Exhibition. Marcel Broodthaers. A Retrospective

Marcel Broodthaers, Untitled (Triptych). 1965–66. Yellow and black panels: M.-C. & Ch. Firmenich-Guillissen / Pierre Huber, Art & Public, Geneva; red panel: Collection Sylvio Perlstein, Antwerp Image courtesy Maria Gilissen Archives of Marcel Broodthaers. © The Estate of Marcel Broodthaers c/o SABAM Belgium – VEGAP 2016

Marcel Broodthaers, Untitled (Triptych). 1965–66. Yellow and black panels: M.-C. & Ch. Firmenich-Guillissen / Pierre Huber, Art & Public, Geneva; red panel: Collection Sylvio Perlstein, Antwerp Image courtesy Maria Gilissen Archives of Marcel Broodthaers. © The Estate of Marcel Broodthaers c/o SABAM Belgium – VEGAP 2016

Marcel Broodthaers (Brussels 1924–Cologne, 1976) is a key figure in contemporary art, reference and catalyst for many discourses and current practices. His remarkable output in the 1960s and 1970s established him as one of the most important artists on the international scene, and one of the most influential for numerous contemporary artists from that time to the present day. Following his initial work as a poet, journalist and photographer, in 1964 Marcel Broodthaers decided to become a visual artist, and from that moment on a response to the basic questions in plastic arts can be discerned across his work as he questioned the idea of representation and the production of meaning through the use of existing knowledge systems.

The Museum of Modern Art, New York, and the Museo Reina Sofía have organised one of the most comprehensive retrospectives devoted to Belgian artist via the selection of around 300 works.

Date: 5 october, 2016 - 9 january, 2017
Location: Sabatini Building, Floor 1
Curatorship: Manuel Borja-Villel, Director of Museo Nacional Centro de Arte Reina Sofia, Madrid and Christophe Cherix, The Robert Lehman Foundation Chief Curator of Drawings and Prints, The Museum of Modern Art, New York
Organized by: Museo Nacional Centro de Arte Reina Sofía, Madrid, and The Museum of Modern Art, New York
Supported by: Comunidad de Madrid

 

Round Table. Encounter centred on Marcel Broodthaers

The exhibition is complemented by a round table with the title what happened to institutional critique?, addresses the state and survival of the challenges identified by the Belgian artist about the art institution, its systems of legitimacy and mechanisms to create time, value and meaning.

Date: Wednesday, October 5, 2016
Time: 7:00 p.m.
Location: Sabatini Building, Auditorium
Participants: Christophe Cherix, Jean-François Chevrier, Dirk Snauwaert and Manuel Borja-Villel
Organized by: Museo Nacional Centro de Arte Reina Sofía

 

Exhibition. Tamar Guimarães. The Uncorrupted

A still from The Uncorrupted, Tamar Guimarães. Film, 2016

A still from The Uncorrupted, Tamar Guimarães. Film, 2016

Tamar Guimarães (Belo Horizonte, Brazil, 1967) presents a project, designed specifically for the Fisuras (Fissures) programme: the film The Uncorrupted. The artist’s work spans the fields of installation, film and sound, and is based on historical investigation, often incorporating found materials such as photographs, texts, documents and objects. The processing of these raw materials gives rise to hybrid narratives melding documentary, essay and fiction. Moreover, the artist explores the way in which social relations of race, class and work are conveyed in different cultural products such as architecture, religious literature and dance.

Date: From September 28, 2016 to March 13, 2017
Location: Sabatini Building, Floor 1, Espacio Uno
Curatorship: João Fernandes
Organized by: Museo Nacional Centro de Arte Reina Sofía

 

Seminar. Dance, Gender and Nation: 1930–1960

Ricardo Summers Isern. Illustration for the program Canciones y Danzas de España. Sección Femenina de Falange Española Tradicionalista y de las JONS, Madrid, 1953

Ricardo Summers Isern. Illustration for the program Canciones y Danzas de España. Sección Femenina de Falange Española Tradicionalista y de las JONS, Madrid, 1953

Dance, gender and nation, three closely bound concepts within the context of contemporary Western culture, and the thematic cornerstones of this seminar. The focal point is the period spanning the second third of the 20th century - a period of upheaval in the aftermath of the economic crisis of 1929 and the rise of the totalitarianism that would trigger the outbreak of the Second World War shortly afterwards.

The specific exploration of national identity and the allocation of gender in dance during the post-war period in Spain are at variance with two other approaches from highly divergent political and cultural contexts, with the aim of fostering international perspective and bolstering the comparison between traditional, popular and modern phenomena. Furthermore, the seminar offers a reflection on memory and the modes of conservation and conveyance of choreographic heritage through the study of the recent programmes developed in Germany to reconstruct, archive and disseminate dance.

Date: from September 29 to October 1, 2016
Location: Nouvel Building, Auditorium 200
Admission: free until full capacity is reached
Program: check website
Organized by: Museo Reina Sofía, Programa Estatal de Fomento de la Investigación Científica y Técnica de Excelencia Proyecto de I+D, Universidad de Oviedo and Conservatorio Superior de Danza María de Ávila de Madrid
En colaboration with: Instituto de México, Goethe-Institut and Institut français

 

Featured Artwork. Para verte mejor, América Latina

In line with other microsites dedicated to outstanding works of the collection, the museum presents the series of photographs Para verte mejor, América Latina by Paolo Gasparini acquired in 2013, of which a part has been donated by the author.

The microsite includes, among other content, an interview with the artist as well as a documentary by Gasparini himself entitled Las imágenes muerden (2015).