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





  • Exhibition view. Kounellis, 1996
    19 november, 1996 - 18 february, 1997

    Prominent member of the Greek diaspora, Jannis Kounellis (Athens, 1936) is considered a painter before sculptor, he says that as a man in the post-war era there is "a reconstruction project” before him, “where he must reconstruct the language needed to speak". This mission statement serves, in turn, to question his historical attachment to Arte Povera, which originates in his participation of Arte Povera-Im spazio (1967), organised by Germano Celant and which is considered the founding exhibition to this trend which has Italian origins. If Kounellis uses objects (mattresses, gas cylinders and torches, tables, cabinets, coal, coffee, burlap bags), they end up forming an objectual language with which he shapes dramatic spaces and in which, through the partners of theatricality and materialism (of the objects) and structure and sensitivity, compositions which the objects are attracted to because of their qualities unfold. Thus in Kounellis, contrary for Povera artists, “the compositional condition takes precedence over objectual independence," notes exhibition curator Gloria Moure. In this way his work is used as an example of the triumph of presentation (the piece is understood as a location for the allegory) over representation.

  • Magazine D'aci i D'alla, 1934. Biblioteca y Centro de Documentación, Museo Nacional Centro de Arte Reina Sofía, Madrid
    29 october, 1996 - 09 january, 1997
    Program: Biblioteca y Centro de Documentación

    Creative, literary and artistic magazines that arose during the Spanish crisis in 1898 and at the start of the Civil War are the core theme of this exhibition that recognises their crucial role in the development of Spanish art history. They are magazines that serve as platforms from which artistic renewal springs and are the stage for the birth of modern Spanish criticism.

    Biblioteca y Centro de Documentación
  • Juan Muñoz. Plaza (Madrid), 1996. Sculpture. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    25 october, 1996 - 15 january, 1997

    With Juan Muñoz (Madrid, 1953 - Ibiza, 2001) sculpture has the capacity to represent and show the crisis of the modern individual. Muñoz devises the exhibition Juan Muñoz: monólogos y diálogos (Juan Muñoz: Monologues and Dialogues) as the end of a journey, started in 1984 with his first individual exhibition in the Fernando Vijande Gallery in Madrid.

  • Exhibition view. Oskar Schlemmer, 1996
    15 october, 1996 - 09 january, 1997

    Oskar Schlemmer (Stuttgart, Germany, 1888 - Baden-Baden, Germany, 1943) is the master of form at the Bauhaus Dessau workshops in 1925, although he becomes associated with the institution some years before. Schlemmer is conspicuous for being one of the ideologists behind the formulation of new man from artistic, dynamic and spatial parameters. He is also a mural painter and sculptor and defines a new “type” of human construction based on dance and theatre, originating from his work as a choreographer and stage and costume designer. Schlemmer restricts the trend towards abstraction, dominant in Bauhaus, and is characterised stylistically by the organic geometry of the human anatomy.

  • Exhibition view. ¿Buñuel! The Eye of the Century, 1996
    16 july, 1996 - 14 october, 1996

    When cinema is understood as a synonym of movement, a homage to Luis Buñuel (Calanda, Teruel 1900 - Mexico City, 1983) inside a museum - where static work is the overriding medium - can be seen as a “contradictory” exhibition, as the curator, Yasha David, puts it. With this in mind, the spaces of the Museo Nacional Centro de Arte Reina Sofía have been set up to create a “subliminal state” resembling the stamp Buñuel gives to his films.

  • Exhibition view. Cindy Sherman. Colofón, 1996
    09 july, 1996 - 22 september, 1996

    With photography as the dominant medium, Cindy Sherman forges a new path as she formulates a visual discourse, opening up a critique of the power of images and the information the viewer receives from them. Sherman constantly works as her own model in the majority of her images, creating a speculative relationship between reality and fiction.

  • 02 july, 1996 - 29 october, 1996
    Program: Biblioteca y Centro de Documentación

    On July 8, 1952 the library and art gallery Sur opens its doors in Santander. From then and for the following four decades the gallery owner Manuel Arce runs one of the most prestigious contemporary Spanish art galleries. Sur exceeds its peripheral geographical position and manages to be not only a pioneer in its exhibitions, but also respected for its consistency and ability to evolve and adapt to the new directions taken by the creative context.

