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  • Exhibition view. Primera generación. Arte e imagen en movimiento (1963-1986), 2006
    November 7, 2006 - April 2, 2007

    This exhibition is an overview to understand how the recording, transmission and reproduction technology of sound and images born in 1950, and technically different from cinema, became artistic media. It examines the influence of technology and mass culture in social and artistic changes in an era of cultural acceleration and proliferation of ideas. In this way 1968 marks a before and after, as that was the year when a relatively affordable portable television appeared on the market, opening up the media to a vast new group of people.

  • Exhibition view. The Kinetic[s], 2007
    27 march, 2007 - 20 august, 2007

    Movement and speed as a reference of modernity and the machine as a symbol of technological progress have been around since early avant-garde artistic discourse. But it is in the Paris of the Sixties where, focused around the Denise René gallery, a group of artists, many of them Latin-American, give programmatic basis to Kinetic Art. From this moment the kinetic factor is begun to be understood as a trend that seeks expression in the movement of the creative arts through various channels: shaping an illusion of a virtual movement in the optic impression of the spectator that does not really exist; inducing the spectator to move in space, to mentally organise the reading of a particular sequence, or performing real movements of images through the use of motors.

  • Exhibition view. Una conferencia comisariada. Sobre el futuro de la fuerza colectiva dentro del archivo, 2010
    May 20 - August 30, 2010

    Una conferencia comisariada

    Sobre el futuro de la fuerza colectiva dentro del archivo

    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.

  • Exhibition view. El retorno de lo imaginario. Realismos entre XIX y XXI, 2010
    20 May - 27 September, 2010

    El retorno de lo imaginario

    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.

  • Exhibition view. Locus Solus. Impressions of Raymond Roussel, 2011
    October 26, 2011 - 27 February 2012

    Locus Solus

    Impressions of Raymond Roussel

    The exhibition Locus Solus. Impressions de Raymond Roussel is dedicated to the body of work by the French novelist and poet and its influence on modern and contemporary art. Roussel (1877-1933) was the author of a literary opus made up of rich worlds, filled with spectacle, masks and phantasmagoria and built around the mechanisms and double entendres found in language. In its consideration of Roussel, Locus Solus is also taking a furtive glance at the history of 20th century art.

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