CONTINUUM: FROM THE DIALOGUE WITH DELCY MORELOS

In an art industry that increasingly advocates following the lines established by cultural policies, it is always comforting to return to thesis themes, to environments that draw from social and historiographic sources, of course, but also from myths and a well-understood anthropology. You can go deeper in subtitles and lines or you can put together a skeleton, but the overview can also be a reward these days.

The Museo Moderno announced that La Menesunda, the legendary work by Marta Minujín and Rubén Santantonín –a work originally created in 1965, reconstructed by the Museo de Arte Moderno de Buenos Aires and inaugurated in 2015 and later in 2019 at the New Museum in New York– is on view for the first time in Europe as part of a tour that will show it in four countries.

“I imagine the museum as an archipelago. It is not a continent, but an archipelago (...) The idea today is to put the world in contact with the world, to put some parts of the world in contact with other parts of the world... We must multiply the number of worlds inside museums”. Édouard Glissant (Sainte-Marie, Martinique, 1929-Paris, France, 2011) expressed his vision of museum functionality in this metaphorical way in his work Poetics of Relationship (1990).

Jesús Rafael Soto (Ciudad Bolívar, Venezuela, 1923-Paris, France, 2005) carried out several investigations during the 1960s on possible solutions to face the fragmentation that his language needed. From those explorations emerged the T, a fine, metallic element of simple purity that allowed him to access, with satisfaction, to that disintegration he pursued and to reach a certain sensation of vibration and sublime volatility thanks to the linear disposition of these elements and their uniform arrangement that ended up giving the work a certain mediation between the spectator and the space and movement.

Travesía Cuatro hosts at its Madrid headquarters Surf and Turf, the fifth exhibition that the gallery dedicates to Milena Múzquiz (Tijuana, Mexico, 1972), that gathers, with about thirty works, the continuity of the production that began after the aesthetic and technical change produced by the end of Los Súper Elegantes, a musical group that he shared with the Argentine Martiniano López Crozet, and which represented a platform that brought together his purest expression through voice and body, as well as with the aesthetic possibilities of costumes and image.

Nebulosa de la calabaza is the title of the first solo exhibition presented in Spain by Tabita Rezaire (Paris, France, 1989), an artist living in French Guiana. Renowned for her use of new media and multidisciplinarity to explore the relationship between contemporary worlds transited from technology and their relationship with the most ancestral and spiritual environment, the Guyanese-heritage artist focuses her production on activism from the perspective of denunciation from feminism and decolonization as key points.

Sol Calero (Caracas, Venezuela, 1982) uses the guanabana, a fruit endemic to Central America and the Caribbean, to symbolically instrumentalize the creation of a representation of the feelings of belonging, home, everyday life and stereotypes through the wide conquest of the spaces of the Museo Centro de Arte Dos de Mayo, transformed for the occasion into visual and popular references of a well-known and recognized Latin America.

The Museum of Pontevedra exhibits Vento (wind, in Galician), the proposal that the artist Alberto Baraya (Bogota, Colombia, 1968) has developed and now shows at its headquarters in the Castelao Building as part of the cycle of exhibitions Infiltracións. This program aims to carry out specific projects that have as their backbone the dialogue arising from research and work with pieces from the collection of the Galician institution to promote re-readings on it.

Based on the biologicist theories on territoriality and the relationships derived from living beings with their immediate environment, the Angeles Baños gallery from Badajoz proposes an exhibition project to three Latin American artists so that, through their experiences and their personal vision, they can materialize and express those feelings of territoriality, and always from the parallelism of the human being with the rest of living beings.

In an art industry that increasingly advocates following the lines established by cultural policies, it is always comforting to return to thesis themes, to environments that draw from social and historiographic sources, of course, but also from myths and a well-understood anthropology. You can go deeper in subtitles and lines or you can put together a skeleton, but the overview can also be a reward these days.

The Museo Moderno announced that La Menesunda, the legendary work by Marta Minujín and Rubén Santantonín –a work originally created in 1965, reconstructed by the Museo de Arte Moderno de Buenos Aires and inaugurated in 2015 and later in 2019 at the New Museum in New York– is on view for the first time in Europe as part of a tour that will show it in four countries.

