{"id":1455,"date":"2022-03-08T00:19:20","date_gmt":"2022-03-07T16:19:20","guid":{"rendered":"https:\/\/www.atelierauction.com\/globalupdates\/?p=1455"},"modified":"2022-03-08T00:19:20","modified_gmt":"2022-03-07T16:19:20","slug":"in-reshuffling-its-permanent-collection-displays-madrids-reina-sofia-connects-disparate-art-histories-across-time-and-space","status":"publish","type":"post","link":"https:\/\/www.atelierauction.com\/globalupdates\/artist\/in-reshuffling-its-permanent-collection-displays-madrids-reina-sofia-connects-disparate-art-histories-across-time-and-space\/","title":{"rendered":"In Reshuffling Its Permanent Collection Displays, Madrid\u2019s Reina Sof\u00eda Connects Disparate Art Histories Across Time and Space"},"content":{"rendered":"

Lately, it seems like every major museum is reevaluating how it presents its permanent collection. Much of this comes out of a push by historians, curators, and artists across the world to tell a richer, more nuanced history of art that accounts for under-recognized figures, most notably women and artists of color. The most recent example of that trend comes courtesy of the Museo Reina Sof\u00eda in Madrid, Spain\u2019s most important modern and contemporary art institution. Though this rehang opened last fall, the installation was on full display during the city\u2019s\u00a0ARCO Madrid<\/a>\u00a0art fair, which welcomed numerous international visitors at the end of February.<\/p>\n

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Related Articles<\/h2>\n
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Celebrating an Anniversary Edition, ARCO Madrid Returns with a Pre-Pandemic Vibe<\/a><\/h3>\n

Jorge M. P\u00e9rez Donates $1.5 M. in Art, Cash to Museo Reina Sofia in Madrid<\/a><\/h3>\n<\/div>\n<\/div>\n<\/section>\n

Taking its name from Diego Rivera\u2019s famed 1939 Surrealism-inspired painting\u00a0The Communicating Vessels,<\/em>\u00a0the title was chosen to convey the project\u2019s flexibility and its interdisciplinary spirit. The new eight-part display, which maps out the origins of modernism in the late 19th century\u00a0through art today, consists of nearly 2,000 objects across six floors\u2014four in the Sabatini Building (including a former storage unit which had not been used as an exhibition space in 30 years), and two in the museum\u2019s 2005 Jean Nouvel\u2013designed extension\u2014totaling 161,000 square feet.<\/p>\n

About 70 percent of the works in this ambitious presentation had never been shown before, either because they were previously held in storage or were recently donated to the museum, such as Marta Minuj\u00edn\u2019s 1943\u00a0Amor a primera vista<\/em>\u00a0(Love at First Sight), courtesy of Miami-based collector Jorge M. P\u00e9rez. A colorful entanglement of acrylic-painted mattresses, the work has been used on much of the museum\u2019s recent communications, speaking to the pride of place the museum has given to it within the collection. Examples of works previously in storage include Diego Rivera\u2019s 1949\u00a0Vendedora de flores<\/em>\u00a0(Woman Selling Flowers), Wilfredo Lam\u2019s 1947\u00a0Natividad<\/em>, Joan Mir\u00f3\u2019s 1938\u00a0Serie Negro y rojo<\/em>\u00a0(Black and Red Series), and Salvador Dal\u00ed\u2019s 1928\u00a0Cuatro mujeres de pescadores en Cadaqu\u00e9s<\/em>, all of which are just being shown now for the first time.<\/p>\n

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\"Installation<\/div>\n<\/div>
Installation view of \u201cCOMMUNICATING VESSELS. Collection 1881-2021,\u201d at Museo Reina Sof\u00eda, Madrid, showing works by Roberto Jacoby (left) and Marta Minuj\u00edn (right).<\/span>ARCHIVO FOTOGR\u00c1FICO DEL MUSEO REINA SOF\u00cdA<\/cite><\/figcaption><\/figure>\n<\/div>\n

