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.
31 may, 2001 - 31 may, 2001
Enlace-11. Perry Bard
Interference is a programme of slides, documentaries and videos that tracks the evolution of the work by Perry Bard (Quebec, 1944) since she moved to New York in 1981. At the time, she was struck by the sight of homeless people sleeping in cardboard box shelters and the strong contrast with the surrounding sheets of glass and marble for which the city is known. Since then, Bard’s work has focused on the tenuous limits between public and private.
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.
05 february, 2001 - 05 february, 2001
Enlace-7. Liliana Porter
Liliana Porter (Buenos Aires, 1941) is the only female Latin American artist whose work is included in the Museo Nacional Centro de Arte Reina Sofía’s audiovisual collection. For You/Para usted (1999) has its origins in a photographic series the artist did using toys and figurines going about their daily business, which Porter reformulated adding sound, rhythm and narration. From this point of view, the piece is closely connected to her earlier work in painting, drawing and photography, which already manifested the peculiar aspects of her personal narrative, far removed from traditional formulas. As Ana Tiscornia has noted, For You/Para usted is another step in the destabilisation of the conventional ideas of reality that prevails in Liliana Porter’s work. The video, originally shot in 16 mm, craftily uses the basic characteristics of the medium - emphasising time and movement - to present a scene that takes place almost completely off stage, in the mind of the viewer. In this presentation, Porter analyses her piece and illustrates the relationship between the video and the context of her work.
02 february, 2001 - 02 february, 2001
Inspired by the short story Beatles contra Duran-Duran, by the Cuban writer Mirta Yáñez (Havana, 1947), Madagascar (1994) by Fernando Pérez (Havana, 1944) revolves around the contradictions experienced by a university professor who has lost the ability to dream in Cuba during the 1990s economic crisis known as the ‘special period’ and her teenage daughter, who dreams of travelling to Madagascar. Their relationship, which is full of misunderstandings and mutual alienation, is depicted as an exercise in human communication. Its cinematic expressiveness, aesthetic pursuit and the humanity of its characters make Madagascar not only an innovative film, but also an important reading of the cinema of the times. This subtle story about the conflict between tradition and modernity has received numerous awards and distinctions, including the Special Jury Prize and Special Cuban Critics Prize at the 16th International Festival of New Latin American Cinema (1994) and the World Cinema Prize for Best Latin American Film at the 12th Sundance Film Festival.
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.