ARTISTIC PROPOSAL “MUSEO-19”

 

Are you a local artist and would like to participate in an artistic intervention on art and Covid-19?

 

Ralli Museum Marbella is launching this proposal to provide a space for impressions and reflections on the coronavirus health crisis and its consequences in relation to art and exhibition spaces.

Aimed at artists from Marbella, our objective is to make this problem and its possible consequences in our immediate surroundings more visible, giving prominence and visibility to those who have been affected.

Throughout history, artists have been responsible for reflecting the repercussions of the reality around them. During the lockdown we have turned to them both to understand reality and to escape from it. Now we want to hear what you have to say. Please join in!

Groups of adults

Grupos de adultos

The Ralli Museum does not offer guided tours. However, we invite you to enjoy a free self-guided visit of the collection of Latin American and European art housed by the Museum.

We propose three different tours that you can enjoy on the same day or on different days:

  • Tour of the European Art Collection - Rooms 2, 3 and 4 (upper floor)
  • Tour of the Latin American Art Collection - Rooms 5, 6, 7, 8 and 9 (ground floor)
  • Temporary exhibition Spartacus Movement - Room 1    Download room opening times here
  • Temporary exhibition SEOANE. Portraits - Room 10      Download room opening times here
Grupos de adultos

For groups of over 20 people, advance booking is recommended by calling 952 857 923 or sending an e-mail to marbella@museoralli.es

Our recommendation!
Ask reception for assistance to view the work “Reflejo de lo que fue, pensando lo que será” by Eduardo Soriano.

School visits

Centros escolares y sociales

Every school year, the Ralli Museum in Marbella welcomes visits from schools and educational establishments. To continue promoting visits and the enjoyment of the Ralli Collection among children and young people, the Ralli Museum reminds you of the following:

– Access to the Museum is free.

Just call in advance on 952 85 79 23 to book your visit.

– The Ralli Museum has large exhibition spaces to accommodate group visits as well as an outdoor courtyard where visitors can take a break and eat breakfast.*

– To enjoy the visit and these spaces to a maximum, groups should ideally contain a maximum of 30 children. They can be alternated with a new group on the same day or be divided across the different floors within the Museum.

– Students must be accompanied by teachers or responsible adults throughout the visit (3 adults per group of 25-30 children).

Personalise your visit!

The Ralli Museum does not offer guided visits, but we offer you some supporting material for use in class as well as in the Museum (This material will only be available in Spanish). These resources provide a guide to both the educator and the student on the art and concepts that they will find during their visit to the Ralli Collection.

Centros escolares y sociales

What kind of art would you like to see today?

Due to the variety and scope of the exhibitions on offer at the Ralli Museum, we recommend that you focus your visit on a specific theme. This way, the student will better explore the collection’s concepts and gain more knowledge before and during their visit, facilitating their understanding of the topics selected by you, in a fun and entertaining way: playing!

These teaching guides are available for schools so that they can prepare their visit in advance. They include different activities to do before and during the visit.

 

Option A: Permanent Collection | Latin American Art |

Option B: Permanent Collection | European Art |

 

Before starting to use the Self-guides we recommend watching the Presentation and recommendations for Self-guides.

This material will only be available in Spanish

For more information or to request material, please contact dep.artistico@museoralli.es

 

Recommendations and rules during your visit to the Museum:

The Museum is a place to have fun and learn but there are certain rules that have to be followed:
Do not touch the works or the walls. Do not run, skid or slide.
Do not eat inside the Museum.
You are allowed to talk! But please do so one at a time and without shouting.
Bring your camera! Take pictures of the works (without flash) or videos, so you can take the experience home.

Centros escolares y sociales

*The Ralli Museum does not have a cafeteria and cannot provide breakfast. The school or the students are responsible for bringing breakfast if they wish.

**For a more comfortable visit, students must leave their backpacks in the Museum’s reception. Any material needed for the visit and activities should be taken out beforehand and carried at all times by an adult. Don’t worry, backpacks will be returned to students for breaks or breakfast if they are to be held in the Museum courtyard.

Family visits

Visitas en familia

We love to receive visits from families or groups of friends who want to bring art closer to the little ones. Ralli Marbella Museum provides materials to help you plan your own customizable tour.

