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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

  • Yervant Gianikian and Angela Ricci Lucchi. Pays Barbare. Film, 2013
    7, 8 and 14 May, 2014 - 7:00 p.m.
    Cinema and video Encounter Screenings

    As part of the Intervalos programme, Yervant Gianikian and Angela Ricci Lucchi’s latest work is screened, with both film-makers also participating at an encounter. Joining film practices based on found footage, documentary and experimental cinema, Pays Barbare is a complex tale about historical memory, fascism and colonialism.

  • Cecilia Barriga. Ojo eje, 2009
    28 october, 2010
    Cinema and video Encounter

    The work of Cecilia Barriga (Concepción, 1957), a Chilean filmmaker residing in Madrid since 1977, maintains a keen commitment to questions of social equality and reflections on gender, questioning the way in which our individual and group identities are constructed and represented, whether through the image impulse of what is most intimate or through the changing cultural and political circumstances that surround us.

  • Jenny Marketou. Red Eyed Sky Walkers, 2008
    30 september, 2010
    Cinema and video Encounter

    Jenny Marketou (Athens, 1954) is a multidisciplinary artist whose work clamours for public participation at the same time that it questions the systems that structure how we live with respect to the limits of public space and our freedom.

  • Abigail Child. Mayhem, 1987
    31 may, 2010
    Cinema and video Encounter

    Abigail Child (San Francisco, 1948) explores the possibilities inherent in mixing genres and narrative strategies to engage public space through memory and history.

  • Douglas Gordon. Play Dead, Real Time (Other Way), 2003
    5 may, 2010
    Cinema and video Encounter

    Pedro Garhel (Tenerife, 1952-2005), a multifaceted and multidisciplinary artist, was a pioneer in the field of electronic and interactive art in Spain. He began his work in the area of performance and video art in Madrid, where in 1981 he founded the emblematic Espacio P, a multi-purpose centre managed by the artists themselves that became a meeting point between the sound, visual and performing arts.

  • Pedro Garhel y Rosa Galindo. Etcétera, 1983
    28 april, 2010
    Cinema and video Encounter

    The title Reacción en cadena applies to a selection of videos from the Cal Cego Contemporary Art Collection (Barcelona) that create genealogies of artists, works and discourses. Viewing the videos reveals the relationships, associations, counterpositions, superpositions, revisions and conflicts generated between them.

  • Shirin Neshat. Women Without Men, 2009
    3 march, 2010 - 4 march, 2010
    Cinema and video Encounter

    Shirin Neshat (Iran, 1957) is a visual artist based in the United States whose works explore the image of women in Islamic society. She first gained recognition on an international level after the publication of her portraits included in the series Women of Allah (1993-1997) and then became more widely known in 1999 when she received the International Prize at the Venice Biennale for her video installations Turbulent (1998) and Rapture (1999).

  • Leandro Katz. Exhumación, 2007
    18 january, 2010
    Cinema and video Encounter

    Leandro Katz’ work (Buenos Aires, 1938) grapples with the passage of time and the construction of memory through the politics of perception made possible by audiovisual media. Two films, El día que me quieras (1997) and Exhumación (2007), explore the icon Che Guevara from the image of the leader’s lifeless body and later story of his death.

  • Johan Grimonprez. Double Take, 2009
    18 september, 2009 - 19 september, 2009
    Cinema and video Encounter

    Somewhere between documentary and film essay, Double Take (2009) presents Alfred Hitchcock - and his doppelganger Ron Burrage - as a paranoid history professor unwillingly trapped between archive images of the Cold War and the broadcast of a live television programme.

  • Vasco Araujo. O Jardim, 2005
    14 september, 2009
    Cinema and video Encounter

    The works of Vasco Araújo (Lisbon, l975) focus on socio-political aspects and investigate the problematics of identity and memory using classical mythology, opera, Baroque dance, palace protocol and social behaviours.

  • Pablo Helguera. Performances, 2009
    18 june, 2009
    Cinema and video Encounter

    Pablo Helguera (Mexico City, 1971) is an artist based in New York whose work emphasises socio-political reality and delves into the nature of memory. He uses language and historical narrative, availing himself of theatrical and literary resources that he then transposes into conceptual language.

  • Hannes Schüpbach. Verso, 2008
    1 april, 2009
    Cinema and video Encounter

    The films of the multifaceted Swiss artist Hannes Schüpbach (Winterthur, 1965) start from a direct encounter with a place or person and take the depiction to the limits of the metaphor. His latest works, Verso (2008) - starring his father - and L’Atelier (2007), are being screened along with Spin (2001), an earlier film with the artist’s mother.

  • Glòria Martí. Cuando la Tierra Tiembla, 2006
    19 january, 2009
    Cinema and video Encounter

    Cuando la tierra tiembla (2006) is a visual document of the human drama of exile, migration and displacement. The video draws on the circumstances of the Mexican community residing in New York to look at the situation of emigrants on both sides of the U.S.-Mexico border. Their testimonies, along with those of members of associations who work with ‘illegals,’ form the central thread that runs through the story.

  • Gabriela y Sally Gutiérrez Dewar. Tapologo, 2008
    15 december, 2008
    Cinema and video Encounter

    In Freedom Park, a squatter settlement in South Africa, a group of HIV-infected women created a network called Tapologo. Working with nurses from their community, they transformed misery and degradation into resistance and hope. Catholic bishop Kevin Dowling helped them, raising doubts about the sexual and moral doctrine of the Church in this context.

