List of selected artworks. Maps for the tour in the museum



Juan Uslé. Rooms

16 october, 2003 - 12 january, 2004 /
Palacio de Velázquez, Parque del Retiro, Madrid

John Uslé (Santander, 1954) is one of the leading protagonists of a generation of painters who, from the late eighties, accounts for much of the international critical attention. His work is recognised as one of the most evocative of his generation, with a very personal style linked to abstraction.

This retrospective exhibition includes some eighty paintings and thirty photographs from the last ten years of Uslé’s career, presented thematically, not chronologically. These works are dominated by a sense of the sensory and intellectual pleasure, where thought and action, the concept and emotion are introduced into a witty and sensitive game.

A harvester of genres increasingly interwoven such as painting, photography and graphic arts, Uslé has investigated the potential of a renewed abstraction to show his insight on reality, his fragmentation and contradictions, without ever neglecting his social commitment. Hence the multiplicity of the artist’s responses to the stimuli of a discontinuous reality.

During the Eighties Uslé’s painting evolves from an abstract expressionist style, coming from Willem de Kooning -a painting with robust brush strokes and aggressive colours- to dark, fascinating seascapes. These pictures somehow shape his solitary arrival to New York and how he establishes there his inner identity. His work changes in 1991, after two years of residence in this city. Romantic references to the landscape and any other Expressionism disappear from his work; he develops a highly personal language of simultaneous styles. His works are characterised from that moment by his single, intense and non-naturalistic colours, and by the alternation of gesture and geometry, simplicity and baroque, dynamism and immobility, features that can appear alone or together with its opposite, in all proportions possible.

Of a conceptual appearance, Uslé’s multiple spaces are on many occasions based on reality, as has been observed from the time his photography is made public, even if they involve more than memory, emotions, chance and dreams. His paintings incorporate a wide range of artistic historical references, sensory and mental impressions and various pictorial languages. Although the materiality of his painting is key in Uslé’s work, the result is not cold or indifferent.

Exhibition´s details

Organized by: 
Museo Nacional Centro de Arte Reina Sofía
Enrique Juncosa
Exhibition Tour: 

Fundación Marcelino Botín, Santander (February, 25 – April 18, 2004); SMAK Stedelijk Museum voor actuele Kunst, Gante (May 8 – August 22, 2004); IMMA, Irish Museum of Modern Art, Dublín (September 8, 2004 – January 3, 2005)



Current exhibitions

  • Exhibition view. Ree Morton. Be a Place, Place an Image, Imagine a Poem, 2015
    May 20 - September 28, 2015

    Ree Morton

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  • Exhibition view. Carl Andre. Sculpture as Place, 1958-2010, 2015
    May 5 - October 12, 2015 Palacio de Velázquez. Parque del Retiro

    Carl Andre

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  • Vista de sala de la exposición. Federico Guzmán. Tuiza. Las culturas de la jaima, 2015
    April 16 – August 30, 2015

    Federico Guzmán

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  • Paul Klee. Baldgreis, 1922. Oil on cardboard, 40.3 x 37.4 cm. Kunstmuseum Basel © Kunstmuseum Basel
    March 18 - September 14, 2015

    White Fire

    The Kunstmuseum Basel Modern Collection

  • Pablo Picasso. Buveuse d’absinthe (The Absinthe Drinker), 1901. Oil on canvas, 81 x 60 cm. Im Obersteg Foundation, permanent loan to the Kunstmuseum Basel. Photography: Mark Gisler, Müllheim
    March 18 - September 14, 2015

    Collectionism and Modernity

    Two Case Studies: The Im Obersteg and Rudolf Staechelin Collections