And above all, we are convinced that the artistic and cultural experience is not limited to visiting the museum, which is why we encourage visitors to enjoy the art at home, either before or after their visit to our premises.

 

See materials prior to the visit _ Art notebooks to take home (from 6 to 10 years old) This material will only be available in Spanish

See Self-guides to visit the museum  This material will only be available in Spanish

The real advantage of this visitor system is to be able to enjoy the museum experience in your own way. For this reason, at Ralli Marbella Museum we do not underestimate the power of freedom. Let yourself be carried away by what the works suggest and always carry a notebook and pencil or coloured pencils with you! You won’t regret it.

 

Do you like using new technologies? Then you are in luck because at Ralli Marbella Museum taking photographs (without flash) and videos is permitted.

Remember, originality is not just for the artists.

Share and upload your experience to social networks using #MuseoRalliMarbella

“Sins and Virtues”

Sins and Virtues from Carmen Aldunate
Litografía "La Paciencia" Carmen Aldunate

 

 

 

 

Carmen Aldunate
Chile, 1940

La Paciencia, 1993
Patience

Litography and watercolour
Ed. 1/30
57 x 45 cm

Colección Ralli
© Carmen Aldunate, VEGAP, Málaga, 2020

Carmen Aldunate

Carmen Zita Aldunate Salas, was born on 10 February 1940 in Viña del Mar (Valparaiso), Chile, although she is closely linked to the Argentine artistic scene due to her role within the Argentine New Figuration group.

Her studies began at the School of Fine Arts of the Catholic University of Chile, then continued at the Faculty of Fine Arts of the University of Chile. She later worked as an assistant in the Department of Art at the University of California, USA. Throughout her career she has worked as a drawing and painting teacher at the Catholic University, and in various private academies and schools.

The artist works mainly with oil on canvas and on wooden boards, but also with pencil drawings and collages.

With a clear influence from 15th-century Flemish painting, Aldunate combines great technical skill with a narrative rich in psychological and symbolic content. The human figure, in particular females, is the protagonist in her work.

The series

The Sins and Virtues (Pecados y Virtudes) series from 1993 is made up of fourteen lithographs with watercolour highlights in which the Chilean artist represents the seven deadly sins – pride, greed, lust, wrath, gluttony, envy and sloth – along with their opposing virtues – humility, kindness, chastity, patience, temperance, charity and diligence. In them we see her characteristic female figures dressed in voluminous robes, tunics and coifs, transporting us to medieval times.

The predominance of line and rationalised drawing, along with the composition and use of vanishing points consciously reminds us of Flemish painting. Aldunate thereby tries to retrieve the canons of beauty that once defined classical beauty. Alongside this, the use of colour in her work gives it the appearance of enigmatic atmospheres and psychological states that we see in these lithographs.

In contrast with the subtlety and delicacy of colour and line, she represents severe and harsh faces which appear masklike, and the clothing turns into a kind of armour that hides the human being that resides underneath.

Aldunate’s work, with an amiable presence but critical content, uses sarcasm and humour to denounce the oppression of the female sex that suffers and has suffered for centuries. She therefore depicts female figures with idealised faces and forms under elegant and flowing clothing, in reference to the demanding and irrational canons of beauty to which women have been subjected throughout history.

The exploration of individual psychology and states of the soul are also a recurring theme in her work. This series, Sins and Virtues, precisely reflects on the power of religion and the dominance of society, and of the role of women within it.

  • Carmen Aldunate
    (Chile, 1940)
    "La castidad", 1993
    [Chastity]
    Ralli Collection
    © Carmen Aldunate, VEGAP, Málaga, 2020
  • Carmen Aldunate
    (Chile, 1940)
    "La envidia", 1993
    [Envy]
    Ralli Collection
    © Carmen Aldunate, VEGAP, Málaga, 2020
  • Carmen Aldunate
    (Chile, 1940)
    "La paciencia" ,1993
    [Patience]
    Ralli Collection
    © Carmen Aldunate, VEGAP, Málaga, 2020

“Woman with scorpions”

Litografía Mujer con Alacranes

 

 

Francisco Toledo
Mexico, 1940-2019

Woman with scorpions, 1985
Litography
Ed. 11/50
56 x 76 cm

Ralli Collection
© Francisco Toledo, VEGAP, Málaga, 2020

Francisco Toledo

Francisco Benjamín López Toledo was born in Juchitán, Oaxaca (Mexico), in 1940. A multi-faceted artist, he dedicates his life and work to promoting and disseminating the culture and arts of his home state of Oaxaca.

