Current
Tomoko Yoneda
Chrysanthemums, 2011
© Tomoko Yoneda. Courtesy of the artist and ShugoArts
09.FEB.2021 09.MAY.2021
Tomoko Yoneda
Madrid
Alexéi von Jawlensky
Princess Turandot, 1912
Private collection, Switzerland. Held by the Zentrum Paul Klee, Bern
09.FEB.2021 09.MAY.2021
Alexéi von Jawlensky
Madrid
Joan Miró
Le chant de l’oiseau à la rosée de la lune / The song of the bird to the dew of the moon, 1955
© Successió Miró 2020
09.FEB.2021 09.MAY.2021
Espacio Miró
Madrid
Claudia Andujar
Susi Korihana thëri nadando, Catrimani, Roraima, 1972-1974
© Claudia Andujar
18.FEB.2021 16.MAY.2021
Claudia Andujar
Barcelona
Authorship unknown
Portraits of a woman and a man, ca.1840-1860
Case with two daguerreotypes from the Ángel Fuentes de Cía collection
© Josep Maria Oliveras
18.FEB.2021 16.MAY.2021
The Captive Gaze
Barcelona
Upcoming
Bill Brandt
Parlor maid and under parlor maid ready to serve dinner, 1936
Private collection, Courtesy Bill Brandt Archive and Edwynn Houk Gallery
© Bill Brandt / Bill Brandt Archive Ltd.
01.JUNE.2021 29.AUG.2021
Bill Brandt
Fundación MAPFRE Recoletos Exhibition Hall (Madrid)
An apprentice in Man Ray’s studio and influenced in his origins by artists such as Brassaï, André Kertész or Eugène Atget, Bill Brandt (Hamburg, 1904-London, 1983), one of the founders of modern photography, conceived the language of photography as a powerful means of contemplating and understanding reality, but always from a primacy of aesthetic considerations over documentary ones. Published in the press or in books, some of his photographs quickly became iconic pieces, indispensable for understanding mid-century English society.
His work also expresses a permanent attraction to everything strange, to everything that causes attraction such as strangeness and provokes unease. His latest work shows a more experimental approach, a search for innovation through cutting and framing, evident above all in nude images.
Joan Miró and Lize Hirtz
Il était une petite pie (Once There Was a Little Magpie)
Book by Lise Deharme (Lise Hirtz) illustrated with eight prints by Joan Miró
Edition Jeanne Bucher, 1928 | 239/300
© Joan Miró. Courtesy Jeanne Bucher Jaeger, Paris.
© Successió Miró 2021
01.JUNE.2021 29.AUG.2021
Miró: Poem
Fundación MAPFRE Recoletos Exhibition Hall (Madrid)
“I agree with Breton on the disturbing character of a written page,” Joan Miró once wrote. He thus pointed out how the paradigm of writing, especially poetry, would be central to the evolution of painting. The Miró exhibition: Poem traces the relations between Miró’s pictorial work and poetry from different points of view, in a profound vision that transcends the concept of “illustration”, a notion that establishes a hierarchy between media that is irreconcilable with the artist’s discourse. This relationship between painting and poem runs through Miró’s entire career and develops along two distinct lines. One is to unravel the role of poetic writing in his concept and practice of painting from the 1920s to his late work, both conceptually and literally, through Miró’s own paintings, drawings and poetic texts. Another, more direct line, refers to his collaborations with various poets in French, Spanish and Catalan, in a constant interplay between word and image, between linguistic signs and pictorial strokes.
Garry Winogrand
Central Park Zoo, New York City, 1967
Fundación MAPFRE Collection, Madrid
© The Estate of Garry Winogrand, courtesy Fraenkel Gallery San Francisco
08.JUNE.2021 05.SEPT.2021
Garry Winogrand
KBr Photography Center, Fundación MAPFRE (Barcelona)
Photographer form the streets of America, Garry Winogrand (New York, 1928-1984) has been acknowledged along with Diane Arbus and Lee Friedlander as one of the fundamental figures in the renewal of documentary photography.
In his early days, Winogrand worked for popular magazines such as Life, Lookor Sports Illustrated, but he soon abandoned photo-journalism to devote himself to a new photographic culture linked to the art world. From 1955 onwards, he traveled around much of the United States collecting images of the pacifist and counter-cultural movements of the 1960s.
His almost compulsive way of photographing reflects the chaos and vitality of American society for three decades. His extensive work, created while entwined in urban life, depicts a reality that is shown as it is, without moral judgment, as if a catalog of everyday life.
Nicholas Nixon
The Brown Sisters, 1975
© Nicholas Nixon
08.JUNE.2021 05.SEPT.2021
The Brown Sisters
KBr Photography Center, Fundación MAPFRE (Barcelona)
Nicholas Nixon (Detroit, 1947) holds a unique and outstanding place in the history of photography in recent decades. He focuses particularly on portraits and with a clear interest in the descriptive possibilities of the camera. His work reveals tension between what is visible, content (with an extraordinary clarity and compositional skill) and what is invisible, the thoughts and concerns that emerge in his images. The series The Brown Sisters is Nicholas Nixon’s best-known work, consisting of portraits of his wife Beverly Brown (Bebe) and her three sisters, taken each year since 1975. From this simple starting point, Nixon has created one of the most convincing investigations into portraiture and the passing of time of contemporary photography.
This series was the first acquisition when Fundación MAPFRE started up its photography collection in 2009.
Past exhibitions
If you were unable to visit one of our exhibitions, or you would like to revisit the feelings you experienced when viewing a particular work, you can do so here in our past exhibitions section.
