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

Preview

Search

Activities

Results

  • 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.

  • El futuro más acá. Mexican science fiction film. Mexico City, 2003
    February 2 - 6, 2005

    El futuro más acá

    Mexican science fiction film

    Cinema and video Film series

    El futuro más acá is a film series that brings together a selection of Mexican films that between 1945 and 1980 explored science fiction themes from a point of view very different from that of the discourse dominating the genre in the United States.

  • Frederic Wiseman. Domestic Violence, 2001
    31 march, 2005 - 11 june, 2005
    Cinema and video Festival

    Prison of Love is an interdisciplinary project that raises the possibility of artistically and culturally representing a complex set of aspects around the topic of domestic/gender violence. The title is not accidental; it is taken from an epistolary novel with a tragic end by Diego de San Pedro (Seville, 1492), whose beliefs and point of view could well symbolise, both literally and figuratively, fear of the patriarchal system in the 21st century. With five interconnected sections (a film and video programme, web project, performance piece, conferences and a publication) and conceived as a space distinguished by its diversity of opinions and points of view, Prison of Love runs the risk of being perceived as lacking rigor, confronting as it does a topic that is both broad and brutal. Far from assuming that ‘anything goes’, this project, which was put together over a period of almost two years, is based on the concept that artistic and cultural codes are collective representations and that their form and content are shaped by and for the social order.

  • Chip Lord, Branda Miller y Muntadas. Media Hostages, 1985
    13 march, 2005 - 19 march, 2005
    Cinema and video Film series Encounter

    The Museo Nacional Centro de Arte Reina Sofía presents a retrospective of the work of Chip Lord (Cleveland, 1944) a pioneer in video creation in the United States and co-founder of the art and architecture collective Ant Farm, created to map the American psyche of the 1940s and 50s without losing sight of the rapid technological changes of the post-war period. The works done by Ant Farm, whose members (co-founder Doug Michels and Curtis Schreier and Hudson Marquez, who joined later) came from the field of architecture, treated the media in a way that differed significantly from other video collectives in the late 1960s and early 1970s. Decidedly interdisciplinary, the group produced works that combined performance art, media language, sculpture and graphic and architectural design and usually exhibited the countercultural ideology of the era with a free-and-easy sense of humour.

  • Breda Beban. Let's Call it Love, 2000
    24 february, 2005
    Cinema and video Encounter

    The work of Breda Beban (Serbia) - born in the former Yugoslavia and living in London since 1991 - focuses on photography, film and video. Her films are romantic reports, halfway between fiction and documentary, on the authenticity, intimacy and vulnerability found on the margins of great stories about culture, geopolitics and gender questions.

  • David Lamelas. The Light at the Edge of a Nightmare, 2002-2004
    14 january, 2005 - 22 january, 2005
    Cinema and video Film series

    The work of David Lamelas (Buenos Aires, 1946) is unique in that it unites formal objectivism with the embodiment of the artist’s subjective experience and is marked by his time in different cities like Los Angeles, London, Paris and Berlin. This series, structured into three programmes, offers a tour through these cities as they appear in his work at different significant moments of his life between his break with Buenos Aires and his return there.

  • Bill Morrison.The Mesmerist, 2003
    4 november, 2004 - 12 december, 2004
    Cinema and video Film series Encounter

    This year, Film and Almost Film presents 33 pieces, most of which were created between 2002 and 2004 by visual artists and Spanish and international filmmakers.

  • Kai Sibley. Retrato de Stan Brakhage en un café de Boulder, Colorado, 2001
    14 october, 2004 - 31 october, 2004
    Cinema and video Film series Conference

    Stan Brakhage: in Search of the Sublime

  • Elena del Rivero. Dust, 2002
    11 september, 2004
    Cinema and video Film series

    This series is dedicated to the audiovisual work done by artists who lived near the events of 9/11 and who documented the before and after of the attack on the World Trade Center in New York on Tuesday 11 September 2001, which the world witnessed on their television screens. Since then, the unrepeatable moment that the airplanes crashed into the World Trade Center has been rebroadcast endlessly, becoming fixed in the collective memory, condensing the innumerable effects of Al Qaeda’s attack against the United States.

  • Eric Pauwels. Lettre à Jean Rouch , 2000
    10 september, 2004 - 30 september, 2004
    Cinema and video Film series

    A Zone of Crossovers is a series dedicated to the Belgian film and video scene, a heterogeneous place where extremely different approaches, forms and strategies come together. Without a doubt, this circumstance reflects and is a symptom of the complex historical, political and cultural reality of this small country which, since its founding in 1830, has embodied a commitment to neutralise territorial conflicts between adjacent powers: Germany, England, France and Holland. The setting for historical clashes between the Latin and Germanic worlds, Belgium is also a space characterised by a rich cultural hybridisation in which the appearance of figures like René Magritte, Marcel Broodthaers and Panamarenko cannot be considered a coincidence.

  • Chris Cunningham. All is Full of Love, 1999
    14 june, 2004 - 23 june, 2004
    Cinema and video Film series

    Describing Love (in 7 Fragments) presents some twenty videos and seven films that, using different moments and contexts, reflect on love and are related to seven ideas taken from the book by Roland Barthes (Cherbourg, 1915 - Paris, 1980), Fragments d’un discourse amoureux. The book is structured around topics (arranged from A to Z) that the author defines both theoretically and personally. As in the book, the programme follows Barthes’ ideas in alphabetical order, as he presents them in the original French, thus questioning the linearity of the narrative of the subject’s experience and his love affair, providing a portrait (which is structural more than biographical) in which the loving subject speaks about himself in a confrontation with the loved object, who does not speak.

  • Ulrike Ottinger. Freak Orlando, 1981
    12 may, 2004 - 3 june, 2004
    Cinema and video Film series Encounter

    This series is dedicated to the work of artist, photographer and director Ulrike Ottinger (Konstanz, 1942), one of the most emblematic figures of the New German Cinema, paradoxically overlooked by official histories. Ottinger began working in film in the 1960s (during which time she studied photography, history and ethnology at the side of teachers including John Friedlaender, Claude Lévi-Strauss and Pierre Bourdieu), although she did not make her first film as a director until 1972, when she directed Laocoon & Sons with Tabea Blumenschein (Konstanz, 1952). The film premiered at the Deutsche Kinemathek in Berlin in 1973. With Madame X - Eine absolute Herrscherin (1977), a film about a female pirate, Ottinger revealed her interest in questions of gender, although in the 1980s she distanced herself from traditional feminist paradigms to interrogate the existence of a ‘female’ aesthetic, an alternative way of seeing the world, and begin to explore new discourses about identity. Her Berlin Trilogy marked a critical moment in this turn, since in it she tackled questions like androgyny and dandyism using a somewhat queer sensibility. From this point of view, Ottinger’s work has the special distinction of re-appropriating the aesthetics of narcissism from a feminist discourse, proposing a renegotiation of subjectivity and going beyond the more traditional debates in feminist theory on gender and sexuality.

  • 22 april, 2004
    Cinema and video Encounter

    Manuel Olveira (Puerto del Son, 1964), the director de Hangar, talks about the project Procesos abiertos, which was designed to draw attention to the production processes in contemporary art through a series of activities, a documentation centre and a blog. For six months (from January to July 2004) and with the participation of eleven artists, a support framework will be created in and with the public space, intended to be more of a network of relationships within a context than a physical framework.