Museo Reina Sofia, Madrid


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January 10th, 2015.
  The Museo Nacional Centro de Arte Reina Sofía is a huge building, an old palace, and former hospital, with a modern wing attached to it with a large red glossy roof. Three glass elevators have been constructed on the old façade from which you have a beautiful view of the city.
There is a huge brush stroke in the courtyard. A three-dimensional image in black and white by Roy Lichtenstein: Brush Stroke from 1996. There are several of them. This was manufactured posthumously in 2001.

  We first go upstairs. On the highest floor of Reina Sofia, on a terrace outside, is a 2010 statue by Antoni Miralda. Up to just under the red shiny roof you see a sheep on a pig, which in turn stands on a bull, all with a horn. There are texts and dotted lines with the names of the meats as they are called at the butcher. The Latin title says: You can't argue about taste.

Mathias Goeritz (1915 - 1990) was a German sculptor, painter and architect of Jewish-German descent. The Ruta de la Amistad (Way of Friendship) is a 17 km-long sculpture route designed by Goeritz, on the occasion of the 1968 Summer Olympics in Mexico City. Photos of the mainly concrete images under construction are very fascinating. They show the robust scaffolding constructions around the molds. Beautiful monumental results show how beautiful concrete can be, pure, straight and fresh from the formwork.

A design by Mathias Goeritz, the snake, has been recreated in a large scale in one of the halls.

The work of my peer, Juan Luis Moraza, is a relief for me because it is virtually the only present contemporary art in Madrid at the moment. Even from the tourist information shop, trails to galleries with contemporary art lead to dead ends.
The Moraza exhibition is called República.
One of the works is Aa large square surface on a floor that is covered with a large collection of heels. Ordinary black heels of men's shoes, small and large, up to and including stiletto heels in all sizes. They are neatly arranged, upside down. You walk around it and stoop to look at it in a frog perspective, but this does not create a representation of something recognizable. It is like a landscape.

  The shafts are in another room. Spade handles, broom handles, axe handles, hoes and other tools. Grouped or in a small group connected with a chrome ornament. What intrigues me the most are three, brand new, neatly welded sledgehammers. They are welded with their heads perpendicular to each other, so if you already had three hands to be able to grab the handles, you cannot determine the direction if you were to hammer. It immediately starts to burn in my head. There is something I can do with this, but differently.