Social Poetry
Social poetry is a literary genre from post-war Spain aimed at the public at large and defined by its social commitment.
The audiovisual programs are intended to counteract the predo
Social poetry is a literary genre from post-war Spain aimed at the public at large and defined by its social commitment.
On 28 June 2016 in the Museo Reina Sofía's room entitled Estampa Popular. The Irruption of Anti-Franco Reality in Art. It captures a conversation between different artists belonging to Estampa Popular groups from Madrid and was moderated by Noemí de Haro García, a researcher and lecturer at the Autonomous University of Madrid.
In 1959, the Spanish government ended its autarchic system to embark upon the Economic Stabilisation Plan, which would require IMF and OEEC approval. Its main goal was to restructure the Spanish economy and lower the high rate of inflation.
In 1962, a wave of strikes swept through Spain, starting from the Asturian mines and spreading into 28 provinces. The impact of these clashes not only extended as far as the government.
During the years of Francoism, and despite the apparent aperturismo, or “opening out”, experienced in the country, culture was subjected to censorship control.
The collection of works by the Estampa Popular group in the holdings of the Museo originate from 1960, when a set of prints made by the Madrid Estampa Popular became part of the old Museo de Arte Contemporáneo.
Film and music became key artistic expressions to counter the social and cultural patterns imposed by Francoism.
This video was recorded on 4 February 2020 in the rooms and Auditorium 200 of Museo Reina Sofía. It gathers interviews and a conversation between a number of women artists who started their practices in the late 1960s and early 1970s, a time in which feminist protests were being reactivated.
In recent years, one of the Museo Reina Sofía's primary goals has been to augment its holdings with works by women artists, thereby addressing the gaps that exist in the Collection.
Beyond the often quoted British and North American oeuvre, Pop Art was a movement of a global nature that took on particular features in correspondence with the specificities of the political areas in which it was produced.
After the Civil War, Spanish women underwent a “return to order”. All were subjected to gender-based reprisals, regardless of ideology.
By dint of laws, regulations, education models and the Sección Femenina — the Women’s Section — Francoism drove a demure and obedient female stereotype, banishing women from the public sphere and returning them to their only authorised spaces: home and family.
Francis Bartolozzi (“Pitti”) and Kati Horna are an example of how women’s artistic creation managed to find a place in 1930s Spain, which is why their work and careers feature heavily in this project.
The ideal image of women during early Francoism was as mother and wife, a role that magazines, posters and artistic representations took on to disseminate and amplify.
Mujeres Libres, or Free Women, was an organisation founded in 1936, largely by anarchist women workers who defended anti-fascism and social revolution. The Association of Anti-fascist Women (AMA) was the largest women’s organisation during the Civil War, with members estimated to total around 65,000.