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February 11, 2016
Luc Tuymans, in conversation with Ulrich Loock
Andrzej Wróblewski’s search to find his own place, questioning both socialist government authorities and post-war experimentalism, meant that the artist would not find solace in his own times, but instead, paradoxically, his explorations have been cast into our present. At the beginning of the 1990s, the Belgian painter Luc Tuymans discovered a dual meaning in the Polish artist’s work as it revealed drama and spectre with which to reinvent history painting. The trauma of memory, the constant repetition in series and spatial meaning in Wróblewski’s narrative would be decisive in approaching the modern-day painting that lies between realism and abstraction.
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February 12, 2016
Andrzej Wajda. Wróblewski According to Wajda
Presentation by Marta Dziewańska
International premiere. Film, 2016. Digital archive, colour, original version with Spanish subtitles, 40’. Courtesy of the Adam Mickiewicz Institute
Andrzej Wajdá is the most pre-eminent member of the Polish Film School movement, which also included film-makers such as Andrzej Munk, Wojciech Has, Feliks Falk and Jerzy Kawalerowicz. His work binds modernity from new European cinema and a reflection on national and identity issues in Poland, and this film, his most recent, sees the director of Kanal (1957) narrate an account of his own relationship with Wróblewski during the montage of an historic retrospective exhibition in the Manggha Museum in Kraków, the fourth show focused on the painter’s work. The film-maker, a contemporary of the painter’s generation, decided to relinquish painting after discovering his friend’s unique oeuvre, and would later take charge of organising the first solo exhibition devoted to Wróblewski, held in 1956, and the first collective exhibition centred on his work and held after his death in 1958. Furthermore, both projects were linked via a series of reciprocations and coincidences the film-maker and painter kept up at the time by way of an intense epistolary exchange.
Held on 11, 12 Feb 2016
The contradictions and enigmas of Andrej Wróblewski (1927–1957) are tackled by a painter and a film-maker as they run through lateral and unknown interpretations of an intense and complex body of work. The painter Luc Tuymans, who engages in conversation with Ulrich Loock, and the film-maker Andrzej Wajda, via the premiere of his latest film Wróblewski According to Wajda, contemplate paintings that still challenge interpretive frameworks of 20th-century art history today. A realist and at the same time abstract, an individualist whilst also an advocate of collective artistic practice, experimental yet socially committed, Wróblewski considers a series of ambivalences through his work that call into question key aspects from both his own epoch and the present: the relationship between art and political ideology during totalitarianism, the possibilities for painting after the historical avant-garde movements, and the dilemmas between communication and experimentation in a world that was devastated after the war, among numerous other aspects.
Andrzej Wróblewski’s work barely spanned a decade, from the time of his participation at the First Exhibition of Modern Art (Kraków 1948), alongside Tadeusz Kantor and other artists, until his death in an accident in 1957. Between these two points in time a space opened in which a series of styles and opposing approaches would converge, for instance Geometric Abstraction, Socialist Realism, caricature and satire and Existentialist Surrealism. As a whole, this contradictory amassing uncovers painting’s place in the aftermath of The Second World War as it was caught between scepticism and historical avant-garde movements, the ethical obligation to publicly narrate trauma and the drive to imagine another future. In the artist's own words, it was about a dilemma concentrated between an understanding of “modernity as a laboratory of art techniques”, and producing “images that were as unpleasant as the smell of a dead body.”
This activity marks the end of the exhibition Andrzej Wróblewski. Recto / Verso, the broadest retrospective thus far on the work of this artist outside of Poland.
In collaboration with
Adam Mickiewicz Institute, Warsaw, and Instituto Polaco de Cultura de Madrid
Participants
Marta Dziewańska. Research curator at the Museum of Modern Art, Warsaw, with a PhD in philosophy from the Polish Academy of Sciences in Warsaw. Alongside Eric de Chassey, she is also the curator of Andrzej Wróblewski. Recto/Verso (Museum of Modern Art, Warsaw and Museo Reina Sofía, 2015).
Ulrich Loock. An Independent curator and art critic, and previously the director of Kunsthalle Bern and Kunstmuseum Luzern and deputy director of the Serralves Foundation, Porto. He has also organised a wide range of exhibitions, as either an independent or institutional curator, for seminal painters from 1970 to the present day, including René Daniëls, Christopher Wool, Gerhard Richter, Marlene Dumas and Luc Tuymans.
