GENEVA.- Art enthusiasts and scholars are invited to immerse themselves in a profound exploration of the interplay between past and present at the Musée d’Art et d’Histoire (MAH) and Fundación "la Caixa"'s latest exhibition, "La imagen reaparecida" ("The Reappeared Image"). This compelling showcase delves into the myriad ways contemporary artists engage with, reinterpret, and challenge the rich tapestry of art history and tradition.

Conceived specifically for the MAH, "The Reappeared Image" features 18 meticulously selected works from the esteemed Contemporary Art Collection of Fundación "la Caixa," renowned as Spain's premier private collection and one of Europe's most distinguished. The exhibition is curated by Nimfa Bisbe, the director of the Contemporary Art Collection at Fundación "la Caixa," alongside Carlos Martín. Their collaborative vision offers visitors a unique immersion into how modern artists confront and reimagine the legacies of the past, questioning whether to integrate or critique historical influences within their creative practices.

A Thematic Journey Through Time and Image

"The Reappeared Image" is thoughtfully divided into three thematic sections, each unraveling different facets of the relationship between contemporary art and historical imagery:

• The Persistence of the Image
• The Dissolution of the Image
• Zero Degree of the Image: Duchamp’s Legacy

This structured approach allows for a comprehensive examination of the enduring power of images, their potential disintegration, and the foundational impact of Marcel Duchamp on modern artistic practices.

Inspiration Rooted in History and Space

The exhibition draws its initial inspiration from two key elements: the selection of works that reference historical contexts and the significance of the MAH's location in Geneva—a city intrinsically linked to the Reformation and its profound influence on art and imagery. The Musée Rath itself, inspired by a classical yet secular and austere temple, serves as an evocative backdrop, resonating with Geneva's storied past and its ongoing dialogue with religious and artistic transformations.

Exploring the Sovereignty of the Image

At the heart of "The Reappeared Image" lies the concept of the sovereignty of the image—the idea that images hold a dominant, almost sacred status, worthy of veneration or suspicion. This theme is intricately woven throughout the exhibition, prompting viewers to contemplate why certain representations endure amidst the ever-shifting landscape of visual culture and why they often resurface despite changing artistic paradigms.

Robert Morris’s declaration serves as a philosophical cornerstone for the exhibition: “The forms used in today’s art can be seen in the art of the past; only the context, the intention, and the organization establish the differences.” This assertion underscores the exhibition's exploration of how context and intention breathe new life into historical forms, making them relevant in contemporary discourse.

Highlighting Pioneering Works and Artists

"The Reappeared Image" boasts an impressive lineup of artists whose works embody the exhibition's core themes. Among the standout pieces is Mike Kelley’s installation, The Trajectory of Light in Plato's Cave (from Plato's Cave, Rothko's Chapel, Lincoln's Profile). This evocative work transforms the central nave of Musée Rath into an ancestral cave reminiscent of Plato's allegorical cave, compelling visitors to physically submit themselves to the art. The immersive experience, where spectators are instructed to "crawl like worms," serves as a metaphor for the captivating and sometimes overpowering nature of visual art.

Vanessa Beecroft’s Black Madonna with Twins offers a poignant reinterpretation of traditional Christian iconography through the lens of her 2005 journey to South Sudan. By infusing Renaissance Italian painting references with contemporary themes of colonial impact and negritude, Beecroft creates a space where the sacred and the precarious coexist, evoking both admiration and indignation.

In Cindy Sherman’s Untitled no. 228, the artist explores identity and gender by assuming various female roles, challenging cultural conventions and fictional narratives. Her work draws inspiration from Pier Paolo Pasolini’s cinematic dramas, presenting visually striking tableaux that blur the lines between homage and critique.

Robert Mangold’s Curved Plane / Figure XI exemplifies the minimalist painter's engagement with historical art forms. Drawing inspiration from a 1518 sketch by Pontormo, Mangold’s piece strips away narrative content to focus on pure materiality and architectural essence, echoing the tension between iconoclasm and artistic expression during the Counter-Reformation.

