Author Archives: costanzabeltrami

Online Resources from the Solomon R. Guggenheim Museum and MoMA

Since 2016, MoMA and the Guggenheim Museum have worked on digitising exhibition catalogues and other material related to their displays and collections.

MoMA’s ‘Exhibition History‘ page offers access to photographs, interpretation, checklists and other material for 4,918 exhibitions from the museum’s founding in 1929 to the present. ARTES members may be particularly interested to discover a 1931 exhibition dedicated to Diego Rivera, the show American Sources of Modern Art (Aztec, Mayan, Incan) of 1933, the ground-breaking Cubism and Abstract Art of 1936, the 1939 show Picasso: Forty years of his art and exhibitions dedicated to the Brazilian artist Candido Portinari and to Joan Miró in 1940. The archive offers a way to explore the museum’s history during its closure for refurbishment and redisplay (re-opens October 21).

On archive.org, art lovers and researchers can read and download more than 200 catalogues published by the Guggenheim Museum. Highlights include the exhibition Tauromaquia (Collezione Peggy Guggenheim, Venice, 1985), Berriaren tradizioa: Guggenheim bildumako maisulanak, 1945–1990 (Museo de Bellas Artes de Bilbao, 1995), and The Aztec Empire (Solomon R. Guggenheim Museum, New York, 2004).

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Opens Today: Bartolomé Bermejo: Master of the Spanish Renaissance, National Gallery, London, until 29 September 2019

bjo_desktopbannerBermejo is one of the greatest Spanish artists of the second half of the 15th century.

This exhibition, in the National Gallery’s Room 1, brings two of his masterpieces: the triptych of the ‘Madonna of Montserrat’ from the cathedral at Acqui Terme, Alessandria (Italy) and the ‘Piedad Desplà’ from Barcelona Cathedral, to the UK for the first time.

In addition, The National Gallery’s own painting by Bermejo, the magnificent ‘Saint Michael Triumphs over the Devil‘, returns on display following its recent conservation, revealing the painting’s exquisite details and the extent of Bermejo’s artistry.

Click here for more information, and click here for ARTES’ Study Morning in the exhibiton (27 June 2019).

Reminder: ARTES AGM and Group Visit, V&A, London, Thursday 13 June 2019

ARTES’s AGM will take place at the V&A at 12:30 on 13 June 2019. It will be followed by a group visit to look at objects from the Iberian world in the 16th Century.

Meet at the V&A, Exhibition Road Reception, at 11:50. Sandwich lunch (GBP 5) and AGM from 12–2, followed by a group visit to look at objects from the Iberian world in the 16th and early 17th centuries.

***Attendees are asked to arrive punctually, as late arrivals may be difficult to  accommodate*** 

Please contact artesiberia@gmail.com to book a place.

Programme and Registration Details: Canons and Repertoires: Constructing the Visual Arts in the Hispanic World, 20th–21st June 2019, Senate Suite, Durham University Castle, Durham, UK


Organised by Stefano Cracolici and Edward Payne (Zurbarán Centre for Spanish and Latin American Art, Durham University)

Free, but please register at this link: https://www.eventbrite.co.uk/e/canons-and-repertoires-constructing-the-visual-arts-in-the-hispanic-world-registration-62569293441

The visual arts in Spain have long been haunted by the spectres of six giants: El Greco, Ribera, Velázquez, Murillo, Goya and Picasso. Still today, these canonical figures tower over all others and continue to shape the story of Spanish art, which has been traditionally told in monographic form. Although the strength of the Spanish canon has informed different disciplines (literature, aesthetics, performing arts), given the recent ‘material turn’, the prosopographical dimension of the visual arts in Spain poses a disciplinary challenge. Similarly, following the ‘global turn’, the visual arts of Iberia pose a geographical challenge, intersecting with the Mediterranean, Arabic, Latin American, British and continental European worlds. The notions of ‘Spain’ and ‘Spanish art’, therefore, are necessarily nebulous and problematic, raising a host of questions: To what extent does Spanish art exist before the establishment of Spain as a nation state? To what extent is the art of the Habsburg and Bourbon empires a Spanish art outside Spain? What is the role of Spain in the wider canon of European art? Who has exploited the visual arts of the Hispanic world, geographically, politically and intellectually? These questions ultimately point to a tension between canons and repertoires; between centres and peripheries; and between consolidating the ‘core’ and expanding the ‘remit’ of the so-called Spanish school.

