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

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  • 18 may, 1989 - 15 july, 1989

    In this exhibition sixty-two works by Ferran García Sevilla (Palma de Mallorca, 1949) are presented under the title La torre de papel (The Tower of Paper). His artistic career gets underway in the Sixties with his initial work being linked to Conceptual Art; it later moves into the pictorial sphere at the beginning of the Eighties.

  • Exhibition view. Ülrich Rückriem: estela y granero, 1989
    13 april, 1989 - 17 july, 1989

    Ulrich Rückriem (Düsseldorf, Germany, 1938) begins working as a sculptor in the Sixties after an intensive education in a stonemasons workshop where he learns the profession and stone cutting techniques - filing, splitting, smoothing and polishing. His experience in this craft forms the base from which he begins to formulate his own sculptures.

  • Marcel Duchamp. La Mariée mise à nu par ses célibataires même (Boîte verte), 1934. Sculpture. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    9 march, 1989 - 26 april, 1989

    Dada and Constructivism, two art movements characterised by having emerged at critical moments in history: World War I and the Russian Revolution. Nevertheless, despite these similarities, they have often been considered by historians as counter-posed given that the first focuses on intuitive thought and the transrational while Constructivism delves into objective beauty and pure forms.

  • Philip Guston. Confrontation, 1974. Painting. Colección Museo Nacional Centro de Arte Reina Sofía, Madrid
    1 march, 1989 - 6 may, 1989

    The body of work by Philip Guston (Montreal, Canada, 1913 - New York, USA, 1980) is on display in Europe for the first time, although his later work was previously exhibited in Whitechapel in London. Following the initial waves of surrealist and metaphysical language, Guston becomes one of the preeminent figures of Abstract Expressionism in the Fifties.

  • Otto Dix. Hugo Erfurth with Dog, 1926. Tempera and oil on panel. Museo Thyssen-Bornemisza, Madrid
    13 february, 1989 - 8 april, 1989

    This exhibition recaptures the artistic atmosphere of Berlin, considered one of the hubs of modern art during the first three decades of the century, between 1900 and 1933. The exhibition displays not only works produced in the city by Berlin artists, but also others that have appeared via other exhibitions or channels.

  • Exhibition view. Richard Artschwager, 1989
    10 february, 1989 - 27 march, 1989

    Richard Artschwager (Washington, 1923 - Albany, 2013) has dedicated his output to exploring the construction of meaning in works of art. By challenging conventional painting and sculpture, and operating outside stylistic classification, Artschwager's artistic output is primarily made up of: furniture sculptures made from wood and Formica as an imitation of wood as well as pictures painted on industrial material called celotex and sculptural forms painted or covered in rubber that he calls “blps”.

  • Exhibition view. John Baldessari. Ni por esas-Not even so, 1989
    11 january, 1989 - 20 february, 1989

    Disappointed by the reaction to his work and in an act that questions the mechanisms of access to contemporary art, in 1970 John Baldessari (National City, USA, 1931) burns his pictorial work, produced between 1953 and 1966, giving rise to the Cremation Project. From then on the American artist uses words and photography as his mediums of expression, considering them ideal for an easy and direct public reception.

  • Exhibition view. Henri Matisse. Pinturas y dibujos de los museos Pushkin de Moscú y el Ermitage de Leningrado, 1988
    19 december, 1988 - 15 february, 1989

    Russia is the first country to begin importing works by Henri Matisse (Le Cateau-Cambrésis, France, 1869 - Nice, France, 1954). Following the significant success of his paintings at the Salon d'Automne in Paris in 1905, the works of the young artist begin to reach Russia, although the collector Sergei Ivanovich Shchukin - who also purchases works by Claude Monet, Paul Gauguin and other young avant-garde artists such as Pablo Picasso, André Derain, Maurice de Vlaminck and Kees Van Dongen - becomes interested in Matisse's work even before his first exhibition is held in 1904 at the Parisian gallery Vollard.

  • Exhibition view. Masterworks from The Phillips Collection, Washington, 1988
    30 november, 1988 - 16 february, 1989

    Duncan Phillips, the grandson of a steel magnate and son of a businessman, shows an interest in art from an early age, which is encouraged by his family via a modest annual fund dedicated exclusively to acquiring works of art. The sudden death of his father and brother causes him to honour them by publicly exhibiting acquired works in one area of their mansion. Duncan Phillips acquires around three hundred paintings and adds them to the two dozen or so works already in his possession to open the Phillips Memorial Gallery in 1921, thus turning the collection into the first modern art museum in the USA.

  • Exhibition view. Werner Bischof. Photographs (1932-1954), 1988
    6 october, 1988 - 19 december, 1988

    The premature death of Werner Bischof (Zurich, Switzerland, 1916 - Trujillo, Peru, 1954), at the age of just thirty eight, after his jeep falls off a cliff with two other passengers in the Andes Mountains, cuts a promising career short that had already shown signs of great potential during its eighteen years of development.

