ConversationsIVAM Centre Julio González

October 26th at 18pm IVAMLab
Talk: Archive projects. Project files
Participants: Mela Dávila (former head of the Center for Studies of the Museo Nacional Centro de Arte Reina Sofía and independent curator), Araceli Corbo (MUSAC), Marta Vega and Elísabet Rodríguez (MACBA), Núria Pérez (Center for Studies of the Museo Nacional Centro de Arte Reina Sofía) , Javier Pérez (Library of the Faculty of Fine Arts of the Complutense University of Madrid), Sergio Rubira and Eloísa García (IVAM).

Art projects or archives generated by artists are a reality in Contemporary art. People invited to the talk are some of the pioneers in their treatment in our country. They will give us the keys to how to manage this material that connects, again, the work of curators and librarians of museums.

ExhibitionIVAM Centre Julio González

Beyond the idyllic view of the Mediterranean Sea portrayed in the early 20th century by northern painters who were fascinated by its light, the Mediterranean has encompassed a superimposition, mingling and confrontation of languages, cultures and religions since the beginning of history. It is also an urban context, consisting of historic cities that have been destroyed and rebuilt, illusory holiday agglomerations and camps of people who do not have access to the city.

The Mediterranean has been a home for citizens since ancient Greece, which involves rejection of people who make it possible for the city to live but to whom the status of citizen is not granted, and it forms the setting for habits and customs and ways of life, shaped by a habitat that allows them to breathe or constricts them. The Mediterranean Sea is water that runs deep.

Inhabiting the Mediterranean is an exhibition with a mosaic of images, of ancient and contemporary works, of artists from all its shores, all translating the complex, contradictory, inclusive and exclusive image of peoples and cities, erected with walls that allow passage or present a barrier, beneath a light that illuminates or blinds.

Artists included in exhibition: Herbert List, Anna Marín, Camille Henrot, Ali Cherri, Ursula Schulz-Dornburg, Marwan Rechmaoui, Rayyane Tabet, Susan Hefuna, Zarina Hashmi, Dora García, Le Corbusier, Ismaïl Bahri, Joan Hernández Pijuan, Juan Muñoz, Hrair Sarkissian, Sergi Aguilar, Gabriele Basilico, Abbas Kiarostami, Taysir Batniji, Jordi Colomer, José Manuel Ballester, Juan Uslé, Marie Menken, Maria Lai, Tonino Casula, Albert García-Alzórriz, Dieter Roth and Richard Hamilton, Till Roeskens, Massinissa Selmani, Anne-Marie Filaire, Mohammed Al-Hawajri, Majd Abdel Hamid, Khaled Jarrar, Rami Farah, Randa Mirza, Anila Rubiku, Kader Attia, Martin Parr, Vasantha Yogananthan, Julia Schulz-Dornburg, Carlos Spottorno, Corinne Silva, Yazan Khalili, Efrat Shvily.

Videos

1936–1976

CollectionExhibitionIVAM Centre Julio González

18th July 1976, coinciding with the fortieth anniversary of the coup d’état that marked the beginning of the Civil War, the exhibition Spain. Artistic Avant-Garde and Social Reality. 1936–1976 was inaugurated in the International Pavilion in the gardens of the Biennale di Venezia. On that occasion the Spanish Pavilion remained closed, although Spain was fundamentally present as a result of that exhibition organised outside the Spanish institutions by a group of artists and intellectuals who were strongly committed politically. They included Valeriano Bozal and Tomàs Llorens, who acted as curators, and the artists Eduardo Arroyo, Alberto Corazón, Equipo Crónica, Antonio Saura and Antoni Tàpies, who were involved in the development of the entire process and whose works formed part of the exhibition. Both the evolution of the project and its results were very controversial and led to confrontations between various groups of artists and critics.

As Llorens explained, the aim of Spain. Artistic Avant-Garde and Social Reality. 1936–1976 was “to make it clear how Spanish avant-garde art has been modelled, in its internal constitution, often with ambiguous characteristics, on the dialectic process of political struggle and, at a much deeper level, of class struggle in Spanish society”. The exhibition constructed a new account of the history of the art of the Spanish State during those four decades, and in a way it has determined the account that is still accepted now.

In view of the part played by Tomàs Llorens and various Valencian artists in the development of Spain. Artistic Avant-Garde and Social Reality. 1936–1976, it is not surprising that the IVAM Collection contains nearly forty of the works that were included in the Biennale di Venezia in 1976, according to the list that appeared in its catalogue. The aim of this show, which forms part of the series of Case Studies, is to contextualise this group of works through a reappraisal of an exhibition that has become fundamental for understanding the art produced in Spain in the last century.

Video

ConversationsIVAM Centre Julio González

The banner that Txomin Badiola (Bilbao, 1957) has designed for the IVAM façade is an appeal for us to accept that artists operate in terms of dynamics that tend not to conform to what is socially accepted or acceptable. The banner includes a statement made by the avant-garde artist Paul Klee, “The people are not with us”, together with images that he has already used in previous works and including the museum itself as yet another element. It is also an ironic comment on the role of a “new institutionality” that believes itself to be genuinely beneficial, forgetting the part that is inevitably played by any institution as an apparatus of ideology and authority.

The People Are Not With Us

IVAM ProduceIVAM Centre Julio González

The banner that Txomin Badiola (Bilbao, 1957) has designed for the IVAM façade is an appeal for us to accept that artists operate in terms of dynamics that tend not to conform to what is socially accepted or acceptable. The banner includes a statement made by the avant-garde artist Paul Klee, “The people are not with us”, together with images that he has already used in previous works and including the museum itself as yet another element. It is also an ironic comment on the role of a “new institutionality” that believes itself to be genuinely beneficial, forgetting the part that is inevitably played by any institution as an apparatus of ideology and authority.

OthersIVAM Centre Julio González

Become a Friend of the IVAM and for 40 € a year, 20€ if you are a student, enjoy the benefits of being a member of one of the most prestigious museums in the world, as recently published by the Berlin portal artfacts.net. You will have free access to all exhibitions, guided tours of the exhibitions and special activities for friends. Get discounts in cafeteria, bookstore, invitation to attend all the openings and receive a catalog a year for free. Benefit from other advantages such as obtaining discounts at other national museums. More information: /en/friend-of-ivam/

OthersIVAM Centre Julio González

Refresh yourself and enjoy Mediterranean flavors in Mascaraque IVAM, where for 12,50€ on weekdays and 16€ on weekends, you can taste rice, fish, gazpacho and delicious fruits or desserts. Choose the area that you like most, inside with access to the museum or outside in the atmospheric terrace of the cafeteria. More information at: /en/visit/enjoy/cafe/

OthersIVAM Centre Julio González

Now that you have time in summer, nothing better than enjoying a good reading with the IVAM funds that offer you about 55,000 titles with which to enjoy photography, avant-garde, experimental cinema, the catalogs of the museum or the most prestigious journals in art, photography and design on the planet. Refresh your summer hours and take the best readings or simply enjoy the services of the library. More information about schedules, services and access in: /en/library/