21 september, 2005 - 07 october, 2005
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.
14 september, 2005 - 18 september, 2005
We Are the World
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.
04 september, 2005 - 08 september, 2005
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).
19 may, 2005 - 05 june, 2005
Remote Control. Art on the TV
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.
February 2 - 6, 2005
El futuro más acá
Mexican science fiction film
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.
13 march, 2005 - 19 march, 2005
Chip Lord. The Empire of the Image
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.
14 january, 2005 - 22 january, 2005
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.
11 september, 2004 - 11 september, 2004
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.
10 september, 2004 - 30 september, 2004
Zone of Crossovers
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.
14 june, 2004 - 23 june, 2004
Describing Love (in 7 Fragments)
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.
12 may, 2004 - 03 june, 2004
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.
19 january, 2004 - 30 january, 2004
Trinh T. Minh-ha. Documentary Is/Not a Name
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.
17 july, 2003 - 27 july, 2003
A Brief History of Video Art in Holland. 30 Years in the Work of 30 artists
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.
04 june, 2003 - 22 june, 2003
Adolescents. Films and Videos for/about Girls and Boys
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.
09 may, 2003 - 18 may, 2003
Focus: Video Library. Turin Gallery of Modern Art
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.
07 march, 2003 - 03 april, 2003
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).
10 february, 2003 - 17 february, 2003
The Swiss Screen
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?
13 november, 2001 - 19 december, 2001
Film and Almost Film 2001
Film and Almost Film 2001 presents a selection of 22 works by experimental film directors and artists who, influenced by film and television, have taken a new approach to their work in an attempt to create a new genre of ‘art film’. This genre has traditionally been linked, both in terms of technique and narrative, to European experimental film, which, produced with low or medium budgets, has tried to reorient film practices and aesthetics. Nonetheless, in the last few years, the connotations inherent in the idea of ‘art film’ have grown.
03 may, 2001 - 25 may, 2001
Historias sin argumento. The films of Pere Portabella
Historias sin argumento is a programme that presents the different stages in the filmography of Pere Portabella (Figueres, 1929) as a filmmaker and producer from the 1950s to today. His production company 59 Films was the driving force behind some of the cornerstone productions of Spain’s post-civil war critical realism (Los golfos, Carlos Saura; El cochecito, Marco Ferreri; Viridiana, Luis Buñel). At the end of the 1960s he was involved with the formation of the Barcelona School. His early films as a director, written in collaboration with the poet Joan Brossa (Barcelona, 1919-1998) (No compteu amb els dits and Nocturn 29), combine the cultural inheritance of the avant-garde with the languages that were coming onto the scene and shaking up the 1960s, and became known as ‘new cinema’. He was one of the key figures in the development of independent, alternative and clandestine cinema whose work was inextricably linked to his political opposition to Franco’s regime. Films like Vampir-Cuadecuc (1970), Umbracle (1971-1972) and his series of short films about Joan Miró (1969-1973), along with his participation in the Grup de Treball, were radical interventions in the cinema and art worlds.
01 february, 2001 - 11 march, 2001
B&W and Colour. Latin America: cinema, video and multimedia
With B&W and Colour. Latin America: cinema, video and multimedia, the Museo Nacional Centro de Arte Reina Sofía presents an up-to-date panorama of Latin American audiovisual art along with an exhibition entitled Agitation as Daily Ritual - Cartographies of Desire that brings 30 films and videos made by female artists between 1965 and 1987 to Spain for the first time. B&W and Colour crosses conventional boundaries, not only because of its unusual nature, variety and the contents of the selected works, but because of its pluralist inclination. Most of these pieces deal with the fragmentation of society into different ethnic, social and cultural groups and show us how to decode a culture that seems closer than it really is.
