Great retrospective of Kandinsky in CentroCentro Cibeles

 

 

 

From October 20 to February 28 in CentroCentro Cibeles we can enjoy "Kandinsky. A Retrospective" a great exhibition dedicated to the Russian artist Vassily Kandinsky (1866-1944) that has been organized in collaboration with the Centre Pompidou in Paris and Arthemisia Group, organizer of roaming, and it is curated by Angela Lampe, Curator of Modern Art at the National Museum of Modern Art at the Pompidou Centre.

 

 

 

 

Organized into four major sections in chronological order: 1896-1914 Munich, Russia, from 1914 to 1921, Bauhaus, 1921-33 and Paris from 1933 to 1944, the exhibition covers the first figurations of the pioneer painter of abstract art and one of the most influential painters of all time, also their stays and experiences in Germany and Russia, his years at the Bauhaus, his research on line and color, abstraction and his last years in France.

 

 

 

 

The works belong to the personal collection of Vassily Kandinsky which was donated by his widow, Nina Kandinsky, to the Pompidou Center and is a live collection that continues to grow. In 1937 and 1939, the National Museum of Modern Art acquired two early works of the artist, still alive at that time. After an initial gift in 1966, the Centre Pompidou received in 1976 the donation of fifteen paintings and fifteen watercolors from painter's widow. Four years later, in 1980, the museum received all the paintings and the material that was in the painter's studio in Neuilly (drawings, watercolors, prints and files), forming the largest part of his legacy. Since 1988, the Kandinsky Society is in charge of enhancing and ensuring the integrity of the artist's work. The collection now has over 100 paintings, 900 drawings and nearly 500 etchings.

 

 

 

 

Among the 100 pieces on display in CentroCentro there are fundamental works as Alte Stadt II / Old Town, 1902; Lied / Song, 1906; Improvisation III (1909); Im Grau / En Grey (1919); Rot-Blau-Gelb / Yellow, Red and Blue (1925), and Bleu Ciel / Sky Blue (1940).

 

 

 

 

This traveling exhibition has passed through the Palazzo Reale in Milan, where more than 200,000 people visited it before traveling to Milwaukee and Nashville, United States.

 


During the exhibition, there will be free tours with groups of primary and secondary schools. Workshops will also be conducted. These guided tours, conducted by staff CentroCentro, are free, but it is necessary to purchase a ticket to enter the exhibition.
 

 

 

Among the specialised professional profiles that we find in the cultural sector, and more specifically, in the field of visual arts, one of the most recent occupations is that of the curator. The ‘80s put attention on the role of the artist, with its innovative character and the enhancement of its figure as an essential articulator of creative proposals, while the end of the century moved the interest towards the exhibition centres themselves and their work as custodians of current production and as spaces to accommodate all proposals. The change of millennium strongly introduced in this panorama the role of the curator. Perhaps together with a social identity crisis, perhaps with the complexity that contemporary projects are currently acquiring, the need for building, articulating and delving into artistic discourses became evident.

Although the functions entrusted to this profession are not entirely new, since previously they belonged to conservatives, critics or experts according to the themes, the role has gained solidity because it combines all these purposes while allowing the specialisation of other professionals in their fields of competence. Now, as some curators themselves point out, the genuine spirit of this figure, who was born to facilitate the understanding of the discourse, create narratives within a sometimes chaotic and scattered context, mediate between the works and the spectator and create bridges between contemporary art and society.

The art of our day raises a multitude of unknowns for the visitor who must face proposals many times away from the aesthetic standards, which gives way to uncertainty and confusion; but, in turn, these works employ a closer language, materials and even compositions detached from the sophistication and the technical display of yesteryear, something that, far from favouring proximity to the message, generates some distancing. What we have just described is part of the very essence of current art. The questioning of the formalist guidelines and the recourse to tangible elements that are more utilitarian than embellishing are the new criteria of creation, where, above all, the message to be conveyed stands out.

Likewise, another inherent characteristic of the work of our time is the artists' concern for more immediate themes, for social, political and economic issues that seek to create a narrative and conceptual revulsion, leaving behind the aesthetic priority or, rather, making of the message its own aesthetic. In this context, strange as it may seem, contemporary creation encounters a linguistic barrier hindering the viewer's understanding. And to this circumstance, the abundant current production is added, covering a wide range of themes that are nothing more than a transcript of our diverse and globalised society.

The curator helps to facilitate this understanding by articulating a coherent discourse that allows the grouping of related ideas to set up the message. This requires to have an in-depth knowledge of the current state of the art, the lines of work of the creators, the most recent aesthetic proposals and the real demands of society to bridge the dialogue and allow the approach to art. If art deals with the same issues that concern us all, how can we not share its postulates? Cultural mediation requires the work of the curators to open a small window for reflection and to enable a space for exchange and idea generation. We share the thought that José Guirao expressed in a recent interview: "The curator is someone who reveals something new, and it would be a mistake for curators to become managers."

Understood this way curator’s role, many institutions have joined the trend of creating specific calls for new professionals to give light to their proposals. Let us remember, as an example, the call "Unpublished" of La Casa Encendida, or "Curator wanted", of the Community of Madrid or the call of Curating of La Caixa.