4 october, 2010 - 7 october, 2010
Miralda. De gustibus non disputandum
To mark the occasion of the exhibition Miralda. De gustibus non disputandum (24 June -11 October 2010), the Museo Nacional Centro de Arte Reina Sofía is presenting three video programmes by the artist Antoni Miralda (Tarrasa, 1942) that explain his view of art in the context of the exhibition.
13 september, 2010 - 26 september, 2010
The Storyteller presents a group of international artists who use stories as a way to understand and convey political and social events. All of the works in The Storyteller revolve around situations that are either in the process of unfolding or that continue to impact the lives of the artists or protagonists.
9 june, 2010 - 24 june, 2010
Action Behind the Margins
During the 1970s, a time of intensive de-industrialisation and the transition to an information economy in New York, artists found new ways to use the city. The creative use of abandoned and peripheral spaces intensified, especially in Lower Manhattan, which was becoming a centre of the commercial art world. Action Behind the Margins combines debates, performances pieces and film screenings to reveal a city where public and private spheres intermingle and marginal subjects assert their right to the city.
19 may, 2010 - 28 may, 2010
From Ecstasy to Rapture. 50 Years of Alternative Spanish Film
Since the 1950s, Spain has been home to an important tradition of experimental film cut off from conventional exhibition spaces. This series was designed to give this unknown branch of film the visibility it deserves. From more than a thousand films, forty-three were chosen to be screened at the Museo Nacional Centro de Arte Reina Sofía in six sessions. In order to spark a dialogue between the different eras, this vastly diverse group of seminal films was shown out of chronological order, blazing a trail through the almost unknown history of Spanish cinema.
15 march, 2010 - 29 march, 2010
Transitland: video art from Central and Eastern Europe 1989-2009
Transitland: video art from Central and Eastern Europe 1989-2009 is a project put together to mark the occasion of the 20th anniversary of the fall of the Berlin Wall. It includes a selection of one hundred works produced between 1989 and 2009 that reflect the political, social and personal transformations that occurred in post-socialist Central and Eastern Europe.
1 february, 2010 - 28 february, 2010
LAX (the code for the Los Angeles international airport) is a project conceived of and produced by the Museo Reina Sofía Audiovisual Department coinciding with ARCO10, which hosted Los Angeles as a guest city. The project is divided into three sections: L.A. Films, Video Art in Los Angeles (1970-1984) and, for the first time in Spain, a retrospective on the underground California filmmaker Kenneth Anger (Santa Monica, 1927).
7 january, 2010 - 12 february, 2010
Film at the Pamplona Encounters
Film at the Pamplona Encounters is a series of screenings and debates organised on the occasion of Encuentros de Pamplona 72. Fin de fiesta del arte experimental (The Pamplona Encounters 1972. End of the Party for Experimental Art), held at the Museo Reina Sofía (28 October 2009 - 22 February 2010). According to Vicente J. Benet, the Encounters “offered an overview of audiovisual media characterised by a hybridisation that may seem somewhat baffling today. The array of options for the viewers ranged from the most heterodox trends in the new video media of the time to vestiges of the earliest films, slices of the historical avant-garde of the 1920s, recent experimental films, examples of professional-quality films with ties to modern writing and independent films”.
23 october, 2009 - 25 october, 2009
Misura italiana/The Italian Measure
The world is not perfect, although it can and must change to adjust to the needs of the moment and the people who inhabit it. This is the conceptual framework of Misura italiana, the video art series organised by the Centro per l'arte contemporanea Luigi Pecci-Prato for the Museo Nacional Centro de Arte Reina Sofía.
14 october, 2009 - 12 december, 2009
Singular Multitude: The Art of Resistance
Singular Multitude: The Art of Resistance is an ambitious series that includes conferences, a performance piece and a selection of audiovisual works that reflect the desire of their creators to investigate the unlimited possibilities found on the edges of official taste and the socio-political circumstances of the present day, all while recalling events, revealing traumas, mediating memory and producing counterimages in contemporary society and art.
