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

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  • 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 Tetsuo, 1998. Video
    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 – January 14, 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.