List of selected artworks. Maps for the tour in the museum

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  • Alexandre Estrela

    Pockets of Silence

    December, 2015
    Exhibitions

    Alexandre Estrela (Lisbon, 1971) uses film and video as the core mediums in his artistic practice, which questions the materiality of the image, dialoguing with a history of experimental film, video and photography, which finds some of its symbolic evidence in the films of Marcel Duchamp, in photographs by Man Ray or cut-up narratives from Burroughs, for example.

  • December, 2015
    Exhibitions

    The work of Juan Giralt (Madrid, 1940–2007) was initially self-taught in the Informalism that predominated the 1950s. A brief spell in Holland at the end of this decade enabled him to come into contact with the CoBrA group and saw him begin to shape a more personal and permeable pictorial language in a new interpretation of Figuration. This characterised his work in the 1970s and 1980s, turning him into a reference point of New Figuration in Madrid. In the years that followed, until his death in 2007, he would gradually incorporate abstraction, but without ever relinquishing figurative elements that were present in the constant use of collage and the painted word.

  • November, 2015
    Exhibitions

    Andrzej Wróblewski (1927–1957) is, despite his short life, one of the most important Polish artists of the 20 th century. This exhibition, the first retrospective held outside his country, enables his work to be contemplated in a way that goes beyond the reductionist clichés of socialist realism or Outsider Art, through which art from countries in the Soviet sphere of influence has been studied until recently. Wróblewski was an artist that could work on the borders between abstraction and figuration, combining formal invention with the analysis of daily life and its limits – the degradation of war and dictatorial politics – by means of a profound human and political commitment.

  • November, 2015
    Exhibitions

    In the work of visual artist Hito Steyerl (Munich, 1966) constructed texts and edited images enlarge the conditions of film essays, reflecting on and intervening in the systems that circulate information, and in those that present and represent the artwork. Her texts, lectures, films and audiovisual installations merge the philosophical and political reflection of critical activism inserted in the world of production and the circulation of the image and the word. Through this perspective the artist develops a critical body of work on modes of perception, control, surveillance, in addition to militarisation, migration, feminism and the political image – questions she feels have the capacity to create realities.

  • Inhabiting Painting

    Artist-led Workshop with Miren Doiz

    July, 2015
    Education

    The Artist-led Workshop, a collaborative project between artists and educators aimed at children aged between 8 and 11, and this year in its fifth edition, sets up a dialogue between the artistic career of Miren Doiz (Pamplona, 1980) and the works on display in the two temporary exhibitions from the Kunstmuseum Basel.

    Artist Miren Doiz explore both exhibitions with participants, not only to highlight the historical importance of collecting as a staple in the holdings of public collections, but primarily to put forward an overview of painting from contemporary practice. Miren Doiz’s surroundings-based works, which intervene through expanded painting, trigger experiences that directly pose a question to the viewer through sentience. Her concept of painting transgresses the frameworks that encapsulate it and includes diverse techniques, which allow the children participating to discover, over the five days the workshop is held, how this can generate inhabitable spaces.

  • October, 2015
    Exhibitions

    The Museo presents an exhibition devoted to the recent work of Ignasi Aballí, on a journey articulated around the Catalan artist’s aesthetic ideas, offering a conceptual reflection on the representation and perception of the artwork through mediums such as photographs, videos, installations, sculptures, paintings and collages, and an eclectic display of unconventional materials such as leaves, dust, rust, metals, newspaper cuttings and scraps of bank notes, which explore presence and absence, the material and immaterial, the visible and the invisible, transparency and opaqueness, appropriation and creation to relate the overabundance of images in modern-day society to the lack of meaning we can assign to them.

  • October, 2015
    Exhibitions

    Constant Anton Nieuwenhuys (Amsterdam, 1920 – Utrecht, 2005), a key figure in Situationism and one of the founding members of the CoBrA group, developed his project New Babylon between 1956 and 1974. Through the project, regarded as the last great utopia in European art, the artist aimed to generate and mould a new urban environment to enable a “total fulfilment of life”. Everything sets out from the premise that, in a not-so-distant future, the growing automation of work driving technological progress would allow citizens to fully devote their time to meeting their leisure urges and thoroughly develop their creative potential.