This conference will explode the disciplinary, material and geographical limits of Spanish art, inaugurating the Zurbarán Centre as a critical and innovative research institution for the study of Spanish and Latin American art in the twenty-first century. Papers will challenge the canonical construction of Spanish art, which can be traced back to writings from Palomino’s Lives of the Eminent Spanish Painters and Sculptors (1724) to Stirling Maxwell’s Annals of the Artists of Spain (1848), to more recent publications by scholars in the field. Papers will also probe the chronological, geographical and material boundaries of the ‘El Greco to Goya’ survey, interrogating the ways in which academics, curators, scholars and teachers narrate this material through various platforms, including publications, museum displays, exhibitions, lectures, gallery talks and academic courses. Speakers will address the various ‘terrains’ of Spanish art, from geographical constructions of Iberia as Europe’s frontier or edge, to exchange with all that lies beyond the Pillars of Hercules.

PROGRAMME

Thursday 20 June 2019

09.30 – 10.00 Registration & Coffee
10.00 – 10.05Introduction & Welcome
10.05 – 11.20 Session 1: Historiographies
Chair: Stefano Cracolici (Durham University)
10.05 – 10.25 Why El Greco to Goya?
Edward Payne (Durham University)
10.25 – 10.45Frederic Leighton’s Vision of Spain
Véronique Gerard Powell (Sorbonne Université, Paris)
10.45 – 11.05  Nigel Glendinning and the Hispanic Research Journal: A Unique Voice in Spanish Cultural
History
Sarah Symmons (University of Essex)
11.05 – 11.20 Discussion
11.20 – 11.50 Tea & Coffee
11.50 – 12.50 Keynote Lecture:
Passion and Prejudice: Attitudes to Spanish Sculpture in Nineteenth-Century Britain
Holly Trusted (Victoria & Albert Museum, London)
13.00 – 14.00 Lunch
14.00 – 15.15 Session 2: Geographies
Chair: Edward Payne (Durham University)
14.00 – 14.20 Beyond El Greco: The Travelling Artist between Italy and Spain—Artistic Translation and the
Sixteenth-Century Hispanic Canon
Piers Baker-Bates (The Open University)
14.20 – 14.40Maestros españoles en Chile: Espacios y repertorios
Marcela Drien (Universidad Adolfo Ibáñez, Santiago de Chile)
14.40 – 15.00 Geographic Limits and the History of the Spanish Avant-Garde
Maite Barragán (Albright College, Reading PA)
15.00 – 15.15 Discussion
15.15 – 16.30Session 3: Strategies
Chair: Tom Stammers (Durham University)
15.15 – 15.35Genaro Pérez Villaamil: Navigating Stereotypes
Claudia Hopkins (University of Edinburgh)
15.35 – 15.55 Imaginary Architecture as Imagined Community: ‘The Market’ by Jenaro Pérez Villaamil
Matilde Mateo (Syracuse University)
15.55 – 16.15 Hieroglyphs of Providence: Pelegrín Clavé and Isabella I of Castile
Stefano Cracolici (Durham University)
16.15 – 16.30 Discussion
16.30 – 17.00 Tea & Coffee
17.00 – 18.00 Keynote Lecture
Canons and Repertoires in Hispanic Art: What does Stirling Maxwell have to do with them?
Hilary Macartney (University of Glasgow)

