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





  • 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 The exhibition, organised by SECC (The State Society for Cultural Commemoration), brings together twenty original and unpublished works, created especially for the occasion by some of the most preeminent contemporary Spanish artists: Andreu Alfaro, Eduardo Arroyo, Rafael Canogar, Martín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.

  • Exhibition view. Jordi Colomer. Arabian Stars, 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).

  • Pablo Siquier. 9610, 1996. Painting. Private collection, Buenos Aires
    2 june, 2005 - 12 september, 2005

    Pablo Siquier (Buenos Aires, 1961) is one of the most renowned Argentinian artists to come out of the Eighties. His exhibition in the Palacio de Velázquez in Madrid brings together forty paintings along with various murals the artist has painted on the walls of the Palacio over a two-week period. Through the installation Siquier gives visibility to specific and personal experiences of his native city with a discourse that ranges from identifiable local architecture to pure abstractions that can be related to landscape, topography and the forms of representation of the city. By virtue of this exhibition Siquier reaffirms his experience of the city, not as an evocation or memory of the physical space and its construction, but as a result of the diverse political and cultural practices that unfurl and are inscribed within a determined parameter. He concentrates on the exploration of formal and constructive structures, on decorative motifs and abstract representations of the urban fabric, and on the exploration of the language of signs developed by the medium of design.

  • Exhibition view. Montserrat Soto. Tracking Madrid, 2005
    31 may, 2005 - 3 july, 2005

    A reflection on art and space has been the common thread with which the artist Montserrat Soto (Barcelona, 1961) has fashioned in one of the most coherent and imaginative careers in Spanish art throughout the last decade. Soto studies in the Escuela Massana in Barcelona and the School of Fine Arts in Grenoble (France), whilst experimenting with photography, the predominant medium in her artistic expression, as well as video installation and stage design.

  • Joan Massanet. Nacimiento de Venus (Birth of Venus), 1927. Painting, Museo Nacional Centro de Arte Reina Sofía Collection
    24 may, 2005 - 29 august, 2005

    Joan Massanet (L’Armentera, 1899 - L´Escala, 1969) becomes involved with the circle of Catalan Surrealist artists, for instance Àngel Planells, Esteban Francés and Remedios Varo from his adopted cuty of Girona, that appropriate an artistic language influenced by Salvador Dalí.

  • Exhibition view. Regina Silveira. Lumen, 2005
    12 may, 2005 - 5 july, 2005

    The work of Regina Silveira (Porto Alegre, Brazil, 1939) has palpable associations with concrete poetry and experiments with the impact of Minimalism and Pop Art. That said, by and large Silveira is concerned with the interplay between light and shade, systems of visual representation, the problems of perspective and the illusion of volumes. Her work, influenced by Iberê Camargo and Marcel Duchamp, focuses on the critique and dismantling of traditional codes of representation as well as the ironic interplay between conceptual deviations and the solemnity and anachronism of classical canons. Furthermore, Silveira is interested in the exploration of common three-dimensional objects and architectural vacuums that are able to work as spaces that mesmerise. These spectrums are reflected in the huge shadow patterns originating from sources of imaginary light - sometimes paradoxical - to indicate absence; thus the viewer has limited mental references with which to place these architectural elements of space, walls, furniture and objects.

  • Exhibition view. Eduardo Chillida. Cántico espiritual, 2005
    11 may, 2005 - 24 july, 2005

    Cántico espiritual (Spiritual Chant) is the title of the Eduardo Chillida (San Sebastián, 1924-2002) exhibition, held in the Abbey of Santo Domingo de Silos. It features works related to the monk, mystic and Castillian poet San Juan de la Cruz (1524-1591), the subject of over 30 works by Chillida, who began the series in honour of the saint in 1991, the year that marked the 400th anniversary of his death. An expert on his poetry, Chillida considered himself a religious man with a profound faith in God and mankind, establishing a link between matters of faith and the problems faced by artist. His conception of space has a spiritual and philosophical dimension, and he also tirelessly wrote verses in drawings and on cards; many of his drawings show the landscapes described by the poet. Johann Sebastian Bach is the other central figure in Chillida's image of the world as his spaces take on musical and spiritual dimensions references to both figures.

