Exhibitions PDF Print

The exhibitions will be a result of extended research.

The 80s as a starting point (MNCARS)

The major new collection display at Museo Reina Sofía’s covers the ‘80s and ‘90s. It outlines the central relationships between art, society and citizenship in recent history. The last decades of the 20th century pivoted around 1989-91, with the fall of Berlin wall, the Balkan conflict and the end of right-wing dictatorships in Latin America. The exhibition will take in these elements as reflected in artistic practice as well as looking at consequences of economic globalization policies from 1989 onwards.


1848 – 1989 - today
New Republics (VAM)

The exhibition offers a 19th century perspective through which to zoom in on the formation and decay of modern art together with its parallel development in the modern ‘republican’ state. The exhibition focuses on studies in the Netherlands, Belgium, Ireland, the United Kingdom, Spain, the Balkans (including Greece) and Turkey over the period. It will include both new commissions and extensive use of L’Internationale’s collective collections and networks.


 Assuming the Role of In- stitutions/ Neue Slowenische Kunst (NSK) in the 1980s (MG+MSUM)

The exhibition will present NSK as one of the most significant and original Eastern European contributions to the world treasury of modern artistic ideas. In addition to a synthetic view of the work of NSK in the socio-political context of 1980s Yugoslavia, the exhibition project will draw a comparison between the art of NSK and related aesthetic and activist concepts appearing internationally at around the same time.


Spain’s 80s (MACBA) 

This ongoing research project into the 1980’s focuses on art and counter-cultural publications from 1972 to 1990 as well as the topographic context and ideological strata of the 1980s. The investigation operates within the “Spanish transition” from the dictatorial Franco regime to liberal democracy. With the approval of the constitution in 1979 and the first democratic council elections in 1981, the country developed a political system based on a non-declared federalism. Spain’s entry to the EU and NATO in 1986 also gave access to a whole new political framework for the country. All this was reflected in cultural production on many levels.


The Welfare State (M HKA)

This exhibition revisits the art of the Cold War period and reinterprets it against a wider socio-political background. The Welfare State relates art between 1950 and 1985 to the European traditions of social welfare and care for other citizens. Fluxus, the Situationist International and various forms of engaged art practice will be important, as well as individual artists such as Joseph Beuys (Germany), Robert Filliou (France), Michelangelo Pistoletto (Italy) and Stephen Willats (England).


Turkey’s 80s (SALT)

The project surveys the period between the 12th September dictatorship and 1989 from multiple angles. It reintroduces the perseverance of certain artistic propositions despite the most traumatic fractures in the country’s history and traces both fissures and continuities. It allows for a comparative research of object-based practices from angles that are not solely about a “return to order,” and summons back all forms of artistic production that operated outside the bounds of the sanctioned cultural sphere. The project re-examines the notions of the end of the public and the privatization of culture and keeps questioning the real cost to their environment.


Civil Society and “The Alternative” (MG+MSUM)

In Slovenia, the 1980s saw the development of new civil initiatives and social movements, including the peace, ecological, feminist and gay movements, as well as alternative arts and media. The term “civil society” was first used at a 1983 workshop/happening entitled “What is the alternative?”. The exhibition series will look at how this played out in the cultural scene where civil society was understood as an analytical model and political alternative.


1985 -1995 (VAM and M HKA)

The art historical exhibition series ends with a three exhibitions that draw inspiration of the projects of the other partners and contextualize their narratives within their own institutional and geographic history.


80s - the global starts here (SALT) 


The Benevolent Order of the New Mechanics
Whw Blindly, Figuring our Riddles (MNCARS)

The curatorial collective WHW will organize an exhibition that looks to repoliticize education as a condition for recovering politics in the midst of the imposed structural adjustments after the financial crisis. The exhibition starts from the framework of critical pedagogy and Paulo Freire’s “pedagogy of the oppressed”. It insists on the role of public education to achieve conditions necessary for ‘citizens’ to ‘govern’, problematizing educational reforms steered by the humanist faith in education as the development of ‘people’s creative potential’, as well teaching-as- therapy and a mode of righting wrongs.


The Benevolent Order of the New Mechanics
After Identity (M HKA) 

This exhibition will showcase an emergent generation of European and non-European artists through selecting 30 young artists born in the 1980s. This venture into the future of Europe and its relations with the wider world will complement the historical investigations that inform the L’Internationale project elsewhere. After Identity will ask questions that touch on the economic, social and political realities facing Europe one hundred years after the First World War, and on the ethics and aesthetics of life in years to come.


The Finale – The European Museum Tour 2017

In 2017, the UoA will celebrate the development of the L’Internationale as a sustainable cosmology of European museums. Each partner will programme one exhibition at the same time and a cultural tour of this newly established European landscape will be organised. Each exhibition reflects a specific issue relevant to the formation of a cosmology of European museums. The exhibitions unite the knowledge gained through the deep institutional collabo- ration with the new art history and BONM and remain committed to the UoA project. At this point the titles indicate the direction of the exhibitions, which will be further developed during the 5 year period.