Posts Tagged ‘playgrounds

26
Oct
19

Exhibition: ‘Wolfgang Schulz and the Photography Scene around 1980’ at the Museum für Kunst und Gewerbe Hamburg

Exhibition dates: 14th June – 24th November 2019

Featured photographers: Wolfgang Schulz, Hans Christian Adam, Dörte Eißfeldt, Verena von Gagern, André Gelpke, Dagmar Hartig, Andreas Horlitz, Reinhard Matz, Angela Neuke, Heinrich Riebesehl, Wilhelm Schürmann, Holger Stumpf, Petra Wittmar, and Miron Zownir

 

 

Wolfgang Schulz (b. 1944) 'Michael' 1980

 

Wolfgang Schulz (b. 1944)
Michael
1980
Silbergelatine | Gelatin silver paper
24 x 30 cm
Privatsammlung | private collection
© Wolfgang Schulz

 

 

I love this gritty, inventive, subversive German photography from the late 1970s – early 1980s. Challenge me. Take me bleak places. Tell it like it is, baby…

Marcus

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Many thankx to the Museum für Kunst und Gewerbe Hamburg for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Wolfgang Schulz (b. 1944) 'Selbstportrait' | 'Self-Portrait, Riesweiler' 1978

 

Wolfgang Schulz (b. 1944)
Selbstportrait | Self-Portrait, Riesweiler
1978
Silbergelatine | Gelatin silver paper
24 x 30 cm
Privatsammlung | private collection
© Wolfgang Schulz

 

Wolfgang Schulz (b. 1944) 'Ohne Titel' | 'Untitled' um | c. 1980

 

Wolfgang Schulz (b. 1944)
Ohne Titel | Untitled
um | c. 1980
Silbergelatine | Gelatin silver paper
24 x 30 cm
Privatsammlung | private collection
© Wolfgang Schulz

 

 

As part of its exhibition series Reconsidering Photography, the Museum für Kunst und Gewerbe Hamburg is undertaking a survey of the German photography scene around the year 1980. The springboard for the examination is the journal Fotografie. Zeitschrift internationaler Fotokunst, published by Wolfgang Schulz (b. 1944) between 1977 and 1985. On the occasion of the exhibition, MKG is inviting photography experts Reinhard Matz (Cologne), Steffen Siegel (Folkwang University Essen), and Bernd Stiegler (University of Konstanz) to relate their research project on the 1980s to the historical photographs in the MKG collection. The aim of the collaboration is to create a historical archaeology of German photography around 1980 based on the example of the journal Fotografie and its protagonists. The exhibition will show some 150 photos by Wolfgang Schulz, Hans Christian Adam, Dörte Eißfeldt, Verena von Gagern, André Gelpke, Dagmar Hartig, Andreas Horlitz, Reinhard Matz, Angela Neuke, Heinrich Riebesehl, Wilhelm Schürmann, Holger Stumpf, Petra Wittmar, and Miron Zownir, together with the journal itself, accompanied by a series of interviews conducted with contemporary witnesses expressly for the exhibition.

Something remarkable happened in the field of photography between 1975 and 1985: important galleries were established and photography increasingly became a coveted item on the art market. Suddenly, collecting and exhibiting photographs in museums was no longer the exception. Photography really stepped into the limelight in style at the so-called Mediendocumenta in 1977. Basic academic reference books were published and a large number of journals were founded. These include both periodicals that since that time have dominated the scholarly discourse, such as History of Photography and Fotogeschichte, as well as magazines designed for the broader public with an interest in photography, including Camera Austria, European Photography, Volksfoto, and Fotokritik.

Among this second group was a journal that was published between 1977 and 1985 with a total of 40 issues, for which its editor, Wolfgang Schulz, who had studied physics and then taught himself photography, chose a name that was as concise as it was ambitious: Fotografie. Zeitschrift internationaler Fotokunst (later Fotografie: Kultur jetzt). Today, this journal seems to have been almost completely forgotten. And yet the achievements of the editor and the contributing authors and photographers surely deserve a closer look. The mix of images and texts they came up with is an important resource for exploring a photography scene that, around 1980, was working hard to establish the medium as an independent art form. At the same time, the 40 issues of Fotografie exude the charm of the open-ended and were shaped by the personal predilections of their editor. An in-depth study of the journal lets us return to the origins of recent photographic history in Germany, which today – surprisingly enough – seem largely to have been buried in the dust of the past.

