Cinema and Video

AIDS Anarchive began within the framework of the 2012-2013 research residencies at Museo Reina Sofía, as part of the production process of a “counter-archive” or an anarchive of AIDS policies, with attention being paid for the first time to practices occurring outside of the Anglo-Saxon or Western and Central European settings.

This activity presents the research conducted by Pulska Grupa, a Croatian collective of architects and urban planners who have been research residents at Museo Reina Sofía in 2012-2013.

This activity brings together a group of writers and theorists representative of the return to the essay as a type of writing that is both prospective and interrogative.

This event serves as an introduction to the exhibition Biographical forms with a lecture by its curator, Jean-François Chevrier, followed by a colloquium with two of the artists represented.

This project is conceived as a plural space for reflection and debate, the aim of which is generate proposals based on a critical diagnosis of the contemporary art system in Spain.

With the participation of Armando Montesinos, Mariano Navarro and Juan Pablo Wert, this activity presents the exhibition Idea: Painting-Force. 

Through the gaze of three curators, this lecture series inquires into different topics such as feminism, video dance and the diversity of languages present during these years.

In this performative lecture, in parallel with the presentation of Minimal Resistance. Between late modernism and Globalisation: artistic practices during the 80s and 90s, Mullican reviews and comments on some of his performances under hypnosis, in which he recreates, as he does in his visual works, the logic of an unstable and irrational world.

This series of three seminars is an interuniversity partnership project based on the collaborative work of a diverse group of researchers. The debate platform, with the participation of the Faculty of Fine Arts of the Universidad Complutense de Madrid, the Universidad de Navarra and the Museo Reina Sofía, analyses art education at a time in which academic teaching hovers between the creative industry and the specificity of the artist's role.

This audiovisual series looks at the 1980s, and that decade’s prolongation into the 1990s, as a genealogy of much of the dialectics that explain contemporary, as a time period and cultural category.

At this lecture, organised by Fundación de los Comunes and MACBA, Michael Hardt puts the concept of the common at the centre of a renewed contemporary political project.

This event is part of the Museo Reina Sofía master lectures series, a public program that began in 2010 as an attempt to better understand the methodological tensions that have transformed art history in recent years. At the same time, the annual master lecture serves as the inauguration to the Museum's academic year, which consists of numerous activities related to its multiple University master's programs, independent study programs, debate forums and research residencies. In addition to these initiatives, this public activity introduces a new facet of the contemporary museum: a place for training and research.  

Film on the margins, from the peripheries, and the other cinema are among the terms used to refer to works that have been made outside the industry in recent years in Spain. Beyond this condition of existence, a number of additional criteria are fulfilled by these films, suggesting something of a group identity. More specifically: independent production and distribution platforms, the incorporation of the experimental language used in the field of art (exhibition video and film) and the liberal use of documentary techniques in the form of essay film are some of the features found throughout this other cinema.

This year the Mexican dance company Tumakat presents, in connection with Latin American art, the work Maravillosa at the Museum. This chamber piece is an exercise in reflection on the nature of dance as spectacle. Using humour, Federica Folco, from Uruguay, and Josie Cáceres, from Ecuador, have created a piece about the questioning of limits.

In recent years, it has been pointed out that one of the identifying features of Spanish alternative film is the exploration of the real.

Acoustic Space began in 2010 as a way for the Museum to make a place in its programming for the wide range of currents in today's heterogeneous musical scene.  This time the series features a selection of artists who have released, all of them, a new album in 2013: Kalabrese, Helado Negro, Carmen Villain, Amateur Best and Emika. 

News from Ideological Antiquity: Marx/Eisenstein/Capital (2008) is one of the most complex and monumental films of recent film history. Throughout the almost nine hours that the film lasts, its director, Alexander Kluge (Germany, 1932), offers his own construction of Eisenstein's unfinished project of filming Capital by Karl Marx, an idea conceived after a feverish encounter between the Russian filmmaker and James Joyce in 1927.

This audiovisual series looks at Salvador Dalí's film, video and television production, as a culmination of the exhibition Dalí. All of the poetic suggestions and all of the plastic possibilities. Almost five hours in length, this collection of works, with repeat screenings over two days, argues that the relationship between Dalí and mass culture is key to understanding the artist's work, but also to developing a different idea of modernity, one that conveys the spectacular and tumultuous nature of 1930s modernity. 

This summer film series explores one of the contemporary cinematographies that, although very interesting, is among the least distributed in Europe. Midway between new auteur voices and the poetics of documentary, this series shows how film responds to a situation of provisionality and how it imagines the future from the vantage point of uncertainty.

This international event, which brings together researchers, artists and curators from both sides of the Atlantic, seeks to stimulate reflection about the notion of avant-garde in relation to the experience and discourse of modernity between 1920 and 1970.

Copylove is a research project begun in 2012 by Rubén Martínez, Txelu Balboa and Sofía Coca that attempts to analyse and represent the relationships and tensions that arise between the commons and love within communities, between emotions and community links. 

At this program, the curators Julia Robinson and Christian Xatrec present the premises of the exhibition ± I96I. Founding the Expanded Arts, followed by an intervention by Simone Forti in the auditorium and concluding with the representation of several of her pieces in the exhibition galleries. 

French sociologist Laurent Bonelli investigates the economic insecurity, riots and police repression that define the backdrop of the existence of a large part of the youth in the banlieu, the metropolitan outskirts of France. This conference questions and analyzes the creation of the new frontiers (spatial and moral) of an emerging social order and the resistance it generates. 

In this performative lecture, artists Annie Sprinkle and Beth Stephens explore the realm of ecosexuality as an expanded field of queer politics. The ecosexual community is a rapidly growing community that includes artists, academics, sex workers and other entities from diverse walks of life. 

When trying to understand the impact that artistic practices have on the public sphere, people usually speak of a confrontation between art and politics. In this seminar, comprised of a lecture and a workshop, Brian Holmes takes a step beyond this dichotomy, and situates art, once again, in relation to existential affections, forms of organisation, bodies and theory. 

With his films, Harun Farocki (Czech Republic, 1944) dissects the control, representation and value systems derived from capital and its images. This event, the first of the Intervalos program, shows two recent works, one of which was produced by Museo Reina Sofía, and also includes a lecture by Thomas Elsaesser. 

In this conference, Anglo-American historian Peter Linebaugh explores the cycle of municipal occupations and urban encampments of recent years in cities including Cairo, Athens, London, New York and Madrid. Rather than discuss such events within discourses of citizenship or the public, Linebaugh considers them within the historical framework of the commons.

On Sunday, April 28, Museo Reina Sofía will be the host of a series of Dance Attacks. An initiative of the Association of Dance Professionals and the Cultural Association for Dance of Madrid, working in collaboration with Museo Reina Sofía, this activity is held in celebration of International Dance Day, which is April 29.