As an independent artist, he did not get involved in the nationalist themes represented by the Mexican School. His work is based on the Zapotec tradition, from which he borrows themes and techniques, although he is also strongly and directly influenced by the contemporary language of artists such as Rufino Tamayo, Paul Klee, Jean Dubuffet and Antonio Tapiés.

Whether paintings or prints, weavings and ceramics, his works present a striking use of colour. He includes textures and materials to offer an aesthetic that falls somewhere between innovation and tradition, creating a fantastic world of his own with recurring themes and iconography. Therefore, the relationships of his work with the earth, air, and hybrid and fantastic insects and semi-human beings, arranged in space without order or rules, are constant features in his representations.

Meaning of intention

Woman with Scorpions represents an anthropomorphic being with a feminine body and forms, with scorpion tails emerging from her head and limbs. Two common themes in Toledo’s work come together here: the depiction of local insects and animals, and the other, the representation of imaginary, hybrid beings, a succession of metamorphic and analogue images that could well be typical of surrealism.

Toledo creates his own mythological universe, full of these beings from his own particular bestiary, accompanied by references to both the modern day and pre-Columbian culture.

A work of art, multiple meanings

The representation of concentric rectangular forms, one inside another, that we find in this work can be perceived with a sense of relief or of depth, although they are represented on a flat surface without the slightest hint of perspective. The connotations of this perception or interpretation can vary hugely. They could, for example, be Aztec pyramids seen from above, or represent a large and vertiginous black hole. Whatever the perspective from which we wish to look at it, we cannot ignore the fact that the clothes worn by the scorpion-woman also have these rectangles printed on them, which makes her turn into part of the landscape. The reference to mythology and local factors in this individual makes us lean more towards the first reading; however, the symbology does not end here.

The representation of the woman, semi-human or otherwise, refers to femininity, to desire, a theme that is also typical in Toledo’s work, as well as to motherhood and the origin of the world. Specifically, one of the symbolic readings of the scorpions is sexual desire, but they are also a symbol of death.

This entire framework of multiple readings reveals to us the symbolic complexity and breadth found in this and the other works by Toledo, created from deep-down within a set of references and influences, current and from the past, from mythology and reality.

Screening of the documentary “Ojos que no ven… MOVIMENTO ESPARTACO”

Exposición Ojos que no ven Movimiento Espartaco

In accordance with the directive established by the health authorities and the Junta de Andalucía to contain the coronavirus (COVID-19) the screening of the documentary “Ojos que no ven… MOVIMENTO ESPARTACO” will be canceled.

We apologize for the inconvenience caused.

 

On April 18 we will say goodbye to our exhibition “Movimiento Espartaco” (translated as “Spartacus Movement”), but first we would like to bid farewell to it properly. We are therefore presenting the documentary film “Ojos que no ven… MOVIMIENTO ESPARTACO” (“Out of sight… THE SPARTACUS MOVEMENT”), directed by Ana Garide, with a script by Ana Garide and Malena Sessano.

IMPORTANT: The screening and subsequent talk will be in Spanish.

About the documentary

The documentary takes a tour of the legacy of the Spartacus Movement, analyzing the philosophy, aesthetic approaches and evolution of the movement from today’s point of view. The film highlights the importance that this movement had in Argentina during the sixties and the importance of safeguarding its works, something that we can only achieve thanks to the knowledge and dissemination of the Spartacus Movement itself.

With an original approach and an addictive narrative rhythm, this documentary film will help us discover what exists beyond the works: the circumstances that brought them to life, the artists and their fears, the reality of the artists and art movements and what happens to them when it’s all finished.

After the documentary

The screening of the documentary will be attended by Malena Sessano, screenwriter and content producer (and daughter of Carlos Sessano, the last living member of the Spartacus Movement), and Eduardo Bute, Doctor in Art History and expert in this movement (and the son of Esperilio Bute, another member of the group).