  • Pablo Palazuelo. Medal, 1988. Sculpture. Museo Casa de la Moneda, Madrid
    1 october, 1988 - 1 january, 1989

    Them symbolic and ceremonial nature of the medal means that it is the form chosen by the Fábrica Nacional de Moneda y Timbre (The Royal Mint of Spain) to commemorate the bicentenary of Carlos III, whose reign was a particularly productive period for Spanish numismatics. Emblematic pieces minted in the Royal Mints around the Peninsula and overseas have been arriving; however, it is the field of medals that marks a more prominent period, as, in contrast to the rigidity of coins, medals embody the spirit of Illustration and reflect the creative freedom of engraving artists.

  • Lucio Muñoz. Tabla Cañuelo, 1960. Painting. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    14 september, 1988 - 5 december, 1988

    Lucio Muñoz (Madrid, 1929-1998) belongs to a generation of Spanish artists from the Fifties and is considered one of the pioneers of abstraction in Spain.

  • Exhibition view. Rufino Tamayo. Paintings, 1988
    29 june, 1988 - 3 october, 1988

    Rufino Tamayo (Oaxaca, Mexico, 1899 - Mexico City, 1991) is one of the preeminent figures in twentieth-century pictorial movements in Mexico. A tireless worker and incessant traveller, Tamayo's influences from a wide range of cultures is reflected in his paintings and makes them universal in the process. Furthermore, his artistic oeuvre also encompasses movements such as Impressionism, Cubism, Futurism and metaphysical painting.

  • Exhibition view. Christian Boltanski. El caso, 1988. Photograph by Luis Pérez Mínguez
    26 may, 1988 - 5 september, 1988

    Christian Boltanski (Paris, 1944) defines himself as a painter, though from 1967 onwards he stops working on purely pictorial material and instead focuses on creating varied technical pieces in which content plays a key role. In some ways he considers his pictorial strategy through other mediums, but still retains his fictional and figurative approach.

  • Exhibition view. Bauhaus Utopias. Work on Paper, 1988
    5 may, 1988 - 26 june, 1988

    In 1919 the Staatliches Bauhaus in Weimar (State Bauhaus in Weimar) is established through the merge of the Weimar Academy of Fine Art and the Grand Ducal School of Arts and Crafts. It is founded by Walter Gropius, who applies his simultaneous experiences from the art schools and also has illustrious precedents such as the Deutscher Werkbund German association. In April 1919 its first manifesto is published, and the following year Bauhaus has more than one hundred and thirty pupils under its roof, equal in the number of men and women.

  • José María Sicilia. Flor Óxido rojo, 1987. Painting. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    21 april, 1988 - 3 july, 1988

    José María Sicilia (Madrid, 1954) is one of the most preeminent representatives of Spanish painting in the Eighties. He embarks upon his artistic career in the San Fernando Fine Arts School in Madrid and then subsequently moves to Paris, in 1980, where he meets two other equally important Spanish artists of the time, Miquel Barceló and Miguel Ángel Campano, along with José Manuel Broto and Ferrán García Sevilla.

  • Joel-Peter Witkin. Las Meninas (Self-Portrait after Velázquez), 1987. Photography. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    18 april, 1988 - 13 june, 1988

    The photography of Joel-Peter Witkin (New York, 1939) does not go by unnoticed since his core themes of sex, pain and death are explored with great intensity and sordidness. Teeming with pornographic nudity and references to Art History, for the artist his work is a medium through which he sees and re-enacts fantasies not found in everyday life.

  • Exhibition view. A Century of Modern Sculpture. The Raymond and Patsy Nasher Collection, 1988
    6 april, 1988 - 5 june, 1988

    Contemporary sculpture is characterised by a variety of unprecedented styles, themes and mediums. The Nasher Collection is one of the most representative and complete private sculpture collections in the twentieth century that faithfully reflects this diversity. The pieces, amassed by Raymond Nasher since the Sixties, are spread out in Dallas between his house and NorthPark, an office complex and shopping centre created by Nasher himself.

  • Exhibition view. Minimal Art from the Panza Collection, 1988
    24 march, 1988 - 31 december, 1988

    During the first half of the Seventies, a series of American artists develop a set of aesthetic approaches that aim to free art from its function of representation - associated with figurative tradition - as well as its ideological content. Thus, with the use of related volumes, materials and mediums that identify a work of art solely with itself, Minimalism is born.

  • Exhibition view. Marcel Odenbach, 1988
    8 march, 1988 - 2 may, 1988

    When Marcel Odenbach (Cologne, Germany, 1953) begins to exhibit his work in West Germany in the Seventies the art scene is dominated by American art, apart from the work of a handful of artists such as Joseph Beuys. Yet the work of Odenbach is based on different principles and has more experimental leanings with its use performance and audiovisual materials.

