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Friday, October 7 / Museo Reina Sofía. Nouvel Building, Auditorium 400
Opening session
Communists (Kommunisten, 2014, 70 min., HD archive)
The Algerian War! (La Guerre d'Algérie!, 2014, 2 min., HD archive)
With introduction of Giorgio Passerone, Christophe Claver and the curators of the series. Due to health reasons, the presence of Jean-Marie Straub is canceled.
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Saturday, October 8 / Museo Reina Sofía, Auditorio Sabatini
Session 1
Chronicle of Anna Magdalena Bach (Chronik der Anna Magdalena Bach, 1968, 93 min., HD archive)
Introduction: José Luis Téllez
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Sunday, October 9 and Tuesday, October 25 / Filmoteca Española, Cine Doré. Sala 1
Sesión 2
Machorka-Muff (1963, 18 min., DCP)
Not Reconciled or Only Violence Helps Where Violence Rules (Nicht versöhnt oder Es hilft nur Gewalt, wo Gewalt herrscht, 1965, 55 min., DCP)
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Tuesday, October 11 - 9:30 p.m. and Sunday, October 16, 5:30 p.m. / Filmoteca Española, Cine Doré. Sala 1
Session 3
Eyes Do Not Want to Close at All Times or Perhaps One Day Rome Will Permit Herself to Choose in Her Turn (Othon) (Les yeux ne veulent pas en tout temps se fermer ou Peut-être qu'un jour Rome se permettra de choisir à son tour (Othon), 1970, 88 min., DCP)
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Thursday, October 13 / Museo Reina Sofía, Sabatini Building, Auditorium
Session 4
The Bridegroom, the Actress and the Pimp (Der Bräutigam, die Komödiantin und der Zuhälter, 1968, 23 min., HD archive)
Every Revolution Is a Throw of the Dice (Toute révolution est un coup de dés, 1977, 10 min., HD archive)
Introduction: Paulino Viota
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Friday, October 14 / Museo Reina Sofía, Sabatini Building, Auditorium
Session 5
History Lessons (Geschichtsunterricht, 1972, 85 min., HD archive)
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Saturday, October 15 / Filmoteca Española, Cine Doré. Sala 1
Session 6
Introduction to Arnold Schoenburg’s “Accompaniment to a Cinematic Scene” (Einleitung zu Arnold Schoenbergs Begleitmusik zu einer Lichtspielscene, 1973, 15 min., DCP)
Moses and Aaron (Moses und Aron, 1975, 105 min., DCP)
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Wednesday, October 19 - 7:30 p.m. and Sunday, October 23 - 9:30 p.m. / Filmoteca Española, Cine Doré. Sala 1
Session 7
Jackals and Arabs (Schakale und Araber, 2011, 11 min., DCP)
Fortini/Cani (Fortini/Cani, 1976, 83 min., DCP)
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Thursday, October 20 / Museo Reina Sofía, Sabatini Building, Auditorium
Session 8
From the Cloud to the Resistance (Dalla nube alla resistenza, 1979, 105 min., HD archive)
Introduction: Ana Useros and Miriam Martín
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Friday, October 21 / Museo Reina Sofía, Sabatini Building, Auditorium
Session 9
Too Early, Too Late (Zu früh, zu spät — Trop tôt, trop tard — Troppo presto, troppo tardi, 1981, 100 min., HD archive)
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Saturday, October 22 - 7:00 p.m. and Tuesday, November 22 - 7:30 p.m. / Filmoteca Española, Cine Doré. Sala 1
Session 10
En Rachâchant (1983, 7 min., 35 mm)
Class Relations (Klassenverhältnisse, 1984, 130 min., 35 mm)
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Wednesday, October 26. Filmoteca Española, Cine Doré. Sala 2, 8:00 p.m. and Sunday, October 30, Sala 1, 7:30 p.m.