18 may, 2009 - 15 june, 2009
Visionaries - Audiovisual Works in Latin America
Visionaries - Audiovisual Works in Latin America is an eclectic exhibition that is full of vitality and deeply committed to audiovisual creation in Latin America. The series looks at Latin American experimental video and film from Mexico to the countries of the Southern Cone in a combination of screenings and conferences that put everything from pioneers in experimental film to more recent productions under the historical lens. Organised by Brazil’s Instituto Itaú Cultural, the series consists of 73 works grouped into nine programmes.
13 april, 2009 - 15 april, 2009
Fragments of the East. Performance Art and Feminist Discourse (1968-1989)
Fragments of the East. Performance Art and Feminist Discourse (1968-1989) is a video and conference series on the origin of feminist discourse in the artistic practice in three historical contexts with no public sphere. As artists beginning within the framework of the communist dictatorships of Romania, the former Yugoslavia and Poland, Geta Brătescu (Ploiesti, 1926), Sanja Iveković (Zagreb, 1929) and Ewa Partum (Grodzisk, 1945) created works that question artistic specificity and autonomy at the same time that they allude to repressive contexts and the subject’s capacity for transformation and representation in works of art.
23 march, 2009 - 5 april, 2009
The best of KunstFilmBiennale 2007
Film has made its way into museums and galleries at the same time that art has opened up avenues in the world of film. Exhibition spaces often host multimedia installations, experimental film sessions and even narrative films. In their quest to integrate image, sound and movement, more and more artists are turning to cinema as a means of expression, exploring experimental abstraction, documentary and narrative fiction.
2 january, 2009 - 23 january, 2009
India is a place of abundant contrasts: part of the population lives in full post-modernity, modernity can still be found in another, while another segment - perhaps the majority of the population - lives anchored in feudalism. From a western standpoint, Indian film is a complex thing that breaks with the aesthetic codes and parameters established in the West in its themes and forms. Understanding it means delving into the culture and idiosyncrasy of its peoples.
10 november, 2008 - 1 december, 2008
Actions and Situations. Colección Pi Fernandino
The Museo Nacional Centro de Arte Reina Sofía presents a selection of works from the Colección Pi Fernandino in Madrid, one of the few private collections that concentrates on works done in audiovisual format from recent decades.
28 october, 2008 - 30 october, 2008
Campaign Ads. The Show Business of Democracy
The concept and evolution of television ads produced by political organisations and parties during electoral campaigns have changed noticeably since they first appeared in the United States in the 1960s. Today, campaign ads have become a hybrid genre, the product of the convergence of different television formats ranging from advertisements, to fiction, documentaries, news reporting, music videos, political propaganda, parodies and sports and music events.
22 september, 2008 - 23 october, 2008
Jack Smith. Kill Time – See a Movie
New York, February 1963. Jack Smith (Columbus, 1932 - New York, 1989), Tony Conrad (Concord, 1940), and Henry Flynt (Greensboro, 1940) protest outside the Met, MoMA and Lincoln Center carrying signs that read: “Demolish Serious Culture! Demolish Art Museums! Demolish Concert Halls!” “Making art was never supposed to be easy. It really has to be very boring. It must become very, very boring.”
10 july, 2008 - 16 july, 2008
The term performance art in Chinese (xingwei yishu) translates as ‘conduct or behaviour in art,’ an idea that emphasises the relationship of the individual to the community, which is so fundamental in the history of social and political thought in China. In this ‘behaviour art,’ personal and group commitment exceeds artistic parameters to fully enter the field of ethics and philosophy. Art/Action China presents a look at action art through interviews carried out between 2005 and 2007 with two generations of artists who work with installation, conceptual art, photography, video and performance art. Cang Xin (Heilongjiang, 1967), Zhu Ming (Changsha, 1972) Song Dong (Beijing, 1966), the pair of Sun Yuan (Beijing, 1972) & Peng Yu (Heilongjiang, 1974), Li Wei (Hubei, 1970), He Yunchang (Yunnan, 1967) and Chen Lingyang (Yiwu, 1975) explain the close relationship between their work and the political, social and urban changes that Chinese society has experienced over the last three decades. All the artists are determined to meld art with life and share the desire to have an impact on their social environment using means that are as poetic as they are subversive.
