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  • Campo cerrado

    Spanish Art 1939–1953. Interview with Mª Dolores Jiménez-Blanco

    Exhibitions

    The exhibition Campo Cerrado takes its name from the homonymous novel by Max Aub and looks to examine Spanish art in the complex and controversial 1940s, a decade that has received little attention and one that exists in a critical and historiographical vacuum, despite its importance in structuring modern sensibility in Spain.

  • Abril, 2016
    Exhibitions

    The exhibition Wifredo Lam revolves around the genesis of his work, the diverse stages and conditions of reception and the progressive integration of a body of work that was painstakingly put together in Spain, Paris, Marseille and Cuba, tracing the artist’s unique career by way of almost two hundred and fifty works – paintings, drawings, etchings, prints, ceramics - and is completed with over three hundred documents – letters, photographs, magazines and books.

  • April, 2016
    Exhibitions

    The work of Swiss artist Rémy Zaugg (Courgenay, 1943 – Basel, 2005), which stretches across four decades, is on display in the Palacio de Velázquez. The exhibition The Question of Perception is the outcome of a close collaboration between the Museo Reina Sofía and the Museum für Gegenwartkunst, Siegen, and looks over a body of work based on the study of perception, and the relationships between text and images, colour and language, the real and the subjective, and between plane and space.

  • March, 2016
    Exhibitions

    A key figure in Mexican conceptual art, Ulises Carrión (1941, San Andrés Tuxtla, Mexico – 1989, Amsterdam) was an artist, editor, curator, and theorist of the post-1960s international artistic avant-garde.

    The exhibition is composed of nearly 350 pieces that include books, magazines, videos, films, sound pieces, mail art, public projects, and performances, along with Carrión’s initiatives as curator, editor, distributor, lecturer, archivist, art theorist, and writer. It is a significant body of original work structured so as to place a spotlight on every facet of his production.

  • 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.

  • 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.