Luc Tuymans. Artist. His work came to prominence internationally from the 1990s onwards and he has been the subject of solo exhibitions at Tate Modern (London, 2004), Moderna Museet (Malmö, 2009), Wexner Centre (Ohio, 2009), SFMoMA (San Francisco, 2009), Palaix des Beaux Arts (Brussels, 2011) and Haus der Kunst (Munich, 2008), among numerous other art centres. He also represented Belgium at the Venice Biennale in 2001, and his work can be found among the most illustrious collections, for instance the Art Institute of Chicago, the Centre Georges Pompidou Paris, the Pinakothek der Moderne, Munich, and the Guggenheim Museum in New York.
Andrzej Wajdá. Film-maker. A member of the Polish Film School and the director of over thirty fiction films, including the noteworthy trilogy Generation (1955), Kanal (1957) and Ashes and Diamonds (1958) on life in Poland during World War Two and construed as a monument to human resistance. His awards include the Palme d’Or at Cannes for Man of Iron (1981), and an Academy Award (1999) and the Golden Bear (2006) at the Berlin International Film Festival in honour of his lifetime achievements. He is also a reference point in world and Eastern European cinema.
![Andrzej Wróblewski, Szofer (Szofer niebieski) [Chauffeur (Blue Chauffeur)], 1948, Private collection, Warszaw © Courtesy Andrzej Wróblewski Foundation](https://recursos.museoreinasofia.es/styles/small_landscape/public/Exposiciones/05._szofer_szofer_niebieski_1948_dzirki_uprzejmoyci_fundacji_andrzeja_wroblewskiego.jpg.webp)
Más actividades
Mediations of the Archive: Art, Community, and Political Action
Tuesday 7, and Thursday 23, April, 2026 – 17:00 h
The online seminar Archival Mediations: Art, Community, and Political Action, curated by Sofía Villena Araya, examines the role of archival practices in caring for, dignifying, and activating memory in Central America. As part of the Cáder Institute for Central American Art’s first line of research, driven by the question “What Art Histories does Central America produce?”, this seminar proposes an approach to the archive as a mediator that articulates relationships between art, community, and political action, while engaging with the historiographical questions raised by their intersections.
Although the proposal is not limited to discussions of the Central American isthmus, it is framed by the particular conditions under which memory has been constructed in the region. Central America is a territory vulnerable to natural and geological disasters, marked by political violence exercised by authoritarian states and fragile institutions, a persistent colonial and imperial legacy, and the social fragmentation resulting from these factors. It is also a context in which the archive does not necessarily refer to a specific place —such as a building or documentary collection— nor does it primarily follow the protocols of a discipline such as archival science. Rather, the seminar explores how the archive operates, through art, as a dispositif that forges connections, generates forms of belonging, and opens spaces for political action.
The encounter unfolds across two sessions: the first focuses on archival practices addressing questions of memory, violence, and war; the second examines community-based practices surrounding queer and sex-dissident archives. In the face of the systematic destruction of memory, the archival practices discussed in these sessions demonstrate how the archive emerges in other spaces and according to different logics. Within this framework, the proposed space for exchange and research explores the role of art as a productive medium for constructing archives through images, affects, intimacy, performativity, the body, orality, and fiction, as well as through other materialities that challenge the centrality of the document and of writing.
Intergenerationality
Thursday, 9 April 2026 – 5:30pm
This series is organised by equipoMotor, a group of teenagers, young people and older people who have participated in the Museo Reina Sofía’s previous community education projects, and is structured around four themed blocks that pivot on the monstrous.
The third session gazes at film as a place from which to dismantle the idea of one sole history and one sole time. From a decolonial and queer perspective, it explores films which break the straight line of past-present-future, which mix memories, slow progress and leave space for rhythms which customarily make no room for official accounts. Here the images open cracks through which bodies, voices and affects appear, disrupting archive and questioning who narrates, and from where and for whom. The proposal is at once simple and ambitious: use film to imagine other modes of remembering, belonging and projecting futures we have not yet been able to live.
Thinking with African Guernica by Dumile Feni
Wednesday 25th March, 2026 – 7.00pm
Curator Tamar Garb brings together a panel of specialists from different disciplines, ranging from Art and Social Anthropology to African Studies and the History of violence, on the occasion of the first edition of the series History Doesn’t Repeat Itself, but It Does Rhyme, starring African Guernica (1967) by Dumile Feni (Worcester, South Africa, 1942 – New York, 1991). The aim of this meeting is to collectively reflect on the points of convergence between the works of both Pablo Picasso and the South African artist.
African Guernica is the monumental drawing created by Dumile Feni in the 1960s. The piece is being shown for the first time outside South Africa, in dialogue with Picasso’s Guernica (1937). This provocative physical encounter invites us to consider both artworks as anti-war and anti-totalitarian manifestos, albeit relating to different places and moments.
