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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.    

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  • Gregory J. Markopoulos. The Illiac Passion. Film still, 1964-1967
    February 6-10, 2015 - 7:00 p.m.
    Cinema and video Film series

    This film series presents a selection of work by Gregory J. Markopoulos (1928-1992), who made some of the most subjective and allegorical film poetics in post-war experimental cinema. With four sessions screened in both La Casa Encendida and the Museo Reina Sofía, Film as Film explores the keys to a sensual and excessive body of work, in which homosexual identity, initiation rites and allegory circle around complex editing techniques.

  • Vincent Meessen. Vita Nova. Film, 2009. Image courtesy of the artist and Argos Centre for Art and Media
    12 November - 10 December, 2014 - 7:00 p.m.
    Cinema and video Film series

    Specters: A Ciné-politics of Haunting gathers a selection of recent international film and video that conjures the hauntings of our collective cultural imaginary. Some phantoms arise from past injustices and political traumas, some apparitions, of catastrophic times to come.

  • Luis López Carrasco. El futuro. Film, 2013
    September 22 - October 22, 2014 - 7:00 p.m.
    Cinema and video Film series

    This film season continues a series of programmes that have addressed the change to structures, narrations and methods of film-making in recent Spanish cinema. With three editions to date, The Memory of Disrepute develops, through double sessions, how other cinema invents its own genealogy, exercising a discontinuous and partisan history of recent cinema.

  • Mike Kuchar. Sins of the Fleshapoids. Film, 1965
    6 - 28 August, 2014 - 7:00 p.m.
    Cinema and video Film series

    This programme presents pop confronting pop, recognising the seduction of consumer culture whilst also keeping it at a critical distance. In relation to the exhibition devoted to Richard Hamilton, this series approaches the popular as subversion and as an investigation into the characteristics of a new society that emerged between the 1950s and 1970s.

  • Black Audio Film Collective. Handsworth Songs. Film, 1987. Courtesy of the Black Audio Film Collective and LUX, London
    2, 3, 9, 10 and 16 July 2014 - 7:00 p.m.
    Cinema and video Film series

    Active in the UK between 1982 and 1997, the Black Audio Film Collective symbolised a radical attempt to transform education, institutions and the representation of black identity in independent film, with their work condensing a complex palimpsest of voices that, found between nascent politics of representation, put forward a language of diaspora.

  • César Oiticica Filho. Hélio Oiticica. Film, 2013
    23 and 29 May, 2014 - 7:00 p.m.
    Cinema and video Screenings

    Premiere of the recent documentary about Hélio Oiticica. Put together as a living archive of numerous unpublished documents, from the artist’s thoughts as a narrative guide to unexplored audiovisual fragments, the film looks to articulate a complex and multiple narrative of the artist and the post-war Avant-garde movement in Brazil.

  • 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.

  • Djibril Diop Mambéty. Touki Bouki. Film, 1973
    24 March - 30 April, 2014 - 7:00 p.m.
    Cinema and video Film series

    Cinema is a privileged medium in the narrative construction of biography, yet, in the face of narcissism from the mythologies of self, this film series shows life in its temporary form, both fragile and precarious, and presents a programme that spans from Neorealism to recent post-colonial cinema.

  • Amos Gitai. Ana Arabia. Film, 2013
    17 March, 2014 - 7:00 p.m.
    Cinema and video Screenings

    This is the premiere of the film-maker’s most recent production, which coincides with the exhibition and film program devoted to his work. Shot in one single take, Ana Arabia demonstrates the utopian coexistence of a community of Jews and Muslims as they withstand urban speculation.

  • Aki Kaurismäki. Dogs have no hell. Film, 2002
    February 21 - March 22, 2014 - 7:00 p.m.

    After the Shipwreck

    The Cinema of Aki Kaurismäki (1983-1996)

    Cinema and video Film series

    With a filmography that contains theatrical parody and documentary realism in equal proportions, Kaurismäki’s cinema is based on the paradoxes and fault lines of contemporaneity. This retrospective, the first to be held in a modern art museum, is complemented by a master class and a carte blanche program chosen by the filmmaker. 

  • Amos Gitai. House. Movie, 1980
    5, 6, 11, 12, 13, 17, 18, 19, 24 and 26 February, 2014

    Biography, history, territories

    Nine films by Amos Gitai

    Cinema and video Film series

    The cinema of Amos Gitai is that of an architect-filmmaker, but it is also that of a biographer-filmmaker. Organised in connection with the exhibition The Biographies of Amos Gitai, this series spans over 30 years of activity and points to the historical strata underlying the conflict between Israel and Palestine.   

  • Rafael França. Prelúdio de uma morte anunciada. Video, 1991
    December 11, 2013 - 7:00 p.m.
    Cinema and video Film series

    AIDS Anarchive began within the framework of the 2012-2013 research residencies at Museo Reina Sofía, as part of the production process of a “counter-archive” or an anarchive of AIDS policies, with attention being paid for the first time to practices occurring outside of the Anglo-Saxon or Western and Central European settings.

    Study center
  • Matt Mullican. Untitled (Matt Mullican under hypnosis: Zürich). Performance, 2004
    November 12, 2013 - 7:00 p.m.
    Cinema and video Conference Performance art

    In this performative lecture, in parallel with the presentation of Minimal Resistance. Between late modernism and Globalisation: artistic practices during the 80s and 90s, Mullican reviews and comments on some of his performances under hypnosis, in which he recreates, as he does in his visual works, the logic of an unstable and irrational world.

  • David Cronenberg. Videodrome. Film, 1983. Courtesy of Video Profilmar
    November 11, 14, 18, 24, 25, 28 and December 2, 5, 12, 2013 - 7:00 p.m. except for November 24

    The image is a virus

    Histories of cinema (1980-1990s)

    Cinema and video Film series

    This audiovisual series looks at the 1980s, and that decade’s prolongation into the 1990s, as a genealogy of much of the dialectics that explain contemporary, as a time period and cultural category.

  • View of the Sabatini Auditorium
    September 27 and 28, 2013

    After the margins

    A look at the other cinema in Spain

    Cinema and video Film series Seminars and conferences Seminar

    Film on the margins, from the peripheries, and the other cinema are among the terms used to refer to works that have been made outside the industry in recent years in Spain. Beyond this condition of existence, a number of additional criteria are fulfilled by these films, suggesting something of a group identity. More specifically: independent production and distribution platforms, the incorporation of the experimental language used in the field of art (exhibition video and film) and the liberal use of documentary techniques in the form of essay film are some of the features found throughout this other cinema.