systematic structure. Therefore, in this exhibition drawing does not appear as a technique, rule or discipline, but as a starting point -germination in the strict sense- to delve into the mechanisms of creation and try to go beyond the notion of sketch or preparatory study.
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.
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.
At the beginning of the summer of 1972, the “Pamplona Encounters” were held - the most extensive and significant international avant-garde art festival held in Spain. Imbued with the idea of diffusing art into life, these were ephemeral encounters, set up as an opportunity to subvert the order established at the end of the dictatorship in Spain.
The inauguration of the Documentation Centre and Library's new exhibition area will feature an exhibition of some of the pieces of experimental art created – outside of official cultural channels – in the mid sixties. These works of art represent a renovation of poetic language and a transgression of established limits. The frontiers between genres become blurred and poets decide to apply their avant-garde spirit to painting, music and theatre.
The artists of Idea: Painting-Force take a new approach to concepts such as Academia and Tradition, developing them not as weighty and repetitive dogma but rather as a source of energy from which to work contemporarily.