Each year the Ministry of Culture and Sports helps the museum purchase works from ARCO. Last July, the museum was able to acquire 18 works (by 14 artists and one collective) for \u20ac300,000 ($334,000), including\u00a0Cuentoquil\u00f3metros<\/em>, a figurative 1966 acrylic on paper by Ana Peters, who is better known for her later abstract works, as well as Clara Montoya\u2019s\u00a0Llorona I\u00a0<\/em>(2021), a column-fountain-like sculpture filled with water and plants bound to grow over time. At this year\u2019s recently closed edition, the museum spent \u20ac370,000 ($412,000) on 16 works, including Spanish painter and sculptor August\u00edn Ibarrola\u2019s\u00a0Amnist\u00eda<\/em>\u00a0(1976), which the artist made for that year\u2019s Venice Biennale. That large-scale painting had disappeared for some 42 years before resurfacing as part of the Reina Sof\u00eda\u2019s \u201cPo\u00e9ticas de la democrac\u00eda\u201d exhibition in 2018 and was brought to the fair by the Madrid-based gallery Jos\u00e9 de la Mano.<\/p>\n

The installation of the rehung galleries is airy and well-spaced out, allowing visitors the room to contemplate the art on view. And that\u2019s exactly what is needed for a display in which the connections between artworks on view are not blindingly obvious. You have to look for them, process, understand, interpret them even. It is part of the exercise. Which leaves the visitors with the feeling of contributing to an art history that keeps on writing itself.<\/p>\n

The idea for the rehang dates back to 2010, when the museum was already reshuffling its collection. \u201cAs setting up the new presentation, we immediately realized that with the rise of new feminisms, new ecological challenges, we had to start working on a new display right away,\u201d\u00a0Manuel Borja-Villel<\/a>, the director of the Museo Reina Sof\u00eda, said in an interview. Among the issues that the new presentation is taking up are climate change, gender fluidity, and the pandemic, the latter of which was instrumental in forcing the Reina Sof\u00eda to rethink its approach to the museum experience, shifting from \u201cvisitar\u201d (Spanish for \u201cto visit\u201d) to \u201cvivir\u201d (\u201cto live\u201d). The point, Borja-Villel explained, is to make the institution not just a place to\u00a0visit\u00a0but a place to\u00a0experience life.<\/p>\n

This approach coincides with what Borja-Villel calls an \u201cepistemological change of paradigm.\u201d Behind this seemingly pedantic expression actually hides the intention of reaching as many people as possible. \u201cOur exhibitions are not just spectacles to passively walk through,\u201d he said. \u201cThe public has a voice and is expected to react to what they are presented with.\u201d To him,\u00a0the accessibility of the rehang lies in three pillars: history or \u201cthe exploration of the tensions between the past and the present\u201d; the \u201chere and now,\u201d what we most care for; and \u201cthe work of art per se, which cannot be reduced to one single idea.\u201d<\/p>\n

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\"Museum<\/div>\n<\/div>
Installation view of \u201cCOMMUNICATING VESSELS. Collection 1881-2021,\u201d at Museo Reina Sof\u00eda, Madrid, showing the room dedicated to Documenta 7.<\/span>ARCHIVO FOTOGR\u00c1FICO DEL MUSEO REINA SOF\u00cdA<\/cite><\/figcaption><\/figure>\n<\/div>\n

One way the curatorial team has gone about exploring these tensions is by re-creating art historical displays, like that of Documenta 7 in Kassel, Germany in 1982. On the ground floor Dara Birnbaum\u2019s\u00a0PM Magazine<\/em>\u00a0(1982), in which still-frames of the prime time television show\u00a0PM Magazine<\/em>\u00a0were edited along with images of American families in their homes to point at the sexism of mass media and the society in 1980s, butts against Miquel Barcelo\u2019s plastic-and-oil painting\u00a0Nu pujant escales\u00a0<\/em>(Nude Climbing Stairs), from 1981. Miriam Cahn\u2019s chalk-on paper drawing of a bed,\u00a0k-bette<\/em>\u00a0(1982), converses with a later work by Franz Erhard Walther 1986\u2019s\u00a0Doppelte Antwort Rot<\/em>\u00a0(Double Answer Red), an eight-part tinted canvas sewn on wood.\u00a0That 1982 show, curated by Dutch art historian Rudi Fuchs is often remembered as the triumph of painting over more avant-garde movements like Arte Povera and Post-Minimalism. But here we see the wide range of mediums, genres, and generations that Fuchs assembled reunited, showing off the eclecticism of the show that a concise art history has long elided and which Borja-Villel has intended to revive.<\/p>\n