  • October, 2015
    Exhibitions

    Danh Vō’s (Bà Ria, Vietnam, 1975) art work subverts and plays with classic appropriation and opportunistic strategies of Western art in its approach to other cultures. His installations, sculptures, photographs and works on paper, particularly his early work, often calls on his origins and experiences, interspersing them with cultural, social, and historical references. Danh Vō utilises 19th-century industrial exhibition typology to portray the unique architecture in the Palacio de Cristal, encapsulating the nostalgia of a nineteenth-century palaeontology and archaeology museum inside a large display cabinet.

  • September, 2015
    Exhibitions

    Nasreen Mohamedi (Karachi, 1937 – Baroda, 1990) was one of the first Indian artists to embrace abstraction, moving away from the more conventional doctrines of Indian modern art in the early decades of the 20th century. She chose non-figuration, an artistic practice marginalised at that time by independent India, which was essentially dominated by an anthropomorphous aesthetic and academic realism determined by art schools from the colonial period.

  • Resonance

    Concerts for Another Listening

    June, 2015
    Activities Live Arts

    Resonance is a series of sound interventions for a specific site, activating the acoustic and historical space in the Museo Reina Sofía’s Sabatini Building. The programme refrains from using the auditorium and electronic amplification, which means guest artists, musicians and composers will present a series of pieces that set in motion alternative contexts for sound and contemporary music.

    This series lays out a set of interventions that work with unwanted echoes and resonances, developing the properties sound possesses, depending on where it is produced – a quality that the careful design of auditoriums, speakers and earphones have tried to make us forget.

  • April 2015
    The Collection

    The Wall Drawing concept was the best medium for giving expression to LeWitt’s radical ideas, and these works would become the most characteristic in his output. In a 1970 text under the same name, Wall Drawings, the artist explained that his approach consisted of making a work “as two-dimensional as possible”. In accordance with his minimalist, and therefore reductionist, thinking, LeWitt felt the most natural way to work was directly on the wall, rather than on a “construction” which would later be hung on the wall. This enabled him to create works with a minimum of materials, allowing the drawing to become an intrinsic part of the architecture of the gallery and causing the viewer to interact spatially given that they would only make sense of the work through experiencing the actual exhibition space.

  • April 2015
    The Collection

    The first installation of Wall Drawing #47 was drawn in June 1970 by Kazuko Miyamoto, at the Philippe-Guy Wood Residence in Vasenaz, Geneva. The Museo Reina Sofía acquired the piece in 2009 and the first installation was in 2011. The current installation, carried out between 3 November and 10 December 2014, is on a wall 5 metres high and 15.8 metres wide. The draughtspersons are Roland Lusk and Andrew Colbert, under the direction of John Hogan, with the participation of six assistants. Wall Drawing #47 requires meticulous work to ensure uniform pressure of the pencil on the support. It is finished with a water-based varnish applied by a specialist from the Sol LeWitt Studio and an assistant.

  • May 2015
    Exhibitions

    The work of Ree Morton (Ossining, New York, 1936 – Chicago, 1977) can be found in the specific art scene in the USA in the early 1970s, characterised by a strong reaction to post-war Abstract Expressionism, reflected in Minimal art, on the one hand, and Conceptual Art and Pop Art on the other. Nevertheless, her work is more akin to the art strategies that emerged around movements such as Pattern and Decoration, Fiber Art or, in Lucy R. Lippard’s definition, “Eccentric Abstraction”.

  • May 2015
    The Collection

    After the intervention project that has been taken in the work Portrait of Joella by Salvador Dali and Man Ray, this important surrealist object returns to the Collection galleries.

    Portrait of Joella, is a pictorial intervention of Salvador Dalí on a portrait in plaster that Man Ray had made of the gallerist´s wife, Joella Bayer in 1933. It is a work in full development of his paranoiac-critical method, a proposal to allow associations of images with their hidden meanings, often related to sexuality and death.

    This video, produced by the Museum, collects the interesting conservation process carried out, in which those responsible for the intervention explain the study's findings.

