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  • Martín Chirino. Mi patria es una roca I. El viento (70), 1986-1987. Sculpture. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    10 february, 1994 - 31 march, 1994

    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.

  • 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. En la piel de toro, 1997
    14 may, 1997 - 8 september, 1997

    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.

  • Pablo Picasso. Mujer en el Jardín, 1929-30. Sculpture. Museo Nacional Centro de arte Reina Sofía Collection, Madrid
    21 october, 1997 - 11 january, 1998

    The Museo Nacional Centro de Arte Reina Sofía is collaborating with the Mexican Consejo Nacional para la Cultura y las Artes -as they did in 1996 for the ¿Buñuel! The Eye of the Century exhibition- to present at the Museo del Palacio de Bellas Artes in Mexico City a selection of paintings, sculptures and drawings by the major Spanish artists of the twentieth century. This exhibition is a reflection of Spanish avant-garde key historical figures as well as the most celebrated artists of the second half of the twentieth century. Also present in the exhibition are the creations of artists who have achieved great relevance in the current scene. In this way, the Mexican public is invited to construct a global vision of the Spanish art scene over the last hundred years through this exhibition divided into three chapters.

  • Txomin Badiola. Una. El alumno aventajado (N.S.), 1993. Sculpture. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    17 may, 2001 - 1 july, 2001

    The hundred-year-old Zachêta Gallery in Warsaw, Poland, holds an exhibition of Spanish Art from the Eighties and Nineties featuring the work of forty-seven artists. All of the works selected belong to the Museo Nacional Centro de Arte Reina Sofía Collection, which opens and consolidates its activity throughout the Eighties.

  • Guillermo Pérez Villalta. La juventud de los héroes, 1987. Painting. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    31 july, 2001 - 23 september, 2001

    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.

  • 8 october, 2002 - 31 december, 2002

    This exhibition compiles a selection of forty-six Spanish artists belonging to the Telefónica España Collection of Contemporary and Avant-garde Art, loaned to the Museo Nacional Centro de Arte Reina Sofía in 1997. The artists present in the exhibit work with Abstraction from 1950 to 2000 and are linked to both Informalism and geometry. The El Paso, Parpalló and Pórtico groups, Basque sculptors, and “Spaniards in New York” predominate the development of quality abstraction that, by and large, is prevalent in second half of the 20th century in Spain.

  • Juan Genovés. El abrazo (Group Hug), 1976. Painting. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    28 march, 2003 - 26 june, 2003

    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.

  • Juan Uslé. Líneas Replicantes, 1992-1993. Painting. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    16 october, 2003 - 12 january, 2004

    John Uslé (Santander, 1954) is one of the leading protagonists of a generation of painters who, from the late eighties, accounts for much of the international critical attention. His work is recognised as one of the most evocative of his generation, with a very personal style linked to abstraction.

  • Exhibition view. Museo de museos. 25 Museos de arte contemporáneo en la España de la Constitución, 2003
    3 december, 2003 - 23 february, 2004

    The Museo Nacional Centro de Arte Reina Sofía and the Sociedad Estatal de Conmemoraciones Culturales (State Society for Cultural Commemorations) are joining together to celebrate the twenty-fifth anniversary of the Spanish Constitution with an exhibition dedicated to the new generation of Spanish museums of modern and contemporary art. This exhibition provides an overview of experimental changes in Spain in terms of cultural infrastructure since 1978, the year when the Spanish Constitution was adopted. For this exhibition, twenty-five museums have been chosen and are represented by models of their buildings, pieces from their collections and information about their mission and exhibition programmes.

  • Anish Kapoor. Madonna, 1989-1990. Sculpture. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    15 june, 2004 - 6 september, 2004

    Far from the conventional chronological order, the works in the exhibition Monocromos: de Malevich al presente are installed for this installation in series corresponding to colour environment. The dual-origin of monochrome art (the mystical and the specific) in its evolution during the twentieth century illustrates the division between the spiritual quest of a transcendental experience and the desire to emphasise the physical presence of the object as a concrete reality and not an illusion. The two opposite meanings -the specific object and mystical icon- blend into the first monochrome paintings of Kasimir Malevich, created on the eve of the Russian revolution.

  • 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.

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