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

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  • Marc Pataut, Le Cornillon - Grand Stade (Saint-Denis), 1994-1997. Museo Nacional Centro de Arte Reina Sofía
    April 25 - August 27, 2018

    The photography of Marc Pataut (Paris, 1952) is structured around the formulation of research projects which address those political and human issues which often stand outside art institutions’ parameters.

  • Dora García, Two Planets, 2017. Performance y dibujo © Dora García, fotografía de Clémence Bellisson e Isabelle Arthuis
    April 18 - September 3, 2018

    Dora García

    Second Time

  • Beatriz González, Zócalo de la comedia, 1983. Museo Nacional Centro de Arte Reina Sofía, Madrid
    March 22 - September 2, 2018

    Beatriz González

    Retrospective 1965-2017

    The work of Beatriz González (Bucaramanga, 1938), widely regarded as one of the seminal artists from the Colombian art scene, occupies a unique place in the history of Latin American art — not only is she a pioneer of Pop Art, but also, almost without calculation, an incisive and coherent chronicler of recent Colombian history.

  • José de Almada Negreiros, Retrato de Fernando Pessoa, 1964. Museu Calouste Gulbenkian - Coleção Moderna
    February 7 - May 7, 2018

    Pessoa

    All Art Is a Form of Literature

    The exhibition Pessoa. All Art Is a Form of Literature takes its title from a quote by Álvaro de Campos, one of the most avant-garde heteronyms created by Fernando Pessoa (Lisbon, 1888–1935), and published in the influential Portuguese magazine presença.

  • Juan Gris, La guitare sur la table [La guitarra sobre la mesa], 1913
    From November 22, 2017

    Telefónica Collection

    Cubism(s) and Experiences of Modernity

  • Model for the opera Wozzeck, 2016. Mixed media. 135 x 220 x 183 cm. Private collection
    November 1, 2017 - March 19, 2018

    William Kentridge

    Enough and more than enough

    Upon finishing his degree in Politics and African Studies at the University of the Witwatersrand in Johannesburg, William Kentridge (Johannesburg, 1955) moved to Paris for a year to study theatre and mime.

  • Esther Ferrer, Biografía para una exposición, 1982. Collage. Photography and ink on paper. 32,5 x 24 cm. Courtesy of the artist
    October 26, 2017 - February 25, 2018

    Esther Ferrer

    All Variations Are Valid, Including this One

    Esther Ferrer (San Sebastián, 1937), a pioneer and one of the foremost representatives of performance art in Spain, began participating in the activities of the Zaj group — with Walter Marchetti, Ramon Barce and Juan Hidalgo — in 1967.

  • George Herriman, Krazy Kat. N.d.. Ink, pencil and watercolor on paper. 34,3 x 36,8 cm. Garry Trudeau Collection. © King Features Syndicate, Inc. ™ Hearst Holdings, inc., King Features Syndicate Division
    October 18, 2017 - February 26, 2018

    George Herriman

    Krazy Kat is Krazy Kat is Krazy Kat

    George Herriman (New Orleans, 1880 – Los Angeles, 1944), regarded as one of the foremost American cartoonists, was part of a generation of pioneering artists who developed their work in the newspapers that started to feature comic strips at the turn of the twentieth century. Herriman’s work was hugely influential among a broad array of artists, including Willem de Kooning and Öyvind Fahlström, as well as intellectuals and writers such as E. E. Cummings, T. S. Eliot and Jack Kerouac

  • Doris Salcedo, Palimpsesto, 2013-2017. Picture by: Juan Fernando Castro
    October 6, 2017 - April 1, 2018

    Doris Salcedo

    Palimpsesto

    The work of Doris Salcedo (Bogotá, 1958) is deeply rooted in the social and political circumstances of her native Colombia, although she does occasionally address problems in other contexts — a case in point being the project she has devised for the Palacio de Cristal.

  • Sergio Prego Anti, 2005
    September 27– November 27, 2017 and December 20, 2017 – March 5, 2018

    This exhibition offering, folding out across two shows, sets forth a broad selection of works comprising the temporary loan made by the gallerist Soledad Lorenzo to the Museo Reina Sofía in 2014.

