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The world-renowned conceptual artist Franz Erhahd Walther (Fulda, Germany, 1939) is still active in exhibitions with his particular artistic vision. This is his first anthology in Spain and premiered in the Palace of Velázquez (El Retiro, Madrid) with a sample that includes sculpture, painting, drawing and graphic documentation that relate his two main themes, language and action. For him, art has an immaterial meaning therefore its nature is performative.



Plastische Rede, 1983. coton,wood, 365 x 470 x 40 cm, 6 pieces



The action is complemented by the materials used to give meaning to the object and thus reach the public through the body. Together with time and space, these elements are modeled and their discourse giving way to artistic practices such as sculpture and installation. Erharhd, begins its activity in the 50's and questions the condition of the artistic object before the history of art.



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Organized by the Reina Sofía Art Center Museum, the famous Handlungsstücke (Works of Action) series is defined by the artist as his "demonstrations of work" and this will be complemented by activities carried out with subjects trained for it by the hand artist. Not only is the sample based on actions related to the parameters space and time, but also will be exhibited work on paper of its first stage under the name Wortbilder (pictures of words), photographs and videos will be an addition to this complete presentation From his job.



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For the artist materials are a vital starting point for developing their actions and in this case the fabrics symbolize art and life. The textures, color and seams themselves make us as spectators immersed in a paradise full of possibilities given that they do not lead us to the idea of ??a finished object. The activities will run until 10 September in collaboration with the Goethe Institut.




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.