Two great women’s artists, Maruja Mallo (1902-1995) and Aurèlia Muñoz (1926-2011), will star The director, Manuel Segade.
The total rethinking of the collection devised by Manuel Borja-Villel, will consist of four chapters. In February, visitors will be able to learn about the last 50 years of the collection: from the transition to the present day. Segade advances that there will be surprises with some works, but declines to advance titles or names. The only thing that explains is that it will be a period counted, from Spain, through the work of more than 200 artists. The following stages will consume three years, the time you would have to complete your first mandate. All the museum teams, he says, are working on the new presentation of the collection.
Manuel Segade, who took over the museum in 2023, has started the presentation of the season talking about Maruja Mallo. Mask and compass, which can be seen between October 8 and March 16. Co -produced with the Santander Botín Center, and enriched with funds from the Lafuente Archive, the sample was released in the Cantabrian capital. Segade does not fear that the Galician artist has lost prominence or spectators. In Madrid, around 90 paintings, drawings, writings and documents will be exhibited, in addition to videos with which its modernity is certified and the influence it reached among its contemporaries in the 30s. The Lafuente Archive, bought by the State in 2022, is, in the words of Segade, much more than a conventional file. “It is a splendid collection full of jewels among which are the tools that Maruja Mallo used to work.” The director also believes that in 2026 the associated center of Reina Sofía Santander will be finishing with 130,000 pieces.
To contemplate the hindsight of Aurèlia Muñoz, Are you We will have to wait until April 29. Subsequently, in November, he will travel to Museu d’Art Contemporani de Barcelona, co -producers of the project. Segade considers that justice is done with an artist and a creative way that for a long time have been linked to interior design, despite being a first -class artistic expression. “His work accounts for the artist’s precocity in matters that today are central, such as the imaginary interests and ontological turn.” His universe, adds the director, is populated with inexhaustible beings: figures without a defined gender, half-way characters between the human and the animal, textile bodies loaded with presence, plant architectures, suspended fabrics or birds-brandy.
The work of Argentine Alberto Greco will arrive on February 11. The artist began his “living art” actions in 1962, in the Les Halles market in Paris, surrounding a circle of chalk and his signature to unknown pedestrians. That same year he published in Genoa his manifesto of living art, which hit the city walls. For the “Spettacolo d’Arto alive” Christ 63, presented at the Laboratory Theater in Rome, was expelled from Italy. Well -known in Spain, this exhibition widens with projects carried out with Spanish creators such as Manolo Millas or Eduardo Arroyo. The “living art” actions carried out in Lavapiés (Madrid) or Piedralaves Ávila), between 1963 and 1964 will also be added.
Sirât, also in the museum
In the history of the Reina Sofía Museum, cinema has also had a first -class artistic consideration that has been increasing over time. That is why it is not surprising that Oliver Laxe, leads the exhibition Hu // dance as if no one saw youas of December 17. Commissioned by Chema González, the sample has been conceived as a gigantic installation around Sirât. Chosen Wednesday to represent Spain in the Oscar race for the best international film, the film was already awarded in Cannes and is being a phenomenon of collection throughout Europe. The Museum opens with this proposal the new program of space 1, dedicated from now on to the exhibition of artistic practices in film and new media; A bet, which together with the recently open cinema room, delves into the commitment and reflection on cinema and the image in motion.
Elizabeth Taylor pearl
No one has ever looked a jewel with the glamor with which Elizabeth Taylor adorned with the one known as pearl pilgrim. The mythical jewel is the reason for the exhibition that Fernando Sánchez Castillo has designed to reopen the Velázquez Palace of the Retirement Park closed for rehabilitation works. The planned date is June 24, 2026. The exhibition tells how the pearl discovered by a slave went from being a luxury object to transform into a popular symbol. Sánchez Castillo uses the legend to reflect on the place that art occupies in the world.