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





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


    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.

  • Exhibition view. Pierre Huyghe. La saison des fêtes, 2010
    March 17 - June 13, 2010

    Pierre Huyghe

    La saison des fêtes

    The Palacio de Cristal opened in 1887 with an exhibition on wildlife from the Philippines that formed part of a broader project dedicated to the then important Spanish colony. La saison des fêtes (The Season of Festivities) by Pierre Huyghe (Paris, 1962) was devised especially for the space, freely encompassing and framing its history and past uses. The original exhibition featured exuberant tropical plants with a colonialist ideology behind them; Huyghe's conception, however, distances itself from a strictly Eurocentric perspective.

  • Exhibition view. Thomas Schütte. Hindsight, 2010
    February 17 – May 17, 2010

    This exhibition, entitled Retrospección (Hindsight) in reference to the collective vision in the career of Thomas Schütte (Oldenburg, Germany, 1954), spans thirty years and represents his permanent investigations through a critical dialogue with art of the past. Schütte's powerful aesthetics are based on advancing by looking back, subverting the previous modes of his own creation or borrowing from other cultures and other times.

  • Exhibition view. Mario García Torres. ¿Alguna vez has visto la nieve caer?, 2010
    February 10, 2010 – May 24, 2010

    Mario García Torres

    ¿Alguna vez has visto la nieve caer?

    Program: Fisuras

    Mario García Torres (Monclova, Mexico, 1975) is one of the most internationally renowned Latin American artists. This is his first individual exhibition in a Spanish institution, and, following a rigorous three-year research process, this Mexican artist living in Los Angeles unearths a new chapter in the intriguing relationship certain artists have with history.

  • Vista de sala de la exposición. Francisco López. Sin título #223, 2010
    January 13 - March 29, 2010

    Francisco López

    Untitled #223

    Program: Fisuras

    Francisco López (Madrid, 1964) is one of the key exponents of experimental and electroacoustic music. His sound installations acknowledge the power of sound to transcend the perception and emotions of the people that participate in them. López has created Sin título #223 (Untitled #223) for the Museo Reina Sofía, a piece of sound art with specific sounds for a place with metal walls and ceilings and unusual dimensions - it is located in an unorthodox place in the Museo, in a metal corridor in the Edificio Nouvel. López has chosen the location for its acoustic conditions and installs a sound system that invites visitors to become submerged in a virtual sound world with extreme contrasts. He favours the exploration of sound as well as our own interior, hence the rejection of visual aspects as he leaves the installation in almost complete darkness, enabling him to penetrate a “virtual reality of sound” in a kind of ritual that is both collective and individual.

  • Exhibition view. León Ferrari y Mira Schendel: The Frenzied Alphabet, 2009
    November 25, 2009 - March 1, 2010

    León Ferrari (Buenos Aires, 1920) and Mira Schendel (Zürich, Switzerland, 1919 - Sao Paulo, Brazil, 1988), are two of the twentieth century's most preeminent Latin American artists. El alfabeto enfurecido: León Ferrari y Mira Schendel (The Frenzied Alphabet: León Ferrari and Mira Schendel) is the first retrospective exhibition of their work in Spain. Without meeting one another, Ferrari and Schendel work in Argentina and Brazil respectively, both converging through their work as they advocate the presence of language as visual material and content. In contrast to conceptual artists, who focus on the ideal leading role of language, Ferrari and Schendel do not use this language in their works to produce art as an idea, but rather to express its particular materiality, employing it as a physical medium that can be moulded and sculpted.

  • Exhibition view. Georges Vantongerloo. A Longing for the Infinity, 2009
    November 4, 2009 – February 22, 2010

    Georges Vantongerloo

    A Longing for the Infinity

    The exhibition on Georges Vantongerloo (Antwerp, Belgium, 1886 - Paris, 1965) reveals the influence in his work of the re-conceptualisation of pictorial and sculptural space in abstract art at the beginning of the 20th century. The exhibition also homes in on the latter stages of his output, which undergoes a series of radical changes after World War Two, enabling him to reach an entirely original and profoundly intuitive artistic synthesis that subsequently transforms the disciplines of painting and sculpture.

