Madrid (EFE) in his creations.
Framed within the PhotoEspaña 2023 contest, the exhibition will offer, until October 1, works between 1910 and 2011 from the José Luis Soler Vila Collection, which will help to understand the evolution of photography while addressing “the theme of body from different places”, from the nude to abstraction, passing through political criticism.
Vision of the construction of femininity of three artists
As indicated in a press conference by Alba Raja, curator of the exhibition together with Sandra Guimarães, under the work of the three artists “underlies a vision of the construction of femininity from art”, an element that serves as a common link to unite his work in a single show.
Thus, the images of the American Cunningham (1883-1973), one of the pioneers of photography, will show the progress of this art starting from her first works, where she experimented with the self-portrait in black and white and imitated the pictorial style of the period, until he came to portray parts of the body more clearly in surrealist compositions.
Everyday elements with a poetic function
In them, in addition to combining everyday elements such as bathtubs, washboards or canary cages with a poetic function, she uses techniques such as the superposition of images or movement, which contrast with some of the portraits that the photographer made during the thirties. Among which an iconic Frida Kahlo pose stands out.
In the case of Woodman (1958-1981), the body of the photographer becomes the main protagonist of the work by showing self-portraits of the artist in motion, making early use of blurring and sometimes imitating the Victorian portrait combining her figure with fabrics and symbolic elements that sow the unknown of how his work would have progressed had he not committed suicide at the age of twenty-two, as explained in the presentation.
The most political facet of the exhibition will be carried out by the Croatian Sanja Iveković, also related to the world of performance art, who, according to Raja, lets “her experiences about the fall of the Berlin wall and the war in Yugoslavia” influence in a “very personal” vision of the representation of women from a political point of view.
For this reason, the polyptych “The Pearls Of Revolution (The Right One)” will show a succession of large-size snapshots of the sociologist Jana Šarinic posing with makeup and a pearl necklace in her hand, as if she were a model, imitating the Yugoslav partisan salute until he found the exact gesture.