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

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  • November 2009
    Exhibitions

    I March in the Name of Liberty but As Long As I Love you I am not Free and others struggle for liberation. 

  • January 2009
    Exhibitions

    Modern architecture has a twofold condition; it is both construction and one of the mass media. The work of the artist Dorit Margreiter (Austria, 1967) analyses how architecture constitutes representation through a complex dissection of the specificity of the artistic medium. Along with the artist, Lynne Cooke, the subdirector of Museo Reina Sofía and curator, presents the ideas developed in the exhibition.

  • December 2010
    Exhibitions

    In this interview, Georges Didi-Huberman, the curator of the exhibition ATLAS. How to carry the world on one's back? contemplates the model of the atlas as a mechanism by which to reshape the sensory order of the world and the relationships that are established in the creation of knowledge. Taking the work of Aby Warburg as a point of departure, artistic production is contemplated as a montage, in which things, places and time can be reconfigured.

  • October 2010
    Exhibitions

    The work of José Val del Omar (Granada, 1904-Madrid, 1982) goes beyond the usual limits of cinema and technique. The artist developed a particular relationship with poetry, mysticism, experience and moving images throughout his entire career. In contrast with cinema as a spectacle that is merely for contemplation, Val del Omar theorizes on and puts into practice an expanded and physical cinema, which can be summarized in concepts such as apanoramic overflow and diaphonic sound. A video of a conversation with Eugeni Bonet, curator of the exhibition, and Javier Ortiz-Echagüe, assistant curator of the exhibition, at Museo Reina Sofía.

  • September 2010
    Exhibitions

    The work of Hans-Peter Feldmann (Düsseldorf, 1941) focuses several decades of careful classification and reordering of the sensible world through the image. With systematic thoroughness, Feldmann classified traces of the society through trivial and banal images and objects, recovering the subjective and narrative power of the image in the viewer. The curator, Helena Tatay, introduces the exhibition, held at the Museo Reina Sofia (September 22, 2010 to February 28, 2011).

  • May 2010
    Exhibitions

    This video presents a series of dialogues with some of the artists participating in "The Potosí Principle. How Shall We Sing The Song Of The Lord In A Foreign Land?" exhibition project (Museo Reina Sofía, May 12 - Sept 6 2010). Through a series of conversations, this video atetmpts to reactivate the contexts articulated by the exhibition (London, Moscow, Dubai, Beijing, Potosí) and to elaborate on how the artists have engaged the curators' proposal and how they have responded to the historical paintings included in the exhibition. With interventions by Isaías Griñolo, Eduardo Molinari, Elvira Espejo, Max Hinderer, Miguel Benlloch, Dimitri Vilenski (Chto Delat?), Christian Von Borries, David Riff (Chto Delat?), Konstanze Schmitt, Rogelio López Cuenca, María Galindo, Matthijs de Bruijne and Migrant Workers Museum.

  • May 2010
    Exhibitions

    The exhibition Principio Potosí. How Can We Sing the Song of the Lord in a Foreign Land? (Museo Reina Sofía, May 12 - September 6, 2010) included, together with the European curatorial nucleus, a forth component, headed by Bolivian sociologist Silvia Rivera Cusicanqui together with El Colectivo, a self-organized group of cultural action and critique. This dissident component, which represents a break with the discourse presented in the exhibition, exposes, on the basis of the Principio Potosí Reverso book-catalog (Museo Reina Sofía, 2010) the fissures and contradictions of the models established by the project. From the vantage point of Andean thought, the authors present, in a visual and intertextual dialogue with a tripartite structure, the subversions and subalternities of colonial painting in its relationship with the communities it belongs to, and their rites, their structures of relationship and knowledge which break away from Euro-centril categories.

  • Junio 2010
    Exhibitions

    Douglas Crimp and Lynne Cooke present Mixed Use, Manhattan (June 10 - Sept 27 2010) on the uses and images of the city of New York from the beginning of the intense period of de-industrialization and abandonment of the decade of the 1970's, against the backdrop of recent works by artists who, aware of the practices of their predecessors from that period, continue to find an esthetic potential in the city.

  • June 2010
    Exhibitions

    A conversation with American artist Jessica Stockholder about her intervention in the Crystal Palace in Madrid's El Retiro Park (Museo Reina Sofía, July 14 - February 2011). Halfway between painting and sculpture, between vision and the body, "Peer Out To See" is an installation proposed as a way of looking and transforming the surrounding space through the spectator's actions and movements.

  • June 2010
    Exhibitions

    Re-opening the Palacio de Velázquez after more than five years, the Museo Reina Sofía's new exhibition venue presents the first comprehensive retrospective of the work of Antoni Miralda (Barcelona, 1942). Over more than four decades of production, the Catalan artist's work has been characterized by a continuous and ironic demystification of the art object, joined by an anthropological analysis of the systems of consumption and ritual and ethnological presentation of the codes that articulate contemporaneity.

  • February 2010
    Exhibitions

    Presentation last 18 February 2010 of The Tattooed Skeleton, title of the performance with which the U.S.-born artist Suzanne Lacy takes on, in collaboration with Museo Reina Sofía, the topic of domestic violence against women, on the occasion of the International Day for the Elimination of Violence against Women, 24th and 25th November 2010. Also involved in the presentation are María José Martín Bernabé, from the Government Delegation against Gender-based Violence; Ana María Pérez del Campo, from the Federation of Separated and Divorced Women; Covadonga Naredo and Esther Cerro, from the Federation of Progressive Women; and Sara Vicente, from the Commission for Research on the Abuse of Women.