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  • Exhibition view. Cocido y crudo, 1994
    14 december, 1994 - 6 march, 1995

    In his famous study The Raw and the Cooked (1964) the Belgian anthropologist Claude Lévi-Strauss develops an anthropological study about the confrontation between advanced and primitive societies through a summary of concepts of culinary culture - on the degree of the complexity in their food - the conclusions of which he extrapolates to a general plan that allows him to state the inevitable tendency of Western societies in the first world to define their identity by comparing themselves to the other, a phenomenon that is not reciprocal. The exhibition curator, Dan Cameron, intends to submit this idea to criticism, offering an alternative -he begins by inverting the terms in the title- and, through the work of fifty-four artists, he highlights how colonialism, in the field of artistic production and within the emerging trends of the Nineties, is based on the exchange of multiple cultural positions. That is, Cameron aims to include art in the debate on cultural identity, to do this, he brings together works in which dehierarchises the speaker's viewpoint and breaks the theoretical and artistic bipolarity that is dominant in the U.S. and Europe.

  • Martín Kippenberger. Null Bock auf Ideen, 1982
    18 october, 2004 - 10 january, 2005

    Martin Kippenberger (Dortmund, Germany 1953 - Vienna, 1997) is one of the most unruly and significant German artists. He made a mark in the Eighties by challenging the most serious artistic conventions by using his devastating irony. The Museo Nacional Centro de Arte Reina Sofía presents hundreds of his works at the first solo exhibition of this artist in a Spanish museum.

  • Vista de sala de la exposición. Colección Taschen, 2004
    20 october, 2004 - 10 january, 2005

    The Museo Nacional Centro de Arte Reina Sofía presents a representative selection of art works from the collection of German publisher Benedikt Taschen that he has gathered over the past two decades. Such a private collection as this one allows for an overview of art at a historic moment from an unprecedented point of view, given the very nature of personal choice which the collector himself has conducted as a general artistic overview. Thus a more institutional and objective vision on art proper to the museum itself is extended upon showing the public other aspects that allows them to amplify their diversity.

  • Fischli y Weiss. Minimal Resistance, 1980-1981. DVD. Museo Nacional Centro de Arte Reina Sofía. © Peter Fischli David Weiss, Zürich 2013
    October 16, 2013 - January 5, 2014

    Minimal Resistance

    Between late modernism and globalisation: artistic practices during the 80s and 90s

    With this selection of works form the Collection, the Museo Reina Sofía takes a close look at art produced in Spain and abroad during the 1980s and 1990s.

  • Dorothea Tanning, Chambre 202, Hôtel du Pavot, 1970. Instalation. Musée national d'art moderne - Centre Georges Pompidou, Paris. © Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais / Georges Meguerditchian © VEGAP, Madrid, 2013
    November 27, 2013 – March 31, 2014

    Biographical forms

    Construction and individual mythology

    The dichotomy between creative practices and life has been one of the main themes of historical-artistic reflection over the centuries.

See past exhibitions