28 may, 2008 - 20 june, 2008
In and Against Cinema. Around May ’68.
May 2008 marked the fortieth anniversary of the largest general strike in the history of France, and the only widespread insurrection in a developed capitalist society in the second half of the twentieth century. ‘Reactive memory’ (political, media-driven, cultural) downplays the importance of May ’68 by reducing it to a student revolt, a generational conflict, a sudden acceleration of modernity (the explosion of hedonist individualism, liberation from tradition), etc. In the face of this current attempt to de-politicise the event, In and Against Cinema. Around May ’68 seeks to awaken a contrary and conflictive memory, that of the search for political spaces outside, on the margins of and against institutional politics. This search did not just take place in the field of organised struggle, but it influenced filmmaking in equal measure, perhaps more than any other cultural form or language.
6 april, 2008 - 27 april, 2008
VIVA Festival. Vital International Video Art Festival
This cycle presents the VIVA video art festival programme, dedicated to exploring the increasingly intense dialogue between the art and audiovisual worlds from the perspective of the viewing context of movies theatres, which is more traditional than the spaces provided by museums and exhibitions.
2 april, 2008 - 26 april, 2008
The Museo Nacional Centro de Arte Reina Sofía dedicates a retrospective to the audiovisual work of Yvonne Rainer (San Francisco, 1934), a key figure in experimental film in the San Francisco Bay Area and then in the East Coast underground scene after she moved to New York in the 1950s.
5 march, 2008 - 30 march, 2008
Why not short films?
Why not short films? is a series of screenings and a roundtable designed to put the spotlight on the short film format, a form that reveals the new relationships that artists and filmmakers have with the audiovisual medium and the world around them from the perspective of young, mainly Spanish creators who have come to short films from the cinema. The Great Ways agency, a specialist in cultural events for twelve years, collaborated on the selection.
5 november, 2007 - 19 december, 2007
Film and Almost Film 2007
The Museo Nacional Centro de Arte Reina Sofía is holding its seventh Film and Almost Film series, an annual event created to showcase the most notable contemporary audiovisual trends. This year’s series is made up of 11 programmes with a total of 36 pieces, including most notably After Apocalypse Now: Martin Sheen (The Soldier) (2007), which Cabello (Paris, 1963)/Carceller (Madrid, 1964) are screening for the first time.
4 october, 2007 - 21 october, 2007
Videonale 11. Selection from the Bonn Festival
In 1984, a group of students in the city of Bonn founded the Videonale, a video festival that reflected the creative possibilities of the medium. After more than 20 years, this festival has become one of the most important and innovative international events dedicated to contemporary video. Despite its age, the Videonale remains faithful to its principles: the free participation of artists in the competition with a single-channel piece made during the two years before the call for entries, its international character, and selection by a jury of independent international experts.
19 september, 2007 - 29 september, 2007
This series spotlights the film work of Peter Downsbrough (New Brunswick, 1940), an artist better known for his pieces made with black tape and letters, the map pieces, his books and scale models. However, his audiovisual work was prolific between 1976 and 2006, during which time he produced 21 films and videos.
9 september, 2007 - 30 september, 2007
Only on Sunday: In Perfect Disorder
The artist Perry Bard (Quebec, 1944), whose work draws on the use of electronic media, is presenting the audiovisual series In Perfect Disorder, a look at the ties between society, aesthetics and technology from the viewpoint of video creation. The programme, which includes pieces like Technology /Transformation: Wonder Woman (Dara Birnbaum, 1978-79), Feeling Free with 3D Magic Eye Poster Remix (Shana Moulton, 2004) and Escenario (Gabriel Acevedo Velarde, 2004), brings together ten artists who use different strategies to examine social, technological and aesthetic systems that are characterised by the repetition and regularity of their dynamics and by their methodical and constant use of internal logic to obtain predictable results. The videos use techniques including found footage, algorithms, rituals, performance pieces and a good dose of humour to call these results into question.
