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

Preview

Search

Activities

Results

  • Peter Hujar. Susan Sontag,1975
    17 april, 2006 - 28 april, 2006
    Cinema and video Film series Conference

    The love that Susan Sontag (New York, 1933-2004) felt for the cinema (and showed with her participation on selection committees for festivals and programmes for film series around the world, as well as the creation of her own films) is especially manifest in her untiring defence of filmmakers like Jean-Luc Godard (Paris, 1930), Chris Marker, Ingmar Bergman and Jack Smith, to name just a few, when their work needed to reach a broader, more appreciative audience (and in the case of Smith, be given legal protection). This series pays tribute to Sontag’s legacy to film culture, establishing a dialogue between films and documentaries by and about Susan Sontag with the works of some of these filmmakers.

  • Mika Taanila. Optical Sound, 2005
    9 april, 2006 - 30 april, 2006
    Cinema and video Film series

    Finland is experiencing an exceptional moment with respect to audiovisual production, both in quality, diversity and distribution. Specific political decisions, school curricula and distribution platforms have specifically contributed to this situation. Video Creation from Finland brings together a set of varied and different approaches to the medium which at the same time share a special relationship with their environment, a fragmented narrative and even a similar approach to images and shots that is disconnected from video tradition and much more akin to film.

  • Peggy Ahwesh. The Deadman,1989
    2 march, 2006 - 23 march, 2006
    Cinema and video Film series Conference

    The Museo Nacional Centro de Arte Reina Sofía is dedicating a retrospective to the work of Peggy Ahwesh (Pittsburgh, 1954), one of the most groundbreaking and irreverent filmmakers of the American underground. Ahwesh began to make films in the early 1980s, projecting all of the effervescence of punk into her work. According to Eileen Myles, the Kodak Company would return each roll of developed film to her with a patient explanation that that they “had done it wrong”. Like Andy Warhol, Ahwesh gave her actors complete freedom in the field, but did impose some cut-off limits never imagined by the creator of Sleep (1963), to whom Ahwesh paid tribute with The Fragments Project (1985-1995).

  • Vasco Araújo. The Girl of the Golden West, 2004
    27 february, 2006
    Cinema and video Encounter

    Vasco Araújo (Lisbon, 1975), an artist who uses installation, video and photography to reflect on sexual identity, strategies of representation and reality, is presenting the films Recital (2002), Hipólito (2003), The Girl of the Golden West (2004) and Far de Donna (2005) at the Museo Nacional Centro de Arte Reina Sofía.

  • Valerie Mrejen. Dieu, 2005
    6 february, 2006
    Cinema and video Encounter

    Valérie Mréjen, born in Paris in 1969, is a writer, visual artist, photographer, video artist and short filmmaker. Mréjen uses all of these media to explore language, childhood and her memories. Her videos are farcical sketches of daily life that draw attention to the game between words and stories. Fixed shots, actors who do not try to act, neutral backdrops and dialogues in which nothing extraordinary is discussed are the constants in her work.

  • Jacqueline Salloum. Planet of the Arabs, 2003
    5 february, 2006 - 26 february, 2006
    Cinema and video Film series

    …but I was only acting! features a series of single-channel screenings that explore the connections between acting (as in performance) and activism from the lens of humour and irony. On this basis, the artists chosen for the programme represent a kind of transcendence with respect to the social framework in which they create, according to the idea established by radical activist and historian Howard Zinn in his book Artists in Times of War. For Zinn, “the artist thinks, acts, performs music, and writes outside the framework that society has created.” He goes on to clarify that “artists can be sly. They

  • Fernand Léger y Dudley Murphy. Ballet Mécanique,1923-1924
    16 january, 2006 - 21 january, 2006
    Cinema and video Film series

    Unseen Cinema: Early American Avant-Garde Film 1893 - 1941 is the first comprehensive retrospective of American avant-garde film before the 1940s. The complete programme includes 160 35 and 16 mm films, between new restorations and preserved copies, of which the Museo Nacional Centro de Arte Reina Sofía is presenting a selection of 36 films. Unseen Cinema explores the achievements - unknown to date - of pioneer filmmakers who worked in and outside the United States during the formative period of North American cinema.