  • Emmett Williams, A Valentine for Noël, Stuttgart: Hansjörg Mayer, 1973. Museo Nacional Centro de Arte Reina Sofía © The Estate of Emmett Williams
    September 21, 2017 – March 2, 2018

    According to a commonly repeated story, a German officer asked Pablo Picasso, pointing to a photograph of his Guernica, “Did you do that?” Picasso is said to have replied, “No, you did.” The exhibition Violence in War and Peace is about this “you,” the inhumanity done to men by men that seemingly cannot be cured, not even after the terrible experiences of the most barbaric disasters of the last decades.

    Biblioteca y Centro de Documentación
  • David Bestué, Motor de sangre sobre banco de arena y vasos de hueso y mármol, 2017. Resina, arena, harina de sangre, y polvo de mármol y hueso. Medidas variables
    September 13, 2017 – February 26, 2018

    David Bestué

    ROSI AMOR

    Program: Fisuras

    In recent years, David Bestué (Barcelona, 1980) has realised a series of sculpture projects which critically review certain historical events and aesthetic/formal developments characterising last century’s avant-garde movements in the fields of art, architecture and literature.   

  • Scipion Nasice Sisters Theatre. Retrogarde Event Baptism under Triglav, 1986. Photography: Marko Modic
    June 28, 2017 - January 8, 2018

    NSK from Kapital to Capital. Neue Slowenische Kunst

    An Event of the Final Decade of Yugoslavia

    The present exhibition is the first retrospective in Spain on the artist group NSK (Neue Slowenische Kunst) [New Slovenian Art], which spearheaded one of the most important experiences in the culture that materialised in 1980s Yugoslavia, during the Cold War.

  • Quico Rivas Archive. Museo Nacional Centro de Arte Reina Sofía
    June 8 – September 18, 2017

    In the context of the Master’s Degree Course in Contemporary Art and Visual Culture taught at the Study Centre of the Museo Reina Sofía, Space D of the Museum’s Documentation Centre now presents Vis à vis: Quico Rivas, Archive and Prison, an academic exercise in exhibition design carried out by the group of students currently following the criticism itinerary on the Master’s course.

    Biblioteca y Centro de Documentación
  • Lee Lozano. Ream, 1963. Óleo sobre lienzo. Blanton Museum of Art. University of Texas, Austin. Donación de Mary y James A. Michener, 1968
    May 31 - September 25, 2017

    Lee Lozano

    Pulling out the Stops

    Throughout the 1960s, and across only twelve years, Lee Lozano (Newark, 1930–1999) developed a radically provocative body of work, actuated by the staunch questioning of each and every socially imposed structure. Her career unfolded alongside the emerging civil rights and anti-war movement and the protest, free and pacifist spirit that sprang up through the political landscape and aesthetics in America during that period.

  • © rosa barba 2017
    May 17 – August 27, 2017

    Rosa Barba

    Solar Flux Recordings

    Rosa Barba (Agrigento, Italy, 1972) is a Berlin-based visual artist and film-maker who predominantly bases her work on the use of celluloid and filmic devices, in both materiality and concept.

  • Mário Pedrosa, Brazilian writer and art critic, Meudon (at Alberto Magnelli's home), 1969 © Alécio de Andrade, VEGAP, Madrid, 2017
    April 28 - October 16, 2017

    Mário Pedrosa

    On the Affective Nature of Form

    Mário Pedrosa (Pernambuco, 1900 - Río de Janeiro, 1981) was one of the foremost 20th-century Brazilian and Latin American thinkers. A critic, politician and sociologist, Pedrosa embodied the paradigm of the public intellectual committed to the debate over the future of society, both politically and culturally, and was a spokesperson in the forming of Brazil’s modern culture.

  • Katarzyna Kobro. Kompozycja przestrzenna (4) [Spatial Composition (4)], 1929. Oil and metal 40 x 64 x 40 cm. Muzeum Sztuki, Łódź
    April 25 – September 18, 2017

    Kobro and Strzemiński

    Avant-Garde Prototypes

    Katarzyna Kobro (Moscow, 1898 - Lodz, 1951) and Władysław Strzemiński (Minsk, 1893 - Lodz, 1952) are two key figures from the Central European avant-garde, the creators of original artistic concepts in the fields of sculpture and painting, respectively, which at once radicalised and breached the premises of modernity.

