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

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

    Jaume Plensa

    Invisibles

    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

    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.

  • Luis Gordillo. Beethoven tosía al verde (Beethoven Coughed Green), 1989. © Luis Gordillo, VEGAP, Madrid, 2017
    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.