Muzeul National Centrul de Arta Regina Sofia

8/6/2019 Muzeul National Centrul de Arta Regina Sofia

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Muzeul National Centrul de Arta Regina

Sofia

History

When the Museo Nacional Centro de Arte Reina Sofía opened its doors in 1990, it stood as amodern, contemporary Spanish museum on an international scale. Nevertheless, its building hasgone through many challenges in order to achieve this goal.

King Felipe II first founded San Carlos Hospital – current headquarters for the museum– in thesixteenth century. It was here that all of the hospitals dispersed throughout the Court werecentralized. In the eighteenth century, Carlos III decided to found another hospital, as thesefacilities did not meet the city’s needs. The present building is the work of architects José deHermosilla and Francisco Sabatini, who was responsible for a large part of its construction.

In 1788, the death of Carlos III brought the building’s construction to a halt. Although a merethird of Sabatini’s project had been completed, the hospital was set up and began operations asoriginally planned.

From that time on, several modifications and additions were made until the hospital was shutdown in 1965. Its functions were transferred to the Madrid Province Health Service. In spite of many rumors of demolition, the building’s survival was guaranteed in 1977 when it was declareda national monument by royal decree, due to its historic and artistic value.

In 1980, restoration began under the direction of Antonio Fernández Alba, and in April 1986 theReina Sofia Art Center opened. Its ground and first floors were used as temporary exhibitiongalleries. Towards the end of 1988, architects José Luis Iñiguez de Onzoño and AntonioVázquez de Castro made final modifications, of which the three steel and glass elevator towers – designed in collaboration with British architect Ian Ritchie – merit special attention.



The Museo Reina Sofia, an autonomous organization depending on the Spanish Ministry of Culture, was created by Royal Decree 535/88 of May 1988. With its headquarters in San CarlosHospital, the Collection was made up of works conserved at the time by the Spanish Museum of Contemporary Art. On 10 September 1992, their Majesties King Juan Carlos and Queen Sofiainaugurated the Permanent Collection of the Museo Nacional Centro de Arte Reina Sofía, which

until then had only held temporary exhibitions. Now a bona fide museum, its goals – as set forthin the aforementioned decree – were to conserve, expand and exhibit its collections; to promotethe general public’s knowledge of and access to contemporary art in its various manifestations;to hold exhibitions at the international level, and to offer training, educational and assessmentactivities related to its holdings.

The Nouvel Building

Throughout all of these years, the Museo Nacional Centro de Arte Reina Sofia has beenincreasing its collections, temporary exhibits, audiovisual and educational activities, services andnumber of visitors, what led those in charge of the institution to undertake studies on the

possibility of increasing surface space, which brought about in 2001 the construction of the new building by Jean Nouvel, opened in September of 2005. In this way the Museum responded notonly to its proposed needs, but also to a clear call to transform the neighborhood’s surroundingenvironment. By creating a public square – as set forth in the building code of the new buildingsand the southwest facade of the current Museum – a space within the city and for the city wascreated.

The Museum has increased more than 60% of the old building’s surface area (51,297 squaremeters), now reaching 84,048 square meters. Thus, the Museo Nacional Centro de Arte ReinaSofia now has a privileged exhibition space at its disposal.

Venues

Sabatini Building



Founded as the Hospital de San Carlos in the 18th century, the building nowtakes its name from Francisco Sabatini (Palermo, Italy, 1722 – Madrid, 1797),the architect in charge of its construction. The hospital was founded at theinitiative of King Carlos III of Spain, as part of a series of measures to giveMadrid the infrastructure necessary for adequate hygiene and urban order.

After an initial building phase under the direction of the architect José deHermosilla (Llerena, Badajoz, 1715 – Madrid, 1776), Sabatini, from theBourbon court of Naples, completed it, using a sombre neoclassical style thatfound its inspiration in the Late Renaissance.

Although the monarch's death in 1788 meant the building was leftunfinished, it began to function as a hospital shortly thereafter, andcontinued to do so until 1965. Then, after some years of abandonment andvarious threats of demolition, the Spanish government declared it aHistorical-Artistic Monument in 1977, which ensured its preservation andpublic use.

