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



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.    


  • Visit to Picasso of Paul Haesaerts
    13 may, 1993 - 5 june, 1993
    Cinema and video Film series

    At the point where films on art are at their most inventive and creative, Pablo Picasso (Malaga, 1881 - Mougins, 1973) has long been a target, the object of inquiry and seduction. Trapped by a silent and almost forgotten attraction, the cinema has focused on his oeuvre, a motionless immensity in time. After the Second World War, when films on art appeared in France, Belgium and Italy, three essential pioneers in the genre made - within years of each other - three key films in the history of films on art, all about Picasso’s work: Guernica (1949) by Robert Hessens and Alain Resnais (Vannes, 1922), Visite à Picasso (1950) by Paul Haesaerts (Boom, 1901 - Brussels, 1974) and Picasso (1953) by Luciano Emmer (Milan, 1918 - Rome, 2009). It is almost impossible to imagine all the films that have been made about the artist since then and difficult to realise that, going back a bit further in time, other films could emerge from where they lie hidden to take their place on the long list of works dedicated to the painter from Malaga. The result would be 140 hours of screen time, i.e., an uninterrupted programme of five and a half days. In these otherworldly sessions, the painter and his work would appear on the screen, in forms ranging from drawings to ink, engravings to sculpture, from collage to oils, ceramics and pottery. Nothing would interrupt the artist’s work except for the changing of the reels in the projector, brief intervals in this permanent cinema session. The fascinated viewer would then take a kind of condensed, stunning tour through the work of a lifetime.

  • Klaus vom Bruch. Relativ Romantisch (DEU 1983-84)
    15 april, 1993 - 30 april, 1993
    Cinema and video Film series

    VideoFest '93 brings together a selection from the sixth Berlin Video Festival. Until the mid-1980s, video was only a small section within the International Forum of Young Film. In 1988, the Forum dedicated itself entirely to video, which was the signal for MedienOperative to organise an autonomous festival to present independent video work. Since then, VideoFest has grown and advanced to become one of the most important international video festivals. The sixth festival, held in 1993, included 241 tapes from 21 countries and attracted more than 6,000 viewers. The microcosm from the selection that is presented here reveals the character of the festival: programmes with structured content in which all genres are represented, from computer animation and video art to documentaries and narrative video fiction. Poetic videos are presented alongside decively political works, with innovative power and the search for a new visual language always used as the selection criteria.

  • D. Barbier. Twice the Universe, 1931
    11 march, 1993 - 27 march, 1993
    Cinema and video Film series

    Demontage: Film, Video/Appropriation, Recycling brings together more than 70 works by artists from diverse backgrounds, regardless of whether they were made using celluloid or video. With the indiscriminate mix of both media, the programme takes a look at different themes and focus points following related paths that branch off from each other. All of these projects (which run between 3 and 45 minutes) are based on materials from outside sources: images that are either found, appropriated, pillaged or legally obtained from archives and other sources, texts, sounds and other elements, waste and scrap material that has been taken and recycled for a purpose different from what it was originally created for. For the most part, these images and materials are recognisable because of their industrial, media, inflexible origin: images, stereotypes, messages or detritus from films, television, advertisements, propaganda, audiovisual archives, etc. In turn, they are mainly works that have a critical nature, a deconstruction or demontage of what the images or messages wanted to say or dictate in their previous life or in their original montage.

  • Coproducciones del Centro Internacional de Creación de Vídeo, CIVC
    11 february, 1993 - 27 february, 1993
    Cinema and video Film series

    In just two years of existence, the Centre International de Création Vidéo Montbéliard-Belfort (CICV) has become a model for audiovisual creation and teaching. Now, the Museo Nacional Centro de Arte Reina Sofía is presenting a small sample of its co-productions from the selection made by Pierre Bongiovanni, the centre’s director. Since the first Manifestation Internationale de Video et Television Montbéliard held in 1982, this biannual festival has gone from strength to strength to become one of the oldest international festivals around. As a result of the success and integrity of the event in 1991, the CICV, a unique institution in its genre, opened its doors. The CICV promotes work and research visits for video artists, producers, teachers, researchers and creators, who live together for the time they need to get their projects done. The initial goal of this centre was to create laboratories that are “decentralised, autonomous, organised into networks, traversed by creative flashes of resistance, lethargy and investigation”, to support the production of independent videos and educational and cultural television programmes.

  • Val del Omar. Fuego en Castilla, 1958-1960
    1 december, 1992 - 18 december, 1992
    Cinema and video Film series

    In February 1992, the Museo Nacional Centro de Arte Reina Sofía’s Department of Audiovisual Works began organising the Moving Image Biennial ’92: Spanish Visionaries, dedicated solely to the work of Spanish audiovisual artists. The goal of the exhibition is to settle a debt with the artists who have used film, television, video and synthetic images and who have investigated and worked with these languages in Spain, taking a visionary and often daring approach. The intention of the exhibition is to both recover and revitalise video production in the country.