Places categories: IVAM Centre Julio González

Visit to “Craving for Southern Light” with Otobong Nkanga

A dialogue with the artist within the framework of her exhibition. Activity related to the Articulations study program

 Visit to "Craving for Southern Light" with Otobong Nkanga
VisitsIVAM Centre Julio González

22 nov. 2023

IVAM Centre Julio González

Ticket reservation

On the occasion of her participation in the Articulacions study program, the artist Otobong Nkanga will conduct a dialogue visit to her exhibition Craving for Southern Light. We invite you to join us on this tour of the exhibition where Nkanga herself will describe her work processes, her methodologies, references and imaginaries as well as the urgencies and drivers of her practice.

Otobong Nkanga (Kano, Nigeria, 1974) is an artist who sees the world as a succession of interconnected occurrences and superimposed layers. In her understanding, nothing happens if not in relation to the environment we live in or flee from, to our personal and political histories, our bodies and memories. This might be why she requires different artistic means to complete her broad understanding of the world. Using drawing, painting, collage, sculpture, installation and performance, Nkanga opens up the possibilities of complexity to synthesize an idea, life process or viewpoint that will define the present moment. Her position and practices are deep and poetic and never leave the viewer indifferent.

Date and time: Wednesday the 22nd at 6:00 p.m.
Place: IVAM Center Julio González

Activity in English

Related

Otobong Nkanga. Craving for Southern Light

Articulacions – IVAM · UV · UPV study programme 23/24

Transposition. Performance by Yinka Esi Graves.

Within the framework of the exhibition 'popular', curated by Pedro G. Romero and the Articulacions study program

 
ArticulacionsTheatreIVAM Centre Julio González

01 dec. 2023

IVAM Centre Julio González

Free access until full capacity

Within the framework of the popular exhibition curated by Pedro G. Romero, Yinka Esi Graves will perform the specific performance Transposition. The artist also participates in the Articulations study program.
Transposition

Hack, stalk, commune,
Hack, stalk, commune,
Hack, stalk, commune,
Hack, stalk, commune,
transpose invisibility.

Make it a dance, repeat it

Transposition

Hack, haunt, commune,
hack, haunt, commune,
hack, haunt, commune,
hack, haunt, commune,
transpose the invisibility.

Make it a dance, on repeat.

Yinka Esi Graves continues to think through the framework of her work The Disappearing Act to reflect on how to position oneself between the intramural place and sudden overexposure without burning in the light.
Her work explores the links between flamenco and other forms of bodily expression, particularly from a contemporary and African diaspora perspective.

Time: 19 h

Pedro G. Romero

Videos

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popular

Articulacions – IVAM · UV · UPV study programme 23/24

POLYGLOTTY. Narrative Laboratory.

Multilingual space for reading, speaking and writing. #IVAM35

 
PoliglotiaWorkshopsIVAM Centre Julio González

23 jan. 2024 – 26 mar. 2024

IVAM Centre Julio González

Group closed

All languages ​​contain different ways of expressing similar feelings, ideas, emotions. Based on the languages, cultures, knowledge and experiences contributed by the participants in the narrative laboratory, we will construct stories linked to the exhibition popular, curated by Pedro G. Romero. Reading, orality and writing will be the axes around which the sessions revolve, which aim to generate a space for mediation and creation in the museum through the oral and written word, as a continuation and development of the Escuela de Saberes Diversos . A space that summons other imaginaries and other crossed stories. At POLIGLOTÍA we invite you to participate in this laboratory for experimenting with polyglot narratives arising from a global, transversal and multilingual conversation.

Sessions:
January 23 and 30, 2024
February 6, 13, 20 and 27, 2024
March 5 and 12, 2024

 

Time: 18h to 20h
Place: IVAM Centre Julio González
Mediation: Paco Inclán

Related

Poliglotia

POLIGLOTÍA. Escuela de saberes diversos. 23

Photography in Between

Photography in the IVAM collection after 1950

 Exhibition 'Photography in Between'
 Exhibition 'Photography in Between'
 Exhibition 'Photography in Between'
 Exhibition 'Photography in Between'
 Exhibition 'Photography in Between'
 Exhibition 'Photography in Between'
CollectionExhibitionIVAM Centre Julio González

30 nov. 2023 – 02 jun. 2024

IVAM Centre Julio González

This exhibition project focuses on the role of the photographic image as a device of special significance within artistic practices after 1950. Questions related to the body and identity, memory and history, the public and political sphere, the role of the media or the phenomenon of mass consumption have permeated artistic proposals, which have incorporated photography as an expressive language, code or document in a process of hybridisation of the artistic media.

