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Events in Art and Archaeology

Hard Gelatin: Hidden Stories from the 80s
BARCELONA  •  Museu d’Art Contemporani de Barcelona  •  4 November 2016 - 19 March 2017

The Museu d’Art Contemporani de Barcelona presents Hard Gelatin. Hidden Stories from the 80s, a revision of the hegemonic account of the period between 1977 and 1992 in Spain, questioned from today’s perspective. It looks at a series of social, political and economic events in the history of that period, while presenting the work of a number of groups, cultural activists and artists who adopted subversion and a critical refutation of the established order. The project has been developed as part of L’Internationale, a network of six European museums, which invited its members to propose a critical revision of the eighties within their own context.

The exhibition brings to the fore some of the hidden stories by asking questions and challenging the official narrative and dominant discourses. It is structured around seven possible accounts: Forgotten memory, on anti-history, counter-information and the omission of the recent past; Blind spots, from autonomous groups to democratic institutionalisation; From blue overalls to white collars, from the dismantling of workers’ movements to industrial restructuring; In the neighbourhood of my dreams, from real estate to the city as spectacle; Beautiful losers, on drugs and prisons; Stolen words, counterculture versus the art institution; and Gaseous state, on otherness and escapism as a weapon, the imaginary world. Hard Gelatin brings together over 200 works by 59 artists, half of them from the MACBA Collection, together with a large selection of material from the Museum’s Archive and Library Fonds. Also included are films, documentaries, TV programmes, magazines, comics, fanzines, artworks and anti-artistic exercises, among other materials.

The exhibition includes works by: 5QK's (Alfonso de Sierra, Luis Escribano, Ramón Massa, Ces Marti and Enric Bentz); Francesc Abad; Agustín Parejo School; Marcel·lí Antúnez; Txomin Badiola; Antonio Beneyto; Miguel Benlloch; Tino Calabuig; Alan Carrasco; Colita; Societat U de Barcelona (Octavi Comeron, Tere Badia, Jorge Luis Marzo, Guillermon Trujillano, Montse Romaní); Pepe Espaliú; Marcelo Expósito; Daniel García Andújar; Joan Gelabert; Eulàlia Grau; Isaías Griñolo and Angustias García; Federico Guzmán; Joaquim Jordà; José Juan Bartolomé and Cecilia Bartolomé; Lluís Juncosa; Manolo Laguillo; Rogelio López Cuenca; Laia Manresa; Muntadas; Nazario; Ocaña; Anton Patiño; Carlos Pazos; Pere Portabella; Preiswert; Manolo Quejido; Joan Rabascall; Arturo-Fito Rodríguez, Gabriel Villota; Pedro G. Romero; María Ruido; Fernando Ruiz Vergara; Pepe Sales; Mireia Sentís; SIEP (artistic collective); Llorenç Soler; Albert Subirats; Carlos Taillefer; Taller Llunàtic; Steva Terrades; Francesc Torres; Adrià Trescents, Isidoro Valcárcel Medina; Jordi Valls; Ventura Pons; Vídeo-Nou; Jaume Xifra and Zush.

The network includes six major European museums: Moderna galerija (MG, Ljubljana, Slovenia); Museo Nacional Centro de Arte Reina Sofía (MNCARS, Madrid); Museu d’Art Contemporani de Barcelona (MACBA, Barcelona); Museum van Hedendaagse Kunst Antwerpen (M HKA, Antwerp, Belgium); SALT (Istanbul and Ankara, Turkey) and Van Abbemuseum (VAM, Eindhoven, Netherlands). Other members include various academic and art institutions associated with the project.

Museu d’Art Contemporani de Barcelona Website

Contact: Museu d’Art Contemporani de Barcelona
Plaça dels Àngels, 1
08001 Barcelona
Tel: (34) 93 481 33 68

The Fauves: Passion for Color
MADRID  •  Fundación MAPFRE  •  22 October 2016 - 29 January 2017

The exhibition, which offers a complete and rigorous survey of Fauvism, brings together more than one hundred paintings, in addition to numerous drawings, watercolours and a selection of ceramics. Fauvism was the first major avant-garde art movement of the 20th century. It was a controversial and exuberant one based on the exaltation of pure tones, locating the autonomy of colour at the centre of the artistic debate.

