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Cinema and Video

The audiovisual programs are intended to counteract the predominant model of the black cube, even at a time in which both film and video have become fully integrated and dissolved into contemporary art museums. Their aim is to explore the projected image using different formats and discourses: historical series that broaden – and question – the narrations told by the Collection, retrospectives that draw attention to other stories in the audiovisual history and programs that examine the close links that film and video have with contemporary artistic practices. At the same time, this programming seeks to define a space for film and video outside of the usual circuits, describing itineraries distinct from the spectacle and its derivatives.    

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  • Antoni Muntadas y Toni Serra. The Limousine Project, 1991
    20 september, 1998 - 21 october, 1998
    Cinema and video Film series

    Twenty-five years separate the first video work by Antoni Muntadas (Barcelona, 1942), Acciones (a study of the so-called sub-senses carried out from a series of experiments done between 1971 and 1973), and his latest episode of Political Advertisements (1984-1996), the fourth piece dedicated to analysing election campaigns in the United States, where he has lived since the 1970s. This selection presents these twenty-five years of video work by Muntadas, a pioneer in new audiovisual and electronic media and one of the most important directors, both nationally and internationally. The programme includes all of his video work, 21 single-channel pieces organised into nine programmes arranged chronologically, allowing the viewer to follow the evolution of his interest in the context of the media, which has influenced all of his work.

  • John J. Healey. Retrato de Familia, 1998
    2 september, 1998 - 26 september, 1998
    Cinema and video Film series

    Federico García Lorca (Fuente Vaqueros, 1898 - near Alfacar, 1936) is one of the most brilliant poets in Spain’s literary history. An emblematic figure from the Spanish art and literary avant-garde along with Luis Buñuel and Salvador Dalí, and member of the Generation of ‘27 alongside Luis Cernuda, Vicente Aleixandre and Dámaso Alonso, since his assassination, Lorca has also become the immortal symbol of the tragedy that Spain experienced during the Spanish Civil War. On the occasion of the centenary of his birth, the Museo Nacional Centro de Arte Reina Sofía has become the venue for the most important exhibition dedicated to the author to date. The film cycle, About Federico García Lorca, conceived as part of this exhibition, features the latest audiovisual pieces dedicated to the writer in our country, as well as the few film images that have been preserved of him, interviews with family members and friends and witnesses to the intense and passionate life and work of this universal poet.

  • La Féerie des Ballets fantastiques de Löie Fuller, de George R. Busby, 1934
    6 may, 1998 - 30 may, 1998
    Cinema and video Film series

    Video dance is usually linked to the origins of video and its relationship to contemporary dance, following the evolution of creators, artistic languages and the use of technology in the search for common ground where the two forms of expression complement each other in the communication of ideas and creation of emotions. However, the relationship between dance and image is not exclusive to the last quarter century; in fact, since its earliest days, a special attraction has existed between film and dance that today, after nearly one hundred years, still merits analysing.

  • Geoffrey O'Connor. El límite de la conquista. El viaje del jefe Wai-Wai, 1992
    1 april, 1998 - 25 april, 1998
    Cinema and video Film series

    How should Latin America be represented? Where is it? Can it be reduced to some geographical limits? Or can its space be reproduced in other spheres, like the U.S., where Latinisation is a trend that will reach its apogee in the 21st century? The Idea of a Place is a video programme that focuses on Latin America as a space/location, an ‘absolute place’ that is the sphere of authentic nomadism, directly confronting contemporary concepts of space and location, as well as the possibility of the production/reproduction of images using technology to represent both fact and fiction. Anna Bella Geiger (Rio de Janeiro, 1933) in Mapas elementales nº 3 (1976), Louis Hock (Los Angeles, 1948) with the work The Mexican Tapes: A Chronicle of Life Outside the Law, (1986) and José Gabriel Fernández (Caracas, 1957) in Hotel Arizona are some of the artists featured.

  • Justin Bennet. Sistema de Resonancias, 1991
    4 march, 1998 - 21 march, 1998
    Cinema and video Film series

    Holland is a country that has historically been open to the outside world, not only because of the different cultures that have come together within its borders, but also because of the travelling spirit of its inhabitants. Consistent with this idiosyncrasy, video art in the Netherlands has developed within an international context since the beginning. Video Art in Holland: Two Views is a series that features a selection of the most important videos from the 1997 World Wide Video Festival, the most cosmopolitan video festival in Europe, held at the Stedelijk Museum in Amsterdam between 12 and 17 September 1997.

  • Abderrahmane Sissako. Rostov – Luanda, 1997
    31 january, 1998 - 28 february, 1998
    Cinema and video Film series

    Films from documenta X is a film and video programme that features a unique event in the history of the festival held in Kassel every five years: the creation of its own audiovisual programme, consisting of a group of fiction films and documentaries conceived and created at the behest of the documenta festival. This date on the art calendar has a long history, going back to 1955 when Arnold Bode, the exhibition founder, used the so-called Bode Plan to express his desire to present “foreign and national films in Kassel”. Accordingly, the first documenta featured 40 Years of Film Documents, while the series Happenings and Fluxus accompanied documenta 5. In addition to a selection of videos and an experimental film series, documenta 6 featured Cinema of the 1970s, and Parsifal (1982) by Hans Jürgen Syberberg (Nossendorf, 1935) was screened at the opening session of documenta 7. Finally, the film sequence Jazz-Boxing-Baseball formed part of documenta 9.