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

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  • Hito Steyerl. How Not to Be Seen: A Fucking Didactic Educational.MOV File, 2013*
    November 11, 2015 - March 21, 2016

    Hito Steyerl

    Duty-Free Art

    Regarded as one of the most relevant contemporary artists in the field of Video art, Hito Steyerl (Munich, 1966) approaches current themes in her work, for instance the impact the proliferation of images and the use of the Internet and technology have on our lives.

  • Ignasi Aballí Mapamundi 2010, 2011. Collage on paper, 30 x 21 cm each one (110-115 copies approx.). Artist’s collection
    October 28, 2015 - March 27, 2016

    Ignasi Aballí

    without beginning / without end

    In October the Museo Nacional Centro de Arte Reina Sofía will present an exhibition devoted to Ignasi Aballí (Barcelona 1958). The output of this Catalan artist offers a conceptual reflection on the representation and perception of mediums such as painting, the object or photography.

  • Constant Rode sector, 1958. © Constant, VEGAP, Madrid, 2015
    October 21, 2015 - February 29, 2016

    Constant

    New Babylon

    Constant (Constant Anton Nieuwenhuys, Amsterdam, 1920 – Utrecht, 2005) realised scale models, paintings, drawings and collages displaying his concept of a nomad city of the future – New Babylon – a complex and expansive labyrinth that transformed the whole world into one sole network.

  • Marcel Broodthaers. Fig 1. Mönchengladbach, Städtisches Museum Mönchengladbach, 1971. Institut für Auslandsbeziehungen collection e. V., Stuttgart / Centre for Artists’ Publications, Weserburg, Bremen. © Marcel Louis Jean Broodthaers, VEGAP, Madrid, 2015
    October 15, 2015 - April 4, 2016

    More than a catalogue

    The catalogue-boxes of the Museum Abteiberg-Mönchengladbach (1967-1978)

    By virtue of the renewed conceptions of art which developed in the 1960s and 1970s, museums were forced to renovate their way of presenting art works, and also their idea of what art publications could be.

    Biblioteca y Centro de Documentación
  • Exhibition view. Danh Vō. Banish the Faceless / Reward your Grace, 2015
    October 1, 2015 - April 4, 2016

    Danh Vō

    (Banish the Faceless / Reward your Grace)

    Danh Vō’s  (Bà Ria, Vietnam, 1975) art work subverts and plays with classic appropriation and opportunistic strategies of Western art in its approach to other cultures. His installations, sculptures, photographs and works on paper, particularly his early work, often calls on his origins and experiences, interspersing them with cultural, social, and historical references.

  • Mohamedi, Nasreen. Untitled, Ca. 1970. Ink and graphite on paper, 47,4 x 47,4 cm. KIRAN NADAR MUSEUM OF ART
    September 23, 2015 - January 11, 2016

    Nasreen Mohamedi

    Waiting Is a Part of Intense Living

    Nasreen Mohamedi (Karachi, 1937 – Baroda, 1990) was one of the first Indian artists to embrace abstraction, moving away from the more conventional doctrines of Indian modern art in the early decades of the 20th century. She chose non-figuration, an artistic practice marginalised at that time by independent India, which was essentially dominated by an anthropomorphous aesthetic and academic realism determined by art schools from the colonial period.   

  • Exhibition view. Ree Morton. Be a Place, Place an Image, Imagine a Poem, 2015
    May 20 - September 28, 2015

    Ree Morton

    Be a Place, Place an Image, Imagine a Poem

    The work of Ree Morton (Ossining, NY, 1936 – Chicago, 1977) can be found in the specific art scene in the USA around 1970, characterised by a strong reaction to Abstract Expressionism, in what Lucy Lippard defined as “Eccentric Abstraction”.

