Exhibition. photobooks. Spain 1905-1977

Francisco Ontañón. La actual M-30 (Madrid),1963 / 2013. © Herederas Francisco Ontañón, courtesy of the ArteSonado gallery

Francisco Ontañón. La actual M-30 (Madrid),1963 / 2013. © Herederas Francisco Ontañón, courtesy of the ArteSonado gallery

The Museo Reina Sofía and Acción Cultural Española (AC/E) present the exhibition photobooks. Spain 1905-1977, a journey through the history of the photobook that starts at the beginning of the 20th century and ends in the mid seventies. Along with well-known photographers (the likes of José Ortiz Echagüe, Alfonso, Francesc Català-Roca, Ramón Masats, Xavier Miserachs, Francisco Ontañón and Colita), the exhibition features a considerable number of practically unknown frontline artists who in their day actually published first-rate photography collections, as is the case with photographers like Antonio Cánovas, the collective work of Misiones Pedagógicas (Teaching Missions), José Compte, Enrique Palazuelo, Luis Acosta Moro and Salvador Costa.

The exhibition is the result of the first line of investigation carried out by the Museo Reina Sofía, with the aim of cataloguing and creating a reference collection that will also feature an international touring exhibition. In the exhibit, photobooks selected from the Museo Reina Sofía Collection, many of them new acquisitions, appear contextualised and accompanied by an assortment of complementary material.

Date: 28 May, 2014 - 5 January 2015
Location:
Sabatini Building, Floor 4
Curated by: Horacio Fernández
Organised by:
Museo Reina Sofía and Acción Cultural Española (AC/E)
Coinciding with: PHotoEspaña 2014

 

New additions to the Collection: Öyvind Fahlström and Walker Evans

Gallery view. Öyvind Fahlström. Opera, 1952-53

Gallery view. Öyvind Fahlström. Opera, 1952-53

Standout new additions to the Museo Reina Sofía Collection, within the context of Collection 2, include the presentation of Öyvind Fahlström’s work Opera (1952-1953), acquired in 2011, in which, through the combination of forms, architectural drawings and linguistic signs, the artist refers to the dialogue, musicality and theatricality produced in opera. Linked to the previous room, there is also the unveiling of Fissures of Modernity. Antiprojects: the formless, the dysfunctional and the productive, whereby in the face of the prolongation of traditional genres of the abstract Avant-garde in Europe, from the end of the 1950s, modern approaches manifested a series of chasms that announced their definitive fragmentation. It explores a series of ruptures that materialised in the works of artists such as Lucio Fontana, Pol Bury, Giuseppe Capogrossi and Henri Michaux, some of which have recently been added to the Collection.

Another new inclusion inside the Collection is the new montage in the Street Photography room, which includes a series of photographs by Walker Evans, loaned from the collection of Sandra Álvarez de Toledo, and by Helen Levitt, which belong to the Museo’s Collection.

Date: From 14 May onwards
Location: Sabatini Building, Floor 4
Organised by: Museo Reina Sofía

 

Film and Video. Hélio Oiticica

César Oiticica Filho. Hélio Oiticica. Film, 2013

César Oiticica Filho. Hélio Oiticica. Film, 2013

Premiered in Spain in the Intervalos programme, Hélio Oiticica represents a living archive, with the numerous unpublished documents interweaving a kaleidoscopic narrative of the artist and Brazil’s post-war Avant-garde movement. Diverse events, such as the resistance against the dictatorship, or the artist’s participation in the Pamplona Encounters (1972), converge – in an attempt to fuse art and life – with the music of Jimi Hendrix on Are you experienced?, the tropicália movement via Gilberto Gil and Jards Macalé, the street blocos, Cinema Novo films and the New York underground of Jack Smith and Mario Montez.

This screening is also enhanced by Hélio Oiticica’s presence in the Museo Reina Sofía Collection. Along with other Neo-Concrete works and the cosmococas, Tropicália (1967) stands out – an extensive installation that, under the slogan Purity is a Myth, appeals to a playful and collective experience of the world.

