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

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  • Exhibition view. Elizabeth Aro. Otro en el espejo, 2004
    10 november, 2004 - 2 january, 2005

    Throughout her career, artist Elizabeth Aro (Buenos Aires, 1961) has participated in numerous collective and individual exhibitions around the world. Among the first of these, the most noteworthy include the one held in 2000 in the Instituto de América (Santa Fe, Granada), the exhibition in the Spazio Erasmus Brera (Milan, Italy), in 2002, and the one in the Centro Cultural de España (San José, Costa Rica), in 2003.

  • Exhibition view. Daniel Vázquez Díaz, 1882-1969, 2004
    2 november, 2004 - 10 january, 2005

    Daniel Vázquez Díaz (Nerva, 1882 - Madrid, 1969) is one of the key figures of the artistic culture that develops in Spain in mid-twentieth century. Vázquez Díaz was the direct master and reference for many of the artists who made up the avant-garde and the renewal movement of the Twenties and was the paradigmatic example of those who, between 1920 and 1970, fought for a compact alliance between modernity and tradition in Spanish art. Between the late 1910s and the early 1920s Vázquez Díaz was one of the artistic creators associated with the most radical early avant-garde movements in Spain. In the early twenties, along with Gabriel García Maroto and Aurelio Arteta he lays the groundwork for an alternative construction of a "modern social realism". "Neocubism", developed from this triple sharing of experiences, begins to be spread by Vázquez Díaz in 1924, and who, in 1925, signs the Iberian Artists Society manifesto. From that point onwards his painting was erected in the very centre of aesthetic gravity for this group of artists. An expert portrait and landscape artist, he painted portraits of the most well-known personalities of the time. In 1929, Vázquez Díaz paints his most famous work, the frescoes of the "Poem of Discovery" at the monastery of La Rabida. The Franco regime would often take these paintings as an example for the consolidation of a "national aesthetic", however this work is actually in harmony with the aesthetics of the Italian Novecento and the epic realism of the Hispanic social muralism. Vázquez Díaz’s painting continues to develop a streak of measured modernity after the war. Now his painting would exist with the phobias the Franco regime manifested towards the radical avant-gardes and from the Fifties he gives himself entirely to the role of mentor and guide of a new horizon of artistic regeneration.

  • Antoni Tàpies. Mur (Wall), 1991. Sculpture. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    26 october, 2004 - 17 january, 2005

    This exhibition commemorates the Velázquez Visual Arts Prize awarded to Antoni Tàpies (Barcelona, 1923-2012) in 2003 and is added to the exhibitions that the museum has dedicated to him in 1990 Antoni Tàpies. Extensiones de la realidad and in 2000, Tàpies en Silos. This time we present Tàpies’ work in ceramic, an artist best known for his pictorial role.

  • Exhibition view. Javier Pérez. Mutaciones, metamorfosis, 2004
    21 october, 2004 - 17 january, 2005

    Artist Javier Pérez (Bilbao, 1968) trains in the Basque Country and in Paris and produces his first works in the early nineties, when he breaks into the art scene with a special twist on the trend from those days: the aesthetics of the body.

  • Vista de sala de la exposición. Colección Taschen, 2004
    20 october, 2004 - 10 january, 2005

    The Museo Nacional Centro de Arte Reina Sofía presents a representative selection of art works from the collection of German publisher Benedikt Taschen that he has gathered over the past two decades. Such a private collection as this one allows for an overview of art at a historic moment from an unprecedented point of view, given the very nature of personal choice which the collector himself has conducted as a general artistic overview. Thus a more institutional and objective vision on art proper to the museum itself is extended upon showing the public other aspects that allows them to amplify their diversity.

  • Martín Kippenberger. Null Bock auf Ideen, 1982
    18 october, 2004 - 10 january, 2005

    Martin Kippenberger (Dortmund, Germany 1953 - Vienna, 1997) is one of the most unruly and significant German artists. He made a mark in the Eighties by challenging the most serious artistic conventions by using his devastating irony. The Museo Nacional Centro de Arte Reina Sofía presents hundreds of his works at the first solo exhibition of this artist in a Spanish museum.

  • José Manuel Aizpúrua. Sol y sombra con mano, 1930
    7 october, 2004 - 27 december, 2004

    The Museo Nacional Centro de Arte Reina Sofía unveils the photographic work of architect José Manuel Aizpúrua (San Sebastian, 1902-1936). Despite his short life, Aizpurua is one of the most representative figures of Spanish architecture in the interwar period. A good example of his work is the building of the Real Club Náutico de San Sebastián (1928), considered one of the few good examples of the rationalist movement in Spain and which has been studied from its construction until the present.

