Carrying the name “Proyectos”, the Museo Nacional Centro de Arte Reina Sofía is launching an exhibition program that aims to exhibit the most recent, or in progress, works of current artists -both domestic and international-, whose importance lies in their unusual and original ideas. The inaugural exhibition is also the posthumous exhibition of last works by Pepe Espaliú (Córdoba, 1955-1993) who makes his homosexuality the pretext for survival in a world (and society) that he knows and feels excluded from.
This exhibition is a selection of works recently included in the Museo Nacional Centro de Arte Reina Sofía collection and has been organised especially for their exhibition at the Wifredo Lam Center in Havana. The work of young artists who represent a range of techniques and disciplines that are current trends on the Spanish art scene have been chosen for the occasion. The selected artists assume in all cases a high degree of experimentation and innovation applied to different media present in the exhibition: painting, sculpture, installation and photography.
The Museo Nacional Centro de Arte Reina Sofía is collaborating with the Mexican Consejo Nacional para la Cultura y las Artes -as they did in 1996 for the ¿Buñuel! The Eye of the Centuryexhibition- to present at the Museo del Palacio de Bellas Artes in Mexico City a selection of paintings, sculptures and drawings by the major Spanish artists of the twentieth century. This exhibition is a reflection of Spanish avant-garde key historical figures as well as the most celebrated artists of the second half of the twentieth century. Also present in the exhibition are the creations of artists who have achieved great relevance in the current scene. In this way, the Mexican public is invited to construct a global vision of the Spanish art scene over the last hundred years through this exhibition divided into three chapters.
The exhibition Dibujos germinales. 50 artistas españoles. 1947-1998 provides a general and previously unimagined vision of drawing in Spain during the second half of the twentieth century, through fifty artists from different generations (from Eduardo Chillida to Eva Lootz or from Luis Gordillo to Azucena Vieites). Because it is an extended period and a relatively common practice for most of the authors, there is a need to find a conceptual unity that seeks to convey a general idea and propose a systematic structure. Therefore, in this exhibition drawing does not appear as a technique, rule or discipline, but as a starting point -germination in the strict sense- to delve into the mechanisms of creation and try to go beyond the notion of sketch or preparatory study.
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.
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.
Pepe Espaliú (Cordoba, 1955 - Madrid, 1993) is one of the leading artists of the Spanish generation of the Eighties. Painter, sculptor, illustrator and writer, he develops a coherent and meaningful work very closely associated to his reflections on his own identity. His work is thanks to one of the most profound conceptualisations of living with AIDS, which caused his death and which he boldly accepted on an artistic level and where he produced some of his most important works.
The exhibition La visión impura (Impure Vision) presents a selection of works recently acquired by the Museo Nacional Centro de Arte Reina Sofía, and does so using the title to highlight the fact that the art produced in the latter part of the 20th century undermines any notion of purely visual art.
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.