Activities

This series presents the documentary and non-fiction cinema of five women filmmakers from the Middle East and the Maghreb: Atteyat Al-Abnoudy (Egypt, 1939–2018), Assia Djebar (Algeria, 1936–2015), Jocelyne Saab (Lebanon, 1948–2019), Heiny Srour (Lebanon, 1945) and Selma Baccar (Tunisia, 1945). Despite hailing from different regions and origins, their careers all started in the 1970s and they are representatives of a historical and countercurrent feminism that gives voice to the stories drowned out by the official history in countries of Arab culture.

The 23rd Contemporary Art Conservation Conference, organised by the Museo Reina Sofía’s Department of Conservation and Restoration and supported by MAPFRE Foundation, will be held on 24 and 25 February 2022. As an international encounter it sets out to share and debate experiences and research, open new channels of study and reflect upon the institutional management of conservation and the professional practice of restorers.

These sessions set out from the idea that a feminism with the will for transformation must prioritise the most oppressed and violated needs, giving precedence to those who sustain the reproduction of life with their work. A feminism that is truly transformative must place the material conditions of existence at the centre and be able to build syndicalism based on stable networks of mutual support, politicising individual problems and allowing struggles to connect, and at the same time intersecting racial, gender and class oppression.

Across six sessions, the study group Conjugating Worlds: Multi-Species Corporealities seeks to investigate alternative models in cultural and art theory, and in artistic practices, which radically challenge the relationship between animals and humans.  

The programme includes five of Tahimik’s feature-length films and a “carte blanche” session for the director, as well as Tahimik’s first appearance in film as an actor. Further, the series features debates and in-person conversations with the film-maker and his son, collaborator and leading actor, Kidlat de Guia.

Over the past six years, the Southern Conceptualisms Network and Museo Reina Sofía have joined forces to arrange this periodic encounter, which stems from the common sentiment of the need to urgently strike up a dialogue between spaces where memory gestates. This fourth edition, under the title Archives to Come, calls upon imaginative powers underlying archive practices and thought and the way in which they are capable of proposing alterations to the dominant temporalities limiting the construction of other chronologies, the seed of different futures.  

March 8 has become a symbol of protest that flows beyond this date to solidify synergies and feminist, historical and present struggles. For over a century now, this day has condensed and amplified a first basic premise: rights for all women always, every single day. From numerous corners, from the past and the present, we aspire to many more 8Ms — every single day. In this way, this program started in February will be extended until June. 

The Museo Reina Sofía welcomes a video programme created by contemporary Turkish artists, featuring works commissioned by the SALT Contemporary Art Centre — with sites in Istanbul and Ankara — to commemorate the tenth anniversary of the institution. Under the title Ardışık (The Sequential), the programme sketches the scene of the most salient recent art in Turkey and is set forth as a reflection of the major debates taking place in the country.

This fresh edition centres on the first screening in Spain of Mapping Lessons, a film made by Cairo-based film-maker and artist Philip Rizk, who will also be present at the event. The film is a montage of archives on the history of mass uprisings, spanning the Paris Commune in 1871 and more recent examples of self-organisation in Syria.

Archipelago once again makes its yearly return, inviting audiences to explore the complexity of the contemporary world through listening. In this particular edition, it looks to delve into the discourse of modernity in experimental music, its unrecognised roots and the history, politics and ideologies that govern our tastes.

This new edition analyses the presence of architecture in the Museo Reina Sofía’s Central Archive, a repository of memory containing, in fragments, the history of the institution: its origins as a hospital of neoclassicism, its role during the Spanish Civil War as a field hospital, its transformation into an art centre and its expansion as an international museum. Various landmarks that enable a micro history of civil and public architecture to be traced from the 18th century to the present day, but without losing sight of the process of configuration and the idea of what a museum must be.

This lecture series, the third instalment organised by the interuniversity group TURICOM — which is part of the project Paradoxical Modernity: Artistic and Tourist Experience in Developmentalist Spain (1959–1975), PGC2018-093422-B-I00 (MCI/AEI/FEDER, UE) — endeavours to examine the relationship between tourist imaginaries and the visual arts from the 1960s onwards. . More specifically, this new edition centres on the concept of ruin as a centre of attraction for cultural habits and practices inside the sphere of tourism.

ESTUDIO III in Conversation is an encounter which is part of ESTUDIO III. Go Out to Encounter. Speak to Place, the third edition of a programme which brings together the investigations of artists and researchers whose practices are tied, either directly or dialogically, to the sphere of choreography and performance, voice and word.

The Museo Reina Sofía presents the third edition of ESTUDIO, an annual programme which brings together work in a range of formats and is the outcome of research conducted by a series of artists and researchers whose practices are tied, either directly or dialogically, to the sphere of choreography and performance.