Multimedia

The exhibition analyse Goeritz’s stints in Spain and North Africa in the 1940s, along with the international expansion of his career, which, in a Cold War context, occurred in the wake of his return to Mexico and which saw him become one of the key figures in the cultural landscape of that country.

The exhibition Really Useful Knowledge 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, and their relation to organisational forms capable of leading unified resistance to the reproduction of capital. In doing so, the exhibition highlights the collective utilization of public resources, action and experiments, either forgotten or under threat of eradication, taking the museum as a pedagogical site devoted to the analysis of artistic forms interconnected with actual or desired social relations.

Virginia Torrente, curator of the exhibition Patricia Gadea. Atomic- Circus, talks about the work of a key artist to understand the cultural situation of our country during the eighties and nineties. The core of this exhibition revolves around the most productive period of Patricia Gadea's work, on his return from New York, where he formed the group Estrujenbank with the painter Juan Ugalde and the poet Dionisio Cañas. At this stage emphasizes the Circus Series (1991-1996), which summarizes the events of that decade in Spain as a clairvoyant messages of great forcefulness. Imbued with irony, like the rest of her work, to date they still have an overwhelming clarity and modernity.

republic is an exhibition by Juan Luis Moraza (Vitoria, 1960), assembling a broad selection of his works and structuring them in areas that examine the museum as a system of conventions and possibilities of citizenship. Moraza has always constructed, in a mutual interaction with his artistic output, a conceptual discourse, where language and ideas also denote a place inhabited by the artist, along with the forms and characteristics of objects and situations put forward in each project.

Losing the human form evokes an image of the 1980s in Latin America that establishes a counterpoint between the effects of violence on bodies and the radical experiments in freedom and transformation which impugned the repressive order. Stricken bodies / mutant bodies. Between horror and festivity, the materials gathered show not only the consequences of mass disappearances and massacres under dictatorial régimes, states of siege and internal wars, but also various collective urges to devise modes of existing in a permanent state of revolution.

This video on the set-up process of the exhibition Richard Hamilton (27 June – 13 October 2014) in the weeks prior to its opening shows the coordination between different teams in the Museo – from the curators to the conservators and assembly technicians – to install this complex and extensive exhibit. The piece by Juan Rayos, commissioned by the Museo, reflects the wide variety of mediums, genres and themes the artist used in over 250 works.

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 20^th century. It was the last project Hamilton directly participated and includes, among more than 250 works, the recreation of a number of the exhibition installations Hamilton designed (and actively participated in) during the 50's.

The Museo Reina Sofía pays homage to the figure of Richard Hamilton by means of an eponymous exhibition, held between 27 June and 13 October 2014. The piece, produced by Javi Álvarez, explores the most unique aspects of Hamilton’s work, reinterpreting many of the artist’s techniques, such as appropriation and collage, to convey them in the sphere of contemporary video.

In this interview, artist Kerry James Marshall (Birmingham, Alabama, 1955; currently resident of Chicago), talks about the reasons why he chose to address themes related to life, culture and Afro-American history, until that moment barely represented, approached through multiple lenses to provide new visions of issues connected to racial politics, cultural representation and social emancipation.

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. Curated by Horacio Fernández, the exhibition photobooks. Spain 1905-1977 is in collaboration with Acción Cultural Española (AC/E) to present part of the line of investigation and acquisition carried out by the Museo Reina Sofía concerning photobooks.

With some 300 works, the exhibition recounts a different history of art, from the end of the 19th century to the present day, in which artists and activists play a part in redefining public space by exploring the city as a game board, questioning modern-day carnival and holidays, vindicating the right to laziness, reinventing the square as a place of revolt and discovering the possibilities of a new world through its waste. The exhibit takes the playground model as an ideological interrogation of an alienated and consumerist present.

Hanne Darboven is an artist that has delved into the languages of conceptual art and minimal art, which have opened new formal possibilities for expression in the second half of the century. Her numerical series and series of drawings have filled the rooms of many exhibitions and many museums, but her serialism is very different from the one found in the work of other minimalist artists who have also used numerical progressions, such as Sol LeWitt. In this exhibition we are going to find a set of series related to Darboven's everyday life, at home and at work.