Session 11
The Death of Empedocles or When the Green of the Earth Will Glisten for You Anew (Der Tod des Empedokles oder Wenn dann der Erde grün von neuem euch ergläntz, 1987, 132 min., 35 mm)
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Thursday, October 27 / Museo Reina Sofía, Sabatini Building, Auditorium
Session 12
Proposition in Four Parts (Proposta in quattro parti, 1985, 41 min., HD archive)
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Friday, October 28 / Museo Reina Sofía, Sabatini Building, Auditorium
Session 13
Cézanne. Conversation with Joachim Gasquet (Cézanne. Dialogue avec Joachim Gasquet, 1990, 51 min., 35 mm)
A Visit to the Louvre (Une visite au Louvre, 2004, 48 min., 35 mm)
Introduction: Natalia Ruiz
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Saturday, October 29. Filmoteca Española, Cine Doré. Sala 1 - 7:30 p.m. and Tuesday, November 8, Sala 2 - 9:00 p.m.
Session 14
Black Sin (Schwarze Sünde, 1989, 42 min., 35 mm)
Introduction: Manuel Asín
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Wednesday, November 2 - 5:30 p.m. / Filmoteca Española, Cine Doré. Sala 1 and Sunday, November 6 - 8:00 p.m. / Filmoteca Española, Cine Doré. Sala 2
Session 15
The Antigone of Sophocles After Hölderlin’s Translation Adapted for the Stage by Brecht 1948 (Die Antigone des Sophokles nach der Hölderlinschen Übertragung für die Bühne bearbeitet von Brecht 1948, 1992, 100 min., 35 mm)
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Thursday, November 3 / Museo Reina Sofía, Sabatini Building, Auditorium
Session 16
From Today until Tomorrow (Von heute auf morgen, 1997, 62 min., 35 mm, original version with French subtitles)
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Friday, November 4 / Museo Reina Sofía, Sabatini Building, Auditorium
Session 17
Sicilia! (1998, 66 min., 35 mm, original version with French subtitles)
Introduction: Santos Zunzunegui
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Saturday, November 5 - 7:00 p.m. and Tuesday, November 15 - 7:30 h / Filmoteca Española, Cine Doré. Sala 1
Session 18
The Wayfarer (Il viandante, 2001, 5 min., DCP)
The Knife Sharpener (L’arrotino, 2001, 7 min., DCP)
Workers, Peasants (Operai, contadini, 2001, 123 min., 35 mm)
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Tuesday, November 8 - 7:30 p.m. and Sunday, November 13 - 9:30 p.m. / Filmoteca Española, Cine Doré. Sala 1
Session 19
The Return of the Prodigal Son (Il ritorno del figlio prodigo, 2003, 29 min., 35 mm original version with French subtitles)
Humiliated: That Nothing Produced or Touched by Them, Coming From their Hands, Proves Free from the Claim of Some Stranger (Workers, Peasants— Continuation and End) (Umiliati: che niente di fatto o toccato da loro, di uscito dalle mani loro, risultasse esente dal diritto di qualche estraneo (Operai, contadini — seguito e fine), 2003, 35 min., 35 mm, original version with French subtitles)
Dolando (2003, 7 min., DCP)
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Thursday, November 10 / Museo Reina Sofía, Sabatini Building, Auditorium
Session 20
Incantati (2003, 6 min., HD archive)
These Encounters of Theirs (Quei loro incontri, 2006, 68 min., 35 mm)
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Friday, November 11 / Museo Reina Sofía, Sabatini Building, Auditorium
Session 21
Europa 2005, 27 October (Europa 2005, 27 octobre, 2006, 11 min., HD archive)
Joachim Gatti (2009, 1 min. 30 sec., HD archive)
Corneille-Brecht or Rome, the Only Object of My Resentment (Corneille-Brecht ou Rome, l'unique objet de mon resentiment, 2009, 27 min., HD archive)
Oh, Supreme Light (O somma luce, 2010, 18 min., HD archive)
Introduction: Jenaro Talens
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Saturday, November 12 / Filmoteca Española, Cine Doré. Sala 1
Session 22
Artemide’s Knee (Le Genou d'Artémide, 2008, 26 min., 35 mm)
The Witches / Women Among Themselves (Le streghe — Femmes entre elles, 2009, 21 min., 35 mm)
The Inconsolable One (L'Inconsolable, 2011, 15 min., DCP)
The Mother (2012, 19 min., DCP)
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Wednesday, November 16 - 7:30 p.m. and Sunday, November 20 - 15:30 p.m. / Filmoteca Española, Cine Doré. Sala 1
Session 23
Lothringen! (1994, 21 min., 35 mm)
Itinerary of Jean Bricard (Itinéraire de Jean Bricard, 2008, 40 min., 35 mm)