Date: 23 and 29 May, 2014
Location: Sabatini Building, Auditorium
Time: 7 p.m.
Admission: Free, tickets available in the Sabatini Building ticket offices

 

Touring Exhibition. Losing the Human Form in Buenos Aires

View of the room housing the exhibition Losing the Human Form. A Seismic Image of the 1980s in Latin America inside the Museo Reina Sofía, 2012

View of the room housing the exhibition Losing the Human Form. A Seismic Image of the 1980s in Latin America inside the Museo Reina Sofía, 2012

The touring exhibition on the 1980s in Latin America, organised by the Museo Reina Sofía, continues on its journey. After stopping off at the Museo de Arte de Lima, MALI, at the end of 2013, it will be unveiled at the Museo de la Universidad Nacional de Tres de Febrero, MUNTREF, in Buenos Aires, where it will remain until 17 August.

The exhibition signals the multiple and simultaneous appearance of new ways of making art and politics in different places in Latin America during the 1980s by way of fragile mediums such as screen printing, performance, video, poetic action, experimental theatre and participative architecture. Focused specifically on the Southern Cone, with examples of social movements like the Mothers of Plaza de Mayo or the Siluetazo in Argentina, these journeys to the origins of many of the works comprising the exhibition denotes one another step in the creation of a common archive.

Date: 20 May - 17 August, 2014
Location: MUNTREF, Museo de la Universidad Nacional de Tres de Febrero, Buenos Aires, Argentina
Curated by: Red Conceptualismos del Sur
Organised by: Museo Reina Sofía and Agencia Española de Cooperación Internacional y Desarrollo (AECID)

 

Touring Exhibition. Salvador Dalí in Brazil

Salvador Dalí. Idilio atómico y uranio melancólico / Atómica melancólica (Atomic Idyll and Melancholic Uranium / Melancholic Atomic), 1945. Oil on canvas. Museo Nacional Centro de Arte Reina Sofía

Salvador Dalí. Idilio atómico y uranio melancólico / Atómica melancólica (Atomic Idyll and Melancholic Uranium / Melancholic Atomic), 1945. Oil on canvas. Museo Nacional Centro de Arte Reina Sofía

This coming 29 May, the greatest retrospective organised in Brazil on the work of Salvador Dalí gets under way in Río de Janeiro. The exhibition is a product of the collaboration between the Gala-Salvador Dalí Foundation, Salvador Dalí Museum, St. Petersburg, and the Museo Reina Sofía, and will also be on view at the end of the year in São Paulo.

The exhibition assembles a broad selection of works that span the painter’s formative years and his first contact with the Avant-garde, ending in his later output. The Museo’s collaboration comes through certain key works, such as Autorretrato cubista (Cubist Self-Portrait), 1923, La mémoire de la femme-enfant (Memory of the Child-Woman), 1929, and Idilio atómico y uranio melancólico / Atómica melancólica (Atomic Idyll and Melancholic Uranium / Melancholic Atomic), 1945, among others.

Date: 29 May - 22 September 2014
Location: Centro Cultural Banco do Brasil, Río de Janeiro

Date: 15 October - 20 December 2014
Location: Instituto Tomie Ohtake, São Paulo

Curated by: Montserrat Aguer
Organised by: Museo Reina Sofía, Gala-Salvador Dalí Foundation and Salvador Dalí Museum, St. Petersburg

 

Recent publications

Photobooks. Spain 1905-1977

This catalogue, which accompanies an exhibition co-produced by the Museo and AC/E, is the result of various years of research by the Museo’s Curatorial Department and Horacio Fernández, curator of the exhibition. photobooks. Spain 1905-1977 is the history of Spanish photography in 134 photobooks, many practically unknown, and 37 of which stand out monographically. The authors include, among others, Alfonso, Jalón Ángel, Colita, Joan Colom, Salvador Costa, Ramón Masats and Francisco Ontañón.

Time and Things.  The Home Studio of Hanne Darboven

The photographs and blueprints of what was once Hanne Darboven’s home and studio for over thirty years, together with a mélange of works spanning her whole career, from her beginnings in the 1960s, enable new traces of Darboven’s work to be uncovered. The catalogue is accompanied by the writings of Miriam Schoofs, Joâo Fernandes, Sven Spieker, Matt Mullican and Harald Falckenberg.