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





  • Eduardo Chillida. La mesa de Giacometti, 1988. Sculpture. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    15 december, 1998 - 15 march, 1999

    Chillida. 1948-1998 is a retrospective exhibition, consisting of one hundred and forty works that are the fruit of Eduardo Chillida’s (San Sebastián, 1924 - 2002) fifty years of artistic research and creation. The selection of sculptures and drawings includes the different materials used, allowing the presentation to be divided into three different sections.

  • Exhibition view. Gregory Crewdson. House Taken Over, 1998
    14 december, 1998 - 17 january, 1999

    House Taken Over, a title that refers to the eponymous story of the same name by Julio Cortazar, is the first exhibition in Spain by the photographer Gregory Crewdson (New York, United States, 1962). It presents his latest work: Twilight in addition to a selection of aerial landscape series (1996-1997) and a large photograph of landscapes taken at ground level (1996). All these pieces are a good example of Crewdson's work; they all have a very distinctive style: a combination of traditional photography with a documentary style and a dreamlike vision of reality similar to David Lynch’s or Steven Spielberg’s cinematography. From this approach to the recreation of a reality that is not real, his photographs relate to the reinterpretation of traditional genres of American photography, while supposing a critical investigation on today’s society through various aspects of American and Western lifestyle in general. The artist constructs the visual, narrative space of Twilight using elements related to literature and cinema, as with photography. This provokes a degree of mystery that forces an irrational interpretation of the images that make up this series.

  • Exhibition view. Ilya y Emilia Kabakov. El Palacio de los Proyectos 1995 - 1998, 1998
    10 december, 1998 - 25 april, 1999

    The Palacio de los Proyectos (1995-1998) of Ilya Kabakov (Dnepropetrovsk, Ukraine, 1933) and Emilia Kabakov (Dnepropetrovsk, Ukraine, 1945) is a project in itself -composed both of initiatives and goals- which is presented in the form of an installation at the Palacio de Cristal Retiro Park, where content and container deliberately interfere. The project is complemented with a book where these projects are explained and illustrated.

  • Exhibition view. Francisco Ruiz de Infante. Habitación de Lenguajes (Bestiario nº 2 y nº 3), 1998
    30 october, 1998 - 21 november, 1998

    The videos and movies by Francisco Ruiz de Infante (Vitoria, 1966) have titles that reveal the images and concerns articulated by the visual and conceptual imagery of his installations and stage sets. Thus, the pieces in this exhibition: Texturas (1985), Hacia el agua (1988), El juicio (1991), Las cosas simples (1992) y Los lobos (1995), appertain to the sea, threats, water, light, common places, prejudices, travel, reformatories, walks or survival.

  • Exhibition view. Elena del Rivero. Cinco cartas retenidas, una sexta inacabada, una séptima enviada, más una octava recibida, 1998
    26 october, 1998 - 30 november, 1998

    In her later works, Elena del Rivero (Valencia, 1949) transforms epistolary genre into the main source of her artistic narrative, while transforming sewing into a communicative and graphic medium. By emphasising the connotations that the action of knitting has traditionally received and how it has been represented, the artist once again focuses on the binomial of sewing and un-sewing fabric, like a metaphor of hope and the possibility of return, referring to the classic figure of Penelope. Taking as starting point the subheading of Marina Tsvetaeva’s work, Florentine Nights: Nine letters, the tenth retained an eleventh one received -which in turn the Russian author takes from the German poet Heinrich Heine: Florentinische Nächte- Elena del Rivero transforms thread and paper into materials, both pictorial and sculptural, which the artist always uses from a poetic conception and attempts to make visual pleasure prevail as a territory of desire. For this exhibition, and having close by the example of her Cartas a la madre, Elena del Rivero proposes other letters: those unsent letters which will therefore not receive any reply, so that nostalgia, grief and waiting make up the three fundamental states on which this exhibition stands.

  • Joan Miró. Galathée, 1976. Graphic Art. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    26 october, 1998 - 06 december, 1998

    The Centro de Arte Museo in Almería inaugurates with this exhibition made of up a selection of pieces from Joan Miró’s (Barcelona, 1893 - Palma de Mallorca, 1983) last years.

