Type of activity: Lectures, audiovisual series and guided visits
Dates: October 29 - February 10, 2011
Entry: Free admission while seating is available
Organised jointly by: Conference of Rectors of Public Universities in Madrid (CRUMA) and Banco Santander
Universities and museums have often been considered institutions very distant from each other, when not in direct conflict with one another. The research residencies at Museo Reina Sofía's Art Studies Centre seek to integrate the audiences and working spaces of both institutions, introducing research time into the museum context and relational possibilities into the academic world.
The result of this first round of residencies takes the form of successive presentations that will be given between October and February, with presentations in various formats, from lectures or guided visits through film and video programmes. The selected researchers have worked on the redefinition of modernity from its peripheries, on new forms of cultural production and the dissemination of knowledge through Internet, and on alternative rereadings of the history of international contemporary art, with special emphasis placed on its presentation and mediation mechanisms.
Programme
Yael Bartana. Mur i Wieża. Video, 2009
New communities. Conversation with Yael Bartana.
Nina Möntmann.
Type of activity: Lecture and screening
Dates: October 29
Place: Nouvel Building, Auditorium 200
Time: 7:30 p.m.
Entry: Free admission while seating is available
This lecture and screening explore the changes taking place in social formations and their contexts, shedding light on the various forms of new communities and redefinitions of the idea of belonging.
Through a conversation with the artist Yael Bartana (Israel, 1970), examples of two types of social practices are reviewed, one based on co-operation (collective or participative artistic production) and another that points to the speciousness of defining social groups by national, ethnic or religious criteria. As shown by Yael Bartana's work, artists are not only generating images of change in these areas, they are also participating in new forms of collective work and giving shape to experimental and utopian models for the coming community, in the words of Agamben, where the sense of belonging is not based on identity but rather on openness and the absence of local or cultural ties.
Carlos Flores. El Charles Bronson chileno o idénticamente igual.
16mm film, b/w, sound, 67'.
The subjective, the collective, the autobiographical. Audiovisuals in Chile during the dictatorship.
Isabel García.
Type of activity: Lecture and audiovisual series
Dates: November 4 - 5
Place: Sabatini Building, Auditorium
Time: 7:30 p.m.
Entry: Free admission while seating is available
The subversive practices taking place in an artistic scene fractured by the repression and censorship of Pinochet's military dictatorship use the newly-arrived video camera, with its singular ability to record and document reality, as a medium that permits the mimesis of international practices, albeit contorted into new aesthetic and symbolic forms.
The reactivation of the collective memory in works that multiply and spread through the social body, television programs other than the official, censored ones, co-exist and are tautened in Santiago's artistic circles, with audiovisuals serving as a medium of circulation, experimentation and reflection during the 1970s and 1980s in Chile.
The video-essay reflects autobiography, identity and collective memory with traces of orality – in the correspondence on audio tapes between friends and family living in exile, thus providing new narrative and audiovisual possibilities for collaboration between artists.
Universal Exposition of Paris, 1937. Soviet pavilion, to the
right, opposite the National Socialist pavilion.
Irresoluble contradictions: art institutionalization policies during the 1930s David Quigley.
David Quigley.
Type of activity: Lecture and guided visit
Dates: November 29 (lectures) and December 1 (guided visit)
Place: Sabatini Building, Auditorium (lectures) and Collection, Room 206 (guided visit)
Time: 7:30 p.m.
Entry: Free admission while seating is available
Registration for the guided visit is via e-mail: programasculturales3@mcu.es
One of the most important questions for historians, art critics and contemporary artists is coming to understand the complex relationship between the production and experience of art and its institutionalization. Looking critically at the role of today's “modern art museum” entails understanding its history, looking not only at which political and economic powers are expressed in the exposition of art, but also at which realities and mythologies are created during the process.