In 1980, Antonio Fernández Alba (Salamanca, 1927) remodelled the buildingto make it suitable for exhibitions. In 1986 it started to host temporaryexhibitions as an art centre, to be transformed a few years later, in 1990,into the museum it is today. These modifications took advantage of theunfinished elements of the hospital: the outdoor space meant to be a secondcourtyard became a public square that gives the museum visibility andconnects it with Calle Atocha; the missing façade was filled with twomonumental towers in steel and glass, which hold the exterior lifts thatfacilitate visitor circulation. Built by the Rationalist architects José LuisÍñiguez de Onzoño (Bilbao, 1927) and Antonio Vázquez de Castro (Madrid,

1929) in collaboration with the British architect Ian Ritchie (Sussex, England,1947), these towers have become one of the Museum's most well-knownfeatures.

The interior is arranged around a courtyard with broad vaulted galleriessupported by stone pilasters and exhibition spaces that open toward theexterior and also toward the courtyard, thus providing natural lighting. Thebuilding also has alternative spaces, such as the brick vaulted cellars and theprotocol room, which is where the former hospital stored its linen and stillcontains its original furnishings, now used for exhibition purposes.

Nouvel Building



An international call for projects for an extension to the Museum was issuedin 1999, with designs being received from architects such as Juan NavarroBaldeweg, Dominique Perrault, Zaha Hadid, Enric Miralles and Tadao Ando,among others. In 2001 construction began on the winning submission, by thearchitect Jean Nouvel (Fumel, France, 1945). From the very beginning, thebuilding was considered to be, in the words of its creator, the shadow of Reina Sofía, in other words, it is at the service of the Sabatini Building, whosefunctions it expands upon and completes without interfering with the centralrole played by the original site. The Nouvel Building complex wasinaugurated in June of 2005. It comprises two expansive exhibition spaces, alibrary and documentation centre, bookshop, offices, café-restaurant, aprotocol room and two auditoriums with seating capacity of 200 and 400,respectively.

The extension adapts to the south-west façade of the Sabatini Building andthe triangle-shaped plot in front of it. In it, Nouvel respected the placementof three pre-existing buildings for the construction of three new modules.Although free-standing they are connected to one other and to the SabatiniBuilding on various levels: by large overhanging eaves that form a canopyextending to the hospital's cornice and reflect the movement of the citybelow in convex aluminium forms lacquered in red; by elevated walkways joining the buildings; and by a semi-public square that engages in a dialoguewith the urban surroundings. The square serves as a connecting element forvarious parts of the city (Atocha Station, Calle Atocha, the Lavapiésneighbourhood), while evoking the Sabatini courtyard as an intimate, yetdiaphanous space.

Since its inauguration, visitor flow has a more plural structure, since the newbuilding provides an alternative entrance and there are various connectionsbetween the Sabatini galleries and the new spaces by Nouvel. Thisarrangement creates a number of potential itineraries and enables a clearerdistinction to be made between service areas and exhibition space.

Palacio de Cristal



Palacio de Cristal is one of the two exhibition venues that Museo Reina Sofíahas in Madrid's largest and best-known city park, Parque del Buen Retiro.Built by the architect Ricardo Velázquez Bosco in 1887, the palace is areflection of the use made by architecture of what were at the time newmaterials and also of 19th century colonialism.

The use of cast iron combined with large areas of glass creates a surprisingeffect, one that is monumental and at the same time diaphanous. Originallyconceived as a greenhouse in which to display plants during Madrid'sPhilippines Exhibition (1887), when the islands were a Spanish colony, itmade a show of exoticism within a setting of technological progress, creatingin visitors an image of fantasy and unreality.

Following the plant exhibition, it was used for the National Fine ArtsExhibition, an event that took place every two years. Since 1990 it hashoused specific projects and installations by contemporary artists, includingGabriel Orozco, Siah Armajani, Cildo Meireles, Nacho Criado, Ilya Kabakov,Pierre Huyghe and Jessica Stockholder, reflected in these pictures, amongothers.

Palacio de Velázquez



Palacio de Velázquez (1883) is, along with Palacio de Cristal, one of the twoexhibition areas that Museo Reina Sofía has in Parque del Buen Retiro inMadrid. It takes its name from the architect Ricardo Velázquez Bosco, whowas responsible for its construction, along with the ceramicist Daniel Zuloagaand the engineer Alberto del Palacio.

The building, in the realm of Neo-renaissance historicism, has a spacious floorplan, vaulted ceilings with iron structures and natural lighting, thanks to alarge area of glass. Conceived as the main pavilion for the InternationalExposition of Mining, Metal Arts, Ceramics, Glasswork and Mineral Waters of 1883, it follows the model used by Joseph Paxton for the Crystal Palace of London, built in 1851.

