THE FAUVES AND THE PASSION FOR THE COLOR

The dance, Henri Matisse. 1910

 

 

The MAPFRE Foundation presents this exhibition until January 29, 2017. This exhibition brings together more than one hundred works including painting, drawing, watercolor and ceramic pieces. This movement, famous for being the first great vanguard of S.XX, stands out for the exaltation and saturation of pure tones. He opened the debate on the importance of color independently in the configuration of the artistic work.

 

This group led by Henri Matisse, André Derain and Maurice de Vladiminck, stood out for their energy release and their particular treatment of freedom of expression. At the end of the decade of 1890 they were grouped in the workshops of Gustave Morear and Eugené Carrière and began to create this unique movement. Towards the beginning of the XX century it took shape and began to exhibit, the first was in Hall VII of the Salon d'Automme. After the first critics they adopted the name of "wild animals" (fauve in French).

 

 

Restaurant de la Machine à Bougival, Maurice de Vlaminck. 1905

 

 

Fauvism is characterized by being a heterogeneous current, born of the friendship of a group of young dreamers with a clear idea of ??the future. It barely lasted two years but left the foundations of an artistic claim that has been projected until our days. From here were born expressionism and cubism, this testimony has been strongly recorded in the exhibition of the MAPFRE Foundation. Curated by Maria Teresa Ocaña, this raises a chronological route sectioned in five parts.

 

 

Photo of the exhibition

 

 

The first part of Fauvism before Fauvism, makes a small dissertation about the group of formation of the current and shows that feeling of community that try to transmit the viewer. The second, the fauves are portrayed, show small self-portraits that were made to each other reflecting the perception they had of the group. The third part, acrobats of light, reflect those stays on the blue coast that served as inspiration and fit perfectly in that art of light and color. The fierceness of color, evidence the identity of the fauves, totally disconnected from the naturalistic description. And the last section sections that fork, it refers to the different trails that took the group from 1907.

 

 

Landscape near Chatou, André Derain. 1904

 

 

To conclude the exhibition there is a section dedicated to a group of ceramics that connect closely with the dialogue shown with the painting. A highly recommended visit for these gray winter days that need a color tone. Fauvism, is a claim for all types of public, do not miss this opportunity.

 

 

 

 

 

 

The cultural agenda gradually recovers after the health-crisis halt and art lovers are eager to enjoy the rich cultural offer that the different spaces and museums throughout our geography have to offer. In addition, one must remember that these centres have made an enormous effort to adapt to the demands that the new situation imposes and have created abundant online-accessible content to overcome confinement. We bring you a selection of content that can be visited both in person and through the web. There is no excuse for not enjoying contemporary art again.

Olafur Eliasson, “En la vida real (In real life)”, 2019

The Guggenheim Museum in Bilbao continues with its exhibition dedicated to Olafur Eliasson and offers numerous resources to understand not only the exhibition but also the work of the centre in the assembly and installation process. The website allows us to expand content with interviews with the artist, the download of the audio guide and the vision of the curator Lucía Aguirre, who offers us different video-pills on the pieces in the exhibition.

"Olafur Eliasson: in real life" brings together a part of this artist's work since 1990 through sculptures, photographs, paintings and installations that play with reflections and colours. Likewise, the integration of elements such as moss, water, ice, fog... put the visitor in a situation that confuses the senses and tries to challenge the way we perceive our environment and move in it.

Regina de Miguel, “Isla Decepción”, 2017

The Botín Centre in Santander hosts the exhibition "Collecting processes: 25 years of Itineraries" which brings together the work of 25 of the 210 scholarship recipients who, to date, have enjoyed the Botín Foundation Plastic Arts Scholarship, started in 1993. With the works Lara Almárcegui, Basma Alsharif, Leonor Antunes, Javier Arce, Erick Beltrán, David Bestué, Bleda and Rosa, Nuno Cera, Patricia Dauder, Patricia Esquivias, Karlos Gil, Carlos Irijalba, Adrià Julià, Juan López, Rogelio López Cuenca, Renata Lucas, Mateo Maté, Jorge Méndez Blake, Regina de Miguel, Leticia Ramos, Fernando Sánchez Castillo, Teresa Solar Abboud, Leonor Serrano Rivas, Jorge Yeregui, David Zink-Yi, the exhibition is a good example of up-to-date and young contemporary art contributed by artists with very diverse profiles.

Clemente Bernad. Series “Ante el umbral”, Madrid, 2020

The Reina Sofía Museum wanted to create a visual chronicle of what the confinement and the tragic numbers of infected and deceased have meant for the lives of many of us: a tale of pain, nostalgia and uncertainty made by the photographer Clemente Bernad. This exhibition, curated by Jorge Moreno Andrés, is entitled “Before the threshold”, a title that expresses the strange sensation that occurs when faced with something new and unknown, something that we cannot control or avoid, and that we all must go through. The alteration imposed on our lives unexpectedly is reflected in the streets, transformed into places of solitude and abandonment where life has been paralysed.

Mario Merz / No title, Triplo Igloo, 1984 MAXXI Collection

At the IVAM, the exhibition "What is our home?" brings together works from the IVAM collection and the MAXXI centre in Rome to propose a reflection on the space we inhabit seen from a personal and social perspective. It is about investigating the value that these spaces have as a home or refuge, as well as part of a city or community.

The exhibition, curated by José Miguel G. Cortés, also wants to delve into the feeling of those who feel like foreigners anywhere, because they do not identify with the habits or customs of the society, they do not fit into these social patterns, and home becomes the only shelter space that can adapt to their identity needs.

Martha Rosler, frame from “Backyard Economy I-II”, 1974 © Courtesy of Martha Rosler, 2020

Es Baluard Museu is committed to video creation and performance and hosts the monographic exhibition “Martha Rosler. How do we get there from here?” dedicated to this New York artist who pioneered the use of video as a mechanism for social and political analysis. This exhibition includes various works, from video to photography and several publications, which synthesise her main lines of discourse. Her concern for public policies and the social equality of women has led her to actively participate in numerous social movements in La Havana, New York, Mexico DC or Barcelona, and these experiences are present in one way or another in her work.

With the curatorship of Inma Prieto, a selection has been made within the abundant production of this artist, which presents one of the most coherent careers in towards-the-new-Millenium contemporary art.

Image from file, via meiac.es/turbulence/archive/acceso.html

The MEIAC - Museo Extremeño e Iberoamericano de Arte Contemporáneo, host the works of the prestigious international digital art archive "Turbulence", a platform dedicated to network and hybrid art. In view of the inevitable closure of this institution, the MEIAC has offered to host all this valuable content collected since 1996. The uploading of the file also served as an opportunity to restore numerous pieces and convert formats so that files that had become obsolete remain readable by new systems. A huge job of conservation and updating that can be enjoyed online today. The archive is made up of hundreds of digital works from around the world that can now be visited remotely.