“I imagine the museum as an archipelago. It is not a continent, but an archipelago (...) The idea today is to put the world in contact with the world, to put some parts of the world in contact with other parts of the world... We must multiply the number of worlds inside museums”. Édouard Glissant (Sainte-Marie, Martinique, 1929-Paris, France, 2011) expressed his vision of museum functionality in this metaphorical way in his work Poetics of Relationship (1990).

Jesús Rafael Soto (Ciudad Bolívar, Venezuela, 1923-Paris, France, 2005) carried out several investigations during the 1960s on possible solutions to face the fragmentation that his language needed. From those explorations emerged the T, a fine, metallic element of simple purity that allowed him to access, with satisfaction, to that disintegration he pursued and to reach a certain sensation of vibration and sublime volatility thanks to the linear disposition of these elements and their uniform arrangement that ended up giving the work a certain mediation between the spectator and the space and movement.

Travesía Cuatro hosts at its Madrid headquarters Surf and Turf, the fifth exhibition that the gallery dedicates to Milena Múzquiz (Tijuana, Mexico, 1972), that gathers, with about thirty works, the continuity of the production that began after the aesthetic and technical change produced by the end of Los Súper Elegantes, a musical group that he shared with the Argentine Martiniano López Crozet, and which represented a platform that brought together his purest expression through voice and body, as well as with the aesthetic possibilities of costumes and image.

Nebulosa de la calabaza is the title of the first solo exhibition presented in Spain by Tabita Rezaire (Paris, France, 1989), an artist living in French Guiana. Renowned for her use of new media and multidisciplinarity to explore the relationship between contemporary worlds transited from technology and their relationship with the most ancestral and spiritual environment, the Guyanese-heritage artist focuses her production on activism from the perspective of denunciation from feminism and decolonization as key points.

Sol Calero (Caracas, Venezuela, 1982) uses the guanabana, a fruit endemic to Central America and the Caribbean, to symbolically instrumentalize the creation of a representation of the feelings of belonging, home, everyday life and stereotypes through the wide conquest of the spaces of the Museo Centro de Arte Dos de Mayo, transformed for the occasion into visual and popular references of a well-known and recognized Latin America.

The Museum of Pontevedra exhibits Vento (wind, in Galician), the proposal that the artist Alberto Baraya (Bogota, Colombia, 1968) has developed and now shows at its headquarters in the Castelao Building as part of the cycle of exhibitions Infiltracións. This program aims to carry out specific projects that have as their backbone the dialogue arising from research and work with pieces from the collection of the Galician institution to promote re-readings on it.

Based on the biologicist theories on territoriality and the relationships derived from living beings with their immediate environment, the Angeles Baños gallery from Badajoz proposes an exhibition project to three Latin American artists so that, through their experiences and their personal vision, they can materialize and express those feelings of territoriality, and always from the parallelism of the human being with the rest of living beings.

The Museo Moderno announced that La Menesunda, the legendary work by Marta Minujín and Rubén Santantonín –a work originally created in 1965, reconstructed by the Museo de Arte Moderno de Buenos Aires and inaugurated in 2015 and later in 2019 at the New Museum in New York– is on view for the first time in Europe as part of a tour that will show it in four countries.

“I imagine the museum as an archipelago. It is not a continent, but an archipelago (...) The idea today is to put the world in contact with the world, to put some parts of the world in contact with other parts of the world... We must multiply the number of worlds inside museums”. Édouard Glissant (Sainte-Marie, Martinique, 1929-Paris, France, 2011) expressed his vision of museum functionality in this metaphorical way in his work Poetics of Relationship (1990).

Jesús Rafael Soto (Ciudad Bolívar, Venezuela, 1923-Paris, France, 2005) carried out several investigations during the 1960s on possible solutions to face the fragmentation that his language needed. From those explorations emerged the T, a fine, metallic element of simple purity that allowed him to access, with satisfaction, to that disintegration he pursued and to reach a certain sensation of vibration and sublime volatility thanks to the linear disposition of these elements and their uniform arrangement that ended up giving the work a certain mediation between the spectator and the space and movement.

Travesía Cuatro hosts at its Madrid headquarters Surf and Turf, the fifth exhibition that the gallery dedicates to Milena Múzquiz (Tijuana, Mexico, 1972), that gathers, with about thirty works, the continuity of the production that began after the aesthetic and technical change produced by the end of Los Súper Elegantes, a musical group that he shared with the Argentine Martiniano López Crozet, and which represented a platform that brought together his purest expression through voice and body, as well as with the aesthetic possibilities of costumes and image.

