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

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  • Exhibition view. Surrealistas en el exilio y los inicios de la Escuela de Nueva York, 1999
    21 december, 1999 - 27 february, 2000

    This exhibition presents an approach to the evolution of the surrealist movement in the context of the exile and emigration of most of its members to the United States which happened following the German occupation of France. During the period encompassed in the exhibition, artists such as André Breton, André Masson, Max Ernst, Roberto Matta and Wilfredo Lam contact American artistic groups and meet the young artists that a few years later, play an important role in the renewal of American art.

  • Exhibition view. Álvaro Machimbarrena. El salto, 1999
    20 december, 1999 - 23 january, 2000

    With El salto Alvaro Machimbarrena (San Sebastián, 1958) creates a complete transformation of the exhibition space. The artist converts Espacio 1 into a sculpture one can transit, based on round volumes, sharp lines and where white is the only colour.

  • 23 november, 1999 - 10 january, 2000

    Jacques Gelman (St. Petersburg, Russian Empire, 1909 - Cuernavaca, Mexico, 1986) begins his career in the film industry in Paris and in 1938 he moves to Mexico. There he marries Nathasa Zahalka (1912-1998) of Czech origin in 1941 and he establishes his own production company: POSA (Publicidad Organizada S.A) which produces his first film starring Mario Moreno: Cantinflas. Two years later, a portrait of Natasha painted by Diego Rivera launches what is considered one of the most important collections of Mexican art of the twentieth century: the Jacques and Natasha Gelman Collection.

  • Exhibition view. Louise Bourgeois. Memoria y arquitectura, 1999
    16 november, 1999 - 14 february, 2000

    Louise Bourgeois (Paris, 1911 - New York, 2010) defines herself as a fugitive who runs away from home, from the notion of home, both in the sense of place and identity. Even so, or perhaps because of this, all her life and work is generated from living spaces that she inhabits or her memory of them: her childhood in Paris, Aubusson, Choissy and Anthony, her country house in Easton (Connecticut, United States) and her studies in New York and Brooklyn. As noted by architect and teacher Beatriz Colomina, "those physical locations of her memory are all domestic and all associated with trauma." In this way, Bourgeois uses architecture, sculpture and metaphor as a means to analyse her troubled family past, looking to repair and reconcile it, like an effort to create her ideal family in the present.

  • Chema Madoz. Sin título (Rodapié), 1997. Photography. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    26 october, 1999 - 10 january, 2000

    Objects are the protagonists in the collection of over one hundred photographs at the exhibition of Chema Madoz (Madrid, 1958), chronologically focused on work from the Nineties. The exhibition presents important examples of his visual game constructions, new realities created by the association and combination of objects, ideas, functions and materials. In this way, Madoz is considered "an object focused sculptor who works with a photographer’s eye, in as much as photography allows him to fix the idea."

  • Exhibition view. Javier Codesal: Inmóviles. Fábula de un hombre amado, 1999
    25 october, 1999 - 12 december, 1999

    Javier Codesal’s (Sabiñánigo, 1958) exhibition in Espacio Uno consists of two specific projects that have the body as the protagonist element and support of an analysis of the difficulty of human communication.

  • Exhibition view. Juliao Sarmento. Flashback, 1999
    14 october, 1999 - 10 january, 2000

    Flashback alludes to Julião Sarmento’s (Lisbon, 1948) most recent work -included in this exhibition- as well as the general concept that structures this collection. It is not a retrospective, but a tour of the artist's work over twenty-five years (1974-1999) which is arranged as a loop on the margins of a strict chronological arrangement. Flashback (1999) is a fragmentary biography, during the eighty slides that it is composed of dates and locations without a specific narrative logic and mixed together. The photographs are from Sarmento’s personal archive, and are accompanied by a soundtrack composed by musician Arto Lindsay.

  • 30 september, 1999 - 10 january, 2000

    Siah Armajani (Tehran, 1939) is one of the leading representatives of Public Art, which arises in the early seventies as a final attempt to overcome the utopias of the interwar avant-garde on the integration of Art and Design. The artist himself theoretically contributes to this with his manifesto, Public Sculpture in the context of American democracy (1968-1978 and revised in 1993), His work gives proposals and actions which fuse aspects, resources and solutions from different fields such as architecture, town planning, engineering and carpentry. The common theme in all his projects is construction and the search for a real convergence between function and communication.

