Latest Events in Santiago(July Updated)

Norman Foster (British, b. 1935), is one of the most esteemed international architects of our time, with projects worldwide. Among innumerable accolades, he was awarded the prestigious Pritzker Prize for Architecture in 1999. This installation focuses on models and designs for a select few of his many celebrated projects, organized into three themes: Working with History; Embracing the Environment, and Community and Culture. All these subjects are underpinned by sustainability, and crucial to Foster + Partners’ vision for an upcoming renovation of The San Diego Museum of Art west wing.

Printmaking has played a central role in the development of the visual arts in modern Mexico, from early devotional engravings of the 1600s to the satirical lithographs of José Guadalupe Posada around 1900. The Muralist movement was inspired by Posada’s “calaveras” (animated skeletons), the Virgin of Guadalupe, and other Christian and nationalist images made popular in prints. Closely intertwined with the advancement of democracy, human rights, and Indigenous cultural identity, printmaking became the primary medium of political engagement in Mexico. Throughout the Mexican Revolution (1910–20), the Spanish Civil War (1936–39), and World War II (1939–45), printmaking was at the forefront of art and politics in Mexico.

A special group of loans from the Museum of Fine Arts, Boston, will afford visitors to The San Diego Museum of Art an extraordinary view of Dutch society and artistic traditions in the 17th century. By 1600, the Dutch Republic had begun to emerge as an international economic powerhouse. A seafaring nation, albeit a geographically tiny one, the Netherlands was a self-governing republic consisting of the seven northern provinces that had joined in successful revolt against Spanish rule. While not entirely democratic in modern terms, the new Dutch system featured a far greater degree of local autonomy than the established European model of absolute monarchy. The Dutch economy was plugged into the major trade routes connecting Europe, the Americas, Asia, and Africa, through its Dutch East India Corporation (founded 1602). While fostering a liberal economy and social tolerance at home, the Republic also participated in colonial expansion and the transatlantic trade of enslaved peoples.

Dutch photographer Ruud van Empel (b. 1958) asks us to look at the world as if for the first time. Hovering between reality and artifice, his photographs offer an impossible density of detail and intensity of color. Van Empel creates these pictures over hundreds and even thousands of hours, constructing them digitally by combining fragments of photographs he makes himself, a collage technique he has explored since the mid-1990s. The final pictures are imaginary, almost hallucinogenic illusions that celebrate nature’s wonders yet also stress its perpetual conflict in crowded spaces where elements vie for visual priority.

Impressionism’s radical break with tradition in the 1870s and 1880s gave rise to the first Modernist movements in France. The artists represented in this gallery range from Post-Impressionism (a term coined in 1910) to the Pointillist, Fauve, and Nabis movements. Ultimately, each artist followed an independent path of Modernism, challenging established conventions in the first decades of the twentieth century.

See approximately 40 Impressionist works from Europe and the United States alike, drawn from the Museum’s rich holdings in this area as well as significant loans. Few artistic movements have captivated the imagination more enduringly than Impressionism, originally a term of derision implying slap-dash facture. The now-beloved bold, bright colors thickly applied with a seemingly spontaneous and immediately visible touch of the artist’s brush were the hallmarks of Claude Monet, Camille Pissarro, and Berthe Morisot. Their paintings caused a stir in the first “Impressionist” exhibition of 1874 in Paris, France, held parallel to the state-funded Salon de Paris of academic artists. The first American artists to champion Impressionism, such as Mary Cassatt, Thomas Eakins, and John Singer Sargent, did so in no small part by reviving the painterly brush stroke, a pronounced shift from the glossy finish of paint surfaces seen in European academic painting or American Romantic landscape. The sunny American West also provided an ideal setting for painting out of doors and the artists who espoused the plein-air approach would soon inspire generations of followers. The works in this exhibition tell the story of the enduring rise of Impressionism from Monet to Paul Cézanne and Pierre Bonnard, to Americans such as William Merritt Chase, Robert Henri, and Childe Hassam.

