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17 and 25 July, 2013
Carlos Reygadas
Post Tenebras Lux
Technical credits: 2012. Mexico, France, Germany, Holland, in the original Spanish, colour and sound, 120´.
Screening format: Blu-ray
With this film – which has been polemical since its premiere – Reygadas opts for a hermetic discourse to explore the oppressive violence infusing the social spectrum in Mexico. With rigorous formalism, the film launches the spectator into a dense chronology that captures the collapse of a man dragged along by the inertia of his life. What is apparently a self-imposed exile in the countryside with his family does not free him of his sense of alienation; neither the rural idyll nor the everyday activities he shares with the locals calm the irrational attacks of fury and loneliness.
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19 and 27 July, 2013
Juan Carlos Rulfo y Carlos Hagerman
Los que se quedan
Technical credits: 2008. Mexico, in the original Spanish, colour and sound, 98´.
Screening format: Blu-ray
This film portrays several towns inhabited exclusively by women and children, no men whatsoever, as a consequence of the transformation occurring in Mexico's rural communities due to migration to the United States. Rulfo and Hagerman document the intimate consequences of migration, how these consequences change everyday life, projects and aspirations, using a singular poetic of abandonment to address a theme commonly found in Mexican cinema.
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24 July and 1 August, 2013
Emiliano Altuna, Carlos Rossini y Diego Osorno
El alcalde
Technical credits: 2012. Mexico, in the original Spanish, colour and sound, 80´.
Screening format: Blu-ray
As an example of a violent response to a catastrophic state of affairs, this film portrays Mauricio Fernández Garza, the controversial mayor of San Pedro Garza García, in Monterrey, Nuevo León, the richest and safest municipal in all of Latin America. A radical and unpredictable figure, his ideas and strategies for keeping order have led to major debate at the national level. Is fighting crime from outside the law a valid solution? What are the consequences of a state alongside the State? -
26 July and 3 August, 2013
Nicolás Pereda y Jacob Secher Schulsinger
Matar extraños
Technical credits: 2013. Mexico and Denmark, in the original Spanish, colour and sound, 63´.
Screening format: Blu-ray
Pereda and Secher Schulsinger deconstruct the collective myth of the Mexican Revolution, inquiring into how history and the past are integrated into the present. On the one hand, the film tells the story of three men lost in the desert hoping to join the armed struggle and, on the other hand, it shows a series of rehearsals and auditions with different actors who improvise dialogues for a film about the Mexican Revolution.
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31 July and 8 August, 2013
Kyzza Terrazas
El lenguaje de los machetes
Technical credits: 2011. Mexico, in the original Spanish, colour and sound, 78´.
Screening format: Blu-ray
What are the radical ideas and insurgencies of today, the result of the unfinished processes of independence and revolution? Behind Ray and Ramona's turbulent relationship, this film exposes class contradictions and rocks the artificial pillars of national unity. It draws a dramatic line that oscillates between self-sabotage and extreme idealism, coalescing in the couple's iconoclastic impulse to pulverize the Basilica of Guadalupe, with the idea of “creating a better world”. -
2 and 10 August, 2013
Michel Franco
Después de Lucía
Technical credits: 2012. Mexico, in the original Spanish, colour and sound, 93´.
Screening format: Blu-ray
In this film, the adolescent body becomes the record of a reality torn apart by traumas, chaos and paralysis. After the death of her mother, a young woman and her father move to the capital city. She soon becomes the target of her classmates, but she resists stoically so as not to upset her father. Franco constructs a revealing and precarious suspension, between extreme violence and silent resistance. -
7 and 17 August, 2013
Roberto Fiesco
Quebranto
Technical credits: 2012. Mexico, in the original Spanish, colour and sound, 95´.
Screening format: Betacam Digital
With a highly theatrical mise-en-scene, Roberto Fiesco portrays the memory, strength and vitality of two women who have faced a series of losses. Inhabitants of a world of memories, Coral Bonelli, now a transgender actress and dancer, along with her mother, Lilia Ortega, who is also an actress, share with each other and with the spectator a series of tragicomic testimonies. The film highlights the prejudices still associated with the body and with identity, and the fight against them. -
9 and 22 August, 2013
Michel Lipkes
Malaventura
Technical credits: 2012. Mexico, in the original Spanish, colour and sound, 75´.