19 october, 2000 - 19 october, 2000
Enlace-2. Arte Visión: Spanish Electronic Art
Cameras, screens, computers, recorders, photocopiers, printers, scanners, holograms, magnetic material and CDs are a regular part of the contemporary scene as both instruments and ubiquitous, versatile media. The electronic and media arts are not the result of the seduction of novelty, but rather a consequence of responsible proximity to what is happening in the world. The arts have adopted instruments from the information and communication industries and factories and given them other functions and configurations that make abundant use of inter-, multi- and transmedia amalgams.
03 june, 1999 - 26 june, 1999
Calculated Cinema is a film and video series that focuses its attention on the pioneering use of computers and electronics in experimental films as expressed in works by filmmakers like Oskar Fischinger (Gelnhausen, 1900 - Los Angeles, 1967), Mary Ellen Bute (Houston, 1906 - New York, 1983), John (Pasadena, 1917 - Los Angeles, 1995) and James Whitney (Pasadena, 1921 - Los Angeles, 1982), Jordan Belson (Chicago, 1926 - San Francisco, 2011), Peter Kubelka (Vienna, 1934), Werner Nekes (Erfurt, 1944), Larry Cuba (Atlanta, 1950) and Robert Darroll (England, 1946).
11 february, 1999 - 06 march, 1999
Composing with Images: A Robert Cahen Retrospective
This programme presents a broad and representative cross-section of the work of Robert Cahen (Valence, 1945), a filmmaker, photographer and composer who has made more than fifty films and videos since 1973, when he first became interested in the audiovisual arts after meeting Pierre Schaeffer (Nancy, 1910 - Aix, 1995), with whom he studied Musique concrète at the Conservatoire de Paris. Cahen finds inspiration in images and memories, in the sensations of travelling, the world of theatre, dance and art, and in the visual and sound experiments that he has been conducting with electronic images and Musique concrète for more than thirty years. In every case, his extraordinary knowledge of the music world shapes the work, its conception and its rhythm.
20 september, 1998 - 21 october, 1998
Antoni Muntadas: Videos 1971-1996
Twenty-five years separate the first video work by Antoni Muntadas (Barcelona, 1942), Acciones (a study of the so-called sub-senses carried out from a series of experiments done between 1971 and 1973), and his latest episode of Political Advertisements (1984-1996), the fourth piece dedicated to analysing election campaigns in the United States, where he has lived since the 1970s. This selection presents these twenty-five years of video work by Muntadas, a pioneer in new audiovisual and electronic media and one of the most important directors, both nationally and internationally. The programme includes all of his video work, 21 single-channel pieces organised into nine programmes arranged chronologically, allowing the viewer to follow the evolution of his interest in the context of the media, which has influenced all of his work.
02 september, 1998 - 26 september, 1998
About Federico García Lorca
The film cycle, About Federico García Lorca features the latest audiovisual pieces dedicated to the writer in Spain, as well as the few film images that have been preserved of him, interviews with family members and friends and witnesses to the intense and passionate life and work of this universal poet.
06 may, 1998 - 30 may, 1998
Filming Dance: Beginning and End of a Century
Video dance is usually linked to the origins of video and its relationship to contemporary dance, following the evolution of creators, artistic languages and the use of technology in the search for common ground where the two forms of expression complement each other in the communication of ideas and creation of emotions. However, the relationship between dance and image is not exclusive to the last quarter century; in fact, since its earliest days, a special attraction has existed between film and dance that today, after nearly one hundred years, still merits analysing.
01 april, 1998 - 25 april, 1998
The Idea of a Place: Videos on Latin America
How should Latin America be represented? Where is it? Can it be reduced to some geographical limits? Or can its space be reproduced in other spheres, like the U.S., where Latinisation is a trend that will reach its apogee in the 21st century? The Idea of a Place is a video programme that focuses on Latin America as a space/location, an ‘absolute place’ that is the sphere of authentic nomadism, directly confronting contemporary concepts of space and location, as well as the possibility of the production/reproduction of images using technology to represent both fact and fiction. Anna Bella Geiger (Rio de Janeiro, 1933) in Mapas elementales nº 3 (1976), Louis Hock (Los Angeles, 1948) with the work The Mexican Tapes: A Chronicle of Life Outside the Law, (1986) and José Gabriel Fernández (Caracas, 1957) in Hotel Arizona are some of the artists featured.