Friday 21 June 2019

9.30 – 10.00 Tea & Coffee
10.00 – 11.15 Session 4: Identities
Chair: Giovanna Capitelli (Università Roma Tre)
10.00 – 10.20 El arte español más allá de la península ibérica: ¿Qué significa ser un ‘artista español en la Nueva España’?
Luis Javier Cuesta Hernández (Universidad Iberoamericana, Ciudad de México)
10.20 – 10.40 Constructing the Monuments of the Nation: Victor Balaguer and the Struggle to Shape Monasteries as Spanishness
Josep-Maria Garcia-Fuentes (Newcastle University)
10.40 – 11.00 Thinking Spain from Barcelona: The Iconographic Repertoire of Spanish Art (1918–1922)
Lucila Mallart (Universitat Pompeu Fabra, Barcelona)
11.00 – 11.15 Discussion
11.15 – 11.45Tea & Coffee
11.45 – 13.00Session 5: Remediations
Chair: Ludmilla Jordanova (Durham University)
11.45 – 12.05 Thinking through Painting: Artistic Practice as Metaphor in the Early Modern Hispanic World
Adam Jasienski (Southern Methodist University, Dallas TX)
12.05 – 12.25 From Mimesis to Montage: Sergei Eisenstein on El Greco
Dušan Radunović (Durham University)
12.25 – 12.45 ‘Ese Velázquez sí que era un genio’: el canon del arte español y la ficción televisiva
Luis Vives-Ferrándiz Sánchez (Universitat de València)
12.45 – 13.00 Discussion
13.00 – 14.00 Lunch
14.00 – 14.20Concluding Remarks
Amaya Alzaga Ruiz (Universidad Nacional de Educación a Distancia, Madrid)
14.20 – 15.00 Roundtable Discussion
15.00 – 16.00 Refreshment

Work in Progress/Discussion: Emily Floyd, ‘The Word as Object in Colonial South America’, QMUL, 3 June 2018, 4:30pm–5:30pm

The Maius Workshop’s next event will take place at 4:30–5:30 pm on 3 June 2019 at QMUL (Arts Two, room 2.18).

We are delighted to welcome Emily Floyd, Lecturer in Visual Culture and Art before 1700 at UCL, for a conversation on her forthcoming article, ‘The Word as Object in Colonial South America’. A draft of the article will be pre-circulated, and Emily looks forward to the group’s comments and questions.

Please email maiusworkshop@gmail.com to sign up to this free event.

***How to find Arts Two, room 2.18: the Arts Two building is number 35 on the campus map at this link. The campus is best accessed through the East Gate entrance. Please note that the Arts Two building does not have an entrance on Mile End Road.

Iberian and Latin American Art at the 58th Venice Biennale

The 58th Biennale of Venice opened on 11 May. Here is a (non-comprehensive) list of Iberian and Latin American artists represented at the exhibition, which runs until 24 November 2019, and at accompanying events.

Mexican artist Teresa Margolles was awarded a Special Mention at the event’s opening ceremony. By shifting existing structures from the real world into the Exhibition halls, Margolles creates sharp and poignant works that deal with the plight of women grossly affected by the narcotics trade in her native country. Her work Muro Ciudad Juárez. 2010 can be found in the Biennale’s central pavilion at the Giardini, entitled May You Live in Interesting Times and curated by Ralph Rugoff.

Other Latin American artists invited to participate in the Biennale’s international exhibition (split between the Giardini and Arsenale) are Jill Mulleady (born in 1980 in Uruguay), Gabriel Rico (born in 1980 in Mexico) and Tomás Saraceno (born in 1973 in Argentina).

The international exhibition is accompanied by 89 national participations. Spain’s pavilion, located at the entrance of the Giardini, showcases Perforated, a collaboration between Itziar Okariz and Sergio Prego. Through performance, video, and sound, Okariz explores the displacements between the subject, the language, and its physical presence. Prego’s sculptural works relate to architecture, calling materiality into question through the use of lightweight, flexible materials that allow the form to only exist in a specific state or as a result of a continuous action on the constituent material. Both artists reiterate the alternative functions of the body in our technified society.

Brazil’s pavilion, Swinguerra, takes its title from a combination of swingueira, a popular dance movement in the north-east of Brazil, and guerra, war. Wagner & de Burca’s work focuses on the powerful expressions of popular culture in contemporary Brazil, and their complex relationship with international and local traditions.

In Uruguay’s exhibition, La casa empática, paintings, drawings, photographs, and mural works by Yamandú Canosa are arranged as a ‘landscape-territory’ of the world, an inclusive and empathic ‘total landscape’. The total landscape is completed by the intervention on the facade and by the starry sky installed in the ceiling of the pavilion.

