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

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  • 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.

  • 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

    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

    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.

  • 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.

  • 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.

  • 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.

  • 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.


  • 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.

  • 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”.

  • 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.

  • 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.

  • 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

    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.

  • 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.