  • Exhibition view. Günther Förg, 1998
    22 october, 1998 - 10 january, 1999

    Günter Förg (Füssen, Germany, 1952) tries to find confirmation or architectural order and a correspondence between form and structure by using his photography and paintings. In this sense Alicia Chillida, exhibition curator, says that the German artist assumes "the geometric grid of modernity, the horizontal-vertical pattern in the fundamental scheme of vision."

  • Exhibition view. Alfonso Fraile. Work 1960-1987, 1998
    20 october, 1998 - 11 january, 1999

    This exhibition, consisting of fifty-six large-scale paintings and drawings, is an approximation of Alfonso Fraile’s (Marchena, Seville, 1930 - Madrid, 1988) work. The exhibition addresses the period between 1960 and 1987; the period in which Fraile participates in the recovery of figurative painting and is recognised as one of its leading representatives. However, his career begins years earlier, after studying at the San Fernando Academy of Fine Arts and the teachings of Daniel Vázquez Díaz, with works that respond to a Post-Cubist aesthetic. Thus begins the importance he attaches to the structuring of space in his first representations, which becomes one of his most characteristic features, as seen in Adolescentes y una mano (1977).

  • Pepe Espaliú. Sin título. Diez últimos dibujos, 1993. Drawing. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    14 october, 1998 - 11 january, 1999

    The exhibition Dibujos germinales. 50 artistas españoles. 1947-1998 provides a general and previously unimagined vision of drawing in Spain during the second half of the twentieth century, through fifty artists from different generations (from Eduardo Chillida to Eva Lootz or from Luis Gordillo to Azucena Vieites). Because it is an extended period and a relatively common practice for most of the authors, there is a need to find a conceptual unity that seeks to convey a general idea and propose a systematic structure. Therefore, in this exhibition drawing does not appear as a technique, rule or discipline, but as a starting point -germination in the strict sense- to delve into the mechanisms of creation and try to go beyond the notion of sketch or preparatory study.

  • Lucio Fontana. Concetto spaziale. Attesa (Spatial Concept. Expectation), 1960. Painting. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    30 september, 1998 - 16 november, 1998

    With more than eighty works, this exhibition represents a new approach to Lucio Fontana’s (Rosario de Santa Fe, Argentina, 1899-Varese, Italy, 1968) work. The exhibition is based on his main themes, but goes beyond reducing his artistic input and research to just the famous buchi (holes or perforations) or tagli (cuts) that he makes on canvas. The intention is to seek and analyse the guiding principle of the timeless questions present in his different styles and periods of production.

  • José Gutierrez Solana. Las vitrinas (Showcases), 1910. Painting. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    22 july, 1998 - 07 september, 1998
    Program: Biblioteca y Centro de Documentación

    This exhibition retrieves the enormous work by Ricardo Gutiérrez Abascal (Bilbao, 1883-Mexico, 1963), better known by the pseudonym of Juan de la Encina, in his dual role as art critic and promoter of New Art in Spain and director of the Museum of Modern Art during the Second Republic, between 1931 and 1936.

    Biblioteca y Centro de Documentación
  • Maruja Mallo. La verbena (The Fair), 1927. Painting. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    24 june, 1998 - 21 september, 1998

    This exhibition provides an overview of Federico Garcia Lorca’s (Fuente Vaqueros, 1898 - Granada, 1936) personal and artistic biography. His cities, friends, success and the poet’s loneliness are the four main topics used to display his public and private life. An extensive correspondence and personal documents are featured in the exhibition, as well as photographs, books and manuscripts. The exhibition is completed with the works of contemporary artists who share artistic and aesthetic concerns over his career. Among these are the most outstanding representatives of Madrid’s artistic avant-garde, such as Benjamín Palencia, Rafael Barradas, Gregorio Prieto, José Moreno Villa, Adriano del Valle and José Bergamin.

  • Exhibition view. Wolfgang Tillmans. Delight, 1998
    24 june, 1998 - 26 july, 1998

    With the title Delight, Wolfgang Tillmans (Remscheid, Germany, 1968) reclaims the representation of the blissful contemplation of life, alluding to Walt Whitman’s joyful song of existence (1819-1892). Under this assumption, the pieces that make up this exhibition display those moments of joy, or traces of them, in as much as that it proves a happy existence. From that he considers that everything (people, objects, landscapes, waste) deserves to be photographed. As exemplified by his photographs, in Tillmans’ work the experiential -the moment when joy manifests itself- prevails over technical issues or any pretension of artificiality.