  • Exhibition view. Francis Alÿs: Fabiola, 2009
    October 28, 2009 - March 7, 2010

    The Abbey of Santo Domingo de Silos welcomes the exhibition dedicated to Belgian artist Francis Alÿs (Antwerp, Belgium, 1959). The starting point of the exhibition is the work Fabiola (1885), whose whereabouts are unknown since the beginning of the 20th century, by the French painter and academic Jean-Jacques Henner. It looks at the idealised portrait based on the hagiography of the saint published one year earlier by a British cardenal and translated into ten languages, which aslo gave rise to the worship of the saint, thus establishing her “patron image”.

  • Vista de sala de la exposición. The Pamplona Encounters 1972: The End of the Party for Experimental Art, 2009
    October 28, 2009 - February 22, 2010

    At the beginning of the summer of 1972, the “Pamplona Encounters” were held - the most extensive and significant international avant-garde art festival held in Spain. Imbued with the idea of diffusing art into life, these were ephemeral encounters, set up as an opportunity to subvert the order established at the end of the dictatorship in Spain.

  • Exhibition view. Rodchenko and Popova: Defining Constructivism, 2009
    October 21, 2009 - January 11, 2010

    This exhibition brings together the work of two key exponents in the stylistic and theoretical definition of Russian Constructivism: Liubov Popova (Ivanovskoïe, Russia, 1889 - Moscow, 1924) and Alekxander Rodchenko (San Petersbourg, Russia, 1891 - Moscow, 1956). It constitutes the most complete selection of works to date of these two artists, amassing around 350 pieces realised between 1917 and 1929 by both that includes: paintings, cinema and theatre posters, sketches of clothing designs, furniture, books, photographs, documentaries and work by their contemporaries.

  • Exhibition view. Francesco Lo Savio, 2009
    October 14, 2009 - February 22, 2010

    The work of artist Francesco Lo Savio (Rome, 1935 - Marseille, France, 1963) is displayed individually for the first time in Spain through this exhibition, which compiles a wide range of works realised over a five year period. It features paintings from his early period, monochromes, filters, metal works, and his Articolizioni totali (total articulations) in addition to a series of works related to architecture, a discipline he studies before immersing himself in painting.

  • Exhibition view. Joëlle Tuerlinckx. Crystal Times. Reflexión sin sol/Proyecciones sin objeto, 2009
    October 9, 2009 - February 22, 2010

    Joëlle Tuerlinckx

    Crystal Times. Reflexión sin sol/Proyecciones sin objeto

    Joëlle Tuerlinckx (Brussels, 1958) presents her first individual exhibition in Spain with the installation created for the Palacio de Cristal, in Madrid's Retiro park, whereby she recreates and modulates the exceptional lighting conditions in the Pavilion through a trio of “beams”. The exhibition is concluded in the Edificio Sabatini with a display of archive material and diverse works related to the Palacio de Cristal project and to Tuerlinckx' working process and reflections.

  • Exhibition view. Valcárcel Medina. Autumn 2009, 2009
    September 21 - December 21, 2009
    Program: Fisuras

    The work of Isidoro Valcárcel Medina (Murcia, 1937) - Winner of the National Prize for Plastic Arts in 2007 - represents an attitude of engagement that is a long way from commercial art, making it difficult to place in usual exhibition contexts and spaces. For the Fisuras programme in the Museo Nacional Centro de Arte Reina Sofía, he has come up with a series of 'circumstances', actions that emerge from different places around the Museo Reina Sofía throughout the course of the autumn season. In these 'circumstances' Valcárcel Medina conveys his critical stance on the concept of the artistic and the institutionalisation of art, along with irreverence encapsulated in the way he sees conventional forms of meaning.

