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  • Exhibition view. Pop Art, 1992
    23 june, 1992 - 14 september, 1992

    Pop Art, understood as a manifestation at an international level which bursts into existence in the late fifties has no manifesto and is heterogeneous in technique, ideas and the means it employs; it constitutes the axis that is articulated by the exhibition at the Museo Nacional Centro de Arte Reina Sofía. This is a movement that is primarily urban - it has a contemporary development in the more important cities involved in the art scene in the second half of the twentieth century: New York, Los Angeles, San Francisco, London, Paris, Dusseldorf, Rome and Milan - it establishes a special link with mass culture, which it seeks to reflect. In this mass culture it finds its themes, its vocabulary, its icons, its artistic resources and even its means of diffusion, converting the information overload and visual stimuli that assault the passerby, the spectator and the consumer in their daily lives, into the engines of their work. Pop comes as a shock to traditional art in its broadest sense (media, institutions, education, notion of the artist, authorship and even unique work) and also to what it had immediately proceeded (abstract expressionism and informal art). Screen printing, collage or the use of pre-existing images imply a criticism of the artist’s subjectivity, avoiding recognition (leaving a mark) of their involvement in the work of art. Also, in their reaction against good taste and high culture, there are many times when kitsch is recovered as the peak in aesthetics.

  • Antoni Tàpies. Pintura, 1955. Painting. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    6 october, 1992 - 6 december, 1992
  • Exhibition view. Gerhard Richter, 1994
    June 7 - August 22, 1994

    In Gerhard Richter's (Dresden, Germany, 1932) painting diversity through experimentation takes centre stage. A stranger to the conflicting abstraction versus figuration, due to his belief that both mediums are necessary, Richter paraphrases styles to make them his own. At the beginning of the sixties he bursts onto the scene as one of the artists to break down dominant art hierarchies, following in the footsteps of Joseph Beuys and Blinky Palermo.

  • Exhibition view. New Abstractions, 1996
    25 april, 1996 - 23 june, 1996

    The theme of this exhibition is rooted in the contemporary debate on modern-day abstract art. Nuevas abstracciones (New Abstractions) displays a selection of sixty works produced between 1987 and 1995 by twenty-nine European and American artists, asserting the main premise that abstract painting moves away from the theory of modern art in the Nineties. The exhibition, therefore, considers the critique and surmounting of the formal dogmatism that Abstract Expressionism has been reduced to, and the subsequent consequences, by means of the final essays by the art critic Clement Greenberg and other experts that suggest painting that is devoid of references, purged of everything outside the medium.

  • Exhibition view. German Art 1960-2000. The Grothe Collection, 2000
    19 september, 2000 - 20 november, 2000

    Unlike other collections such as the Guggenheim, Nasher, Beyeler, Panza di Biumo, Gelman and Sonnabend collections, all of which have been exhibited in the Museo Nacional Centro de Arte Reina Sofía, the Grothe Collection is remarkable in that is focuses on a very specific number of artists yet forms a complete and representative selection of the artistic career of each and every one.

  • Exhibition view. em>Impure Vision. Works from the Permanent Collection, 2006
    February 14 - September 11, 2006

    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.

  • 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.

  • 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.

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