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Cinema and Video

The audiovisual programs are intended to counteract the predominant model of the black cube, even at a time in which both film and video have become fully integrated and dissolved into contemporary art museums. Their aim is to explore the projected image using different formats and discourses: historical series that broaden – and question – the narrations told by the Collection, retrospectives that draw attention to other stories in the audiovisual history and programs that examine the close links that film and video have with contemporary artistic practices. At the same time, this programming seeks to define a space for film and video outside of the usual circuits, describing itineraries distinct from the spectacle and its derivatives.    

Results

  • 19 october, 2000
    Cinema and video Film series

    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.

  • John Whitney. Lapis, 1963-1966
    3 june, 1999 - 26 june, 1999
    Cinema and video Film series

    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).

  • Robert Cahen. Voyage d'hiver, 1993
    11 february, 1999 - 6 march, 1999
    Cinema and video Film series

    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.

  • Antoni Muntadas y Toni Serra. The Limousine Project, 1991
    20 september, 1998 - 21 october, 1998
    Cinema and video Film series

    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.

  • John J. Healey. Retrato de Familia, 1998
    2 september, 1998 - 26 september, 1998
    Cinema and video Film series

    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.

  • La Féerie des Ballets fantastiques de Löie Fuller, de George R. Busby, 1934
    6 may, 1998 - 30 may, 1998
    Cinema and video Film series

    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.

  • Geoffrey O'Connor. El límite de la conquista. El viaje del jefe Wai-Wai, 1992
    1 april, 1998 - 25 april, 1998
    Cinema and video Film series

    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.

  • Justin Bennet. Sistema de Resonancias, 1991
    4 march, 1998 - 21 march, 1998
    Cinema and video Film series

    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.

  • Abderrahmane Sissako. Rostov – Luanda, 1997
    31 january, 1998 - 28 february, 1998
    Cinema and video Film series

    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.

  • Jakoov A. Protazanov. Aelita, 1924
    20 december, 1997 - 28 december, 1997
    Cinema and video Film series

    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.

  • Mike Kelley y Paul McCarthy. Fresh Acconci, 1995
    29 october, 1997 - 22 november, 1997
    Cinema and video Film series

    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.

  • Richard Serra y Nancy Holt. Boomerang, 1974
    1 october, 1997
    Cinema and video Film series

    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.

  • Lodela, 1996. Coreografía: José Navas. Dirección: Philip Baylanc
    7 may, 1997 - 7 june, 1997
    Cinema and video Film series Conference

    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.

  • Jean Cocteau. La Sang d'un Poéte, 1930
    9 april, 1997 - 3 may, 1997
    Cinema and video Film series Conference

    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.

  • Gordon Matta-Clark.  Splitting, 1974
    12 march, 1997 - 30 march, 1997
    Cinema and video Film series Conference

    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.