Upcoming

Pierre Huyghe. The season of celebrations

Dates: March 17 – May 31, 2010
Place: Parque del Retiro, Palacio de Cristal – Sabatini Building, Floor 3

Pierre Huyghe (Paris, 1962) has devised a project in Spring 2010 specifically for the Palacio de Cristal, where flowers, plants and trees in bloom will occupy this space for the first time. The project consists of placing different plants associated with various holiday periods in a circle, each one of them characteristic of a specific time of year, which gestures toward reading them as a clock where the different seasons are marked by the diversity of flora. Roses, violets, chrysanthemums, palm trees, plum trees, jasmine, bamboo and firs will mark each distinct time of year.

Tacita Dean: The Friar´s Doodle

Date: March 23 - June 27, 2010
Place: Santo Domingo de Silos Monastery (Burgos)

When British artist Tacita Dean made her first visit to Santo Domingo de Silos, several months ago, prior to beginning work on a project destined for the exhibition space at the Abbey administered by the Reina Sofia Museum, many features of this historic complex drew her attention.

Some weeks later, she proposed making a return visit in order to study more closely the doodles and graffiti on and around the columns in the cloister, marks that she imagined might have been incised over the centuries by monks as they whiled away the hours in lonely seclusion. On her second trip she photographed in close up every mark she could find there that appeared to have been deliberately drawn by a human hand. + info

Martín Ramírez. Reframing Confinement

Dates: March 31 – July 12, 2010
Place: Sabatini Building, Floor 3

This exhibition on Martín Ramírez will bring together some eighty drawings from 1948 to 1963, exploring this artist’s extraordinary production. These works highlight Ramírez’s memories of Mexico, as well as his encounter with the North American landscape and the richness of his unique imagination. Art critics celebrate Ramírez’s oeuvre for its bold lines, meticulous repetitions and extraordinary variations within the same themes addressed consistently by the artist. Also to be shown together with these works is a selection of drawings discovered in a garage in California in 2007, which have not yet been exhibited outside New York.

The Drift is Ours

Dates: May 5 – August 16, 2010
Place: Sabatini Building, Floor 3

The premise for this exhibition consists in investigating some proposals for the urbus of the future in Latin American cities, which have remained at the margins of official narratives in the so-called First World. Does this involve a return to thinking about digressions and the New Babylon by Constant (1920-2005) from new urban initiatives and projects that have not been built?

The Potosí Principle

Dates: May 12 – September 6, 2010
Place: Nouvel Building, Floor 0

The project Principio Potosí centers on analyzing the notion of modernity and its universal expansion, which has taken place since the colonization of Latin America. The exhibition will display examples of Andean colonial painting and works by international artists, inviting viewers to reflect on relationships between sixteenth- to eighteenth-century colonial art and the contemporary world. Beginning with examples of viceregal painting from the Potosí School, the project’s line of investigation relates these isolated fragments of history to the conditions of artistic production today. Principio Potosí is an aesthetic proposal with an ambiguous meaning. "Principio" in Spanish can refer to, on the one hand, a temporal meaning or a beginning—the enduring memory of Potosí. On the other hand, it also refers to technique, such as a mechanical principle or rule, which is repeated on different global coordinates in time and space. These two potential foci form the basis for the project, which together with the exhibition will include several seminars, conferences and publications.
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Miralda. De gustibus non disputandum

Dates: May 26 – September 27, 2010
Place: Parque del Retiro, Palacio Velázquez

This exhibition will propose a retrospective reading of works by Miralda in a global, historical and artistic context. The exhibition ranges from his first period in the 1960s when the artist created his first public interventions while living in Paris, to the 1990s with his large-scale, worldwide interventions for his project Honeymoon, to the 2000s with his exhibition of the Food Cultura Museum at the International Exposition at Hanove.

Mixed Use: Photography and Other Practices in Manhattan, 1970s to the Present

Dates: June 9 – September 27, 2010
Place: Sabatini Building, Floor 4

Mixed Use is an exhibition on the uses and images taken in New York City at the beginning of an intense period of de-industrialization and abandonment in the 1970s, placed in dialogue with more recent artists who, plainly aware of their predecessors, continue to find aesthetic potential in the city. These key works are accompanied by other series in photography, video installations and film, which accentuate their magnitude and provide evidence of the pervasiveness of their legacy for artists continuously committed to the city, who show how urban space can truly become public space.

New Realisms: 1957-1962

Dates: June 16 – September 4, 2010
Location: Sabatini Building, Floor 1, Espacio Uno and Hallways

The exhibition New Realisms: 1957-1962 is best defined by a timeline rather than by specific formats or media, for it maps out an international field in art within a definitive period of important changes. The exhibition, focusing on actions and temporality, on places and their space of activation, distances itself from the art object to reveal a wider field at the threshold of the 1960s that would redefine artistic practices through transforming strategies and contexts.

An Art Exhibition. Hans Peter Feldmann

Dates: September 22, 2010 – February 28, 2011
Location: Sabatini Building, Floor 3

Hans Peter Feldmann (Düsseldorf 1941) began his artistic career in the late 1960s. His first works were a series of small books in offset printing, titled “Bilders” (Pictures) in which he reproduced one or more images from an everyday object: tools, airplanes, knees, etc. Since then his interest in the photographic image, which he collects obsessively, has led him to produce several photography series. Some of them are as renowned as his “Time Series” in which he portrays an insignificant event, such as a ship passing by or a woman cleaning a window, in thirty-six images from an analog film cartridge. His interest in photography is not based on the individual image, but rather on the series and what seems to hold them together as a sequence.

Desbordamiento de Val del Omar

Dates: September 15, 2010 – February 28, 2011
Location: Sabatini Building, Floor 3, Rooms 301, 302, 303, 304 and 308

This exhibition aims to address the “endless” film career of José Val del Omar (Granada 1904 – Madrid 1982)—a fragmented, inconclusive corpus shaken by history, which survived a civil war and an extended dictatorship. Today his work has become a point of reference that even begins to transgress boundaries. His production is sparse, but is immersed in the continuous task of creating images and their overflow into what Val del Omar described using the initials PLAT (Picto-Lumínica-Audio-Tactil) or the Pictorial-Luminous-Audio-Tactile sensibility.
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Atlas

Dates: November 3, 2010 – February 2011
Location: Sabatini Building, Floor 4

The exhibition Atlas proposes to shed light on the new framework of thought that Aby Warburg introduced to Western knowledge of history and images. The exhibition aims to demonstrate that after Warburg and his Bilderatlas, images were no longer seen in the same way. What changed were not the images themselves, but rather the manner in which their relationships to each other were conceived—for some images offer a position faced with others, and all of them together confront what would come to pass in history. Nevertheless, the exhibition is not constructed as a monographic display on Aby Warburg, but as a journey through the history of images from 1914 to today, drawing from Warburg’s thought as its genius loci.