Jorge Pardo’s crucifix of wood, originating from his liturgical object design project for Leipzig’s Santa Trinitatis parish, juxtaposes sacred symbols with mundane elements, bridging the sacred and profane. Similarly, Darío Villalba’s Gran caída II reimagines Rubens’ The Fall of the Condemned, memorializing the vandalism of Rubens’ work in 1959 and infusing it with generational identity through dripping techniques.

The Dissolution and Reconstruction of Images

Moving into the second thematic realm, "The Dissolution of the Image", the exhibition showcases artists who deconstruct and question traditional representations. Julian Schnabel’s Everyday is The Beast with Iron Teeth and Ten Horns. 70th Week challenges the very practice of painting through minimal intervention and apocalyptic text, linking historical decadence with contemporary political turmoil.

Cristina Iglesias’s Sin título M/m 1 blurs the lines between sculpture and architecture, creating an enigmatic space that interacts with its environment while remaining inaccessible—a reflection on the fragmentary and elusive nature of images. Dora García’s Bolsa dorada and Matt Mullican’s colorful leaded glass windows further emphasize the absence and transformation of images, inviting viewers to ponder the intangible and ephemeral qualities of visual art.

Jan Vercruysse’s Eventail VIII takes dissolution to an abstract level, presenting empty frames and pedestals that prompt viewers to imagine the missing works, thereby questioning the permanence and presence of art within the museum space. Allan McCollum’s Collection of Two Hundred and Sixteen Plaster Surrogates replicates non-existent paintings, creating a paradox where absence becomes a statement in itself.

Honoring Duchamp: The Legacy of Zero Degree

The final section, "Zero Degree of the Image: Duchamp’s Legacy", pays homage to Marcel Duchamp, a pivotal figure in 20th-century art whose provocative approach reshaped the artistic landscape. Duchamp's influence is palpable throughout the exhibition, particularly in works that deconstruct language and challenge the very essence of artistic creation.

Duchamp’s own La Boîte en valise (série F) is a centerpiece, encapsulated alongside a reproduction of Le Grand verre. These pieces illustrate Duchamp’s innovative spirit in redefining art through replication and reinterpretation. Sherrie Levine’s The Bachelors (After Marcel Duchamp) and Concha Jerez’s Retrato de Marcel Duchamp further explore Duchamp’s legacy by reimagining his works and persona, questioning authorship and myth-making within the art world.

Julião Sarmento’s Phicares and Rachel Harrison’s sculpture referencing Duchamp’s Nu descendant un escalier nº 2 extend this dialogue, blending homage with critique. Pavel Büchler’s Studio Schwitters integrates auditory elements, drawing connections between Duchamp and Kurt Schwitters’ phonetic poetry, culminating in a sensory exploration of language and ritual.

A Reflection on Artistic Continuity and Innovation

"The Reappeared Image" serves as a profound reflection on the continuity and evolution of artistic expression. By bridging historical references with contemporary interpretations, the exhibition underscores the enduring relevance of classical forms and the transformative power of modern creativity. It invites viewers to engage with art not merely as a visual experience but as a dynamic conversation across time, where images persist, dissolve, and reemerge with renewed significance.

The collaboration between MAH and Fundación "la Caixa" exemplifies a commitment to fostering artistic dialogue and preserving cultural heritage. As the exhibition continues to captivate audiences at Musée Rath, it reinforces Geneva’s position as a vibrant hub for artistic innovation and historical contemplation.

Visitor Experience and Insights

Visitors to "The Reappeared Image" are encouraged to embark on a contemplative journey, navigating through installations that challenge perception and provoke thought. The interplay of light, space, and form creates an immersive environment where each piece invites personal interpretation and introspection. The curated selection not only showcases the prowess of individual artists but also weaves a collective narrative about the power and complexity of images in shaping our understanding of the world.

Curator Nimfa Bisbe emphasizes the exhibition's intent: “We aim to highlight the dialogue between the past and present, showing how contemporary artists honor, reinterpret, and sometimes subvert traditional imagery to create something profoundly relevant today.”