informative note

The exhibition explores criticism of everyday rituals and comes to this gallery for the first time to bring to light the questioning of the structures and roles of the artist (1954-2012) within society, through different media.

This series examines Kelley’s conception of art, defined as “a dysfunctional reality.”

The art gallery dedicates a posthumous space to the transgressive creation of this artist, who focused his work on the world around us and then turned the public into a critical entity, which had to search for the meaning of his work and question it in a different context. explained the international art curator of the Tate Modern, Fontán Morán.

Photography, painting, multimedia content, even textiles were Kelley’s vehicles of expression.

He had great interest in analyzing the stage of adolescence as dysfunctional adults, who show the truth in one way, do not care about social norms, and think that art should be the same, said Morán spbre Kelley.

He was very attracted to role-playing games, explained the specialist. This dysfunction can be observed in different rooms in which the exhibition is divided into: “Half Man”, “Monkey Island” or “Role Playing Games”, where subversion is explored.

With his way of making art he created a certain type of confusion, he altered what was taken for granted, Morán noted.

He made compositions with stuffed toys, tapestries written with profanity or history books with graffiti, all of which come to life in the exhibition.

Throughout his career he continued with this deconstruction of the created culture, subjects being horror movies or the Halloween celebration itself, the expert concluded.

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Created during the artist’s stays in London between 1899 and 1901, the series includes works of the Charing Cross and Waterloo bridges, and the Houses of Parliament.

“Monet and London: Views of the Thames” and “The Light in the Fog” are the protagonists of this exhibition, from September 27, 2024 to January 19, 2025.

The painter loved London and was fascinated by its famous fog that created a mysterious light, reflected in his works about this city, published the Barron’s site.

Monet traveled three times to the British capital, where he stayed for long periods, between 1899 and 1901.

London was then the most populated city in the world and an important industrial center, a stage in which he wanted to take the “effects of the fog on the Thames” to oil and create a whole series of works on the river.

The French painter stayed at the Savoy Hotel from where he had a stunning view of the Waterloo and Charing Cross bridges, in central London, he reflected on the site.

To paint the Palace of Westminster, seat of the British Parliament, he crossed the river and stood on a terrace of the Saint Thomas Hospital, still in operation.

Every day I find London more beautiful to paint, the painter wrote in 1900.

This major exhibition finally fulfills Monet’s long-standing wish to display these paintings in London, just 300 meters from the place where many of them were painted.

The Courtauld Gallery is an art museum located in Somerset House, on the Strand, in central London, and houses the art collection of the Courtauld Institute of Art, a self-governed College of the University of London, specializing in the study of the history of art.

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