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

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  • Wols. Composition, 1941-1942. Pen, ink with color on paper. 20 x 12,8 cm. The Menil Collection, Houston. Photographer: Paul Hester
    February 13 - May 26, 2014

    The exhibition focuses on the “abstract” ouvre by Wols produced since the Second World War and in the photographs taken shortly before the war. “The street” and “the cosmos” are an original key reading of Wols’ work, whose contribution to twentieth-century art is yet to be fully recognized.

  • Amos Gitai. Photographies of the set for the film Esther. 1984-1985
    February 5 – May 19, 2014

    The exhibition proposes a journey through the places and characters that have shaped the films and the biography of Amos Gitai. Fragments of his films and documents drawn from his personal archive, examine the way in which the filmmaker has interpreted his own genealogy.

  • “Exterminate all the Brutes”, a scene from La Nave Madre, 2013 © Tracey Rose, courtesy Dan Gunn, Berlin and Goodman Gallery, Johannesburg. Photograph by Christopher Wessels. Pictured: Tracey Rose and Javier Montero
    January 29 - May 26, 2014
    Program: Fisuras

    For her first solo exhibition in Spain, the artist Tracey Rose (Durban, South Africa, 1974) presents her new project entitled (x). It consists of a video-installation and an energy space created from two pieces that feature light, acoustic and chromatic elements.

  • Elly Strik. Hijgende Kraai (Panting Crow), 1992. Oil, lacquer on paper. 201 x 319 cm. Collection Van AbbeMuseum, Eindhoven
    January 22 - May 26, 2014

    Elly Strik

    Ghosts, Brides and other Companions

    Throughout her career Elly Strik (the Hague, Netherlands, 1961) has been particularly interested in those visionary artists that have probed the limits of human nature, such as James Ensor and Francisco de Goya.

  • Dorothea Tanning, Chambre 202, Hôtel du Pavot, 1970. Instalation. Musée national d'art moderne - Centre Georges Pompidou, Paris. © Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais / Georges Meguerditchian © VEGAP, Madrid, 2013
    November 27, 2013 – March 31, 2014

    Biographical forms

    Construction and individual mythology

    The dichotomy between creative practices and life has been one of the main themes of historical-artistic reflection over the centuries.

  • Juan Navarro Baldeweg. Air Sentinels and Fire, 1983. Técnica mixta/lienzo, 216 x 260 cm. Museo Nacional Centro de Arte Reina Sofía. © VEGAP, Madrid, 2013
    November 6, 2013 - May 18, 2014

    Idea: Painting-Force

    The Hinge Between the 1970s and 1980s

    The artists of Idea: Painting-Force take a new approach to concepts such as Academia and Tradition, developing them not as weighty and repetitive dogma but rather as a source of energy from which to work contemporarily.

  • Fischli y Weiss. Minimal Resistance, 1980-1981. DVD. Museo Nacional Centro de Arte Reina Sofía. © Peter Fischli David Weiss, Zürich 2013
    October 16, 2013 - January 5, 2014

    Minimal Resistance

    Between late modernism and globalisation: artistic practices during the 80s and 90s

    With this selection of works form the Collection, the Museo Reina Sofía takes a close look at art produced in Spain and abroad during the 1980s and 1990s.

  • Chris Killip. Youth on Wall, Jarrow, Tyneside, 1976. Courtesy Museum Folkwang, Essen © Chris Killip
    October 2, 2013 – February 24, 2014

    Chris Killip

    trabajo / work

    An essential figure in post-war photography, since his debut in the 1970s Chris Killip has been forging a new path in documentary photography: the depiction of the working classes, in the midst of the dismantling of the industry that had created and maintained them since the beginning of the 19th century. 

  • Manuel Saiz. One True Art - 16 Responses to the Question What Art is
    September 28, 2013 - January 5, 2014

    Manuel Saiz

    One True Art - 16 Responses to the Question What Art is

    Program: Fisuras
    One True Art - 16 Responses to the Question What Art is is a performative artistic experiment in which the aim is to come up with a definition of art or reflect on the reasons why this definition is impossible.
  • September 25, 2013 – January 5, 2014
    Program: Fisuras

    "Poetic(s) of incompleteness" is the title that Alejandra Riera has chosen as a means to dwell on certain experiences at a greater depth than cinema, even if cinema's role is to accompany them.

  • September 25, 2013 - January 5, 2014

    Gabriel Acevedo Velarde

    Paranormal Citizen

    Program: Fisuras

    Gabriel Acevedo Velarde (Lima, Peru, 1976) presents his artistic proposal in two of the most singular exhibition spaces at Museo Reina Sofía, Espacio Uno and the Protocol Room. 

  • Maria Loboda. The beasts, 2013
    September 25, 2013 – January 5, 2014

    Maria Loboda

    The beasts

    Program: Fisuras

    Conceiving of artistic creation as a critical intervention and making use of different contributions, Loboda explores the power of attraction exercised by the fetish and the influence of the irrational, revealing how blurry the boundaries are between the real and the imagined.

  • Roman Ondák.Escena, Palacio de Cristal, Madrid, 2013
    September 19, 2013 - February 23, 2014

    With his works Roman Ondák (Žilina, Slovakia, 1966) creates temporary situations in which the presence of objects and persons, as well as modifications made to the exhibition space, may go unnoticed by viewers in their initial approach.

  • Henry Flynt delivering his lecture From Culture to Veramusement, Walter De Maria’s loft, New York, February 28, 1963. Photograph by Diane Wakoski. Courtesy Henry Flynt
    June 19 – October 28, 2013

    ± I96I

    Founding the Expanded Arts

    ± I96I presents the first detailed analysis of the decisive year in the 1960s that led to the invention of the “expansion of the arts.”

  • Cildo Meireles. Atlas, 2007. Transparency in light box. A.P. Collection of the artist. Galeria Lelong. Photography Courtesy Lofoten International Art Festival - Norway
    May 24 – September 29, 2013

    Since the end of the 1960s Cildo Meireles (Rio de Janeiro, 1948) has been developing new possibilities for the redefinition of conceptual art, based on a relationship with the viewer's sensorial experience, the critical use of ideological and economic circulation systems, and also an ethical connection with the world, which are the foundations of the artist's ongoing critical interpretation.

See past exhibitions