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





  • Jaume Plensa, Invisible, 2018
    15 November 2018 – 24 February 2019

    Jaume Plensa


    Throughout his career as a sculptor, Jaume Plensa (Barcelona, 1955) has drawn on spirituality, the body and collective memory as the primary sources which tie together his visual artwork. Literature, psychology, biology, language and history become strategic tools in the creation of his work, and, through a broad spectrum of materials — steel, cast iron, resin, glass, water, sound — Plensa lends weight and physical volume to the components of the human condition and the ephemeral. 

  • Mapa Teatro. De los dementes, ò faltos de juicio (Of Lunatics, or Those Lacking Sanity)
    31 October 2018 – 25 February 2019

    Mapa Teatro

    Of Lunatics, or Those Lacking Sanity

    Founded in Paris in 1984 by Colombian theatre and visual artists Heidi, Elizabeth and Rolf Abderhalden, Mapa Teatro moved to Bogotá in 1986. Since its inception, this artists’ laboratory has developed its own cartography in the sphere of “living arts”, in a space which is conducive to transgressing borders — geographical, linguistic, artistic — and to staging local and global concerns by way of different devices and formats.

  • Dotothea Tanning, Chambre 202, Hôtel du Pavot [Poppy Hotel, Room 202] (1970–1973). Installation, wood, fabric, wool, wallpaper, rug, light bulb. Centre Pompidou, Paris
    3 October 2018 – 7 January 2019

    Dorothea Tanning

    Behind the Door, Another Invisible Door

    Dorothea Tanning (1910–2012) is widely regarded as one of the twentieth century’s most important and multifaceted women artists, an association, however, which she spurned: “Women artists. There is no such thing — or person. It’s just as much a contradiction in terms as ‘man artist’ or ‘elephant artist’. You may be a woman and you may be an artist; but the one is a given and the other is you”.

  • Luigi Ghirri, Salisburgo, 1977. Chromogenic print. 15,4 x 23,3 cm. Private collection, courtesy Matthew Marks Gallery © Eredi di Luigi Ghirri
    26 September 2018 – 7 January 2019

    Luigi Ghirri

    The Map and the Territory

    The Map and the Territory is the first major Luigi Ghirri retrospective to go on show outside the artist’s native Italy. The focus of the exhibition rests on the 1970s, a key period in the expansion of the suburbs and the service economy, the emergence of conceptual art and the mainstreaming of Pop and its strategies of appropriation.

  • José Manuel Aizpúrua, Untitled, 1930.Rooftop terrace, 32 Prim Street, San Sebastian, © Navarra University Museum
    20 June – 1 October 2018

    In the context of the MA in Contemporary Art History and Visual Culture organised by the Museo Reina Sofia Study Centre in conjunction with the universities Autonomous (UAM) and Complutense (UCM) of Madrid, the Library and Documentation Centre's Espacio D presents Lost Modernities. Bauhaus and Spain, an academic exercise and exhibition arranged by a group of students from the MA's Art Theory and Critique itinerary.

    Biblioteca y Centro de Documentación
  • Gonzalo Juanes. Gijón en mayo (Gijón in May), 1960. Silver dry plate on paper. Museo Nacional Centro de Arte Reina Sofía. Donation by the Autric-Tamayo family, 2018. Madrid
    13 June 2018 – 19 November 2018

    An Approach to Afal

    The Autric-Tamayo Donation

    The collective of photographers which operated under the name AFAL Group hailed from the publication AFAL, a magazine specialised in film and photography, published over a six-year period, from 1956 to 1963, and coordinated from Almería by José María Artero García (Almería, 1928–1991) and Carlos Pérez Siquier (Almería, 1930). 

  • Ilin (Nal). Futurism in a village, 1914. Watercolour on paper. 30.5 x 25.2 cm. Vladimir Dahl Russian State Literary Museum
    6 June – 22 October 2018

    This exhibition explores Russian avant-garde art through the perspective of the Anti-art canons associated with the international Dada movement. The anti-academic work of Kazimir Malevich to eclipse classical art and the transrational language experiments (zaum) of Velimir Khlebnikov and Aleksei Kruchenykh are just some of the early contributions which substantiate the reasoning behind this show.

  • Artur Barrio.P…H…1969. Situation constructed outside the MAM Museu de Arte Moderno, Rio de Janeiro. Artur Barrio Archive. Photograph by César Carneiro
    23 May - 27 August 2018

    Artur Barrio

    Experiences and Situations

    The Portuguese-born Brazilian artist Artur Barrio (Porto, 1945), winner of the Velázquez Prize for Plastic Arts in 2011, has been one the foremost figures of Action Art and conceptualisms in Latin America since he burst on to the Brazilian art scene in the late 1960s, at a time fraught with political tension and mounting repression under the military dictatorship. Interventions in public spaces and the search for a place of expression outside art institutions converge in this artist as a symbol of resistance to poeticise daily life, with the body of the artist the focal point of these actions in a critique of social coercion.

  • Exhibition view of Nairy Baghramian. Breathing Spell, Palacio de Cristal
    May 17, 2018 - October 14, 2018

    Nairy Baghramian

    Breathing Spell

    The sculptures and installations of Nairy Baghramian revise inherited forms and concepts as they address notions such as functionality, abstraction and feminism. With a clear reference to Art History and modern architecture, notably Minimalism and Surrealism, the artist calls into question the strain that exists between aspects such as function and ornament, industry and craft, among others. The sculptures in this exhibition, made out of glass, zinced metal and resin, assume organic forms where visible protuberances and recesses in human physiology and subjectivity, as well as interior design and decorative objects, resound.

  • Eusebio Sempere, Relieve luminoso móvil "Ciudad” [Mobile Luminous Relief "City"]. Wood, acrylic, plastic, lamps and motor. The Muñoz Avia Family Collection. Photograph: Joaquín Cortés/Román Lores
    May 9 - September 17, 2018
  • Marc Pataut, Le Cornillon - Grand Stade (Saint-Denis), 1994-1997. Museo Nacional Centro de Arte Reina Sofía
    April 25 - August 27, 2018

    Marc Pataut

    First Attempts

    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 Have Been Colliding for Thousands of Years, 2017. © Dora García, photograph by Clémence Bellisson and Isabelle Arthuis
    April 18 - September 3, 2018

    Dora García

    Second Time Around

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

    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.

  • Raúl Marroquín, How? Maastricht: Agora; Beau Geste Press, 1974  Museo Nacional Centro de Arte Reina Sofía  © Raúl Marroquín
    March 8 – June 8, 2018

    The exhibition Comics Revisited highlights the crossings of the comics genre and the visual arts. Born at the end of the nineteenth century after many historic precursors, it underwent various mutations with respect to its forms and publics. When Stéphane Mallarmé wrote that ‘everything in the world exists in order to end up as a book’, today it seems that everything, from the Bible to the most iconic literary masterpiece, ends up in a comic.

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


    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.