  • Jem Cohen. Chain, 2004
    10 november, 2005 - 18 december, 2005
    Cinema and video Film series Conference
  • Fatih Akin, Getürkt
    13 october, 2005 - 27 october, 2005
    Cinema and video Festival
  • Joshua Mosley. Beyrouth, 2001
    21 september, 2005 - 7 october, 2005
    Cinema and video Film series

    The series Animated Sessions, which complements the exhibition of the same name, offers a brief overview of animation today in eight video programmes that feature the work of artists in this field like Manu Arregui (Santander, 1970), Feng Mengbo (Beijing, 1966), Liane Lang (Munich, 1973) and Jordi Moragues (Barcelona, 1970). The selection includes different styles and techniques - from drawing to modelling, 3D animation and digital applications - and considers a variety of narrative structures and themes in order to draw closer attention to the careers of some of the artists who primarily use this medium, thus offering a perspective on animation within the contemporary art scene.

  • Oksun Kim. Happy Together, 2002
    14 september, 2005 - 18 september, 2005
    Cinema and video Film series

    We Are the World is a series that features works by young artists who share the common ground of being multi-cultural, multi-ethnic and multinational and are also alike that in none of them live in their home country for more than short periods at a time. Drawing on this pluralistic outlook, these creators tackle a series of common problems arising from the need to confront the past and the present by telling stories (real and/or fictional) that reveal their anxieties, hopes, cultural inheritance, political or social conflicts, and, last but not least, their reaction to the fact that they are part of the first real generation of ‘global youth’. The works by these artists offer deep reflections about youth in the world today, at the same time that they provide some perspective on the new world, one that rises above borders, nationalities and differences.

  • Meredith Danluck. Superbad, 2005
    4 september, 2005 - 18 september, 2005
    Cinema and video Festival

    The Museo Nacional Centro de Arte Reina Sofía presents an audiovisual series on the relationship between video and music curated by Bob Nickas, a pioneer in experimental video clips during the early years of MTV in the 1980s. At the end of the 70s, the punk, no wave and performance art era, there was a general conviction that video clips had a commercial function only aimed at promoting and selling records. Art never formed part of the original equation. However, at times, music groups from the art world would choose an artist to direct their videos and they would go on to produce something that was much more than a commercial tool, raising the level of the invention and the visual sophistication. One such case is the collaboration between Sonic Youth and the artists Tony Oursler (New York, 1957) and Richard Kern (North Carolina 1954), and with the filmmakers Todd Haynes (Los Angeles, 1961) and Harmony Korine (Bolinas, 1973), to give only one example. In contrast, since the 1990s, the influence of music on young video artists has been considerable. For many of them, music and sound are central elements in their work, when they are not forming the very subject of the piece.

  • Jia Zhang-Ke.  The World , 2004
    4 september, 2005 - 8 september, 2005
    Cinema and video Film series

    The Museo Nacional Centro de Arte Reina Sofía has chosen nine films from contemporary cinema as part of the summer film programme presented as an alternative to more commercial circuits. Some of the most emblematic films from contemporary French cinema are represented by directors like Jean-Luc Godard (Paris, 1930), Agnès Varda (Brussels, 1928) and the couple Jean-Marie Straub (Metz, 1933) / Danièle Huillet (Paris, 1936 - Cholet, 2006). Bruce Weber (Greensburg, 1946) and Matthew Barney (San Francisco, 1967) offer alternative poetics from American film, while the acclaimed Jia Zhangke (Fenyang, 1970) comes to the museum’s screens with his tale of a changing China, The World (2004).

  • Javier Viver. Narciso, 2006
    5 july, 2005
    Cinema and video Encounter

    The work of Javier Viver (Madrid, 1971) takes advantage of a variety of media including sculpture, photography and video. Appropriating resources from industry and show business, he creates interdisciplinary spectacles about exile and the ephemeral nature of things that highlight the desolation and great internal contradictions of modern man.

  • Gerald Fox. Marc Quinn: Life Support, 2000
    19 may, 2005 - 5 june, 2005
    Cinema and video Film series Conference

    Since its earliest days, British television has served as a reference point for creative dialogue between contemporary art and television. As early as 1938, the artist and critic John Piper (Epsom, 1903; - Fawley Bottom, 1992) was appearing in a studio to talk about modern art. Today, the means of broadcast and reception have become decentralised and fragmented. Television as the supreme medium of directed mass culture is in decline and its audience, which was once captive, is dispersed among hundreds of satellite and cable channels, DVDs, videogames and 3G mobile phones. The moment when leisure time was filled with the great cultural television projects that so distinguished the second half of the 20th century will not be repeated. Remote Control features a selection of some of the most historical moments in the history of the relationship between art and television.