  • Exhibition view. David Maljkovic: Out of Projection, 2009
    September 9, 2009 - January 18, 2010
    Program: Fisuras

    The work of David Maljkovic (Rijeka, Croatia, 1973) focuses on memory and collective amnesia in addition to the possible reconstruction of the future - issues closely linked to the recent history of former Yugoslavia. His installations combine video, drawing, objects and architecture, with a special interest in architectural symbols and their meaning today.

  • Exhibition view. Matthew Buckingham. Time Proxies, 2009
    July 1 - September 27, 2009

    Representantes del tiempo (Time Proxies) is Matthew Buckingham's (Nevada, USA, 1963) first individual exhibition in Spain. The exhibit of the multi-talented artist, displaying photography, video, audio, drawing and sculpture in different installation formats, is made up of a selection of works that identify and call into question the diverse processes of memory and the contrast between recollection and reality.

  • Exhibition view. Patricia Esquivias. Everything that is not a Portion is Speculation, 2009
    24 june, 2009 - 23 november, 2009

    Patricia Esquivias

    Everything that is not a Portion is Speculation

    Program: Fisuras

    Todo lo que no es ración es agio (Everything that is not a Portion is Speculation) (2009) is the title of a video by Patricia Esquivias (Caracas, 1979), produced as part of Fisuras, the programme featuring the Museo's own productions. The work is the final installment in the Folklore series, started in 2006, whereby the artist explores, uncanonically, diverse themes related to the history and idiosyncrasies of Spain by means of everyday situations and phenomena in popular culture. Esquivias' work looks at the theme of Spanish folklore as it reflects on the fact that from the Eighties onwards art and folk have disappeared from contemporary artistic expression. The video is projected onto an area in transition, between the Edificio Sabatini and Edificio Nouvel, and is based on a still of the Museo Nacional Centro de Arte Reina Sofía, taken from the surrounding area, in which the contrast between Sabatini's architecture and the contemporary building by the French architect can be discerned. This contrast serves as a backdrop for Esquivias to reflect upon the relationship between Spain and modernity.

  • Exhibition view. The Atlas Group (1989-2004) A Project by Walid Raad, 2009
    June 3 – August 31, 2009

    The Atlas Group (1989-2004)

    A Project by Walid Raad

    The exhibition Atlas Group (1989-2004), Un Proyecto de Walid Raad (Atlas Group 1989-2004. A Walid Raad Project) is an archive project developed by Walid Raad (Chbanieh, Lebanon, 1967) between 1989 and 2004. Its aim is to research and document Lebanon's recent history, particularly during the war from 1975 to 1990. For the first time in Spain, the Museo Nacional Centro de Arte Reina Sofía offers the possibility of exploring a significant part of the works that comprise the Atlas Group project.

  • Exhibition view. The Schizos of Madrid. Madrid’s Figurative Movement in the 1970s, 2009
    03 june, 2009 - 14 september, 2009

    The Schizos of Madrid

    Madrid’s Figurative Movement in the 1970s

    The exhibition Los Esquizos de Madrid. Figuración madrileña de los 70 (The Schizos of Madrid. Madrid’s Figurative Movement in the 1970s) looks at Madrid's complex cultural environment during the last years of Franco's regime and the first period of democracy. The retrospective coordinates the activities and work of a group of painters known as “Los Esquizos de Madrid” (The Schizos of Madrid), whose exploits as a group span from 1970 to 1985, a period in which they decided to embrace figurative painting as they operated on the margins of the dominant aesthetic and political conventions at the end of the dictatorship.

