Guided tour of the exhibition with Mª Jesús Folch, IVAM curator
Free activity for Honorary Members and Friends of the IVAM. Also for the general public with a ticket to the Museum. Application must be made 15 minutes before the start of the tour at the counter in the IVAM entrance hall. Places limited (allocated by order of application).
The IVAM hosts two public course “What is Happening (to Us). Political imaginary in today’s narrative “organized by the Association COS .
Thursday 19 May, 6:30 p.m. “What is Happening (to Us). Political imaginary in today’s narrative”. An encounter with Miguel Ángel Martínez
Thursday 26 May, 6:30 p.m. “What is Happening (to Us). Political imaginary in today’s narrative”. An encounter and conversation with the writer Elvira Navarro
Within the Chair of Artistic Studies. 20th/21 st Centuries on the occasion of the opening of the exhibition the IVAM “Lost in the city. Urban life in the Collections of the IVAM ” the architect Beatriz Colomina give the lecture “Privacy & publicity in the era of the social networks”.
Beatriz Colomina, architect, Professor of History and Theory of Architecture and Director of the Postgraduate Study syllabus of the School of Architecture of Princeton University.
CHAIR OF ARTISTIC STUDIES. 20th/21st CENTURIES
IVAM-UV-UPV (Institut Valencià d’Art Modern-Universitat de València-Universitat Politècnica de València)
Directors: Juan Vicente Aliaga / Vicente Sánchez-Biosca
The life in images of contemporary culture outruns the (material and immaterial) traditional spaces in which they were entrapped in the past, even the recent past. Their genres and registers, their ambits of circulation, their ceaseless migrations give the impression of offering a previously unknown experience of the real at the same time as, in an apparent paradox, they display a not in the least feigned technological pride.
Nevertheless, however much studies of the History of Art, Fine Arts, Journalism and Audiovisual Communication have attempted to adapt to the demands of this state of affairs, the lability of the borders between creation and reflection, technology and art, the media and the collective imaginary, among others, requires more ductile ambits of reflection and debate than those to be found in university studies and traditional research. On the other hand, unlike classical philology, palaeography, the exegesis of written texts and the image still presents an imbalance between its (emotional, conceptual, political, memory-based) impact and the instruments provided to analyse it.
The aim of Cátedra Estudios Artísticos, arising from the collaboration between the University of Valencia, the Polytechnic University of Valencia and the IVAM, will consist in encouraging this reflection about the life of images both in the world of art and in social life, including imaginary. It will do so broadmindedly, avoiding academic, artistic or technological restrictions, but, nevertheless, thriving on and taking advantage of all the academic, museum-based and institutional aids at its disposal. For that reason, the fact that it is held at the IVAM is propitious because it can enrich its activities with the reflection about exhibitions, installations or lectures, and also the series of projections.
Conversations between artists, whose aim is to connect works and projects that are similar in some way –or which present differences– with the intention of laying key concepts on the table, which will allow people to understand the contemporary artistic practice.
IVAM, UPV Facultad de Bellas Artes. From Tuesday 10 to Friday 13 May
During the Civil War, countless emancipating episodes took place on the Republican side that invited people to think of a better world. Spaces for freedom and hope that, after the triumph of Francoism, were repressed and abolished. These spaces closed in an untimely way have turned into traumatic lesions that keep coming back over and over again like ghosts. The workshop Dibujar una estrella de cinco puntas examines these phantoms, which, as Derrida said, come to us from other times to upset and disrupt ours, and analyse the problems of representing them. How can we formalise their signifiers? How can we give shape to their echoes?
The referent of the workshop will be the Instituto Obrero and will analyse in situ the space it occupied, and it will also make a reflection about the meaning of the labour movement in the 21st century, the validity of internationalism, the unity of the proletariat or the meaning of symbols like the red five-point star.
Harun Farocki Film Season
6 and 7 May Harun Farocki. Encounter with other cultural producers
13 and 14 May Harun Farocki. Critical Image
Free activity up to the maximum capacity
Taking advantage of the participation of the artist Joan Fontcuberta (Barcelona, 1955) with the exhibition No es verdad, no es mentira. El arte del Fake (It’s not True, it’s not False. The Art of Faking), the Universitat de València, the Universitat Politècnica de València and the IVAM have organised a seminar-cum-workshop. Joan Fontcuberta’s life and professional career is characterised by having gone beyond the vague limits of reality and fiction, of an invented story and its form as a trustworthy document on many occasions.
Monday 2 and Tuesday 3 May
Tuesday 7 and Wednesday 8 June
This activity is free of charge for Honorary Members and Friends of the IVAM. Also for the general public with a ticket to the Museum.
It is necessary to sign up 15 minutes before the start of the visit at the desk in the Hall of the IVAM. Limited places (first-come, first-served).
Marina Pastor is Doctor of Philosophy and Belles Arts. Professor of the Faculty of Fine Arts of the Polytechnic University of Valencia.
Tour carried out by Ramon Escrivà, curator of the exhibition.
This activity is free of charge for Honorary Members and Friends of the IVAM. Also for the general public with a ticket to the Museum.
It is necessary to sign up 15 minutes before the start of the visit at the desk in the Hall of the IVAM. Limited places (first-come, first-served).
We continue the series of conversations between artists whose aim is to connect works and projects that are similar in some way –or which present differences- with the intention of laying key concepts on the table, which will allow people to understand the contemporary artistic practice. Our intention is to be able to create a dialogue, to rethink, to imagine or to compare ideas, so that these, and their specification in several art forms, become again a consubstantial element of the debate on culture and contemporary art.
Also, so that the artists themselves can present them.
In the field of photography, the pictures that best illustrate the social sequels of the Great Depression after the stock market crash of 1929 are the ones taken by the American photographers Walker Evans, Dorothea Lange, Carl Mydans, Arthur Rothstein, Jack Delano, Marion Post, Gordon Parks and Russell Lee, who took part in the programme of the Farm Security Administration (FSA, 1935–1944). Set up by the government to provide graphic documentation of the agricultural reform programme promoted by the New Deal, the project gave rise to the greatest choral account of the desolation and poverty of the rural population and their emancipation in those years.
Through a careful selection of photographs, magazines, books and documentaries, the exhibition reviews the historical context of the work of the FSA photographers, and pictures by some of the greatest exponents of social photography in America, such as Lewis Hine, Paul Strand and Ralph Steiner, who are represented in the IVAM Collection.
Curated by Juan Guardiola
In democracy, as opposed to dictatorships and absolute monarchies, sovereignty lies with the civilian population. However, far from being participative, our present democracy has become a power system distanced from ordinary citizens. Social citizenship is the status awarded to fully entitled members of a community, a status that includes a differential, exclusive element because it carries with it a privilege not enjoyed by non-members of the group. This is one of the paradoxes of the concept of citizenship, which represents integration and equality but also involves inequality. The video works presented here have characteristics connected with this concept of internal colonialism, especially in the case of immigrants, the citizens without rights that colonial relationships have created.
