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

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  • 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
    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.

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    Force In
    13 january, 2014
    The Collection
  • The Collection Centro de estudios

    Produced on the occasion of the master lectures of 2011, this video offers a comprehensive theoretical introduction to modernism with the art historian TJ Clark. The author of Picasso and Truth: From Cubism to Guernica (2013) and Farewell to an Idea: Episodes from a History of Modernism (1999), among other seminal studies, TJ Clark discusses the ideas that shaped modernism (the process of secularization, the loss of the aura or the disenchantment with the world) and how these notions survive or have been transformed throughout history, placing special emphasis on the Museum's Collection.

  • March 2012
    The Collection

    This video looks at Museo Reina Sofía's Collection 3, giving special attention to the set up of the exhibition and to the contributions made by Manuel Borja-Villel, the director of the Museum, Rosario Peiró, the head of the Collections Department, and Jesús Carrillo, the head of Cultural Programs. Learning about the set-up process helps expand visitors' vision and enriches their understanding of this section of the newly arranged Collection, starting with the projection of works in the exhibition rooms where the stories are told, with commentary by the people directly involved.

  • January 2012
    The Collection

    In this video, the director of the Museum, Manuel Borja-Villel, the head of the Collections Department, Rosario Peiró and the head of Cultural Programs, Jesús Carrillo, discuss some of the key ideas that make up the new Collection rooms. The visit, which covers the two floors of the Nouvel building, explores a field in continual expansion: practices that no longer follow a single direction but rather come from positions that are not only markedly different, such as tropicalism and feminist art, but also from artistic practices that overlap with one another and others that choose to intervene in repressive contexts such as the dictatorships in Spain and Latin America.

  • March 2011
    The Collection

    José Gutiérrez Solana painted La tertulia del café de Pombo in 1920, at the request of his friend Ramón Gómez de la Serna, a writer linked to the avant-garde movement in Spain. The painting captures a singular moment in Spanish intellectual life during the 1920s, between the dark connotations of España Negra and the renewal brought by the Generation of '98. A recent conservation analysis has revealed previously unknown details about the painting, leading to new interpretations.

  • March 2011
    The Collection Centro de estudios

    Structured around various core ideas, this interview with the author of the book Modernismo después de la postmodernidad (2011) shows the dilemmas arising between a revision of the melancholic and contemplative past, returned in the form of the architectural memorial, and a critical reading from the museum, in which history and memory are confronted. Huyssen discusses the foundations of a new modernism, which has future prospects and projects but lacks a geographical centre and power hierarchies.

  • November 2010
    The Collection

    The author of the book De cómo Nueva York robó a París la idea de arte moderno (Madrid, 1990) and the curator of the exhibitionBajo la bomba: el jazz de la guerra de imágenes transatlántica, 1946-1956 (MACBA and Museo Reina Sofía, 2007) talks about the new post-war scenario in dispute, in which there is a convergence of realism, abstraction and traces of an historical avant-garde that shows clear signs of exhaustion.

     

  • November 2009
    The Collection

    During the Spanish Civil War hundreds of pieces of photojournalism were published on the conflict, in magazines in both Spain and abroad. The interest that the war aroused in other countries is manifested in the participation of foreign photographers such as Robert Capa or David Seymour ("Chim"). This room of the Collection also shows the work of photographers such as Agustí Centelles, Alfonso Sánchez Portela and Juan Pando.

  • November 2009
    The Collection

    This room of the Museo Reina Sofía Collection shows posters and drawings made during the Spanish Civil War (1936-1939), underlining the importance of the document in understanding the history of modern art. Works produced in series were, in 1930s Spain, one of the most effective weapons in communicating the effects of the war, and they influenced not just ordinary citizens but also artists such as Picasso and Miró.

  • November 2009
    The Collection

    In this work of the Museum's Collection, Juan Gris (1887-1927) plays with truth and illusion, using elements from daily life within the painting. The newspaper cuttings, for example, include messages about the socio-political context and double meanings, statements, opinions and specific allusions to the role of the artist, as interpreted by Eugenio Carmona and María Dolores Jiménez-Blanco.

  • November 2009
    The Collection Centro de estudios

    The work of Juan Gris (1887-1927) has often been considered secondary and derivative; this video is a response to such affirmations. Through a visit to the room dedicated to him at Museo Reina Sofía, the work of this painter is re-evaluated, showing it to be the real source of the notions of analytic and synthetic cubism, based on a conception of painting as a poetic analogy of the world.