Henri Matisse was its leading representative accompanied by other artists with whom he shared a new vision of painting along with a constant desire to learn and experiment. Together with André Derain and Maurice de Vlaminck he led the group which also included Albert Marquet, Henri Manguin, Charles Camoin, Jean Puy, Raoul Dufy, Othon Friesz, Georges Braque, Georges Rouault and Kees van Dongen.

These staunch proponents of provocative color and of executing work from a personal perspective were particularly committed to developing a number of themes such as portraits of the group's members, luminous landscapes, the ambience of the French Mediterranean, intimate spaces and the atmosphere of sordid nightlife.

Fundación MAPFRE Website


Fundación MAPFRE
Paseo de Recoletos 23
28004 Madrid


Tel: (34) 91 602 52 21

Drinking horn, Denmark, AD 1400–1499
Drinking horn, Denmark, AD 1400–1499
The Pillars of Europe: The Middle Ages at the British Museum
MADRID  •  ”la Caixa” Foundation  •  19 October 2016 - 5 February 2017

In contrast to preconceived ideas about the Middle Ages as a dark period of struggle and superstition, fear and ignorance, the show explores a view of the Middle Ages as a time of great artistic talent and cultural development, of profound political, religious and economic changes. These objects from the British Museum testify to the rich material culture of both the ruling elites and other medieval communities, offering a glimpse of shared themes from across medieval Europe, such as the splendour of the royal courts, the central role that the Church played in everyday life, the formation of states and the expansion of urban centres.

Although historians employ the terms “medieval” and “Middle Ages” with a certain degree of flexibility, generally speaking these terms are used to designate the period in the history of Europe from the fall of the Roman Empire in the fifth century to the Protestant Reformation of the sixteenth.

Over the course of this period, major changes affected all levels of society. The Europe of the sixteenth century was very different from the world of the fifth. All over the continent, splendid cathedrals and castles were built, many of them still standing even today, and urban expansion transformed the landscape. As the power and status of rulers increased, so borders and cultures became more firmly established, laying the foundations for the modern European nationstates. The Church dominated everyday life and attitudes, while the expansion of trade routes, both within Europe and beyond, led to an increase in contacts between cultures. Skilled artisans created ornate works, rich in extraordinary detail, generating a world of light and colour. However, despite all this splendour and evident wealth, the majority of people lived in poverty. Visitors will see how dramatic events, such as the Black Death, The Crusades and the Wars of the Roses affected life in Europe and shaped the continent we know today.

The Pillars of Europe includes a total of 262 works, of which 243 are from the collections of the British Museum. The show is completed by 19 pieces from the National Museum of Archaeology, the National Art Museum of Catalonia and the Frederic Marès Museum. These additional objects serve as a counterpoint to the exhibition discourse, enriching it by including the perspective of realms in southern Europe.


 ”la Caixa” Foundation
Paseo del Prado, 36
28014. Madrid

Tel: (34) 9133073 00

Albert Oehlen: <EM>Untitled (Idiot Head)</EM> [Ohne Titel (Blödkopf)], 1988. Oil on canvas, 195 x 195 cm.Private collection, courtesy Galerie Max Hetzler, Berlin/Paris. Photo: Archive Galerie Max Hetzler, Berlin/Paris© Albert Oehlen.
Albert Oehlen: Untitled (Idiot Head) [Ohne Titel (Blödkopf)], 1988.
Oil on canvas, 195 x 195 cm.
Private collection, courtesy Galerie Max Hetzler, Berlin/Paris. Photo: Archive Galerie Max Hetzler, Berlin/Paris
© Albert Oehlen.
Albert Oehlen: Behind The Image
BILBOA  •  The Guggenheim Museum Bilbao  •  21 October 2016 - 5 February 2017

The contemporary pictorial style of Albert Oehlen (b. 1954, Krefeld, Germany) is an amalgam of methods borrowed from the advertising industry, Expressionist brushwork, Surrealist gesture, and computer-generated images. With his work Oehlen fuels the recurring debate begun in the second half of the 20th century about the death of painting, and he does so precisely by using painting as an expressive medium.

