The exhibition Signos del Siglo: 100 años de Diseño Gráfico en España (Signs of the Century: 100 Years of Graphic Design in Spain)aims to uncover the extensive labours of Spanish designers over the last century, revealing the invaluable contribution of modernisation and design in Spain. Although design is seen as a powerful communication tool that improves the environment and standard of living of citizens, its artistic value is more often of secondary importance.
With his images Francesc Catalá-Roca (Valls, 1922 - Barcelona, 1998) has contributed to permanently placing the peculiarities, customs and people from a number of Spanish regions in the memory of the Spanish people. The first of his photography books was published in 1952 and portrayed the works of one of the most emblematic buildings in Spain and one of the biggest creations by the international Antoni Gaudí: the Sagrada Familia.
The exhibition Galería Cadaqués (1973-1997) is part of the series of exhibitions dedicated to historical art galleries -the last one was dedicated to showing the Archivo de la Galería Juana Mordó in 2001- and is organised by the Documentation Centre of the Museo Nacional Centro de Arte Reina Sofía.
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.
The Exhibition photobooks. Spain 1905-1977 presents a journey through the history of the photobook in Spain, setting off at the beginning of the 20th century and ending in the mid seventies, via a selection from the Museo Reina Sofía Collection, contextualised and accompanied by an assortment of complementary material.
The exhibition Campo Cerrado takes its name from the homonymous novel by Max Aub and looks to examine Spanish art in the complex and controversial 1940s, a decade that has received little attention and one that exists in a critical and historiographical vacuum, despite its importance in structuring modern sensibility in Spain.