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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

  • 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.

  • 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.

  • Valie Export. Aus der Mappe der Hundigkeit, 1968
    1 march, 2004
    Cinema and video Encounter

    Valie Export (Linz, 1940) has, since the 1960s, served as a reference point for conceptual and feminist art with her reflections on identity, the use of the body and sexuality and its relation to the media. Her work, which is formally heterogeneous, spans film, video, performance art, photography, drawing and installations, formats that converge in a point of view that is radically opposed to the roles that the sexist conception inherent in western culture grants women.

  • Jill Sharpe. Culture Jam: Hijacking Commercial Culture, 2001
    27 february, 2004 - 8 march, 2004
    Cinema and video Festival

    Originally, hacker was a word that designated someone who made furniture using an axe. In the cyber world, however, it has acquired numerous meanings related to the world of artificial intelligence and its uses on the Internet, from the positive connotation when referring to a person who enjoys exploring programmable systems in great detail and how to expand their possibilities, to the unfavourable meaning used to refer to people who maliciously try to discover delicate information by manipulating programming systems. Hackers. The Art of Abstraction is a series of documentaries, conferences and performance pieces dedicated to the hacker phenomenon and culture that highlights some key questions that arose alongside the earliest appearances of computer ‘piracy’: Are the security systems guaranteed by large corporations and web servers really stable? To what extent can hacker practices be categorised as meaningless vandalism? What lies in these practices of civil disobedience?

  • 6 february, 2004
    Cinema and video Encounter

    What is the tunche? The tunche is a figure that has never been seen but is there. No visual representation of it exists, but it is imagined as a nocturnal bird. Its whistle is sweet and melancholy. When its whistle is short, it is a tormented soul that escorts; when it is long, it is an evil spirit that haunts, an omen of misfortune and death. Part of Peruvian folklore, the tunche is a feared and respected presence in the collective mindset.

  •  Trinh T. Minh-ha. Naked Spaces - Living is Round, 1985
    19 january, 2004 - 30 january, 2004
    Cinema and video Film series Conference

    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.

  • Sharon Lockhart. Nô, 2003
    13 november, 2003 - 19 december, 2003
    Cinema and video Film series Conference
  • Joan Rabascall. JFK, 1965
    30 october, 2003
    Cinema and video Encounter

    The work of Joan Rabascall (Barcelona, 1935), one of the Spanish artists who founded the Sociological Art movement in Paris in 1974, grapples with the messages contained in the manipulated media images that we are fed every day. Drawing on publicity, the press and television, he reveals the failures in the system through works with minimal decontextualisation and subsequent resignifying.

  • Edificio Sabatini, Auditorio
    26 september, 2003
    Cinema and video Encounter
  • Una breve historia del videoarte en Holanda. 30 años en la obra de 30 artistas
    17 july, 2003 - 27 july, 2003
    Cinema and video Film series

    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.

  • Edificio Sabatini, Auditorio
    4 june, 2003 - 22 june, 2003
    Cinema and video Film series

    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.

  • Kirby Dick y Amy Ziering Kofman. Derrida, 2002
    22 may, 2003 - 24 may, 2003
    Cinema and video Screenings Conference
  • Max Almy. Perfect Leader, 1983
    9 may, 2003 - 18 may, 2003
    Cinema and video Film series

    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.

  • 7 march, 2003 - 3 april, 2003
    Cinema and video Film series

    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).

  • Emmanuelle Antille. Wouldn't It Be Nice, 1999
    10 february, 2003 - 17 february, 2003
    Cinema and video Film series

    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?

  • Harun Farocki. Auge / Maschine I, 2001
    24 october, 2002 - 15 november, 2002
    Cinema and video Film series Conference