Exhibition. Luis Camnitzer. Hospice of Failed Utopias

Luis Camnitzer, He had offered It, though without expectation, from the serie

Luis Camnitzer, He had offered It, though without expectation, from the serie "Venice Project", 1987. ©Luis Camnitzer

This retrospective offers a global, contextualised view of the Uruguayan artist Luis Camnitzer’s multi-faceted work, spanning nearly sixty years. As an essayist, art critic, curator, teacher, lecturer and a creator of objects, actions and musical compositions, Camnitzer focuses on art’s transformative capacity, viewing it essentially as a product of reflection.  His practice, whether it be artistic, or through his essays or teaching, is defined by its approach to the controversial issues of our times: the criticism of art-commodity, the demystification and obsolescence of the role of the artist in consumer society, the strategies power uses to impose its logic and perpetuate its control, or the capacity of neoliberal societies to turn education into an instrument of propaganda and thus render it irrelevant, all through the signifying role of language, with its ambiguities and arbitrariness, and images’ power to evoke. With these tools Camnitzer seeks to awaken the active participation of the viewer and their involvement in the artistic process.

The show is structured around three stages in the artist’s development: the first reflects on ‘Camnitzer’s conceptualism’, the second one could be classified under the epigraph ‘political art’, and final stage spotlights Camnitzer’s most recent output.

Dates: From 17 October, 2018 to 4 March, 2019
Location: Sabatini Building, Floor 3
Organized by: Museo Reina Sofía
Curatorship: Octavio Zaya

 

Encounter. Towards a Socialism of Creation. Luis Camnitzer in conversation with María Acaso and Selina Blasco

Luis Camnitzer. El aula [The Classroom], 2005. Courtesy of Luis Camnitzer; Alexander Gray Associates, Nueva York; Parra & Romero, Madrid and Ibiza © Luis Camnitzer, Madrid, 2018

Luis Camnitzer. El aula [The Classroom], 2005. Courtesy of Luis Camnitzer; Alexander Gray Associates, Nueva York; Parra & Romero, Madrid and Ibiza © Luis Camnitzer, Madrid, 2018

Camnitzer is one of the most incisive thinkers with regard to the relationship between art and education, an issue which has led him to consider the different possibilities in the museum institution, the art object, spectators and even the role of art. In opposition with predominant ideas, which see learning as being contingent upon an explanation of the art work, Camnitzer endorses the integration of both, thus enabling this traditional dependency to be subverted and seeking alternatives to market logic, where art is conceived to produce the art object and education is viewed as training towards a particular end. According to Camnitzer, in this new relationship “education is art and art is education”. This conversation with María Acaso and Selina Blasco occurs in the framework of Escuela Perturbable, a new education programme of the Museum.

Dates: Wednesday, 17 October 2018
Hour: 7pm
Location: Nouvel Building, Auditorium 200
Admission: Free, until full capacity is reached
Organized by: Museo Reina Sofía
With the collaboration of: illycaffè
An education programme developed with the patronage of Fundación Banco Santander
In the framework of: Escuela Perturbable, an education programme developed with the patronage of Fundación Daniel y Nina Carasso

 

Master lecture. Lucy Lippard. What do we want to say? How do we want to say it? Juan Antonio Ramírez Chair Presentation

Lucy Lippard lecturing at the Queens Museum. Source: The Artist Information Company

Lucy Lippard lecturing at the Queens Museum. Source: The Artist Information Company

Lucy Lippard’s work has been central to a number of contemporary debates including the dematerialization of art in the late 1960s, artistic protests against the Vietnam War in 1970, feminist identity, the aesthetics of social minorities in US, and, more recently, the relationships between art, territory and ecology. However, her trajectory has gradually led her away from art institutions and the art system and into approaching art from life itself.

In this seventh lecture the programme has been renamed the Juan Antonio Ramírez Chair by the Museo in homage to the art historian and lecturer Juan Antonio Ramírez (1948–2009), the founder of the MA in Contemporary Art History and Visual Culture and a tireless advocate of the ethical and conceptual possibilities of modern and contemporary art.

Dates: Friday 19 October, 2018
Hour: 7pm
Location: Nouvel Building, Auditorium 400
Language: English with simultaneous interpretation
Organized by: Museo Reina Sofía
An education programme developed with the patronage of Fundación Banco Santander

 

Film Series. Wang Bing. Dispossessed Lives. Resilient Lives

Wang Bing. Alone (Gudu). Film, 2012

Wang Bing. Alone (Gudu). Film, 2012

The film series dedicated to Wang Bing continues with the screening of three works considered to be video art: Venice 70, a short film made for the 70th edition of the Venice International Film Festival, Traces, a survey of mass graves in the Gobi Desert, and the film Father & Sons that records the bare room that houses a worker and his two son; the film Alone (Gudu), a shorter version of the film Three Sisters; and the national premiere 15 hours, one of the most defiant works in recent years, that shows a day’s work in a clothing factory in the Zheijang province.

Dates: From 4 October to 17 November, 2018
Hour: (check programme)
Location: Sabatini Building, Auditorium and Filmoteca Española, Cine Doré
Organized by: Museo Reina Sofía and Filmoteca Española
Admission:
Museo Reina Sofía sessions: Free entry
Filmoteca Española sessions: €3.00

Museo Nacional Centro de Arte Reina Sof�a

Museo Nacional
Centro de Arte Reina Sofía

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