Friday, May 27
6.00 p.m.
Ground floor of the Ralli Marbella Museum
FREE ENTRY UNTIL FULL CAPACITY IS REACHED

Presented by: Malena Sessano Goenaga (screenwriter and content producer) and Eduardo Bute Sánchez de Hoyos (Doctor in Art History and expert on the Spartacus Movement).

With collaboration from: UTREF MEDIA, Tres de Febrero National University and the SpartacAs group.

IMPORTANT: The screening and subsequent talk will be in Spanish.

Piano Concert “Greatest hits and long-forgotten music”

  • cartel concierto de piano Museo Ralli Marbella
    Cartel Concierto Piano Museo Ralli

Monday, September 9 at 8:00 p.m.

Concert by international pianists from the Marbella Music Masterclass Series 2019.

Within the Marbella International Music Festival, the Ralli Museum will offer a concert by pianists participating in the Marbella Music Masterclass Series 2019. Eleven promising young piano players will perform a selection of masterpieces that binds together the greatest hits and the long-forgotten works, which are no less relevant and have been retrieved here for our delight.

Free entry

Opening at 7:00 p.m.

Organized by Davidov Musical Association and Museo Ralli Marbella

“The three ladies”

 

 

 

Luis Seoane
Argentina-España, 1910–1979


The three ladies, 1974

Oil con canvas
88 x 115 cm

Ralli Collection

 

Women as a constant

Luis Seoane resorts to female representation as a constant in his work, be it to refer to the social situation in post-war Galicia, through their robust bodies and sharp features; as an allegory of the mother-earth, the "Mater Galleciae"; or in works where the artist’s focus is on experimentation and plastic and formal development.

With his portrayal of these figures, Seoane communicates a message from a society (repressed, impoverished, postwar), a culture (Galician) and a language (his own contemporary artistic language).

The three ladies

In this piece of work the artist represents static figures who appear to be waiting, standing next to the sea. Three robust women, with large hands and broad shoulders, are engrossed in conversation on the seashore. Two of them are depicted in profile while the third seems to be staring at the observer. The way they are represented is seen very frequently in Seoane's work: they are a symbol of all those people who waited, and some of whom are still waiting, to see the return of their relatives who had to emigrate or went to war.

Simplification as a language

We can see the simplification of forms in his language, combined with the use of a reduced colour palette and pure colours. He composes figures and spaces based on flat coloured marks and makes use of black in the form of lines to delimit certain volumes. The flat figures stand out against an intense blue and ochre background that is also flat. Three stripes in just two colours divide the space into land, sea and sky. The scene dispenses with any anecdote or decorative element; it goes straight to the essence of form, colour and message.

This is a piece of work from his late stage in which lyricism and compositional harmony dominate the scene, leaving aside his more abstract and expressionist side.

“Figure in violet”

Figura en violeta de luis Seoane

 

 

 

 

 

 

Luis Seoane
(1910, Argentina – 1979, Spain)


Figure in violet, 1970

Serigraphy
Ed. 9/50
55 x 37 cm

Ralli Collection

 

From simplification to abstraction

In his artistic career and his path to schematism, Luis Seoane comes close to abstraction. In a process of simplification and purification of elements such as shape, colour and drawing, he resorts to geometry and creates compositions based on flat colours; marks of colour that work autonomously and independently from the lines, which continue to appear as black strokes.

This independent use of colour and line in a certain way derives from his previous work in engraving, and he uses them similarly both in his graphic and his plastic work.

In "Figura en violeta" we see the use of this refined language thanks to the screen printing technique. This technique allows the artist to work with a cleaner finish of colours, which are completely flat.

Beyond the form

In this image we also see a double game, a double image, like a nod to the duality of its language. On the one hand, the shape formed by patches of colour presents a figure seen from the front, with what appears to be a hat or fruit bowl on the head. In addition, inside the face of this figure we can appreciate the profiles of two figures, one male and one female, who are about to kiss. The frontal figure is represented from the bust upwards, based on geometric shapes and patches of violet and white, combined with some black lines and on a pinkish background. We can only see the shape of the profiles of these latter two faces, created from a thin black line, without using patches or any other colour. The figurative aspect of the artist, which is always present, is clearly captured here without ever losing sight of the motive, even in his most abstract works.