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

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  • Exhibition view. Paula Rego, 2007
    25 september, 2007 - 30 december, 2007

    Paula Rego (Lisbon, 1935) is one of the most important figurative painters on the international scene and one of the most lucid and combative artistic voices that has emerged in the second half of the twentieth century. Rego's artistic production is rooted in personal experiences and memories, in sinister fantasies and in the history of art and literature. In the early fifties she moves to England to study at the Slade School of Fine Art and adopts London as her primary residence.

  • Gustavo Torner de la Fuente. Sin título, Vesalio, el cielo, las geometrías y el mar, 1964-1966. Graphic art. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    11 september, 2007 - 16 december, 2007

    Gustavo Torner (Cuenca, 1935) is a self-taught artist. Deeply immersed in the world of culture, he stand out in the vast Spanish panorama during the Sixties by the wealth of material he uses in his work; full of formal and chromatic freedom. Along with Fernando Zóbel and Gerardo Rueda they establish the Escuela Conquense, one of the first initiatives in Spain, during the Sixties to introduce the new currents of modern art, with the founding of the Museo de Arte Abstracto Español in Cuenca as a major initiative, Torner collaborated there since its creation.

  • Exhibition view. Amy Cutler. Alterations, 2007
    3 july, 2007 - 10 september, 2007

    Amy Cutler’s (New York, USA, 1974) work manifests in meticulous drawings and watercolours; with them she recreates a fascinating universe inhabited by women, in which -on an allegorical, surreal and feminist level- she plans certain founding ideas of a new world. Faced with the proliferation of digital drawing, Cutler has distinguished herself with manual work, increasingly polished, precise and conceptually more complex. The artist recreates female imagery made up of fantasy stories, similar to folktales that have been transmitted orally and written. In her work there is the intention of anthropological reconstruction with domestic heroines in a process of adaptation to the environment. Her protagonists are always women who appear in an organised group, working or in transit from a trip, pioneers or colonising powers of a world waiting to be discovered, achieving a very personal poetry, which circulates with an artistic greatness, either through prosaic or real scenes, or also through dreamlike scenes.

  • Exhibition view. Carlos Pazos. Don't tell me anything, 2007
    21 june, 2007 - 8 october, 2007

    Carlos Pazos’ (Barcelona, 1949) exhibition ironically traces over thirty years of an artist’s career whose work is inserted within the frame of aesthetics, silence and emptiness. This reality is included in Pazos’ work as emptiness, there is no reference of art and the object always refers to fiction; for this reason the tension between collage and the representation of emptiness is one of the most interesting contributions of this artist. Facing the failure of modern utopia and the questioning of any system of representation, Pazos chooses to hide behind the mask of Narcissus, escaping in the accumulation of objects and merging with the abject.

  • Exhibition view. Luis Gordillo. Tropical Iceberg, 2007
    19 june, 2007 - 15 october, 2007

    Luis Gordillo (Seville, 1934) begins to become known on the national art scene in the Sixties when he establishes himself as one of the pioneers in the restoration of the treatment of figuration and the use of colour, inventing an artistic language that becomes a reference to a later generation of artists. His aesthetic proposal questions itself on the reflection of the subject, the relevance of the process faced with the product and the theory of perception. His work and creative process define an open artistic journey, leaving traces of a continuous challenge with which he seeks clarity in the expression of his inner tensions.

  • Exhibition view. Le Corbusier. Museum and collection Heidi Weber, 2007
    5 june, 2007 - 3 september, 2007

    The last seven years of the life of Charles Édouard Jeanneret-Gris’, better known from the 1920s as Le Corbusier (La Chaux-de-Fonds, Switzerland, 1887 - Provence, France, 1965), were bound by deep ties of friendship and cooperation with the Swiss Heidi Weber, owner of an interior design gallery in Zurich.

  • Man Ray. Les larmes (Tears), 1932 / posthumous print, 1982. Photography. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    30 may, 2007 - 22 july, 2007

    Coinciding with the festival of photography PHotoEspaña 2007, the Museo Nacional Centro de Arte Reina Sofía proposes a selective journey through photographs from its Collection. The selection of photographs shown in five different spaces and that have been established according to a reflexive link between the subjective perception of the spectator and the return of the look in the image.