Since 1987 it has provided a venue for monographic exhibitions by artistssuch as Cindy Sherman, Nan Goldin, Juan Muñoz and José Manuel Broto, andothers. It was closed for renovations in 2005 and opened in 2010 with a

retrospective on Miralda, captured in these pictures.

Visitor Services

The Museo Nacional Centro de Arte Reina Sofía has a commitment to the public, as visitors whouse its services, constituting a demand for quality service that requires a specific statement.

This list of Visitor Services represents our willingness and effort to provide quality publicservice.

The Museo Nacional Centro de Arte Reina Sofía is an autonomous organization under theSpanish Ministry of Culture. Our primary aim is to encourage public access to variousmanifestations in modern and contemporary art in order to broaden knowledge, promoteeducation and foster social communication of the arts.

The Museo Nacional Centro de Arte Reina Sofía was created in 1988 as a center for temporaryexhibitions located in the former Hospital de San Carlos in Madrid, a seventeenth-century building designed by architect Francisco Sabatini. In 1992, the permanent collection opened tothe public, constituting the center as an authentic museum.

In 2005, the Annex designed by architect Jean Nouvel opened its doors to the public, respondingto the museum’s current needs for added space and operations supported by new technologicalresources.



The Museo Nacional Centro de Arte Reina Sofía is bestowed with the following functions bystatutory law:

• Exhibit the collections in an orderly fashion in conditions equipped to contemplate, studyand ensure their protection, conservation and restoration.

•

Develop temporary exhibition programs in modern and contemporary art.• Promote knowledge, dissemination and communication of artworks and cultural identityin the museum’s artistic holdings, and develop didactic activities with respect to itscontents.

• Develop research programs as well as create and publish catalogs and monographs.• • Establish collaborative relations with other museums and cultural institutions to foster

an exchange of experience and knowledge.

Services offered by the Museo Reina Sofía

Permanent Collection

Exhibited on levels two and four of the Sabatini building, the contents of the permanentcollection at the Museo Nacional Centro de Arte Reina Sofía, comprised of around six hundredworks from the museum’s holdings, show the transformation of Spanish art and its internationalcontext from the late nineteenth century to today.

Temporary Exhibitions

The Museo Nacional Centro de Arte Reina Sofía offers a wide and varied program of temporaryexhibitions in modern and contemporary art, produced by the museum or in collaboration withother cultural, national and international institutions.

• Film and video series• Avant-garde music concerts• Educational activities• School programs• Free guided visits for school groups led by cultural volunteers• Orientation, resources and training services for educators• Programs for families• Children’s workshops• Programs for youth• • Courses, seminars, conferences, debates and talks with artists

Publications

Catalogs, guides to the collection, conference proceedings and other specialized publications areavailable in the library.

Library and Documentation Center

Bibliography, photography and audiovisual holdings specializing in contemporary art. Offersopen access to researchers, photocopying service (within designated limitations by law), reserve



materials, bimonthly news bulletin, interlibrary loan service and publications exchange withother institutions.

Access for Researchers to the Museum’s Holdings and Documentation

Granted by request with accreditation, addressed to the Directors of the Museo Nacional Centro

de Arte Reina Sofía.Group Booking

For groups with a minimum of fifteen persons and a maximum of thirty (or twenty-five personsfor minors).

Renting Venues and Private Visits

According to rates indicated in current law.

• Bookstore and shop• Café and restaurant•

Checkroom

Commitment to Quality

The services and rights listed in these Visitor Services will be granted and recognized accordingto the following commitments:

• Respond to requests to book a group visit within eight days maximum upon receiving therequest.

•

Respond to requests to book volunteer guides for school group visits within one monthmaximum upon receiving the request.• Respond to the request for a Spanish Sign-Language interpreter for museum activities

within seven days maximum upon receiving the request.• Respond to requests for researchers to access the museum’s holdings and documentation

within eight days upon receiving the request.

Tracking Criteria

•

In order to measure the level of fulfillment for these commitments, the following criteriahave been established to evaluate the quality of service offered by the Museo NacionalCentro de Arte Reina Sofía:

• Requests to book a group visit answered within eight days, divided by the total number of requests.

• Requests to book volunteer guides for school group visits answered within one month,divided by the total number of requests.