    Biblioteca y Centro de Documentación
  • Exhibition view. Paul Strand: The World on My Doorstep. 1950-1976, 1996
    02 july, 1996 - 25 september, 1996

    Schooled with the photographer Lewis Hine and with close ties to Alfred Stieglitz, Paul Strand (New York, 1890 - Orgeval, France, 1976) is a prevalent figure in the definition and practice of modern photography, found halfway between straight photography and documentary. From the middle of the Twenties, New York becomes a starting point and important setting for the artist and other artists with similar viewpoints. However, in 1950 Strand abandons New York and relocates to France, thus the exhibition Paul Strand: The World on My Doorstep. 1950-1976, documents, via one hundred and fifty images, Strand's work in Europe during the twenty five years of his self-exile

  • Óscar Domínguez. Pérégrinations de Georges Hugnet (Peregrinations of Georges Hugnet), 1935. Sculpture. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    25 june, 1996 - 16 september, 1996

    The work of Óscar Domínguez (La Laguna, Tenerife, 1906 - Paris, 1957) requires an interpretation of Surrealism in its broadest sense as it goes beyond the processes and approaches of the literature formulated by writer and poet André Breton in his manifestos.

  • Exhibition view. New Abstractions, 1996
    25 april, 1996 - 23 june, 1996

    The theme of this exhibition is rooted in the contemporary debate on modern-day abstract art. Nuevas abstracciones (New Abstractions) displays a selection of sixty works produced between 1987 and 1995 by twenty-nine European and American artists, asserting the main premise that abstract painting moves away from the theory of modern art in the Nineties. The exhibition, therefore, considers the critique and surmounting of the formal dogmatism that Abstract Expressionism has been reduced to, and the subsequent consequences, by means of the final essays by the art critic Clement Greenberg and other experts that suggest painting that is devoid of references, purged of everything outside the medium.

  • David Smith. Tanktotem VI, 1957. Sculpture. On loan from Candida and Rebecca Smith, New York, 1996
    23 april, 1996 - 01 july, 1996

    The David Smith (Decatur, United States, 1906-Bennington, United States, 1965) Exhibition at the Museo Nacional Centro de Arte Reina Sofía has been conceived as a chronological review of the work of someone who is considered the most representative sculptor in North American Abstract Expressionism. The dichotomy between America and Europe that begins during the post-war years is highlighted in this collection which brings together forty works by Smith, made between 1933 and 1965. This collection seeks to explain "the nuclei of force that determined the sculptor's artistic evolution" in the words of Carmen Giménez, curator of the exhibition. The selection concludes with forty photographs by Ugo Mulas, taken at Voltri and Spoleto in the spring-summer of 1962 at his Bolton Landing studio in 1965. These images are a story on Smith's creation process and illustrate the modern idea of the artist at his studio, based on the principles of planning and collaboration with his assistants.

  • Exhibition view. Jiři Kolář, 1996
    18 april, 1996 - 10 june, 1996

    Without abandoning poetry - which planted the seed for all his subsequent artistic activity - Jiří Kolář (Protivín, 1914-Prague, 2002) decides to overcome the ban on publishing and the constant censorship his books are subjected to by opting, in the late fifties, for the practice of visual poetry. From that moment he designs and develops new procedures that modernise the avant-garde techniques of collage. Kolář assigns these works names derived from previous creative concepts (rollages, froissages, chiasmages, intercalage or magrittages), whose resulting works are along the lines of the surreal tableau-poème and the poème-objet. As noted by art critic Raoul-Jean Moulin, Kolář stands as "a poet whose metaphors do not act on words, but on the visible". The exhibition features one hundred works made between 1952 and 1994 and the new phase which raises the artistic combination of seeing and reading is tested, using pictures taken from the western pictorial imagery (Raphael, Michelangelo, Leonardo da Vinci, Johannes Vermeer, Diego Velázquez, Jean Auguste Dominique Ingres, Édouard Manet, Pablo Picasso, Henri Matisse) and emphasising the notion of process in the construction of new relationships between image and meaning.

  • Manuel Angeles Ortiz. Sin titulo, 1929-1933. Painting. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    16 April - 3 June, 1996

    Manuel Ángeles Ortiz (Jaén, 1895 - Paris, 1984) is one of the pre-eminent figures in the revival process of Spanish art throughout the Twenties and up until the Civil War; a point of reference not only for the artists that travel to Paris, but also for those working in the peninsular, mainly due to his collaboration with the magazine Litoral. Eugenio Carmona, the exhibition's curator, defines this heterogeneous production of approaches and languages that fall under the term Art Bouveau as, “the link between Spanish art practices and the international Modernist Movement.”

