Harun Farocki (Nový Jičín, Czech Republic, 1944) studied in the German Film and Television Academy, Berlin (DFFB) but was expelled in 1968 for political reasons. An essayist and filmmaker, Farocki has also produced screenplays for various films and television productions and his work has been exhibited in diverse international retrospectives and gained recognition through a number of awards.
The exhibition Machines & Souls. Digital Art and New Media explores the convergence between science, art, technology and society at the beginning of the twenty-first century to reflect on the transformations that underlie the practices carried out by the artists that are part of this exhibition. The collection includes the work of 17 artists who have the use of digital technology as a tool in common, along with a long and distinguished artistic career. Some of them, like Antoni Muntadas, Daniel Canogar and Antoni Abad have already been part of previous exhibitions at the Museo Nacional Centro de Arte Reina Sofía.
How shall we sing the Lord’s song in a strange land?
Modern art’s origins have been consistently placed during the rupture with traditional art forms emerging in the late nineteenth century. This has resulted in the fact that European history's inseparability from its colonies, and therefore, centre-periphery relations, has been ignored since the sixteenth century. Principio Potosí a project that rethinks the origins and expansion of modernity based on colonial baroque painting and on colonisation processes. The exhibition establishes a dialogue between the work produced ex profeso various international artists, with numerous colonial baroque art works from between the sixteenth and eighteenth centuries that come from mainly Bolivian and Spanish convents, churches, archives and museums.
Atlas is a proposal to put the frame of thought introduced by German art historian Aby Warburg (1866-1929) into the context of historical knowledge and images. This is not a monographic exhibition on Warburg, but a journey through the history of images from 1914 until the present day, where warburgism constitutes the genius loci.