425 social, intellectual, ethical and emotional interests of our ecosystem, through which we should understand the IVAM to develop a vocation to fulfil the artistic expectations of those who visit it. Anniversaries represent turning points. Presenting a global balance of the museum’s mature and significant trajectory, the artistic community linked to it and the people who directly participate in its activities agree on the great reputation it has achieved amongst the global artist community because of its good management and significant success, especially, for the welcoming it has had amongst Valencian society in particular, feeling it belongs to them, and amongst major international public, who deeply respect and admire it. During these years, the IVAM has consolidated itself thanks to the work carried out by the different directors which preceded me, who deserve special recognition due to their active contribution to the ever ascending trajectory of the institution. That is why I would like to remember and thank Tomàs Llorens, Carmen Alborch, Juan Manuel Bonet, José Francisco Yvars and Kosme de Barañano for the mark they have left. Thanks to the achievements accomplished during their respective periods, it has been very easy for me to receive the baton handed over by them and follow that same path defined by rigour and artistic responsibility. That rigour is, undoubtedly, as I have been commenting, interiorised in the IVAM’s Collection, which has increased in two thousand nine hundred and seventy five donations during the time I have been directing it, as well as internationalising it thanks to the one hundred and seventy exhibitions held abroad. And as a proof of it, we can enjoy an extensive exhibition we have organised, curated by Professor Francisco Jarauta under the title of Colección del IVAM. XXV Aniversario, thanks to the selection he has made of the different and most ambitious artistic movements of the twentieth century as well as the main national and international artists belonging to them. The twentieth century was undoubtedly the century in which photography consolidated itself. This fact can be witnessed in the extensive collection garnered by the IVAM, in which we can analyse the techniques, genres, stages and main characters in the recent history of this discipline. Photography reaches greater consideration as a genre with the historical vanguards, with its own weight in the artistic arena. It therefore ceases to be understood as a simple instrument facilitating the work of creators, and it rightfully obtains the category of artistic work. Among the group of photographs we can appreciate in this display are some of the great masters which have defined the history of photography such as László Moholy-Nagy, Constantin Brancusi, Nadar, André Kertész, Heinz Loew, Jaromir Funke, Frantisek Táborský, Piet Zwart, Hannes Meyer, Claude Cahun, Jindrich Styrsky, Horacio Coppola, Grete Stern, Gustav Klucis, Ben Shahn, Carl Meyer Mydams, Dorothea Lange, David Seymour (Chim), Lee Friedlander, Bernard Plossu, Bernd and Hilla Becher, Humberto Rivas, Hiroshi Sugimoto, Gabriele Basilico, Herbert List, Man Ray, Walker Evans, Cindy Sherman and John Baldessari, Joan Fontcuberta, Chema Madoz, José Manuel Ballester, Manuel Álvarez Bravo, Agustí Centelles, Pere Català Pic, Gabriel Cualladó, Josep Renau, El Lissitzky, Alexander Rodchenko, John Hearfield and George Grosz. Setting photography aside, we now focus on the autonomy of chromatic values expressed in this exhibition through the fauvist work of a genius such as Henry Matisse. The same strength based on a palette of colours can be contemplated in the works by Ignacio Pinazo, Robert and Sonia Delaunay, Jean Hélion, Otto Freundlich, Karel Appel, Jean Dubuffet, Frank Stella or Yves Klein as well as in canvases by Luigi Veronesi and Franz Kline that take us to a world of abstract nuances. The abstract specialism of Barnett Newman, Tony Smith, Adolph Gottlieb, Ad Reinhardt, Lucio Fontana, Jordi Teixidor, José María Yturralde, Eusebio Sempere, Manolo Gil, Pablo Palazuelo, Equipo 57, Manuel Rivera, or Salvador Montesa are also protagonists of this extensive exhibition in the use of flat tones and in the search for an art free of formal content. In a similar lineal and spatial current we can find the sculptures of Julio González, Eduardo Chillida, Martín Chirino, Jorge Oteiza and Andreu Alfaro. That same conceptual rigour and simplicity to which Joan Miró belongs, approaches us to minimalism to end up guiding us to the aesthetics of masters of this movement in which Donald Judd, Robert Morris, Gerardo Rueda and Ramón de Soto stand out. Another remarkable aspect of this collection is the structural value of forms, waving the flag of cubism, reflected in some of Jacques Lipchitz and Pablo Picasso s sculptures, and Luis Fernández s canvases, containing an interesting intellectual and visual reflection on form, given the fact they brake away from previous concepts used in art. The movement’s futurism and aesthetics is marked by the works of Marinetti, Carlo Carrá, Francesco Cangiullo, Rafael Barradas, Enrico Prampolini, Angelo Rognoni, Giusepe Soggetti, Nelson Morpurgo, Fortunato Depero, or Alexander Calder. We can also encounter, thanks to Dadaists, a more provocative art as we can appreciate in the work by Marcel Duchamp, Francis Picabia, Tristan Tzara, Richard Huelsenbeck, Raoul Hausmann, Jean Arp, Joseph Cornell, in photographs by Man Ray or photomontages and collages by John Heartfield, Kurt Schwitters or Vicente Huidobro amongst many others. Likewise, subconsciousness as a revolutionary force is captured in surrealist works by Hannes Meyer, Claude Cahun, Jindrich Styrsky, Wim Brusse, Grete Stern, André Breton, Georges Hugnet, Max Ernst, Raoul Hausmann, Benjamin Palencia or André Kertész, imposing images in their works which escape rational explanations. Its faith in the power of free association of ideas, omnipotence of dreams and the influence of randomness, is considered by these artists as an asset to undertake new discoveries. The chance of fulfilling a dream is what makes life interesting, as writer Paulo Coelho would say, so these artists are committed with feeding their imagination. Following the road of isms, abstraction and suprematism are present in this artistic memoire of the IVAM through Kasemir Malevich, Naum Gabo, Antoine Pevsner and Olga Rozanova but also through other great abstract artists such as
Colección del IVAM. XXV Aniversario
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