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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.

  • 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.

  • VALIE EXPORT. Adjungierte Dislokation III, 1978-1997. Installation. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    November 7, 2006 - April 2, 2007

    This exhibition is an overview to understand how the recording, transmission and reproduction technology of sound and images born in 1950, and technically different from cinema, became artistic media. It examines the influence of technology and mass culture in social and artistic changes in an era of cultural acceleration and proliferation of ideas. In this way 1968 marks a before and after, as that was the year when a relatively affordable portable television appeared on the market, opening up the media to a vast new group of people.

  • Exhibition view. Una conferencia comisariada. Sobre el futuro de la fuerza colectiva dentro del archivo, 2010
    May 20 - August 30, 2010

    Una conferencia comisariada

    Sobre el futuro de la fuerza colectiva dentro del archivo

    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. New Realisms: 1957-1962. Object Strategies Between Readymade and Spectacle, 2010
    June 16 - October 4, 2010

    New Realisms: 1957-1962

    Object Strategies Between Readymade and Spectacle

    The exhibition New Realisms: 1957-1962 focuses on one of the most important periods of changes in art during the twentieth century, beginning with the completion of Modernism and ending during the peak of Postmodernism. This period brings together a heterogeneous multiplicity of decisive manifestations and creates a new discourse on art and its contexts, leaving Abstraction and the mastery of painting behind. At this time interest shifts from the conventional art object to processes, while questioning the production systems and the consumption of art; the foundations for a great change in the paradigms of art during the sixties are laid.

  • Mieko Shiomi. A fluxatlas: Spatial Poem, 1965 (facsimile from 1992). Poster
    September 21, 2012 - September 30, 2013
    Program: Biblioteca y Centro de Documentación

    Categories such as collective, attitude, movement and even network are of questionable value when defining Fluxus, the identity of which has been the subject of debate since its first public appearance at the Festival of Wiesbaden fifty years ago.

    Biblioteca y centro de documentación
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