Activities

The work of Charles Ray (Chicago, 1953), one of most renowned sculptors in specialised critique, addresses the phantasmagorical quality of reality. The artist sets out from a questioning of sculpture making, translating daily experiences, memories and contemporary subjects into statuary.

On this occasion, the programme shines a light on cases in Spain and the Southern Cone of South America, starting, firstly, with the unveiling of the exhibition Incomplete Times. Chile, the First Neoliberal Laboratory, in the Museo’s Library and Documentation Centre (from 21 March to 24 May 2019), and the guided tour by its curator, Nelly Richard.

Feminisms is a publication by L’Internationale online, with its point of departure from the diverse situated perspectives interwoven into movements such as ecofeminism and xenofeminism.

An analysis of the relationships of feminism across history, its affirmation as a political approach after the 2017 struggles and its impact on current transformations of capitalism form the aim of this lecture.

Across a large part of the planet, the feminist movement is inexorably rising to the fore in the transformation of political action and in the postulate of other, more equal and less patriarchal ways of inhabiting the world.  

Created in 1982, the Prelinger Archives form the largest collection of international ephemeral cinema, with over 60,000 advertising, propaganda, educational, and amateur films, as well as home movies and American landscape films shot across the length and breadth of the 20^th century.

In Me Too. Desire and Crime the Museo Reina Sofía invites Albert Serra to curate, for the first time in his career, a series of screenings which run alongside his new film installation, Personalien, made for the Museo’s Fissures programme.

Caja de resonancia (Sound Box), an archive of texts, voices, video and performances that searches for the multiple forms radiating contemporary Latin American poetics, is the focal point of the eighth edition of the Museo Reina Sofía’s programme Documents, which revolves around independent artist publications, platforms, networks and publishing spaces, in addition to the potential of archive to reinvent the narratives of art and its ecosystem.

Sarah Davachi will perform a concert for synthesiser in the Museo Reina Sofía, with approaches to her new album Gave in Rest, which, recorded in 2017 in Vancouver, largely explores timbre and space.

The reappearance of Native Americanness as a displacement and break-away from a modernity in crisis in 1970s and 1980s Latin American art is the subject of this encounter, made up of a lecture by Mexican artist and theorist, Mariana Botey, followed by a conversation with Peruvian researcher and feminist activist, Elisa Fuenzalida.  

Museo Reina Sofía presents a selection of solos, held across two sessions, by Lucinda Childs, a pre-eminent choreographer from so-called minimalist dance and founder of New York’s Judson Dance Theater.

This edition of Intervals, a series which screens and presents recent films, features The Spy Within, a documentary essay on friendship and betrayal during the Years of Lead in Spain and terrorism in the Basque Country. The film narrates the relationship between Juan Gutiérrez, a mediator between the Spanish State and ETA, and his closest collaborator, Roberto Flórez, who turns out to be a spy for Spain’s Secret Services. Both sessions feature a presentation and talk by Juan Gutiérrez, the writer Edurne Portela, and the film-makers. 

The struggles in different corners of the planet with feminisms at the forefront go beyond traditional categories in readings of social movements. Putting into practice ‘the personal is political’ and reshaping our understanding of the political, the feminist tide pulses and proliferates on a global scale with its persistent iterations and capillary potential for dissemination and influence.

The research policy advocated by the Study Centre seeks to function as a collaborative springboard between research groups and independent debate. This approach is behind an encounter, organised with research+rs from the CRUSEV group, to publicly present the results of the European research project Cruising the Seventies, a reformulation of the channels through which the desires and practices of dissident bodies flowed in the late period of Francoism and the Transition to democracy in Spain.

Throughout her life, German artist Hanne Darboven (1941–2009) produced different compositions with scores stretching across – in much the same way as her installations – large-scale numerical tables on paper. According to Darboven, her “systems are numeric concepts that work according to the laws of progression and/or reduction in the manner of a musical theme with variations”.

The Chair of Situated Thought. Art and Politics from Latin America seeks to articulate different experiences, adopted stances, modes of doing and initiatives of critical thought as it addresses the idiosyncrasies of an intellectual and artistic production in dialogue with social and political circumstances and underscores the specific conditions of its environment.

This conference, organised inside the framework of the exhibition The Poetics of Democracy. Images and Counter-Images from the Spanish Transition, centres on the imaginary of the Transition period in Spain via leading figures with specific artistic and activist experience of transitional counterculture, as well as current researchers and artists.

The Museo Reina Sofía presents a new series of publications under the title Carta(s) which seeks to broaden the editorial format of the debates that unfold in the institution and beyond. Carta(s), the result of a joint project between the Museo’s Editorial Activities and Public Activities Departments, looks to draw attention to the reverberations between initiatives driven and welcomed by the Museo’s different lines of research and artistic and critical production. The first three recently published volumes include content that was intended for the journal carta, now transformed into this series.

The programme Documents, which surveys artists’ publications, platforms, networks and independent publishing spaces, as well as archive’s potential to reinvent narratives on art and its ecosystem, centres its seventh edition on the Argentinian magazine ramona, under the guidance of its editors Gustavo Bruzzone and Kiwi Sanz. 

The Museo Reina Sofía presents the first edition of ESTUDIO, an annual programme which, over two days, brings together presentations in a range of formats (stage pieces, performance lectures, actions, readings, conversations). The programme issues from the research conducted by a series of artists and researchers whose practices are tied directly to or engage in dialogue with the area of choreography and performance.

This encounter sets out to rethink the notion of the archive in its different facets, reflecting on the forms in which history is presented as a disputed territory in building the present.