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This week and beyond
La Casa del Lector in Matadero Madrid starts its cycle called 'Library: Geographical History of an Idea', devoting digital displays to the impressive archives kept at the National Library of Israel. This is an interactive exhibition in that through the use of tablets, mobile devices and QR codes you can access documents, maps, videos and audio files that reflect the history of the Jewish people throughout the centuries. Among the most interesting items of the collection are a letter written by Stefan Zweig dating back to 1933 that describes the anti-Semitism that reigned in Austria, as well as a diary written by the father of the Basch family, which chronicles the last days of their lives before they were deported to Auschwitz in May 1944 during the Jewish holiday, Shavuot (Pentecost).
This exhibition focuses on a space that's rarely the star of shows that fill up museums: the playground. With nearly 300 pieces spanning genres (photography, film, video, sculpture, installations...), 'Playgrounds' offers a journey through these play areas and their capacity to transform society with works by the likes of Goya, Henri Cartier-Bresson, Giacometti and Xabier Rivas. From the playground’s fun beginnings to when free time started being gobbled up by consumerism, the exhibition takes on the anti-productive attitude, the right to be lazy and not do anything in the face of the frenetic pace of modern life.
The magazine 'Ajoblanco' provided the best critical look at public live in Spain for more than 20 years. In the exhibition ‘Ajoblanco. Ruptura, contestación y vitalismo (1974-1999)’, ou'll find some 180 magazines and 30 special editions that will help you take a closer look and learn about this libertarian way to enjoy culture, ideas and artistic collectives. The publication is divided into two different stages, from 1974 to 1980 and from 1987 to 1999, becoming part of the memory of four different generations of readers.
The collective of La Palangana (comprised of Fernando Gordillo, Francisco Ontañón, Gabriel Cualladó, Gerardo Vielba, Joaquín Rubio Camín, Juan Dolcet, Leonardo Cantero, Paco Gómez, Ramón Masats and Sigfrido de Guzmán) marked a turning point in Spanish photography of the 1950s, and they did it with a profound reformist consciousness. Far from the prevailing academia, humans and their everyday lives were the group's starting point, and they worked on the outskirts of cities and towns to get what they wanted. Though this sounds perfectly ordinary to us today, it was something bordering on revolutionary at the time and somehow signified the beginning of Spanish Neorealism. In modern terms, we could say their work was social photojournalism. The name of the collective, by the way, is owed to a photograph by Francisco Ontañón, where portraits of the six founders are in a basin ('palanga') to be viewed. This work is also on display in the exhibition.Why see it? This exhibition is one of the highlights of PhotoEspaña 2014 and shows how Spanish photography moved into the modern age. The Reina Sofía honored this group (little known in its day) a few years back and now we get a chance to see this piece of Spanish art history in the Círculo de Bellas Artes and understand the process by which the photographic language of the day turned to a more human and social point of view, a new critical and documentary spirit.
The Museo Thyssen-Bornemisza welcomes 'Pop Art Myths', the first exhibition on pop art in Madrid since 1992. Featuring more than 100 works, including pioneering British pop art, and the classic American version and its expansion into Europe, the exhibition aims to take a hard look at the myths and great artists that have traditionally defined the movement. It's the perfect opportunity to revisit pop art in Madrid, while enjoying works by such representative artists as Warhol, Rauschenberg, Lichtenstein, Hockney, Hamilton and Equipo Crónica, among others. This is the biggest of the big summer art shows in Madrid.
At the age of 77, Le Corbusier went for a swim in the Mediterranean and was swallowed by the sea. It was the summer of 1965, and he'd already spent more than six decades fighting with the landscape. Although he was born in Switzerland, or perhaps because he was born in the geographic centre of Swiss timing, he became a poetic machinist who produced housing accommodation (houses and flats), he conceived enormous cities redrawing the landscape from an airplane, and he transformed reinforced concrete into the dominant material of the modern age.You can see this, and much more, in the CaixaForum, itself a modernist building apparently far removed from the theories drawn by the man born Charles-Édouard Jeanneret-Gris (La Chaux-de-Fonds, 1887 – Roquebrune-Cap- Martin, 1965) and widely known by the pseudonym Le Corbusier. 'An Atlas of Modern Landscapes', the subtitle of the exhibition, is the most comprehensive ever seen, and will explain the intention of the curator, Jean-Louis Cohen: architecture, which was less appreciated when engineering got in touch with its creative side, searches for a new space in the urban universe and ends up rooting itself in line with the saying taken from the Goya painting, 'the sleep of reason produces monsters'.Le Corbusier, as can be seen through objects, models, photographs, drawings, installations and various documents, was a multifaceted creator. His ideology was above the mainstream: he worked for Soviet communists, Italian fascists, South Ameri