  • May 2015
    Exhibitions

    Curator Yasmil Raymond and Manuel Borja–Villel talk about this retrospective of Carl Andre, that features around 200 sculptures and works on paper produced over the past 50 year. This selection help us to understand his progressive concept of “sculpture as form, sculpture as structure, sculpture as place” and, in addition the exhibition focuses on the key role of language in Andre’s artistic practices via a large number of visual and concrete poetry series, textual collages and works on paper and, for the first time in 20 years, an exceptional group of works entitled Dada Forgeries, expounding his jocular relationship with Duchamp’s readymades.

  • April 2015
    Exhibitions

    Actively working since the mid 1980s, Federico Guzmán (Seville, 1964) has always viewed artistic practice as a commitment to his environment. As a part and consequence of his personal experience in the Sahara, Federico Guzmán has erected a huge Bedouin tent to enter into dialogue with the Palacio de Cristal. In Hassaniya Tuiza means solidary collective work: coming together, participating and building something jointly. Therefore, this tent is presented as a space for hospitality and conversation between cultures, holding workshops and other collective activities. This programme of activities endeavours to become tuiza, a space to decolonise the imagination and articulate knowledge and sensibility circulating from south to south, without stopping at the homogenisation of the centre or the Western narrative.


  • March 2015
    Exhibitions

    Coinciding with the work to expand the Kunstmuseum Basel, a selection of over one hundred masterpieces from its twentieth-century collection are on show in the Museo Reina Sofía. This ensemble aims to offer a broad panorama of the transition of modern and contemporary art, including examples of such diverse movements as Expressionism, Cubism, Purism, Abstraction, Constructivism, Minimalism, German Post-expressionism, Post-war American Abstraction and Pop Art. Also, two standout art collections from early modernism are brought together, and today form part of the holdings of the Kunstmuseum Basel (Switzerland), the Im Obersteg Collection and the Rudolf Staechelin Collection, that look to delve deeper into the catalysing phenomenon of collecting at the start of modernism and emphasise its central position in the framework of modern art, together with the work of artists, critics and curators.

  • February 2015
    Exhibitions

    Not Yet. On the Reinvention of Documentary and the Critique of Modernism approaches the debates that took place in the 1970s and 1980s surrounding the photographic document as a critique of modern art and institutions. A new generation of artists came on the scene at the time, and, in recovering the political origin of worker photography from the 1920s, began the reinvention of documentary practices, understood in parallel to the critique of the forms of modernism inherited from the Cold War.

  • January 2015
    Exhibitions

    From public space, using the city as the main point of reference and the territory of the Internet, Daniel G. Andújar builds a cultural discourse through digital media and technologies. Using irony and strategies to present new media technologies, he questions, reviews and reflects on the democratic and egalitarian promises of this media, whilst also criticising the will to control concealed behind its apparent transparency.

  • November 2014
    Exhibitions

    A generation of artists, grouped together under the term "Arte Povera", emerged in Italy in the second half of the 20th century who, influenced by Piero Manzoni and Lucio Fontana’s artwork, and turning to the use of simple, everyday materials, realised a series of works that, without relinquishing a kind of poetic awareness of the world, were profoundly critical of industrialisation and consumer society. Of these artists, Luciano Fabro was the one with a more emphatic connection to the emergence of a new and revised approach located in the tradition. Thus he explored the creative possibilities and perspectives that, in a country like Italy, continued to open the ruins of the past.

  • November 2014
    Exhibitions

    In the installation designed specifically for the Palacio de Cristal, Janet Cardiff and George Bures Miller appeal to our voyeuristic condition, urging us to move closer and peer into a solitary caravan. Inside it we come across a woman that appears to be sleeping along with a series of marionettes and puppets in the process of being created and the figure of an old draughtsman that appears to be pondering how to breathe life into them. The scene is replete with metaphorical connotations that prompt a reflection on themes such as the passing of time, the humbling power of the imagination (both individual and collective) and the servitudes and limitations of the creative impulse.

  • November 2014
    Exhibitions

    The exhibition analyse Goeritz’s stints in Spain and North Africa in the 1940s, along with the international expansion of his career, which, in a Cold War context, occurred in the wake of his return to Mexico and which saw him become one of the key figures in the cultural landscape of that country.

