Bosch the 5th centenary exhibition

 

 

 

500 years ago died one of the most enigmatic, brilliant and fascinating figures in the history of art, Jeronimus van Aeken, born in Hertogenbosch (Netherlands), in his life he was known by the nickname Bosch (El Bosco for Spanish ).

 

 

Now, the most important museum in Spain, El Prado Museum, offers the largest exhibition of genius on the occasion of the V centenary of his death, an ambitious exhibition curated by Pilar Silva, Head of Department of Spanish Painting (1100-1500) and Flemish Painting, including works from the Albertina Museum and the Kunsthistorisches Museum in Vienna, the Museum of Fine Arts in Boston, the Metropolitan Museum of Art in New York, the National Gallery in Washington, the Musée du Louvre in Paris, the Museale Polo Veneto Venice, or the Museum of Ancient Art of Lisbon. In total 65 works of art of which 25 have been attributed to Bosch, nine to his workshop, and the others to artists of the time.

 

 

 

 

 

Because of the complication of chronological order the life and work of the Dutch artist, the show is divided in 6 thematic sections: Childhood and Public Life of Christ, Saints, from Paradise to Hell, The Garden of Earthly Delights, The world and man: Pecados capital and secular works, and The Passion of the Christ. The sections cover from his first landscapes of his hometown and its beginnings with other Flemish painters of the time, until his influence on the art of the sixteenth century with the epilogue "After Bosch". An opportunity to enjoy exceptional pieces like the 'Triptych of the Temptations of San Antonio', the 'Adoration of the Magi', The Hay Wain and, of course, The Garden of Earthly Delights.

 

 

 

 

With "Bosch. The exhibition of the V centenary" we enjoy the essential themes that Bosch is in his paintings, mainly religious and allegorical. The latter full of symbolism and tradition of the time, of the virtues and vices of society around him.

 

 

 

 

The exhibition is also necessary from the perspective of the specialist as it helps to reveal numerous questions about its referrals, especially the analysis of their catalog and chronology work. In addition, the Prado Museum, a pioneer in the technical study painting Bosco, has reanalyzed their works making use of the latest developments. Visitors to the exhibition can see some of the results of this study with infrared reflectography and radiography of The Garden of Earthly Delights, allowing verify the creative process of the work, with the surprising changes that the artist made since he started the underlying drawing until concluded the pictorial surface.

 

In addition, the great program organized around the exhibition includes a sensory journey through the triptych "The Garden of Earthly Delights".


 

Thirteen years have passed since its beginnings, and in all this time the Video Art Festival PROYECTOR has grown and consolidated its position as an essential event in this discipline. Since its inception, the initiative has tried to give visibility to a discipline that has always been relegated to the background in the usual exhibition circuits. Although video creation is not new, since it emerged by its own in the 60s of last century, the way to get to know it and enjoy it has not always been easy. On many occasions, the exhibitions only included a few isolated pieces within the main route, as if the video was the anecdotal contribution to the whole. However, our daily lives are invaded by moving images, and there is a paradox that video art, despite being a format of artistic expression very much in tune with the habits of today's society, remains a minority discipline

Frame from “Hel City”, by Gregorio Méndez Sáez, 2019

To some extent, PROYECTOR was born to reverse this situation, to value video as a creative format and to offer a wide, itinerant space to host a multitude of proposals, coming from inside and outside our borders. In this time, the growth of the festival has led it to travel the world, but also, to be a benchmark that each year arouses more interest. In the open call to receive proposals, they reach almost half a thousand, and a hundred works selected by the jury are a representative sample of different ways of understanding video creation, with pieces mainly from Europe, Latin America, Southeast Asia and the Middle East.

In turn, PROYECTOR wants to be more than a video showcase and offers a large program with talks, workshops, masterclasses, meetings with artists, visits and concerts. A complete experience that always has the moving image as a backdrop.

El Instante Francisco Ruiz de Infante. El bosque que se mueve (errores de medida)

In this evolution, another circumstance stands out: video is a creative format that has its own codes, but it is also one of the disciplines most open to artistic hybridization and the widening of uses. The video may, therefore, be the genuine idea of an author who conceives an autonomous project to be carried out in this format, but it can also be the complementary result of an action or the documentary record of a previous performance being recorded to guarantee its survival. The versatility of the moving image and the potential that it has acquired in recent years allows us today to speak of numerous branches of art that focus on the fusion of languages and the integration of techniques and methodologies from other sectors, and in many of them, the video is still a cornerstone. So it is with technological art, interactive sound art, performance recording, the transformation from big data to image, artificial intelligence, and a long etcetera. Precisely for this reason, PROYECTOR offers a panoramic vision of this reality, with an extremely interesting program that plays with the variety and wealth of proposals.

Frame from “Herdança”, by Thiago Rocha Pitta, 2007

The 2020 edition will run from September 9th to 20th. As usual, the program displays in various venues throughout the city of Madrid, each of which will house a small section of the activities. This year the festival will count with the collaboration of the Casa Árabe, White Lab, Cruce, El Instante Fundación, ¡ésta es una PLAZA!, Extensión AVAM (Matadero Madrid), Institut Français de Madrid, Medialab Prado, Quinta del Sordo, Sala Alcalá 31, Sala El Águila, Secuencia de Inútiles and White Lab, in addition to the collaboration of the INELCOM Collection and the video art collection of Teresa Sapey.

The festival is also the ideal place to articulate the cultural fabric, since it involves numerous professionals in the sector, from curators to creators, from centres managers to critics and teachers. The 2020 program also has the collaboration of the FUSO Festival and the Museo Reina Sofía, which are providing some of their pieces for the exhibition.

In short, an appointment that lovers of contemporary art should not miss and that promises many novelties in this 13th edition.