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

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  • Vista de sala de la exposición. Versiones del Sur: Cinco propuestas en torno al arte en América. Más allá del documento, 2000
    12 december, 2000 - 12 february, 2001

    Más allá del documento is one of five exhibitions from Versiones del Sur dedicated to Latin American art and held simultaneously at the Museo Nacional Centro de Arte Reina Sofía Sabatini building, the Palacio de Velázquez and Palacio de Cristal between late 2000 and early 2001. With various curators, the five exhibitions look at the particularities, connections and fragmentation of Latin American art since its beginnings until its most recent artistic creations from different points of view.

  • Exhibition view. Versiones del Sur: Cinco propuestas en torno al arte en América. No es sólo lo que ves: Pervirtiendo el minimalismo, 2000
    12 december, 2000 - 19 february, 2001

    No es sólo lo que ves: Pervirtiendo el minimalismo is one of five exhibitions from Versiones del Sur dedicated to Latin American art and held simultaneously at the Museo Nacional Centro de Arte Reina Sofía Sabatini building, the Palacio de Velázquez and Palacio de Cristal between late 2000 and early 2001. With various curators, the five exhibitions look at the particularities, connections and fragmentation of Latin American art from its beginnings until its most recent artistic creations from different points of view.

  • Exhibition view. Versiones del Sur: Cinco propuestas en torno al arte en América. Heterotopías. Medio siglo sin-lugar: 1918-1968, 2000
    12 december, 2000 - 27 february, 2001

    The exhibition Heterotopías. Medio siglo sin-lugar: 1918-1968 is part of the Versiones del Sur, five exhibitions dedicated to Latin American art and held simultaneously in the Museo Nacional Centro de Arte Reina Sofía Sabatini building, the Palacio de Velázquez and Palacio de Cristal between late 2000 and early 2001. With various commissioners, the five exhibitions look at the particularities, connections and fragmentation of Latin American art since its beginnings until its most recent artistic creations from different points of view.

  • Exhibition view. Versiones del Sur: Cinco propuestas en torno al arte en América. F[r]icciones, 2000
    12 december, 2000 - 25 march, 2001

    F[r]icciones is one of five exhibitions from Versiones del Sur dedicated to Latin American art and held simultaneously at the Museo Nacional Centro de Arte Reina Sofía Sabatini building, the Palacio de Velázquez and Palacio de Cristal between late 2000 and early 2001. With various curators, the five exhibitions look at the particularities, connections and fragmentation of Latin American art since its beginnings until its most recent artistic creations from different points of view.

  • Exhibition view. Mujeres Creando. Ten cuidado con el presente que construyes, debe parecerse al futuro que sueñas, 2000
    12 december, 2000 - 14 january, 2001

    Mujeres creando are a group of Bolivian women who act from the premise of individual creative feminine attitude. Formed in 1992, their starting point is a strong opposition to injustice and male chauvinism dominant in their society, and use a direct and comprehensive discourse, the most effective sort for their environment. Disobedience to colonialism and globalisation is the basis of their ideology, declaring "faced with occidental Latin American feminism, we have decided to create our own thinking and reflection about who we are as women, what we want and what we are building".

  • Vista de sala de la exposición. Carmela García. Planeta Ella, 2000
    28 october, 2000 - 3 december, 2000

    The centrepiece to the Canary Island artist Carmela Garcia’s (Lanzarote, 1964) work is the dual need to rethink and change the world. Creating from a gender perspective is not only a simple way of projecting the need for another future it signifies a stage to claim a different consideration of femininity in the world. After taking this position, García experiences a need to reassess the construction of history, to narrate in a different way the stories of those who built the imaginary, establishing a new order of reference in articulation as well as building an everyday radically different in operational and symbolic terms .

  • Pablo Picasso. Minotauromaquia, 1935. Graphic Art. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    25 october, 2000 - 15 january, 2001

    The figure of the Minotaur; half man, half bull, appears on multiple occasions throughout Pablo Picasso’s (Málaga, Spain, 1881 - Mougins France, 1973) career. According to the original myth, this strange animal is born from the encounter between a bull and Pasiphae, wife of Minos. On hearing about his wife’s adventure Minos orders Daedalus to construct a labyrinth where the Minotaur is taken prisoner and is eventually killed by Theseus.

  • Exhibition view. The Theatre of Painters in Avant-garde Europe, 2000
    26 september, 2000 - 20 november, 2001

    With the exception of the exhibition entitled Die Maler in der Theater, organised in 1986 in the Scrin Kunsthalle in Frankfurt, there has not been any other devoted to providing a broad and collective vision of the beginnings of the relationship between plastic arts and the sphere of performing arts. Unlike the Frankfurt exhibition, which spanned the whole of the 20th century, El teatro de los pintores en la Europa de las vanguardias (The Theatre of Painters in Avant-garde Europe) concentrates on a specific period: from its early years right up until practically the Thirties, a time when the Russian Revolution, inter-war Paris, Italian Futurism and the Weimar Republic in Germany determined a context that enabled these collaborations.