13 june, 2007 - 17 july, 2007
The Film Essay
Film or cinematic essays - not to be confused with art-house cinema - is the film correlative to the long tradition of the literary essay. These films do not offer a dramatic narrative (like fictional films) or a representation of the historical world (like documentaries), but are a reflection on the medium. This programme constitutes the first presentation in Spain (and one of the first in Europe) of one of the least codified practices in the contemporary audiovisual field. The films selected make it possible to characterise the film essay and observe its evolution over the last decade by comparing works by filmmakers such as Jean-Luc Godard (Paris, 1930), the artist who has done the most to popularise this form, and Mariano Llinás (Buenos Aires, 1975); personal documentary makers like Ross McElwee (North Carolina, 1947) and Albertina Carri (Buenos Aires, 1973); avant-garde filmmakers such as Barbara Hammer (Hollywood, 1939) and Angela Melitopoulos (Munich, 1961); and video artists like Shelly Silver (New York, 1957), Sean Snyder (Virginia Beach, 1972) and Deborah Stratman (Washington, D.C., 1967).
13 june, 2007 - 17 june, 2007
Quinderquino. Kids go to the Movies
The Museo Nacional Centro de Arte Reina Sofía is organising a film series especially for children that offers an assortment of animation, fiction and documentary films from the international scene created just for them. The aim is to introduce children to audiovisual languages that differ from what they are used to seeing on television and in commercial films. The works in the programme, including films like La tête dans les étoiles (Sylvain Vincendeau, 2005), Punam (Lucian Muntean, 2005) and The Bread and Alley (Abbas Kiarostami, 1970), tell fictional stories using different artistic resources and rhythms, taking on topics like the ecology and social harmony and showing little ones how children live in other parts of the world.
28 may, 2007 - 4 july, 2007
No Coverage. The New Generation of Videos from the Middle East
No Coverage (the title alludes to the proliferation of Arab television channels over the last few decades and how they have chosen to ignore the production of independent video, thus leaving it literally with no coverage) brings together independent experimental videos and documentaries by artists in order to shake up, discredit and reconstruct the limits of experimental video and documentaries in the Middle East. Comprised of videos that include autobiographical stories, testimonial interviews, archive footage and socio-political topics, the goal of the programme is to put Middle East independent video practices into context and explore the characteristics of their evolution. Although it is difficult to precisely define what constitutes ‘independent video’ and ‘experimental documentary’ in the region, the programme shows clearly that both encompass a broad spectrum of aesthetic perspectives and forms.
4 march, 2007 - 28 march, 2007
Only on Sunday. A Night at the Museum (or what Betty Boop saw)
Since the night that Betty Boop was locked inside a museum (Betty Boop’s Museum, 1932) and the skeletons came to life and began to dance more violently than their old bones could have imagined - causing night watchman Ben Stiller to dream about them 74 years later (Night at the Museum, 2006), museums have been subject to numerous attempts to reactivate them and involve them in temporary media like film and video. When a video enters a museum - as an exhibition piece or the implement of some spy - the eternity of the space tends to give way to the fast cuts, fugues in real time and alternative chronologies found in audiovisual works, whether they are a product of Hollywood or come from the art world.
22 february, 2007 - 28 march, 2007
The Canvas is the Screen
During the 1970s, artists rebelled against painting and the prevailing formalism, embracing aspects like the theatrical dimension of artworks and the relationship between the public and the object: installations instead of paintings, sites instead of sculptures, performance pieces instead of images. Paradoxically, while reducing painting to its formal specificity ended up eradicating it, the application of the same principles to film endowed it with truly revolutionary potential. In their search for the characteristics intrinsic to the medium, artists like Malcolm Le Grice (Plymouth, 1940) rid themselves of the narrative and causality of traditional film to investigate the specific possibilities of the moving image.