  • Exhibition view. Figure 3. Paul Sietsema, 2009
    20 may, 2009 - 21 september, 2009
    Program: Fisuras

    This, the first individual exhibition devoted to the work of Paul Sietsema (Los Angeles, USA, 1968), brings together large-scale drawings along with the film Figure 3 (2008) as his considerations of the practices and the discursive and ideological environment of modern art in the West are displayed. During the five years it took to produce Figure 3, Sietsema documents the reconstruction of various artefacts from ancient cultures, reconstructing them using photographs and materials that differ from the originals. Far from wanting to supplant the originals with his works, Sietsema is more concerned with illustrating the passing of time. To film such objects he uses a 16mm format, carrying out experiments with light, colour and the materials of the objects in order to produce certain tactile effects; thus he is able to imprint a new kind of distance - the representation and rendering of the format, along with the typical elements of anthropology documentaries, scientific photography and experimental cinema.

  • 13 may, 2009 - 27 september, 2009

    Silo. Archivo F.X.

    A Project by Pedro G. Romero

    The exhibition of the Archivo F.X. project by Pedro G. Romero (Aracena, 1964) shows this documentary collection, which began in 1999. This project consists of different types of files, most notably an extensive collection of images from iconoclastic, anti-sacramental political occurrences in Spain between 1845 and 1945. In his archive Romero draws parallels with the iconoclastic pulse present in all avant-garde modern art. In Archivo F.X., an open archive, relationships of readings from documentary sources of image are established -iconoclastic ones- and the dictionary that names it -the artistic index-. The instrument used by Romero for it, is the composition of this archive with over a thousand images, documentary films, reflections on seminars and publications. It also includes various social and political practices on anticlerical, political iconoclasm in Spain, such as: beheaded statues, soiled paintings, pierced architectures, expropriated sacred spaces, reuse of religious buildings, or the smelting of objects of worship for civil industry.

  • Exhibition view. Peter Fischli/David Weiss. Are Animals People?, 2009
    30 april, 2009 - 31 august, 2009

    The exhibition of Swiss artists Peter Fischli (Zurich, Switzerland, 1952) and David Weiss (Zurich, Switzerland, 1946) is a selection of pieces made by the artists themselves. Peter Fischli/David Weiss Are animals people? focuses on the protagonists of their early works, Bear and Rat. These characters are present at different moments of their artistic career for over thirty years, they have served to question art as an alternative system of knowledge and to position themselves at a distance and with irony from the fine line between fiction and reality.

  • Exhibition view. Juan Muñoz. Retrospective, 2009
    21 april, 2009 - 31 august, 2009

    Juan Muñoz


    This exhibition on the work of Juan Muñoz (Madrid, 1953 - Ibiza, 2001) is the most comprehensive retrospective to date on the artist, which precedes Juan Muñoz. Monólogos y diálogos dedicated to him by the Museum in 1996.

  • Susan Philipsz. Upper Part of the Relief of the Tree of Jesse. Cloister of the Santo Domingo de Silos Abbey (Burgos). Photography: Manuel Labrado
    10 march, 2009 - 29 april, 2009

    Susan Philipsz

    Appear to Me

    Susan Philipsz (Glasgow, United Kingdom, 1965) creates atmosphere using sound, with which she proves her inherent ability to define the architecture. Her creations, conceived as musical developments created expressly for empty spaces, make up a different piece for each spectator, upon establishing different relationships between it and the architectural space that surrounds it. Philipsz defines her creations from memory, references and emotions that sound cannot produce and with them she invites reflection, introspection and silence.

  • Exhibition view. Julio González, 2009
    10 march, 2009 - 28 may, 2009

    Julio González (Barcelona, 1876 - Arcueil, France, 1942) is considered the father of iron sculpture and one of the key artists in the development of twentieth-century art. This retrospective exhibition exposes his process of finding a new sculptural syntax through a wide variety of registers and is an addition to those Museo Nacional Centro de Arte Reina Sofía dedicated to him in 1986 focused on Las Colecciones del IVAM and in 1995 focused on his drawings.

