List of selected artworks. Maps for the tour in the museum

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  • 15 october, 2007
    Cinema and video Encounter

    Viaje de novios (2006) is a project that developed over the course of almost three years. It includes four videos (Viaje de novios, Pago de salud, Circular de agua and Baile al fin) which together form one long piece. This long version of Viaje de novios looks at some of the key spaces in art and cinema: the portrait suspended in time; the landscape as aspiration, between memory and desire; the artistic gaze and its film correlation in the shot/reverse angle shot; using a couple as an editing principle; telling a story that tempers the real events and the narrative voice. “The experience of travelling, time passing, events that surprise us, the restlessness that finds its place in art, all find closure in the artwork, which is simultaneously formalised as just one more displacement” Javier Codesal (Sabiñánigo, 1958).

  • Jan Verbeek. Osmotic, 2006
    4 october, 2007 - 21 october, 2007
    Cinema and video Film series Conference

    In 1984, a group of students in the city of Bonn founded the Videonale, a video festival that reflected the creative possibilities of the medium. After more than 20 years, this festival has become one of the most important and innovative international events dedicated to contemporary video. Despite its age, the Videonale remains faithful to its principles: the free participation of artists in the competition with a single-channel piece made during the two years before the call for entries, its international character, and selection by a jury of independent international experts.

  • Peter Downsbrough. 7 Come 11, 1980-1981
    19 september, 2007 - 29 september, 2007
    Cinema and video Film series

    This series spotlights the film work of Peter Downsbrough (New Brunswick, 1940), an artist better known for his pieces made with black tape and letters, the map pieces, his books and scale models. However, his audiovisual work was prolific between 1976 and 2006, during which time he produced 21 films and videos.

  • Dara Birnbaum. Technology / Transformation: Wonder Woman, 1978-1979
    9 september, 2007 - 30 september, 2007
    Cinema and video Film series

    The artist Perry Bard (Quebec, 1944), whose work draws on the use of electronic media, is presenting the audiovisual series In Perfect Disorder, a look at the ties between society, aesthetics and technology from the viewpoint of video creation. The programme, which includes pieces like Technology /Transformation: Wonder Woman (Dara Birnbaum, 1978-79), Feeling Free with 3D Magic Eye Poster Remix (Shana Moulton, 2004) and Escenario (Gabriel Acevedo Velarde, 2004), brings together ten artists who use different strategies to examine social, technological and aesthetic systems that are characterised by the repetition and regularity of their dynamics and by their methodical and constant use of internal logic to obtain predictable results. The videos use techniques including found footage, algorithms, rituals, performance pieces and a good dose of humour to call these results into question.

  • Jean-Luc Godard. Moments Choisis des Histoire(s) du Cinéma,2004
    13 june, 2007 - 17 july, 2007
    Cinema and video Film series Conference

    Film or cinematic essays - not to be confused with art-house cinema - is the film correlative to the long tradition of the literary essay. These films do not offer a dramatic narrative (like fictional films) or a representation of the historical world (like documentaries), but are a reflection on the medium. This programme constitutes the first presentation in Spain (and one of the first in Europe) of one of the least codified practices in the contemporary audiovisual field. The films selected make it possible to characterise the film essay and observe its evolution over the last decade by comparing works by filmmakers such as Jean-Luc Godard (Paris, 1930), the artist who has done the most to popularise this form, and Mariano Llinás (Buenos Aires, 1975); personal documentary makers like Ross McElwee (North Carolina, 1947) and Albertina Carri (Buenos Aires, 1973); avant-garde filmmakers such as Barbara Hammer (Hollywood, 1939) and Angela Melitopoulos (Munich, 1961); and video artists like Shelly Silver (New York, 1957), Sean Snyder (Virginia Beach, 1972) and Deborah Stratman (Washington, D.C., 1967).

  • Lucian Muntean. Punam, 2005
    13 june, 2007 - 17 june, 2007
    Cinema and video Film series

    The Museo Nacional Centro de Arte Reina Sofía is organising a film series especially for children that offers an assortment of animation, fiction and documentary films from the international scene created just for them. The aim is to introduce children to audiovisual languages that differ from what they are used to seeing on television and in commercial films. The works in the programme, including films like La tête dans les étoiles (Sylvain Vincendeau, 2005), Punam (Lucian Muntean, 2005) and The Bread and Alley (Abbas Kiarostami, 1970), tell fictional stories using different artistic resources and rhythms, taking on topics like the ecology and social harmony and showing little ones how children live in other parts of the world.

