Activities

This conference presents recent examples of the work of the Radical Education collective, whose research deals with political imagination in art. The research process they put forward includes collective translations of Marx’s A Worker’s Inquiry, with the aim of questioning new modulations and regulations of work.

The Centro Nacional de Difusión Musical (CNDM) is committed to strengthening the Spanish repertory of string quartets, as one of the most important and richest channels of musical creation of recent years. To this end, it has commissioned a new piece by the master Antón García Abril, one of the most outstanding composers of his generation.

The CNDM has offered one of its 15 commissions to the Gijón-born composer Juan José Eslava (1970), who divides his time and career between Japan and Madrid.

The public presentation of the Julián Díaz Sánchez research residency. This project analyses Spanish Informalism in relation to the exhibition New Spanish Painting and Sculpture, held in New York’s MoMA in 1960.

Reactivate/reinterpret brings together a varied group of specialists from different fields with the idea of analysing the place of performative practices within the realm of contemporary art museums. The series is comprised of various public lectures, workshops with the students of the Study Centre and two art interventions, by Jerôme Bel and Falke Pisano.

Founded in 2008, the young Granada-based group Neoars Sonora will be at the Centro Nacional de Difusión Musical (CNDM) to give the premier performance of two new works: Quasi una serenata by Jorge Fernández Guerra and Aleph, for voice, violin, cello and piano, by the Gerona-born composer Iluminada Pérez.

This performance, organised in connection with the exhibition Locus Solus. Impressions of Raymond Roussel, is a unique opportunity to see the work of Guy de Cointet in the context for which it was conceived, somewhere between the theatre and the museum. Put on by the Dutch company If I Can't Dance, I Don't Want To Be Part Of Your Revolution, the two plays are the result of a long research process related to the complexity of re-staging.

This presentation by Ángel González, Eva Rivas, José Luis Gallero and José María Parreño explores the life and work - inseparable from one another - of Quico Rivas. Cómo escribir de pintura sin que se note [How to write about painting without anybody noticing] is the name of a collection of critical texts written by the critic in the final years of his life.

This activity is divided into two sessions: a conference and guided visit through the rooms devoted to the Spanish Republic Pavilion. Both endeavour to contrast and draw connections between three exhibitions presented in Munich, Paris and New York in 1936 and 1937 in order to analyse the footprints of post-war art and the Museo’s Collection.

At this round table, the artist, theorists and project participants debate the exhibition Entre/Between, from its narrative components up through its spatial arrangement and the way it speaks to the public.

Guernica, a testimony and condemnation of the bombing by Franco's forces of the Basque town of the same name is considered a foundational work of 20th century art and it continues to be a universal symbol of the struggle against oppression. Its arrival in Madrid in September of 1981 was presented as the symbolic conclusion of Spain's transition to democracy following the dictatorship. The complicated diplomatic negotiations undertaken to bring about the painting's move were also the first important steps in cultural policy to be taken by the country's new government, and they highlighted the role that avant-garde art would play in the official culture of Spain's young democracy. With its arrival, it ceased to be the emblem of dissidence against the dictatorship and became the symbol of the healing of the fracture between the two historical factions in Spain: a sign of the reconciliation upon which the new democratic society would be based.

In this concert, Morton Subotnick is accompanied by the visual artist Lillevan, a frequent collaborator of musicians on the experimental music scene, who will offer a visual interpretation of Subotnick's music. The concert will feature pieces from Silver Apples Of The Moon (1967) and from another one of his pioneering albums, A Sky of Cloudless Sulfur (1978).

This series presents a number of videos and performances that have arisen out of contemporary feminist, queer/cuir and "transmarikabollo" (Spanish slang term for LGBT) practices situated within the tradition of guerrilla video: exercises in appropriation of lightweight mass media as counter-information media, but also as dissident gender and sexuality production techniques.

Five hundred years into the invention of America, and two hundred years after the birth of the first Latin American republics, a question appears, like an inescapable shadow, hidden in the very name comprising these countries: Is it possible to think about a thing called Latin America? Is it even possible to think of it as a unit that can be grasped? Evidently, the answer is no. However, the main issue eludes this contradiction inasmuch as the name given to this part of the world calls for general reflections that encompass the whole and also multiple reflections that go further and take into account particular questions relevant to each geographical area.

The art critic and independent curator Santiago Olmo has a conversation with the artist Soledad Sevilla about the exhibition Written in the celestial bodies, a site-specific installation at Palacio de Cristal in Madrid's Parque del Retiro.