Screening format: Blu-ray
Using a minimalist style, Michel Lipkes captures the everyday gestures of an old man in Mexico City, on his last day of life. The film deals with the proximity of death, showing the protagonist's attempts to remain steady in a world that is pushing him out. Extended time and slow-motion gestures illustrate a banal day, a decrepit place and an old man in decay but who tries, in spasmodic impulses, to hold on to life. -
14 and 24 August, 2013
Everardo González
Cuates de Australia
Technical credits: 2011. Mexico, in the original Spanish, colour and sound, 90´.
Screening format: Blu-ray
On a ranch in the Sierra de Coahuila, in northeast Mexico, the severe droughts that plague the area seriously threaten the health of its inhabitants. This documentary records the resulting exodus but also resistance and strategies for survival. Cuates de Australia is an example of how the cultural imaginary regarding a territory can become an archipelago of topographies as uninhabitable as they are inevitable, a forgotten space in which to try out new paths of resistance. -
16 and 28 August, 2013
Kenya Márquez
Fecha de caducidad
Technical credits: 2011. Mexico, in the original Spanish, colour and sound, 80´.
Screening format: Blu-ray
A mother looking for her son, fearing he has been a victim of organized crime, and a young woman fleeing from a stormy past. Between the morgue and a residential building, the steps of these women draw in spectators and show them the insides of a Mexico that is surprising and at the same time familiar. The film's cathartic moments allow Márquez to experiment with another way of navigating through the social configurations generated by drug trafficking, the mafia and the vestiges of an obsolete patriarchy. -
21 and 29 August, 2013
Gabriel Mariño
Un mundo secreto
Technical credits: 2012. Mexico, in the original Spanish, colour and sound, 87´.
Screening format: Blu-ray
Using the structure of a road movie, the director captures the state of vulnerability and impenetrability typical of adolescence. The film follows a young woman whose sudden decision to leave the vacuum of her life at home and school leads her to cross the uncertain landscapes of Northern Mexico, revealing improbable moments of shared solitude. Mariño looks at the turbulent transition from childhood to the adult world without falling prey to the clichés often appearing in narratives about adult transition. -
23 and 30 August, 2013
Eduardo Villanueva
Penumbra
Technical credits: 2013. Mexico, in the original Spanish, colour and sound, 88´.
Screening format: Blu-ray
Shot during the first rays of the morning sun or in the fading light of the late afternoon, Penumbra paints a picture of daily life and poverty in rural Mexico, with its characteristic slow pace of life and with very little dialogue. The story's main character, an old hunter in his final days, lets viewers read between the lines about the violence that saturates the country's rural areas. With its contemplative character, Penumbra alludes to a cinema 'on hold', but also to the non-time created by the absence of a future.

Held on 17, 19, 24, 25, 26, 27, 31 Jul, 01, 03, 06, 07, 08, 09, 10, 14, 16, 17, 21, 22, 23, 24, 28, 29, 30 Aug 2013
This summer film series explores one of the contemporary cinematographies that, although very interesting, is among the least distributed in Europe. Midway between new auteur voices and the poetics of documentary, this series shows how film responds to a situation of provisionality and how it imagines the future from the vantage point of uncertainty.
The audiovisual series Imminent Mexico looks at how a generation of filmmakers deals with a present that is provisional, that has major changes looming, and it reveals how an uncertain and immediate future is imagined, due to the difficulty of foreseeing the long term. The twelve films comprising the program, by filmmakers such as Carlos Reygadas, Nicolás Pereda, Juan Carlos Rulfo and Michel Lipkes, and others, offer a critical commentary of the country's current situation, while at the same time exploring a range of themes, forms and styles that in recent years have given Mexican cinema considerable international recognition. The films programmed transit between purely documentary strategies to the resources used in fiction, including a dose of the irreverent spirit typical of experimental film, but most of all they show the blurring of obsolete frontiers and a marked hybridisation between genres.
