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  • Exhibition view. Jean-Luc Mylayne. Into the Hands of Time, 2010
    November 19, 2010 - April 4, 2011

    Jean-Luc Mylayne

    Into the Hands of Time

    Designed in close collaboration with the artist, this retrospective exhibition is the first presentation in Spain of the work by Jean-Luc Mylayne (Marquise, France, 1946). For thirty years the artist has devoted himself with tenacious rigour to the photography of birds. Each of his large format images presents common birds (robins, swallows) in their natural habitat. The images are scrupulously theatrical, never random and sometimes made with lenses manufactured according to his specifications in order to create a complex spatial field. His approach combines an accurate conception with formal acuity and infinite patience.

  • Exhibition view. : VAL DEL OMAR overflow, 2010
    October 5- February 28, 2011

    Filmmaker, inventor, poet, graphic artist and hard-to-classify artist, José Val del Omar (Granada, 1904 - Madrid, 1982) is very closely linked to the medium of film as a cursed creator, an eccentric in the context of Spanish film making which does not favour experimentation; over time he has gradually become a cult figure. Val del Omar largely devotes himself to technological explorations, both in aspects concerning cinema as well as the challenges posed in his time (sound film, embossed, colour, widescreen, etc.), such as electro-acoustics, radio, television and educational applications of audio-visual media. Some of his inventions seek practical solutions in Franco's Spain, others venture into the notion of total spectacle, with an unusual visionary instinct, like the overflow of the screen and the pursuit of an acoustic and visual Cubism through diaphonic sound, all involving, and "tactile-vision", with techniques based on pulsed illumination.

  • Exhibition view. Hans-Peter Feldmann. “An Art Exhibition”, 2010
    September 22, 2010 – February 28, 2011

    Hans-Peter Feldmann

    “An Art Exhibition”

    This exhibition includes Hans Peter Feldmann’s (Dusseldorf, Germany, 1941) most representative works, from the Seventies until today. Fascinated by the few images that he found around him during the German post-war period, he begins to collect them, cut them out and stick them in albums, something he continues to do. From his earliest pieces, Feldmann organises his images into series and the effect his collection produces is abundant, which leads him to produce numerous series of photographs such as the Time series where he collects, like film photo stills, trivial facts. There is not normally anything extraordinary in them, only the invisible flow of time which has been stopped in order to be examined. Feldmann subsequently expands his reflection in the book 100 Years, a series of 101 photographic portraits of his family or friends who are aged between eight months and 100 years. Feldmann presents images that are materially poor and aesthetically undefined, as if he wanted to force the limits of their expressive qualities, facing social space covered with superlative images and touched up to encourage consumption.

  • Autumn 2010, 2010
    September 22 — December 21, 2010
    Program: Fisuras

    Under the premise that the Museo Nacional Centro de Arte Reina Sofía is an exhibition, collection and communication space, during autumn of 2010 a project is developed and produced involving four artists who intervene in the relationship between the Museum and the public. To do this, their creations occupy a series of spaces that do not normally exhibit work.

  • Vista de sala de la exposición. Ibon Aranberri. Gramática de meseta, 2010
    July 14 – November 14, 2010

    Ibon Aranberri

    Gramática de meseta

    The exhibition held at the Museo Nacional Centro de Arte Reina Sofía dedicated to Ibon Aranberri (Itziar-Deba, 1969) at the Benedictine Abbey of Santo Domingo de Silos (Burgos), is inspired by the collective memory of humans and analyses how cultural heritage is transformed by history and our industrial culture.

  • Exhibition view. Jessica Stockholder. Peer Out to See, 2010
    July 14, 2010 - April 25, 2011

    Jessica Stockholder

    Peer Out to See

    Jessica Stockholder (Seattle, United States, 1959) is one of the most influential sculptors of her generation. Her work spans over three decades and is characterised by a commitment to colour and materials. The interpretation of objects has become the distinguishing feature of Stockholder’s creations, as she participates both in the spheres of conceptualisation and construction, through associations between the recognisable and the abstract.

  • Exhibition view. Miralda. De gustibus non disputandum, 2010
    June 24 - October 17, 2010

    Miralda

    De gustibus non disputandum

    The heterogeneous proposals of Antoni Miralda’s (Tarrasa, 1942) productions included in this retrospective exhibition, claim knowledge and experiences of other cultures from different perspectives. His artistic production is perishable by nature and develops in spaces outside the art circuit. This artist has investigated the ephemeral art of food for more than four decades. Miralda uses a vibrant and inclusive language, extremely humorous and based on the celebration of the senses. His pieces lack a material presence, he gives them a transient nature and leads them to a collective space, bringing them closer to spectator participation. Many of his actions are documented only in photographs, videos and films.

  • Exhibition view. New Realisms: 1957-1962. Object Strategies Between Readymade and Spectacle, 2010
    June 16 - October 4, 2010

    New Realisms: 1957-1962

    Object Strategies Between Readymade and Spectacle

    The exhibition New Realisms: 1957-1962 focuses on one of the most important periods of changes in art during the twentieth century, beginning with the completion of Modernism and ending during the peak of Postmodernism. This period brings together a heterogeneous multiplicity of decisive manifestations and creates a new discourse on art and its contexts, leaving Abstraction and the mastery of painting behind. At this time interest shifts from the conventional art object to processes, while questioning the production systems and the consumption of art; the foundations for a great change in the paradigms of art during the sixties are laid.

