This exhibition, the third project that aims to exhibit the Collection at the Museo Nacional Centro de Arte Reina Sofía under artists and themes, highlights the fact that one of the defining features of Spanish artistic production during the Eighties and Nineties is plurality. In addition, the artists’ works and careers that are represented reveal the gradual integration and participation of them into international artistic and aesthetic debates. The exhibition is restricted to two areas of domestic production: painting and sculpture, as well as considering the shift from this to installation art.
With Juan Muñoz (Madrid, 1953 - Ibiza, 2001) sculpture has the capacity to represent and show the crisis of the modern individual. Muñoz devises the exhibition Juan Muñoz: monólogos y diálogos (Juan Muñoz: Monologues and Dialogues) as the end of a journey, started in 1984 with his first individual exhibition in the Fernando Vijande Gallery in Madrid.
From the work of twelve prominent artists, En la piel de toro brings together the modernisation of Spanish and Portuguese art practices from a common time when the Iberian Peninsula was considered an artistic rather than a physical geography. This approach draws on political events and social transformation which take place in both countries during the late seventies: in Portugal, the Carnation Revolution in 1974 and in Spain, the beginning of the transition to democracy in 1976. This results in an innovative aesthetic and artistic openness, and in many cases connects with international scenarios and movements.
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 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.
La Spagna dipinge il Novecento (Spain Paints the 20th Century) is the title chosen for this exhibition, which contemplates the existence of an artistic panorama that contributes significantly to Art History, despite certain historical vicissitudes. It comprises sixty works by forty-two artists from the Museo Nacional Centro de Arte Reina Sofía Collection and gives an overview, via key works, of the events in 20th century art in Spain. Furthermore, the exhibit unfolds in chronological order, beginning with a first section articulated by Pablo Picasso, one of the most universal Spanish artists.
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.
This exhibition on the work of Juan Muñoz (Madrid, 1953 - Ibiza, 2001) is the most comprehensive retrospective to date on the artist, which precedes Juan Muñoz. Monólogos y diálogosdedicated to him by the Museum in 1996.