  • Exhibition view: Franz Erhard Walther. A Place for the Body, Palacio Velázquez, Madrid 2017
    April 6 - September 10, 2017

    Franz Erhard Walther

    A Place for the Body

    Through the production of participatory objects, fabric sculptures and his own body, Franz Erhard Walther (Fulda, Germany, 1939) expands the definition of art and its relationship to viewers. For the artist, art bears an immaterial and performative character, manifested in the spectator’s individual, physical and mental commitment when he or she comes before artworks.

  • Pablo Picasso. Guernica, 1937. Museo Nacional Centro de Arte Reina Sofía Collection © Sucesión Pablo Picasso, VEGAP, Madrid, 2017
    April 5 – September 4, 2017

    Pity and Terror

    Picasso’s Path to Guernica

    The exhibition Pity and Terror in Picasso, opening at the Museo Reina Sofía in April 2017, 80 years after Guernica’s first showing, will have the great mural at its heart. It will look again at Picasso’s depiction of modern warfare – war from the air, death from a distance, aimed at the destruction of whole populations – and the special kinds of agony, bewilderment, and terror such warfare brings with it.

  • Bruce Conner. SPIDER LADY HOUSE, 1959. Wood, nylon, ice skate, doll parts, rope, jewelry, feathers, animal hair, corks, wallpaper and paper on wood. Oakland Museum of California Collection. Donation from the Collectors Gallery and the National Endowment for the Arts ©Bruce Conner, VEGAP, Madrid, 2016
    February 22 - May 22, 2017

    Bruce Conner

    It’s All True

    Bruce Conner (1933, McPherson, Kansas - 2008, San Francisco) is one of the most pre-eminent American artists from the second half of the twentieth century. This exhibition, the first to present his work in Spain, brings together more than 250 works which span his fifty-year career.

  • Ramses Younan. Untitled, 1939. Oil on canvas
    February 14 - May 28, 2017

    Art et Liberté

    Rupture, War and Surrealism in Egypt (1938–1948)

    This exhibition is the first monographic show on the activity of the Art et Liberté Group, a collective of artists working out of Cairo during World War Two. The exhibition comprises a selection of around one hundred pictorial works and a range of photographic and documentary materials.

  • Anne-Marie Schneider. Untitled, 1996-1997. Charcoal on paper. Fonds régional d'Art contemporain Provence-Alpes-Côte d'Azur. Inv: 2005.512
    November 16, 2016 - March 20, 2017

    The line is the primary formulation in the imaginary of Anne-Marie Schneider (Chauny, France, 1962), in which autobiographical activity also has a strong presence. The line refers to gestural writing and gives shape to the enigmatic world of personages whose bodies are often taken apart and fitted back together in fragments, prolonged in domestic space and projected on to the landscape.

  • Lothar Baumgarten. Photography. The ship is going under, the ice is breaking through, 2001
    November 3, 2016 - April 16, 2017

    Lothar Baumgarten

    The ship is going under, the ice is breaking through

    Lothar Baumgarten has opened up new possibilities of artistic expression and reflection through an oeuvre that questions Western systems of thought and representation as well as the ways our perception of and relation to other cultures are constructed.

  • João Maria Gusmão and Pedro Paiva, Maça de Darwin, macaco de Newton, 2012
    October 26, 2016 - March 13, 2017

    Territories and Fictions

    Thinking a New Way of the World

    This presentation of holdings from the Museo Reina Sofía Collection, largely made up of recent acquisitions, approaches the languages and artistic practices that defined the period between the end of the 1990s and 2007 – both in Spain and internationally - by way of a series of shared questions that heralded the start of the century and run up to the present time.

  • Exhibition view. Marcel Broodthaers, 2016
    October 5, 2016 - January 9, 2017

    Marcel Broodthaers

    A Retrospective

    The Museum of Modern Art, New York, and the Museo Reina Sofía have organised one of the most comprehensive retrospectives devoted to Belgian artist Marcel Broodthaers (1924–1976). His remarkable output in the 1960s and 1970s established him as one of the most important artists on the international scene, and one of the most influential for numerous contemporary artists from that time to the present day.

