Jasper Johns, Target with Plaster Casts, 1955
Modernity has been presented as inseparable from a determinist line of thought, which related it to industrial modernization and assimilated its diverse manifestations through a process of imposition and development of a Euro-centric and individualistic thought. The crisis of this notion requires the awareness of the distance between this discourse and its referent, bearing in mind that the most recent version of this hegemonic narrative is the product of a specific historical moment, that of the beginning of the Cold War, which, with the pretext of re-establishing the illusion of a global balance, not only eliminated the Utopian and de-stabilizing potential of art since the beginning of the 20th Century, but also reduces its experiments and excesses, from photo-montage to ready-made, to an inventory of recognizable disciplines.
Dates: June 16 - October 4, 2010
Location: Sabatini Building, Floor 1, Espacio Uno and corridors
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.
Dates: June 24 - October 11, 2010
Location: Parque del Buen 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 Culture Museum at the International Exposition in Hannover.
