In an open letter, European institutional leaders defend Manuel Borja-Villel, who has faced right-wing attacks for his progressive programming.
The investigation represents the first step of a process to return the works to families and descendants of those who originally owned them.
Carlos Bunga’s architectural installation in the Reina Sofía’s Crystal Palace creates the facade of stability and strength yet is actually ephemeral and even fragile.
The Madrid museum collaborated with a fragrance company to create ten scents of items seen in the masterpiece “The Sense of Smell.”
A show at the Prado valorizes cross-cultural flows while muffling ruptures, and two contemporary art exhibitions critique Hispanic legacies to investigate how art history occludes power.
To showcase this work exactly 500 years after Magellan’s conquest of the Philippines in a space that, 134 years ago, was a “human zoo” of Indigenous people from the Philippines, is certainly poignant.
These glowing, dynamic artworks reproduce something of Bosch’s chaotic energy, but on an immersive, multi-sensory scale.
In 1988, one Spanish photographer transformed a commission to shoot French designer Philippe Model’s accessories line into a quirky exploration of her own artistry.
Asunción Molinos Gordo creates pitchers, jugs, and basins in centuries-old designs typical of the Iberian Peninsula and the Mediterranean.
The initiative opens the Prado’s collection to the public and provokes unexpected encounters with art.
Shot in 1967, Lyon’s photographs offer a more nuanced and human perspective of the destruction of the old lower Manhattan, one that is often paved over by history books.
“Uninvited Guests” looks at sexism in Spain during the late 19th and early 20th centuries, and at the museum’s own essential role in perpetuating it.