The exhibition endeavours to position the notion of critical pedagogy as a crucial element in collective struggles, and explore the tension between individual and social emancipation through education with examples that are both historical and current.
The Exhibition photobooks. Spain 1905-1977 presents a journey through the history of the photobook in Spain, setting off at the beginning of the 20th century and ending in the mid seventies, via a selection from the Museo Reina Sofía Collection, contextualised and accompanied by an assortment of complementary material.
By virtue of more than 250 works produced between 1949 and 2011, this exhibition offers a comprehensive retrospective look at the work of Richard Hamilton (London, 1922 – 2011), a key figure in Pop Art and one of the most influential British artists of the 20th century.
For her first solo exhibition in Spain, the artist Tracey Rose (Durban, South Africa, 1974) presents her new project entitled (x). It consists of a video-installation and an energy space created from two pieces that feature light, acoustic and chromatic elements.
Books that are photosis the first of two shows programmed by Museo Reina Sofía on photobooks. This show features a selection of about 150 photobooks published in Spain from the year 2000 onwards, especially in the last four years.
Throughout her career Elly Strik (the Hague, Netherlands, 1961) has been particularly interested in those visionary artists that have probed the limits of human nature, such as James Ensor and Francisco de Goya.
The exhibition proposes a journey through the places and characters that have shaped the films and the biography of Amos Gitai. Fragments of his films and documents drawn from his personal archive, examine the way in which the filmmaker has interpreted his own genealogy.
The exhibition focuses on the “abstract” ouvre by Wols produced since the Second World War and in the photographs taken shortly before the war. “The street” and “the cosmos” are an original key reading of Wols’ work, whose contribution to twentieth-century art is yet to be fully recognized.
With his works Roman Ondák (Žilina, Slovakia, 1966) creates temporary situations in which the presence of objects and persons, as well as modifications made to the exhibition space, may go unnoticed by viewers in their initial approach.