Film and Video

The company Teatro Sin Papeles (Undocumented Theatre) presents Las latinas son… (Latin Women Are…) in the Museo, inside the framework of proposals by the Museo Situado assembly.

A framework that encompasses successive crises which shape the present sociopolitical context and consequences that start to become embedded — constant price hikes, high temperature warnings, a dearth of resources, new and ever-closer military interventions — raises questions over the exact crisis we are facing. And if the current model is exhausted, what is our future?

The sinking of the Prestige in 2002 demonstrated how the majority of contemporary environmental disasters give rise to significant mobilisations of mutual aid and demands in the places where they occur. In this four-day encounter, different researchers, artists, activists and citizens reflect on the relations between ecology, memory and democracy today. The programme revolves around four axes: environmental traditions stretching from the anti-Francoist struggle to the present; memory and citizen creativity following the Prestige oil spill; authoritarian threats that loom from the depletion of fossil fuels; and controversies around imaginable futures.

Participants will work together to create and produce a novel written collectively — customarily an individual endeavour — addressing not only the writing process but also other tasks such as editing, correcting and disseminating a text. By the same token, and in the form of a coda, the workshop will explore the performative nature of the collective novel with a public presentation in different spaces inside the Museo.

This lecture sees Ferreira da Silva examine contemporary works and artistic practices which call into question that which she calls the “transparent I”, a concept which references the modern subject hailing from the Enlightenment and customarily adopted in the position of spectator.

Unending love or love dies, on repeat like it's endless is a choreography which explores relationships between desire, dance, fragmentation, love (understood as communality), mourning and time. Through the gesture, sensuality, relationality and touch, Baczyński-Jenkins’s practice unfurls structures and politics of desire.

The Museo organises Collective Mourning and Planetary Mourning, a double programme which is part of the 40^th Autumn Festival of Madrid. The first part features the performance of Monument 0.6: Heterochrony, a stage piece by Hungarian choreographer Eszter Salamon, who creates an imaginary scene between past and present.

Collective Mourning and Planetary Mourning is the title under which a set of activities are set in motion around the echo of activities celebrating All Souls Day with a programme of live arts, before continuing with a study group under the same name. It seeks to open up a dialogue around mourning as a human process of loss and mourning established by the world through reflections from artistic forms of expression, social movements and environmental activism.

From different areas of society — particularly in relation to women and feminist movements — there is a demand for every political, economic and social stratum to embark upon a transition towards truly and effectively establishing an equal society. Moderated by Ángeles González-Sinde, this round-table discussion seeks to explore these issues in greater depth via the experience of three leading figures who, through their work, approach gender equality in culture from different viewpoints.

Museo Reina Sofía presents a new edition of the anthological film series co- organized with the Filmoteca Española since 2016. This edition charts the work of thirty-four women filmmakers from fifteen Eastern European countries made between 1943 and 1993 and includes titles from such prominent figures as Věra Chytilová, Márta Mészáros, Evelyn Schmidt, and Binka Zhelyazkova, among others.

Three years on from its first edition, the Second International Feminist Encounter on the Witch-hunt. Colonialism, Extractivism and Violence Against Women continues by retrieving the memory of women accused of being witches and hounded and murdered in the Early Modern Period, and analysing mechanisms used for such purposes which persist today.

Inside the framework of Madrid Otra Mirada (Another View of Madrid), the Museo Reina Sofía’s Library and Documentation Centre Department and its Architecture, Sustainable Development and General Services Area put forward two events which look to approach and delve deeper into knowledge around the institution’s rich cultural heritage.

The Museo Reina Sofía organises an encounter devoted to inclusive education understood as a process of learning and co-existence. The session begins with the premiere of the documentary Quererla es crearla (To Want Is to Create, 2022), by Cecilia Barriga, and continues with a debate on the transformations inclusive education can bring about in the context of museums and their teaching programmes.

Dance, movement, transit, collision, self-perception and the eroticism of dancing are actions with the capacity to shake the system of power and, therefore, make up cuir actions. In Moving Cuirness, dynamics are put forward which are based on experiential anatomy through movement, sensorial exploration from being (in)touch, and rhythm; dynamics that work as triggers to generate, from the intimacy of present uniqueness, a collective dance where pleasure and freedom of movement take centre stage.

Architecture and medicine have always been closely linked. Theories about body and mind traverse architectural discourse, turning the figure of the architect into a kind of doctor, the client into a patient. Every era has its different conditions, each one requiring its own architecture.