Activities

Putting ourselves in the present and placing this present inside the politics of temporality (taking up the idea of Mario Rufer) cannot be conceived outside the coloniality of power theory, formulated by Peruvian intellectual Aníbal Quijano (1928–2018).

Taking this question as his point of departure, Takao Kawaguchi (1962) began, in 2013, to explore the possibilities of copying the movements of the acclaimed choreographer Kazuo Ohno (1906–2010) as a way to access the intrinsic and seemingly non-transferable qualities of this figure, central not only in Japanese post-war dance but also the universal history of the discipline in the twentieth century.

In the first comprehensive retrospective on one of today’s pivotal directors, the Museo Reina Sofía and Filmoteca Española will screen the entirety of Wang Bing’s films and film installations, scarcely exhibited or shown due to their extreme running times. Moreover, the series features the film-maker’s first lecture in Spain, along with two premieres on Spanish soil and another international premiere.

Alyce Mahon, curator of the exhibition Dorothea Tanning. Behind the Door, Another Invisible Door (Museo Reina Sofía, 3 October 2018 – 7 January 2019), will conduct a pre-opening guided tour of this retrospective, which explores the seventy-year-long career of the American artist. 

James Lingwood, curator of the exhibition Luigi Ghirri. The Map and the Territory (Museo Reina Sofía 26 September 2018 – 7 January 2019), will lead a guided visit to the exhibit just before the opening with the aim of introducing the main ideas supporting Ghirri’s artistic practice. Ghirri is a key author for understanding postmodern photography and some of its fundamental theses, such as the blurring of reality with fiction and the extreme codification of representation in today’s world. 

In its second edition, Archipelago asserts its approach to listening as a form of both knowledge and aesthetic pleasure. Attendants are encouraged to approach the complexities of the cotemporary world not only through the ear, but also through the body, by absorbing sound with all their organs and bones.

This summer’s film season explores the idea of neighbourhood cinema as an open, local space, in which images prompt a dialogue on the history, local residents, aspirations and desires inhabiting Madrid’s Lavapiés barrio.

This third session in the series Six Contradictions and the End of the Present is centred on Keeanga-Yamahtta Taylor, activist and African American theorist, and Yayo Herrero, anthropologist, technical engineer, social educator and ecofeminist. These sessions will reflect on racial difference and care as a point of departure for contemplating a more just and equal society, putting forward a life which is possible outside ideas of production and economic value.

Queerama reconstructs the history of LGBTIQ+ movements and their representation in film and popular culture from the turn of the twentieth century to the present day, doing so through the vast British Film Institute (BFI) archive. The film extends across a century of experiences of sexual diversity, encompassing public persecution and prosecution, criminalisation and medicalisation, and also sexual liberation, pride and equality struggles.

This program emerges out of the need to bring together ideas on the illnesses we suffer from, at a time when the welfare state has given way to a type of governance centered on the proliferation of new disorders, diseases, and medications.

Since 2000, certain universities, chiefly in the English-speaking world, have developed multidisciplinary studies, which include visual studies and others with the generic title Sound Studies. Initially, the specialised historiography in this field analysed the presence of sound and music in the arts, before focusing on vibrational force, broadening its field of analysis to literature, painting and, naturally, music.

This encounter, organised under the framework of the exhibition on the artist held in the Museo, reflects on the connections between artistic practices, extreme violence and the precariousness of life.

This encounter, held in relation to the exhibition An Approach to Afal. The Autric-Tamayo Donation, recollects the central space occupied by the Afal collective in post-war Spanish photography. A conversation between two of its leading figures, photographers Ramón Masats and Carlos Pérez Siquier, and the show’s curator, Laura Terré, will be followed by the screening of Alberto Gómez Uriol’s documentary Afal, una mirada libre (Afal, a Free Gaze), which assembles declarations from the majority of its members.