Activities

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.

This series of lectures reflects on the new forms of materiality underlying contemporaneity. The art of recent decades has been shaped by its taking the processes of dematerialisation described by Lucy Lippard in the late 1960s to the extreme; namely, the now off-centre position of the object, the development of project-based practices, the changes to the status of art work and the displacement of the concept of authorship.

As part of the A possible strength: towards a poietics of living together activities program, this reading group and collective reflection emerge with the goal of revisiting a past that reverberates in the present.

This conference is part of a collaboration set up between the Museo Reina Sofía and Universitat Oberta de Catalunya (the Open University of Catalonia) for the completion of a Bachelor’s Degree in Fine Arts. Oriented towards critical and reflective studies, it sets out from a contemporary and expansive notion of Fine Arts which questions the traditional limits of artistic practice.

In this course, writer Servando Rocha will survey the deviations and disbandment of Dada, in addition to its repeated resurrection in popular culture, sound experiments and a wave of on-the-edge situations running from the Surrealists to the Lettrists, from Fluxus to Situationists, from punk to guerrilla communication, ending up at noise and experimental music.      

This lecture leads into an annual series which explores the relationship between tourism imaginaries and the visual arts from the 1960s onwards. Once a year, an innovative case study will be presented which reflects on how mass tourism, as an industry of experience, has been linked to the search for experience characterising art since 1960.

In its aim to attract new audiences to classical and contemporary music, Spain's National Orchestra and Choir (OCNE) arranges this programme of Mini Concerts, in collaboration with the Museo Reina Sofía and framed within OCNE’s special events scheduled for 2018.

This session spotlights film-maker João Moreira Salles (Rio de Janeiro, 1962) and his recent film No intenso agora (In the Intense Now, 2017), which revives the international jolt of May’ 68 through the reassembly of now-familiar film archives. Moreira Salles, regarded as one of the foremost exponents of contemporary documentary-making, will present the film via video conference.

In Loie Fuller: Research, choreographer Ola Maciejewska critically appropriates the “dancer’s dress” invented by Loie Fuller (Illinois, 1862–Paris, 1928), one of the most innovative and widely recognised dance artists in modernism.

The Museo Reina Sofía brings International Dance Day forward to Saturday 28 April with a double programme showcasing the work of choreographers Sofía Asencio (Societat Doctor Alonso) and María Muñoz (Mal Pelo), accompanied by Tirso Orive and Federica Porello, respectively.