The exhibition is divided into four sections. It pays tribute to the photographic work of Wolfgang Schulz from the period around 1980, presents works by photographers that for the most part found their way into the MKG collection during that era, displays all 40 issues of the journal Fotografie (unfurling an impressive creative panorama), and lets contemporary witnesses have their say in video interviews as a kind of “oral history.”

Wolfgang Schulz was not merely one of the first journal editors to set himself the task of presenting “a complete overview of contemporary photography with a focus on German photography” but also a notable photographer in his own right. In his photography, as in his editorial work, Schulz tried to evade established norms, while also trying his hand at different styles and subjects. In his Ireland pictures, for example, he followed the narrative tradition of pictorial reportage but simultaneously created a strictly documentary-seeming typology of barns and their various manifestations. With a series of shots of undergrowth, he turned his attention to the unspectacular, and he also portrayed the protagonists on the photography scene who crossed his threshold. For the first time ever, the exhibition is showing his photographic works from the period around 1980.

The images in the MKG collection give an idea of the broad scope covered by art photography in the 1980s. The selection is based on the photo spreads published in Fotografie and thus undoubtedly reveals the preferences of its editor, who seems to have been interested neither in the circle around Bernd and Hilla Becher nor in Michael Schmidt, and who deliberately set out to provoke his readers. Heinrich Riebesehl (1938-2010) explored the North German landscape in his documentary series Agrarlandschaften (Agricultural Landscapes). In a similarly factual style, Wilhelm Schürmann (b. 1946) devoted himself to a highly subjective theme: his childhood surroundings on Steinhammerstrasse in Dortmund. These images are supplemented by his photographs of urban landscapes and residential architecture. Riebesehl and Schürmann both sought their motifs in the realities of life in West Germany that confronted them everywhere they looked. André Gelpke (b. 1947) for his part explored Hamburg’s St. Pauli entertainment district for an independent series he called Sex Theater. He conveys here his view of erotic theatre as a mirror of society that tellingly reveals the audience’s double standards. Wolfgang Schulz also printed Miron Zownir’s pictures of New York’s underground SM, queer, and transsexual scene. These photo spreads reflect the editor’s interest in non-establishment subcultures and in people living on the margins of society.

The photography scene around 1980 was predominantly male: of 147 portfolios published in Fotografie, only 24 presented female photographers. One of the privileged few, Dörte Eißfeldt (b. 1950), combined in her work Große Liebe (True Love, 1980) photographic montage techniques with the serial principle, creating in the darkroom photograms with motifs from her own daily life. Her approach might be dubbed “poetic photography,” the term used by photographer Verena von Gagern (b. 1946) to describe the “representation of private realities.” Von Gagern made pictures in the late 1970s within the “emotional realm” of her own family, among them the image Barbara (1978). Petra Wittmar (b. 1955) pursued by contrast a stricter documentary concept. In her series Spielplätze (Playgrounds, 1979), she takes a critical look at the dreary world of the modern metropolis.

Press release from the Museum für Kunst und Gewerbe Hamburg

 

André Gelpke (b. 1947) 'Pulverfaß' | 'Powder Keg III' 1978

 

André Gelpke (b. 1947)
Pulverfaß | Powder Keg III
1978
Silbergelatinepapier | Gelatin silver paper
22 x 32.8 cm
Museum für Kunst und Gewerbe Hamburg
© André Gelpke

 

Miron Zownir (b. 1953) 'New York' 1983

 

Miron Zownir (b. 1953)
New York
1983
Silbergelatinepapier | Gelatin silver paper
23.2 x 15.4 cm
© Miron Zownir

 

Verena von Gagern (b. 1946) 'Barbara' 1978

 

Verena von Gagern (b. 1946)
Barbara
1978
Silbergelatinepapier | Gelatin silver paper
29 x 19.8 cm
Museum für Kunst und Gewerbe Hamburg
© Verena von Gagern

 

Reinhard Matz (b. 1952) 'Blutwurst' | 'Blood Sausage' 1981

 

