For the director of Reina Sofia Museum in Madrid (Spain), Manuel Borja-Villel, the collection has always “in flux, because it involves a rethinking of history, an ongoing research, exhibition. Everything is done in the Reina Sofía ends up having repercussions on the collection. “
A collection that was born mainly with funds from the defunct Museum of Contemporary Art Spanish and can be seen in the old Hospital San Carlos, designed by Francisco Sabatini, after several restorations, opened as Museo Nacional Centro de Arte Reina Sofía on 10 September 1992.
A WALK IN THE BEGINNING XIX
The need to expand the space led to the construction of an extension designed by the French architect Jean Nouvel and inaugurated in September 2005.
Since I took over the management of the museum in 2008 The rearrangement of the collection has been one of the objectives of Manuel Borja-Villel for whom, however, “this collection has to be constantly changing because the story involves rethinking continuous work”.
The tour begins in the late nineteenth century, with the crisis of historical vanguards in the 1920s and 1930s that is clearly reflected in the painting by Pablo Picasso, Guernica .
The next moment is the war of the 1940s and 1950s, when the welfare state in Europe and the United States, and continues with the period from the 1960s to the 1980s of the last century, in which political, cultural and technological changes that shape the contemporary global scenario occur.
Currently, the museum works in his “unfinished business” which is the most contemporary part, which is has a lot of work, but whose display is awaiting remodeling various museum spaces.
Although tours of the collection are many, Manuel Borja-Villel has selected a number of works that have marked different times considered .
The first stop is at the Spain Pavilion of the International Exhibition of Paris of 1937, which hosted the Guernica , along with works by Joan Miró, Julio Gonzalez, Alexander Calder and Josep Renau.
“It reflects a time when there is a discussion in the world of historical vanguards on the role of the popular. The pavilion is a compendium of what were these discussions, along with an extraordinary architectural work, “says the director.
important status in the decade before the pavilion is the second surrealism, 1929, where Salvador Dalí It appears as a completely transformational figure, changing many of the parameters of what had been the first surrealism.
And it does with works that refer to dreams, to what he calls the paranoid-critical method, Face the great masturbator , with images that are transformed, allegories and references to their own fears, phobias. “It is the great work of Dali in this time.”
RELEVANT WORKS OF WOMEN
In the proposed Borja-Villel tour also highlights Pastoral (1923 -24), Joan Miró, belonging to the first surrealism. Exhibited in the magnetic fields , title of one of the texts of André Breton on the relationship between text and painting, “and how the painting was seeking poetic, looked like no one these ideas reflected in this work “.
” While the Guernica is the public space, mass, Picasso in Woman in Blue (1901) shows the bourgeois world The interiors, we live in a time of change of the century, “said Borja-Villel.
This is a female figure almost threatening, cabaret,” yet have enough of Girl of Velazquez, aristocratic figure, “says museum director.
” It’s a time when artists begin to see the unhealthy part of a society that has betrayed them, and this is seen in this painting, very important in the work of Picasso, which marks the beginning and end of the historical avant-garde, “says Borja-Villel.
The next stage of this little art history, according to the expert, is “extraordinary generation composed by Antonio Saura, Canogar Rafael, Manuel Millares, Antoni Tàpies, Jorge Oteiza and Eduardo Chillida, with which the reconstruction is done in Spanish Pavilion at the Venice Biennale 1958″.
Paint (1955) by Antoni Tapies reflects a time when Spanish artists “feel the need to return to be part of an edge and make it through the language of abstraction. Try to recover as radical and disruptive of Spanish art, “says the expert.
The packaging of hard potatoes (1974) Öyvind Fahlström (Brazil, 1928-Sweden 1976), the installation of the Factory San Giovanni (1971), Mario Merz (Italy, 1925-2003) or video Trio A (1978) of Yvonne Raider (USA, 1934) are examples of international art trends of 1970.
In the course of recent works also include incorporation as Wool, of Juan Hidalgo ( Las Palmas, 1927). Member of Zaj Group, one of the most important Spanish experimental art. Hidalgo did this work in 1972 to the end of the year the German Institute. The work disappeared and Reina Sofia rebuilt for an exhibition.
Another “key” works recently added to the collection is Antro fossil (1930) Maruja Mallo ( Lugo, 1902-Madrid, 1995).
“In the recovery of Spanish avant-garde art is making a major purchase works of women artists of the time effort,” says the director of the Spanish museum.
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