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

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  • Exhibition view. Salvador Cidrás. Proxectos, proyectos, projects 2000-2001, 2001
    4 december, 2001 - 6 january, 2002

    Salvador Cidrás (Vigo, 1968) is an artist who belongs to the generation that takes over the Atlantic group, formed by Antón Lamazares, Menchu Lamas and Antón Patiño amongst others. While the revival of these is produced mainly through painting, the new Galician artists use a variety of available media, as in the case of Cidrás, who incorporates photography and video art.

  • Invitation for the opening of the Galería Juana Mordó in Calle Castelló, 1975. Biblioteca y Centro de Documentación, Museo Nacional Centro de Arte Reina Sofía, Madrid
    28 november, 2001 - 1 february, 2002
    Program: Biblioteca y Centro de Documentación

    This exhibition makes visible the historical documentation that keeps the Museo Nacional Centro de Arte Reina Sofía on the Spanish gallery scene. Like previous exhibitions on the Galería Multitud and the Galería Sur this documentary exhibition is held in the Museum Library in one of the most important Spanish galleries of all time: the Galería Juana Mordó.

    Biblioteca y centro de documentación
  • Exhibition view. El espectáculo está en la calle. El cartel moderno francés: Colin, Carlu, Loupot, Cassandre, 2001
    15 november, 2001 - 21 january, 2002

    The Frenchmen Paul Colin, Jean Carlu, Charles Loupot and A. M. Cassandre are known as the "mosqueteros del cartel (poster Musketeers)" because of their contribution of iconic designs to the invention of the modern poster. Previously artists like Jules Chéret, Alphonse Mucha and Henri de Toulouse-Lautrec also designed posters but unlike the artists of the exhibition they reflected the esprit nouveau in Paris in the Twenties and Thirties.

  • Exhibition view. Gerardo Rueda. Retrospective, 1941-1996, 2001
    30 october, 2001 - 14 january, 2002

    In 1997 the Museo Nacional Centro de Arte Reina Sofía presents an exhibition of collages by Gerardo Rueda (Madrid, 1926-1996), a painter who is essential to the history of Spanish abstraction and founder with his friend and fellow-painter Fernando Zobel and Gustavo Torner of the Museum of Spanish Abstract Art in Cuenca.

  • Miquel Barceló. Lanzarote I, 1999. Graphic Art. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    24 october, 2001 - 21 february, 2002

    Miquel Barceló (Felanitx, 1957) is one of the preeminent Spanish painters in the Eighties, though his work also includes forays into sculpture, ceramics and graphic work. Barceló receives the Premio Nacional de Artes Plásticas (National Prize for Plastic Arts) in 1986 and from that time on gains worldwide recognition.

  • Salvador Dalí. The Enigma of Hitler, 1939. Painting. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    24 october, 2001 - 17 february, 2002

    Gathered under the title Picasso a Tàpies. Claves del arte español del siglo XX en las colecciones del MNCARS, the Museo Nacional Centro de Arte Reina Sofía presents in this exhibition a selection of works from its own collection. It proposes a broad view of the visual arts from 1900, when Pablo Picasso moved to Paris, and 1960, when the generation of Antoni Tàpies achieves international success.

  • Exhibition view. Pino Pascali: La reinvención del mito mediterráneo, 1961-1968, 2001
    18 october, 2001 - 7 january, 2002

    Pino Pascali (Polignano a Mare, Italy, 1935 - Rome, 1968), whose eclecticism makes him one of the great figures of the Italian art scene directly related with the Arte Povera, had a premature end in 1968 when the artist dies in a motorcycle accident, motorcyles were one of his great passions. However, in the thirty-three years he lived, Pino Pascali left a remarkable set of works that are part of important museums worldwide.

  • Martin Assig. Frau, 2011. Painting. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    16 october, 2001 - 25 november, 2001

    In Envoltura the human body, particularly the female body, is the protagonist -by indirect reference in some cases and by absence in others- throughout the entire work in the exhibition.