  • Exhibition view. Bores esencial. 1926-1971, 1999
    21 september, 1999 - 28 november, 1999

    The Bores esencial. 1926-1971 exhibition offers a journey of Francisco Bores’ (Madrid, 1898 - Paris, 1972) career through eighty paintings. The premise of the show is to analyse when and how Bores is essential, because of his independence from -isms and the languages of the contemporary avant-garde.

  • Exhibition view. Miquel Barceló. Obra sobre papel. 1979-1999, 1999
    14 september, 1999 - 21 november, 1999

    Miquel Barceló. Obra sobre papel. 1979-1999 includes over two hundred drawings, notebooks and diaries, which display Miquel Barceló’s (Felanitx, 1957) experimental enthusiasm with materials, techniques and processes. In this way, the artist works with elements such as volcanic ash, seaweed, by utilising plastic and the aesthetic of the holes caused by termites in different papers and boards.

  • Exhibition view. Sarah Jones: El diván, el comedor, la casa, el jardín, ..., 1999
    13 september, 1999 - 17 october, 1999

    Sarah Jones (London, 1959) presents in Espacio Uno twelve large photographs, which are part of The Dining Room and Consulting Room series.

  • Julio González. El grito, 1939. Drawing. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    27 july, 1999 - 12 september, 1999

    This exhibition presents an overview of seven Spanish artists working in Paris in the early twentieth century and whose work contributes to the renewal and creation of new languages in Contemporary Art. Of the selected artists, the first to move to Paris in 1899 is Julio González, who was followed by Pablo Picasso in 1900, Pablo Gargallo in 1903, Juan Gris in 1906 and María Blanchard in 1909. After the First World War, another wave of Spanish artists chose France as their home, including Joan Miró in 1920 and Salvador Dalí in 1926.

  • Exhibition view. Aziz + Coucher. Quimeras e interiores, 1999
    19 july, 1999 - 5 september, 1999

    The artistic duo composed of Anthony Aziz (Lunenburg, United States, 1961) and Sammy Cucher (Lima, Peru, 1958) converts digital photography into the media and instrument that explores the representation of postmodern man's condition. To do this, they take the skin as a starting point and as their only artistic material, with intent to disable a rule: skin is the surface which individualises and acts as the border between human being and the outside world. In their photographs the body ceases to speak and as a result of technological manipulation it no longer reveals its uniqueness.

  • Ortiz Echagüe. Lagarteranas, 1925. Photography. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    13 july, 1999 - 13 september, 1999

    José Ortiz Echagüe (Guadalajara, 1886 - Madrid, 1980) stands out in the national art scene as a pioneer in pigmentation techniques for photography and, above all, for putting these techniques -characteristic to pictorial photography- to the service of ethnography. This comes at a time when, with the burden of the crisis of 1898, the concept of nation is being reconstructed from a political and philosophical viewpoint, by looking at history and tradition, the invariants. His work, published mainly as photo albums from the Thirties -España, tipos y trajes (1933); España, pueblos y paisajes (1939); España mística (1943); España, castillos y alcázares (1956)- make up the most important documentary body on a historical legacy such as historical clothing, religious events (weddings, funerals, Easter) and other traditional events. The photographs gathered in this exhibition are mostly from the Ortiz Echagüe Legacy, University of Navarra and all have been made using the carbon Fresson printing process, except two, which have used the bromoil process. The selection covers a long and consistent career, from those images with family members and friendly events conforming with European pictorialism: Sermón en la aldea (1909), Taller de costura (1905), Retrato de mi esposa I (1916); or Danza al viento (1912); until some of his later landscapes, such as Siroco en el Sahara (1964), he abandons the practice of photography in 1968.