  • Sergio Belinchón. Silos, 2004. Installation. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    6 october, 2004 - 12 december, 2004

    Sergio Belinchón (Valencia, 1971) is the first photographer to have participated in the Museo Nacional Centro de Arte Reina Sofía’s exhibition project at the Abbey of Santo Domingo de Silos, Burgos. Belinchón is one of the most important young photographers on the Spanish art scene. After training at the School of Fine Arts in Valencia and studying on a scholarship at the School of Spain of in Paris, the artist has worked for the architect Santiago Calatrava and later received another scholarship from the Academy of Spain in Rome. Belinchón’s work has developed in successive series such as Metropolis around Paris or the series Roma. In Ciudades Efímeras, he approaches the chaotic development of the Spanish Levante coast, while in Desierto de Atacama constructions and other elements are the waste of a rural landscape uninhabited from a long time ago.

  • Vicente Blanco. Algunas veces pasa cuando estáis dormidos
    21 september, 2004 - 31 october, 2004

    Vicente Blanco (Santiago de Compostela, 1974), featured artist in the field of videocreation, presents his latest work entitled Alguna vez pasa cuando estáis dormidos, specifically conceived for Espacio Uno. Since his first exhibition in 1995, Blanco participates in various projects, among which the collective exhibition Monocanal stands out, organised at the Museum in 2003.

  • Sean Scully. Land, Sea, Sky, 1999. Photography. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    14 september, 2004 - 4 december, 2004

    Thirty-nine photographs from the Museo Nacional Centro de Arte Reina Sofía collection, produced during the Eighties and Nineties, are displayed at the exhibition Nueva Tecnología, Nueva Iconografía, Nueva Fotografía which is presented by the Juan March Foundation at the Museu d’Art Espanyol Contemporani in Palma and will afterwards exhibit at Museo de Arte Abstracto Español in Cuenca. A total of thirty-six artists are present due of the diversity coming from a single medium: photography.

  • Exhibition view. Cecily Brown, 2004
    13 july, 2004 - 12 september, 2004

    Cecily Brown’s (London, 1969) paintings revisit some of the great moments of universal artistic tradition with references to and influences of well-known artists such as Francisco de Goya, Willem de Kooning, Philip Guston, and Francis Bacon. In this way, Brown shares with André Masson an interest in the ferocity of the sexual instinct and the tragedies inherent in nature as well as the representation of genitalia as natural ornaments. With an expressionistic appearance, they are pieces in which desire seems like something that is uncontrollable, or which has its own orders and laws. However, on other occasions Brown paints small animals or figures that appear to come from comics, where humour becomes the dominant tone. This mixture of pop with expressionism places the artist’s work in the realm of the fantastic. In Brown’s landscapes illusion disappears and there is no perspective: in them everything happens on the surface. It is a world made up of the history of painting, the indescribable engine of desire and artistic language itself, transformed into an authentic hedonist garden, in which images and brushstrokes merge without any hierarchical criteria. In the last ten years, Cecily Brown has exhibited her work at major galleries and museums in Europe and America.

  • Óscar Domínguez. Retrato de la pianista Roma (Portrait of the Pianist Roma), 1933. Painting. On loan
    6 july, 2004 - 18 october, 2004

    The exhibition Huellas Dalinianas reflects Salvador Dalí’s (Figueras, 1904-1989) influence on the Spanish avant-garde, from 1929 until after the Civil War. This exhibition is part of the Museo Nacional Centro de Arte Reina Sofía’s programme celebrating the centenary of the birth of Catalan artist, which is accompanied by another almost simultaneous exhibition at the Museum, Dalí. cultura de masas.

  • Exhibition view. Dalí. Cultura de masas, 2004
    28 june, 2004 - 30 august, 2004

    In the early twentieth century art expresses a rejection of the rules on which Western mimetic representation had been built while also absorbing the techniques and themes that arose with the advances of the Industrial Revolution. These two trends are developed in parallel; they intertwined and influenced each other.

  • Exhibition view. Roy Lichtenstein. All about art, 2004
    25 june, 2004 - 27 september, 2004

    The fascination which Roy Lichtenstein (New York, USA, 1923-1997) felt during his whole life for the image is the focus of this retrospective exhibition on the artist. Lichtenstein was, along with Andy Warhol, the most prominent representative of Pop Art, he captivated the American art scene in the early sixties which grew out of, to a certain extent, a reaction against Abstract Expressionism.

  • Anish Kapoor. Madonna, 1989-1990. Sculpture. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    15 june, 2004 - 6 september, 2004

    Far from the conventional chronological order, the works in the exhibition Monocromos: de Malevich al presente are installed for this installation in series corresponding to colour environment. The dual-origin of monochrome art (the mystical and the specific) in its evolution during the twentieth century illustrates the division between the spiritual quest of a transcendental experience and the desire to emphasise the physical presence of the object as a concrete reality and not an illusion. The two opposite meanings -the specific object and mystical icon- blend into the first monochrome paintings of Kasimir Malevich, created on the eve of the Russian revolution.

See past exhibitions