For this panel, Siyabonga Njica presents the artistic and cultural context of 1960’s Johannesburg, contemporary to Feni’s work. Pumla Gobodo-Madikizela addresses the trauma of apartheid from both aesthetic and oneiric perspectives. Thozama April analyses the artist’s corpus in relation to archival practices and conservation. Finally, Elvira Dyangani Ose offers a reading of African Guernica through the lens of Pan-African modernity and the collapse of the centre-periphery duality.
These events, which form part of the core strands of the Public Programmes department, aim to provide deeper insight into and broaden public engagement with the Museum’s Collections and temporary exhibitions.
History Doesn’t Repeat Itself, but It Does Rhyme. Dumile Feni: African Guernica
Tuesday 24th March, 2026 – 6.30pm
On the occasion of the exhibition History Doesn’t Repeat Itself, but It Does Rhyme. Dumile Feni: African Guernica, its curator Tamar Garb, introduced by Manuel Segade, Director of the Museo Reina Sofía, highlights the opportunities for reflection offered by the presentation at the Museum of African Guernica (1967), the African sibling to Pablo Picasso’s emblematic painting. The event concludes with the live premiere of a musical composition created especially for this event by the South African artists Philip Miller and Tshegofatso Moeng.
African Guernica, the monumental drawing produced by the South African artist Dumile Feni (Worcester, South Africa, 1942 – New York, 1991) in the 1960s, is presented for the first time outside South Africa in dialogue with Picassos’s Guernica (1937). Feni’s work is deeply connected to its place of origin, emerging from the context of state violence and institutionalised racial oppression under apartheid. Viewing both artworks side by side makes it possible to consider their shared references and strategies, their similarities and synergies, as well as the formal and figurative differences that largely result from their geographical and temporal separation.
The musical composition by Philip Miller and Tshegofatso Moeng intends to establish a parallel dialogue between traditional South African sounds and the classical repertoire for strings, voice and wind instruments. A full ensemble of performers from South Africa and Spain has been brought together for this purpose.
These inaugural conversations, which form part of the core strands of the Public Programmes Department, aim to explore in depth the content of the exhibitions organised by the Museum from the perspective of artists, curators and specialists.
Remedios Zafra
Thursday March 19, 2026 - 19:00 h
The José Luis Brea Chair, dedicated to reflecting on the image and the epistemology of visuality in contemporary culture, opens its program with an inaugural lecture by essayist and thinker Remedios Zafra.
“That the contemporary antifeminist upsurge is constructed as an anti-intellectual drive is no coincidence; the two feed into one another. To advance a reactionary discourse that defends inequality, it is necessary to challenge gender studies and gender-equality policies, but also to devalue the very foundations of knowledge in which these have been most intensely developed over recent decades—while also undermining their institutional support: universities, art and research centers, and academic culture.
Feminism has been deeply linked to the affirmation of the most committed humanist thought. Periods of enlightenment and moments of transition toward more just social forms—sustained by education—have been when feminist demands have emerged most strongly. Awareness and achievements in equality increase when education plays a leading social role; thus, devaluing intellectual work also contributes to harming feminism, and vice versa, insofar as the bond between knowledge and feminism is not only conceptual and historical, but also intimate and political.
Today, antifeminism is used globally as the symbolic adhesive of far-right movements, in parallel with the devaluation of forms of knowledge emerging from the university and from science—mistreated by hoaxes and disinformation on social networks and through the spectacularization of life mediated by screens. These are consequences bound up with the primacy of a scopic value that for some time has been denigrating thought and positioning what is most seen as what is most valuable within the normalized mediation of technology. This inertia coexists with techno-libertarian proclamations that reactivate a patriarchy that uses the resentment of many men as a seductive and cohesive force to preserve and inflame privileges in the new world as techno-scenario.
This lecture will address this epochal context, delving into the synchronicity of these upsurges through an additional parallel between forms of patriarchal domination and techno-labor domination. A parallel in which feminism and intellectual work are both being harmed, while also sending signals that in both lie emancipatory responses to today’s reactionary turns and the neutralization of critique. This consonance would also speak to how the perverse patriarchal basis that turns women into sustainers of their own subordination finds its equivalent in the encouraged self-exploitation of cultural workers; in the legitimation of affective capital and symbolic capital as sufficient forms of payment; in the blurring of boundaries between life and work and in domestic isolation; or in the pressure to please and comply as an extended patriarchal form—today linked to the feigned enthusiasm of precarious workers, but also to technological adulation. In response to possible resistance and intellectual action, patriarchy has associated feminists with a future foretold as unhappy for them, equating “thought and consciousness” with unhappiness—where these have in fact been (and continue to be) levers of autonomy and emancipation.”
— Remedios Zafra