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

Preview

Search

Exhibitions

Results

  • Marc Pataut, Le Cornillon - Grand Stade (Saint-Denis), 1994-1997. Museo Nacional Centro de Arte Reina Sofía
    April 25 - August 27, 2018

    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, 2017. Performance y dibujo © Dora García, fotografía de Clémence Bellisson e Isabelle Arthuis
    April 18 - September 3, 2018

    Dora García

    Second Time

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

    Beatriz González

    Retrospective 1965-2017

    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.

  • 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.