Metáfora de las tres ventanas. Venezuela: Identidad en tiempo y espacio is the pavilion of Venezuela. Three metaphorical windows— thresholds for light, air, and the gaze—symbolise the long construction of collective history and an all-encompassing narrative filled with challenges and rebellion. Venezuela aims to promote its libertarian identity, woven over the centuries, and share it in a clear gesture of invitation to the complicity of others.

Other national pavilions are located in the Arsenale. Argentina’s exhibition, El nombre de un país/The Name of a Country is a punk, Frankensteinish bestiary that flaunts a high-fashion collection attitude. Mariana Telleria traces a highway with an infinite number of linguistic lanes, activating confusion—mixing things together, building monsters—and sustaining viewers’ awareness in a continual state of transit.

In Chile’s Pavilion, Altered Views, Voluspa Jarpa offers a proposal for decolonisation through a review of European history. Altered Views comprises three reversed cultural spaces/models: the Hegemony Museum, the Subaltern Portrait Gallery, and the Emancipating Opera. The project collects concepts that defined colony: race and cross-breeding, subordinate male subjects, cannibalism, gender, civilisation and barbarism, monarchy and republic, appealing to a critical view from a transtemporal journey.

Mexico is represented by Actos de dios/Acts of God by Pablo Vargas Lugo. This exhibition which speculates on the life of Christ to generate a non-linear narrative that raises new questions. What would happen if the man who was chosen to redeem humanity had set out to fulfil all the predictions made by the prophets about his life without being certain that he could accomplish them?

“Indios antropófagos”. A butterfly Garden in the (Urban) Jungle, the exhibition of Peru, is a paradox: a post-conceptual exploration of the fiery sensory impact of Amazon culture on certain (neo)Baroque horizons in Peruvian art, namely in Christian Bendayán’s work, where it is energised by a critical reconsideration of the Amazon as a constructed image.

Other national exhibitions are dotted around Venice. In Cannaregio, the Dominican Republic presents Naturaleza y biodiversidad en la República Dominicana. This is the country’s first independent national pavilion at the Biennale. It offers a reflection on ecological threats affecting the luxuriant local nature, the Earth and humankind.

Next to the Dominican Republic is Guatemala’s Interesting State. The term ‘interesting state’ evokes a woman who is pregnant. Acts of violence against women constitute the denial of existence. Guatemala is an ‘interesting State’ because of the persistence of this devastating phenomenon. Art therefore becomes an ethical instrument, in which the seductive aesthetic nature of the works is there to serve an indispensable social denunciation and an essential opportunity for redemption.

Portugal’s pavilion, a seam, a surface, a hinge or a knot, features artist Leonor Antunes reflecting on the functions of everyday objects and contemplating their potential to be materialised as abstract sculptures. The artist is interested in how craftsmanship traditions from various cultures intersected in the work of Venetians such as Carlo Scarpa, Savina Masieri and Egle Trincanato. Elements of the exhibition are fabricated with Falegnameria Augusto Capovilla, one of the still-active Venetian carpentries that worked closely with Scarpa.

The Cuban pavilion, located on the island of San Servolo and entitled A cautionary environment/Entorno aleccionador brings together installations, paintings, and interdisciplinary works on allegorical themes of the times in which we live. The invited artists, Alejandro Campins, Ariamna Contino, Alex Hernández and Eugenio Tibaldi, discuss the relationship between man and the environment.

The Biennale’s programme is accompanied by a series of collateral events. Catalonia in Venice’s To Lose Your Head (Idols) documents the complex life of statues, which some artists today recreate and reflect upon. This multi-authored exhibition explores the theory of art reception and documents the complex life of public statues in our time. In a world of images, iconoclasm and iconodulia, it questions the fetishism of images as living entities and encourages conversations as a way to foster human happiness, awareness and freedom.