  • Jean François Bory. Post-scriptum. Paris, Eric Losfeld éditeur, 1970 © Jean François Bory, VEGAP, Madrid, 2015
    May 18 - October 9, 2015

    The exhibition I call them simply books, devoted to the «book as book», can be seen as part two of the previous one It is not new, it is a book, that it was a purely conceptual approach to the book. The title is a quotation by Peter Downsbrough, an American artist who has published numerous «books» since 1972.

    Biblioteca y Centro de Documentación
  • Exhibition view. Carl Andre. Sculpture as Place, 1958-2010, 2015
    May 5 - October 12, 2015 Palacio de Velázquez. Parque del Retiro

    Carl Andre

    Sculpture as Place, 1958-2010

    Carl Andre. Sculpture as Place, 1958-2010 offers an in-depth study of a crucial period in contemporary art by virtue of the work of Carl Andre. The artist’s oeuvre falls under the categories of Minimalism, Land Art and Conceptual Art, reflecting the formal concerns of his epoch.

  • Vista de sala de la exposición. Federico Guzmán. Tuiza. Las culturas de la jaima, 2015
    April 16 – August 30, 2015

    Federico Guzmán

    Tuiza. The Cultures of the Bedouin Tent

    Actively working since the mid 1980s, Federico Guzmán (Seville, 1964) has always viewed artistic practice as a commitment to his environment. His spells in New York and Bogotá at the end of the 1990s lead him to lay great emphasis on this idea as he became particularly aware of art as a tool for social change, as well as understanding the figure of the artist and seeing his work as something inextricably linked to the context he lived in.

  • Paul Klee. Baldgreis, 1922. Oil on cardboard, 40.3 x 37.4 cm. Kunstmuseum Basel © Kunstmuseum Basel
    March 18 - September 14, 2015

    White Fire

    The Kunstmuseum Basel Modern Collection

    The Kunstmuseum Basel is considered one of the finest public municipal museums in the world. The two cornerstones of its collection are the works dating from the 15th and 16th centuries, on one side, and artworks from the 19th century to the 21st , on the other, with the ensemble of the latter making it one of the most significant collections of contemporary art in Europe.

  • Pablo Picasso. Buveuse d’absinthe (The Absinthe Drinker), 1901. Oil on canvas, 81 x 60 cm. Im Obersteg Foundation, permanent loan to the Kunstmuseum Basel. Photography: Mark Gisler, Müllheim
    March 18 - September 14, 2015

    Collectionism and Modernity

    Two Case Studies: The Im Obersteg and Rudolf Staechelin Collections

    It was not the work of artists, critics and curators alone that made the development of modern and contemporary art possible. Another factor related to both economic and social concerns intervened as a catalyst in the process. This was art collecting.

  • Exhibition view. Not Yet. On the Reinvention of Documentary and the Critique of Modernism, 2015
    February 11 - July 13, 2015

    Not Yet

    On the Reinvention of Documentary and the Critique of Modernism

    Not Yet. On the Reinvention of Documentary and the Critique of Modernism sets out from the re-discovery of the Worker-photography movement of the 1920s and 1930, but within the social and intellectual context after 1968 and the new urban struggles.

  • Daniel García Andújar. Estamos vigilando, 1994. Intervention in public space, image of La Concha beach in San Sebastián, Spain. Variable dimensions. Courtesy of the artist
    January 21 - May 4, 2015

    Daniel G. Andújar

    Operating System

    Through interventions in public space and a critical use of digital media and the communication strategies of the corporations connected to it, the theoretical and artistic work developed by Daniel G. Andújar (Almoradí, Alicante, 1966) oscillates between territories that are real (the city) and virtual (the Net). He sets out from the premise that when displaying/dissecting the connections found between both, the inequalities that generate social and power relations are envisaged in a context like the current one.

  • Exhibition view. Luciano Fabro, 2014
    November 27, 2014 - April 12, 2015

    This exhibition, the first retrospective devoted to the artist since his death, assembles over fifty works that reflect the audacity, strength and complexity of Fabro's work; a body of work that is key to gaining an understanding of the new roads contemporary sculpture has travelled down.