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\"Installation<\/div>\n<\/div>
Installation view of \u201cCOMMUNICATING VESSELS. Collection 1881-2021,\u201d at Museo Reina Sof\u00eda, Madrid, showing Liliana Maresca\u2019s\u00a0El Dorado<\/em>\u00a0(1991).<\/span>ARCHIVO FOTOGR\u00c1FICO DEL MUSEO REINA SOF\u00cdA<\/cite><\/figcaption><\/figure>\n<\/div>\n

The main question for the curators, though, was not what history to tell, so as much as how to tell that history. The rehang is organized in eight \u201cepis\u00f3dios\u201d which, like the anthology series\u00a0Black Mirror<\/em>, can be enjoyed in any order. Each of these new sections, filled with works in various mediums and from disparate eras, is a standalone. This division in episodes (the trailers for which can be found\u00a0online<\/a>) stems from wanting to move with times. \u201cIf novels were the 19th-century frame of reference, the 20th\u00a0century understood the world through movies, whereas people today respond to\u00a0TV shows\u2014a more fragmented format,\u201d said Borja-Villel, who compared the new display to a \u201cmontage\u201d sequence in a film or TV episode where bits and pieces all come together. Visitors are now invited to come and go, gather information as bees would pollen, nibble at or binge on the latest curatorial season\u2014the curators who yet do not plan to swap out the displays any time soon\u2014of the Reina Sof\u00eda, until the next one.<\/p>\n

Another major focus on the rehang is on documents and other ephemera related to the art on view, which, Borja-Villel said, help provide additional context, by confronting various points of view. One standout gallery in Episode 1, which is titled \u201cAvant-garde Territories. City, Architecture and Magazines,\u201d is devoted to Andr\u00e9 Breton and explores how different the Surrealist writer\u2019s takes on art were from those of his one of his contemporaries, the French philosopher Georges Bataille, who wrote in 1929: \u201cI am trying to say, almost without preamble, that the paintings of Picasso are hideous, that those of Dal\u00ed are tremendously ugly.\u201d\u00a0<\/em>At that time Breton still considered Dal\u00ed a fellow Surrealist and was not to exclude him from the group until ten years later. Other documents on view nearby that add to this chorus are recently acquired ones like \u201cDictionnaire abr\u00e9g\u00e9 du Surr\u00e9alisme\u201d (1938), manifestos, invitations, and announcements for major events like \u201cA Note on the Affair of the Surrealism Film L\u00b4Age d\u2019Or, Cloud and Neutralit\u00e9? Non-Sens, Crime et Trahison!\u201d in 1936.<\/p>\n

\u201cDocuments, archives, letters have the power to shake things up, to change the way we look at a work of art,\u201d Borja-Villel added.<\/p>\n

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\"Installation<\/div>\n<\/div>
Installation view of \u201cCOMMUNICATING VESSELS. Collection 1881-2021,\u201d at Museo Reina Sof\u00eda, Madrid, showing various works related to modernity in Madrid.<\/span>ARCHIVO FOTOGR\u00c1FICO DEL MUSEO REINA SOF\u00cdA<\/cite><\/figcaption><\/figure>\n<\/div>\n

A key element to the museum\u2019s new multidisciplinary approach is architecture. Like Alfred Barr who went out of his way to include films in MoMA\u2019s collections when he served as the museum\u2019s founding director, Borja-Villel has made a consideration of the architecture in which certain works are displayed a huge component of this project. The monumentality of some works, like with Picasso\u2019s masterpiece\u00a0Guernica<\/em>, which measures 11 feet 5 inches tall and 25.5 feet across, make it impossible for them to be moved to new locations within the museum. Conservators have declared it too fragile to move, though for the rehang it has received improved lighting and is shown alongside Picasso\u2019s studies of heads of women and horses for the work as well as Dora Maar\u2019s famed photographers of Picasso at work on the painting. Louise Bourgeois\u2019 intimidating iron\u00a0Spider<\/em>\u00a0(1994) sculpture dominates a space on the fourth floor, accompanied by a few of the artist\u2019s preparatory drawings; nearby are her sculptures\u00a0Pilar<\/em>\u00a0(1947\u201349) and\u00a0QUARANTANIA III<\/em>\u00a0(1949). And Episode 1, likely to be what most visitors first encounter with the new rehang, opens with plans, sketches, blueprints by Spanish urban planner Arturo Soria y Mata as a way to introduce the modern city as a fertile ground for transformations.<\/p>\n

