By making a choice of the most representative images of the work we have done in the museum this year that is coming to a close, we ourselves have been able to visualise the reach and quantity of the projects in which the whole team has been working! With a relatively small team a lot of work has been carried out. Whether it has been good or not is up to you to decide. The rate of participation in the multiple activities organised, plus the more than one million visitors we have received, plus some awards indicate that we are heading in the right direction, but we still have to do more and better. Your comments and criticisms help us to improve so that the museum becomes a space of more and more knowledge open to debate and participation.[click on the images to enlarge]
Interview with Richard Kendall and Elizabeth Cowling, curators of the exhibition “Picasso looks at Degas“. Selected comments and complete video of the interview.
Richard Kendall: She works on Picasso, I work on Degas, and we said, well, here is a story, there’s a very interesting story, a challenge for us to put it into the form of an exhibition and to examine the way that Picasso looked at Degas, learned from Degas, got engaged with Degas’ art, and how that works out through the course of his career. That’s really the basis of the exhibition: it’s a very simple idea which we followed step by step through the show.
On Thursday 14 October the Museu Picasso opened the exhibition “Picasso Looks at Degas”, a co-production by the museum and the Sterling and Francine Clark Art Institute in Williamstown, Massachusetts.
This project, curated by Elizabeth Cowling and Richard Kendall, is the result of four years of research by the two historians, the former a leading specialist in the work of Picasso and the latter an expert on the work of Edgar Degas. The scholarly endeavour that has gone into preparing the show is evident in each and every one of the chosen works, in the depth of the premises and the seriousness of the theses put forward, and also in the sense of fascination and the openness with which the curators have engaged with the project.
On 12 June the museum of the Sterling and Francine Clark Art Institute inaugurated the American phase of the exhibition “Picasso Looks at Degas“, which will have its unique presentation in the European Museu Picasso from 14 October.
The Clark Institute is a highly prestigious museum and centre for research in the history of art in Williamstown (Massachusetts), in the heart of New England. Just a couple of hours north of New York City, the town hosts a wealth of cultural activities during the summer, and the opening, part of the annual Summer Gala, brought together over 300 people in the Clark’s lovely gardens. Read more »
Throughout 2010 exhibitions about the work of Picasso are taking place around the world; this is a great year for anyone interested in his work.
At present, apart from the temporary exhibition that just opened at the Picasso Museum on the relationship between Picasso and Santiago Rusiñol, the exhibition “Picasso: Peace and Freedom”, on art and politics in Picasso’s work at the Tate Liverpool can be seen, among others. An exhibition on Picasso and the horse has also recently been inaugurated at the Picasso Museum of Málaga, and since last month a major exhibition of the complete collection of Picasso’s work from the museum’s collection has been opened at the Metropolitan Museum of Art in New York. In this same city, an exhibition of Picasso’s engravings can also be seen at the MoMA. Read more »
Last Monday the Museum presented its new programme for the 2009/2010 season in an incomparable location – the renovated Las Meninas Room.
Before presenting the program and the exhibitions calendar, the Director, Pepe Serra, stressed two basic ideas that underpin the Museum’s lines of actuation. Firstly, the idea of complexity and heterogeneity: ‘We must bear in mind that audiences have changed and diversified a great deal while museums have remained very static,‘ Pepe Serra said at the press conference. Society has changed and museums need to evolve accordingly. Hence the need for critical reflection in order to make the Museum’s programmes more complex and more heterogeneous, offering different things, but always on the basis of a project, with each one contributing value.