Books that are photosis the first of two shows programmed by Museo Reina Sofía on photobooks. This show features a selection of about 150 photobooks published in Spain from the year 2000 onwards, especially in the last four years.
Elly Strik’s works on paper, made with paint and pencil, have subjects as brides, birth, ritual and rebirth, witches and mystici, heaven and dreams, in conversation with aspects from El Greco, Goya, Darwin, Freud, Munch, Ensor or Duchamp.
The exhibition proposes a journey through the places and characters that have shaped the films and the biography of Amos Gitai. The exhibition traces Gitai intellectual biography from fragments of his films and documents drawn from his personal archive, examining the way in which the filmmaker has interpreted his own genealogy: the architecture of his father, Munio Weinraub, and the experiences recounted by his mother, Efratia Margalit.
The exhibition focuses on the “abstract” drawings, etchings and watercolours by Wols (Alfred Otto Wolfgang Schulze, May 27, 1913, Berlin – September 1, 1951, Paris) produced since the Second World War and in the photographs taken shortly before the war. “The street” and “the cosmos” are an original key reading of Wols’ work, whose contribution to twentieth-century art is yet to be fully recognized.
With his works Roman Ondák (Žilina, Slovakia, 1966) creates temporary situations in which the presence of objects and persons, as well as modifications made to the exhibition space, may go unnoticed by viewers in their initial approach.
Conceiving of artistic creation as a critical intervention and making use of different contributions, Loboda explores the power of attraction exercised by the fetish and the influence of the irrational, revealing how blurry the boundaries are between the real and the imagined.
An essential figure in post-war photography, since his debut in the 1970s Chris Killip has been forging a new path in documentary photography: the depiction of the working classes, in the midst of the dismantling of the industry that had created and maintained them since the beginning of the 19th century.
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.