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  • Susana Solano. Impluvium, 1987. Sculpture. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    10 december, 1992 - 17 february, 1993

    Leading protagonist in the renewal of Spanish sculpture in the Eighties and internationally acknowledged (Kasel documentary, 1987 and 1992 Venice Biennale 1988), Susana Solano (Barcelona, 1946) is exhibiting in Madrid a selection of sixty-five works that invite us to look back at her career. Her early sculptural works date back to 1979, at that time Solano learns to combine the formal requirements of Minimalism - artistic lessons from Carl André, Richard Serra and Donald Judd - and autobiographical and subjective themes and allusions, leading to a sculpture that demands a symbolic reading and is "mistakenly monumental" in the words of Teresa Blanch, curator of the exhibition. In this sense, there is a comparison of Solano with Julio González, "she shares a search for expressive tension between the inside and outside and the abstract creation of symbolic spaces with the Catalan artist."

  • Iván Zulueta. Arrebato, 1979. Video. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    1 december, 1992 - 18 january, 1993

    With the desire to give continuity to the project initiated at the Museo Nacional Centro de Arte Reina Sofía two years ago, Bienal de la imagen en movimiento ´92. Visionarios españoles repeats a similar call to the previous exhibition, but with the difference that all the selected, displayed and projected works are creations by Spanish artists. Even though the biennial has been designed as an exhibition, it is complemented by a series of film and video screenings, "which are a logical expansion of the exhibition", as noted by the curators of the exhibition, Carlota Álvarez Basso and Joseba M . Lopezortega.

  • Antoni Tàpies. Pintura, 1955. Painting. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    6 october, 1992 - 6 december, 1992
  • Wifredo Lam. Natividad, 1947. Painting. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    29 september, 1992 - 14 december, 1992

    Breaking with the clichés that have made up the painter Wifredo Lam’s (Sagua la Grande, Cuba, 1902-Paris, 1982) career is one of the purposes of this exhibition. The artistic biography of the painter regarding his Cuban origins, his life in Spain, his direct influence on Picasso's work and his friendship with the surrealist group in Paris and in the United States have left out important elements that serve to provide a more complete reading of Lam. In this way then, this exhibition aims to make this into a debate, which remains throughout the first half of the twentieth century, where modernity confronts the primitive. In the words of art critic Gerardo Mosquera the purpose of this exhibition, consisting of more than seventy pieces has to be a reading of Lam's work "in the context of anticolonial struggles and of the emancipation of the peoples of the Third World". In this way, the aim is to "break dualisms and recognise hybridisations, and “in-authenticities” typical of postcolonial dynamics" he adds.

  • Juan Dolcet. Manolo Millares, 1971. Photography. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    7 july, 1992 - 28 october, 1992
    Program: Biblioteca y Centro de Documentación

    Since the beginning of the Nineties the Centro de Documentación (Documentation Centre) and Biblioteca (Library) of the Museo Nacional Centro de Arte Reina Sofía has been carrying out a series of documentary-style exhibitions inside a small exhibition space.

    Biblioteca y centro de documentación
  • Exhibition view. Peter Halley, 1992
    23 june - 31 august, 1992

    This exhibition allows us to see that within Peter Halley’s (New York, 1953) work lies a critique that goes beyond criticism, it reaches the deepest of geometric art, postmodern culture and the sociocultural and artistic heritage in which he has grown. For this, he uses the very formal resources found in abstract painting and Expressionism (Colour-field painting and net transitions between colour-field hard edge), and other methods characteristic of pop (redefinition of the concept of series and work created with the help of collaborators)

  • Exhibition view. Pop Art, 1992
    23 june, 1992 - 14 september, 1992

    Pop Art, understood as a manifestation at an international level which bursts into existence in the late fifties has no manifesto and is heterogeneous in technique, ideas and the means it employs; it constitutes the axis that is articulated by the exhibition at the Museo Nacional Centro de Arte Reina Sofía. This is a movement that is primarily urban - it has a contemporary development in the more important cities involved in the art scene in the second half of the twentieth century: New York, Los Angeles, San Francisco, London, Paris, Dusseldorf, Rome and Milan - it establishes a special link with mass culture, which it seeks to reflect. In this mass culture it finds its themes, its vocabulary, its icons, its artistic resources and even its means of diffusion, converting the information overload and visual stimuli that assault the passerby, the spectator and the consumer in their daily lives, into the engines of their work. Pop comes as a shock to traditional art in its broadest sense (media, institutions, education, notion of the artist, authorship and even unique work) and also to what it had immediately proceeded (abstract expressionism and informal art). Screen printing, collage or the use of pre-existing images imply a criticism of the artist’s subjectivity, avoiding recognition (leaving a mark) of their involvement in the work of art. Also, in their reaction against good taste and high culture, there are many times when kitsch is recovered as the peak in aesthetics.

  • Carmen Laffon. Coto Doñana (El coto desde Sanlúcar), ca. 1977. Painting. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    13 may, 1992 - 13 july, 1992

    Within the so-called Spanish realist painting of the second half of the twentieth century, Carmen Laffón (Seville, 1934) stands out for her pieces where objects and everyday scenes become an excuse to paint intimate and emotional atmospheres, which reveal an existence that moves at a placid and lonely rate. Over a career spaning more than thirty years, the themes that have dominated her works are landscapes and still life. She also painted and sketched portraits from sculptures, which is introduced in the mid-sixties.