  • Pere Portabella. Films 59, 1959
    4 december, 2008
    Cinema and video Encounter

    The camera never stops moving while it follows the operation of emptying the Huerta de San Vicente of all of its contents - paintings, furniture, rugs, flowerpots, knickknacks, a piano - leaving it clean and bare, and accompanying the objects wrapped in semi-transparent plastic to a storage site where they are placed in a pile.

  • Constanze Ruhm. X Love Scenes / Pearls Without a Strings, 2007
    15 september, 2008
    Cinema and video Encounter

    Constanze Ruhm (Vienna, 1965) is an artist and filmmaker whose work looks at the relationship between film and the new media from the viewpoint of the ideas of feminist film theory, representation and identity. The Museo Nacional Centro de Arte Reina Sofía presents, for the first time in Spain, her film X Love Scenes (2007), the fifth in the X Characters series, which she began in 2001.

  • Marcel Odenbach. Disturbed Places, 2007
    21 april, 2008
    Cinema and video Encounter

    Since the 1970s, Marcel Odenbach (Cologne, 1953) has had a decisive influence on the development of video, using the qualities and possibilities offered by the medium to make political and social statements. “From the very start of my career as a video artist, I took the recording of moving pictures for granted,” says Odenbach.

  • Sophie Fiennes. The Pervert's Guide to Cinema, 2006
    24 march, 2008 - 26 march, 2008
    Cinema and video Encounter

    Presented by the psychoanalyst and philosopher Slavoj iek (Ljubljana, 1949) and directed by Sophie Fiennes (Suffolk, 1967), The Pervert’s Guide to Cinema (2006) follows the philosopher as he examines films like The Exorcist (1973), Duck Soup (1933) and Alien (1979), speaking from replica sets of classic films like Psycho (1960), Blue Velvet (1986) and The Matrix (1999).

  • 15 october, 2007
    Cinema and video Encounter

    Viaje de novios (2006) is a project that developed over the course of almost three years. It includes four videos (Viaje de novios, Pago de salud, Circular de agua and Baile al fin) which together form one long piece. This long version of Viaje de novios looks at some of the key spaces in art and cinema: the portrait suspended in time; the landscape as aspiration, between memory and desire; the artistic gaze and its film correlation in the shot/reverse angle shot; using a couple as an editing principle; telling a story that tempers the real events and the narrative voice. “The experience of travelling, time passing, events that surprise us, the restlessness that finds its place in art, all find closure in the artwork, which is simultaneously formalised as just one more displacement” Javier Codesal (Sabiñánigo, 1958).

  • Julia Scher. No Cum Shot, 2004
    24 may, 2007
    Cinema and video Encounter

    Surveillant Architectures is a platform from which to view and critique watchfulness in everyday life. It sprang from the idea of creating a new language and protocols to bring to light the theoretical, social, individual and political implications of surveillance, security and terror management issues today.

  • Irit Batsry. Giacometti's Scale, 1996
    23 april, 2007
    Cinema and video Encounter

    At the Museo Nacional Centro de Arte Reina Sofía, Irit Batsry (Ramat Gan, 1957)

  • Raoul Ruiz. Klimt, 2006
    24 february, 2007
    Cinema and video Encounter

    Klimt (2006) looks at the life and work of the Viennese painter and his relationship with women, his rejection of the artistic and moral conventions of the era and the ideals that guided his life. “The film is not a linear biography of Gustav Klimt’s life and times,” according to Raoul Ruiz (Puerto Montt, 1941- Paris, 2011). “It is a fantasy or better a phantasmagoria. Just like one of his paintings, where the material or imaginary figures mix and rotate around a central fulcrum: the painter Klimt. I wanted to outline the unique stylistic features of Klimt’s art, the prevailance of beauty, the excess of colour, the distorted spaces and the complex parts to catch life and clarify one of the richest, most conflicting and mysterious times of modern history.”

  • Marine Hugonnier. Ariana, 2001
    25 september, 2006
    Cinema and video Encounter

    Marine Hugonnier (Paris, 1969), a video artist whose work explores the relationship between landscape and history, presents The Three Continents, a film trilogy comprised of Ariana (2001), The Last Tour (2004) and Travelling Amazonia (2005). In these films, geography acts as a starting point to look at topics like colonialism, utopia and globalisation.

  • Alfredo Jaar. Muxima, 2005
    27 may, 2006
    Cinema and video Encounter

    The film Muxima (2005) arose from the love affair that the artist Alfredo Jaar (Santiago de Chile, 1956) has with contemporary African music. For 20 years, Jaar has been collecting this type of music, especially works produced in former Portuguese colonies such as Angola, Mozambique, Guinea-Bissau and Cape Verde. The origins of Muxima (a word that means heart in the Kimbundu language) date back to a day when, trying to organise his extensive collection of Angolan recordings, Jaar discovered that he had six different versions of a song called Muxima.

  • Vasco Araújo. The Girl of the Golden West, 2004
    27 february, 2006
    Cinema and video Encounter

    Vasco Araújo (Lisbon, 1975), an artist who uses installation, video and photography to reflect on sexual identity, strategies of representation and reality, is presenting the films Recital (2002), Hipólito (2003), The Girl of the Golden West (2004) and Far de Donna (2005) at the Museo Nacional Centro de Arte Reina Sofía.

  • Valerie Mrejen. Dieu, 2005
    6 february, 2006
    Cinema and video Encounter

    Valérie Mréjen, born in Paris in 1969, is a writer, visual artist, photographer, video artist and short filmmaker. Mréjen uses all of these media to explore language, childhood and her memories. Her videos are farcical sketches of daily life that draw attention to the game between words and stories. Fixed shots, actors who do not try to act, neutral backdrops and dialogues in which nothing extraordinary is discussed are the constants in her work.

  • 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.

  • 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.

  • 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.