04 march, 1998 - 21 march, 1998
Video Art in Holland: Two Views
Holland is a country that has historically been open to the outside world, not only because of the different cultures that have come together within its borders, but also because of the travelling spirit of its inhabitants. Consistent with this idiosyncrasy, video art in the Netherlands has developed within an international context since the beginning. Video Art in Holland: Two Views is a series that features a selection of the most important videos from the 1997 World Wide Video Festival, the most cosmopolitan video festival in Europe, held at the Stedelijk Museum in Amsterdam between 12 and 17 September 1997.
31 january, 1998 - 28 february, 1998
Films from documenta X
Films from documenta X is a film and video programme that features a unique event in the history of the festival held in Kassel every five years: the creation of its own audiovisual programme, consisting of a group of fiction films and documentaries conceived and created at the behest of the documenta festival. This date on the art calendar has a long history, going back to 1955 when Arnold Bode, the exhibition founder, used the so-called Bode Plan to express his desire to present “foreign and national films in Kassel”. Accordingly, the first documenta featured 40 Years of Film Documents, while the series Happenings and Fluxus accompanied documenta 5. In addition to a selection of videos and an experimental film series, documenta 6 featured Cinema of the 1970s, and Parsifal (1982) by Hans Jürgen Syberberg (Nossendorf, 1935) was screened at the opening session of documenta 7. Finally, the film sequence Jazz-Boxing-Baseball formed part of documenta 9.
20 december, 1997 - 28 december, 1997
The Film Machine. Mechanical Metaphors in Avant-Garde Film
The Film Machine. Mechanical Metaphors in Avant-Garde Film is a series of avant-garde films from the 1920s and 1930s relating to the impact of machines on the modern world and society, from the first European abstract and futurist experiments to Soviet propaganda films and American comedies, passing through pioneering science fiction films. The aim of this combination of narrative and experimental genres is to illustrate how the world of the machine inspired both the industry and avant-garde artists. The fascination first appeared in pioneering films by the Lumière brothers, Georges Méliès (Paris, 1861-1938), Segundo de Chomón (Teruel 1871- Paris 1929) and other anonymous artists, whose work introduces this series.
29 october, 1997 - 22 november, 1997
Lights, Camera, Action (...) Cut! Video Action: the Body and its Boundaries
The old concept of a person used to refer to oneself and to others is losing its meaning. Discourses as varied (and antagonistic) as science, religion, politics, philosophy and art indicate this movement clearly. This video programme features an orographic exploration and partial signposting of the terrain of video action, a perfect microcosm of what appears to be taking place on a different scale. Far from offering responses or interpretations, it aspires to contribute to the ruling confusion, adding new symptoms that speak equally of the generalised deterioration of these inescapably decomposing bodies.
01 october, 1997 - 01 october, 1997
The First Decade in Perspective. Video Art and Alternative Media in the United States
The Museo Nacional Centro de Arte Reina Sofía presents an anthological series divided into eight programmes on the first ten years of video as a means for artistic expression in the United States, an exhaustive look at its use in phenomenological and conceptual explorations. The First Decade in Perspective. Video Art and Alternative Media in the United States reflects attempts to establish a criticism of the North American television culture, to introduce new voices in the art world, and to capture experiments in the field of performance art, creating a new visual language.
07 may, 1997 - 07 june, 1997
In Two Dimensions: Dance on the Screen
On the occasion of the International Dance Festival in Madrid, In Two Dimensions: Dance on the Screen is a series that features an international selection of film-video-dance dedicated to the auteur. The pieces included in the seven programmes in the series were made by renowned artists who present different ways to contemplate audiovisual creation, finding their partenaire in the choreographic arts. Choreographers and directors analyse, structure, observe and direct the viewer’s gaze through the body and the movement of performers who order/disorder ideas and feelings. Moreover, each is done in a personal way, paving often extremely divergent paths, where the relationship between the two resources materialises for very different reasons.
