427 tutions from Mexico to Tierra de Fuego. As I was saying at the beginning of the text, this reticulated scheme with South America has been accomplished thanks to a management based on permanent cultural exchange derived from a Collection innovatively reformulated within thematic spheres. Together we have built a museum of profound artistic rigour, deeply appreciated by artists and collectors and very close to society. In this sense, the IVAM’s commitment in these past years is solid. It holds among its fundamental principles the idea of consolidating a more humane, participative and supportive artistic space through social programmes named IntegrArte, CapacitArte and Sonríe con el Arte, which focus on the wellbeing and integration of the all public, with no distinction, given that culture is one of the best ways to establish new dialogues and create new spectators. In this field I should point out the cultural projects I have launched in relation to the Millenium Development Goals, especially those related to the defence of women’s rights wherever they are being transgressed. In this sense, the IVAM can be distinguished by carrying out exhibitions in which I have felt the duty of granting recognition to every woman that ventured into the field of arts in a time when they were inexplicably segregated. With the personal interest of approaching the museum to every person in the world and adapting it to the reality of each historical period, I feel deeply connected to the development of technological aspects which have allowed the IVAM to anticipate many social tendencies gradually consolidating. This innovative project has consisted in the activation of two apps (IVAM Collection and IVAM Bookstore) born from the necessity of broadening communication channels between the public and the museum to transmit its artistic and editorial events using mobile technology devices and social networks. Furthermore, this project is intended to promote research and knowledge of art by providing tools contributing to its diffusion and comprehension amongst citizens. Acknowledging its historical trajectory, which has placed it at the top of the most valued museums as confirmed in its last report on international museums by the prestigious magazine The Economist, we know this achievement was accomplished because the IVAM was not created with excessively concave and seductive words, neither with trite rhetoric, nor fake theatrical scenography. On the contrary, it was erected with the emotional imperatives art requires, by means of a poetical curiosity determined to overcome the decay of the soul and inclined towards emotional intelligence or a science of feelings that would contribute to the cultural reinforcement of our society. That is how today, the IVAM has emerged as a main national and international cultural bastion due to the embracing of virtues and values usually devalued in many of the frequencies in which the reality of our country is modulated. “Our culture has an unprecedented mission: an official and unceasing search for a new sensitivity”, said Daniel Bell in his essential book Cultural Contradictions of Capitalism. A thought that could perfectly apply to the IVAM’s creative life. According to these reflections, the IVAM has had and, still has, the capacity to enlighten the collective path of museums to respond to the upcoming circumstances appeared in this new century due to the new readings emerging around art and life. That is why its polyphonic, mestizo and unbounded essence enables the development and spreading of ideas to overcome the state of transition and uncertainty in which global society currently flows in its liquid transformation as Zygmunt Bauman states. From these fully achieved purposes during the past twenty five years, and through a collection that displays a synthesis of the succession of plastic languages which have uninterruptedly legitimated contemporary art, the IVAM has turned into a harmonic resting zone defending a new eroticism in objects, spaces, forms, traces… where the highest qualified ideas emerging from a vertiginously speeding and rapidly mutating world lay. THE IVAM COLLECTION A LOOK AT THE ART OF THE 20th CENTURY FRANCISCO JARAUTA 1 A brief and intense history of as little as 25 years in which there are intersecting projects and ideas, plotted interpretation exercises, maps are built that permit the navigation through the history of art of the 20th century, looking in the immensity, which is sometimes a sign of obsessive moderns, others times it is rituals of a fast and saturated time full with signs. The activities of the Instituto Valenciano de Arte Moderno (IVAM) date back to the year 1989, being the first Museum of Modern Art that is created in Spain. Next to the Reina Sofia Museum in Madrid they are the two centres dedicated to modern art with a broad and plural program that over the past decades has enabled a rich network of museums that has made possible a wide perspective on the problems of the complex world of art. The creation of the IVAM responded at the time to some ideas that were recognized in a previous long tradition that, since the 1930s had established a direct relationship between art and process of modernization of 20th century societies. The difficult and complex years of the decades that followed the Great War, therefore the creation of the MoMA in New York meant an operation that not only advanced cer
Colección del IVAM. XXV Aniversario
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