  • Exhibition view. Clyfford Still (1904 – 1980), 1992
    7 april - 1 june, 1992

    True to Clyfford Still's (Grandin, North Dakota, 1904 - Baltimore, Maryland, 1980) wish that his work be preserved and exhibited as a whole, the Albright-Knox Art Gallery (Buffalo, USA) and the San Francisco Museum of Modern Art house the most significant collections of his painting. This exhibition brings together an unprecedented ensemble of thirty five canvases from these two collections, enabling Still's work to be contemplated while unearthing his complex and maverick nature. Although disconnected from any influences and the exhibition and commercial circles forging Abstract Expressionism, around 1945 he becomes associated with Peggy Guggenheim and Betty Parsons, exhibiting in their respective galleries, and strikes up a friendship with Mark Rothko as well as forming relationships Robert Motherwell and Barnett Newman, among others. His stern and disciplined character is defined by the control he has over his work and its sales and over his participation in exhibitions and their respective catalogues.

  • Exhibition view. Rosemarie Trockel, 1992
    31 march, 1992 - 17 may, 1992

    In the nineties critical art starts to take centre stage in the exploits of a generation that are undoubtedly moving away from the constraints of genre, medium and media, continuing the trend started in the sixties by artists such as Joseph Beuys (questioning traditional artistic materials) and Andy Warhol (who established the direct relationship between art, consumption and assembly line production); moreover, there are numerous cases in which critical value ends up as an aesthetic category. Rosemarie Trockel (Schwerte, Germany, 1952) is one of the forerunners of this generation. Intent on questioning images, signs and messages commonly agreed upon by culture and tradition, Trockel's works aim to reflect on the possible alternatives locked in signs, bearing witness to meaning not as an inherent factor, but as something unstable, an historical and contextually conditioned attribute.

  • Marcel Broodthaers. Panel with Eggs and Stool, 1966. Installation. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    March 24 - June 1, 1992

    The start of the sixties means the beginning of a period dominated by critical and even subversive attitudes “against art ideology and art that becomes ideology”, as Catherine David, the joint curator alongside Veronique Dabin, puts it. The themes, mediums and materials used (non-artistic for the most part), united in one common critical attitude against “the institution”, bear witness to the will of the creators to push the aesthetic act to the limit in a time of advanced capitalism. This is the context in which Marcel Broodthaers (Brussels, 1924 - Cologne, Germany, 1976) appears, working in Paris as an up-and-coming writer and art critic.

  • Exhibition view. Visionary Switzerland, 1992
    10 march - 18 may, 1992

    In this exhibition the bizarre and heterogeneous are superimposed on the idea of national art, putting the so-called existence of a stylistic category referred to as the artistic expression of the nation's spirit, in this case Switzerland's, in crisis. Suiza visionaria (Visionary Switzerland) brings together work from over fifty Swiss artists from divergent formal and aesthetic approaches (Abstract Constructivism, Surrealism, Conceptual Art, Kinetic Art and Neo-dadaism) and includes a highly diverse selection of artists, starting from the fifteenth century with Niklaus von Flüe then moving through to Sophie Taeuber-Arp, Meret Oppenheim, Markus Raetz, Jean Tinguenly and Daniel Spoerri and finishing up at Caspar Wolf and Heinrich Füssli.

  • March 3 - April 19, 1992

    The Museo Nacional Centro de Arte Reina Sofía presents one of the most preeminent Venezuelan artists, whose work and character are determined by the construction of an artistic identity based on the notion of the “noble savage”, in the first half of the century, Armando Reverón (Caracas, 1889-1954). Once he completes his academic education, Reverón travels to Barcelona and Madrid, in 1911, and a few years later to Paris, where his interest is not in the transgression of language and the academic representation of the Cubist avant-garde, but in retracing Post-impressionism and landscape painting based on principles of light. Upon returning to Caracas his alienation from artistic circles results in his voluntary withdrawal to the margins of civic and social centres and from 1923 onwards his farm-studio in Macuto becomes the setting for his painting.

  • January 28 - March 29, 1992

    In Richard Serra (San Francisco, 1939), twentieth century sculpture has one of the craftsman behind the revival of its innate values: weight, mass, monumentality, a desire for permanence, who through his sculptural expression incites the active consideration of the viewer and formulates a necessary relationship between sculpture and space. Although Serra emerges on the New York art scene at the end of the sixties as a Minimalist artist alongside Carl André and Sol Lewitt, he soon expresses his desire to: “Escape from the theory of good form (and the opposing figure-ground it is based on)”, as the art critic and historian, Yves-Alain Bois, indicates. His first works display an artistic interest in the possibilities raw and unused materials (rubber, neon, leather, lead), which can be appreciated in the piece Belts (1966-1967). The conception and arrangement of these works highlight the rejection of idealised sculptural practice placed on a pedestal (involving a static sculpture with one unique central viewpoint), explored further in his later work which displays an intrinsic transitive nature, as is the case in the sculpture Walzstrasse I (1983). Its main aim is to consider the redefinition of the space it is located in and participate in the viewer's spacial experience, leading them to compare proportions.

  • Exhibition view. Robert Gober, 1992
    14 january, 1992 - 8 march, 1992

    Robert Gober (Wallingford, Connecticut, 1954) stands out for his vindication of radical subjectivity at a time when, by and large, artistic expression distils strategies of modern and post-modern thought on formal and theoretical problems and is in line with Neo-expressionist pictorial practice. His work also has strong autobiographical undertones, favouring emotion over concept. Catherine David, the exhibition's curator, talks about how his artistic discourse is critical without ascribing to the, “New York simulationalism movement of 'critique'”, instead: “it invites a new interpretation of North American art over the last thirty years, to reconsider the rejection and unawareness of formalism, and the recognition (…) of diversity in the complex cultural influences and heritage developed by different generations of artists in Surrealism and the work of Marcel Duchamp.”

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