The latest works by the contemporary Portuguese sculptor Joana Vasconcelos (born 1971) are being displayed under the title What are you hiding? May you find what you are looking for at the Venice Biennale on the island of San Clemente across the Palazzo Kempinsky gardens and in the church of San Clemente itself, supported by the film production company MGM. In the church the exhibition shows her large-scale floor sculpture Madragoa (2015­–2019), inspired by Lisbon’s buildings and façades, which explores the intersections of sculpture, architecture and painting. This piece has new elements specially created for it since it was first shown in Macau in 2015. In the gardens Vasconcelos is displaying I’ll be Your Mirror #1 (2019), a giant Venetian carnival mask made of mirrors, which the sculptor recently showed at the Guggenheim, Bilbao in a solo show. Also on show in the gardens is Betty Boop PA (2019), a high-heeled shoe crafted out of saucepans, which proposes a revision of the “feminine” in today’s world by bringing together two tropes of a woman’s private and public image.

Glass works by Vasconcelos are on view in the exhibition Glasstress 2019, which features artists Carlos Garaicoa, Javier Pérez, José Parlá, Jaume Plensa and Bernardì Roig, among others.

Javier Pérez, Carroña, 2011, glass chandelier, stuffed crows (Glasstress 2019)

Closing Soon: ‘Olga Picasso’, Museo Picasso Málaga, until 2 June

Pablo Picasso, Olga Pensive (winter 1923), Musée national Picasso-Paris (c) RMN-Grand Palais (Musée national Picasso-Paris)/Mathieu Rabeau, Sucesión Pablo Picasso, VEGAP, Madrid, 2018

The Museo Picasso Málaga presents Picasso’s first wife Olga Khokhlova and her story in the first show of its 2019 exhibition calendar. The exhibition Olga Picasso was inspired by the letters and photographs found in the travel trunk of the Russian dancer, Bernard Ruiz-Picasso’s grandmother. The exhibition focuses on the years of Olga’s relationship with Picasso. It offers context on the creation of some of Picasso’s greatest works, connecting them with a personal story that developed alongside another, political and social, story.

Olga Khokhlova (Nezhin, Ukraine, 1891– Cannes, France, 1955) was the daughter of a colonel in the Russian Imperial Army. In 1911 she joined the prestigious and innovative Ballet Russes company, which was at that time highly successful in Europe under the direction of Serguei Diaghilev. She first met Pablo Picasso in Rome in the spring of 1917, when the artist was designing the sets and costumes for the ballet Parade. They were married in Paris, on 12th July 1918, and their first and only child, Paul, was born in February 1921. The couple separated in 1935, although they remained married until Olga’s death in Cannes, in 1955.

The Russian ballerina’s travel trunk, which her son received when he inherited the chateau of Boisgeloup—currently owned by the Fundación Almine y Bernard Ruiz-Picasso para el Arte (FABA)—contained previously unseen letters and photographs. For many years, the drawers harboured Kodak envelopes full of photos that told the story of Bernard’s grandparents, their life together, their travels, Picasso’s ateliers and more. In other compartments lay hundreds of letters in French and Russian, tied with little pink or blue silk ribbons. Olga’s trunk, engraved with her initials, also held her dance attire, ballet shoes, tutus, programmes and such personal objects as a Crucifix and a Russian Orthodox Bible. The contents of the trunk, which was the only personal belonging Olga kept after her separation from Picasso, revealed new aspects of the artist’s work during their relationship.

Approximately 350 items will be shown in the exhibition, including paintings, works on paper, photographs, letters, documents and films. It has been jointly curated by Émilia Philippot, conservator of the Musée national Picasso-Paris; Joachim Pissarro, professor of art history and director of Hunter College Art Gallery (New York); and Bernard Ruiz-Picasso, co-chair of the Fundación Almine y Bernard Ruiz-Picasso para el Arte, FABA, president of the Executive Board of Museo Picasso Málaga and member of its Board of Trustees. The exhibition has been adapted for Museo Picasso Málaga by José Lebrero, the museum’s artistic director, and Sofía Díaz, its exhibitions coordinator.

Click here for more information.

The exhibition will travel from Málaga to Madrid, where it will be on show at the CaixaForum from 19 June to 22 September 2019. Click here for details.