  • Exhibition view. Carlos Franco. Graphic Art, 2007
    17 may, 2007 - 29 july, 2007

    Carlos Franco’s (Madrid, 1951) activity as an engraver has been carried out in a very restricted environment and produced through private commissions, which makes him not very well known by the general public, except for his etching illustrations for The Aeneid by Virgil. However nothing better explains the artist's technical strategy than this activity, with its different procedures and its endless potential for overlap and juxtaposition.

  • Exhibition view. Alberto Peral. Dancing, 2007
    24 april, 2007 - 24 june, 2007

    Alberto Peral (Santurce, 1966) belongs to the generation of artists who emerged in the early nineties and was a protagonist in the renewal of Spanish art at the beginning of the twenty-first century. Since his first solo exhibition at the Joan Miró Foundation in Barcelona in 1992 until today, he has created a journey of great conceptual consistency and a desire for formal experimentation that has led him to travel through a wide range of media, from drawing, photography or sculpture, to installation and video. With them he proposes a thrilling encounter between the poetic beauty of the most simple and essential shapes and the symbolic power they contain.

  • Exhibition view. Wolfgang Laib. There is no Beginning and no End, 2007
    17 april, 2007 - 16 july, 2007

    German conceptual artist Wolfgang Laib (Metzinger, Germany, 1950) began his career in the mid-seventies, after finishing medical school. He belonged to a family who had cultivated asceticism and made frequent trips to India and other Asian countries. He became interested in religion and mysticism from an early age which led him to delve into Eastern cultures and languages and to find, in art, the knowledge and the means to express his worldview. From then onwards he develops a work that is characterised by high purity and formal austerity. He uses natural materials with a strong symbolic and vital load, like beeswax, milk, pollen and rice, with which he intends to bring together art, nature and spirituality.

  • Exhibition view. The Kinetic[s], 2007
    27 march, 2007 - 20 august, 2007

    Movement and speed as a reference of modernity and the machine as a symbol of technological progress have been around since early avant-garde artistic discourse. But it is in the Paris of the Sixties where, focused around the Denise René gallery, a group of artists, many of them Latin-American, give programmatic basis to Kinetic Art. From this moment the kinetic factor is begun to be understood as a trend that seeks expression in the movement of the creative arts through various channels: shaping an illusion of a virtual movement in the optic impression of the spectator that does not really exist; inducing the spectator to move in space, to mentally organise the reading of a particular sequence, or performing real movements of images through the use of motors.

  • Exhibition view. Darío Villalba. Una visión antológica 1957-2007, 2007
    March 13 - May 14, 2007

    Darío Villalba (San Sebastián, 1939) is a benchmark reference in the development of art after the period of informalist abstract that developed in Spain in the late fifties. In the mid-sixties Villalba develops a very personal and radical language through the use of photography as artistic support. This unusual use of photography distances him from the Pop Art and Conceptual Art trend of using image. Villalba decides to adopt the photographic frame as a painting, as a support suitable for collecting emotions and impulses that he needs to transmit, through paint strokes, fragmentation and modification of frames or hiding or revealing images. These images are taken from files or magazines, or from photographs taken by him; they are selected, fragmented and decontextualised, and used as an iconographic source, allowing him to break free from manual execution and become more involved in the intention than the action, always with a huge linguistic freedom.

  • Carmen Laffón. Cepas, 2006-2007. Sculpture. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    1 march, 2007 - 29 april, 2007

    Carmen Laffón (Seville, 1934) will exhibit in the Abbey of Santo Domingo de Silos after an extensive retrospective that the Museo Nacional Centro de Arte Reina Sofía dedicated to her in 1992. The National Arts Award in 1982 and intellectual fellow at the Real Academia de Bellas Artes de San Fernando (Royal Academy of Fine Arts of San Fernando) since 1989, Laffón is a figurative painter and sculptor. Her palette encompasses a range of sensual and luminous colours with which she is able to instantly capture the world and internalise it. Her work, produced mainly with charcoal, pastels and oil, includes portraits, still life, everyday objects and, most particularly, landscapes. Since the mid-nineties Laffón brilliantly explores the world of sculpture. Her works are in such major collections as MoMA, the Juan March Foundation and the Bank of Spain.

