After the wire fence. Spanish art in exile, 1939-1960
After the wire fence
Spanish art in
exile, 1939-1960
From 25 February 2010 to 25 April 2010
La Nau
From
Tuesday to Saturday, from 10 to 13.30 and from 16 to 20 h.
Sunday, from 10 to 14 h. |
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Organised and produced by
Universitat de València, University of Zaragoza,
University of Córdoba, Museo Extremeño e Iberoamericano
de Arte Contemporáneo (MEIAC) and Sociedad Estatal de
Conmemoraciones Culturales (SECC)
Collaborators:
Bancaixa, Provincial Council of Córdoba (Fundación de
Artes Plásticas Rafael Botí), Government of Aragón
(Department for Education, Culture and Sports) and
Extremadura Regional Government (Regional Ministry for
Culture and Tourism)
Curator: Jaime Brihuega, Professor of History of
Contemporary Art, Universidad Complutense (Madrid)
After the wire fence. Spanish art in exile 1939-1960
explores, for the first time ever, the different
geographical, sociological, ideological and aesthetic
exiles that torn apart and impregnated Spain’s 20th
century art. Curated by Jaime Brihuega, the exhibition
brings together almost 200 artworks by 50 artists
who illustrate the relevance of art culture in exile and
its rich contribution to the host countries. The
exhibition also delves into the thematic and formal keys
of artistic imagery in exile and into the elements that
associated or dissociated art production before and
after the fratricidal conflict.
Like the rest of our history and culture, 20th
century Spanish art was fiercely fractured by the civil
war in 1936 and by its fatal outcome, and split into two
distinctive chronological hemispheres. The effects of
such a divide were even further intensified by World War
II. It disrupted the connections of international art
culture and momentarily froze the set of references that
had guided the modernisation of Spain's artistic culture
during the first third of the century. Spain’s autarchy
and international isolation contributed to erecting the
border walls of this part of history. Under such
circumstances, following the victory of the rebels, many
Spaniards loyal to the Republic were forced to flee
their country. A great deal of artists were among them.
For political reasons or out of cultural suffocation,
they got exiled, taking refuge in several regions of the
planet. |
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The show includes almost 200 pieces lent by more
than 70 public and private collections from Spain and
abroad. The works, whose selection has primarily focused
on artistic excellence and semantic intensity-,
articulate a defined and operational aesthetic paradigm
as far as the insertion of exile art into the collective
imagery is concerned. The limited number of
participating artists is due to the wish to escape from
erudite detail, and so 50 pieces by the most
historiographically consolidated artists have been
chosen. Not only works carried out in exile are
exhibited but also some pieces from the Republican
period. The aim is to provide visitors with an active
gaze, for them to be able to ponder about the mutation
of narrative and aesthetic paradigms in Spanish art in
the 1930s or, conversely, about the ‘mirage' of their
continuity. In addition, the show offers an opportunity
to see, for the first time in Spain, some works by
Remedios Varo, El Tiforal 1947; Julián Castedo,
Moreno, Villa Nocturno 1950-1952; Alberto,
Manuela Ballester, Retrato de Totli, 1949; José
Bardasano, Fernández Balbuena, García Narezo, Elvira
Gascón, Cristo, c. 1957; Rodríguez Luna, Maruja
Mallo, Gausachs, Martín Durbán, Maternidad, 1943;
Clavé, Óscar Domínguez, Feliú Elías, García Lamolla,
Pérez Rubio. |
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The exhibition catalogue includes texts written by
Jaime Brihuega (Después de la alambrada. Memoria
y metamorfosis en el arte del exilio español),
Joan Dolç (Los múltiples reflejos del exilio),
Miguel Cabañas Bravo (De la alambrada a la
mexicanidad. Andanza y cerco del arte español del exilio
de 1939 en tierras aztecas), Diana B. Wechsler
(Las maletas del exilio), Javier Pérez Segura
(Otros horizontes del exilio español: los países del
Caribe y Estados Unidos) and Concha Lomba Serrano
(Tan cerca y tan lejos: Europa como refugio). The
catalogue is completed with articles by different
specialists on architecture (Sofía Dieguez Patao),
set design (Ana María Arias de Cossío),
cinema (José Luis Sánchez Noriega), music (Francesc
Bodí), other publications (Juan Manuel Bonet)
and the biographies of the exhibition artists. |
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