  • November 2014
    Exhibitions

    The exhibition Really Useful Knowledge endeavours to position the notion of critical pedagogy as a crucial element in collective struggles, and explore the tension between individual and social emancipation through education with examples that are both historical and current, and their relation to organisational forms capable of leading unified resistance to the reproduction of capital. In doing so, the exhibition highlights the collective utilization of public resources, action and experiments, either forgotten or under threat of eradication, taking the museum as a pedagogical site devoted to the analysis of artistic forms interconnected with actual or desired social relations.

  • November 2014
    Exhibitions

    Virginia Torrente, curator of the exhibition Patricia Gadea. Atomic- Circus, talks about the work of a key artist to understand the cultural situation of our country during the eighties and nineties. The core of this exhibition revolves around the most productive period of Patricia Gadea's work, on his return from New York, where he formed the group Estrujenbank with the painter Juan Ugalde and the poet Dionisio Cañas. At this stage emphasizes the Circus Series (1991-1996), which summarizes the events of that decade in Spain as a clairvoyant messages of great forcefulness. Imbued with irony, like the rest of her work, to date they still have an overwhelming clarity and modernity.

  • July 2014
    Education

    Artist's Workshop is an initiative from the Education department conceived as a collaborative project between artists and educators with reference temporary exhibitions of the museum. The proposal for the summer of 2014 is based on Playgrounds, an exhibition focused on play and their urban and social impact. The Museum has Leonor Serrano Rivas to design an experience aimed at children aged 8 to 11 years to allow them to review the play spaces commonly used in parks and squares, and create new ones from a fun and critical point of view. During five days, the artist, children and educators, coexist three hours with the aim of developing a specific project that will eventually be visited by their parents.

  • October 2014
    Exhibitions

    republic is an exhibition by Juan Luis Moraza (Vitoria, 1960), assembling a broad selection of his works and structuring them in areas that examine the museum as a system of conventions and possibilities of citizenship. Moraza has always constructed, in a mutual interaction with his artistic output, a conceptual discourse, where language and ideas also denote a place inhabited by the artist, along with the forms and characteristics of objects and situations put forward in each project.

  • September, 2014
    Education

    Acting in Shadows is an activity that aims to expand the artistic experience into a field of bodywork and theatricality. Created by Teatres de la Llum, this workshop seeks to explore the elements of theatricality in selected works from the collection of the Museo Reina Sofia, incorporating elements from the theater work, such as gesture, body language, scenographic composition and the expressive potential of light.

  • November, 2012
    Exhibitions

    Losing the human form evokes an image of the 1980s in Latin America that establishes a counterpoint between the effects of violence on bodies and the radical experiments in freedom and transformation which impugned the repressive order. Stricken bodies / mutant bodies. Between horror and festivity, the materials gathered show not only the consequences of mass disappearances and massacres under dictatorial régimes, states of siege and internal wars, but also various collective urges to devise modes of existing in a permanent state of revolution.

  • July 2014
    Exhibitions

    This video on the set-up process of the exhibition Richard Hamilton (27 June – 13 October 2014) in the weeks prior to its opening shows the coordination between different teams in the Museo – from the curators to the conservators and assembly technicians – to install this complex and extensive exhibit. The piece by Juan Rayos, commissioned by the Museo, reflects the wide variety of mediums, genres and themes the artist used in over 250 works.

  • July 2014
    The Museum

    The Museo Reina Sofía wishes to embody the concept of an expanded museum, where the experience of contemporary art is both a source of enjoyment and knowledge. Its Collection, made up of over 20,000 works, avoids representing one sole and closed interpretation of art history, opting instead for multiple histories. A museum that is a catalyst for ideas, discourses and poetics in its temporary exhibitions and intensive programme of audiovisuals and live arts, as well as a continual forum for thought, debate and education designed for all ages through courses, conferences and workshops in which visitors take centre stage.

  • June 2014
    Exhibitions

    This exhibition offers a comprehensive retrospective look at the work of Richard Hamilton (London, 1922 – 2011), a key figure in Pop Art and one of the most influential British artists of the 20th century. It was the last project Hamilton directly participated and includes, among more than 250 works, the recreation of a number of the exhibition installations Hamilton designed (and actively participated in) during the 50's.