This presentation is divided into two sessions. The first of them, a lecture, contrasts and draws connections between three important expositions taking place in 1936 and1937: Cubism and Abstract Art (New York, 1936), Exposition Internationale des Arts et Techniques dans la Vie Moderne(Paris, 1937) and Entartete Kunst Ausstellung[Degenerate Art Show] (Munich, 1937). The second, a guided visit through the rooms devoted to the Spanish Pavilion, analyses the footprints of these expositions in the art of the post-war period and the direct connection it has with the reinstallation of the Museum's collection.
An embrace between Francisco Franco and Dwight D. Eisenhower,
on an official visit to Madrid, 1959.
The notion of artistic modernity in Spain. The 1950s.
Julián Díaz Sánchez.
Type of activity: Lecture
Date: January 13, 2011
Place: Nouvel Building, Auditorium 200
Time: 7:30 p.m.
Entry: Free admission while seating is available
If the Abstract Art Congress held in Santander in 1953 was the official recognition of abstract art, the New Spanish Painting and Sculpture exposition at New York's MoMA in 1960 (the year the group El Paso was dissolved) represented maximum visibility for Spanish informalism, which was identified not only with modernity, but also with the Spain of the 1950s. This was possible because informalist painting was seen as the logical continuation of the great Spanish pictorial tradition, although it was also viewed as the long-awaited international endorsement of Spanish art.
Critics, promoters and artists all did their part to create an image of autonomy and political neutrality which, finally, allowed both the promotion and canonization of informalism. Perhaps the process was not very different from the one that, a short time before in the United States, had led to the canonization of abstract expressionism, which was also attributed a political neutrality that was quite useful in the face of the excesses of an extremely conservative government. It doubtless also had something to do with the relationship, as atypical as it was privileged, between Spain and the United States and, alongside the photography of New Spanish Painting and Sculpture, there are quite a few other relevant photos, such as the ones taken during the visit of President Eisenhower to Madrid in 1959.
A Worker's Inquiry. Collective project by the post-graduate
students of Museo Reina Sofía and Bojana Piskur, 2010-present.
Radical education in a museum.
Type of activity: Lecture
Date: February 10, 2011
Place: Nouvel Building, Auditorium 200
Time: 7:30 p.m.
Entry: Free admission while seating is available
Why has imagination stopped being a means of acquiring knowledge and turned instead into a notion excluded from real experience? The idea of a radical education in such a context responds to an attempt to re-establish the link that has been lost between imagination and experience. Given the magnitude of such a task, radical education can only put together different readings of what Agamben called the primary experience of history yet to be, that is, experience before it is subjected to the authority of knowledge.
This lecture emphasises recent examples of the work of the Radical Education group, for whom the previous considerations are points of departure. Their investigations deal, on the one hand, with the imagination of the political in art and, in addition, with an investigative process that includes collective translations of Marx's A Worker's Inquiry, the aim of which is to question the new modulations and regulations of work. This part of the lecture is a group action with the students of the post-graduate seminar offered by Museo Reina Sofía, which began in September 2010.
Researchers
Julián Díaz Sánchez is professor of Art History at the University of Castilla la Mancha. He is the author of La “oficialización” de la vanguardia artística en la postguerra española. El informalismo en la crítica de arte y los grandes relatos(Ediciones de La Universidad de Castilla-La Mancha, 1998).
Isabel García Pérez de Arce is an artist, researcher and curator. She has been the director of archives at the Cultural Documentation Centre Palacio de la Moneda, in Santiago, Chile. She is a member of the network Conceptualismos del Sur.
Bojana Piskur is an art historian, curator at the Moderna Galerija of Ljubljana and a founding member of the group Radical Education.
Nina Möntmann is an art critic and curator. She has published Art and Its Institutions(Black Dog Publishing, 2006) and New Communities(Public Books, 2009)
David Quigley is an art historian and critic and also the author of Carl Einstein. A Defense of the Real(Schlebrügge, 2007). He is the English translator of Jacques Rancière and Maurizio Lazzaratto.
With the support of:
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Conferencia de Rectores de las Universidades Públicas de Madrid