Reinhard Matz (b. 1952)
Blutwurst | Blood Sausage
1981
Aus der neunteiligen Serie “Wurst” | from the nine-part series “Wurst”
Silbergelatinepapier | Gelatin silver paper
22.5 x 27 cm
© Reinhard Matz, Köln

 

Hans-Christian Adam (b. 1948) 'Unterwasser-Gruppenportrait' | 'Underwater Group Portrait' 1985

 

Hans-Christian Adam (b. 1948)
Unterwasser-Gruppenportrait | Underwater Group Portrait (Salzburg College Photo Students)
Vigaun bei | near Hallein, Salzburg, 1985
Silbergelatinepapier | Gelatin silver paper
19.2 x 26.5cm
© Hans Christian Adam

 

Angela Neuke (1943-1997) 'US President Ronald Reagan visiting Germany for the NATO Ministerial Conference in Bonn on June 9 and 10, 1982'

 

Angela Neuke (1943-1997)
Deutschlandbesuch von US-Präsident Ronald Reagan in Zusammenhang mit der NATO-Ministerkonferenz am 9. und 10. Juni 1982 in Bonn, 1982 | US President Ronald Reagan visiting Germany for the NATO Ministerial Conference in Bonn on June 9 and 10, 1982
Silbergelatinepapier | Gelatin silver paper
18,6 x 28 cm
LVR Landesmuseum Bonn
© L. Lutz, 2019

 

Andreas Horlitz (1953-2016) aus der Serie | from the series "Essen, Frühling 1981" 1981

 

Andreas Horlitz (1953-2016)
Aus der Serie | from the series “Essen, Frühling 1981”
1981
C-Prints
40.3 x 59.4 cm + 13.9 x 59.4 cm
Museum Folkwang, Essen
© VG Bild-Kunst, Bonn 2019

 

Dagmar Hartig (b. 1952) 'Ohne Titel' | 'Untitled' 1981

 

Dagmar Hartig (b. 1952)
Ohne Titel | Untitled
1981
Aus der Serie | from the series “Plastic World”
C-Print
20.3 x 30.2 cm
© VG Bild-Kunst, Bonn 2019

 

Dörte Eißfeldt (b. 1950) Aus | from "Dunkelrücken" 1986

 

Dörte Eißfeldt (b. 1950)
Aus | from “Dunkelrücken”
1986
Dia-Installation mit 170 Kleinbilddias und Tonspur | Slide installation with 170 35mm slides and soundtrack
© Dörte Eißfeldt

 

Holger Stumpf (b. 1953) 'Planetarium, Stadtpark' | 'city park Hamburg' 1979

 

Holger Stumpf (b. 1953)
Planetarium, Stadtpark | city park Hamburg
1979
Silbergelatinepapier | Gelatin silver paper
16 x 23.5 cm
Museum für Kunst und Gewerbe Hamburg
© Holger Stumpf

 

Heinrich Riebesehl (1938-2010) 'Schillerslage (Hannover), Okt. 78' 1978

 

Heinrich Riebesehl (1938-2010)
Schillerslage (Hannover), Okt. 78
1978
Aus der Serie | from the series “Agrarlandschaften” (Agricultural landscapes)
Silbergelatinepapier | Gelatin silver paper
22.6 x 35.9 cm
Museum für Kunst und Gewerbe Hamburg
© VG Bild-Kunst, Bonn 2019

 

Wilhelm Schürmann (b. 1946) 'Kohlscheid' 1978

 

Wilhelm Schürmann (b. 1946)
Kohlscheid
1978
Silbergelatinepapier | Gelatin silver paper
21.4 x 28 cm
Museum für Kunst und Gewerbe Hamburg
© Wilhelm Schürmann, Herzogenrath

 

Petra Wittmar (b. 1955) Aus der Serie | from the series "Spielplätze" 1979

 

Petra Wittmar (b. 1955)
Aus der Serie | from the series “Spielplätze” (playgrounds)
1979
Silbergelatinepapier | Gelatin silver paper
17 x 26 cm
© Petra Wittmar

 

 

Museum für Kunst und Gewerbe Hamburg
Steintorplatz, 20099 Hamburg

Opening hours:
Tuesday to Sunday 10 am – 6 pm
Thursday 10 am – 9 pm
Closed Mondays

