The period from the 1960s to the 1980s, the years that the new rooms in the Collection explore, is when the political, social, cultural and technological changes that would give shape to the contemporary global situation took place: decolonization, the uprisings of '68, feminist movements, the economic crisis, the expansion of popular culture and the emergence of other peripheral modernisms.
It was also the moment that the art system found its specific field to be overflowing, spilling directly into the arena of all these processes, at the risk of losing the specificity of its conventional media – painting and sculpture – and even of its aesthetic mission. Under the notion of the "death of the author", artists repudiated the paternity of the work they created, proclaiming it to be open to a diverse range of readings and experiences. New emphasis was also given to its processual, collective, performative and contingent nature. However, paradoxically, these artists would indefinitely put off the “death of art” which they understood to be a place for reflection and enunciation, although, as became apparent in the 1980s, it would also be taken as fetiche, merchandise and spectacle.
The itinerary starts with the Battle of Algiers and the Cuban Revolution. It then moves into the field, in continual expansion, of practices that no longer travel all in the same direction but rather come from very different positions, such as Tropicalism, and even from totally antagonistic directions, as is the case of feminist art.
Nouvel Building. Floor 1
- Room 104.01 Revolution and Decolonisation
- Room 104.02 Poetic Resistance in European Art
- Room 104.03 Non-Specific Spaces: Art in the USA
- Room 104.04 Performance and Interaction: Judson Dance Theater
- Room 104.05 Hélio Oiticica. Tropicália, 1967
- Room 104.06 Living Spaces: the Politics of Arte Povera
- Room 104.07 The Feminist Revolution
- Room 104.08 José Luis Alexanco and Luis de Pablo. Interrupted Solitude, 1971
- Room 104.09 Experimental Art in Spain