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

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  • Salvador Dalí. Visage du Grand Masturbateur (Face of the Great Masturbator), 1929. Painting. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    1 october, 1991 - 2 december, 1991

    The surrealist movement, definitely visible and theoretically debated with the publication of the Manifeste du Surréalisme (1924), written by André Breton (Tinchebray, France, 1896 - Paris, 1966) is a cosmology organised by and about Breton himself. His revolutionary pretensions, which are visible in all his publications, expositions and determinations, are understood as the will of general subversion (through action) in all areas of daily life, starting from poetry and art and moving to ethics, religion and politics. Thus, Surrealism is not only an artistic and literary expression, but a stance against the traditional values of culture and the bourgeois society and against realism in art. He supports the idea of an inner model in all creative acts, of otherness, absolute automatism (applied to poetic and artistic practice) as well as the adoption of meta-artistic methods that come from psychoanalysis, such as hypnosis, which allow the release of human consciousness and a return to a primitive and primordial state of thought.

  • Exhibition view. Parallel Visions. Modern Artists and Marginal Art, 1993
    February 9 - May 9, 1993

    The works that make up the exhibition Visiones paralelas. Artistas modernos y arte marginal (Parallel Visions. Modern Artists and Marginal Art) encompass questions on the limits of art and the nature of artistic activity - while incorporating romantic traditions and examining the same definition of what art is, this debate looms over twentieth century culture. The studies of Sigmund Freud devoted to the artistic-therapeutic production of psychiatric patients at the beginning of the century and the publication of doctor Hans Prinzhorn's book Bildnerei der Geisteskranken (1922) (Artistry of the Mentally Ill), which includes a collection of art created by the mentally ill and serves as an introduction to their images, form the primary foundations of the search and defence of a new model and paradigm of artistic creativity throughout the first half of the century, expounded by an ongoing reinvention that is not tarnished by established or received culture and traditions. By way of a chronological journey through twentieth-century art, and through premises of dialogues on formal analogies and historical relations, this exhibition endeavours to render the close relationship and interchanges between modern art and the artistic output of marginalised, alienated, mentally ill, self-taught and compulsive visionary figures.

  • Exhibition view. ¿Buñuel! The Eye of the Century, 1996
    16 july, 1996 - 14 october, 1996

    When cinema is understood as a synonym of movement, a homage to Luis Buñuel (Calanda, Teruel 1900 - Mexico City, 1983) inside a museum - where static work is the overriding medium - can be seen as a “contradictory” exhibition, as the curator, Yasha David, puts it. With this in mind, the spaces of the Museo Nacional Centro de Arte Reina Sofía have been set up to create a “subliminal state” resembling the stamp Buñuel gives to his films.

  • 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.

  • Vasily Kandinsky. Succession, 1935 © Vassily Kandinsky, VEGAP, Madrid, 2012
    October 3, 2012 - January 7, 2013
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