  • Juan Manuel Díaz Caneja. Árbol, 1983. Painting. Private collection, Madrid
    10 may, 2005 - 28 august, 2005

    The painting of Juan Manuel Díaz-Caneja (Palencia, 1905 - Madrid, 1988) has close ties to the landscapes of Castilla, portrayed from an acute awareness of avant-garde perspectives. After assimilating the teachings of Cubism, Díaz-Caneja formulates a new and intimate landscape through the use of persistent and subtle variations. To mark the hundredth anniversary since the artist's birth, the Museo Nacional Centro de Arte Reina Sofía dedicates this restrospective exhibition to a broad range of Díaz-Caneja's finest works.

  • Dennis Oppenheim. Circle Puppets, 1994. Installation. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    19 april, 2005 - 3 november, 2005

    Dennis Oppenheim (Electric City, USA, 1938), educated at the California School of Arts and Crafts, moves to New York in 1967 where he becomes one of the forerunners of Conceptual Art and a pioneer in performance. He gains public recognition at the end of the Sixties as he forms part of a generation of artists that disseminate Land Art, though his penchant for experimentation also leads him to explore Body Art, photography and video installation, among other artistic languages.

  • Exhibition view. Abraham Lacalle. Un lugar donde nunca sucede nada, 2005
    29 march, 2005 - 8 may, 2005

    The career of artist Abraham Lacalle (Almería, 1962) begins at the end of the Eighties, and to date he has had numerous collective and individual exhibitions, mainly in Madrid and New York. In his work constant - ironic and sarcastic - references to the most important art and literary movements that emerge throughout the 20th century can be strongly discerned.

  • Exhibition view. Manuel Rivera en Silos, 2005
    2 march, 2005 - 28 april, 2005

    The Museo Nacional Centro de Arte Reina Sofía exhibition dedicated to Manuel Rivera (Granada, 1927 - Madrid, 1995), in the Benedictine Abbey of Santo Domingo de Silos, acknowledges the poetic dimensions of his metallic fabrics and the lyricism manifested in the mysterious geometry of light and colour. It can also be added to the exhibit dedicated to Rivera in 1997.

  • Germán Gutiérrez Cueto. Diálogo, 1955
    22 february - 8 may, 2005

    Born to a Spanish father and Mexican mother, Germán Gutiérrez Cueto (Mexico City 1893-1975) is one of the first modern sculptors on the American continent. This exhibition, held in the Museo Nacional Centro de Arte Reina Sofía, features a series of individual exhibitions devoted to Mexican artists: Vicente Rojo, José Luis Cuevas and Francisco Toledo, among others.

  • Jorge Oteiza. Caja vacía (Empty Box), 1958. Sculpture. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    15 february, 2005 - 30 may, 2005

    Jorge Oteiza (Orio, 1908 - San Sebastián, 2003) is one of the most relevant Spanish artists of the 20th century with his highly personal work. Oteiza's sculptures examine the relationship between volume and space brought about by early avant-garde movements, particularly Constructivism, whilst also sharing a distinct penchant for abstraction, spirituality and humanism with other artists. His career begins in the Escuela de Artes y Oficios de Madrid (The Madrid School of Arts and Crafts) where he produces and exhibits his first sculptures, influenced by Jacob Epstein, Dimitry Tsaplin and Alberto Sánchez. In 1935 he travels to Latin America, where he exhibits in various cities while also working as a teacher and carrying out research into Pre-Columbian sculpture. This period also sees him write some of the essays that are key to understanding his artistic output.