  • Francis Bacon. Lying Figure, 1966. Painting. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    6 July - 11 October, 1999

    À rebours. La rebelión informalista 1939-1968 gathers work by seventy-three artists from varied backgrounds and offers a thorough review of what Informalism means historically and historiographically. Dore Ashton, curator of the exhibition, renounces a genealogy where geographical factors are a priority so that different names are used depending on the location for the same trend (tachisme, art autre, lyrical Abstraction and Abstract Expressionism).

  • Miguel Ángel Campano. Sabari Malai, 1997. Painting. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    16 june, 1999 - 20 september, 1999

    Miguel Ángel Campano (Madrid, 1948) is one of the preeminent figures in the so-called revival of Spanish painting that takes place in the Eighties and which also includes Ferrán García Sevilla, José Manuel Broto, José María Sicilia and Miquel Barceló.

  • Jana Leo. Untitled, 1995 / Copy from 1999. Photography. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    7 june, 1999 - 12 july, 1999

    "A. is a person and the first letter of the alphabet. It may be a universal person or part of my imagination." Jana Leo (Madrid, 1965) thus describes the protagonist of this exhibition at Espacio Uno to whom she refers when all visual materials gathered are viewed for the first time.

  • Exhibition view. Esculturas de las Islas Cícladas. Colección de N.P. Goulandris en el MNCARS, 1999
    25 may, 1999 - 30 august, 1999

    A collection of fifty-eight marble figurines from the Nicholas P. Goulandris collection make up this unorthodox exhibition in the Museo Nacional Centro de Arte Reina Sofía. One aspect it sets out to portray is the culture and art of the Cyclad Islands - populated by precursors of the Indo-European Greeks - through a selection of sculptures from the proto-Cycladic period (3200-2000 BC). Another is that the exhibition looks to locate its position within the broad and confusing cartography of primitive cultures, the basis of certain aesthetic and formal principles of Modern Western Art at the beginning of the twentieth century. The work in particular of Georges Braque, Pablo Picasso, Constantin Brancussi, Amadeo Modigliani, Alberto Giacometti and Henri Laurens depicts the awareness and assimilation of art from the Cyclad Islands, Africa and diverse locations from Oceania, related to the first expeditions and discoveries of important archaeological sites.

  • Exhibition view. Ángel Ferrant, 1999
    18 may, 1999 - 24 august, 1999

    The retrospective exhibition of Ángel Ferrant (Madrid, 1890-1961) sets forth a review of the artists output in chronological order, from his first works in the 1910s to the series Escultura infinita, which he works on during his final years.

  • Exhibition view. Fotografía pública / Photography in Print 1919-1939, 1999
    27 april, 1999 - 29 june, 1999

    During the interwar years photography develops in Europe as a language of its own, different and independent from traditional arts where possible, both in objectivity and in experimentation. In a period of just two decades artistic photography is perfected (dependant on models of traditional arts) and there is an increase in photojournalism, subordinate to present and immediate feedback. This results in the drift of modern photography towards photojournalism and photographic documentation: Farm Security Administration in the United States, Mass Observation in the United Kingdom, Misiones Pedagógicas (Educational Missions) in Spain, as well as the proliferation of photographic magazines that connect specifically with the mass media, such as Life and Fortune. This exhibition brings together an extensive collection of works, names and media -about a thousand pieces by artists from around the world: photographers, designers, editors, photography editors, poster and publicity artists- over which this era of experimentation is forged as well as the maturity of the technique. Studying it results in the emergence of new issues, in the spirit of the time (technical, city, body, work, abstraction or propaganda) and the appearance of an entire network of spreading and distribution of images and publications due to technical advances in the publishing industry. In these years new ways of communication specific for or dedicated to the publishing of photographs arise: yearbooks, photo-books, newspapers, posters or advertisements, in such a way that modern photography is made public and expands its horizons of consumption, favouring, conversely, mass culture.

  • Exhibition view. Danielle Buetti. Could a dream be enough, 1999
    26 april, 1999 - 30 may, 1999

    Daniele Buetti (Friburgo, Switzerland, 1955) puts forward an ambient installation that takes on the architectural and spatial characteristics of the Espacio Uno exhibitions spaces, with high windowless white walls. His spacial contribution looks at the theme of human desire, the search for love and tenderness as well as the betrayal of our emotions in collective experience in terms of the manipulation of large tragedies by the media.