From 1950, the date taken as a starting point, the collection of the IVAM includes a number of key works and artists ranging from the New Documentalism of Robert Frank and Lee Friedlander to the Pop and Post-pop productions of Baldessari and Prince, the various courses taken by conceptual art and action art with Fulton and Export, the theme of the archive with the Bechers, the visual potency of the German New Objectivity of Ruff, the narrative strategies of Gordon and Wearing, among others.

To this series of international names we must add those of essential Spanish authors such as Soto or Valldosera, as well as those from Valencia such as Mira Bernabeu or Navarrete, among others. Names that show the diversity and richness of the IVAM photographic collections.

Videos

Press Dossier ‘popular”

popular
DossierIVAM Centre Julio González

04 oct. 2023

IVAM Centre Julio González

Most of the works in the exhibition come from the collection of the IVAM. These are complemented by pieces from the Colección Michael Jenkins & Javier Romero housed at the Museo de Arte Contemporáneo de Alicante (MACA), the Museo Nacional Centro de Arte Reina Sofía (MNCARS), the Archivo Miguel Trillo and the Archivo Lafuente at the Library and Documentation Centre of the MNCARS, and the Museu Nacional d’Art de Catalunya (MNAC). The show also includes works from the following institutions and private collections: Colección Ricardo Borja, Residencia de Estudiantes de Madrid, Museo Ramón Gaya (Ayuntamiento de Murcia), Archivo de la Fundación Anselmo Lorenzo, Galería Rafael Ortiz (Sevilla), Herederos Llorens Peters C.B, Colección Antonio García y Sebastián Becerra, Galería Alarcón Criado (Sevilla), Occupational Centre of the Day Centre of La Puebla de Cazalla, Collection Kai Dikhas (Foundation Kai Dikhas, Berlin), Prometeo Gallery Ida Pisani (Milan), KOW (Berlin), CRAI Biblioteca Pavelló de la República (Universitat de Barcelona), Collection APRA Foundation (Berlin), Odin Teatret Archives Collection (Denmark), Fondazione Echaurren Salaris (Rome), Biblioteca Històrica de la Universitat de València, Monasterios Loeches, Light Cone Collection, Archivo Fundación Federico García Lorca (Granada), Film collection of Radiotelevisión Española (RTVE), Filmoteca Española, Médiathèque du patrimoine et de la photographie, diffusion RMN-GP and Colección Instituto de Estudios Giennenses.

Download complete dossier in English here

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popular

The songs

The songs

A sound tour of popular
With the covers designed by FrantiSek Zelenka, the songs by Niño de Elche and much more

 
ExhibitionIVAM Centre Julio González

05 oct. 2023 – 14 apr. 2024

IVAM Centre Julio González

“Many of the borrowed pieces here might perhaps point in the direction of something missing, something we’re lacking – and I refer to more than just the IVAM’s Collection. A collection in many ways represents the conscious and unconscious realm of the community it is built from. Music, for instance, plays an important part in this exhibition, as in the superb musical scores by František Zelenka, or a reading of the collection and its treasures by El Niño de Elche, from the Intonarumori by Luigi Russolo to Symphony No. 1 by Glenn Branca. And is trap pop, or a commodity? Let us not call it “urban art”, a suspect category if ever one existed. But a whole community is speaking through trap. The evidence is there in the Nueve, Panamá video by Brooke Alfaro. Yet there are still people who have no voice, voices still silent. A key piece in the exhibition is the borrowed film <…-OhPERA-MUET-…>, [à la date du 23 setembre 2016], by Alejandra Riera, a film on the grand narratives of history and what is buried under its monuments, a film by those who speak from below, from the ruins. popular shows the murmurings and the silent, those who have no voice. Although that might be too loud a claim to make. We might say they appear, disappear and reappear. Perhaps these examples can give some indication of the workings of this research and how we’ve approached this exhibition”.

Pedro G. Romero

 

The songs (and one)

This magnificent collection of scores by Jaroslav Ježek, illustrated by the architect František Zelenka, was an opening for us to present, in some way, songs as one of the privileged spaces for the relation and emergence of the popular. Both were Jewish artists linked to the Czech avant garde; Zelenka was murdered at Auschwitz in 1945, while Ježek had died two years earlier of illness in exile in New York. The particularity of this repertoire, linked to the explosion of vernacular forms of music as a result of colonial movements in the 1920s, is exception in this respect. The popular emerges just at the point where displaced political representations fold that have based their success or symbolic potency on their necessarily subaltern position. This is the era of the slate record, and the birth of the global industrial culture later to be known as pop, or popular music.