  • Mario Merz. Igloo del Palacio de las Alhajas (Igloo at Palacio de las Alhajas), 1982. Sculpture. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    8 february, 2007 - 7 may, 2007

    This project, created specifically for the Palacio de Cristal, presents pieces from the Museo Nacional Centro de Arte Reina Sofía Collection in a context that explores the connections and interaction between the pieces exhibited and the exhibition space. Participating artists -Cristina Iglesias, Mario Merz, Susana Solano and Per Barclay- use different artistic vocabularies to place the spectator before structures that relate to living space, expressing introspective and uniquely poetic architectural worlds.

  • Exhibition view. Chuk Close. Paintings: 1968-2006, 2007
    February 6 - May 7, 2007

    Since 1968 Chuck Close (Monroe, United States, 1940) has been creating stunning large portraits from photographs taken of people’s faces. Close graduated from Yale University and worked as an art teacher at the University of Massachusetts. His work was first exhibited at the MOMA, New York in 1973. In 1967 Close abandons his Abstract Expressionist painting style which he inherited from his college years. In the late sixties, along with other contemporary artists he begins to subvert modern abstraction transforming it into figuration and paving the way for what is now known as Postmodernism.

  • Exhibition view. Magazines and War. 1936-1939, 2006
    January 16 - April 30, 2007

    This exhibition is the first one dedicated to studying the role that artists played in the creation of magazines published during the Spanish Civil War. During those years magazines were the most important means of spreading ideologies; authentic laboratories that created propaganda which would be determinants in the formation of a wartime culture. The magazines attracted writers, artists, photographers and typographers, engaged in an essentially experimental, creative activity.

  • Exhibition view. Kiwon Park. The Light Weight, 2006 (c) Kiwon Park, 2006
    19 december, 2006 - 19 february, 2007

    Kiwon Park’s (Cheong-ju, North Korea, 1964) work is intrinsically related to a concept of space naturally rooted in Eastern thought. His great interest is in empty space, defined by the floor, ceiling, walls and light. A space that he uses as sculptural material and which he intends to make more alive and emphasise. In his work he transforms existing spaces into new illusory and abstract spaces, modifying formal elements, such as the texture, surface, colour and sense of volume. His installations become sculptures in themselves.

  • Exhibition view. Juan Soriano. Aves de paso, 2006
    21 november, 2006 - 19 february, 2007

    The Museo Nacional Centro de Arte Reina Sofía is dedicating this exhibition to Juan Soriano (Guadalajara, Mexico, 1920 - Mexico City, 2006), on the occasion of the 2005 Velazquez Prize. This exhibition was preceded by Juan Soriano. Retrospective. 1937-1997 which the Museum dedicated to him in 1997.

  • Exhibition view. Anni y Josef Albers. Latin American Journeys, 2006
    14 november, 2006 - 12 february, 2007

    The Albers matrimony formed part of the Bauhaus school. Following the closure of the school in 1933 because of Nazi harassment, Josef Albers (Bottrop, Germany 1888 - New Haven, United States, 1976) was one of the first Bauhaus teachers to emigrate to the United States. Known for his writings on the theories of colour he continues teaching, inseparable from his artistic activity, in prestigious institutions such as the Black Mountain College in North Carolina. Meanwhile, Anni Albers (Berlin, 1899 - Connecticut, United States, 1994) is one of the leading textile artists of the twentieth century, after training in the textile workshop at the Bauhaus, where she enjoyed the tutelage of teachers such as Paul Klee. This exhibition explores a very specific aspect of the Albers production, with works that narrate their devotion to pre-Hispanic cultures in Latin America as well as the enormous influence that the fourteen trips to Mexico, Cuba, Peru and Chile between 1934 and 1967, had over the work and life of the couple.

