Exhibition. Beatriz González

Beatriz González, Zócalo de la comedia, 1983. Museo Nacional Centro de Arte Reina Sofía, Madrid

Beatriz González, Zócalo de la comedia, 1983. Museo Nacional Centro de Arte Reina Sofía, Madrid

The work of Beatriz González (Bucaramanga, 1938), widely regarded as one of the seminal artists from the Colombian art scene, occupies a unique place in the history of Latin American art — not only is she a pioneer of Pop Art, but also, almost without calculation, an incisive and coherent chronicler of recent Colombian history. Setting out from the anonymous quote “art relates what history cannot” — used frequently by the artist — her work orbits around memory; memory not as a pretext for nostalgia, but, on the other end of the scale, something tightly bound to the present. González draws inspiration from the mass media, engaging in dialogue with popular narratives and formal painting, or appropriating press photographs, reinterpreting them through drawing, painting, graphic art and sculpture.

Dates: From March 22 to September 2, 2018
Location: Parque del Retiro, Palacio de Velázquez
Organized by: CAPC musée d’art contemporain de Burdeos, Museo Nacional Centro de Arte Reina Sofía, Madrid, and KW Institute for Contemporary Art, Berlín
Curated by: María Inés Rodríguez


Screening. P. Adams Sitney. Modes of Vision. American Avant-Garde Cinema in the Second Half of the 20th Century

Su Freidrich. Gently Down the Stream. Film, 1981

Su Freidrich. Gently Down the Stream. Film, 1981

P. Adams Sitney has carried out studies on experimental and auteur cinema, most notably The Cinema of Poetry (2014), Eyes Upside Down. Visionary Filmmakers and the Heritage of Emerson (2008), Visionary Film: The American Avant-Garde (1943-2000) (2002) and Vital Crises in Italian Cinema (1995). Not only are his works among the first accounts of these practices — with interpretations that are both complex and illuminating — they have also formed a large part of the vocabulary embedded in this film genre. Moreover, his intellectual work goes hand in hand with a way of understanding cinema as an ever-evolving language and a poetic experience.

Dates: 15 and 19 March, 2018 - 7pm
Location: Sabatini Building, Auditorium
Organized by: Museo Reina Sofía
Admission: Free, until full capacity is reached


RSS. Radio del Museo Reina Sofía. Adam Curtis. Dancing and cibernetics

“We live in a strange time. Extraordinary events keep happening that undermine the stability of our world: suicide bombs, waves of refugees, Donald Trump, Vladimir Putin, even Brexit. Yet those in control seem unable to deal with them and no one has any vision of a different, or a better, kind of future. This film will tell the story of how we got to this strange place”. This is the opening of HyperNormalisation, one of the most influential films in recent memory. Since the 1990s, its director, Adam Curtis, has unrelentingly revealed the way power works, its meandering architecture, the ideas that configure it, the agents and institutions involved, the way it is etched into contemporary geopolitics, into us. Power reverberates through and constructs one of the most fervent, lucid and revealing bodies of work in recent times, a bona fide natural history of the present, of the times in which we live.

Museo Nacional Centro de Arte Reina Sof�a

Museo Nacional
Centro de Arte Reina Sofía

T (+34) 917 741 000
NIPO: 036-13-031-0

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