The Picasso Celebration started with cancellation threats –by feminist sectors that see him as machirulo (a term accepted this year by the RAE)– and has concluded with a vindication of his homoeroticism in the pink era, which is the subject of the exhibition still open to visitors at the Reina Sofía Museum.
The Spanish-French commission wanted to organize fifty exhibitions to equal the number of years that had passed since the artist’s death, and logically only a few have been memorable; among them, Miró/Picasso, who is among our selections.
To the many held in Spain were added the interventions in the state museums of the artist Rogelio López Cuenca, with the general title of PI©A$$o™, revealing the consumerist fund of all this fanfare.
We have also celebrated the centenary of the death of Joaquín Sorollawith a certain international echo thanks to the exhibitions held in Copenhagen, Havana and Dallas, and with some estimable exhibitions – such as Sorolla in black – overshadowed by the sparkling and popular immersive projections that it starred in at the Royal Palace.
And the birth of Antoni Tàpieswith branches in the Bozar in Brussels, although the great retrospective, co-organized by its foundation in Barcelona and the Reina Sofía, is scheduled for next year.
It was finally inaugurated! the Gallery of Royal Collections, and other openings draw the directions on the museum map
Of Luis Fernandezwho died half a century ago, only the Masaveu Foundation was remembered since Eduardo Rosaleswho has been in his grave for one and a half years, have paid modest tributes to him at the Prado Museum and the MuBAM in Murcia.
It was finally inaugurated! the Gallery of Royal Collections. It does not seem that the visitor numbers are in line with the prolonged expectation: it faces the challenge of consolidation as a tourist destination but it already demonstrated its political usefulness a few days after opening, as the venue for the first meeting of the Spanish presidency of the European Union.
Other openings draw the directions on the museum map. On the one hand we have private institutions that are interwoven with business strategies such as the Marta Ortega Foundation (Zara) in A Coruña, the Hortensia Herrero Art Center (Mercadona) in Valencia or the Tatxo Benet Museum of the Prohibited (Mediapro) in Barcelona, where the Palau Martorell, an establishment for the industry, was launched. at the service of business exhibitions, while Bombas Gens, which the Fundación Per Amor a l’Art (Ubesol) can no longer support, is left for immersive nonsense.
On the other hand, so-called museums prosper that are pure entertainment offerings such as the OXO in Malaga (video game) or the Gran Vía 15 (Okuda and his colorinchis) and the Nomad (the immersive thing) in Madrid. The franchise of the Rodin Museum of Paris in Tenerife was happily frustrated.
[Una tumba para el Centro Andaluz de Arte Contemporáneo]
Corporate drift is also perceived in large museumswhose most notable innovations in the relationship with its public or its collection are usually linked to brand image operations.
The Prado Museum, which won the Webby Award for TikTokopened some days at night with support from Samsung, created a residency for illustrious writers with support from the Loewe Foundation and made Napoleon walk through its rooms with the help of Sony.
He Museo Thyssen teamed up with Olyverse to market its first NFT, a work by Van Gogh, and with Mastercard in order to channel crowdfunding to restore a painting by André Derain.
This has been the year of definitive reactivation after the pandemic. The public has returned in a big way and we have enjoyed a good number of relevant exhibitions.
Selfies with ‘Guernica’ at the Reina Sofía Museum Reina Sofía Museum
The list of the ten best in the opinion of El Cultural’s critics gives us clues about creative and curatorial trends. It is headed by valorization of women artists with Teachers and with the recovery of Leonora Carrington, which is also proof of the current trend of magical thinking in the arts.
The referentiality of Nancy Holt is also recognized and that Roni Horn is undoubtedly a contemporary “teacher.” The validity of Juan Muñoz’s sculpture surely has to do with the strength and quality of that medium among our young and mid-career artists, and the attention to Ben Shahn’s work fits with the political vocation of some recent art .
The essential Before America confronts us with the multifaceted modern assimilation of the ancestral cultures of that continent and with the debates about colonialism, and both Reverses as Popular They demonstrate how artists can creatively reinterpret museum collections.
He replacement in the management of the Reina Sofía Museum It was dramatic for many. Manuel Borja-Villel has already taken up his position as museum advisor to the Catalan Generalitat, without it being very clear what his functions will be, and Manuel Segade, who succeeds him in Madrid, has not begun to leave his mark on the institution. beyond some decisions that favor a more relaxed connection with the public, such as free entry to the inaugurations or permission to photograph the Guernica.
[La fotografía como herramienta para cuestionar, construir y documentar la realidad]
National Heritage, by the way, has just announced that you can take photos in El Escorial and Las Huelgas. Instagram is worth a lot.
Have new directors the National Archaeological Museum (Isabel Izquierdo), the Tàpies Foundation (Imma Prieto) and the Helga de Alvear Museum (Sandra Guimarães). And La Casa Encendida recovers Pablo Berástegui to reactivate itself.
There is a lot of concern in the sector political interference and finger-pointing, which represent a serious setback in the progress towards the generalization of good practices. José Luis Ramos Romo has been thus appointed to run Matadero in Madrid following the departure of Rosa Ferré to Francesca Thyssen’s foundation, and La Alhambra has been placed in the hands of Rodrigo Ruiz-Jiménez, a digital entrepreneur and marketing director.
In other places, the political “order and command” has been even more traumatic, since bad forms to directors who won the places through a competition, with contracts in force: Juan Antonio Álvarez Reyes at the CAAC of Seville – replaced by Jimena Blázquez –, José Luis Pérez Pont at the Consortium of Museums of the Valencian Generalitat or José Manuel Rey at the Museum from Pontevedra.
In some positions, the political “order and command” has been traumatic, since directors who won the positions through a competition have been rudely dismissed.
Also taking over at the Ministry of Culture (no longer Sports), where Ernest Urtasun made his debut wrapped in a absurd controversy about the “extended meadow”. The long-awaited Artist Statute did not meet the needs of the sector.
He Velázquez Prize fell on Marisa Gonzalez, the National Fine Arts in Teresa Lanceta and Photography in Laia Abril. Three women.
One of the pioneers of Spanish gallery art, Juana de Aizpuru, has announced her retirement. But the market does not seem to decline and there are those who dare with new projects here, such as the Madrid headquarters of the Portuguese Pedro Cera, the new Maisterravalbuena space or the incorporation of La Oficina to the Carabanchel circuit, which continues to grow.
We left Valeriano Bozal, Philip Garin, Alberto Anaut, Chema Cobo, Jose Antonio Sistiaga, Jose Martinez Bald, Augustin Ibarrola, Luis Baylon.
To ease the pain, two funny images: the performance of Antonio López, with his visor and apron, painting in the middle of August in Puerta del Sol and that of Alicia Framis chatting in the kitchen with the hologram of her boyfriendcreated by AI.
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2023-12-21 01:51:25
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