Museo Nacional Palacio de Velázquez Related activities Exhibition 5 May - 12 October 2015 Palacio de Velázquez Centro de Arte Reina Sofía Parque del Retiro, Madrid A propósito de... Carl Andre. Sculpture as Place, 6 May - 28 September 2015 Edificio Sabatini Sabatini Building Opening Hours 1958-2010 Santa Isabel, 52 From April to September Guided Tours Nouvel Building Every day from Palacio de Velázquez Ronda de Atocha 10.00 a.m. to 10.00 p.m. Saturdays and Sundays at 12.30 p.m. (with plaza del July and August, Sundays only Carl Andre Emperador Carlos V) From October to March 28012 Madrid Every day from 10.00 a.m. to 6.00 p.m. Sculpture as Place, 1958-2010 Tel. (34) 91 774 10 00

Opening hours Monday to Saturday and bank holidays from 10.00 a.m. to 9.00 p.m.

Sundays from 10.00 a.m. to 2.15 p.m. complete Museum visit, from 2.15 to 7.00 p.m. visit to Colection 1 and a temporary exhibition (check Website)

Closed on Tuesdays

Visitors are kindly asked to clear the galleries 15 minutes before closing

www.museoreinasofia.es Solarust , Berlin, 1984. Steel. View of the installation. Galerie im Körnerpark (DAAD), Berlin, 1984 Courtesy of the artist. © Carl Andre, VEGAP , Madrid, 2015 5 1 0 2 - 7 8

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- Exhibition organized by the Dia Art This exhibition has been enabled to travel 5 1 - Foundation in association with the internationally thanks principally to the GOBIERNO MINISTERIO 6 3

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DE ESPAÑA : Museo Nacional Centro de Arte support of the Henry Luce Foundation and

Y DEPORTE O P I Reina Sofía The Terra Foundation for American Art N Carl Andre. Sculpture as Place, 1958-2010 5 May – 12 October 2015

Carl Andre (Quincy, , 1935), sculptor and poet, is one of the most outstanding and complex figures in Minimal Art, an artistic movement that emerged in the early sixties in the United States. From a reductionist stance, the minimalists attempted to explore the essence of the object by employing industrial materials and processes that would allow serial reproduction, eliminating every subjective trace so that the artwork would refer exclusively to itself.

The beginnings of this artist, who radically time he had made by chiseling and cutting redefined the field of sculpture, were with power tools to render slender pillars marked by his friendships with the film- from single planks or stacks that rise from maker and the painter the ground to his own height. He even , and by his early discovery of radicalized his gesture of imbuing sculpture the sculpture of Constantin Brancusi and the with horizontality to the point of laying it poetics of Ezra Pound. With unaltered flat on the ground. At the same time, industrial materials and an irreverent accompanied by his avid intellect, a deep approach to language, he proposed a affection for poetry, and commitment to Carl Andre, Cask of Meats , 1959. Modified book revolutionary concept of composition leftist politics, Andre would sharpen his Courtesy of the artist. © Carl Andre, VEGAP , Madrid, 2015 involving the use of minimal units and a questions and clarify his understanding of particular exploration of space. Traceable sculpture by making the typewriter his juncture of instrument and instinct. It was Carl Andre: Sculpture as Place, 1958-2010 , in his career are some of the most studio. In the 1960s, he generated over rather that through thinking about the the first retrospective on the artist to be influential of the trends that followed the thirteen hundred pages of poems, in a materiality of sculpting and writing, the held in Spain, reviews his fifty years of path of , from visual poetry to monumental reflection that called form of language and matter, the artist artistic production, in the course of which or conceptual art. attention to the subtle intertwining of operates within a historical development, he created over two thousand sculptures materials and the English language. In his providentially decodes and proposes a and an equal number of poems, plus Upon arriving in New York City in 1957, own words: “Art is not only the investment reading of present conditions, and dozens of assemblages that are hard to after an erratic artistic education lasting of creative energy, but the sharpening of the ultimately shifts art into a realm of classify, and hundreds of postcards. several years, Carl Andre found himself critical faculties. . . . I think art is truly an experience. The discovery of this Organized along a loose chronology to able to develop his creativity in sculpture, open set. There are no ideal forms to strive examination proved to be a defining event construct different modes of looking, the drawing and experimental writing. The for nor hierarchies to obtain to. Things have in Andre’s unorthodox probing with exhibition unfolds over three sections. The abundant tabletop geometric constructions qualities. Perceive the qualities.” sculpture and poetry and led him to devise first, consisting of sculpture, is mostly on of his first period were made primarily a notion of “place” that is charged with display at the Palacio de Velázquez, while from wood, but he soon identified the At the outset of Andre’s explorations with utopian energy and an invigorating the others can be seen at the Sabatini limitations of his own craftsmanship and both writing and sculpting, the question understanding of art as a viewpoint into Building. One brings together his became intrigued by the inherent became not whether scavenging from the reality. It is the conjunction of these two unclassifiable productions, ranging from properties of manufactured materials— streets for materials or extracting words modes of creation, the placement of his ephemera to the enigmatic assemblages their form, weight, and surface. In a span of from a book enacted a new and copious materials and words, that is the root of known as Dada Forgeries , which establish six years, from 1958 through 1964, Andre stance for originality, or whether the Andre’s reciprocal relationship to place, an irreverent dialogue with Marcel would vacate the residues of the artist’s anonymity of the machine-made units or where we may recognize our presence and Duchamp, while the third and final section hand from his sculptures, which before this the typewritten text accounted for the “perceive the qualities.” is devoted to visual poetry.