  • Exhibition view. Mixed Use, Manhattan: Photography and Related Practices 1970s to the present, 2010
    June 10 - September 27, 2010

    Mixed Use, Manhattan

    Photography and Related Practices 1970s to the present

    The use of images of the New York from early deindustrialisation and abandonment of the city during the Seventies are juxtaposed in, and exposed to, the counterpoint of more recent works by artists who, fully aware of the practices of their predecessors, continue finding an aesthetic potential in this area. Mixed Use, Manhattan is based on atime when the city served as an experimentation workshop. In this place fundamental artistic aspects intertwine, such as the future of the performing arts or the relationship between work and exhibition spaces, with other high social significance, such as sexual identity, socialisation modes and uses of public space.

  • Exhibition view. El retorno de lo imaginario. Realismos entre XIX y XXI, 2010
    20 May - 27 September, 2010

    El retorno de lo imaginario

    Realismos entre XIX y XXI (Tributo a Juan Antonio Ramírez)

    In their efforts to distance themselves from a linear narrative of modernity, The Museo Nacional Centro de Arte Reina Sofía addresses the Museum's vision as not merely a container of objects, but as an entity capable of producing new discourses for their Collection and generating new knowledge. For this reason through Two Different Readings of the Collection, two exhibitions have opened at the same time about the meaning of collecting and relating the Museum's Collection from two different points of view. Artists Rosa Barba and Juan Luis Moraza, have made an exhaustive study on the Museum's Collection to then choose a selection of works which can offer the public two alternative visions and proposals on the Collection.

  • Exhibition view. Una conferencia comisariada. Sobre el futuro de la fuerza colectiva dentro del archivo, 2010
    May 20 - August 30, 2010

    Una conferencia comisariada

    Sobre el futuro de la fuerza colectiva dentro del archivo

    In their efforts to distance themselves from a linear narrative of modernity, The Museo Nacional Centro de Arte Reina Sofía addresses the Museum's vision as not merely a container of objects, but as an entity capable of producing new discourses for their Collection and generating new knowledge. For this reason through Two Different Readings of the Collection, two exhibitions have opened at the same time, about the meaning of collecting and relating the Museum's Collection from two different points of view. Artists Rosa Barba and Juan Luis Moraza, have made an exhaustive study on the Museum's collection to then choose a selection of works which can offer the public two alternative visions and proposals on the Collection.

  • Exhibition view. The Potosí Principle. How shall we sing the Lord’s song in a strange land?, 2010
    May 12 – September 6, 2010

    The Potosí Principle

    How shall we sing the Lord’s song in a strange land?

    Modern art’s origins have been consistently placed during the rupture with traditional art forms emerging in the late nineteenth century. This has resulted in the fact that European history's inseparability from its colonies, and therefore, centre-periphery relations, has been ignored since the sixteenth century. Principio Potosí a project that rethinks the origins and expansion of modernity based on colonial baroque painting and on colonisation processes. The exhibition establishes a dialogue between the work produced ex profeso various international artists, with numerous colonial baroque art works from between the sixteenth and eighteenth centuries that come from mainly Bolivian and Spanish convents, churches, archives and museums.

  • Exhibition view. Drifts and Derivations: Experiences, journeys and morphologies, 2010
    May 5 - August 23, 2010

    Drifts and Derivations

    Experiences, journeys and morphologies

    This exhibition narrates the unpredictable deviations of the many alternative architectural models in Latin America from the mid-twentieth century, confronting the official stance marked by a neo-colonial and Eurocentric discourse. The exhibition facilitates the comprehension of the avant-garde as an attitude that is open to differences, from the recognition of heterogeneity and otherness, not as a judgement of imported and imposed standards.

  • Exhibition view. Martín Ramírez. Martín Ramírez. Reframing Confinement, 2010
    March 31 – July 12, 2010

    Martín Ramírez

    Reframing Confinement

    The Museo Nacional Centro de Arte Reina Sofía offers this retrospective exhibition, the first of its kind in a European institution, of the remarkable drawings by Martín Ramírez (Tepatitlán de Morelos, Mexico, 1895 - Auburn, USA, 1963), considered one of the most notable masters of self-taught art in the 20th century. Ramirez, interned in numerous California psychiatric wards, produced some astonishing work with pictorial materials he himself made. His oeuvre explores the unique iconography that alludes to the bizarre nature between two worlds - the origin of rural and indigenous Mexico and the destination of the USA in a process of full industrial development. His drawings intimate certain narrative and autobiographical elements that preserve his identity and give meaning to an interior and exterior world in crisis.

  • Exhibition view. Tacita Dean: The Friar’s Doodle, 2010
    March 23 – June 27, 2010

    Tacita Dean

    The Friar’s Doodle

    In The Friar’s Doodle (2010), Tacita Dean (Canterbury, United Kingdom, 1965) portrays the doodles and graffiti that surround the colonnade of the Romanesque cloister of the Abbey de Silos and offers an image of what the monks may have drawn along the centuries. For the first time in this 13-minute, 16mm colour film, Dean uses a rostrum camera to produce animated images in which she closely follows the squiggly drawings - a contrast from the static images that characterise her work. The obstinate way in which Dean uncovers the original image underlines the necessary processes of discovery to decipher the scene as a whole, without letting the camera move back to show the composition in its entirety.

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