  • Exhibition view. Pipilotti Rist. Apricots along the street, 2001
    3 october, 2001 - 2 january, 2002

    Elisabeth Charlotte Rist (Grabs, Switzerland, 1962) is known internationally as Pipilotti Rist, an artistic name created by fusing her surname and Pippi Longstocking, the fictional character created by author Astrid Lindgren. Rist is a standard references in the field of video-art. Her videos and installations are unmistakable, mixing pop culture, technology and sexuality. In her creations the saturated colours merge into a boundless fantasy achieving a peculiar, reflective approach to everyday experience. Rist treats femininity with the subtle subversion of inherited patterns, incorporating into her work an intensely playful dimension, full of humour.

  • Exhibition view. Esteban Vicente en Silos, 2001
    27 september, 2001 - 16 december, 2001

    Esteban Vicente (Turégano, Segovia 1903 - Bridgehampton, New York, 2001) lives somewhere between two cultures. A disciple of Francisco Bores, during his beginnings he maintains direct contact with the Class of 27, with the likes of Luis Buñuel, Federico García Lorca, Rafael Alberti and Juan Ramón Jiménez. In 1929 he moves to Paris, where he meets, among others, Pablo Picasso, who unarguably contributes to his formation as a painter. His return to Spain is interrupted by the outbreak of the Civil War and Esteban Vicente goes into exile. In 1936 he moves to New York, where he develops his artistic career and his work reaches the maturity that would establish him as an artist.

  • Julio Antonio. Darío, 1909. Sculpture. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    25 september, 2001 - 7 january, 2002

    The Catalan sculptor Julio Antonio (Mora de Ebro, Tarragona, 1889 - Madrid, 1919) is considered one of the pioneers in the renovation of Spanish sculpture. Despite his untimely death at thirty, his work brings about a true transformation in the forms, concepts and values of Spanish sculpture.

  • Guillermo Pérez Villalta. La juventud de los héroes, 1987. Painting. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    31 july, 2001 - 23 september, 2001

    The Museo Nacional de Bellas Artes de Buenos Aires and later the Pinacoteca del Estado de Sao Paulo in Brazil host the exhibition: De Picasso a Barceló: la colección del Museo Nacional Centro de Arte Reina Sofía, siglo XX, which, as its title indicates, includes the beginning and end of twentieth century Spanish art with a period marked by two multi-faceted artists. Chronologically organised, the exhibition invites its Argentine and Brazilian public to participate in the wealth of the last hundred years of art in Spain.

  • Exhibition view. Gonzalo Sicre. Continental, 2001
    17 july, 2001 - 17 september, 2001

    The collection of paintings displayed in the exhibition Continental by Gonzalo Sicre (Cadiz, 1967) are forays into a particular sub-genre of painting known as the "loneliness of motel rooms," which has Edward Hopper at its most well-known representative. The work of this American artist refers to the cinematographic school, and the basis of Sicre’s seventeen paintings derives from the appropriation of their compositions to turn them into habitable scenarios.

  • Andreas Gursky. Shanghai, 2000. Photography. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    12 july, 2001 - 23 september, 2001

    Andreas Gursky (Leipzig, Germany, 1955) is one of the most renowned German photographers today. Proof of his recognition is this exhibition at the Palacio de Velázquez which comes from the Museum of Modern Art in New York, the first retrospective in this museum of a German artist from his generation.

  • Robert Mangold. Irregular green area with a drawn ellipse, 1985-86. Painting. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    10 july, 2001 - 8 october, 2001

    Minimalismos was the title chosen by Anatxu Zabalbeascoa and Javier Rodríguez Marcos for a small book that was published in the year 2000 by the publishing company Gustavo Gili, Barcelona. In it, his vision of the popularisation of the term "minimalism" is told as well as the story of his expansion beyond the visual arts into other areas of expression such as architecture, music and fashion. On this occasion, the Museo Nacional Centro de Arte Reina Sofía uses them as commissioners for this exhibition that traces the evolution of that historical movement started in the Sixties and which has grown to become one of the most recognisable aesthetic categories today.

  • Lucio Muñoz. Papel 1-93 (Paper 1-93), 1993. Drawing. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    3 july, 2001 - 24 september, 2001

    Lucio Muñoz (Madrid, 1929-1998) belongs to the generation from the Fifties that is influenced by the Abstraction of great artists such as the El Paso group, and which also does not lack in examples of rigorous figuration, such as Carmen Laffón and Antonio López. Lucio Muñoz is placed between two styles: his work cannot be ascribed to a complete abstraction because it maintains a link with the figurative throughout his career.