Museum fur Kunst und Gewerbe Hamburg website

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16
Sep
14

Exhibition: ‘Playgrounds. Reinventing the square’ at the Museo Nacional Centro de Arte Reina Sofía, Madrid

Exhibition dates: 29th April – 22nd September 2014

Curatorship: Manuel J. Borja-Villel, Tamara Díaz y Teresa Velázquez

Artists: Vito Acconci, Efrén Álvarez , Erich Andrés, Karel Appel, Archigram, Archizoom, Ricardo Baroja, Bernardo Bertolucci, Lina Bo Bardi; André Vainer and Marcelo Ferraz. Photography: Paquito, André Breton, Hans Bruggeman, Caja Lúdica, Camping Producciones, Henri Cartier-Bresson, Tranquillo Casiraghi, Mariana Castillo Deball, Francesc Català-Roca, Mario Cattaneo, Agustí Centelles, Chto Delat?, Julieta Colomer, Joan Colom, Constant (Constant Nieuwenhuys), Waldemar Cordeiro, Corneille, Violette Cornelius, Margit Czenki, Guy Debord, Maya Deren, Disobedience Archive. Curator: Marco Scotini, Ed van der Elsken , James Ensor, El equipo de Mazzanti (Giancarlo Mazzanti, Carlos Medellín, Stanley Schultz, Juliana Zambrano, Eugenia Concha, Lucia Lanzoni and Mariana Bravo), Escuela de Valparaíso, Marcelo Expósito, Aldo van Eyck, Kattia García Fayat, Priscila Fernandes, Ángel Ferrant, José A. Figueroa, Robert Filliou, Peter Fischli, Peter Friedl, Alberto Giacometti, John Goldblatt, Francisco de Goya, GRAV (Groupe de Recherche d’Art Visuel), Grupo Contrafilé, Eric Hobsbawm, Lady Allen of Hurtwood, Internationale Situationniste, Cor Jaring, Kindel (Joaquín del Palacio), Henri Lefebvre, Fernand Léger, Helen Levitt, Liverani, L.S. Lowry, Maruja Mallo (Ana María Gómez González), Man Ray (Emmanuel Radnitzky), Melchor María Mercado, Boris Mikhailov, Masato Nakagawa, Beaumont Newhall, Palle Nielsen , Isamu Noguchi , Nils Norman, Nudo (Eduardo Marín and Vladimir Llaguno), Hélio Oiticica, OMA / Rem Koolhaas, Cas Oorthuys, Amédée Ozenfant, Martin Parr, Jan H Peeterse, Erik Petersen, Adrian Piper, Cedric Price, Ab Pruis, Edgar Reitz and Alexander Kluge, Oliver Ressler, Jorge Ribalta, Xavier Ribas, Marcos L. Rosa, Emilio Rosenstein (Emil Vedin), Roberto Rossellini, Otto Salemon, Louis Sciarli, Alison y Peter Smithson, Kenneth Snelson, José Solana (José Gutiérrez Solana), Carl Theodor Sørensen, Humphrey Spender, Christensen Tage, Túlio Tavares (comp.), Teatro Ojo, Robert Venturi, Denise Scott Brown and Steven Izenour, Jean Vigo, Nuria Vila, Dmitry Vilensky, Pedro Vizcaíno, Peter Watkins, Weegee (Arthur H. Fellig), David Weiss

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Many thankx to the Museo Nacional Centro de Arte Reina Sofía for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Installation view of the exhibition 'Playgrounds. Reinventing the square'

Installation view of the exhibition 'Playgrounds. Reinventing the square'

Installation view of the exhibition 'Playgrounds. Reinventing the square'

Installation view of the exhibition 'Playgrounds. Reinventing the square'

Installation view of the exhibition 'Playgrounds. Reinventing the square'

Installation view of the exhibition 'Playgrounds. Reinventing the square'

Installation view of the exhibition 'Playgrounds. Reinventing the square'

Installation view of the exhibition 'Playgrounds. Reinventing the square'

 

Installation views of the exhibition Playgrounds. Reinventing the square at the Museo Nacional Centro de Arte Reina Sofía, Madrid

 

 

Through a selection of works from different time periods and in different mediums (paintings, sculptures, installations, videos, photographs, archive devices…), this exhibition analyses the socialising, transgressive and political potential of play when it appears linked to public space. The premise of Playgrounds is twofold: on one side, the popular tradition of carnival shows how the possibility of using recreational logic to subvert, reinvent and transcend exists, if only temporarily. On the other side, there has been two fundamental constants in utopian imagery throughout history: the vindication of the need for free time (countering work time, productive time) and the acknowledged existence of a community of shared property, with a main sphere of materialisation in public space.