 

The songs (and two)

The simplistic division between visual and musical culture has a strongly theological background to it. Reducing sound to abstract, spiritual or ritual categories without recognising it as symbolic representation, imagination and material figuration is above all the result of the totalitarian Enlightenment ordering of the world. What actually exists are continuities and relationships. Between poiesis (way of making), esthesis (way of seeing) and phonesis (way of speaking), there is always circulation. More than a specific cultural product, the popular is a result of circulation which runs through different means that can also multiply. The relationships between the writings, sounds and images selected here are based on that principle. There are avant-garde pieces, academic music, products of the cultural industry, studio experiments and street experiences, and the possibility of the popular runs through all of them.

 

The songs (and three)

This collection of songs by Niño de Elche with the collaboration of Xisco Rojo travels the – often blurred – limits between sound, music and the popular in song. Agustín García Calvo said that the popular qualities of a song could be measured in how likely you are to hum it in the shower. Whether through electronic dance music, spoken word, Latin diasporan music or flamenco, Niño de Elche has tried to connect some of the pieces in the IVAM collection, some of its images, with possible ways of being sung. Or hummed in the shower: be it a phrase by Juan Hidalgo or the petenera repeated by the Mexican people portrayed by Paul Strand, a fandango dedicated to Helios Gómez or the musical imprint of VALIE EXPORT’s tattoo on Rosalía. An image is also a song.

 

Pedro G. Romero

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popular

Group visits in English

Tours in English of the museum's exhibitions

 
AccessibilityIVAM Centre Julio González

14 oct. 2023 – 16 dec. 2023

IVAM Centre Julio González

Previous reservation: reservations must be made at least 6 days in advance by email to ivam@ivam.es

With the intention of bringing the exhibitions and history of the IVAM closer to groups of foreign visitors, we offer this special visit in English, mediated by an authorized official guide, in which they tour, as a walk, some of the key exhibitions of the IVAM collection, as well as some of the most current ones.

The IVAM Sightseeing visit will allow the visitor to understand the origin and creation of the museum, get closer to the great names that make up the IVAM’s rich collection, made up of more than 14,000 works of art, among which the collections of the sculptor Julio González and the painter stand out. Ignacio Pinazo. The walk will activate the exhibition BE ARTIST. Julio González, in which you can see practically the entire work of the leading avant-garde sculptor in his work in iron and the exhibition Pinazo in the public space, an exhibition that presents and raises the relationship of the Valencian artist with the exterior space and shows a good part of his drawings, moving away from the academy and embracing his own style. The tour ends in gallery 1 of the museum, in the exhibition dedicated to the Nigerian artist Otobong Nkanga Craving for Southern Light. An exhibition that analyzes the notion of ‘earth’ as ​​a geological and discursive formation, often taking as a starting point the systems and procedures by which raw materials are excavated locally, processed technologically and distributed globally.

The visit aims to offer a generous overview of the museum to the visitor who, after it, can expand knowledge and concerns independently (thanks to publications, room texts or mediation texts in easy reading) or with the help of public programming and museum mediation.

Mediation: Amparo Morató, Tourism Guide of the Valencian Community
Location: IVAM Center Julio González

General public

English

1 h approx

30 people

Visit “Sightseeing IVAM”

A tour in English of the museum's exhibitions

 
AccessibilityIVAM Centre Julio González

14 oct. 2023 – 14 jan. 2024

IVAM Centre Julio González

Pre-registration

With the intention of bringing the exhibitions and history of the IVAM closer to visitors, tourists and the community of foreigners who live in Valencia, this fortnightly visit is proposed in which they tour, as a walk, some of the key exhibitions of the IVAM collection, as well as some of the most current ones.

The IVAM Sightseeing visit will allow the visitor to understand the origin and creation of the museum, get closer to the great names that make up the IVAM’s rich collection, made up of more than 14,000 works of art, among which the collections of the sculptor Julio González and the painter stand out. Ignacio Pinazo. The walk will activate the exhibitions BE ARTIST. Julio González, in which you can see practically the entire work of the leading avant-garde sculptor in his work in iron and the exhibition Pinazo in the public space, an exhibition that presents and raises the relationship of the Valencian artist with the exterior space and shows a good part of his drawings, moving away from the academy and embracing his own style. The tour ends in gallery 1 of the museum, in the exhibition dedicated to the Nigerian artist Otobong Nkanga Longing for Southern Light. An exhibition that analyzes the notion of ‘earth’ as ​​a geological and discursive formation, often taking as a starting point the systems and procedures by which raw materials are excavated locally, processed technologically and distributed globally.