  • VALIE EXPORT. Adjungierte Dislokation III, 1978-1997. Installation. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    November 7, 2006 - April 2, 2007

    This exhibition is an overview to understand how the recording, transmission and reproduction technology of sound and images born in 1950, and technically different from cinema, became artistic media. It examines the influence of technology and mass culture in social and artistic changes in an era of cultural acceleration and proliferation of ideas. In this way 1968 marks a before and after, as that was the year when a relatively affordable portable television appeared on the market, opening up the media to a vast new group of people.

  • Exhibition view. Howard Hodgkin, 2006
    17 october, 2006 - 8 january, 2007

    Howard Hodgkin (London, 1932), is one of the most active British artists on the international scene. Hodgkin describes his work as "paintings depicting emotional situations", where he tries to recreate the intensity of the experience. The artist works with his memory, revealing and concealing issues through overlapping layers of bright colours and distinctive markings, a process that can take several years.

  • Ixone Sádaba. Modules #2, 2006. Photography. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    10 october, 2006 - 4 december, 2006

    Ixone Sádaba’s (Bilbao, 1977) work starts off the new programme of exhibitions at the Museo Nacional Centro de Arte Reina Sofía, entitled "Producciones". This programme is designed to develop projects specifically produced for the museum and carried out by artists whose career is beginning to come together, with the aim of stimulating and enhancing current creative activity.

  • Exhibition view. Miguel Ángel Blanco. Musgo Negro, 2006
    27 september, 2006 - 17 december, 2006

    Nature is Miguel Ángel Blanco’s (Madrid, 1958) field of work. His most important artistic and vital project, Biblioteca del bosque, begins in 1985 and consists of box-books containing, and sealed with glass, natural elements -botanical minerals, animals, entomologies- preceded by a few pages introducing us to these materials through drawings, prints or photographs. Box-books are, for the artist, microcosms, new landscapes that express nature in all its phenomenology and in all its geographical and symbolic extension.

  • Gordon Matta-Clark. Chinatown Voyeur, 1971. Video. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    4 july, 2006 - 16 october, 2006

    Gordon Matta-Clark’s (New York, United States, 1943-1978) work has an expressive multidimensionality and a formal complexity in a New York dominated by the reductionism of Minimal and Conceptual Art. The artist develops his art production in the art of action, the objectification of space shared by sculpture and architecture, and especially in redefining the idea of landscape as an interactive place where the social, historical, ideological and natural coexist. Matta-Clark shows that it is possible to fuse matter, form, perception and idea into urban landscape. After a period spent studying architecture, he led the way as a visual artist, becoming one of the most important conceptual artists of the second half of the twentieth century.

  • Manolo Valdés. Desde la ventana, 1998. Painting. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    27 june, 2006 - 25 september, 2006

    Artist Manuel Valdés Blanco, known as Manolo Valdés (Valencia, 1942), boasts a long career that gets underway at the beginning of the Sixties. From 1964 onwards his work develops as a member of Equipo Crónica, to which the then Centro de Arte Reina Sofía dedicates an exhibition in 1989. The group, influenced by Pop Art, defines the Spanish Art of that period and represents a critique and lucid consideration of the relationship between art and society. After 1981, Valdés embarks on a fruitful solo career. Twenty-five years on, and for the first time in Spain, the Museo Reina Sofía presents a complete retrospective of this phase in his artistic output.

  • Exhibition view. Picasso. Tradición y vanguardia, 2006
    6 june, 2006 - 25 september, 2006

    The work Guernica (1937) by Pablo Picasso (Málaga 1881 - Mougins, France, 1973) arrives in Spain in 1981 from The Museum of Modern Art in New York, the place where it had been housed since 1939. Few events mark such a watershed in Spain's political transition; thus Picasso's wish that the canvas - commissioned in the middle of the Civil War by the Government of the Republic for the Spanish Pavilion in the Universal Exhibition in Paris, 1937 - be returned to Spanish soil once the country recovered political freedom was fulfilled.

