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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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  • Kleber Mendonça Filho. O som ao redor (Neighbouring Sounds). Film, 2012
    July 16 - August 13, 2015 - 10:00 p.m.

    Scene Games

    Contemporary Cinema in Latin America

    Cinema and video Film series

    This film series presents a panoramic view of recent independent film from Latin America, while also introducing a new screening area in the Museo – the transformation of the outdoor terraces into a new open-air cinema. Scene Games offers an interpretation of the latest films from Latin American cinema, barely seen in Europe, where theatricality is the key element in approaching reality.

  • Videoframe of Dance or Exercise on the Perimeter of a Square (Square Dance), 1967-1968 de Bruce Nauman. © Bruce Nauman, VEGAP, Madrid 2015. Courtesy of Electronic Arts Intermix (EAI), New York
    June 8, 11, 15, 18, 22, 25 and 29; July 1 and 2, 2015 - 7:00 p.m.

    Displaced bodies

    Audiovisual traces between dance and performance, 1963–1986

    Cinema and video Film series

    A debate runs through a whole century of images of bodies in movement: that which refers to the correspondence between these bodies in live performance (on stage, in the gallery or museum) and in film. Through this question, the aim is to elucidate whether the audiovisual record of practices in which the body is at the centre – contemporary dance and artistic performance – “faithfully” reflects its apparent inherent truth.

  • Exhibition view. Federico Guzmán. Tuiza. The Cultures of the Bedouin Tent, 2015
    April 16 - August 21, 2015
    Live Arts Concert Cinema and video Film series Seminars and conferences Conference Poetry reading

    This programme of activities, which relates Sahrawi culture to a broader social and cultural framework, aims to become tuiza, a space that reimagines an alternative possible geography, where its centres are not metropolises of financial power, but narrations and accounts of a periphery that lives on in expressions of identity and cultural contamination.

  • James Benning. Natural History. Film, 2014
    8 April – 11 May, 2015 - 7:30 p.m.
    Cinema and video Film series

    This series explores how the museum has been conceived, represented and questioned in different film poetics. Filming the museum institution entails not only a discussion on how art is exhibited and its mechanism of interpretation, but also how other past times in the present are inserted and reactivated, articulating an amalgamation of transience, inside and outside the present, that is specific to the museum and its narrations.

  • Lucas Ospina. El agente triple. Photomontage, 2007. Made for Luis Ospina. Un tigre de papel. Film, 2007
    26, 27 February 2, 3 March, 2015 - 7:00 p.m.
    Cinema and video Film series

    Luis Ospina has directed some of the most incisive and critical films on the identity stereotypes that are still prevalent in Colombia and, by extension, Latin America. Setting out from the term “porno-misery”, his films explicitly speak out against the use of violence and poverty as representation and spectacle. This series, with the film-maker present, serves as an introduction to his work.

  • Gregory J. Markopoulos. The Illiac Passion. Film still, 1964-1967
    February 6-10, 2015
    Cinema and video Film series

    This film series presents a selection of work by Gregory J. Markopoulos (1928-1992), who made some of the most subjective and allegorical film poetics in post-war experimental cinema. With four sessions screened in both La Casa Encendida and the Museo Reina Sofía, Film as Film explores the keys to a sensual and excessive body of work, in which homosexual identity, initiation rites and allegory circle around complex editing techniques.

  • Vincent Meessen. Vita Nova. Film, 2009. Image courtesy of the artist and Argos Centre for Art and Media
    12 November - 10 December, 2014 - 7:00 p.m.
    Cinema and video Film series

    Specters: A Ciné-politics of Haunting gathers a selection of recent international film and video that conjures the hauntings of our collective cultural imaginary. Some phantoms arise from past injustices and political traumas, some apparitions, of catastrophic times to come.

  • Luis López Carrasco. El futuro. Film, 2013
    September 22 - October 22, 2014 - 7:00 p.m.
    Cinema and video Film series

    This film season continues a series of programmes that have addressed the change to structures, narrations and methods of film-making in recent Spanish cinema. With three editions to date, The Memory of Disrepute develops, through double sessions, how other cinema invents its own genealogy, exercising a discontinuous and partisan history of recent cinema.

  • Mike Kuchar. Sins of the Fleshapoids. Film, 1965
    6 - 28 August, 2014 - 7:00 p.m.
    Cinema and video Film series

    This programme presents pop confronting pop, recognising the seduction of consumer culture whilst also keeping it at a critical distance. In relation to the exhibition devoted to Richard Hamilton, this series approaches the popular as subversion and as an investigation into the characteristics of a new society that emerged between the 1950s and 1970s.

  • Black Audio Film Collective. Handsworth Songs. Film, 1987. Courtesy of the Black Audio Film Collective and LUX, London
    2, 3, 9, 10 and 16 July 2014 - 7:00 p.m.
    Cinema and video Film series

    Active in the UK between 1982 and 1997, the Black Audio Film Collective symbolised a radical attempt to transform education, institutions and the representation of black identity in independent film, with their work condensing a complex palimpsest of voices that, found between nascent politics of representation, put forward a language of diaspora.

  • Djibril Diop Mambéty. Touki Bouki. Film, 1973
    24 March - 30 April, 2014 - 7:00 p.m.
    Cinema and video Film series

    Cinema is a privileged medium in the narrative construction of biography, yet, in the face of narcissism from the mythologies of self, this film series shows life in its temporary form, both fragile and precarious, and presents a programme that spans from Neorealism to recent post-colonial cinema.

  • Aki Kaurismäki. Dogs have no hell. Film, 2002
    February 21 - March 22, 2014 - 7:00 p.m.

    After the Shipwreck

    The Cinema of Aki Kaurismäki (1983-1996)

    Cinema and video Film series

    With a filmography that contains theatrical parody and documentary realism in equal proportions, Kaurismäki’s cinema is based on the paradoxes and fault lines of contemporaneity. This retrospective, the first to be held in a modern art museum, is complemented by a master class and a carte blanche program chosen by the filmmaker. 

  • Amos Gitai. House. Movie, 1980
    5, 6, 11, 12, 13, 17, 18, 19, 24 and 26 February, 2014

    Biography, history, territories

    Nine films by Amos Gitai

    Cinema and video Film series

    The cinema of Amos Gitai is that of an architect-filmmaker, but it is also that of a biographer-filmmaker. Organised in connection with the exhibition The Biographies of Amos Gitai, this series spans over 30 years of activity and points to the historical strata underlying the conflict between Israel and Palestine.   

  • Rafael França. Prelúdio de uma morte anunciada. Video, 1991
    December 11, 2013 - 7:00 p.m.
    Cinema and video Film series

    AIDS Anarchive began within the framework of the 2012-2013 research residencies at Museo Reina Sofía, as part of the production process of a “counter-archive” or an anarchive of AIDS policies, with attention being paid for the first time to practices occurring outside of the Anglo-Saxon or Western and Central European settings.

    Study center
  • David Cronenberg. Videodrome. Film, 1983. Courtesy of Video Profilmar
    November 11, 14, 18, 24, 25, 28 and December 2, 5, 12, 2013 - 7:00 p.m. except for November 24

    The image is a virus

    Histories of cinema (1980-1990s)

    Cinema and video Film series

    This audiovisual series looks at the 1980s, and that decade’s prolongation into the 1990s, as a genealogy of much of the dialectics that explain contemporary, as a time period and cultural category.