21 march, 2011 - 27 march, 2011
Archipelago Val del Omar
Although they span the area between the avant-garde and the neo-avant-garde, the film and audiovisual activities of José Val del Omar have taken place in the territory of myth. Myth as something situated outside of history, that only leads to cult status.
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.
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.
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.
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.”
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.
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.
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).
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.
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.
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).
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.
19 january, 2004 - 30 january, 2004
Trinh T. Minh-ha. Documentary Is/Not a Name
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.
13 november, 2001 - 19 december, 2001
Film and Almost Film 2001
Film and Almost Film 2001 presents a selection of 22 works by experimental film directors and artists who, influenced by film and television, have taken a new approach to their work in an attempt to create a new genre of ‘art film’. This genre has traditionally been linked, both in terms of technique and narrative, to European experimental film, which, produced with low or medium budgets, has tried to reorient film practices and aesthetics. Nonetheless, in the last few years, the connotations inherent in the idea of ‘art film’ have grown.
7 may, 1997 - 7 june, 1997
In Two Dimensions: Dance on the Screen
On the occasion of the International Dance Festival in Madrid, In Two Dimensions: Dance on the Screen is a series that features an international selection of film-video-dance dedicated to the auteur. The pieces included in the seven programmes in the series were made by renowned artists who present different ways to contemplate audiovisual creation, finding their partenaire in the choreographic arts. Choreographers and directors analyse, structure, observe and direct the viewer’s gaze through the body and the movement of performers who order/disorder ideas and feelings. Moreover, each is done in a personal way, paving often extremely divergent paths, where the relationship between the two resources materialises for very different reasons.
9 april, 1997 - 3 may, 1997
Of Blood, of Pleasure and of Death…or Some Films on ‘Sexual Disorientation’
The series Of Blood, of Pleasure and of Death… presents a selection of experimental films with gay and lesbian themes designed to show some of the key pieces of avant-garde and underground film, putting them into context and in relation to the mass culture that generated them. The series title, in part inspired by the film trilogy by Gregory Markopoulos (Toledo, 1928 - Freiburg, 1992) Du sang, de la volupté et de la mort (1947-1948) acts as a metaphor for a series of films that, like the work by Markopoulos, see ‘blood, pleasure and death’ as an imaginary place where the desire, pain and the annihilation of the body are confronted and its being is oppressed by social norms and sexual taboos. The second part of the title, Some Films on ‘Sexual Disorientation’, in turn, relates to the confirmation of a fact: gay and lesbian film did ‘not’ exist before the 1970s or if it existed, it was limited to only two or three works. Given that the idea of a group or concept of gay and lesbian identity based on the term sexual ‘orientation’ did not exist (it emerged in the 1970s), this body of films cannot easily be described using those terms. This does not mean to say that there were no sexually ambiguous films suggesting ‘strange’ desires or ‘disoriented’ artists and filmmakers. Hundreds of films featured homosexual characters, but very few were made by homosexuals and even fewer had a gay or lesbian content.
12 march, 1997 - 30 march, 1997
Gordon Matta-Clark. Views Through the Invisible
This film and video series presents an overview of the film work of the North American artist Gordon Matta-Clark (New York, 1943-1978), an oeuvre that was largely forgotten for a long period of time. Beginning early in the 1970s until his death in 1978, Matta-Clark was one of the main driving forces on the New York SoHo art scene, characterised by his experiments aimed at breaking the limits that define an artwork, altering the structures established in the art world and exploding numerous means of artistic expression.