  • Roberto Matta. Munda y desnuda, la libetad contra la opresión (Worldly and Nude, Freedom Against Oppression), 1986. Painting. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    24 april, 1999 - 21 june, 1999

    aThis exhibition looks at the career of Roberto Matta Echaurren (Santiago de Chile, 1911 - Civitavecchia, Italy, 2002) through over one hundred works produced on canvas and paper between 1936 and 1998. More than solely a retrospective, the exhibit represents an exercise in considering Matta's work and its place in the history of twentieth century art.

  • Exhibition view. Jorge Galindo. Pintura animal, 1999
    9 march, 1999 - 7 april, 1999

    In Pintura animal Jorge Galindo (Madrid, 1965) criticises on several different levels: the false interpretation of abstract painting, the excess in domestic decorative order and the abundance of images that surround contemporary humans.

  • Man Ray. Ricardo Viñes, Olga Picasso, Pablo Picasso and Manuel Ángeles Ortiz, 1924/Vintage print . Photography. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    11 february, 1999 - 24 april, 1999

    Man Ray, pseudonym for Emmanuel Radnitzky (Philadelphia, 1890 - Paris, 1976), self teaches himself photography in New York in the vicinity of Alfred Stieglitz’s 291 Gallery. Later, he settles in Paris in 1921 and immediately stands out as one of the greatest driving forces of the photographic revolution: from technical experimentation and choice of motifs. Ascribed to the surrealist movement, Man Ray puts his photographic ability to subvert images and give them a new visual and narrative reading to the service of this artistic trend. In this way, Man Ray's photographs have the ability to create metaphors and conceptual relations as in Integration of Shadows (1919) or in La femme (1920), which are based on values such as strangeness and visual and moral ambiguity. Moreover, his photographs make explicit the sensuality of women and human desire which can be seen in Érotique voilée (1933). As the art critic Werner Spies points out, "Man Ray tries immediately to assign the photograph a position far from the technological and repetitive conviction." In this sense, one of his greatest contributions is the "photograms" (photography without a camera) from 1922 and the "solarisation" from 1929. Here he uses many effects such as superimpression, the deliberate distortion and the reversal of values, all with the goal of creating and imagining a non-classical photograph, but high narrative content.

  • Exhibition view. Annette Messager. La procesión va por dentro, 1999
    9 february, 1999 - 29 april, 1999

    The exhibition La procesión va por dentro (Still Waters Run Deep) displays fifty or so of Annette Messager's works (Berck-sur-Mer, France, 1943) between 1971 and 1998. The collection of installations, photographs, drawings and artist books join forces for the occasion, held in the Palacio de Velázquez, and are presented in such a way that that her early, emblematic works come face to face with her most recent pieces. The works engender habitats and themed groups that reflect her position as an artist and her obsessions - identity, sex, childhood, madness, life, death, religion, magic and fetishism.

  • Robert Capa. Farewell of the International Brigades. Montblanch, near Barcelona, October 25th, 1938, 1938, posthumous print 1998. Photography. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    2 february, 1999 - 28 march, 1999

    Robert Capa (Budapest, 1913 - Thai Binh, Vietnam, 1954), pseudonym of André Friedmann Ernö is recognised very early in his career as the greatest war photographer in the world, as noted by the article in Picture Post (no. 10, December 3, 1938), because of the publication of one of the most outstanding photographic reports on the Spanish Civil War. His political activism during his youth becomes a commitment to verify the reduction of the cultural, social and economic practices both in his country and in Germany, where he settles in 1931 and which he leaves two years later. His Jewishness, his ideological affinity with the Communist Party and his anarchist tendencies lead him to a voluntary exile and to dedicate his budding career as a reporter to serve the struggle against fascism.

  • Exhibition view. Pierrick Sorin. Los mirones, 1999
    28 january, 1999 - 28 february, 1999

    Pierrick Sorin (Nantes, France, 1960) explores, through video and cinematographic language, matters relating to the act of looking, public role and attitudes, the concept of spectacle and the figure of the artist as a social actor. At the same time he questions emphatically and humorously the art world and its institutions.