The historical-artistic approach to the political and collective dimension of spaces of play, on view in this exhibition, gets under way in the second half of the 19th century, a time that signals the start of the process of free time becoming consumption time; a process that threw the concept of public space into crisis as it started to be conceived not only as an element for exercising (political) control, but also one for financial gain. Thus, cities started to become the objects of rational and utilitarian planning, where the field of architecture was redefined, providing spaces for play with new values, built as one of the key points of the modern ideology of the public.

This ideology was reshaped in the early decades of the 20th century; for instance, during this time projects were implemented that allowed the recovery and increased value of land that had been completely torn apart by war, turning it into areas of play aimed at nurturing children’s independence. The significant turning point in this process of restructuring took place during the 1960s, when, as demonstrated by numerous artistic and activist experiences and practices in recent decades, the festive subversion and anti-authoritarian outbursts from carnivalesque logic started to be employed as political tools attempting to generate other ways of making and contemplating the city, as well as organising community life.

With some 300 works, the exhibition recounts a different history of art, from the end of the 19th century to the present day, whereby the artwork plays a part in redefining public space by exploring the city as a game board, questioning modern-day carnival, vindicating the right to laziness, reinventing the square as a place of revolt and discovering the possibilities of a new world through its waste. The exhibit takes the playground model as an ideological interrogation of an alienated and consumerist present.

Text from the Museo Nacional Centro de Arte Reina Sofía website

 

Frank Burke. 'A kids scooter race at the Paddy's Markets in Sydney, 19 August 1956' 1956

 

Frank Burke
A kids scooter race at the Paddy’s Markets in Sydney, 19 August 1956
1956
Silver gelatin print

 

Helen Levitt. 'Boy with Ribbon' 1940

 

Helen Levitt
Boy with Ribbon
1940
Silver gelatin print

 

Agustí Centelles. 'Barcelona, España. Guardería infantil en Vía Layetana' [Babysitting in Layetana Road] 1936-39

 

Agustí Centelles
Barcelona, España. Guardería infantil en Vía Layetana [Babysitting in Layetana Road]
1936-39

 

Fernand Léger. 'Les Loisirs - Hommage à Louis David' [Leisure - Homage to Louis David] 1948-1949

 

Fernand Léger
Les Loisirs – Hommage à Louis David [Leisure – Homage to Louis David]
1948-1949

 

Palle Nielsen. 'A group of activists from different organisations in Denmark cleared a backyard in Stengade 52'

 

Palle Nielsen
A group of activists from different organisations in Denmark cleared a backyard in Stengade 52 in the area Nørrebro in Copenhagen the 31 of March 1968 and build a playground for the children instead. This was done to create attention of the lack of playgrounds as well as an overall redevelopment of the area
© VEGAP, Madrid, 2014
© PETERSEN ERIK / Polfoto

 

Louis Sciarli. 'Le Corbusier. Marseille: Unité d'habitation, École Maternelle' [Le Corbusier. Marseille: housing unit, Kindergarten] 1945/2014

 

Louis Sciarli
Le Corbusier. Marseille: Unité d’habitation, École Maternelle [Le Corbusier. Marseille: housing unit, Kindergarten]
1945/2014

 

Maruja Mallo (Ana María Gómez González) 'The Fair' 1927

 

Maruja Mallo (Ana María Gómez González) (Viveiro, Lugo, Spain, 1902 – Madrid, Spain, 1995)
The Fair (La verbena)
1927 (September)
Oil on canvas
119 x 165 cm

 

