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17 and 25 July, 2013
Carlos Reygadas
Post Tenebras Lux
Technical credits: 2012. Mexico, France, Germany, Holland, in the original Spanish, colour and sound, 120´.
Screening format: Blu-ray
With this film – which has been polemical since its premiere – Reygadas opts for a hermetic discourse to explore the oppressive violence infusing the social spectrum in Mexico. With rigorous formalism, the film launches the spectator into a dense chronology that captures the collapse of a man dragged along by the inertia of his life. What is apparently a self-imposed exile in the countryside with his family does not free him of his sense of alienation; neither the rural idyll nor the everyday activities he shares with the locals calm the irrational attacks of fury and loneliness.
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19 and 27 July, 2013
Juan Carlos Rulfo y Carlos Hagerman
Los que se quedan
Technical credits: 2008. Mexico, in the original Spanish, colour and sound, 98´.
Screening format: Blu-ray
This film portrays several towns inhabited exclusively by women and children, no men whatsoever, as a consequence of the transformation occurring in Mexico's rural communities due to migration to the United States. Rulfo and Hagerman document the intimate consequences of migration, how these consequences change everyday life, projects and aspirations, using a singular poetic of abandonment to address a theme commonly found in Mexican cinema.
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24 July and 1 August, 2013
Emiliano Altuna, Carlos Rossini y Diego Osorno
El alcalde
Technical credits: 2012. Mexico, in the original Spanish, colour and sound, 80´.
Screening format: Blu-ray
As an example of a violent response to a catastrophic state of affairs, this film portrays Mauricio Fernández Garza, the controversial mayor of San Pedro Garza García, in Monterrey, Nuevo León, the richest and safest municipal in all of Latin America. A radical and unpredictable figure, his ideas and strategies for keeping order have led to major debate at the national level. Is fighting crime from outside the law a valid solution? What are the consequences of a state alongside the State? -
26 July and 3 August, 2013
Nicolás Pereda y Jacob Secher Schulsinger
Matar extraños
Technical credits: 2013. Mexico and Denmark, in the original Spanish, colour and sound, 63´.
Screening format: Blu-ray
Pereda and Secher Schulsinger deconstruct the collective myth of the Mexican Revolution, inquiring into how history and the past are integrated into the present. On the one hand, the film tells the story of three men lost in the desert hoping to join the armed struggle and, on the other hand, it shows a series of rehearsals and auditions with different actors who improvise dialogues for a film about the Mexican Revolution.
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31 July and 8 August, 2013
Kyzza Terrazas
El lenguaje de los machetes
Technical credits: 2011. Mexico, in the original Spanish, colour and sound, 78´.
Screening format: Blu-ray
What are the radical ideas and insurgencies of today, the result of the unfinished processes of independence and revolution? Behind Ray and Ramona's turbulent relationship, this film exposes class contradictions and rocks the artificial pillars of national unity. It draws a dramatic line that oscillates between self-sabotage and extreme idealism, coalescing in the couple's iconoclastic impulse to pulverize the Basilica of Guadalupe, with the idea of “creating a better world”. -
2 and 10 August, 2013
Michel Franco
Después de Lucía
Technical credits: 2012. Mexico, in the original Spanish, colour and sound, 93´.
Screening format: Blu-ray
In this film, the adolescent body becomes the record of a reality torn apart by traumas, chaos and paralysis. After the death of her mother, a young woman and her father move to the capital city. She soon becomes the target of her classmates, but she resists stoically so as not to upset her father. Franco constructs a revealing and precarious suspension, between extreme violence and silent resistance. -
7 and 17 August, 2013
Roberto Fiesco
Quebranto
Technical credits: 2012. Mexico, in the original Spanish, colour and sound, 95´.
Screening format: Betacam Digital
With a highly theatrical mise-en-scene, Roberto Fiesco portrays the memory, strength and vitality of two women who have faced a series of losses. Inhabitants of a world of memories, Coral Bonelli, now a transgender actress and dancer, along with her mother, Lilia Ortega, who is also an actress, share with each other and with the spectator a series of tragicomic testimonies. The film highlights the prejudices still associated with the body and with identity, and the fight against them. -
9 and 22 August, 2013
Michel Lipkes
Malaventura
Technical credits: 2012. Mexico, in the original Spanish, colour and sound, 75´.