  • Exhibition view. Anselm Kiefer. El viento, el tiempo, el silencio, 1998
    19 june, 1998 - 20 september, 1998

    Anselm Kiefer’s (Donaueschingen, Germany, 1945) first solo exhibition in Spain carries the poetic title El viento, el tiempo, el silencio. The artistic rhetoric of the German artist is shown by the size of his monumental paintings and a wide selection of the artist’s books. Kiefer creates a mirror relationship between images and references which, on one hand, come from the Cabala, Alchemy, Germanity and the Cosmos; and on the other German history turned into myth. Genesis and Babel, continuous erosion and revival are the opposites from which he establishes and develops a morbid recollection of history itself. Thus, the German artist presents himself as the instrument of a metamorphosis capable of re-establishing a dialogue between civilisation and history.

  • Exhibition view. Duane Michals, 1998
    21 may, 1998 - 19 july, 1998

    Duane Michals (Pennsylvania, United States, 1932) is one of the exponents of photographic renewal because of his inclusion of manuscripts in his images and his approach to cinematic narration through the use of photographic sequences. Michals' interest for this media stems from a trip to the Soviet Union which would result in his first series of photographs, published in the Swiss magazine Du in 1964. From there onwards, the artist's work would affect his conception of photography as a failed attempt to show what he cares and is concerned about. His struggle against the invisibility of his objects of interest led him to build the scenes he would then photograph. His technique, far from all spontaneity, is conceived as a way to capture his thoughts, assuming that the distance between the processes of his conscious and the end result would always be compulsory.

  • Exhibition view. José Gutiérrez Solana. Colección Banco Santander,
    19 may, 1998 - 08 september, 1998

    The Banco Santander Collection of works by José Gutiérrez Solana (Madrid, 1886-1945) covers the most fruitful period of his artistic life, between the 1920s and his exhibition at the gallery Gazette des Beaux-Arts in Paris, held in 1938.

  • Exhibition view. Javier Pérez. Hábitos, 1998
    18 may, 1998 - 15 june, 1998

    The work of Javier Pérez (Bilbao, 1969) is essentially sculptural and is defined by the unusual placement of patterns in the treatment of matter and space. For his work he produces devices that are called to play the role of second skin which, like a mask, triggers and fosters experiences which are usually traumatic: tension, instability due to continuous change, extreme vulnerability, impossibility and desire, or repulsion and dependence, where the material that this new skin is made from plays a key role.

  • Exhibition view. Diseño industrial en España, 1998
    13 may, 1998 - 31 august, 1998

    Under the equation "culture + industry = design,"Diseño industrial en España tries to, on one hand, convey the importance of an industry that in addition to responding to consumer demands and market strategies, is a reflection of post-industrial society, and on the other aims to provide an overview of the evolution of industrial design on the national scene during the twentieth century.

  • Exhibition view. R. B. Kitaj. Un americano en Europa, 1998
    07 april, 1998 - 09 june, 1998

    R.B. Kitaj (Cleveland, 1932 - Los Angeles, 2007) is one of the main representatives on the defence and recovery of Figurative Painting from the 1960s. The exhibition, with more than seventy paintings and pieces on paper, reviews Kitaj’s history starting from his flagship Erasmus Variations (1958). This work marks the beginning of his long English stage, which develops between 1957 and 1997 and for which the critics ascribe him to the School of London, together with David Hockney, Lucian Freud and Francis Bacon.

  • Exhibition view. Esteban Vicente. Work 1950-1998, 1998
    31 march, 1998 - 01 june, 1998

    After the outbreak of the Spanish Civil War, Esteban Vicente (Turégano, 1903 - Bridgehampton, United States, 2001) moves to New York in 1936, and his attitude and purpose as an artist dominates over his consideration of exile. The artist integrates quickly into the New York art scene and his first solo exhibition is held a year later, in 1937. He also participates in the exhibition Talents (1950), held at Kootz Gallery and organised by art critic Clement Greenberg and art historian Meyer Schapiro. His inclusion in the essay Abstract Painting: Background and American Phase (1951), by critic Thomas B. Hess, places Vincent in the position of one of the greatest representatives of what is called Lyrical Expressionism, along with Philip Guston and William Baziotes, among others.

