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  • Marcel Duchamp. La Mariée mise à nu par ses célibataires même (Boîte verte), 1934. Sculpture. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    9 march, 1989 - 26 april, 1989

    Dada and Constructivism, two art movements characterised by having emerged at critical moments in history: World War I and the Russian Revolution. Nevertheless, despite these similarities, they have often been considered by historians as counter-posed given that the first focuses on intuitive thought and the transrational while Constructivism delves into objective beauty and pure forms.

  • Salvador Dalí. Visage du Grand Masturbateur (Face of the Great Masturbator), 1929. Painting. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    1 october, 1991 - 2 december, 1991

    The surrealist movement, definitely visible and theoretically debated with the publication of the Manifeste du Surréalisme (1924), written by André Breton (Tinchebray, France, 1896 - Paris, 1966) is a cosmology organised by and about Breton himself. His revolutionary pretensions, which are visible in all his publications, expositions and determinations, are understood as the will of general subversion (through action) in all areas of daily life, starting from poetry and art and moving to ethics, religion and politics. Thus, Surrealism is not only an artistic and literary expression, but a stance against the traditional values of culture and the bourgeois society and against realism in art. He supports the idea of an inner model in all creative acts, of otherness, absolute automatism (applied to poetic and artistic practice) as well as the adoption of meta-artistic methods that come from psychoanalysis, such as hypnosis, which allow the release of human consciousness and a return to a primitive and primordial state of thought.

  • Exhibition view. ¿Buñuel! The Eye of the Century, 1996
    16 july, 1996 - 14 october, 1996

    When cinema is understood as a synonym of movement, a homage to Luis Buñuel (Calanda, Teruel 1900 - Mexico City, 1983) inside a museum - where static work is the overriding medium - can be seen as a “contradictory” exhibition, as the curator, Yasha David, puts it. With this in mind, the spaces of the Museo Nacional Centro de Arte Reina Sofía have been set up to create a “subliminal state” resembling the stamp Buñuel gives to his films.

  • Maruja Mallo. La verbena (The Fair), 1927. Painting. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    24 june, 1998 - 21 september, 1998

    This exhibition provides an overview of Federico Garcia Lorca’s (Fuente Vaqueros, 1898 - Granada, 1936) personal and artistic biography. His cities, friends, success and the poet’s loneliness are the four main topics used to display his public and private life. An extensive correspondence and personal documents are featured in the exhibition, as well as photographs, books and manuscripts. The exhibition is completed with the works of contemporary artists who share artistic and aesthetic concerns over his career. Among these are the most outstanding representatives of Madrid’s artistic avant-garde, such as Benjamín Palencia, Rafael Barradas, Gregorio Prieto, José Moreno Villa, Adriano del Valle and José Bergamin.

  • Man Ray. Ricardo Viñes, Olga Picasso, Pablo Picasso and Manuel Ángeles Ortiz, 1924/Vintage print . Photography. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    11 february, 1999 - 24 april, 1999

    Man Ray, pseudonym for Emmanuel Radnitzky (Philadelphia, 1890 - Paris, 1976), self teaches himself photography in New York in the vicinity of Alfred Stieglitz’s 291 Gallery. Later, he settles in Paris in 1921 and immediately stands out as one of the greatest driving forces of the photographic revolution: from technical experimentation and choice of motifs. Ascribed to the surrealist movement, Man Ray puts his photographic ability to subvert images and give them a new visual and narrative reading to the service of this artistic trend. In this way, Man Ray's photographs have the ability to create metaphors and conceptual relations as in Integration of Shadows (1919) or in La femme (1920), which are based on values such as strangeness and visual and moral ambiguity. Moreover, his photographs make explicit the sensuality of women and human desire which can be seen in Érotique voilée (1933). As the art critic Werner Spies points out, "Man Ray tries immediately to assign the photograph a position far from the technological and repetitive conviction." In this sense, one of his greatest contributions is the "photograms" (photography without a camera) from 1922 and the "solarisation" from 1929. Here he uses many effects such as superimpression, the deliberate distortion and the reversal of values, all with the goal of creating and imagining a non-classical photograph, but high narrative content.