  • A still from The Uncorrupted, Tamar Guimarães. Film, 2016
    September 28, 2016 - March 13, 2017

    Tamar Guimarães

    The Uncorrupted

    Program: Fisuras

    Tamar Guimarães (Belo Horizonte, Brazil, 1967) presents a project, designed specifically for the Fisuras (Fissures) programme, in the Museo Reina Sofía. The artist’s work spans the fields of installation, film and sound.

  • Txomin Badiola. Bañiland 6, 1990-1992. Painting, wood, construction, plastic and serigraphy. A. Trullenque Collection
    September 23, 2016 - February 26, 2017

    Txomin Badiola

    Another Family Plot

    The retrospective by Basque artist Txomin Badiola (Bilbao, 1957), housed in the Palacio de Velázquez, presents a broad selection of his output – photographic works, drawings, sculptures and multimedia installations – spanning from the 1980s to the present day.

  • Daniel Buren, Les Écrits (1965-1990), Bourdeaux: CAPC musée d’art contemporain, 1991. Museo Nacional Centro de Arte Reina Sofía. Photo: Centre for Artists’ Publications, Weserburg, Bremen. © DB – VEGAP, Madrid, 2016
    September 21, 2016 – May 29, 2017
    Program: Biblioteca y Centro de Documentación

    I Am Also not a Book is the title of the last part of a trilogy of exhibitions which includes It is not new, it is a book (from September, 2014 to May, 2015) and I call them simply books (from May to October, 2015). On this occasion, the title refers to the 1973 work by John M. Belis, I Am Also not a Book, which consists of a card with the sentence “Attach this card to any book-type object and it will become a genuine John M. Belis,” and which can indeed be affixed to any book-shaped object.

    Biblioteca y Centro de Documentación
  • Exhibition view. Damián Ortega. The Rocket and the Abyss, 2016
    May 5 - October 2, 2016

    Damián Ortega

    The Rocket and the Abyss

    Damián Ortega (Mexico City, 1967) started out as a newspaper cartoonist in the 1980s, approaching the political scene with acerbic wit. His artistic concerns shifted when he joined the Taller de los Viernes (Friday Workshop) in Tlalpan (active from 1987 to 1992), a self-styled school and the place where he would come into contact with a creative community that was both diverse and an alternative to the dominant reactionary muralism in Mexico at the time. It was in this milieu that he realised his first sculptures, continuing the ironic tone from his previous profession.

  • Exhibition view.  Campo Cerrado. Spanish Art 1939–1953
    April 26 - September 26, 2016

    Campo Cerrado

    Spanish Art 1939–1953

    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.

  • Exhibition view. Erlea Maneros Zabala, 2016
    April 19 – August 29, 2016
    Program: Fisuras

    The work of Erlea Maneros Zabala (Bilbao, 1977) analyses the conditions and effects of image production, addressing the contexts generated and the modes of distribution. The issues raised by her work can be found in the academisation of languages of abstraction, the notion of authorship and the relationships established between handicrafts and mass production through the use of mechanical resources in production processes.

  • C.A.D.A. (Colectivo Acciones de Arte). ¡Ay Sudamérica!, 1981. Museo Nacional Centro de Arte Reina Sofía © 2016 Archivo y obra C.A.D.A.
    April 12 - September 13, 2016

    This exhibition brings together an extensive selection of materials from the C.A.D.A. Archive and Work, recently acquired by the Museum on the basis of the dialogue with the artists who conserve the original material, Lotty Rosenfeld and Diamela Eltit, and the researches of the Red de Conceptualismos del Sur, besides other complementary materials.

    Biblioteca y Centro de Documentación
  • Wifredo Lam. Umbral (detail), 1950. Centre Pompidou, Musée national d’art moderne, Paris, State adquisition, 1969 © Archivo SDO Wifredo Lam
    April 6 - August 15, 2016

    The retrospective on Cuban painter Wifredo Lam (Sagua La Grande, 1902 – Paris, 1982), organised by the Centre Pompidou, Museo Reina Sofía and Tate Modern, acknowledges the common desire to consider modernity in all its complexity and endeavours to redefine Lam’s work inside a history of international art in which he stands as a key figure.

