Among the three exhibitions to open the Centro de Arte Reina Sofía in 1986, Procesos brings together a compendium of works that use the cutting-edge tools and technological supports, applying them to the world of creation.
Image in movement biennial ’90 exhibits a selection of works made between 1988 and 1990 whose common denominator is the use of video, film, television or computer, both as a support, and as a medium. The exhibition brings together a wide and varied set of works that are involved in some way with the term "image in movement" in its most extensive sense.
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.
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.
Photography and Related Practices 1970s to the present
The use of images of the New York from early deindustrialisation and abandonment of the city during the Seventies are juxtaposed in, and exposed to, the counterpoint of more recent works by artists who, fully aware of the practices of their predecessors, continue finding an aesthetic potential in this area. Mixed Use, Manhattan is based on atime when the city served as an experimentation workshop. In this place fundamental artistic aspects intertwine, such as the future of the performing arts or the relationship between work and exhibition spaces, with other high social significance, such as sexual identity, socialisation modes and uses of public space.