List of selected artworks. Maps for the tour in the museum



Una conferencia comisariada

Sobre el futuro de la fuerza colectiva dentro del archivo

May 20 - August 30, 2010
Sabatini Building, Floor 3

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.

In Una conferencia comisariada. Sobre el futuro de la fuerza colectiva dentro del archivo the Italian artist Rosa Barba (Sicily, 1972) brings together numerous works from a representative group of artists from the twentieth and twenty-first century who interact and converse with each other on the collective consciousness in the context of a collection.

By way of choreography, the artist obliges the various works to converse between themselves, creating a discourse-conference on contemporaneity and the most significant current artistic trends. Each author speaks with their own voice, while some works react to each-other. While the symposium that results may seem anarchic, it is orchestrated as a concert or a choir that meets to sing a song. The archive is understood as a set of individual timeless expressions, choreographed like a musical score, which can collectively raise its voice at the same time, to achieve the implacable timelessness of art.

Faced with the question the artist asks herself on what is essential in a work of art, Barba does not expect or want to achieve a number of definite conclusions, but rather aspires to discover hidden assumptions, eliminate obsolete ideas and formulate new issues and timeless needs. The exhibition offers a discourse open to many different personal readings on the Collection, far from an interpretation of an institutional, canonical discourse, where the spectator is invited to approach new ways of thinking about what the archive, the Collection and memory really mean.


Current exhibitions

  • Exhibition view. Ree Morton. Be a Place, Place an Image, Imagine a Poem, 2015
    May 20 - September 28, 2015

    Ree Morton

    Be a Place, Place an Image, Imagine a Poem

  • Exhibition view. Carl Andre. Sculpture as Place, 1958-2010, 2015
    May 5 - October 12, 2015 Palacio de Velázquez. Parque del Retiro

    Carl Andre

    Sculpture as Place, 1958-2010

  • Vista de sala de la exposición. Federico Guzmán. Tuiza. Las culturas de la jaima, 2015
    April 16 – August 30, 2015

    Federico Guzmán

    Tuiza. The Cultures of the Bedouin Tent

  • Paul Klee. Baldgreis, 1922. Oil on cardboard, 40.3 x 37.4 cm. Kunstmuseum Basel © Kunstmuseum Basel
    March 18 - September 14, 2015

    White Fire

    The Kunstmuseum Basel Modern Collection

  • Pablo Picasso. Buveuse d’absinthe (The Absinthe Drinker), 1901. Oil on canvas, 81 x 60 cm. Im Obersteg Foundation, permanent loan to the Kunstmuseum Basel. Photography: Mark Gisler, Müllheim
    March 18 - September 14, 2015

    Collectionism and Modernity

    Two Case Studies: The Im Obersteg and Rudolf Staechelin Collections