Nebulosa de la calabaza is the title of the first solo exhibition presented in Spain by Tabita Rezaire (Paris, France, 1989), an artist living in French Guiana. Renowned for her use of new media and multidisciplinarity to explore the relationship between contemporary worlds transited from technology and their relationship with the most ancestral and spiritual environment, the Guyanese-heritage artist focuses her production on activism from the perspective of denunciation from feminism and decolonization as key points.

Sol Calero (Caracas, Venezuela, 1982) uses the guanabana, a fruit endemic to Central America and the Caribbean, to symbolically instrumentalize the creation of a representation of the feelings of belonging, home, everyday life and stereotypes through the wide conquest of the spaces of the Museo Centro de Arte Dos de Mayo, transformed for the occasion into visual and popular references of a well-known and recognized Latin America.

The Museum of Pontevedra exhibits Vento (wind, in Galician), the proposal that the artist Alberto Baraya (Bogota, Colombia, 1968) has developed and now shows at its headquarters in the Castelao Building as part of the cycle of exhibitions Infiltracións. This program aims to carry out specific projects that have as their backbone the dialogue arising from research and work with pieces from the collection of the Galician institution to promote re-readings on it.

Based on the biologicist theories on territoriality and the relationships derived from living beings with their immediate environment, the Angeles Baños gallery from Badajoz proposes an exhibition project to three Latin American artists so that, through their experiences and their personal vision, they can materialize and express those feelings of territoriality, and always from the parallelism of the human being with the rest of living beings.

In an art industry that increasingly advocates following the lines established by cultural policies, it is always comforting to return to thesis themes, to environments that draw from social and historiographic sources, of course, but also from myths and a well-understood anthropology. You can go deeper in subtitles and lines or you can put together a skeleton, but the overview can also be a reward these days.

The Museo Moderno announced that La Menesunda, the legendary work by Marta Minujín and Rubén Santantonín –a work originally created in 1965, reconstructed by the Museo de Arte Moderno de Buenos Aires and inaugurated in 2015 and later in 2019 at the New Museum in New York– is on view for the first time in Europe as part of a tour that will show it in four countries.

“I imagine the museum as an archipelago. It is not a continent, but an archipelago (...) The idea today is to put the world in contact with the world, to put some parts of the world in contact with other parts of the world... We must multiply the number of worlds inside museums”. Édouard Glissant (Sainte-Marie, Martinique, 1929-Paris, France, 2011) expressed his vision of museum functionality in this metaphorical way in his work Poetics of Relationship (1990).

Jesús Rafael Soto (Ciudad Bolívar, Venezuela, 1923-Paris, France, 2005) carried out several investigations during the 1960s on possible solutions to face the fragmentation that his language needed. From those explorations emerged the T, a fine, metallic element of simple purity that allowed him to access, with satisfaction, to that disintegration he pursued and to reach a certain sensation of vibration and sublime volatility thanks to the linear disposition of these elements and their uniform arrangement that ended up giving the work a certain mediation between the spectator and the space and movement.

Travesía Cuatro hosts at its Madrid headquarters Surf and Turf, the fifth exhibition that the gallery dedicates to Milena Múzquiz (Tijuana, Mexico, 1972), that gathers, with about thirty works, the continuity of the production that began after the aesthetic and technical change produced by the end of Los Súper Elegantes, a musical group that he shared with the Argentine Martiniano López Crozet, and which represented a platform that brought together his purest expression through voice and body, as well as with the aesthetic possibilities of costumes and image.

Nebulosa de la calabaza is the title of the first solo exhibition presented in Spain by Tabita Rezaire (Paris, France, 1989), an artist living in French Guiana. Renowned for her use of new media and multidisciplinarity to explore the relationship between contemporary worlds transited from technology and their relationship with the most ancestral and spiritual environment, the Guyanese-heritage artist focuses her production on activism from the perspective of denunciation from feminism and decolonization as key points.

Sol Calero (Caracas, Venezuela, 1982) uses the guanabana, a fruit endemic to Central America and the Caribbean, to symbolically instrumentalize the creation of a representation of the feelings of belonging, home, everyday life and stereotypes through the wide conquest of the spaces of the Museo Centro de Arte Dos de Mayo, transformed for the occasion into visual and popular references of a well-known and recognized Latin America.

