Madrid,
The next program of the Reina Sofía Museum will be marked by anthologies of weight and by a fundamental (almost unique) presence of Spanish artists. The first show that will offer us in this new exhibition course will be dedicated to Maruja Mallo and will arrive in Madrid after passing through the Botín Center, on October 8. The Galician, linked to the generation of 27, introduced into her work an unusual iconographic and stylistic diversity, destined to shape a renewed mythology and, also, to give relevance to creative women, hence the importance of self -representation in their production.
He included self -portraits in his first personal compositions, the verbenas; Later he approached the world of theater and the one he called “scenographic plastic”, in a series of self -placed photographs in different scenarios from which he proposed a review of gender, class, artistic and political identities. Being already exiled, this matter of identity returned from fluidity to its nature and portraits, to which it incorporated the racial issue.
Ninety paintings, drawings, writings and documents will arrive at the MNCARS, in addition to videos that will review their biography and influence.
Very expected will also be another retrospective: the one that the center led by Manuel Segade will provide to Juan Uslé, under the title “That ship in the mountain”. Commissioned by Ángel Calvo Ulloa, can be visited since November 26 and arrives two decades after “Open Rooms”, the Cantabrian’s first exhibition in Reina Sofía.
The sample will be deployed in a dozen rooms according to a non -chronological route, but marked by the comings, returns and the approach to tangentially linked disciplines to the painting. Its abstraction is born from subconscious ties with the visible world, of the study of the possibilities of transferring images thought, imagined or dreamful.
The candidate for the next Spanish representation, the Galician filmmaker Oliver Laxe, will arrive on December 17 at the MNCARS with the project “Hu/هُوَ.
Own SIRATwhich also received the jury prize in Cannes 2025, will be the center of that proposal, an installation that will question the limitations of the film screen. The exhibition will be accompanied by a cycle of work projections of this author.
Already in 2026, Andrea Canepa will take over from Miguel Ángel Tornero in the coverage of the Crystal Palace, closed by restoration, and the MNCARS will remember the daring practices of Argentine Alberto Greco, in the exhibition “Long live the living art.” His journey will be reviewed from his first works close to informalism and the drawing of expressionist root to the artistic actions that he called, “living art”, settled in everyday experience, the expansion of the artistic space and the put in question of the very notions of work and authorship.
Greco undertook his “living art” actions in 1962, in the market of Les Halles in Paris, surrounding with a circle of chalk and with his firm to pedestrians he did not know. That year also published his Dito Manifestowhich hit the walls of the Italian city. For his “Spettacolo d’Arto alive” Christ 63at the Laboratory Theater in Rome, he was expelled from that country.
Already in Spain, the exhibition will delve into the collaborative projects of the artist with authors such as thousands or Eduardo Arroyo, in their actions in Lavapiés or Piedralaves and in its literary production: autobiographical fictions in which the continuous structure and limitations of the genre broke down.
The textile artist Aurèlia Muñoz, whose recovery has worked in recent years the José de la Hand, will be the subject of another anthology in the MNCARS since April. Organized next to the Macba Barcelona, where he will travel in November next year, will reveal in his creations entities that we do not expect: figures without clear gender, characters halfway between the human and the animal, textile bodies full of presence, vegetable architectures, suspended fabrics or birds-charts.
In the beginning linked to the Nouvelle Tapisserie Or the Catalan Escola del Tapís, his worked soon left the limits of textile art and contemporary crafts to articulate a more expansive project, based on technical and material experimentation: with macramé, collage, assembly, vel aim and paper sculptures …
Felix Gonzalez-Torres and Fernando Sánchez Castillo will close the program of Queen Sofía in the course we started. From the first, as of May, we can contemplate its main facilities, sculptures and photographs, often linked to performance: they can change physically and conceptually through the participation of the owners, the exhibitors and the public. For this author, the mutable quality of his work was fundamental, which could bring it closer to any time or context.
The second will deploy in the Velázquez Palace “The Peregrine Pearl”, a set of significant pieces of his career, in which he has examined the potential of culture as a means of critical reflection and intervention in the stories of power and social memory.