The visit, as an introductory walk through the IVAM, aims to offer a generous overview of the museum to the visitor who, after it, can expand knowledge and concerns autonomously (thanks to the publications, room texts or mediation texts in easy reading ) or hand in hand with the museum’s public programming and mediation.

 

Mediation: Amparo Morató, Guía de Turisme de la Comunitat Valenciana
Place: IVAM Centre Julio González

general public

english

1h aprox

25 people

Symposium “Re-defining photography within the context of cultural heritage”

ICOM-CC

 Hercule Florence, L’Ami des arts livré à lui-même, page 42, text: “Photographie ou Imprimerie à la lumière solaire. 1837”
ColaboracionesIVAM Centre Julio González

23 sep. 2023

IVAM Centre Julio González

Reservation of places on the GE-IIC website

This symposium will be hosted by the Institut Valencià d’Art Modern (IVAM) and organized by the ICOM-CC Photographic Materials Working Group in collaboration with the Spanish Group of the International Institute for Conservation of Historic and Artistic Works (GE-IIC). It will take place on September 23, 2023, immediately following the 20th Triennial Conference of ICOM-CC.

The event aims to encourage an open debate on what we understand as photography in our time. This need to reflect on the definition of photography arises from the current situation in which photographic heritage is at a crossroads between the analogue and the digital. Conventional definitions of the word “photography” are still typically associated with technical concepts and, in many cases, are not fully applicable to digital-born photographic images. On the other hand, if we aim to work towards a sustainable past, it is necessary to clearly define the object of that past, and this is a major shortcoming with photography.

Indeed, photography holds undeniable cultural value, communication power, and unique characteristics that materialize as complex objects with multiple layers of information. Therefore, if we intend to preserve photographs, it is essential to establish a new definition that covers in depth all that they encompass. By doing so, the change in definition will have consequences for the future of cultural heritage professionals working with photograph collections.

The proposed activity is a one-day symposium. In the morning, there will be short lectures by experts in the field with diverse backgrounds. After a lunch break, attendees will be divided into groups to discuss the definition of photography. The symposium will conclude with a roundtable centred around the concept of photography, what we truly aim to preserve, and what are the strategies we need to put in place to do so. The goal of this event is not to provide a concrete new definition of photography, but rather, a starting point to further debate and reflect on this topic, as it evolves and continues to affect different stakeholders.

This symposium is aimed at all cultural heritage professionals working with photography, ranging from students to professionals in the fields of art history, fine arts and conservation, collection managers and other museum and archive professionals, as well as members of the general public who are interested in art, photography, and the preservation of cultural heritage.

More information and registration here

 

Hours: 10:00 a.m. to 6:30 p.m.

Per Kirkeby

 Per Kirkeby / Untitled, 1980
 Per Kirkeby exhibition, 1989
 Per Kirkeby exhibition, 1989
ExhibitionIVAM Centre Julio González

12 dec. 1989 – 18 feb. 1990

IVAM Centre Julio González

There is a quality in the work of Per Kirkeby (Copenhagen, 1938–2018), which is a result of his diverse, modern art education. Kirkeby studied Geology at the University of Copenhagen, but later enrolled at the Ex-School (Experimental Art School), Copenhagen, where he acquired a broad range of artistic knowledge in various disciplines including painting, graphic design, film and performance. Seen in perspective, his work is a compendium of these formal concerns, as well as others such as the essay and other forms of writing; architecture and sculpture.

While Kirkeby’s work can easily be situated within Danish art as a whole, for instance in the 1984 exhibition Uit Het Noorden (From the North), which grouped him together with Munch and Jorn, his work tends to be more closely associated with that of German artists. However, he also cannot be neatly fitted into the dialectical opposition between the formal practices of Richter or Baselitz and the more ideologically based work of Beuys or Polke. This variety of works and styles was well-represented in the exhibition at the IVAM Centre del Carme.

In another facet, during the transformation of the Turia into the city park it is today Kirkeby installed the architectural sculpture Valéncia (1989) in a site along the riverbed. Built with handmade bricks, the piece pays tribute to the city’s Roman and Arabic history. This and similar works since 1972 have become the Danish artist’s most representative pieces throughout the world. The maintenance of this magnificent work, which was partly constrained and hidden after the building of the Pont de les Arts, has been a complex affair. Its reconstruction and re-siting to the Parc Central, where the IVAM’s new museum building is to be situated, will give the piece a second, more visible life and better possibilities of conservation.

Place: IVAM Centre del Carme

Piet de Jonge and Vicente Todolí

ValEspEng