  • José Manuel Ballester. Nueva Sala RS-1 (New Hall RS-1), 2004. Photography. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    11 february, 2005 - 8 may, 2005

    The paintings, drawings and photographs of José Manuel Ballester (Madrid, 1960) stand out for their unique interpretation of architectural space and light. Ballester begins his career with painting, paying particular attention to the techniques of Italian and Flemish art from the 15th and 18th centuries. In 1990 he starts to blend painting and photography in order to focus on architectural photography. The maturity of his artistic output has also seen him win the Premio Nacional de Grabado (National Etching Award) on three occasions.

  • Pablo Picasso. Tête de femme (Fernande) (Woman´s Head [Fernande]), 1909. Sculpture. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    10 february, 2005 - 16 may, 2005

    Alfred Stieglitz (New York, United States, 1864-1946) captures in his photographs the vitality and energy of New York in the early twentieth century. This city, with its skyscrapers and its fast pace of life, looked, to many European artists, the very image of modernity. If, in the past, traveling to Europe was a rite of passage for American artists, New York would later become the destiny for European artists.

  • Exhibition view. Gabriel Orozco, 2005
    8 february, 2005 - 18 april, 2005

    Mexican artist Gabriel Orozco (Jalapa, Mexico, 1962) is internationally recognised as a leading innovator of conceptual art. His work has been exhibited at the most important events of contemporary art over the last decade. Trained at the UNAM National School of Arts in Mexico City, Orozco lives between Paris, New York and Mexico where, since the early nineties, his work responds to different contexts, materials and situations in public spaces around the world. The artist reflects on movement and gravity through various objects, a ball of clay or a pendulum on a pool table. He expresses the actions of everyday life with common objects that are somehow being reviewed from an abstract point of view.

  • Carlos Arias. Cubo penetrado, 2001
    8 february, 2005 - 6 june, 2005

    The exhibition Eco: arte contemporáneo mexicano shows the art scene in Mexico over the last fifteen years. Far from being the result of a representative selection of current Mexican art, the exhibition aims to expose the artistic discourse design that is present in Mexico beyond the exoticism shown so often by American and European centralism. The collection explores the echoes and subtle relationships established between the pieces that are sometimes critical, but always fascinating.

  • Fermín Aguayo. Tierras rosas, 1955
    1 february, 2005 - 18 april, 2005
  • Exhibition view. Victoria Civera. Bajo la piel, 2005
    13 january, 2005 - 6 march, 2005

    Painting is at the core of the artistic output of Victoria Civera (Puerto de Sagunto, 1955), that also includes a command of other artistic languages. She begins her work in the School of Fine Arts of San Carlos, in Valencia, where she collaborates with the artist Juan Uslé, experimenting with photography, photomontage and Happening art. Later she focuses on producing Neo-Expressionist style paintings as the Eighties see her visibly enlarge the scale of her works. Following a period dubbed Abstract Symbolism, she settles in New York in 1987 with her husband, Juan Uslé, who she occasionally works with on compositions that alternate between photography, photomontage and painting.

  • 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.

  • Exhibition view Vicente Blanco. Algunas veces pasa cuando estáis dormidos, 2004
    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.

  • Julian Schnabel. Al pueblo de España (To the People of Spain), 1991. Painting. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    3 june, 2004 - 13 september, 2004

    Over fifty paintings by Julian Schnabel (New York, United States, 1951) make up the exhibition at Museo Nacional Centro de Arte Reina Sofía dedicated to this creative American. A Czech immigrant father and a mother from New York, in 1965 the Schnabel family moves to Brownsville (Texas, United States), a town near the Mexican border. His life as a teenager in this city is replete with violence, weapons and drugs, which strongly shapes the artist’s character and psychology. After studying Fine Arts at the University of Houston, Schnabel returns to New York in 1973 and studies a “critique and curator of museums” programme at the Whitney Museum. During 1976 he spends several months in Europe, visiting Italy and the work of Giotto, Fra Angelico and Caravaggio.