• Requests for a Spanish Sign-Language interpreter for museum activities answered withinseven days, divided by the total number of requests.

• • Requests from researchers to access the museum’s holdings and documentationanswered within eight days, divided by the total number of requests.

Measures for Rectification

Visitors who believe that the Museo Nacional Centro de Arte Reina Sofía has not met thecommitments described in this list of Visitor Services may send a written complaint to the headof the department responsible for the claim.

If the terms of the commitment were not fulfilled, the designated person responsible for the listof Visitor Services will inform the petitioner, within twenty days maximum, of the reasons whythe commitment could not be met and the measures adopted to correct the matter.

Infringement of these terms shall not be transferrable to assets governed by Administration.

Visitor Participation

Visitors may participate in improving services provided by the Museo Nacional Centro de ArteReina Sofía by:

• Submitting a comment and suggestion form in compliance with this list of Visitor

Services.• The Royal Association of Friends of the Museo Nacional Centro de Arte Reina Sofía,

whose objective is to promote, stimulate and support all activities related to theMuseum’s mission and operations.

Comments and Suggestions

May be submitted in person, by mail or Internet.

Comment and suggestion forms submitted by e-mail or Internet must be signed with a digitalsignature from the interested party.

If comment and suggestion forms are presented in person, the user must fill out and sign the formavailable at information counters staffed by museum personnel.

For comment and suggestion forms that meet the above criteria, users will receive proof of receipt through the means indicated on the form.



E-mail to submit comment and suggestion forms:[email protected]

Deadline to Respond

Once the comment and suggestion form is received, the Communications Department willinform the interested party of any action taken within 20 business days.

The deadline to receive a response may be shortened in the event that the interested party requirea response within 10 business days, the reasons for which must be stated upon submitting theform.

The effect of submitting a formal complaint shall apply to those outlined in ROYAL DECREE951/2005, on July 29, which establish the general outlines for quality improvement in theGeneral Administration of the State.

Folleto carta de servicios 2009 Tríptico Carta de Servicios 2009

Collection

You are here: Collection » Presentation

• Presentationo Collection 1. 1900-1945o Collection 2. 1945-1968o Itinerarieso

Restoration

Hans Bellmer La muñeca. 1934

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Jean TinguelyMeta-Malevitch. 1954

Óscar Domínguez Retrato de la pianista Roma. 1933

Marcel Duchamp Hoja de parra hembra. 1950-1961



Dan FlavinThe Nominal Three (to William of Ockham). 1963

Max Ernst La bella alemana. 1934-1935

Öyvind FahlströmCurva de la vida nº 1, Ian Fleming. 1967

George Grosz La boda. 1918



Julio GonzálezCabeza de Montserrat gritando. 1941

Yves Klein Antropometría sin título (ANT 56). 1960

Roy Lichtenstein Pincelada. 1996

Marcel Broodthaers Panel with Eggs and Stool. 1966



Antoni MuntadasThe Last Ten Minutes II. 1977

Amédée Ozenfant Reds, Rome. 1920 -1925

Francis Picabia Brouette.1922

A museum’s collection intrinsically traces notions of history and time. But what history or histories do we tell? We are aware that, traditionally, museums have been trapped within acanonical view of history that seeks to establish sequential order between time periods. Thistraditional approach aims to explain works of art with documents and testimonies from an erawithout understanding that the images and objects far surpass the circumstances from which theywere born. In this light, this approach fails to understand that time is not a past time, but the time



of memory, which the historian interpellates insofar as this memory contains heterogeneoustimes.

We reclaim a space for critiquing history while upholding the value of narrating the past, not as ameans to discover “the way it really was,” but, following Benjamin, to seize hold of memory in

the present state of emergency “when it flashes up at a moment of danger,” thereby “wrestingtradition away from a conformism that is about to overpower it.” This history materializes in aweb of open-ended, fragmentary narratives that speak to us of hands, gazes and minds, all of them synchronized at one moment, crystallizing into an image, an object or a document. Aboveall else, this narrative involves conveying and activating experiences—experiences that refer to a past time and yet remain in the present, ones that can only be perceived from the present. Its endis not to find an escape route, but to enrich reflecting on experience, a kind of learning that doesnot stem from indoctrination, but from activating the ability to respond critically to the worldand, of course, to the museum itself.

