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

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  •  Zanny Begg and Oliver Ressler. The Right of Passage. HD Video, 2013. Image courtesy of the artists
    12 November - 4 December, 2014
    Cinema and video Film series

    The presence of the spectral keeps track of film, sound and literary representations and defines the poetics of repressed persistence, continuities between somewhere out of place and out of time. This series explores a selection of alterations in the recent image in movement, bearing the prints of a disturbing past, whilst also imagining a future that learns to live with such ghosts.

  • 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.

  • 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.

  • 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
  • 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.

  • Albert Serra. Historia de la méva mort. Film, 2013
    September 18 - October 17, 2013

    Unending stories

    Narrations from the Other Cinema (2010-2013)

    Cinema and video Film series

    In recent years, it has been pointed out that one of the identifying features of Spanish alternative film is the exploration of the real.

  • Alexander Kluge. News from Ideological Antiquity: Marx/Eisenstein/Capital . Film, 2008
    September 7 and 14, 2013

    Alexander Kluge

    News from Ideological Antiquity: Marx/Eisenstein/Capital

    Cinema and video Film series

    News from Ideological Antiquity: Marx/Eisenstein/Capital (2008) is one of the most complex and monumental films of recent film history. Throughout the almost nine hours that the film lasts, its director, Alexander Kluge (Germany, 1932), offers his own construction of Eisenstein's unfinished project of filming Capital by Karl Marx, an idea conceived after a feverish encounter between the Russian filmmaker and James Joyce in 1927.

  • Babaouo is a surrealist film, 1932. Collage for the film's poster. © Salvador Dalí. Fundació Gala – Salvador Dalí, VEGAP, Madrid, 2013
    Friday August 30th and Saturday August 31st - Sessions starting at 11 a.m.

    Final Delirium

    The Audiovisual Dalí

    Cinema and video Film series

    This audiovisual series looks at Salvador Dalí's film, video and television production, as a culmination of the exhibition Dalí. All of the poetic suggestions and all of the plastic possibilities. Almost five hours in length, this collection of works, with repeat screenings over two days, argues that the relationship between Dalí and mass culture is key to understanding the artist's work, but also to developing a different idea of modernity, one that conveys the spectacular and tumultuous nature of 1930s modernity. 

  • Carlos Reygadas. Post Tenebras Lux. Film, 2012
    July 17 - August 30, 2013 - 7:00 p.m.

    Imminent Mexico

    Imaginaries of the insurgency in contemporary film

    Cinema and video Film series

    This summer film series explores one of the contemporary cinematographies that, although very interesting, is among the least distributed in Europe. Midway between new auteur voices and the poetics of documentary, this series shows how film responds to a situation of provisionality and how it imagines the future from the vantage point of uncertainty.

  • Eduardo Coutinho. Babilônia 2000. 2000. Copia proporcionada por Videofilmes, Brasil
    February 23 – April 12, 2013 - 7:00 p.m.

    Eduardo Coutinho

    Retrospective

    Cinema and video Film series

    Eduardo Coutinho (São Paulo, 1933) is an essential name in Latin American documentary film. His work is shaped by political issues but manages to avoid propaganda, as he addresses the everyday lives and subjectivities of marginal majorities with a sensibility not altered by melodrama. This retrospective, the most extensive to date, presents a body of work that ranges from the context of Cinema Novo to the analysis of fiction in contemporary film.