In 1928, at a one-woman exhibition put on by Ortega y Gasset in the rooms of the Revista de Occidente, Maruja Mallo showed the four oil paintings in the Madrid Fair series from which La verbena (The Fair), currently in the Museo Reina Sofía collection, is taken. In this colourful painting, an example of her personal world-view, the artist creates Baroque-filled scenes that are apparently without logic, where the motifs self-multiply into a whirlwind of lines and sensations. Imbued with a sharp critical sense, which is translated by the painter into subtle satire, the painting contains all the elements of the traditional popular Madrid fairs (the shooting gallery, the test-your-strength machine), alongside the principal characters and other, stranger kinds of characters like the one-eyed giant, the priest enjoying one of the sideshows or the man with deformed feet, begging with a guitar on his back. All this contributes to an undeniably Surrealist atmosphere.

 

Helen Levitt. 'New York (Two girls with ribbon)' c. 1940

 

Helen Levitt
New York (Two girls with ribbon)
c. 1940

 

Marcos L. Rosa. 'Revisitando los playgrounds de Aldo van Eyck' 1974/2011

 

Marcos L. Rosa
Revisitando los playgrounds de Aldo van Eyck
1974/2011

 

 

The exhibition addresses the socializing, transgressive and political potential of play in relation to public space. Ever since the popular tradition of the carnival, it has been recognized that it is possible, even if only temporarily, to subvert, reinvent and transcend an everyday life reduced to a mere exercise in survival. The recognition of the existence of communal goods and the need for free time, in direct contradistinction to working time, are two fundamental constants of the utopian imagination throughout history.The public space, as an ambience which synthesizes the notion of communal goods, is materialized as part of the experience of citizen participation.

Adopting as its premise the notion of carnival pageantry as a practice that alters the established order, the exhibition Playgrounds. Reinventing the square will explore the collective dimension of play and the need for a “ground” of its own in order to engage in the construction of a new public arena. Playgrounds (curated by Manuel J. Borja-Villel, Tamara Díaz and Teresa Velázquez) takes a historical and artistic approach to the space reserved for play and its socializing, transgressive and political potential from the dawn of modernity to the present day. The show to be seen at the Museo Reina Sofía aims to explore the recreational, playful, festive side of life that puts the humdrum reality of the everyday on hold, subverting, reinventing and transcending it for one fleeting moment.

With approximately 300 works in several formats (painting, sculpture, facilities, video, photography, graphical arts, cinema and documents) of artists like James Ensor, Francisco of Goya, Henri Cartier-Bresson, Helen Levitt, Alberto Giacometti, Ángel Ferrant, Hélio Oiticica, Lina Bo Bardi, Fischli and Weiss, Vito Acconci, Priscila Fernandes, or Xabier Rivas, Playgrounds. Reinventing the square shows how the playful element, understood as creative strategy, coexists with questions related to the public sphere Departing from this idea, the exhibition explores the recognition of the time and the space of the game as areas of essay and learning.

The show adopts the model of the ‘playground’ as an ideological interrogation of an alienated and consumerist present. After the industrial revolution and the gradual implantation of labor systems based on the capitalist principle of minimum investment for maximum gain, there emerges an indissociable identification between producer and consumer, one of whose immediate consequences is the conversion of free time into consumption time. The alienation of labor dominates modes of life and gives rise to a crisis in public spaces, threatened in their turn by economic forces. Derived from a rational and utilitarian planning of the city, the public park is instituted as a surrogate collective paradise, leading from the mid-19th century to great urban facilities for mass consumption and entertainment. From architecture, within the Modern Movement and its derivates, comes the definition of the playground, endowed with new social, pedagogical and functional values while at the same time emerging as one of the key points of the modern ideology of the public.

The ideas of a “junk playground”, proposed by the Danish architect Carl Theodor Sørensen in 1935, and of an “adventure playground”, which was promoted in the United Kingdom by the landscape architect Lady Allen of Hurtwood and spread to several European cities after the Second World War, are means of retrieving and attaching significance to wastelands and bomb sites as play areas aimed at child autonomy. In the sixties, the child is vindicated as an autonomous political subject in a context dominated by the vindication of the right to the city, and coinciding with the high point of the revolt of the homo ludens (borrowing from the essay of the same name by Johan Huizinga) in the context of May ’68. As evidenced by the numerous processes of social activism in recent years, festive subversion and the anti-authoritarian overspilling of boundaries by the carnival become new ways of practising politics. The movements of 2011 in such scattered locations as Tahrir (Cairo), Sol (Madrid), Syntagma (Athens), and other squares, streets and neighborhoods restored the public and democratic dimension of such spaces. This temporary occupation, articulated through virtual communications networks, implied a reappropriation of the political and experimentation with other forms of organization and communal life.