This position implicitly entails the need to create a new vocabulary, a new nomenclature. The

Greek tragedies taught us that children bear their parents’ burden, or just the same, that we are born with a destiny predetermined by a language and social structure that shape it. But it is alsotrue that we can rewrite our own history, even though in order to do so we must forge newconcepts that allow us to apprehend and explain a different reality. The museum has chosen todistance itself from the linear narratives of modernity, as they have traditionally been exhibited, but also from the banal oblivion of postmodernist history, evident in new exhibition models. Wehave also wanted to distance ourselves from conventional distinctions between center and periphery, thereby attending to the complexity of relationships established between the local anduniversal. In the following itinerary, we propose four large sections that follow a historicalsequence, without wishing to impose a strict chronological order upon them. These groupings propose alternative routes and lines of flight that leave the narrative open-ended. In this manner,

visitors are invited to create their own routes and form their own interpretations.

Collection 1 1900-1945



Sabatini Building - Floor 2

The irruption of the 20th Century: Utopias and Conflicts (1900-1945)

201 Modernity. Progress and Decadentism

202 Words in Freedom. Surrealism and Magnetic Fields

203 The New Culture in Spain. Between the Popular and the Modern

204 Telluric Art

205 Salvador Dalí. Óscar Domínguez. Surrealism and Revolution

206 Guernica and the 1930s

206.01 Torres García. Construction and Abstraction

206.02 Oskar Schlemmer. Das Triadische Ballett (The Triadic Ballet), 1922

206.03 GATEPAC. Architecture and Avant-Garde

206.04 Miró. Painting and Anti-Painting

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206.05 Julio González. Drawing in Space

206.06 Guernica, 1937

206.07 Pavilion of the Spanish Republic, 1937

206.08 War Drawings. The Association of Revolutionary Artists

206.09 War Photography

206.10 Europe at War. The End of the Utopias

206.11 Basilio Martín Patino. Songs for after a War , 1971

207 The New Figuration. Between Classicism and Superrealism

208 Juan Gris. Reconfiguring the Modern Gaze

209 Noucentisme and New Art in Spain

210 The Cubist Rupture of Space

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Download Plan

Sabatini Building - Floor 4

Is the War Over? Art in a Divided World (1945-1968)

401 The Europe of Dystopia. Art after the Second World War.

402 An art for the Franco regime: Ruin and Utopia in the dream of national exaltation

403 Youth uprising. The lettrist, an alternative to post-war trauma

403 bis Lettrist film

404 Two visions of Spain in the 1950s. Eugene Smith and Brassaï

405 New forms of vitality. The recovery of the avant-garde in the early years of the Francodictatorship (1948-53)

406 Spanish Art of the 1950s and its International Projection

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407 Oteiza and the “Experimental Proposition”

408 Concrete Art in Brazil. Political Confrontations and Spaces of Intervention

409 North America and the Reinvention of Modernity I

410 North America and the Reinvention of Modernity II

411 Abstract Art: Geometry and Movement

412 The persistence of humour and popular culture in Spanish art

413 Images of Spain. Academicism and classicism in the 1950s

414 Estampa Popular. The irruption of Anti-Franco Reality in Art

415 Neo-Realism in Spanish Photography

416 Greco. The Adventure of the Real

417 Spanish Painting during Developmentism

418 Fontana

419 Picasso and Miró in the 1960s. Degree Zero of Painting.

420 Matta (1960-70). Humanized Architecture

421 The Society of the Spectacle

422 The return of Duchamp

423 Jackson Mac Low. Tree* Movie ( 1961/1971 begin_of_the_skype_highlighting 1961/1971 end_of_the_skype_highlighting )

424 New Realism

Itineraries

















































The Collection Itineraries are a set of printed materials designed to allow visitors to get to knowa selection of works that are especially relevant in relation to a specific topic.

The materials are available at no charge in the interpretation areas and can also be downloadedfrom this web site.

Lo poético

This visit proposes an oblique approach to post-war art from the perspective of poetics. It drawsour attention to artistic manifestations that appropriate traditional creative languages with the aimof subverting them. Poetic action thus functions as social and institutional critique and, in parallel, as political action.

Feminismo: Una mirada feminista sobre las vanguardias

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This itinerary through the spaces of the Collection questions the role and the visibility of womenin the history of art, seeking to awaken in visitors a new way of seeing, encouraging them tocritically consider the images of masculine domination and, in general, inviting them toacknowledge the work of women in overcoming stereotypical roles and models.