  • Exhibition view. Cristino de Vera. Drawings, 1996
    21 march, 1996 - 29 may, 1996

    This exhibition consists of about a hundred drawings made between 1993 and 1995 by Cristino de Vera (Santa Cruz de Tenerife, 1931). The exhibition summarises four years of work in which he achieves his purpose of formal purification in issues and reasons for his artistic imagination, based on traditional Spanish painting.

  • Manuel Millares. Aborigen nº1, 1951. 75x95 cm. Oil on canvas. C.A.C. Bodegas Vega Sicilia, S.A. - Museo Patio Herreriano, Valladolid
    08 february, 1996 - 27 june, 1996

    The Spanish Civil War greatly affected the country's artistic creation and prevented the natural development that would have been expected from the long, preceding artistic tradition. Spanish artists’ de facto exile and "internal exile" greatly decreased its chances, but all this does not mean that renewal or avant-garde art did not exist.

  • José Manuel Broto. Las primeras cosas, 1991. Painting. Artist's collection
    08 february, 1996 - 02 april, 1996

    The Palacio de Velázquez in the Retiro park, Madrid, opens a new exhibition space with a display of work devoted to José Manuel Broto (Zaragoza, 1949). The exhibition features the development of his work spanning the last ten years of his career (1985-1995), defined by his time in Paris. During the period his painting moves towards abstraction, reaching new levels of colour, expression and poetry.

  • Flyer for the conference of Paul Eluard Avenir de la poésie, 1937. Biblioteca y Centro de Documentación, Museo Nacional Centro de Arte Reina Sofía, Madrid
    01 february, 1996 - 29 june, 1996
    Program: Biblioteca y Centro de Documentación

    The exhibition Últimas adquisiciones. Material Especial (Latest Acquisitions. Special Material) displays the collection of documents the Centro de Documentación (Documentation Centre) and the Biblioteca (Library) of the Museo Nacional Centro de Arte Reina Sofía have incorporated into their collections in recent years. In the words of the Museum Library's director, Miguel Valle-Inclán, the work of the centre involves, “gathering together useful research materials in the field of contemporary art with the aim of meeting the demands of museum specialists and the general public.”

  • Balthus. The Card Game, 1948-1950. Oil on canvas. Museo Thyssen-Bornemisza, Madrid
    30 january, 1996 - 01 april, 1996

    Balthus (Balthasar Klossowski de Rola) (Paris, 1908-Rossinière, Switzerland, 2001), insists on retaining his biographical anonymity, while acknowledging that his style is made up of a combination of different sources and influences: literature (Rainer Maria Rilke, André Gide, Victor Segalen), Renaissance painting (Giotto, Piero della Francesca) and late-impressionism (Georges Seurat, Paul Cézanne and Pierre Bonnard). This exhibition - for which over one hundred works, including oils, drawings, watercolours and lithographs have been collected - allows us to get closer to an artist who historiography depicts as a painter who does not comply with any classification. Balthus' career runs parallel to the movements that marked his time although some overlaps in them can be seen, such as the geometric austerity in the furniture that make up the scenes in his paintings and his preference for an illusionistic space of Renaissance remnants and even Cubism.

  • Exhibition view. Caja de visiones: Fotografías de Manuel Álvarez Bravo, 1996
    26 january, 1996 - 04 march, 1996

    Manuel Alvarez Bravo (Mexico City, 1902-2002) is one of the parents of Mexican artistic photography. The spontaneous, simple and poetic language of his images make him one of the top names in black and white photography, with photographs that are in the same league as masters such as Paul Strand, Walker Evans and Henri Cartier-Bresson.

  • Exhibition view. ZAJ, 1996
    23 january, 1996 - 21 march, 1996

    The story of the Zaj group -including its critical reception- unfolds during this exhibition. Established in Madrid in 1964 the members of the group were pioneers on the national scene in the practises of “happening” and “performance”. Following in the footsteps of John Cage, with ideas taking artistic practices, language and space to experience and experimental heights, Juan Hidalgo and Walter Marchetti establish Zaj as a collective open to musicians, visual artists and poets and focused mainly on music and composition as a process. The group included the well-known Esther Ferrer, along with many others such as Tomás Marco, José Luis Castillejo, Ramón Barce, Manolo Millares and Manuel Cortés.