  • Exhibition view. Lucio Muñoz en Silos, 2006
    17 may, 2006 - 6 august, 2006

    Lucio Muñoz (Madrid, 1929-1998) is one of the key exponents of Spanish Informalism in the second half of the 20th century. After studying at the Royal Academy of Fine Arts of San Fernando in Madrid he continues his education in Paris, where he comes into contact with Informalist painters such as Jean Dubuffet, Jean Fautrier, Wols (Wolfgang Schulze) and Antoni Tàpies. Subsequently, he focuses Abstraction, an approach he is to maintain throughout his career.

  • Eve Sussman and the Rufus Corporation. 89 Seconds in the Alcázar, 2004. Film
    9 may, 2006 - 9 july, 2006

    Internationally renowned artist Eve Sussman (London, 1961) lives and works in New York. Throughout her intense career she has produced numerous installations, employing filmic materials and often turning to “Cinéma vérité”. Her interest in observing people has led her to work with CCTV cameras, as for instance in the Istanbul Biennial in 1997.

  • Exhibition view. Kimsooja. To Breathe – A Mirror woman, 2006
    27 april, 2006 - 24 july, 2006

    Kimsooja (Daegu, South Korea, 1957) is one of the most renowned Korean artists on the international art scene. Since 1998 she has lived and worked in New York, and her work, including installations, photographs, performance and video, has been extensively exhibited in Asia, the USA and Europe. She explores themes such Nomadism, the relationship between the self and other, the roles of women in the world and the importance of human beings in a chatoic world - their solitude and transience.

  • March 14 - May 29, 2006

    The exhibition dedicated to Alberto Burri (Città di Castello, Italy, 1915 - Nice, France, 1995) brings together an extensive selection of paintings produced between 1949 - Burri gains prominence in the international contemporary art scene at the beginning of the Fifties - and 1994, reflecting the coherence and continuity Burri maintained throughout his career, which falls under the material Informalism movement. After earning a degree in medicine in 1940 and working as an official medic in World War Two, his unit is captured in Tunisia and sent to a concentration camp in Texas, where he begins to paint in 1945. Upon his return to Italy he settles in Rome, but also travels to Paris and New York, where he participates in various exhibitions. His involvement in the collective exhibition Younger European Artists in the Guggenheim museum in 1953 means his work gains international attention and recognition, further bolstered by his participation at the 1959 São Paulo Biennial and being awarded the Critic's Prize at the 1960 Venice Biennial.

  • Exhibition view. Juan Carlos Savater. Estrella matutina, 2006
    1 march, 2006 - 30 april, 2006

    To begin with, Juan Carlos Savater's (San Sebastián, 1953) painting progresses towards a romantic and symbolic vision. This search for the sublime and transcendence, mostly represented through landscape, endures throughout his career. In 1987 he exhibits his work in the collective exhibition Naturalezas Españolas (Spanish Nature), displayed at the time in the Centro de Arte Reina Sofía, and he is also chosen to participate in the 19th São Paulo Biennial. His participation in the large exhibition Dinamiques et Interrogations (Arc, Musée d'art moderne de la Ville de Paris, 1987) means his work gains a higher national and international profile and he exhibits his paintings among the new offerings in one of the most important exhibitions in emerging art (Venice Biennial) as well as in the exhibition Los años ochenta, artista espagnoli Contemporanei (Milan, 1988), among numerous other exhibitions.

  • Louise Bourgeois. Spider, 1994. Sculpture. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    February 14 - September 11, 2006

    The exhibition La visión impura (Impure Vision) presents a selection of works recently acquired by the Museo Nacional Centro de Arte Reina Sofía, and does so using the title to highlight the fact that the art produced in the latter part of the 20th century undermines any notion of purely visual art.