Screening format: Blu-ray
Using a minimalist style, Michel Lipkes captures the everyday gestures of an old man in Mexico City, on his last day of life. The film deals with the proximity of death, showing the protagonist's attempts to remain steady in a world that is pushing him out. Extended time and slow-motion gestures illustrate a banal day, a decrepit place and an old man in decay but who tries, in spasmodic impulses, to hold on to life. -
14 and 24 August, 2013
Everardo González
Cuates de Australia
Technical credits: 2011. Mexico, in the original Spanish, colour and sound, 90´.
Screening format: Blu-ray
On a ranch in the Sierra de Coahuila, in northeast Mexico, the severe droughts that plague the area seriously threaten the health of its inhabitants. This documentary records the resulting exodus but also resistance and strategies for survival. Cuates de Australia is an example of how the cultural imaginary regarding a territory can become an archipelago of topographies as uninhabitable as they are inevitable, a forgotten space in which to try out new paths of resistance. -
16 and 28 August, 2013
Kenya Márquez
Fecha de caducidad
Technical credits: 2011. Mexico, in the original Spanish, colour and sound, 80´.
Screening format: Blu-ray
A mother looking for her son, fearing he has been a victim of organized crime, and a young woman fleeing from a stormy past. Between the morgue and a residential building, the steps of these women draw in spectators and show them the insides of a Mexico that is surprising and at the same time familiar. The film's cathartic moments allow Márquez to experiment with another way of navigating through the social configurations generated by drug trafficking, the mafia and the vestiges of an obsolete patriarchy. -
21 and 29 August, 2013
Gabriel Mariño
Un mundo secreto
Technical credits: 2012. Mexico, in the original Spanish, colour and sound, 87´.
Screening format: Blu-ray
Using the structure of a road movie, the director captures the state of vulnerability and impenetrability typical of adolescence. The film follows a young woman whose sudden decision to leave the vacuum of her life at home and school leads her to cross the uncertain landscapes of Northern Mexico, revealing improbable moments of shared solitude. Mariño looks at the turbulent transition from childhood to the adult world without falling prey to the clichés often appearing in narratives about adult transition. -
23 and 30 August, 2013
Eduardo Villanueva
Penumbra
Technical credits: 2013. Mexico, in the original Spanish, colour and sound, 88´.
Screening format: Blu-ray
Shot during the first rays of the morning sun or in the fading light of the late afternoon, Penumbra paints a picture of daily life and poverty in rural Mexico, with its characteristic slow pace of life and with very little dialogue. The story's main character, an old hunter in his final days, lets viewers read between the lines about the violence that saturates the country's rural areas. With its contemplative character, Penumbra alludes to a cinema 'on hold', but also to the non-time created by the absence of a future.

Held on 17, 19, 24, 25, 26, 27, 31 Jul, 01, 03, 06, 07, 08, 09, 10, 14, 16, 17, 21, 22, 23, 24, 28, 29, 30 Aug 2013
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.
The audiovisual series Imminent Mexico looks at how a generation of filmmakers deals with a present that is provisional, that has major changes looming, and it reveals how an uncertain and immediate future is imagined, due to the difficulty of foreseeing the long term. The twelve films comprising the program, by filmmakers such as Carlos Reygadas, Nicolás Pereda, Juan Carlos Rulfo and Michel Lipkes, and others, offer a critical commentary of the country's current situation, while at the same time exploring a range of themes, forms and styles that in recent years have given Mexican cinema considerable international recognition. The films programmed transit between purely documentary strategies to the resources used in fiction, including a dose of the irreverent spirit typical of experimental film, but most of all they show the blurring of obsolete frontiers and a marked hybridisation between genres.
This new cinema, identified with a type of filmmaking that can be described as 'on hold', favours the creation of atmospheres over orthodox narratives, presenting palimpsestic, surreal or minimalist narrations and chaotic and desolate landscapes that reflect the tacit violence permeating everyday life. The uncertainty of the future has prompted various filmmakers to focus on people's interior lives, subjective experiences and family dynamics. Their work invites viewers to journey through fragmented territories, to inhabit parallel worlds that point to the strange geography formed by migration circuits and organized crime, or to follow subjects who are lost in thought, absorbing the uncertain present and being pulled by the undertow of the future. The detachment of this contemplative cinema evokes the state of alienation of a country in which a perpetual state of alert has become the norm; the visceral nature of a cinema 'on hold' documents the bodies that dramatize social deterioration while the comedy of the absurd reminds us that the end of the world responds to a number of different logics. It can be dramatic, it can be a slow fade to black or it can be the indication of a liberating optimism.