The Museum of Pontevedra exhibits Vento (wind, in Galician), the proposal that the artist Alberto Baraya (Bogota, Colombia, 1968) has developed and now shows at its headquarters in the Castelao Building as part of the cycle of exhibitions Infiltracións. This program aims to carry out specific projects that have as their backbone the dialogue arising from research and work with pieces from the collection of the Galician institution to promote re-readings on it.

Based on the biologicist theories on territoriality and the relationships derived from living beings with their immediate environment, the Angeles Baños gallery from Badajoz proposes an exhibition project to three Latin American artists so that, through their experiences and their personal vision, they can materialize and express those feelings of territoriality, and always from the parallelism of the human being with the rest of living beings.

In an art industry that increasingly advocates following the lines established by cultural policies, it is always comforting to return to thesis themes, to environments that draw from social and historiographic sources, of course, but also from myths and a well-understood anthropology. You can go deeper in subtitles and lines or you can put together a skeleton, but the overview can also be a reward these days.

The Museo Moderno announced that La Menesunda, the legendary work by Marta Minujín and Rubén Santantonín –a work originally created in 1965, reconstructed by the Museo de Arte Moderno de Buenos Aires and inaugurated in 2015 and later in 2019 at the New Museum in New York– is on view for the first time in Europe as part of a tour that will show it in four countries.

“I imagine the museum as an archipelago. It is not a continent, but an archipelago (...) The idea today is to put the world in contact with the world, to put some parts of the world in contact with other parts of the world... We must multiply the number of worlds inside museums”. Édouard Glissant (Sainte-Marie, Martinique, 1929-Paris, France, 2011) expressed his vision of museum functionality in this metaphorical way in his work Poetics of Relationship (1990).

Jesús Rafael Soto (Ciudad Bolívar, Venezuela, 1923-Paris, France, 2005) carried out several investigations during the 1960s on possible solutions to face the fragmentation that his language needed. From those explorations emerged the T, a fine, metallic element of simple purity that allowed him to access, with satisfaction, to that disintegration he pursued and to reach a certain sensation of vibration and sublime volatility thanks to the linear disposition of these elements and their uniform arrangement that ended up giving the work a certain mediation between the spectator and the space and movement.

Travesía Cuatro hosts at its Madrid headquarters Surf and Turf, the fifth exhibition that the gallery dedicates to Milena Múzquiz (Tijuana, Mexico, 1972), that gathers, with about thirty works, the continuity of the production that began after the aesthetic and technical change produced by the end of Los Súper Elegantes, a musical group that he shared with the Argentine Martiniano López Crozet, and which represented a platform that brought together his purest expression through voice and body, as well as with the aesthetic possibilities of costumes and image.

Nebulosa de la calabaza is the title of the first solo exhibition presented in Spain by Tabita Rezaire (Paris, France, 1989), an artist living in French Guiana. Renowned for her use of new media and multidisciplinarity to explore the relationship between contemporary worlds transited from technology and their relationship with the most ancestral and spiritual environment, the Guyanese-heritage artist focuses her production on activism from the perspective of denunciation from feminism and decolonization as key points.

Sol Calero (Caracas, Venezuela, 1982) uses the guanabana, a fruit endemic to Central America and the Caribbean, to symbolically instrumentalize the creation of a representation of the feelings of belonging, home, everyday life and stereotypes through the wide conquest of the spaces of the Museo Centro de Arte Dos de Mayo, transformed for the occasion into visual and popular references of a well-known and recognized Latin America.

The Museum of Pontevedra exhibits Vento (wind, in Galician), the proposal that the artist Alberto Baraya (Bogota, Colombia, 1968) has developed and now shows at its headquarters in the Castelao Building as part of the cycle of exhibitions Infiltracións. This program aims to carry out specific projects that have as their backbone the dialogue arising from research and work with pieces from the collection of the Galician institution to promote re-readings on it.

Based on the biologicist theories on territoriality and the relationships derived from living beings with their immediate environment, the Angeles Baños gallery from Badajoz proposes an exhibition project to three Latin American artists so that, through their experiences and their personal vision, they can materialize and express those feelings of territoriality, and always from the parallelism of the human being with the rest of living beings.