  • Exhibition view. Pepón Osorio. Medalla de Honor y otras historias, 1998
    17 march, 1998 - 28 april, 1998

    Pepón Osorio’s (Santurce, Puerto Rico, 1955) work is what might be called a story of everyday life of Latinos in the United States. The artist observes, investigates and analyses the daily lives of his neighbours with a working methodology similar to that of a sociologist. His work transforms private stories into works of art that function as a reflection of the group.

  • Eduardo Arroyo. Los cuatro dictadores (The Four Dictators), 1963. Painting. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    10 february, 1998 - 07 april, 1998

    The personal and artistic career of Eduardo Arroyo (Madrid, 1937) is very representative of his generation. Born during the Civil War, he is educated in a post-war Madrid, and lives in exile in France during the Franco dictatorship until he decides to return to Spain in 1976 because of the amnesty offered by the establishment of democratic freedoms. Arroyo represents the continuity of an identity created by avant-garde artists from the Thirties, which is also decisively contributed to by key Spanish artists such as Pablo Picasso and Joan Miró. For Arroyo, it is an identity marked by the behaviour patterns of what is "Spanish", which influences his creative career.

  • Exhibition view. Cristina Iglesias, 1998
    05 february, 1998 - 15 april, 1998

    Since her beginnings in the Eighties, Cristina Iglesias’ (San Sebastián, 1956) work provides a renewed conception of the practice of sculpture. Her search for poetic and symbolic compromise between pieces and space manifests itself in a dynamic visual display.

  • Exhibition view. Augusto Alves da Silva. Una ciudad así / Carretera en obras, 1998
    04 february, 1998 - 02 march, 1998

    The works of Augusto Alves da Silva (Lisbon, 1963) respond to his humanistic sense and interest. The everyday vision dominates his constant observation of contemporary man who in his photographs inhabits a world with complicated structures, movements and appearances. His images are constructed through narratives that appear neutral, but which include elements of reflection directed towards the spectator, so that reading his work is not linear and depends on who is looking.

  • Carlos Alcolea. Matisse de día, Matisse de noche, 1977. Painting. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    03 february, 1998 - 23 march, 1998

    Carlos Alcolea (A Coruña, 1949 - Madrid, 1992) is recognised as one of the leading protagonists of the so-called New Figuration in Madrid, which emerges in the early seventies and continues for the next decade and whose favourable reception coincides with an emerging trend towards a melange of critics, galleries and art markets.

  • José Luis Cuevas. La residencia de estudiantes I, 1997. Dibujo. Colección Museo Nacional Centro de Arte Reina Sofía, Madrid
    27 january, 1998 - 17 march, 1998

    José Luis Cuevas (Mexico City, 1934) is considered one of the most important Mexican artists of the second half of the twentieth century, bursting onto to the scene with an express rejection of the two pillars of modern Mexican culture and society: Muralism and nationalism. In this way, realism -not the sort that shows exact reality, but the sort that you find living in the margins, such as crazy people or prostitutes- is the grammar that he uses to create his work.

  • Pablo Gargallo. Bailarina, 1927. Dibujo. Colección Museo Nacional Centro de Arte Reina Sofía, Madrid
    20 january, 1998 - 20 april, 1998

    Pablo Gargallo (Maella, Zaragoza, 1881-Reus, Tarragona, 1934) is one of the Spanish artists that most contributes to the revival of modern sculpture. Thanks to his command of welding, he poses solutions based on curves and the arabesque. In his pieces, shapes are suggested through perimeter lines in such a way that the material and the concept of volume, gradually give way to emptiness.

  • Exhibition view. Severo Sarduy, 1998
    13 january, 1998 - 30 march, 1998

    There are hardly any boundaries between painting and writing in Severo Sarduy’s (Camagüey, Cuba, 1937 - Paris, 1993) pieces. His work is defined as "manuscript paintings" as they are paintings that are mostly done on paper that, as in the East, assumes calligraphy as the extension of poetic writing. In the seventy-six pieces that make up the exhibition of Sarduy at the Museo Nacional Centro de Arte Reina Sofía we can see that the artist also uses other materials such as coffee, saffron, cork and even his own blood. From these he extracts effects of dissolution, emptiness, fragmentation and transience, in such a way that it seems he understands painting as experimentation.