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  • Jill Sharpe. Culture Jam: Hijacking Commercial Culture, 2001
    27 february, 2004 - 8 march, 2004
    Cinema and video Festival

    Originally, hacker was a word that designated someone who made furniture using an axe. In the cyber world, however, it has acquired numerous meanings related to the world of artificial intelligence and its uses on the Internet, from the positive connotation when referring to a person who enjoys exploring programmable systems in great detail and how to expand their possibilities, to the unfavourable meaning used to refer to people who maliciously try to discover delicate information by manipulating programming systems. Hackers. The Art of Abstraction is a series of documentaries, conferences and performance pieces dedicated to the hacker phenomenon and culture that highlights some key questions that arose alongside the earliest appearances of computer ‘piracy’: Are the security systems guaranteed by large corporations and web servers really stable? To what extent can hacker practices be categorised as meaningless vandalism? What lies in these practices of civil disobedience?

  • 6 february, 2004
    Cinema and video Encounter

    What is the tunche? The tunche is a figure that has never been seen but is there. No visual representation of it exists, but it is imagined as a nocturnal bird. Its whistle is sweet and melancholy. When its whistle is short, it is a tormented soul that escorts; when it is long, it is an evil spirit that haunts, an omen of misfortune and death. Part of Peruvian folklore, the tunche is a feared and respected presence in the collective mindset.

  •  Trinh T. Minh-ha. Naked Spaces - Living is Round, 1985
    19 january, 2004 - 30 january, 2004
    Cinema and video Film series Conference

    This film and video programme presents the complete filmography of the Vietnamese filmmaker Trinh T. Minh-ha (Hanoi, 1952), one of the most forceful voices in post-colonial and post-feminist discourse in the 1980s and 90s. Born in Hanoi, she moved to the United States in 1970, where she studied music composition, ethnomusicology and French literature at the University of Illinois. Her film work has been highly recognised in the field of documentary, where she has adopted a critical ethnographic eye with respect to the narrative of the traditional documentary, which she deconstructs in her films. The technique of documentary film often contains the illusion of offering an objective and impartial look at the observed subject. The filmmaker, like the anthropologist, usually enjoys a privileged position, a distance above the observed subject that supposedly guarantees the neutrality of the process and the document. Part of Trinh T. Minh-ha’s work consists of challenging this proposition, revealing the strategies and methods used in the specific relationships between the documentary maker and the exploited or oppressed subjects who are observed in a hieratical power structure with an underlying authoritarian discourse about the ‘other’. In her films, meaning is constructed, not given. Thus she shows that commentary is not impartial, but rather an interpretation open to all its inherent complexity.

  • Sharon Lockhart. Nô, 2003
    13 november, 2003 - 19 december, 2003
    Cinema and video Film series Conference
  • Joan Rabascall. JFK, 1965
    30 october, 2003
    Cinema and video Encounter

    The work of Joan Rabascall (Barcelona, 1935), one of the Spanish artists who founded the Sociological Art movement in Paris in 1974, grapples with the messages contained in the manipulated media images that we are fed every day. Drawing on publicity, the press and television, he reveals the failures in the system through works with minimal decontextualisation and subsequent resignifying.

  • Edificio Sabatini, Auditorio
    26 september, 2003
    Cinema and video Encounter
  • Una breve historia del videoarte en Holanda. 30 años en la obra de 30 artistas
    17 july, 2003 - 27 july, 2003
    Cinema and video Film series

    A Brief History of Video Art in Holland is a video programme curated by Sebastián López, director of the Gate Foundation. It features the participation of 30 artists who are already prominent in the history of the audiovisual medium because of their important contributions, both to the development of video and to the issues that characterised the visual arts between 1972 and 2002. The exhibition charts the diversity and variety of the artists who have drawn the history of Dutch video art without constrictions in a medium supposedly without borders, opening up numerous cross-cultural connections and providing an open space for discussion where the artistic interrogates the cultural. The exhibition thus contributes to establishing new parameters to better understand the video work of the last three decades and the historical context in which these works were produced.