In this respect, the selected films offer glimpses instead of exact visions, they produce distorted refractions more than precise reflections or mirror images of reality; some films intentionally lose their focus, showing only glimmers, fragments, mirages; they reveal some aspects of the world while simultaneously concealing others; in short, they observe reality, assuming its inevitable aura, a key aspect of an aesthetic and a cinema of imminence that is having a considerable impact on contemporary audiovisual culture.
Itinerary
Centro de Cultura Digital, México D.F., March 20 to April 6, 2014, CPH:Dox, Copenhagen. Second semester, 2014
Curatorship
Antonio Zirión and Mara Fortes
Itinerancies
Museo Nacional Centro de Arte Reina Sofía, Madrid
17 July, 2013 - 30 August, 2013
Centro de Cultura Digital, México D.F.
20 March, 2014 - 6 April, 2014
Más actividades
![Tracey Rose, The Black Sun Black Star and Moon [La luna estrella negro y negro sol], 2014.](https://recursos.museoreinasofia.es/styles/small_landscape/public/Obra/AD07091_2.jpg.webp)
On Black Study: Towards a Black Poethics of Contamination
Monday 27, Tuesday 28 and Wednesday 29 of April, 2026 – 16:00 h
The seminar On Black Study: Towards a Black Poethics of Contamination proposes Black Study as a critical and methodological practice that has emerged in and against racial capitalism, colonial modernity and institutional capture. Framed through what the invited researcher and practitioner Ishy Pryce-Parchment terms a Black poethics of contamination, the seminar considers what it might mean to think Blackness (and therefore Black Study) as contagious, diffuse and spreadable matter. To do so, it enacts a constellation of diasporic methodologies and black aesthetic practices that harbor “contamination” -ideas that travel through texts, geographies, bodies and histories- as a method and as a condition.
If Blackness enters Western modernity from the position of the Middle Passage and its afterlives, it also names a condition from which alternative modes of being, knowing and relating are continually forged. From within this errant boundarylessness, Black creative-intellectual practice unfolds as what might be called a history of touches: transmissions, residues and socialities that unsettle the fantasy of pure or self-contained knowledge.
Situated within Black radical aesthetics, Black feminist theory and diasporic poetics, the seminar traces a genealogy of Black Study not as an object of analysis but as methodological propositions that continue to shape contemporary aesthetic and political life. Against mastery as the horizon of study, the group shifts attention from what we know to how we know. It foregrounds creative Black methodological practices—fahima ife’s anindex (via Fred Moten), Katherine McKittrick’s expansive use of the footnote, citation as relational and loving labour, the aesthetics of Black miscellanea, and Christina Sharpe’s practices of annotation—as procedures that disorganise dominant regimes of knowledge. In this sense, Black Study is approached not as a discrete academic field but as a feel for knowing and knowledge: a constellation of insurgent practices—reading, gathering, listening, annotating, refusing, world-making—that operate both within and beyond the university.
The study sessions propose to experiment with form in order to embrace how ‘black people have always used interdisciplinary methodologies to explain, explore, and story the world.’ Through engagements with thinkers and practitioners such as Katherine McKittrick, C.L.R. James, Sylvia Wynter, Christina Sharpe, Fred Moten, Tina Campt, Hilton Als, John Akomfrah, fahima ife and Dionne Brand, we ask: What might it mean to study together, incompletely and without recourse to individuation? How might aesthetic practice function as a poethical intervention in the ongoing work of what Sylvia Wynter calls the practice of doing humanness?

Mediations of the Archive: Art, Community, and Political Action
Tuesday 7, and Thursday 23, April, 2026 – 17:00 h
The online seminar Archival Mediations: Art, Community, and Political Action, curated by Sofía Villena Araya, examines the role of archival practices in caring for, dignifying, and activating memory in Central America. As part of the Cáder Institute for Central American Art’s first line of research, driven by the question “What Art Histories does Central America produce?”, this seminar proposes an approach to the archive as a mediator that articulates relationships between art, community, and political action, while engaging with the historiographical questions raised by their intersections.
Although the proposal is not limited to discussions of the Central American isthmus, it is framed by the particular conditions under which memory has been constructed in the region. Central America is a territory vulnerable to natural and geological disasters, marked by political violence exercised by authoritarian states and fragile institutions, a persistent colonial and imperial legacy, and the social fragmentation resulting from these factors. It is also a context in which the archive does not necessarily refer to a specific place —such as a building or documentary collection— nor does it primarily follow the protocols of a discipline such as archival science. Rather, the seminar explores how the archive operates, through art, as a dispositif that forges connections, generates forms of belonging, and opens spaces for political action.