  • Alia Syed. Swan, 1989. 16mm transferred to DVD, silent. Image: Courtesy of the artist and Talwar Gallery. New York / New Delhi
    11 february, 2009 - 11 april, 2009

    Alia Syed

    Imagine your own history

    The work of the English artist of Indian descent Alia Syed (Swansea, United Kingdom) is on display for the first time in Spain at this exhibition. Her work Eating Grass (2003), is a succession of sequences in public and private spaces of three cities (London, Karachi and Lahore), assembled as a collage. The parts that standout in the 22 minutes that the film lasts are the super-saturated colours, the total freedom of movement and sibilant voices reciting lines written in English and Urdu, the national language of Pakistan. It is about allusions to the five daily prayers prescribed by Islam. Syed reflects in this work the influence of collagists and other experimental filmmakers of the 1960s.

  • Exhibition view. Paul Thek, 2009
    06 february, 2009 - 16 april, 2009

    With a selection of over 300 works, mostly from private collections, this exhibition is the most comprehensive retrospective dedicated to Paul Thek (New York, United States, 1933-1988). Among the selected pieces are paintings and photography, as well as objects of collective works that the artist produced for various European institutions. Thek considered the key to the relationship between man and the world was in continuous wandering, and spent much of his career in voluntary exile in Europe. The artist lived in different cities, fuelling a distinctly cosmopolitan art.

  • Exhibition view. Eulàlia Valldosera. Dependences, 2009
    04 february, 2009 - 13 april, 2009

    This exhibition reviews Eulalia Valldosera’s (Vilafranca del Penedes, 1963) career, since its inceptions in the late eighties. Her work is characterised by installations and actions that project light where her intention is not to create an object to be observed, but to interact with the spectator.

  • Exhibition view. Josiah McElheny. A Space for an Island Universe, 2009
    28 january, 2009 - 29 march, 2009

    Josiah McElheny

    A Space for an Island Universe

    The Palacio de Cristal at the Parque del Retiro hosts the sculpture Island Universe (2008) consisting of five chromed aluminium and blown glass elements. For its creation the artist Josiah McElheny (Boston, USA, 1966) has based himself on current theories about the origin of the universe, what cosmologists call the multiverse, multiple possible universes in constant expansion, replacing previous ideas about the Big-Bang.

  • Exhibition view. Zoe Leonard. Photographs, 2009
    02 december, 2008 - 16 february, 2009

    Zoe Leonard


    The work of photographer Zoe Leonard (New York, USA, 1961) is exhibited for the first time at the Museo Nacional Centro de Arte Reina Sofía. Leonard's work is based on observation and memory, through the portrait of maps and anatomical models, shop windows, museums and shops from his neighbourhood. The artist rejects photography as a neutral document, in favour of what she calls a "subjective truth". Leonard distances herself from the protocols and conventions of photography, even using printing processes that are virtually obsolete. She works with the images for a long time, she copies them into different sizes and on different types of paper, but never retouches them, accepting the imperfections that may occur in their developing, such as dust or scratches.

  • Exhibition view. Leandro Erlich. The Tower, 2008
    26 november, 2008 - 23 november, 2009

    Leandro Erlich’s (Buenos Aires, 1973) installations question the vision of reality through simulations and optical effects. Erlich manipulates everyday spaces and situations to establish a parallel reality that connects with unique and objective truth.

  • Exhibition view. Deimantas Narkevičius. The Unanimous Life, 2008
    13 november, 2008 - 28 may, 2009

    Deimantas Narkevičius

    The Unanimous Life

    Considered the best known Lithuanian artist on the international art scene, Deimantas Narkevièius (Utena, Lithuania, 1964) has developed his career mainly through cinema and video, although he has casually approached sculpture. His work is an investigation of how history is perceived and what the mechanisms are that transform it from various utopias and ideologies.

