team > Rocío Robles
She has been part of the team of the “Rethinking Guernica” project of the Reina Sofia Museum in its first phase (2017) and enjoyed a Research Fellowship in the Exhibitions Department of the Reina Sofia Museum (2012-2014). Co-curated the exhibition “Guernica Documentary Fund”, within the exhibition “Pity and terror in Picasso: the road to Guernica” (Museo Reina Sofia, 2017), co-curated the traveling exhibition “Picasso. Guernica's travels” (Obra Social de la Fundación la "Caixa and Museo Reina Sofía, 2017-present) and member of the curatorial team of the exhibition “Encounters with the 1930s” (Museo Reina Sofía, 2012). Author of several books and articles, highlights include Informe Guernica. Sobre el lienzo de Picasso y su imagen (Ediciones Asimétricas, 2019), the texts in 50 Obras Maestras 1900-1950 Colección (IVAM, 2019), as well as her participation in the publication that accompanied the exhibition “Fernand Léger and the modern life” (IVAM, 2019), in the book Los viajes de Guernica (Museo Reina Sofía, 2019), in the catalog of the exhibition “Guernica” (Musée national Picasso-Paris, 2018), the essay "El caso Peggy Guggenheim, 1942: arte desplazado, arte primitivo" in the catalog “The idea of a sign: Sánchez Ubiria´s collection” (Centro de Arte de Alcobendas, 2017; Kutxa Fundazioa, 2018), her participation in the book Nueva York en Fotolibros (Centro José Guerrero, Granada, 2016), in the catalog Fotos & libros. España 1905-1977 (Museo Reina Sofía, 2014), the article "El Instituto Alemán, espacio de excepción en el último decenio del franquismo" in the volume Desacuerdos 8 (2014) and "Museo o no museo" in the book Museografías (Empty, 2015). She is also the author of the book Pintura de humo. Trains and Stations in the Origins of the Modern World (Editorial Siruela, 2008). Added to this are her works on Picasso and avant-garde art, especially the editions of the anthologies Picasso and his critics I. Reception of Guernica, 1937-1947 and Picasso and His Critics II. The Communist Years (Ediciones de La Central, 2012).