This new cinema, identified with a type of filmmaking that can be described as 'on hold', favours the creation of atmospheres over orthodox narratives, presenting palimpsestic, surreal or minimalist narrations and chaotic and desolate landscapes that reflect the tacit violence permeating everyday life. The uncertainty of the future has prompted various filmmakers to focus on people's interior lives, subjective experiences and family dynamics. Their work invites viewers to journey through fragmented territories, to inhabit parallel worlds that point to the strange geography formed by migration circuits and organized crime, or to follow subjects who are lost in thought, absorbing the uncertain present and being pulled by the undertow of the future. The detachment of this contemplative cinema evokes the state of alienation of a country in which a perpetual state of alert has become the norm; the visceral nature of a cinema 'on hold' documents the bodies that dramatize social deterioration while the comedy of the absurd reminds us that the end of the world responds to a number of different logics. It can be dramatic, it can be a slow fade to black or it can be the indication of a liberating optimism.
In this respect, the selected films offer glimpses instead of exact visions, they produce distorted refractions more than precise reflections or mirror images of reality; some films intentionally lose their focus, showing only glimmers, fragments, mirages; they reveal some aspects of the world while simultaneously concealing others; in short, they observe reality, assuming its inevitable aura, a key aspect of an aesthetic and a cinema of imminence that is having a considerable impact on contemporary audiovisual culture.
Itinerary
Centro de Cultura Digital, México D.F., March 20 to April 6, 2014, CPH:Dox, Copenhagen. Second semester, 2014
Curatorship
Antonio Zirión and Mara Fortes
Itinerancies
Museo Nacional Centro de Arte Reina Sofía, Madrid
17 July, 2013 - 30 August, 2013
Centro de Cultura Digital, México D.F.
20 March, 2014 - 6 April, 2014
Más actividades

Institutional Decentralisation
Thursday, 21 May 2026 – 5:30pm
This series is organised by equipoMotor, a group of teenagers, young people and older people who have participated in the Museo Reina Sofía’s previous community education projects, and is structured around four themed blocks that pivot on the monstrous.
This fourth and final session centres on films that take the museum away from its axis and make it gaze from the edges. Pieces that work with that which is normally left out: peripheral territories, unpolished aesthetics, clumsy gestures full of intent. Instead of possessing an institutional lustre, here they are rough, precarious and strange in appearance, legitimate forms of making and showing culture. The idea is to think about what happens when central authority is displaced, when the ugly and the uncomfortable are not hidden, when they are recognised as part of the commons. Film that does not seek to be to one’s liking, but to open space and allow other ways of seeing and inhabiting the museum to enter stage.
![Joseph Kosuth. One and Three Chairs [Una y tres sillas]](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/joseph_kosuth.jpg.webp)
The (legal) person and the legal form. Chapter III
Monday 11, Wednesday 13 and Thursday 14 May 2026 - Registration deadline extended
As part of the Studies Constellation, the Study Directoship’s annual fellowship, art historian and theorist Sven Lütticken leads the seminar The (Legal) Person and the Legal Form: Theoretical, Artistic, and Activist Commitments to foster dialogue and deepen the hypotheses and questions driving his research project.
The seminar consists of eight sessions, divided into three chapters throughout the academic year. While conceived as non-public spaces for discussion and collective work, these sessions complement, nourish, and amplify the public program of the Studies Constellation.
First session of the third chapter focuses on the transformation of the artwork in the context and wake of Conceptual art. The very notion of the artwork, together with its ownership and authenticity, is reconsidered from a broad perspective open to new and alternative models of management, which could ultimately transform the relationship between artist, artwork and owner. Can some of the practices in question serve as critical models? To what extent is it possible to think and act with them, and extrapolate from them, beyond a beautiful niche?
The second session turns to the question of representation. While many (but not all) human natural persons can, in principle, represent themselves in legal matters, other needs representatives. This goes for minors as well for adults who have been placed under legal guardianship; it applies to fictitious persons such as corporations and states, who need human representatives to sign contracts or defend them in court. We will look into the question of legal representation in conjunction with other forms of representation, in the cultural as well as political register—taking cues from Spivak’s distinction between portrait (Darstellung) and proxy (Vertretung), which is an unstable and historically mutable one.
The seminar concludes with a closing session dedicated to collectively revisiting and reflecting on the themes and discussions that have emerged throughout the first Studies Constellation Residency Program.