The encounter unfolds across two sessions: the first focuses on archival practices addressing questions of memory, violence, and war; the second examines community-based practices surrounding queer and sex-dissident archives. In the face of the systematic destruction of memory, the archival practices discussed in these sessions demonstrate how the archive emerges in other spaces and according to different logics. Within this framework, the proposed space for exchange and research explores the role of art as a productive medium for constructing archives through images, affects, intimacy, performativity, the body, orality, and fiction, as well as through other materialities that challenge the centrality of the document and of writing.

Intergenerationality
Thursday, 9 April 2026 – 5:30pm
This series is organised by equipoMotor, a group of teenagers, young people and older people who have participated in the Museo Reina Sofía’s previous community education projects, and is structured around four themed blocks that pivot on the monstrous.
The third session gazes at film as a place from which to dismantle the idea of one sole history and one sole time. From a decolonial and queer perspective, it explores films which break the straight line of past-present-future, which mix memories, slow progress and leave space for rhythms which customarily make no room for official accounts. Here the images open cracks through which bodies, voices and affects appear, disrupting archive and questioning who narrates, and from where and for whom. The proposal is at once simple and ambitious: use film to imagine other modes of remembering, belonging and projecting futures we have not yet been able to live.

Thinking with African Guernica by Dumile Feni
Wednesday 25, March 2026 - 7p.m.
Curator Tamar Garb brings together a panel of specialists from different disciplines, ranging from Art and Social Anthropology to African Studies and the History of violence, on the occasion of the first edition of the series History Doesn’t Repeat Itself, but It Does Rhyme, starring African Guernica (1967) by Dumile Feni (Worcester, South Africa, 1942 – New York, 1991). The aim of this meeting is to collectively reflect on the points of convergence between the works of both Pablo Picasso and the South African artist.
African Guernica is the monumental drawing created by Dumile Feni in the 1960s. The piece is being shown for the first time outside South Africa, in dialogue with Picasso’s Guernica (1937). This provocative physical encounter invites us to consider both artworks as anti-war and anti-totalitarian manifestos, albeit relating to different places and moments.
For this panel, Siyabonga Njica presents the artistic and cultural context of 1960’s Johannesburg, contemporary to Dumile Feni’s work. Thozama April analyses the artist’s corpus in relation to archival practices and conservation. Finally, Elvira Dyangani Ose offers a reading of African Guernica through the lens of Pan-African modernity and the collapse of the centre-periphery duality.
These events, which form part of the core strands of the Public Programmes department, aim to provide deeper insight into and broaden public engagement with the Museo’s Collections and temporary exhibitions.

History Doesn’t Repeat Itself, but It Does Rhyme. Dumile Feni: African Guernica
Tuesday 24 March 2026 – 6.30p.m.
On the occasion of the exhibition History Doesn’t Repeat Itself, but It Does Rhyme. Dumile Feni: African Guernica, its curator Tamar Garb, introduced by Manuel Segade, Director of the Museo Reina Sofía, highlights the opportunities for reflection offered by the presentation at the Museum of African Guernica (1967), the African sibling to Pablo Picasso’s emblematic painting. The event concludes with the live premiere of a musical composition created especially for this event by the South African artists Philip Miller and Tshegofatso Moeng.
African Guernica, the monumental drawing produced by the South African artist Dumile Feni (Worcester, South Africa, 1942 – New York, 1991) in the 1960s, is presented for the first time outside South Africa in dialogue with Picassos’s Guernica (1937). Dumile Feni’s work is deeply connected to its place of origin, emerging from the context of state violence and institutionalised racial oppression under apartheid. Viewing both artworks side by side makes it possible to consider their shared references and strategies, their similarities and synergies, as well as the formal and figurative differences that largely result from their geographical and temporal separation.
The musical composition by Philip Miller and Tshegofatso Moeng intends to establish a parallel dialogue between traditional South African sounds and the classical repertoire for strings, voice and wind instruments. A full ensemble of performers from South Africa and Spain has been brought together for this purpose.
These inaugural conversations, which form part of the core strands of the Public Programmes Department, aim to explore in depth the content of the exhibitions organised by the Museo from the perspective of artists, curators and specialists.