19 january, 2007 - 4 february, 2007
Continuous Movement. German Experimental Film and Video (1994-2004)
Continuous Movement highlights the importance of experimental cinema in the development of film as an independent art form and the evolution of film aesthetics and language, despite the marginal place that this type of film has historically filled with respect to the commercial structures of the audiovisual market. However, experimental film and, later, video have found their place among the visual arts where they share numerous links to the artistic uses of the audiovisual field, particularly with video installation and performance art.
17 may, 2006 - 24 june, 2006
Contemporary Madness was designed to clear up the hazy boundary separating the reality of perception from the rules of exception, featuring audiovisual creations that present the darker areas of the social order and the human mind using non-fiction and documentary work done in Spain. The works show the invisibility of the limits established by the discourses sanctioned by civil ordinances and medical and political convention.
17 april, 2006 - 28 april, 2006
Susan Sontag. On Cinema
The love that Susan Sontag (New York, 1933-2004) felt for the cinema (and showed with her participation on selection committees for festivals and programmes for film series around the world, as well as the creation of her own films) is especially manifest in her untiring defence of filmmakers like Jean-Luc Godard (Paris, 1930), Chris Marker, Ingmar Bergman and Jack Smith, to name just a few, when their work needed to reach a broader, more appreciative audience (and in the case of Smith, be given legal protection). This series pays tribute to Sontag’s legacy to film culture, establishing a dialogue between films and documentaries by and about Susan Sontag with the works of some of these filmmakers.
9 april, 2006 - 30 april, 2006
Video Creation from Finland
Finland is experiencing an exceptional moment with respect to audiovisual production, both in quality, diversity and distribution. Specific political decisions, school curricula and distribution platforms have specifically contributed to this situation. Video Creation from Finland brings together a set of varied and different approaches to the medium which at the same time share a special relationship with their environment, a fragmented narrative and even a similar approach to images and shots that is disconnected from video tradition and much more akin to film.
2 march, 2006 - 23 march, 2006
The Museo Nacional Centro de Arte Reina Sofía is dedicating a retrospective to the work of Peggy Ahwesh (Pittsburgh, 1954), one of the most groundbreaking and irreverent filmmakers of the American underground. Ahwesh began to make films in the early 1980s, projecting all of the effervescence of punk into her work. According to Eileen Myles, the Kodak Company would return each roll of developed film to her with a patient explanation that that they “had done it wrong”. Like Andy Warhol, Ahwesh gave her actors complete freedom in the field, but did impose some cut-off limits never imagined by the creator of Sleep (1963), to whom Ahwesh paid tribute with The Fragments Project (1985-1995).
5 february, 2006 - 26 february, 2006
…but I was only acting!
…but I was only acting! features a series of single-channel screenings that explore the connections between acting (as in performance) and activism from the lens of humour and irony. On this basis, the artists chosen for the programme represent a kind of transcendence with respect to the social framework in which they create, according to the idea established by radical activist and historian Howard Zinn in his book Artists in Times of War. For Zinn, “the artist thinks, acts, performs music, and writes outside the framework that society has created.” He goes on to clarify that “artists can be sly. They
16 january, 2006 - 21 january, 2006
Unseen Cinema: Early American Avant-Garde Film 1893 - 1941
Unseen Cinema: Early American Avant-Garde Film 1893 - 1941 is the first comprehensive retrospective of American avant-garde film before the 1940s. The complete programme includes 160 35 and 16 mm films, between new restorations and preserved copies, of which the Museo Nacional Centro de Arte Reina Sofía is presenting a selection of 36 films. Unseen Cinema explores the achievements - unknown to date - of pioneer filmmakers who worked in and outside the United States during the formative period of North American cinema.
21 september, 2005 - 7 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.
4 september, 2005 - 8 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 - 5 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.