\u201cIt was important to me to make room for architecture because art history materializes in concrete spaces, cities, exhibition rooms, which determine the practice of the modern artist,\u201d Borja-Villel said. In Episode 1, on the second floor, prints of New York by Berenice Abbott and Alfred Stieglitz meet to convey the rise of skyscrapers in the urban landscape, where colorful drawings by Rafael Alberti, a Cubist self-portrait by Dal\u00ed, a gouache landscape by Gabriel Garc\u00eda Maroto (who aspired to a Mexico-style revolution in Spain), and Daniel V\u00e1zquez Diaz\u2019s\u00a0La fabrica dormida<\/em><\/a>\u00a0(The Sleeping Factory), a 1925 Cubist-inspired painting of Madrid factory, collide to show different sides of Madrid, a city where utopias shape up and conflicts take place.<\/p>\n

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\"Installation<\/div>\n<\/div>
Installation view of \u201cCOMMUNICATING VESSELS. Collection 1881-2021,\u201d at Museo Reina Sof\u00eda, Madrid, showing works in the gallery title \u201cAnother Possible World.\u201d<\/span>ARCHIVO FOTOGR\u00c1FICO DEL MUSEO REINA SOF\u00cdA<\/cite><\/figcaption><\/figure>\n<\/div>\n

Because the new collection display doesn\u2019t follow a linear timeline to art history, it can often feel at times that the order of the sections and the connections were chosen at random, which can be disorienting at times. For example, Episode 8, titled \u201cExodus and Communal Life,\u201d begins on the first floor of the Sabatini Building, past an outdoor courtyard dominated by Calder and Mir\u00f3 sculptures<\/a>, with a newsstand installation by Francesc Ruiz, titled\u00a0La Settimana Enigmistica<\/em>\u00a0(2015). The majority of this Episode is contained in this space, with one gallery on the Sabatini\u2019s third floor, but it also includes two galleries on the first floor of the Nouvel Building. On the Sabatini\u2019s second floor is Episode 1, whereas Episodes, 2, 3, and 4 share the Sabatini\u2019s fourth floor, where they beautifully blend into each other. You may get lost on the way, take a turn before reaching the end of a hallway, end up in a temporary exhibition room or chance upon Man Ray\u2019s giant metronome, but that\u2019s okay. Wandering this massive maze is what makes the whole experience wonderful\u2014and what makes you want to keep coming back.<\/p>\n

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Source\uff1ahttps:\/\/www.artnews.com\/<\/p>\n","protected":false},"excerpt":{"rendered":"

Lately, it seems like every major museum is reevaluating how it presents its permanent collection. Much of this comes out of a push by historians, curators, and artists across the world to tell a richer, more nuanced history of art that accounts for under-recognized figures, most notably women and artists of color. The most recent […]<\/p>\n","protected":false},"author":2,"featured_media":1456,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"tdm_status":"","tdm_grid_status":"","footnotes":""},"categories":[5,13,7,4,3],"tags":[],"class_list":{"0":"post-1455","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-artist","8":"category-auction","9":"category-events","10":"category-gallery","11":"category-latest-news"},"yoast_head":"\nIn Reshuffling Its Permanent Collection Displays, Madrid\u2019s Reina Sof\u00eda Connects Disparate Art Histories Across Time and Space - Investable Art Auctioneer<\/title>\n<meta name=\"description\" content=\"Lately, it seems like every major museum is reevaluating how it presents its permanent collection.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.atelierauction.com\/globalupdates\/artist\/in-reshuffling-its-permanent-collection-displays-madrids-reina-sofia-connects-disparate-art-histories-across-time-and-space\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"In Reshuffling Its Permanent Collection Displays, Madrid\u2019s Reina Sof\u00eda Connects Disparate Art Histories Across Time and Space - 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