Architecture: Construction, People, Projects

Architecture is one of the cornerstones of modernism: it is the skyline of its utopias and also of its nightmares, and it is the setting of the transformations that have taken place in our way of life.Avant-garde art is crisscrossed with architecture in a multiplicity of ways, to the point that itcannot be fully understood without it.

Through fifteen selected art works, examined in relation to three fundamental axes (construction, people and projects), we will cover a large part of the chronological and spatial spectrum offered by the Collection, using an integrative perspective.

Current



Elena Asins. Fragments of Memory

Dates: June 15 - October 31, 2011Place: Sabatini Building, floor 3

Elena Asins (Madrid, 1940) was one of the original members of the Centro de Cálculo[Computing Centre] of the Universidad Complutense de Madrid. Her work traditionally fallswithin the normative and mathematical processes of geometric abstraction. This controlled rigor in composition reveals, however, a process of radical clarity and purification, in which grids, withtheir empty spaces and subtle sequential variations, exemplify the search for an underlyingsystem, a geometry that is both sensitive and controlled at the same time.+ info

Lili Dujourie. Nature is wise

Dates: June 10 - September 25, 2011Place: Abadía del Monasterio de Santo Domingo de Silos (Burgos)

Using ellipsis and the space between appearance and illusion, the Belgian artist Lili Dujourie(Roeselare, 1941) examines the ways of seeing and forms of perception built by the history of art,cinema and literature. This retrospective comprises video, collage, sculpture and drawing, anduses play and visual fugue to bring about an intellectual and emotional encounter with the viewer.

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Leonor Antunes.

camina por ahí. mira por aquí / walk around there. look through here

Dates: June 10 - September 5, 2011Place: Fisuras program, Sabatini Building, Floor 3

The sculptures of Leonor Antunes (Lisbon, 1972) have a tendency to build their own meaning,without documentary or metaphorical allusions. In the formal, physical dimension of the

sculpture, her work is about the measurement and codification of time-space and about how suchcodification, rather than being phenomenological, is something that depends on cultural andideological references. The sculpture appears as a work of art, but also as a tool for interpretingthe contingent nature of reality.+ info

Maja Bajevic. To Be Continued

Fechas: May 27 – October 3, 2011Lugar: Palacio de Cristal, Parque del Retiro

Maja Bajevic (Sarajevo, 1967) bases her work on a poetic and subtle review of historical andsocial fractures, which involves awareness of the spectator as an agent or audience alike. In her

work, she analyses the relationship between violence, power and identity construction, reflects onthe impact that political and social conflicts have on daily life and considers the need (as well asthe difficulty) to put oneself in another’s shoes.+ info

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Lygia Pape

Dates: May 25 - October 3, 2011Place: Sabatini Building, Floor 4

The art of Lygia Pape (Nova Friburgo, 1927 - Río de Janeiro, 2004) is known for its singularityand constant mutation, its ongoing effort to integrate the ethical, aesthetic and political spheres.Her abandonment of concrete geometry and founding of neoconcretism in 1959 is considered the

beginning of Brazilian contemporary art. Guided by the idea of writing an impossible book, thisexhibition brings together the attempts by the artist to find a language with which to reflect a newsensory order.+ info

James Castle. Show and Store.

Dates: May 18 - September 5, 2011Place: Sabatini Building, Floor 3

Primitive, outsider, vernacular or visionary are some of the words used to define the complexityof James Castle (Idaho, 1900-1977). The artist spent his life in rural Idaho, inventing his ownartistic technique while creating totemic assemblage pieces, drawings and books resembling

palimpsest. This exhibition is a departure from the critical apparatus that (mis)interprets the art of the mentally ill and instead shows Castle's work as a fractured vision of the world.+ info

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A Hard, Merciless Light.

The Worker-Photography Movement, 1926-1939

Dates: April 6 - August 22Place: Sabatini Building, Floor 3

The worker-photography movement remains a difficult, still-pending chapter in the history of

photography, a kind of “missing link” in our understanding of how photographic modernismevolved over the course of the 20th century. This exhibition is intended to rectify thisshortcoming, by recognizing the central role the movement played in the photographic debatesoccurring between the wars, in the documentary practices that led to modern visual culture and,especially, in the creation of the modern notion of photographic document.+ info

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Muzeul National Centrul de Arta Regina Sofia

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