  • Alberto. Maternidad (Maternity), 1930. Sculpture. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    26 june, 2001 - 17 september, 2001

    Alberto Sánchez (Toledo, 1895 - Moscow, 1962) - known as Alberto - is one of the preeminent artists in the Spanish avant-garde movement. He starts out in the School of Vallecas alongside Benjamín Palencia, but moves away after the Civil War, first to Valencia and then later to the Soviet Union. Despite producing a large part of his work in exile, where he sees out the rest of his days, Alberto is a key figure in Spanish art.

  • Exhibition view. Huellas de Luz. El arte y los experimentos de William Henry Fox Talbot, 2001
    19 june, 2001 - 2 september, 2001

    William Henry Fox Talbot (Dorset, United Kingdom, 1800 - Wiltshire, UK, 1877) physicist, mathematician, philosopher, Member of Parliament, astronomer and amateur archaeologist, was the first person in history to conceive of photography as an artistic medium, a technique that he had developed as a result of ceaseless experiments during the ten years he devoted to this research.

  • Exhibition view. Janaina Tschäpe. Sala de espera, 2001
    4 june, 2001 - 8 july, 2001

    Janaina Tschäpe (Munich, Germany, 1973) uses photography and video to recreate a world that is a product of imagination where the concept of metamorphosis develops with breadth and depth revising mythological patterns. Born in Germany and raised in Sao Paulo, Tschäpe joins Brazilian Baroque with the German Romanticism of Goethe and Novalis in dialogue.

  • José Manuel Broto. Silos XII, 2000. Mixed technique on paper. Artist's Collection
    31 may, 2001 - 23 july, 2001

    José Manuel Broto (Zaragoza, 1949) initiates himself into painting based on an Abstraction of geometric nature. In the early seventies he establishes the Grupo Trama along with Gonzalo Tena, Javier Rubio Navarro and Xavier Grau. Other peers from Teruel and Zaragoza such as Federico Jiménez Losantos, José Antonio Labordeta and José Sanchís Sinisterra participate in the artistic atmosphere of this group, which soon moves to Barcelona. There they find their theoretical foundation in Marxism-Leninism, psychoanalytic thought, the doctrine of Mao Zedong and other influences, coming from the French magazine on literary theory and critique: Tel Quel, whose collaborators include thinkers such as Jacques Derrida, Michel Foucault, Julia Kristeva, Roland Barthes, Umberto Eco and Georges Bataille.

  • Alfonso Ponce de León. Autorretrato (Self-Portrait), 1936. Painting. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    29 may, 2001 - 13 august, 2001

    Alfonso Ponce de León (Malaga, 1906 - Madrid, 1936) was a well-known and respected painter in Spanish circles despite his short life. However, both his work as an illustrator for books and magazines and his paintings, just over twenty oil canvasses remained hidden for decades after his death. The Museo Nacional Centro de Arte Reina Sofía holds the best-known work by the painter, Accidente (1936), where Ponce de Leon portrays himself as the victim of a tragic end. This picture is foreboding, as he dies a few months after painting it. The museum has two other works by the artist, Arquitectura urbana (Portería) from 1929 and Jóvenes y un pescador (1936).

  • Txomin Badiola. Una. El alumno aventajado (N.S.), 1993. Sculpture. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    17 may, 2001 - 1 july, 2001

    The hundred-year-old Zachêta Gallery in Warsaw, Poland, holds an exhibition of Spanish Art from the Eighties and Nineties featuring the work of forty-seven artists. All of the works selected belong to the Museo Nacional Centro de Arte Reina Sofía Collection, which opens and consolidates its activity throughout the Eighties.

