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

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  • Scipion Nasice Sisters Theatre. Retrogarde Event Baptism under Triglav, 1986. Photography: Marko Modic
    June 20 - October 30, 2017

    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.

  • Lee Lozano. Ream, 1963. Óleo sobre lienzo. Blanton Museum of Art. University of Texas, Austin. Donación de Mary y James A. Michener, 1968
    May 30 - September 25, 2017

    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. Installation view of White Museum. 32nd Bienal de São Paulo, 2016. Photography: Pedro Ivo Trasferetti
    May 18 – August 27, 2017

    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, Brasilian writer and art critic, Meudon (at Alberto Mignelli's home), 1969 © Alécio de Andrade, VEGAP, Madrid, 2017
    April 27 - 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

    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, The Body Decides, WIELS, Brussels, Belgium. Courtesy of WIELS & The Franz Erhard Walther Foundation. Photo © 2014 Sven Laurent
    April 6 - September 10, 2017

    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.

  • Bruce Conner. SPIDER LADY HOUSE, 1959. Wood, nylon, ice skate, doll parts, rope, jewelry, feathers, animal hair, corks, wallpaper and paper on wood. Oakland Museum de California Collection. Donation from the Collectors Gallery and the National Endowment for the Arts ©Bruce Conner, VEGAP, Madrid, 2016
    February 22 - May 22, 2017

    Bruce Conner

    It’s All True

    Bruce Conner (1933, McPherson, Kansas - 2008, San Francisco) is one of the most pre-eminent American artists from the second half of the twentieth century. This exhibition, the first to present his work in Spain, brings together more than 250 works which span his fifty-year career.

  • Anne-Marie Schneider. Untitled, 1996-1997. Charcoal on paper. Fonds régional d'Art contemporain Provence-Alpes-Côte d'Azur. Inv: 2005.512
    November 16, 2016 - March 20, 2017

    The line is the primary formulation in the imaginary of Anne-Marie Schneider (Chauny, France, 1962), in which autobiographical activity also has a strong presence. The line refers to gestural writing and gives shape to the enigmatic world of personages whose bodies are often taken apart and fitted back together in fragments, prolonged in domestic space and projected on to the landscape.

  • Lothar Baumgarten. Photography. The ship is going under, the ice is breaking through, 2001
    November 3, 2016 - April 16, 2017

    Lothar Baumgarten

    The ship is going under, the ice is breaking through

    Lothar Baumgarten has opened up new possibilities of artistic expression and reflection through an oeuvre that questions Western systems of thought and representation as well as the ways our perception of and relation to other cultures are constructed.

  • João Maria Gusmão and Pedro Paiva, Maça de Darwin, macaco de Newton, 2012
    October 26, 2016 - March 13, 2017

    Territories and Fictions

    Thinking a New Way of the World

    This presentation of holdings from the Museo Reina Sofía Collection, largely made up of recent acquisitions, approaches the languages and artistic practices that defined the period between the end of the 1990s and 2007 – both in Spain and internationally - by way of a series of shared questions that heralded the start of the century and run up to the present time.

  • Exhibition view. Marcel Broodthaers, 2016
    October 5, 2016 - January 9, 2017

    Marcel Broodthaers

    A Retrospective

    The Museum of Modern Art, New York, and the Museo Reina Sofía have organised one of the most comprehensive retrospectives devoted to Belgian artist Marcel Broodthaers (1924–1976). His remarkable output in the 1960s and 1970s established him as one of the most important artists on the international scene, and one of the most influential for numerous contemporary artists from that time to the present day.

  • A still from The Uncorrupted, Tamar Guimarães. Film, 2016
    September 28, 2016 - March 13, 2017

    Tamar Guimarães

    The Uncorrupted

    Program: Fisuras

    Tamar Guimarães (Belo Horizonte, Brazil, 1967) will present a project, designed specifically for the Fisuras (Fissures) programme, in the Museo Reina Sofía. The artist’s work spans the fields of installation, film and sound.

  • Txomin Badiola. Bañiland 6, 1990-1992. Painting, wood, construction, plastic and serigraphy. A. Trullenque Collection
    September 23, 2016 - February 26, 2017

    Txomin Badiola

    Another Family Plot

    The retrospective by Basque artist Txomin Badiola (Bilbao, 1957), housed in the Palacio de Velázquez, presents a broad selection of his output – photographic works, drawings, sculptures and multimedia installations – spanning from the 1980s to the present day.

  • Daniel Buren, Les Écrits (1965-1990), Bourdeaux: CAPC musée d’art contemporain, 1991. Museo Nacional Centro de Arte Reina Sofía. Photo: Centre for Artists’ Publications, Weserburg, Bremen. © DB – VEGAP, Madrid, 2016
    September 21, 2016 – May 22, 2017
    Program: Biblioteca y Centro de Documentación

    I Am Also not a Book is the title of the last part of a trilogy of exhibitions which includes It is not new, it is a book (from September, 2014 to May, 2015) and I call them simply books (from May to October, 2015). On this occasion, the title refers to the 1973 work by John M. Belis, I Am Also not a Book, which consists of a card with the sentence “Attach this card to any book-type object and it will become a genuine John M. Belis,” and which can indeed be affixed to any book-shaped object.

    Biblioteca y Centro de Documentación
  • Exhibition view. Damián Ortega. The Rocket and the Abyss, 2016
    May 5 - October 2, 2016

    Damián Ortega

    The Rocket and the Abyss

    Damián Ortega (Mexico City, 1967) started out as a newspaper cartoonist in the 1980s, approaching the political scene with acerbic wit. His artistic concerns shifted when he joined the Taller de los Viernes (Friday Workshop) in Tlalpan (active from 1987 to 1992), a self-styled school and the place where he would come into contact with a creative community that was both diverse and an alternative to the dominant reactionary muralism in Mexico at the time. It was in this milieu that he realised his first sculptures, continuing the ironic tone from his previous profession.