  • Exhibition view. Fotografía pública / Photography in Print 1919-1939, 1999
    27 april, 1999 - 29 june, 1999

    During the interwar years photography develops in Europe as a language of its own, different and independent from traditional arts where possible, both in objectivity and in experimentation. In a period of just two decades artistic photography is perfected (dependant on models of traditional arts) and there is an increase in photojournalism, subordinate to present and immediate feedback. This results in the drift of modern photography towards photojournalism and photographic documentation: Farm Security Administration in the United States, Mass Observation in the United Kingdom, Misiones Pedagógicas (Educational Missions) in Spain, as well as the proliferation of photographic magazines that connect specifically with the mass media, such as Life and Fortune. This exhibition brings together an extensive collection of works, names and media -about a thousand pieces by artists from around the world: photographers, designers, editors, photography editors, poster and publicity artists- over which this era of experimentation is forged as well as the maturity of the technique. Studying it results in the emergence of new issues, in the spirit of the time (technical, city, body, work, abstraction or propaganda) and the appearance of an entire network of spreading and distribution of images and publications due to technical advances in the publishing industry. In these years new ways of communication specific for or dedicated to the publishing of photographs arise: yearbooks, photo-books, newspapers, posters or advertisements, in such a way that modern photography is made public and expands its horizons of consumption, favouring, conversely, mass culture.

  • Exhibition view. Surrealistas en el exilio y los inicios de la Escuela de Nueva York, 1999
    21 december, 1999 - 27 february, 2000

    This exhibition presents an approach to the evolution of the surrealist movement in the context of the exile and emigration of most of its members to the United States which happened following the German occupation of France. During the period encompassed in the exhibition, artists such as André Breton, André Masson, Max Ernst, Roberto Matta and Wilfredo Lam contact American artistic groups and meet the young artists that a few years later, play an important role in the renewal of American art.

  • Exhibition view. Universo Gaudí, 2002
    15 october, 2002 - 6 january, 2003

    To mark Antoni Gaudí’s (Reus, 1852 - Barcelona, 1926) 150th anniversary the Museo Nacional Centro de Arte Reina Sofía and the Centro de Cultura Contemporánea de Barcelona are recreating in this extensive exhibition the universe of the central figure in Catalan Modernism and architect of international prestige. This exhibition is a journey through the influences, history, creative works and impact of Gaudí's work on a wide outlook built through more than four hundred works ranging from the early nineteenth century until the mid-twentieth century.

  • Sol LeWitt. From Derived from a Cubic Rectangle (steps), 1992. Graphic art. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    9 february, 2004 - 7 april, 2004
    Program: Biblioteca y Centro de Documentación

    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.

    Biblioteca y centro de documentación
  • Exhibition view. Dalí. Cultura de masas, 2004
    28 june, 2004 - 30 august, 2004

    In the early twentieth century art expresses a rejection of the rules on which Western mimetic representation had been built while also absorbing the techniques and themes that arose with the advances of the Industrial Revolution. These two trends are developed in parallel; they intertwined and influenced each other.

  • 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.

  • Man Ray. Les larmes (Tears), 1932 / posthumous print, 1982. Photography. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    30 may, 2007 - 22 july, 2007

    Coinciding with the festival of photography PHotoEspaña 2007, the Museo Nacional Centro de Arte Reina Sofía proposes a selective journey through photographs from its Collection. The selection of photographs shown in five different spaces and that have been established according to a reflexive link between the subjective perception of the spectator and the return of the look in the image.

  • Exhibition view. The Spanish Night. Flamenco, Avant-Garde and Popular Culture 1865-1936, 2007
    20 december, 2007 - 24 march, 2008

    Both flamenco, conceived as modern popular culture, and the artistic avant-garde arise during the late nineteenth century. The aim of this exhibition is to review for the first time the position of flamenco within the frame of visual culture, especially its relationship of mutual influence with avant-garde art and modernity.

  • 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. ATLAS. How to carry the world on one’s back?, 2010
    November 26 - March 28, 2011

    ATLAS

    How to carry the world on one’s back?

    Atlas is a proposal to put the frame of thought introduced by German art historian Aby Warburg (1866-1929) into the context of historical knowledge and images. This is not a monographic exhibition on Warburg, but a journey through the history of images from 1914 until the present day, where warburgism constitutes the genius loci.

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