  • Carles Congost. Popcorn Love, 2001. Installation. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    24 april, 2001 - 27 may, 2001

    Since graduating in Fine Arts from the University of Barcelona in 1994, Carles Congost (Olot, 1970) has shown his work in numerous exhibitions, both inside and outside Spain. Congost belongs to a generation of young multidisciplinary artists interested in the variety of formats in which contemporary art is displayed in the early twenty-first century. The spontaneity that characterises his work, the assuming of disparate influences and the ability to produce his works using different media such as video, music, drawing or photography, make him one of the most active artists on today’s art scene.

  • Vista de sala de la exposición. Franz West. In out, 2001
    19 april, 2001 - 24 june, 2001

    Franz West’s career path (Vienna, 1947) has led him to become one the most recognised central-European artists on today's scene. Trained and influenced by the European avant-garde and Viennese Actionism from the Sixties and Seventies, he represented his country at the Venice Biennale in 1990 and participated twice in the Documenta in Kassel, in 1992 and 1997. He has been featured in major retrospectives at the principle museums in Europe, although not in Spain until now.

  • Exhibition view. Lawrence Weiner. Por sí mismo. Per se, 2001
    19 april, 2001 - 24 june, 2001

    Lawrence Weiner (New York, the United States, 1942) is one of the representatives of Conceptual and post-Minimalism art whose work can be placed next to American artists from the same generation such as Joseph Kosuth and Robert Barry. Documenta 5 at Kassel and the Venice Biennale strengthened a career that began in the early sixties researching new formats. It is language, however, that is his ultimate tool, appearing repeatedly in his work.

  • Exhibition view. Salle XIV. Vicente Huidobro y las artes plásticas
    17 april, 2001 - 4 june, 2001

    Considered the first avant-garde Spanish language poet, Vicente Huidobro (Santiago de Chile, 1893 - Llolleo, Chile, 1948) was a pioneer in the use of calligrammes, a form of expression where the words come together to form complete images that widen or complete the meaning of what has been written. Triángulo armónico is his first calligramme and is published in his 1913 book, Canciones en la noche.

  • Exhibition view. Robert Frank. HOLD STILL_keep going, 2001
    6 april, 2001 - 18 june, 2001

    Robert Frank (Zürich, Switzerland, 1924) is considered one of the most preeminent photographers in the 20th century. Similarly, his contribution to avant-garde American cinema has also been crucial in recent decades as an expression of counterculture and underground aesthetics.

  • Pablo Picasso. El pintor y la modelo (The Painter and The Model), 1963. Painting. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    28 march, 2001 - 18 june, 2001

    Without the figure of Pablo Picasso (Málaga, Spain, 1881 - Mougins, France, 1973) understanding how contemporary art has evolved would be impossible. Therefore, the exhibition Picasso: las grandes series (Picasso: The Great Series) presents the artist's later work, never brought together in Spain until now. The resonance of these works is appreciated in the abstract expressionists and the successive generations of American painters such as Adolf Gottlieb, Mark Tobey, Jasper Johns, Cy Twombly and Brice Marden via the use of the leaden palette the painter from Málaga employs in his work from 1951 onwards. Picasso also preempted Pop movements in the chromatic combinations of some of his oil paintings belonging to the series Las mujeres de Argel (Women of Algiers) or the representations of his own studio.

  • Rafael Canogar. Casa de los misterios (House of Mysteries), 1977. Painting. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    21 march, 2001 - 24 may, 2001

    Rafael Canogar (Toledo, 1935) is one of the leading representatives of Spanish abstraction from the second half of the twentieth century. His beginnings saw Daniel Vázquez Díaz as a teacher. Later he becomes involved in founding the group El Paso with Manolo Millares, Antonio Saura, Manuel Rivera, Martín Chirino and Luis Feito. The Museo Nacional Centro de Arte Reina Sofía dedicated a retrospective to all of them between the Nineties and 2002 as a deserved recognition of the importance their artistic careers have had in the history of contemporary Spanish art.

  • Exhibition view. Ángel Guache. Poemas geométricos, 2001
    12 march, 2001 - 11 april, 2001

    Angel Guache’s (Luanco, 1950) artistic work is based on a language that takes its main elements from music and poetry, such as geometry and silence, and transforms them into his personal grammar. Under this principle, it is when he paints that he puts them into artistic categories, in such a way that variation and repetition become his main compositional devices, without discarding his nature and the musical and poetic reminiscences.