  • Antoni Muntadas. Monumento genérico, 1987 - 1988. Installation. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    11 february, 1988 - 27 march, 1988

    One of the most salient characteristics of the work of Antoni Muntadas (Barcelona, 1942) is the use of mass media content for art purposes. The broad vision of his work, as well as the diversity of visible interests and mediums, is portrayed in this Muntadas exhibition in the Centro de Arte Reina Sofía. Four works spanning from 1978 to 1987 are reconstructed in the exhibition halls in addition to five video pieces and two compositions created solely within the context of the exhibition: the installation Situación and the catalogue piece Híbridos.

  • Exhibition view. Carl André, 1988
    8 february, 1988 - 29 april, 1988

    Carl Andre (Quincy, USA, 1935) is one of the key figures of Minimal Art, developed at the beginning of the Sixties in the USA. The artist has fashioned his own highly recognisable style, taking the literal nature of the materials to the extreme in the development of his sculptures as his work pays heed to the fundamental principles of the movement.

  • Pablo Picasso. Estudio para una cabeza llorando (I). Dibujo preparatorio para Guernica, 1937. Drawing. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    29 january, 1988 - 13 march, 1988

    The exhibition El siglo de Picasso (A Century of Picasso) brings together works from the Spanish avant-garde produced among thirty-four artists between 1910 and 1970, the majority from overseas collections. The exhibit is part of the exhibition programme Five Centuries of Spanish Art, whose journey begins in Paris. It is divided into five chapters linked to important historical events and also includes two detours to take in other significant historical phenomena.

  • 28 january, 1988 - 29 march, 1988

    The eighteen painters and sculptors comprising ACTA 88 bear witness to the general panorama of plastic arts in Madrid at a particular moment in time. This exhibition enables the artistic output and circumstances surrounding the epoch to be recorded, representing a kind of cross-section of the most up-to-date creativity in Spain.

  • Miquel Barceló. The Big Spanish Dinner, 1985. Painting. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    16 november, 1987 - 10 january, 1988

    Naturalezas españolas (Spanish Nature) is an historical review of the most significant art movements in Spain spanning four decades and analysed from the monographic perspective of nature. The common thread of the exhibition is divided into the following sections: “Facing Nature”, “With Nature”, “On Nature”, “Beyond Nature”, five propositions representing the five different models between art and nature.

  • Exhibition view. Sonnabend Collection. 25 Years of Selection and Activity, 1987
    30 october, 1987 - 15 february, 1988

    Presented in the Centro de Arte Reina Sofía, Ileana and Michael Sonnabend's collection is an important testimony to twenty-five years of artistic activity in the United States and Europe. Many of the works in this collection are key to understanding the art of our times; it encompasses many of the predominant art movements, such as Pop Art, Minimal Art, Arte Povera, Antiform, Conceptual Art, American and German Expressionism, Neo-minimalism, Neo-conceptualism and multimedia practices.

  • José María Sert. El invierno o América, 1917-20. Painting. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    27 october, 1987 - 3 january, 1988

    José María Sert (Barcelona, 1874-1945), one of the great Spanish muralists, was one of the most sought-after and controversial artists of his time. Descendant of the Catalan Renaixença (Renaissance) and trained in Modernism, he crafts his pictorial style on the peripheries of the stylistic trends of the time, applying aspects of Orientalism, clear Baroque influences and a kind of Goya-esque Expressionism, as well as a potent imagination, to create and adapt themes based on a grandiloquent narrative.

  • Joan Miró. Retrato II, 1938. Painting. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    24 october, 1987 - 10 january, 1988

    Joan Miró (Barcelona, 1893 - Palma de Mallorca, 1983), one of the most important artists in the history of twentieth century Spanish art, is represented with over four hundred works from the State Collection of Spain. Due to the promulgation of the Cultural Heritage Law in Spain in 1985, the State has been able to incorporate a large number of the Catalan artist's works into its collection that were previously absent. Besides the works donated by the artist's widow, Doña Pilar Juncosa, or by Joan Miró himself or his heirs, the State has incorporated the remaining works assembled in their collection through: direct acquisitions, payments by means of inheritance rights or Income Tax, all of which can be added to donations by Margerite and Aimé Maeght and the Maeght gallery in Barcelona. In total: forty paintings, seventeen drawings, forty-three sculptures, over three hundred etchings and eighteen artist books.

  • Eugènia Balcells. Indian Circle, 1981. Video. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    28 september, 1987 - 2 november, 1987

    Along with the rest of Europe, the beginnings of video art in Spain are determined by the approach of plastic arts to this new medium, as the possibility of innovation within its aesthetic explorations gets underway.

  • Exhibition view. Le Corbusier (1887-1965), 1987
    29 june, 1987 - 10 september, 1987

    Charles-Édouard Jeanneret, better known as Le Corbusier (La Chaux-de-Fonds, Switzerland, 1887 - Roquebrune-Cap-Martin, France, 1965), lives through the periods of Cubism, Constructivism, Neo-plasticism and the Bahaus. Inspired by all of them, he takes up a purist stance that advocates the harmonious relationship and expressive spontaneity in simple and refined forms.