  • Edificio Sabatini, Auditorio
    4 june, 2003 - 22 june, 2003
    Cinema and video Film series

    Adolescents. Films and Videos for/about Girls and Boys is a programme of underground films that deal with the problems faced by adolescents and the challenges entailed in reaching the earliest years of adult life. Despite the difficulties involved in this vital phase for most people who experience it, as series curator Susana Blas notes, “we have gone from thinking of youth as an illness that is quickly cured to completely sublimating it. It seems that nobody wants to let go of this young way of living, which for many people has become a way of feeling, from being radical to just adopting their aesthetics and fashions. Today, you can find 40-year-old adolescents.” Drawing on this observation, the series is designed to break with the most perverse aspects involved in the sublimation of adolescence and unearth some of the clichés that have emerged around this difficult and venerated time of life. At the same time, it is introducing audiences to the work of a series of essential artists in the contemporary audiovisual world.

  • Kirby Dick y Amy Ziering Kofman. Derrida, 2002
    22 may, 2003 - 24 may, 2003
    Cinema and video Screenings Conference
  • Max Almy. Perfect Leader, 1983
    9 may, 2003 - 18 may, 2003
    Cinema and video Film series

    Focus: Video Library is a film and video exhibition created for the Museo Nacional Centro de Arte Reina Sofía by the Galleria d'Arte Moderna (GAM) in Turin. The GAM has created a museum video collection, which could not be found in Italy until well into the 1990s, and has managed to build up a large collection of works that are now available to the public. The collection includes pieces by artists like Vito Acconci (New York, 1940), Dan Graham (Urbana, 1942), Marina Abramović (Belgrade, 1946) and Martha Rosler (New York, 1943) from the era when video was first being used as an art medium, works by John Baldessari (National City, 1931), Marcel Odenbach (Cologne, 1953) and Ana Mendieta (Havana, 1948 - New York, 1985) from the 1980s and more recent pieces from Sadie Benning (Madison, 1973) and Lydie Jean-Dit-Panel (Montbéliard, 1968). The selection also contains video works by young Italian artists, including Paolo Chiasera (Bologna, 1978) and Marcello Maloberti (Codogno, 1966), among others.

  • 7 march, 2003 - 3 april, 2003
    Cinema and video Film series

    With Single-channel, the Museo Nacional Centro de Arte Reina Sofía presents a comprehensive review of the Spanish video created between 1996 and 2003, looking at 46 pieces that will be previewed on the museum façade during the days of the ARCO fair, along with the programme The Swiss Screen. The list includes some very well-known artists such as Txomin Badiola (Bilbao, 1957), Jordi Colomer (Barcelona, 1962) and Eulàlia Valldosera (Vilafranca del Penedès, 1963) alongside emerging figures who are being closely followed by audiences attuned to the latest trends such as Olga Adelantado (Valencia, 1970), Pilar Albarracín (Seville, 1968), Carles Congost (Olot, 1970), Dora García (Valladolid, 1965) and Fernando Sánchez Castillo (Madrid, 1970).

  • Emmanuelle Antille. Wouldn't It Be Nice, 1999
    10 february, 2003 - 17 february, 2003
    Cinema and video Film series

    How should a programme that is both personal and at the same time representative of Swiss art in the field of video be approached? How should the selection be organised given the particular context in which it will be presented, i.e., in the city of Madrid for a series of Swiss art events presented alongside ARCO 2003 and at the Museo Nacional Centro de Arte Reina Sofía?

  • Harun Farocki. Auge / Maschine I, 2001
    24 october, 2002 - 15 november, 2002
    Cinema and video Film series Conference
  • Edificio Sabatini, Auditorio
    3 june, 2002
    Cinema and video Encounter

     

  • Enlace-14
    27 may, 2002
    Cinema and video Film series