  • Nadine Khan. One in a Million, 2006
    28 may, 2007 - 4 july, 2007
    Cinema and video Film series Conference

    No Coverage (the title alludes to the proliferation of Arab television channels over the last few decades and how they have chosen to ignore the production of independent video, thus leaving it literally with no coverage) brings together independent experimental videos and documentaries by artists in order to shake up, discredit and reconstruct the limits of experimental video and documentaries in the Middle East. Comprised of videos that include autobiographical stories, testimonial interviews, archive footage and socio-political topics, the goal of the programme is to put Middle East independent video practices into context and explore the characteristics of their evolution. Although it is difficult to precisely define what constitutes ‘independent video’ and ‘experimental documentary’ in the region, the programme shows clearly that both encompass a broad spectrum of aesthetic perspectives and forms.

  • Julia Scher. No Cum Shot, 2004
    24 may, 2007
    Cinema and video Encounter

    Surveillant Architectures is a platform from which to view and critique watchfulness in everyday life. It sprang from the idea of creating a new language and protocols to bring to light the theoretical, social, individual and political implications of surveillance, security and terror management issues today.

  • Irit Batsry. Giacometti's Scale, 1996
    23 april, 2007
    Cinema and video Encounter

    At the Museo Nacional Centro de Arte Reina Sofía, Irit Batsry (Ramat Gan, 1957)

  • Mario García Torres. A Brief History of Jimmie Johnson's Legacy, 2006
    4 march, 2007 - 28 march, 2007
    Cinema and video Film series

    Since the night that Betty Boop was locked inside a museum (Betty Boop’s Museum, 1932) and the skeletons came to life and began to dance more violently than their old bones could have imagined - causing night watchman Ben Stiller to dream about them 74 years later (Night at the Museum, 2006), museums have been subject to numerous attempts to reactivate them and involve them in temporary media like film and video. When a video enters a museum - as an exhibition piece or the implement of some spy - the eternity of the space tends to give way to the fast cuts, fugues in real time and alternative chronologies found in audiovisual works, whether they are a product of Hollywood or come from the art world.

  • Raoul Ruiz. Klimt, 2006
    24 february, 2007
    Cinema and video Encounter

    Klimt (2006) looks at the life and work of the Viennese painter and his relationship with women, his rejection of the artistic and moral conventions of the era and the ideals that guided his life. “The film is not a linear biography of Gustav Klimt’s life and times,” according to Raoul Ruiz (Puerto Montt, 1941- Paris, 2011). “It is a fantasy or better a phantasmagoria. Just like one of his paintings, where the material or imaginary figures mix and rotate around a central fulcrum: the painter Klimt. I wanted to outline the unique stylistic features of Klimt’s art, the prevailance of beauty, the excess of colour, the distorted spaces and the complex parts to catch life and clarify one of the richest, most conflicting and mysterious times of modern history.”

  • Malcolm Le Grice, Academic Still Life (Cézanne)
    22 february, 2007 - 28 march, 2007
    Cinema and video Film series

    During the 1970s, artists rebelled against painting and the prevailing formalism, embracing aspects like the theatrical dimension of artworks and the relationship between the public and the object: installations instead of paintings, sites instead of sculptures, performance pieces instead of images. Paradoxically, while reducing painting to its formal specificity ended up eradicating it, the application of the same principles to film endowed it with truly revolutionary potential. In their search for the characteristics intrinsic to the medium, artists like Malcolm Le Grice (Plymouth, 1940) rid themselves of the narrative and causality of traditional film to investigate the specific possibilities of the moving image.

  • Christoph Giradet y Matthias Müller. Beacon, 2002
    19 january, 2007 - 4 february, 2007
    Cinema and video Film series Performance art

    Continuous Movement highlights the importance of experimental cinema in the development of film as an independent art form and the evolution of film aesthetics and language, despite the marginal place that this type of film has historically filled with respect to the commercial structures of the audiovisual market. However, experimental film and, later, video have found their place among the visual arts where they share numerous links to the artistic uses of the audiovisual field, particularly with video installation and performance art.

  • Marine Hugonnier. Ariana, 2001
    25 september, 2006
    Cinema and video Encounter

    Marine Hugonnier (Paris, 1969), a video artist whose work explores the relationship between landscape and history, presents The Three Continents, a film trilogy comprised of Ariana (2001), The Last Tour (2004) and Travelling Amazonia (2005). In these films, geography acts as a starting point to look at topics like colonialism, utopia and globalisation.

  • Samuel Beckett en el rodaje de Film. Nueva York, 1964
    20 september, 2006 - 21 october, 2006
    Cinema and video Festival

    The reception given Samuel Beckett’s (Dublin, 1906 - Paris, 1989) work in Spain was characterised by the commonplace concepts of ‘existentialist literature’ and ‘theatre of the absurd’. This reductionist approach not only anchored Beckett to a very specific historical and aesthetic paradigm, but also marginalised other dimensions of his work to the point of making them almost disappear. This series highlights the link (which seemed improbable, since it does not fit any stereotype) between Beckett and film and television, affirming this facet of his work on the centenary of his birth.