  • Exhibition view. Adolfo Schlosser. 1939-2004, 2006
    7 february, 2006 - 23 may, 2006

    During the last quarter of the 20th century, the work of Adolfo Schlosser (Leitersdorf, Austria, 1939 - Madrid, 2004) becomes highly important to the Spanish art scene. Although born in Austria, Schlosser settles in Spain in the mid-sixties, where he lives until his death. He is fully involved in a generation that represents a shift in plastic arts in Spain, with his contribution to the wave of new approaches in the field of sculpture particularly relevant - he receives official recognition from the Premio Nacional de Artes plásticas (National Prize for the Plastic Arts) in 1991.

  • Harun Farocki. Pensaba que veía presidiarios, 2000. Installation. Generali Foundation Collection, Vienna
    January 24 - April 17, 2006

    Harun Farocki (Nový Jičín, Czech Republic, 1944) studied in the German Film and Television Academy, Berlin (DFFB) but was expelled in 1968 for political reasons. An essayist and filmmaker, Farocki has also produced screenplays for various films and television productions and his work has been exhibited in diverse international retrospectives and gained recognition through a number of awards.

  • 1 december, 2005 - 8 january, 2006

    With the title Todas las Historias (Every Story), in Espacio Uno of the Museo Nacional Centro de Arte Reina Sofía, Dora García (Valladolid, 1965) presents a collection of all her performances and the majority of her videos in something almost akin to an individual 'mini-festival'.

  • 9 november, 2005 - 13 february, 2006

    The exhibition Las tres dimensiones de El Quijote. El Quijote y el arte contemporáneo español (The Three Dimensions of Quixote. Quixote and Contemporary Spanish Art) is held in conjunction with the celebration of the 4th Centenary of the publication of Don Quixote. The exhibition, organised by SECC (The State Society for Cultural Commemoration), brings together twenty original and unpublished works, created especially for the occasion by some of the most preeminent contemporary Spanish artists: Andreu Alfaro, Eduardo Arroyo, Rafael Canogar, Martín Chirino, Alberto Corazón, Susy Gómez, Cristina Iglesias, Carmen Laffón, Francisco Leiro, Eva Lootz, Julio López Hernández, Blanca Muñoz, Juan Navarro Baldeweg, Miquel Navarro, Carlos Pazos, Javier Pérez, Jaume Plensa, José María Sicilia, Susana Solano and Darío Villainy. The selected artists have created their own personal, unpredictable and original interpretations, a far cry from the illustrations of yesteryear.

  • Curro González. El enjambre II, 2005. Painting. Artist's collection
    27 october, 2005 - 27 november, 2005

    Curro González (Seville, 1960) recovers pictorial practices with new discourses whilst also reflecting on the representation of place in which to construct the illusion of reality. Irony and humour are regular features in his work as he utilizes them as two elements to move away from the serious and solemn discourse that permeates through contemporary art. Moreover, he continually plays upon the perceptive will of the viewer in his creations.

  • Pablo Palazuelo. Dream III, 2004. Painting. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    25 october, 2005 - 9 january, 2006

    A Painter, sculptor and engraver, Pablo Palazuelo (Madrid, 1916) has had one of the most noteworthy artistic careers within Spanish Abstraction. Palazuelo studies architecture in Madrid and at the Royal Institute of British Architects in Oxford, but from 1939 onwards he focuses exclusively on painting. He is awarded a grant by the French Government and moves to Paris in 1948, where he comes into contact with other Spanish artists.

  • Exhibition view. El arte sucede. Origen de las prácticas conceptuales en España (1965-1980), 2005
    11 october, 2005 - 9 january, 2006

    The exhibition El arte sucede. Origen de las prácticas conceptuales en España (1965-1980) (Art Happens: The Origin of Conceptual Practices in Spain 1965-1980) takes its title from James Whistler's saying “Art happens”. Whistler was an habitué to Stéphane Mallarmé's circle and worked in close proximity to his line of thought, the reflections of which contributed to establishing the basis of the interdisciplinary and supranational conception of art. The exhibition explores the appearance and development of Conceptual Art in Spain, bringing together an anthology of works realised by diverse artists with their own traits, linked by their experiences and interests whilst also sharing approaches with their international counterparts. These traits are defined by the multifarious relationship with popular culture, the social, the political, the subjective and the body itself.