Spoken Exhibition is an alternative history of Polish art since 1960, a history that tells about the creation of art institutions, the major exhibitions and the art gestures that have determined the specificity of a post-communist era. It is presented as a cross between performance art and narrative that is reinterpreted and reread in every new context in which it takes place.

Comprised of a guided visit to the exhibition Fragments of memory, with commentary by the artist, followed by a colloquium with the audience, this workshop seeks to articulate both languages, that of the visible and that of the verbal, that of the artist and that of the audience or that of the exhibition and that of debate, as keys to understanding Elena Asins' work.

The exhibition Locus Solus. Impressions of Raymond Roussel, is about the legacy of Raymond Roussel, one of the lateral histories of modern art. In this conversation, the exhibition's curators discuss the keys to understanding the poetic universe of Raymond Roussel and his significance in artistic modernism.

In a lecture entitled René Daniëls revisited, the art critic Dominic van den Boogerd discusses some of the recurring themes found in Daniëls' oeuvre: his fascination for the picture as a "fleece" and for painting as a play of appearances and disappearances.

The book Rethinking Dramaturgy. Errancy and Transformation is the product of the First International Seminar on New Dramaturgies (Centro Párraga, 2009). Its presentation in the Museo marks the beginning of the academic year in the Master’s in Performing Arts Practices and Visual Culture in the Study Centre.

At the end of 1950, Jorge Oteiza concluded his investigations in the field of sculpture but, far from fading away, his aesthetic interests continued in a different sphere, one previously unexplored by him: film.

This conversation serves as an introduction to the largest retrospective to be held to date on the Italian artist. alighiero boetti. game plan is co-produced by Tate Modern (London), MoMA (New York) and the Museo, and is curated by Lynne Cooke, Mark Godfrey and Christian Rattemeyer.

Brazilian cinema back then was not just film, it was something more: cinema of invention, Quasi-cinema, experimental cinema, barbaric cinema, bad taste cinema, Boca do Lixo, Cinema Marginal, udigrudi, pornochanchada. These are the expressions used by both critics and by the artists and filmmakers themselves to describe an important part of the film production of those years.

Acoustic Space is a music series featuring national and international artists that show the various facets of contemporary musical creation. Through this series, Museo Reina Sofía, in collaboration with Mahou and its program Afterwork by Mahou Premium Light, enables audiences to get to know new conceptions of jazz, electronic music derivations and the radical eclecticism that characterises today's music, as well as the points of contact between the classical music tradition and the popular tradition, the boundaries of which are becoming less and less defined.

Screening of Jeffrey Wolf’s documentary James Castle: Portrait of an Artist. The film is introduced by Ann Percy, curator at the Philadelphia Museum of Art and also curator of the exhibition James Castle: A Retrospective, and Lynne Cooke, assistant director at the Museo and curator of the exhibition James Castle: Show and Store.

In the midst of many changes in the area of audiovisual screening, as commercial circuits undergo a constant narrowing process, Museo Reina Sofía and ICAA (Madrid's Institute of Cinematography and Audiovisual Arts) reformulate the former as a new space for film.

Once again the Conference on Computer and Electronic Music offers a series of workshops on sound production and post-production, concerts dedicated to the aural perception of space and to live improvisation and sound projection, as well as a series of reflections, in a conversation and round table, about the artistic possibilities of radio and a fresh look at the Museum Collection from a new perspective, the auditory sphere.

Acoustic Space is a music series that brings together national and international proposals that reflect the various facets of contemporary musical creation.

Migraciones escénicas is the second stage of a project on research in the performing arts, organised by Artea in collaboration with international groups in Germany, Brazil, Chile, Slovenia and Turkey.

The aspiration of this audiovisual series is to make meanings explode upon collision; it is an arranged disagreement between the sections and works that constitute the general program.

In this performance piece, Maja Bajevic uses gestures and situations to look at how ideology operates. The performance goes on for four hours a day, for two five-day periods. The tools used are also left on view to the public during the exhibition.

To mark the occasion of the exhibition Lygia Pape. Espacio imantado, there will be a performance of the artist's piece Divisor, in which audience participation plays a vital role. With Divisor, Pape wanted to create a collective work that could be repeated even when she was not present.

Los Rencontres Internationales París/Berlín/Madrid ofrecen un espacio de encuentro entre diferentes ciudades europeas, artistas y crítica, mostrando tanto ciclos como las últimas realizaciones audiovisuales de carácter experimental.