  • Exhibition view. Rémy Zaugg. The Question of Perception, 2016
    March 31 - August 28, 2016

    Rémy Zaugg

    The Question of Perception

  • Mail Art and the Big Monster (detail), 1977
    March 16 - October 10, 2016

    Ulises Carrión

    Dear reader. Don’t read

    The retrospective devoted to Ulises Carrión (San Andrés Tuxtla, Veracruz, Mexico, 1941 – Amsterdam, 1989) explores his multifaceted artistic and intellectual work. It spans his beginnings as a young, successful and well-respected writer in Mexico, his spells in France, Germany and England between 1964 and 1972, when he sharpens his resolve to innovate in language, ending at the time he definitively settles in Amsterdam, the place where he realises a wide array of artistic, literary and cultural activation activities.

  • Alexandre Estrela. Pockets of Silence, 2015
    December 16, 2015 – March 28, 2016

    Alexandre Estrela

    Pockets of Silence

    Program: Fisuras

    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.

  • Juan Giralt. Zumo de limón, 2006.  Acrilic and collage on canvas. Private Collection. Image: Juan Giralt Ortiz, VEGAP, Madrid, 2015
    December 2, 2015 - February 29, 2016

    The work of Juan Giralt (Madrid, 1940–2007) was initially self-taught in the Informalism that predominated the 1950s. During 1970s and 1980s his new interpretation of figurative painting, turning him into a reference point of New Figuration in Madrid.

  • Andrzej Wróblewski, Szofer (Szofer niebieski) [Chauffeur (Blue Chauffeur)], 1948, Private collection, Warszaw  © Courtesy Andrzej Wróblewski Foundation
    November 17, 2015 - February 28, 2016

    Andrzej Wróblewski

    Recto / Verso

    Andrzej Wróblewski (1927–1957) is, despite his short life, one of the most important Polish artists of the 20th 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.

  • Hito Steyerl. How Not to Be Seen: A Fucking Didactic Educational.MOV File, 2013*
    November 11, 2015 - March 21, 2016

    Hito Steyerl

    Duty-Free Art

    Regarded as one of the most relevant contemporary artists in the field of Video art, Hito Steyerl (Munich, 1966) approaches current themes in her work, for instance the impact the proliferation of images and the use of the Internet and technology have on our lives.

  • Ignasi Aballí Mapamundi 2010, 2011. Collage on paper, 30 x 21 cm each one (110-115 copies approx.). Artist’s collection
    October 28, 2015 - March 27, 2016

    Ignasi Aballí

    without beginning / without end

    In October the Museo Nacional Centro de Arte Reina Sofía will present an exhibition devoted to Ignasi Aballí (Barcelona 1958). The output of this Catalan artist offers a conceptual reflection on the representation and perception of mediums such as painting, the object or photography.

  • Constant Rode sector, 1958. © Constant, VEGAP, Madrid, 2015
    October 21, 2015 - February 29, 2016

    Constant

    New Babylon

    Constant (Constant Anton Nieuwenhuys, Amsterdam, 1920 – Utrecht, 2005) realised scale models, paintings, drawings and collages displaying his concept of a nomad city of the future – New Babylon – a complex and expansive labyrinth that transformed the whole world into one sole network.

  • Marcel Broodthaers. Fig 1. Mönchengladbach, Städtisches Museum Mönchengladbach, 1971. Institut für Auslandsbeziehungen collection e. V., Stuttgart / Centre for Artists’ Publications, Weserburg, Bremen. © Marcel Louis Jean Broodthaers, VEGAP, Madrid, 2015
    October 15, 2015 - April 4, 2016

    More than a catalogue

    The catalogue-boxes of the Museum Abteiberg-Mönchengladbach (1967-1978)

    By virtue of the renewed conceptions of art which developed in the 1960s and 1970s, museums were forced to renovate their way of presenting art works, and also their idea of what art publications could be.

    Biblioteca y Centro de Documentación
  • Exhibition view. Danh Vō. Banish the Faceless / Reward your Grace, 2015
    October 1, 2015 - April 4, 2016

    Danh Vō

    (Banish the Faceless / Reward your Grace)

    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.

  • Mohamedi, Nasreen. Untitled, Ca. 1970. Ink and graphite on paper, 47,4 x 47,4 cm. KIRAN NADAR MUSEUM OF ART
    September 23, 2015 - January 11, 2016

    Nasreen Mohamedi

    Waiting Is a Part of Intense Living

    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.