09 april, 1997 - 03 may, 1997
Of Blood, of Pleasure and of Death…or Some Films on ‘Sexual Disorientation’
The series Of Blood, of Pleasure and of Death… presents a selection of experimental films with gay and lesbian themes designed to show some of the key pieces of avant-garde and underground film, putting them into context and in relation to the mass culture that generated them. The series title, in part inspired by the film trilogy by Gregory Markopoulos (Toledo, 1928 - Freiburg, 1992) Du sang, de la volupté et de la mort (1947-1948) acts as a metaphor for a series of films that, like the work by Markopoulos, see ‘blood, pleasure and death’ as an imaginary place where the desire, pain and the annihilation of the body are confronted and its being is oppressed by social norms and sexual taboos. The second part of the title, Some Films on ‘Sexual Disorientation’, in turn, relates to the confirmation of a fact: gay and lesbian film did ‘not’ exist before the 1970s or if it existed, it was limited to only two or three works. Given that the idea of a group or concept of gay and lesbian identity based on the term sexual ‘orientation’ did not exist (it emerged in the 1970s), this body of films cannot easily be described using those terms. This does not mean to say that there were no sexually ambiguous films suggesting ‘strange’ desires or ‘disoriented’ artists and filmmakers. Hundreds of films featured homosexual characters, but very few were made by homosexuals and even fewer had a gay or lesbian content.
12 march, 1997 - 30 march, 1997
Gordon Matta-Clark. Views Through the Invisible
This film and video series presents an overview of the film work of the North American artist Gordon Matta-Clark (New York, 1943-1978), an oeuvre that was largely forgotten for a long period of time. Beginning early in the 1970s until his death in 1978, Matta-Clark was one of the main driving forces on the New York SoHo art scene, characterised by his experiments aimed at breaking the limits that define an artwork, altering the structures established in the art world and exploding numerous means of artistic expression.
05 february, 1997 - 01 march, 1997
The Films of Yoko Ono: 1966-1982
This series is dedicated to the film work of Yoko Ono (Tokyo, 1933), sixteen films made between 1966 and 1982 that fill a unique space in the history of independent film in the United States. Yoko Ono participated in a general assault on film conventions during an extraordinarily creative period in American culture, during which directors developed alternative forms of production, distribution and exhibition. Coming from the same complex set of interdisciplinary experiences that inspired performance art and objects during those years, Ono’s films are like her songs (with their characteristic abstract expressivity) and like her artworks and sculptures because they too focus on materials in such a way that they expose the very phenomenon of perception.
11 december, 1996 - 21 december, 1996
José Val del Omar. Elementary Triptych of Spain
Elementary Triptych of Spain is the last film project by José Val del Omar. The idea arose in the last stages of his life and was aimed at creating a trilogy using his three ‘elemental pieces’: Aguaespejo granadino [Water-Mirror of Granada] (1955), Fuego en Castilla [Fire in Castille] (1960) and Acariño galaico [Galician Caress] (1961).
08 may, 1996 - 01 june, 1996
Dancing with Videos
For the second year in a row, the Museo Nacional Centro de Arte Reina Sofía is dedicating an audiovisual programme to video dance, a genre that is validated by some of the most representative works in the field. Choreographic art, expressed through moving images, continues to generate unique works which are beautiful and intense, and in which audiovisual creation displays its wealth of formats, techniques and styles. Dance on camera occupies and attains unique spaces, reorganising ‘real’ time and championing their communicative capacity.
10 april, 1996 - 26 april, 1996
Once upon a Time…from Minimal Art to Cabaret: 1970s – 90s
Once upon a Time…from Minimal Art to Cabaret: 1970s - 90s is a series dedicated to performance art made by women designed to introduce the works and approaches that have served as reference points for many of the latest creations in the visual arts. The pieces in this programme, which spans almost three decades, show the richness and dynamism of this means of expression and help to explain the development of performance art and its versatility.