Experience the powerful sculptures of Eduardo Chillida (1924–2002) in this exhibition marking the one-hundred-year anniversary of his birth. A visionary artist, Chillida’s body of work is closely linked to the landscape and traditions of his Basque Country homeland in northern Spain and frequently invokes the earth, sea, wind, and light, as well as his inspirations from music, philosophy, and architecture. The most comprehensive survey of Chillida’s work in North America in nearly half a century, the exhibition encompasses the full range of the artist’s practice, including early forged iron sculptures, massive structures made from oak, glowing sculptures cut from alabaster, solid clay forms, and works on paper. Each of these creations are points of convergence where myriad forces, including nature and culture, material and immaterial, form and void, all meet.

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Impressionist advances in technique (light grounds overlaid with dabs of distinct color) and a taste for “modern” subjects (including new forms of popular entertainment) were new and shocking when first exhibited in Paris in 1874. The influence of this French school would be strongly felt by painters, especially in Paris, in the late nineteenth and early twentieth centuries. The term Post-Impressionist was coined in 1910 to characterize this legacy.

“Although the result is obtained by chemical means, the little work it entails will greatly please ladies.” So wrote one of photography’s inventors, Louis-Jacques-Mandé Daguerre (1787–1851), about his eponymous daguerreotype in 1839. Daguerre’s words, which associate women with idleness, are clearly misogynistic. Yet in a backhanded way, Daguerre predicted the pivotal role women would play in photography since its invention in the 1830s. Undaunted by photographic chemistry—and often neglected or derided by their male peers—women have made huge contributions to the development of the medium across a variety of genres.

“Although the result is obtained by chemical means, the little work it entails will greatly please ladies.” So wrote one of photography’s inventors, Louis-Jacques-Mandé Daguerre (1787–1851), about his eponymous daguerreotype in 1839. Daguerre’s words, which associate women with idleness, are clearly misogynistic. Yet in a backhanded way, Daguerre predicted the pivotal role women would play in photography since its invention in the 1830s. Undaunted by photographic chemistry—and often neglected or derided by their male peers—women have made huge contributions to the development of the medium across a variety of genres.

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On this tour, the band will bring their new album and classic tracks to Santiago, Chile, to give fans a thrilling performance.

In the heart of the Andes, colonial textiles weave a story that transcends time and space. Their beauty, technical sophistication, and diversity of uses and materials both conceal and reveal processes of cultural transformation and redefinition during the colonial period. The exhibition Contacts: Colonial Textiles of the Andes presents works that illustrate the effects of colonization and interbreeding, and highlights the role of textile art in shaping Andean society between the 16th and 19th centuries. By offering the public a collection of pieces of extraordinary value, the Chilean Museum of Pre-Columbian Art seeks to show that these contacts were more than a simple encounter between Spaniards and Indigenous peoples. In colonial America, these contacts were complex, involving imposition and resistance, sometimes violent and sometimes creative, generating a new social, political, and cultural reality. Colonial textiles are a testament to this and reflect Andean creativity. They are the result of the introduction of new materials, tools, and techniques, along with the preservation of a rich Indigenous textile tradition. These works, which interweave designs from diverse origins, not only capture the reality of this period but also celebrate the resilience and rich Andean cultural heritage that endures through the centuries.

Modern Women celebrate the arrival of twenty works of art to the Museum on indefinite loan from a private collection. The art presented in this gallery is a testament to the imagination, experimentation, and fortitude of women artists who have enriched the world with their creations. The variety of work on view spans scale, media, and artistic approach—from gestural painting and innovative sculpture to meditative prints and drawings. Testing the limits of subject and media, the works of art are as varied and complex as the rapidly shifting centuries in which they were executed.

This installation pays tribute to a passing generation of Minimalist artists, most notably Frank Stella (1936–2024). Highlighting the Museum’s major Stella, Flin Flon VIII (1970), the selection includes a broad range of work from diverse media, many of which have not been on view before.