  • Exhibition view. Tobias Rehberger. I Die Every Day. 1 Cor. 15,31, 2005
    7 october, 2005 - 2 february, 2006

    Tobias Rehberger (Esslingen, Germany, 1966) is one of the most internationally renowned German artists to come out of the art scene in the Nineties. A descendent of German sculptural tradition in the Eighties, which can be seen in the exhibition Raumbilder: cinco escultores alemanes en Madrid (Raumbilder: Five German Sculptors in Madrid), Rehberger is part of the evolution of contemporary sculpture and the hybridisation of architecture and design. Moreover, his works often portray pictorial components through detailed studies of colour and geometry.

  • Exhibition view. Millares en Silos, 2005
    14 september, 2005 - 18 december, 2005

    This exhibition, organised by the Museo Nacional Centro de Arte Reina Sofía in the Abbey of Santo Domingo de Silos, is dedicated to Manuel Millares (Las Palmas de Gran Canaria, 1926 - Madrid, 1972), a key reference point for understanding Spanish art in the second half of the 20th Century. It follows on from the retrospective dedicated to the artist in 1992. From 1949 onwards Millares begins to work with abstract painting, using sacking, sack-cloth and rope that he sticks objects to, materials that are later covered with layers of dripping paint. In 1955 he moves to Madrid, and is one of the co-founders of the El Paso group in 1957.

  • Jordi Colomer. Arabian Stars (Mies van der Rohe), 2005
    13 september, 2005 - 16 october, 2005

    Jordi Colomer (Barcelona, 1962) learns design and Art History before moving on to study architecture in 1986, the year in which his first individual exhibition is held in the Juan Miró Foundation in Barcelona. His first artistic ventures revolve around pictorial abstraction, an approach he gradually leaves behind in favour of sculpture, drawing and collage. In all of his work Colomer establishes the link between objects in space and the three-dimensional role of the materials. Between 1991 and 1995 he lives in Paris, where his architectural resolution of space gains intensity, with references to the domestic environment. From 1996 onwards he works with photography and video.

  • Amy Globus. Electronic Sheep, 2001-2002. Installation. Private collection
    1 august, 2005 - 25 august, 2005

    Artist Amy Globus (New York, USA, 1976) presents the video installation Electronic Sheep (2003-2004) in Espacio Uno of the Museo Nacional Centro de Arte Reina Sofía. The title of the work alludes to Phillip K. Dick's 1968 novel Do Androids Dream of Electric Sheep? widely considered a science fiction classic and the book that gave rise to equally renowned film Blade Runner, directed by Ridley Scott in 1982.

  • Antonio Saura. El primer consejo (First Piece of Advice), 1950. Painting. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    28 june, 2005 - 10 october, 2005

    This exhibition is the public presentation of sixty-one works by Antonio Saura (Huesca, 1930 - Cuenca, 1998), thirty-eight drawings and twenty-three paintings, loaned to the Museo Nacional Centro de Arte Reina Sofía by the heirs of Saura's work. The works journey through the whole of Saura's career, from his early surrealist pieces, a period that starts with Constelaciones (1948), to his final compositions, such as the oil painting Cuatro caras (1996), taking in the main themes running through his oeuvre in the process. This exhibit is in addition to Antonio Saura. Pinturas 1959-1985 (Antonio Saura. Paintings 1959-1985), held in the Museo in 1989.

  • Juan Gris. Violon et guitare (Violin and Guitar), 1913. Painting. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    22 june, 2005 - 19 september, 2005

    The exhibition the Museo Nacional Centro de Arte Reina Sofía dedicates to Juan Gris (Madrid, 1887 - Boulogne-sur-Seine, France, 1927) bears witness to the diverse approaches in his output. It highlights those aspects that have remained in the background, for instance his colourist painting, his early years within Cubism and his drawings, considered by the artist himself to be equal to his paintings. This exhibit is in addition to two previous ones dedicated to the artist by the Museo; one, in 2001 Juan Gris 1887-1927 and the other in 2003, Juan Gris dibujante de prensa (Juan Gris the Illustrator).