Exhibitions
Yves Klein and the conquest of infinite space
Color as a space of freedom and as an experience that transcends the limits of sight. Yves Klein (Nice, 1928 – Paris, 1962) made painting a territory of exploration that went beyond representation. He placed monochrome at the center of an artistic investigation that questioned the very materiality of the work. A key figure of New Realism and a pioneer in the dematerialization of art, Klein conceived of color as a sensory and spiritual force capable of opening new dimensions of perception.
The Spanish Museum of Abstract Art in Cuenca, located in the Hanging Houses, is hosting Yves Klein: A Bit of Infinity . The exhibition offers a focused look at the career of one of the most influential figures in postwar European art. From October 29, 2026, to January 31, 2027, a selection of more than twenty paintings and three-dimensional works traces the main lines of his artistic exploration, from his celebrated monochromes to the experiments that placed the body and space at the heart of his creative process.
Among the works on display, the Anthropometries stand out. In these, Klein used models as human paintbrushes, transforming the body into both instrument and medium of creation. Also present is the iconic Klein Blue pigment pool, one of the most representative expressions of the physical and visual intensity with which the artist approached color. These pieces allow us to understand a practice that transcended the traditional boundaries of painting to explore new forms of relationship between the artwork and the viewer.
The selection comes from the IVAM and the Museo Nacional Centro de Arte Reina Sofía collections, as well as several private collections. The exhibition highlights the diversity of an artist's work that left a decisive mark on contemporary art despite his brief career. The project features Cristina Carrillo de Albornoz as guest curator and was developed in collaboration with Les Archives Klein.
One of the unique aspects of the exhibition is the attention it pays to the artist's relationship with Spain. Klein lived in the country twice during the 1950s. This context is explored through documents such as his travel diary and his first artist's book. These materials allow us to trace some of the early stages of his exploration of monochrome and place them within the framework of a life and artistic experience deeply connected to the land.
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