  • Exhibition view. The Invention of the 20th Century. Carl Einstein and the Avant-garde, 2008
    12 november, 2008 - 16 february, 2009

    The Invention of the 20th Century

    Carl Einstein and the Avant-garde

    Carl Einstein (Neuwied, Germany, 1895 - Lestelle-Betharram, France, 1940) is probably the least classical art historians of the twentieth century. Einstein was one of the most relevant and multifaceted personalities of the twentieth century artistic avant-garde. His books, articles and essays were key pieces to the critical study of the avant-garde and the fostering of the study and promotion of art history in the past century. Einstein worked as a novelist, poet, playwright, essayist, art and literature critic as well as the author of a screenplay. However, it is in the field of art history that he is found to be among the most interesting innovators; Apollinaire said he had "one of the most perceptive minds." In his numerous texts he gave expression to the introduction of African art in the West, or the approval of Cubism as a full movement.

  • Exhibition view. Alberto García-Alix. From Where There Is no Return, 2008
    04 november, 2008 - 23 february, 2009

    Alberto García-Alix

    From Where There Is no Return

    Alberto García-Alix (León, 1956) is one of the most representative photographers of the Spanish artistic scene in recent decades. National Photography Prize in 1999, his thirty-year career is a history of the social and cultural changes experienced since the Eighties in Spain, taken from an autobiographical point and opposed to stereotypes.

  • Exhibition view. A. C. The GATEPAC magazine (1931-1937), 2008
    29 october, 2008 - 04 january, 2009

    This exhibition traces the routes taken by the protagonists of GATEPAC, the Grupo de Artistas y Técnicos Españoles (Group of Spanish Artists and Technicians for the Progress of Contemporary Architecture) which was founded in 1930 in Zaragoza. Its purpose is to highlight the international approval and prestige of both the group and its magazine, A. C. Documentos de Actividad Contemporánea (A. C. Documents of Contemporary Activity), from whose pages innovation in European modernism in art and architecture spread.

  • Exhibition view. Nancy Spero. Dissidances, 2008
    14 october, 2008 - 05 january, 2009

    Nancy Spero


    This first major retrospective of Nancy Spero (Ohio, USA, 1926) carries the suggestive title: Dissidances. She is one of the most radical artists linked to feminist art, both in her proposal as in her political discourse. The choice of the title refers to dance, a central motif of the artist's work that extends into both social and cultural commitments. In this way, Spero approaches her work from a critical stance towards the contemporary political situation and does so from an exploration of the body as a tool that formulates her discourse. For this she produces a graphical language, specifically female, representing the capacity of women to transform their own space.

  • Miquel Barceló, Dinosaure fossile II (Fossil Dinosaur II), 2000. Sculpture, Museo Nacional Centro de Arte Reina Sofía Collection
    01 october, 2008 - 04 january, 2009

    To summarise so far the exhibitory history of the Museo Nacional Centro de Arte Reina Sofía at the Abbey de Santo Domingo de Silos, this exhibition shows the work of each of the twenty-four Spanish artists who have participated until now. This project started in 1998 through the collaboration between the Ministry of Culture, the Monastery of Santo Domingo Silos and the Regional Chamber of Commerce and Industry of Burgos. Entitled Silensis, this exhibition is a unique opportunity to discover the excellent relationship that has developed over all these years between the many contemporary artworks exhibited here and the historical space of the Abbey de Silos itself.

  • Exhibition view. Evaristo Bellotti. escultura, 2008
    19 september, 2008 - 08 december, 2008

    Sculptor, painter, illustrator and writer, Evaristo Bellotti (Algeciras, 1955) has consolidated a personal sculptural language over the past three decades. By not being subject to stylistic boundaries but open to the exploration of new possibilities he has been placed in the front line of the sculptural language renewal. Bellotti expresses an interest in Greco-Roman archaeological references and in the Mediterranean collective memory which manifest in pieces that embody the idea of fragment or ruin. With escultura, Bellotti establishes his sculptural assertion and it is a tribute, in clear contrast to the vertical, to the "endless column" of his admired Brancusi.