  • Exhibitions

    The Museo Reina Sofía pays homage to the figure of Richard Hamilton by means of an eponymous exhibition, held between 27 June and 13 October 2014. The piece, produced by Javi Álvarez, explores the most unique aspects of Hamilton’s work, reinterpreting many of the artist’s techniques, such as appropriation and collage, to convey them in the sphere of contemporary video.

  • June 2014
    Exhibitions

    In this interview, artist Kerry James Marshall (Birmingham, Alabama, 1955; currently resident of Chicago), talks about the reasons why he chose to address themes related to life, culture and Afro-American history, until that moment barely represented, approached through multiple lenses to provide new visions of issues connected to racial politics, cultural representation and social emancipation.

  • May 2014
    Exhibitions

    The Exhibition photobooks. Spain 1905-1977 presents a journey through the history of the photobook in Spain, setting off at the beginning of the 20th century and ending in the mid seventies, via a selection from the Museo Reina Sofía Collection, contextualised and accompanied by an assortment of complementary material. Curated by Horacio Fernández, the exhibition photobooks. Spain 1905-1977 is in collaboration with Acción Cultural Española (AC/E) to present part of the line of investigation and acquisition carried out by the Museo Reina Sofía concerning photobooks.

  • May 2014
    Exhibitions

    With some 300 works, the exhibition recounts a different history of art, from the end of the 19th century to the present day, in which artists and activists play a part in redefining public space by exploring the city as a game board, questioning modern-day carnival and holidays, vindicating the right to laziness, reinventing the square as a place of revolt and discovering the possibilities of a new world through its waste. The exhibit takes the playground model as an ideological interrogation of an alienated and consumerist present.

  • February 2014
    Seminars and conferences Centro de estudios

    With the title After the Shipwreck. The Cinema of Aki Kaurismäki (1983-1996), The Museo Reina Sofia proposed in 2014 the first retrospective of the Finnish filmmaker in a museum of modern art. This interview, written as a conversation, reveals some of the keys to his films: the existential desolation mixed with parody and black humour, gritty realism revised by quotes and fable, an ethic but nihilistic gaze to society and above all, unwavering belief in cinema as a space of freedom.

  • March, 2014
    Exhibitions

    Hanne Darboven is an artist that has delved into the languages of conceptual art and minimal art, which have opened new formal possibilities for expression in the second half of the century. Her numerical series and series of drawings have filled the rooms of many exhibitions and many museums, but her serialism is very different from the one found in the work of other minimalist artists who have also used numerical progressions, such as Sol LeWitt. In this exhibition we are going to find a set of series related to Darboven's everyday life, at home and at work.

  • January, 2014
    Exhibitions Live Arts

    Poetry lecture by Ben Okri on the opening of Elly Strik. Ghosts, Brides and other Companions, on January 22, 2014.

  • March, 2014
    Exhibitions

    The year of construction of the Palacio de Cristal, 1887, is also the year of many events such as the construction of the Eiffel Tower, the birth of Le Corbusier, the invention of the gramophone ... a century in which the production conditions change, industrial production starts, and objects, that start losing their specificity because of the mass production, led to the emerge of some ideas like inner monologue, free verse or more open forms of theater.

  • February, 2014
    Exhibitions Centro de estudios

    Guy Brett, the curator of the show Wols: Cosmos and Street, talks about this new approach to the work of the German artist, not only about his drawings and paintings, but also about his lesser known photographs.

  • February, 2014
    Exhibitions

    For Amos Gitai, the documentary is human archaeology, whereas fiction is architecture. In this exhibition, the Middle East, his parents, and his family memories intermingle with his oeuvre, transcending into physical, audiovisual space, as well as dealing with the multilayered reality which conforms the current sociopolitical landscape.

  • What is the Anthropology of Images?

    Interview with Hans Belting

    October, 2013
    Seminars and conferences

    Author of some key studies in recent years in the field of art theory and visual culture, Hans Belting introduces in this video his influential anthropology of images project. It is defined as a methodology that takes part while distances itself from art history, while opening the discipline into the field of the analysis of images. The video of his interview, that includes related works in the Museo Reina Sofía Collection, was made on with the occasion of the fourth installment of the Master Lectures series.