  • Exhibition view. German Art 1960-2000. The Grothe Collection, 2000
    19 september, 2000 - 20 november, 2000

    Unlike other collections such as the Guggenheim, Nasher, Beyeler, Panza di Biumo, Gelman and Sonnabend collections, all of which have been exhibited in the Museo Nacional Centro de Arte Reina Sofía, the Grothe Collection is remarkable in that is focuses on a very specific number of artists yet forms a complete and representative selection of the artistic career of each and every one.

  • Exhibition view. Sam Taylor-Wood. Soliloquy / Noli me tangere, 2000
    13 september, 2000 - 15 october, 2000

    Integrated into that which during the 90s became known as New British Art, Sam Taylor-Wood (London, 1967) burst onto the art scene with solid ideas based on dialogue between the means provided by modernity -photography, video and film- and certain key iconographic traditions of western art, especially renaissance and baroque. From this pattern -extremely solid in its formal and visual order- she made loneliness and isolation, as well as desire and feasibility, the most recurrent themes of her work, all of them filtered by an aura that moves between the melancholy and the tragic.

  • Exhibition view. Valentín Vallhonrat. En busca del amor (Room for Love), 2000
    8 july, 2000 - 3 september, 2000

    The common denominator of Valentin Vallhonrat’s (Madrid, 1956) photographic work is the fact that he worked systematically in series. In this way, the Museo Nacional Centro de Arte Reina Sofía exhibits, in their programme Espacio 1, his series entitled En busca del amor, a project initiated in 1998 and comprised of a total of twelve photographs whose main theme portrays particular types of rooms offered by certain Japanese and American hotels specifically designed for honeymoons or sporadic romantic encounters. The way Vallhonrat approaches his capture of images emphasises the cold and distant, as well as the baroque and ornate, presentation of these rooms. The important focus in these photographs is not narrating about what occurs in the rooms, nor the location where the events happen, but to establish another reference to an over-represented reality, derived from a society that only understands itself through entertainment.

  • Ignacio Zuloaga. Torerillos de pueblo (Young Village Bullfighters), 1906. Painting. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    5 july, 2000 - 4 october, 2000

    Ignacio Zuloaga (Éibar, 1870 - Madrid, 1945) is one of the last masters from the Spanish School. His iconography is considered an accurate portrayal of what the writer Miguel de Unamuno called "the internal history of Spain." Beyond the naturalist will, Zuloaga seeks the character of a people. For this reason, his paintings about Black Spain provoke controversy: in the newspaper El Imparcial José Ortega y Gasset declared in 1911: "Zuloaga is a great artist because he has the art of raising the tragic Spanish theme."

  • Exhibition view. Francisco Toledo, 2000
    20 june, 2000 - 28 august, 2000

    Francisco Toledo (Juchitán, Mexico, 1940) is one of the most important living artists in Mexico. His painting is based on the traditional Zapotec culture and works through his personal vision, partly inherited from Rufino Tamayo, an artist he meets during his stay in Paris in the Sixties. In the French capital he contacts Octavio Paz and is influenced by Paul Klee and Jean Dubuffet, as well as Antoni Tàpies’ material painting. During that time he spends a few months in Barcelona, where he works with printmaking at the Polígrafa Editorial.

  • Zush. Jude / Eloise, 1971. Painting. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    13 june, 2000 - 28 august, 2000

    The biography of Albert Porta (Barcelona, 1946), known as Zush, is defined by his experience in the Barcelona Psychiatric Hospital. He leaves with not only his artistic name, but also a developed social and political consciousness that leads him to create a land of fiction called Evrugo Mental State, in which Zush invents language, flag, anthem, currency, a system of diplomatic relations, and other aspects linked to the idea of a State. The entirety of Zush's pictorial work always refers to this State, a mental and emotional one that is also iconographic, represented by drawings, painting, collages, photomontage and artists' books. His work refers to his multiple, split personality, though Zush prefers to define it more as “psychomanualdigital” than “multifaceted”.

  • Exhibition view. Sam Francis. Paintings 1947-1990, 2000
    6 june, 2000 - 14 august, 2000

    Sam Francis (San Mateo, USA, 1923 - Santa Monica, USA, 1994) is instrumental in the international recognition of new American painting in the Fifties. For four decades his presence in Europe and Asia, and his native country, bears witness to the unceasing vitality of American art. His work is influenced by abstract painting from the San Francisco Bay Area, headed by Mark Rothko and Clyfford Still, and French artistic traditions of colour, exemplified by Claude Monet, Paul Cézanne, Henri Matisse and Pierre Bonnard, who he discovers upon moving to Paris in 1950. Although initially Francis is linked to the New York School, his art never possesses the gestural imprint or the rawness of Jackson Pollock or Willem de Kooning, despite the respect he professes for them as artists.

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