The introduction to the exhibition will provide background on the carnivalesque concept of life, underscoring certain aspects related to the notion of free time in modern life. The show will also revisit the street as a place of play and self-realization, through examples of adventure playgrounds as well as photographs and films that will give a historic panoramic since the 1930s from a documentary perspective. The nucleus of the exhibition is devoted to the model of the modern playground and its contradictions, with relevant materials accounting for the urban revolution of the 1960s, the consideration of the city as a relational and psychological construction and works that parallel aesthetic and political transformations.

The last section of the show will consist of a series of experiments based on antihegemonic exercises, such us the civil appropriation of the street for “playground” use and works that challenge passive recreation through the emancipative power of play, not to mention recent experiences that resume the collective reinvention of the square and have become essential in envisioning new ways of doing politics.

Press release from the Museo Nacional Centro de Arte Reina Sofía

 

Helen Levitt. 'Untitled (Boy and gun)' 1940

 

Helen Levitt
Untitled (Boy and gun)
1940
Silver gelatin print

 

Francesc Català-Roca Valls (Tarragona, Spain, 1922 - Barcelona, Spain, 1998) 'Games in an Empty Lot' 1950 (circa) / Posthumous print, 2003

 

Francesc Català-Roca Valls (Tarragona, Spain, 1922 – Barcelona, Spain, 1998)
Games in an Empty Lot
1950 (circa) / Posthumous print, 2003
Selenium-toned gelatin silver print on paper

 

Helen Levitt. 'Fruit and candy' Nd

 

Helen Levitt
Fruit and candy
Nd

 

Joan-Colom-No-Title-1958-1961-WEB

 

Joan Colom (Barcelona, Spain, 1921)
No title
from the series El carrer (The Street)
Date:  1958-1961 (circa) / Vintage print
Technique:  Gelatin silver print on paper

 

Joan Colom published his series on Barcelona’s Chinatown in the magazine AFAL (1962) with an autobiography: “Age: 40. Profession: Accountant. Hobbies: Apart from photography, obviously, none.” Of his method, Colom said: “I have decided to only work with subjects that I have predetermined.” Oriol Maspons adds the technical details: “Everything was taken using a Leica M2, shot from the hip without framing or focusing. A real photographer’s work. More than a year on the same subject.” The series had been exhibited with some success (and controversy) at the Sala Aixelá in Barcelona the previous year, under the title El carrer (The Street). In 1964 it was finally published by Lumen in one of the finest photo-books in their Palabra e Imagen collection, “Izas, rabizas y colipoterras”, designed by Oscar Tusquets and Cristian Cirici. Camilo José Cela contributed a text based around Colom’s (surreptitious but captionless) photos that was full of broad, cruel humour, pitilessly mocking the women, photographed by Colom and judged by Cela. Somewhat ahead of her time, one of the women actually sued the photographer, the only result of which was the photo-book’s withdrawal from bookshops, and Colom’s retirement from photography for years. From the 1980s onwards public obscurity became public recognition, which has continued to grow.

 

Helen Levitt. 'Children playing with a picture frame, New York' (Niños jugando con un marco, Nueva York) c. 1940

 

Helen Levitt
Children playing with a picture frame, New York (Niños jugando con un marco, Nueva York)
c. 1940

 

 

Museo Nacional Centro de Arte Reina Sofía
Sabatini building. Room A1
Calle Santa Isabel, 52
Madrid 28012 Spain
Tel: (+34) 91 7741000

Opening hours:
Monday – Saturday from 10.00 am – 9.00 pm
Sunday from 10.00 am – 2.30 pm

Museo Nacional Centro de Arte Reina Sofía website

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, a photographic archive and form of cultural memory, which posts mainly photography exhibitions from around the world. He holds a Dr of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

Marcus Bunyan black and white archive: ‘Mask’ 1994

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