Exhibitions
Isabel Oliver and the visual memory of contemporary barbarism
The Chirivella Soriano Foundation reviews more than fifty years of the career of one of the great figures of Valencian feminist pop.
The Chirivella Soriano Foundation presents, from April 17 to September 27, 2026, the exhibition Isabel Oliver. Bodies that flee, landscapes of barbarity , a broad retrospective dedicated to one of the fundamental artists of feminist and critical art in Spain. The exhibition, installed at the Palau Joan de Valeriola and curated by Isabel Tejeda, is organized by the Consortium of Museums of the Valencian Community together with the Valencian foundation.
Trained at the School of Fine Arts of Sant Carles and professor of painting at the Polytechnic University of Valencia, Isabel Oliver has developed a solid career in which she has combined artistic practice with teaching. Her international recognition was especially consolidated after participating in the exhibition The World Goes Pop at the Tate Modern. Currently, her work is part of prominent collections such as the Museo Reina Sofía, the IVAM or the Collection of the Banco de España.
The exhibition brings together sixty representative works from the artist's main series and offers a journey through more than five decades of production. Divided into two main areas — Bodies that Flee and Landscapes of Barbarity —, the show highlights a critical look at contemporary violence and the power structures that permeate today's society.
In the first block, Oliver revisits the representation of women in the history of art. Series such as La mujer , De profesión sus labores or Paseos por el museo reformulate classic references from a critical and feminist perspective, questioning the objectification of women rooted in the Western pictorial tradition.
Considered a key figure in feminist pop of the seventies, Isabel Oliver has built a direct, ironic visual language deeply committed to social denunciation. Her work, far from losing its relevance, dialogues with the fractures and conflicts of the present, turning painting into a space of resistance and critical memory.
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