Interview with Manuel Borja-Villel
The line is the primary formulation in the imaginary of Anne-Marie Schneider (Chauny, France, 1962), in which autobiographical activity also has a strong presence. The line refers to gestural writing and gives shape to the enigmatic world of personages whose bodies are often taken apart and fitted back together in fragments, prolonged in domestic space and projected on to the landscape.
The ship is going under, the ice is breaking through
Lothar Baumgarten concentrates here on the fragility of the domed glass structure of the Palacio de Cristal to create a sound sculpture from a series of audio recordings of ice thawing of the Hudson River in upstate New York. Within the transparent architectural presence of its glass corpus, the deafening sound of the ice becomes a tonal analogy for the crashing stocks and assets of financial markets; it concerns greedy speculation about unlimited economic growth and the resulting impact on the dramatically changing global climate.
Territories and Fictions
Thinking a New Way of the World
This presentation of holdings from the Museo Reina Sofía Collection, largely made up of recent acquisitions, approaches the languages and artistic practices that defined the period between the end of the 1990s and 2007 – both in Spain and internationally - by way of a series of shared questions that heralded the start of the century and run up to the present time.
The Museum of Modern Art, New York, and the Museo Reina Sofía have organised one of the most comprehensive retrospectives devoted to Belgian artist Marcel Broodthaers (1924–1976). His remarkable output in the 1960s and 1970s established him as one of the most important artists on the international scene, and one of the most influential for numerous contemporary artists from that time to the present day.
Interview with Txomin Badiola and João Fernandes
Another Family Plot is an anthological exhibit of Txomin Badiola and in its preparation it makes manifest the binomial between construction and critical deconstruction that characterizes all Badiola’s work. The artist has responded to the Reina Sofía Museum’s invitation with an exhibit that is the result of a curatorial process fruit of a process of discussion with a group of artists which has accompanied Badiola’s work throughout his career, among them Ana Laura Aláez, Ángel Bados, Jon Mikel Euba, Pello Irazu, Asier Mendizabal, Itziar Okariz and Sergio Prego.
When Something Is Possible
When Something Is Possible puts forward a panoramic view of the actions and programmes developed by the Museo Reina Sofía Education Department, proceeding from the voices of those who are at its core: participants, educators, mediators, teachers and members of the education team. This kaleidoscope of experiences brings to light the diverse array of languages, sensibilities and knowledge that are interwoven in the education work of the Museo, in addition to the multiple subjectivities that can find a place there.
Val del Omar
Piluca Baquero, coordinator of the Val del Omar Archive and Cristina Cámara, Head of the Department of Film and Video in the Collections Department and curator of the exhibition, discuss the review of the work of filmmaker José Val del Omar (Granada, 1904 - Madrid, 1982) in recent years, has coexisted alongside the Museo Reina Sofía from the very beginning, from the time it opened as an Art Centre in 1986, although it wasn’t until November 2009 that they were seen for the first time within the context of the Museo’s collection. The screening of Triptych elemental de España (Elementary Triptych of Spain) reflected a declaration of intent regarding the recovery of his work that after the restoration and digitization of the vast majority of the film work produced by the artist, has joined the Museum collection by deposit.
Val del Omar - In Process
Through the retrospective : VAL DEL OMAR overflow the challenge of transferring this PLAT laboratory, this space of creation found in the Barrio del Pilar district in Madrid, to the Museo was undertaken. In 2012, the Museo devoted six rooms of the Collection to the presentation of a significant part of the ensemble. The revised selection is the one currently travelling between three Spanish art institutions on account of the invaluable support of the “la Caixa” Banking Foundation, whose social and education project places citizens’ access to culture among its main priorities.
The Rocket and the Abyss
Damián Ortega (Mexico City, 1967) started out as a newspaper cartoonist in the 1980s, approaching the political scene with acerbic wit. His artistic concerns shifted when he joined the Taller de los Viernes (Friday Workshop) in Tlalpan (active from 1987 to 1992), a self-styled school and the place where he would come into contact with a creative community that was both diverse and an alternative to the dominant reactionary muralism in Mexico at the time. It was in this milieuthat he realised his first sculptures, continuing the ironic tone from his previous profession.
Spanish Art 1939–1953. Interview with Mª Dolores Jiménez-Blanco
The exhibition Campo Cerrado takes its name from the homonymous novel by Max Aub and looks to examine Spanish art in the complex and controversial 1940s, a decade that has received little attention and one that exists in a critical and historiographical vacuum, despite its importance in structuring modern sensibility in Spain.
Interview with Catherine David
The exhibition Wifredo Lam revolves around the genesis of his work, the diverse stages and conditions of reception and the progressive integration of a body of work that was painstakingly put together in Spain, Paris, Marseille and Cuba, tracing the artist’s unique career by way of almost two hundred and fifty works – paintings, drawings, etchings, prints, ceramics - and is completed with over three hundred documents – letters, photographs, magazines and books.
Interview with Javier Hontoria
The work of Swiss artist Rémy Zaugg (Courgenay, 1943 – Basel, 2005), which stretches across four decades, is on display in the Palacio de Velázquez. The exhibition The Question of Perception is the outcome of a close collaboration between the Museo Reina Sofía and the Museum für Gegenwartkunst, Siegen, and looks over a body of work based on the study of perception, and the relationships between text and images, colour and language, the real and the subjective, and between plane and space.
Interview with Guy Schraenen
A key figure in Mexican conceptual art, Ulises Carrión (1941, San Andrés Tuxtla, Mexico – 1989, Amsterdam) was an artist, editor, curator, and theorist of the post-1960s international artistic avant-garde.
The exhibition is composed of nearly 350 pieces that include books, magazines, videos, films, sound pieces, mail art, public projects, and performances, along with Carrión’s initiatives as curator, editor, distributor, lecturer, archivist, art theorist, and writer. It is a significant body of original work structured so as to place a spotlight on every facet of his production.