Collection. Contemporary Art: 1975–Present
Miércoles 13 de mayo, 2026 - 19:00 h
In this lecture, Museo Reina Sofía director Manuel Segade outlines the key readings of the new presentation of the Collection on Floor 4 of the Sabatini Building. This new arrangement is framed inside an ambitious rehang that harnesses the uses of the Museo’s architecture, in a plan that will continue in 2027 with the opening of Floor 3 in the same building, culminating with Floor 2 in 2028.
The new rehang of the Collections, unveiled on 16 February 2026, sets forth a journey through contemporary art history over the past fifty years in Spain. Rather than an unambiguous narrative, the floor recounts the same period — from the Transition to democracy in Spain to the present — in three different ways, starting back at the 1970s time and again.
The exhibition route gets under way with a prologue that travels through the affections, material culture and institutionalism of the Spanish Transition, serving as a starting point for the three routes that follow. The first, A History of Affect in Contemporary Art, advances from affective systems in artmaking linked to the second wave of feminism, arriving at grief as a tool to interpret new realities. The second route, The Powers of Fiction: Sculpture, New Materialisms, and Relational Aesthetics, is conceived as a sculpture gallery in which the artworks engage with the public, focusing on the performance side of the discipline. This route shows, among other aspects, how Spanish sculpture has gained significant international visibility since the 1980s, with women artists playing a key role in this display. The third route, A New Framework. The Institution, the Market, and the Art that Transcends Both, zooms in on the origins of the Museo and its role in the process of art’s institutionalisation in Spain. In May 1986 the Centro de Arte Reina Sofía opened, occupying the first and second floors of the former hospital: the forty years that have elapsed since then enable a re-evaluation of the effects of the Museo on Spanish art and art on the institution.
This talk strengthens the goal of socially integrating the narratives produced by the Museo at a time when the Collections are under permanent review.

Patricia Falguières
Tuesday May 12th 2026 – 19:00 h
Art historian Patricia Falguières inaugurates the María Luisa Caturla Chairwith the lecture Art History in Dark Times. This Chair, dedicated to the reflection on art in times «sick with uncertainty», is aimed at dismounting, digressing and imagining multiple temporalities and materialities in art history and cultural studies from an eccentric gaze, in the sense of being displaced, off-centre or with a centre that is different.
The lecture’s title references Hannah Arendt’s collection of essays Men in Dark Times, which in turn paraphrases a Bertol Brecht poem. In it, Arendt asserts «dark times are not only not new, they are no rarity in history».
Patricia Falguières also claims history knows many periods when the public realm has been obscured, when the world becomes so uncertain that people cease to ask anything of politics except to relieve them of the burden of their vital interests and their private freedom. The art historian —whose expertise is in the field of Renaissance art and philosophy but paying close attention to contemporaneity— invites us to a «chaotic and adventurous journey», from the Italian Renaissance to Fukushima, through which to delve into the questions: What can the practice of art history mean today, in a world ablaze with ominous glimmers and even more ominous threats, if not as mere entertainment or social ornament? Of what vital interests, of what freedom can it bear witness and serve as an instrument?

School of SUP: Trash Cinema Session
Thursday 30 April 2026 – 7pm
The deranged study plan by School of SUP, an equipo1821 development, brings to public attention their unique display of classwork with this screening. The session shows three short films made with analogue cameras, written and edited by and starring, collectively, students in pure DIY style, followed by a presentation of American SUP (2026), a feature-length and irreverent trash film by Soy una pringada and Dani Tezla.
American SUP (2026) is a US road trip through the American Midwest, recorded with a camera from 1997, in which YouTuber, DJ, cultural agitator and cult internet personality Soy una pringada and Dani Tezla direct and star in an adventure with no shortage of stellar appearances and impossible settings: the home of American Football, a corpse store, the Rainforest Café storm, a Cannibal Corpse gig, a basement in Minnesota, foul hotels, cuck chairs and a clown-filled hall of fame. The film is a lo-fi, folk-tinged version of American Gothic, a genre practised by film-makers such as George Kuchar, Harmony Korine and Sean Price Williams.
This session, moreover, is articulated with the core strands of the equipo1821 education programme School of SUP. Film, Art and Nihilism in the 1990s, which, through film — mainly from the 1990s — explores different underground practices, urban cultures, crossovers of art with popular culture and a kind of generational adolescent angst as background noise.