Exhibition. H. C. Westermann. Goin’ Home
H.C. Westermann, Memorial to the Idea of Man If He Was an Idea, 1958. Mixed technique, 143 x 96 x 36 cm, Collection of Museum of Contemporary Art Chicago, Susan and Lewis Manilow Collection of Chicago Artists, 1993.34. Photo: Nathan Keay, © MCA Chicago © Dumbarton Arts, LLC / Licensed by VAGA at Artists Rights Society (ARS), NY / VEGAP, Madrid, 2019
American artist Horace Clifford Westermann (Los Angeles, 1922 – Danbury, 1981) assembled a distinctive and singular body of sculptures. Without adhering to one particular style, Westermann was a maker of objects, of separate pieces: his sculptures, laden with meaning, often irony, result from the processing of experience, coalescing to yield specific fragments of reality. It is the course of these fragments that the retrospective presented by the Museo Reina Sofía follows. A concern with going back to shelter would soon emerge, be it in the home or the body —and blighted by the threat of confinement and death.Besides the sculptures, the show displays Westermann’s paintings, letter-drawings —in his correspondence with other artists, critics and friends— and series of prints, in which he applied vibrant colours to address themes such as an escapist, while critical depiction of the American scene; catastrophe, and fragility. Dates: From 6 February to 6 May, 2019 Location: Sabatini Building, Floor 3 Organized by: Museo Reina Sofía Curatorship: Beatriz Velázquez and Manuel Borja-Villel H.C. Westermann. Goin’ Home is supported by the Terra Foundation for American Art as part of Art Design Chicago, an initiative exploring Chicago’s art and design legacy
Workshop, Lecture and Concert. Hanne Darboven Reinterpreted by EVOL. Opus17aSlimeVariations
EVOL, Opus17aSlimeVariations, 2011-2019
Throughout her life, German artist Hanne Darboven (1941–2009) produced different compositions with scores stretching across – in much the same way as her installations – large-scale numerical tables on paper. One of them is Opus 17a, a series of music pieces Darboven began in 1984 under the title Wunschkonzert, a kind of calendar where the numbers are replaced by notes. Since 2014, EVOL – Roc Jiménez de Cisneros and Stephen Sharp – have conceived 13 variations of Darboven’s score, the first of which was performed at the UnSound Festival in New York. On this occasion in the Museo Reina Sofía, EVOL will perform a concert of two of these variations, and will also give a lecture on folds’ capacity to transform reality and conduct a workshop for acoustic bass instruments. Dates: From 11 to 15 February, 2019 Hour: From 5 to 8:30pm (check programme) Location: Nouvel Building, Protocol Room Organized by: Museo Reina Sofía In collaboration with: Madrid’s Escuela Municipal de Música Admission: Workshop: free, with prior registration via email at sonido@museoreinasofia.es Lecture and concert: free, until full capacity is reached
Encounter. Cruising the Seventies. LGTBIQ+ Reactivation in the 1970s
Abajo la ley de peligrosidad [Under the Danger to Society Law], 1977 © José Romero Ahumada
The research policy advocated by the Study Centre seeks to function as a collaborative springboard between research groups and independent debate. This approach is behind an encounter, organised with research+rs from the CRUSEV group, to publicly present the results of the European research project Cruising the Seventies, a reformulation of the channels through which the desires and practices of dissident bodies flowed in the late period of Francoism and the Transition to democracy in Spain. The aim is to shine a light on hitherto overlooked areas in the accounts of that time, endeavouring to reactivate the political potential of the sexual liberation demonstrations that surfaced in the 1970s. This project, which renders an account of the LGTBIQ+ collective during this period, is framed inside one of the transversal core ideas of the Museo’s Public Activities Department: ‘Radical Action and Imagination’, which explores themes linked to different forms of artistic activism and social movements, including sexual dissidence and feminisms. Date: Thursday, 14 February 2019 Hour: 7pm Location: Sabatini Building, Auditorium Organized by: Centro de Estudios, Museo Reina Sofía Admission: Free, until full capacity is reached
International encounter. The Chair of Situated Thought. Art and Politics from Latin America
Lukas Avendaño, Searching for Bruno, performance. Photograph: Mario Patiño
The Chair of Situated Thought. Art and Politics from Latin America seeks to articulate different experiences, adopted stances, modes of doing and initiatives of critical thought as it addresses the idiosyncrasies of an intellectual and artistic production in dialogue with social and political circumstances and underscores the specific conditions of its environment. This shared project – with an itinerant volition – between the Metropolitan Autonomous University, Campus Cuajimalpa, and Museo Reina Sofía is rooted in the issues and experiences that have materialised from the work developed in the seminar Critical Cartographies. This first encounter, which takes place in Mexico City from 4 to 6 February, reflects on the following conceptual strands: 1) Situated thought/decolonial practices 2) Trans/situated feminisms and 3) Situating artistic practices. Dates: Monday 4, Tuesday 5, and Wednesday 6 February 2019 Location: Casa Refugio Citlaltépetl (4 and 5 February) and Museo del Chopo (6 February) Organized by: Metropolitan Autonomous University (Campus Cuajimalpa, Mexico) and Museo Reina Sofía Admission: free access via streaming: Link Facebook Live
RRS. Laurie Anderson. All the things I lost in the flood
This podcast includes an interview with Laurie Anderson about the presentation at the Museo Reina Sofía, last November, as part of the RIZOMA festival, of the performance All the things I lost in the flood, an activation of her book homonymous published at the beginning of 2018. Interview and performance leave interesting reflections on the work and career of this indispensable artist.
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