Fisuras Program

In a project that explores the expeditions made during the 19th and 20th centuries to study astronomy, Paloma Polo (Madrid, 1983) looks at certain moments in history that reveal the complex relationships between scientific development and European colonial expansion. Focusing on the expedition conducted by Sir Arthur Stanley Eddington in 1919 to confirm Einstein's Theory of Relativity, the artist presents the connections the expedition had with slavery in the cocoa plantations in the Gulf of Guinea.
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Andreas Fogarasi (Vienna, 1977) uses forms of display that are reminiscent of minimalism and conceptual art to investigate history’s layers of sedimentation in a work that fuses the past and present in the same time. Incorporating video, sculpture and installation in wide-sweeping discursive webs, Fogarasi presents the contradictions in the cultural policies of the communist states in Eastern Europe and their rapid conversion to late capitalism, which erased all traces of their existence.
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The sculptures of Leonor Antunes (Lisbon, 1972) have a tendency to build their own meaning, without documentary or metaphorical allusions. In the formal, physical dimension of the sculpture, her work is about the measurement and codification of time-space and about how such codification, rather than being phenomenological, is something that depends on cultural and ideological references. The sculpture appears as a work of art, but also as a tool for interpreting the contingent nature of reality.
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Económicos, the project by the artist Efrén Álvarez (Barcelona, 1980) produced specifically for Museo Reina Sofía's program Fisuras, outlines a global vision of today's economy as a discipline that caricaturises itself. The forty drawings and texts by different authors show relationship systems in which the project's apparent pedagogical intention means in practice looking at what is unproductive, decayed and alienated through work and consumption.
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Otoño 2010 vuelve a plantear cuatro intervenciones a cargo de Atelier Bonanova, Pedro Bericat, Trinidad Irisarri y Domingo Mestre, una vez más interveniendo en los modos de relación entre el museo –sus circunstancias- y el público.
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After more than three years of rigorous research, this Mexican artist living in Los Angeles uncovers a new era in a curious relationship that some artists have with history. García Torres uses slides in his audiovisual piece created specifically for this occasion to relay a largely unknown chapter in the career of artist Alighiero Boetti: One Hotel, which opened in Afghanistan.
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Francisco López (Madrid, 1964) presents the sound installation Untitled #223, a project created specifically for one of the Museum’s most unusual spaces and its particular acoustic effects: the metal interior corridor located on the top floor of the Nouvel Building. In this area, barely lit for the exhibition, the artist will install a sound system for visitors to experience the 8-minute piece. The installation creates a virtual sonic atmosphere with extreme contrasts; in order to do so, López draws from the metallic surfaces of the corridor’s floor, walls and ceiling, as well as the space’s peculiar measurements.
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Valcárcel Medina has planned a series of “environments” and performances to take place this fall season in the Museum’s different spaces. Despite the irregularity of the environments he plans to present at the Museo Reina Sofía, the artist affirms, “I am not attempting to do something unusual, but to get the audience involved in them. I don’t want to do something cryptic, but accessible and understandable without using hackneyed methods that aren’t interesting or moving for the audience.”
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This work constitutes the final installment of the Folklore series begun in 2006. The artist uses everyday situations and phenomena from popular culture to explore diverse themes related to history and Spanish idiosyncrasies in a highly unorthodox manner. The starting point for her works differs, sometimes involving startling elements like doubles and the relationships proposed in Folklore #2, and at other times appearing more personal, anecdotal and random, like in Folklore #4, to name some examples.
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