This exhibition, conceived as an artistic statement rather than a conventional retrospective, consists of two self-portraits and three series. The first of the series, abstract in nature, dates from the 1980s; the second comprises computer paintings from the 1990s; and the third, still in progress, revolves around the theme of trees. The show explores “the extent to which we are capable of seeing behind the image”, for although the works are formally different at first glance, these three series have a common core that unites and connects them, generating a network of interrelationships.

Guggenheim Museum Bilbao Website


Guggenheim Bilbao Museoa
Avenida Abandoibarra, 2
48009 Bilbao


Tel: (34) 944 35 90 00

Pierre-Auguste Renoir:&nbsp;<EM>After the Luncheon</EM>, 1879Oil on canvas. 100.5 x 81.3 cm.&nbsp;Städel Museum, Frankfurt am Main© Städel Museum - U. Edelmann - ARTOTHEK
Pierre-Auguste Renoir: After the Luncheon, 1879
Oil on canvas. 100.5 x 81.3 cm. 
Städel Museum, Frankfurt am Main
© Städel Museum - U. Edelmann - ARTOTHEK
Renoir: Intimacy
MADRID  •  Museo Thyssen-Bornemisza  •  18 October 2016 - 22 January 2017
This survey comprising more than 70 works by the artist, loaned from museums and collections world-wide, reveals the way Renoir made use of the tactile qualities of volume, material and textures as a vehicle to depict intimacy in its different forms – social intimacy, among friends and family, or erotic – and how that imagery connects the work and the viewer to the sensuality of the brushstroke and the pictorial surface.

This exhibition will also be on view at the Museo de Bellas Artes de Bilbao from 7 February to 15 May 2017.

Museo Thyssen-Bornemisza Website

Contact: Museo Thyssen-Bornemisza
Paseo del Prado, 8
28014 Madrid
Tel: (34) 91 369 01 51

João Maria Gusmão and Pedro Paiva: <EM>Maça de Darwin, macaco de Newton</EM>, 2012
João Maria Gusmão and Pedro Paiva: Maça de Darwin, macaco de Newton, 2012
Territories and Fictions: Thinking a New Way of the World
MADRID  •  Museo Nacional Centro de Arte Reina Sofía  •  26 October 2016 - 13 March 2017

This presentation of holdings from the Museo Reina Sofía Collection, largely made up of recent acquisitions, approaches the languages and artistic practices that defined the period between the end of the 1990s and 2007 – both in Spain and internationally - by way of a series of shared questions that heralded the start of the century and run up to the present time.

The way in which artists tackled the effects of globalisation and new geopolitical configurations marks the starting point of this exhibition via works by Zoe Leonard and Allan Sekula. Another line of research is concerned with the examination of languages of modernity and their ties to colonial processes; therefore, works by Leonor Antunes, Ines Doujak and Adrià Julià appropriate images and historical accounts in order to carry out a critical reading of them. Moreover, the Nation-State crisis and theatrical strategies throughout history are put forward in this show in the form of “political fictions” through artists such as Ibon Aranberri and Peter Friedl. In a closer setting, there are also case studies related to processes of transformation in the industrial outskirts of Barcelona and gentrification in cities such as Madrid, present in projects by María Ruido, Patrick Faigenbaum and Manolo Laguillo, among others.

Museo Nacional Centro de Arte Reina Sofía Website

Contact: Museo Nacional Centro de Arte Reina Sofía
Santa Isabel, 52
28012 Madrid
Tel: (34) 91 774 10 00

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