An Heir (Un héritier, 2011, 20 min., DCP)
Concerning Venice (History Lessons) (À propos de Venise (Geschichtsunterricht), 2014, 23 min., DCP)
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Thursday, November 17 / Museo Reina Sofía, Sabatini Building, Auditorium
Session 24
A Tale by Michel de Montaigne (Un conte de Michel de Montaigne, 2013, 34 min., HD archive)
Dialogue of Shadows (Dialogue d'ombres, 2014, 28 min., HD archive)
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Friday, November 18 / Museo Reina Sofía, Sabatini Building, Auditorium
Session 25
Communists (Kommunisten, 2014, 70 min., HD archive)
The Algerian War! (La Guerre d'Algérie!, 2014, 2 min., HD archive)
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Saturday, November 19 - 7:30 p.m. and Tuesday, November 22, 10:00 p.m. / Filmoteca Española, Cine Doré. Sala 1
Session 26
The Aquarium and the Nation (L’Aquarium et la nation, 2015, 31 min., DCP)
Introduction: Albert Serra (November 19 only)
Jean-Marie Straub and Danièle Huillet
To Make the Revolution Also Means to Put Back Into Place Things that Are Very Ancient But Forgotten
Held on 07, 08, 09, 10, 13, 14, 15, 16, 17, 19, 20, 21, 22, 23, 24, 26, 27, 28, 29, 31 oct, 02, 03, 04, 05, 06, 07, 10, 11, 12, 14, 16, 17, 18, 19, 20, 21 nov 2016
Museo Reina Sofía presents, in collaboration with Filmoteca Española, a comprehensive retrospective on the film-makers Jean-Marie Straub and Danièle Huillet. The series, comprising works spanning from 1962 to the present day, reflects one of the most cohesive and relevant film projects in the 20th century, whereby cinema is both an artistic form and a way of politically bursting forth in the present. Engaging in dialogue with Jean-Marie Straub, the series includes new translations of the vast majority of the films, original format screenings, remastered copies, a significant number of premieres in Spain, and a new publication featuring essays on the film-makers.
Jean-Marie Straub and Danièle Huillet are a key reference point in the field of cinema and contemporary art. Distantly inseparable in one part of the French Nouvelle Vague (Rivette, Godard, Moullet) and on the margins of New German Cinema, the production of their early films was divided between Germany, Italy and France, characterising a filmography shot in three countries and in different languages. This trait would not only distinguish the scope of their work in the aesthetic and political debates at the time, it would also set out a profound reflection on history, identity and European borders.
The poetics of Straub-Huillet adhere to the technical origins of film, whilst also readying us for a new relationship with the world’s sounds and images. Their work, like that of those they greatly admired - Cézanne, Griffith, Mallarmé, Chaplin and Schoenberg - opens up new pathways. Both figure among those to have obdurately reformulated what a new art, an art that starts, could become, while retracing a brief history of film before moving back to the point that is transformed in its inception. In the origins of their films we find artistic works – dramas, novels, music, music scores and paintings – rather than scripts, works that the directors reappropriate, uproot from their cultural contexts (Classical Antiquity, the Ancien Régime, the French Revolution, the Paris Commune, post-war Europe…), and place in the present as a critical event; they are destined not to be translated into a new language, but to be received and interpreted as an emancipatory tool for their new audiences. In the films of Straub-Huillet texts, works and images form a sequence that describes a revolutionary pedagogy of culture and history throughout time.
Following the death of Danièle Huillet in 2006, Jean-Marie Straub continues to work, upholding filmic poetics such as rupture and revelation, with his recent films, some of which will be shown for the first time in Spain in this film season. These works demonstrate social conflicts, citizen repression and the violence of power as they continue to explore the limits of representation on a political and artistic level.
In collaboration with
Filmoteca Española
Curatorship
Chema González and Manuel Asín
Itinerary
CGAI-Filmoteca de Galicia (December 29, 2016 - February 22, 2017)
TABAKALERA - Centro Internacional de Cultura Contemporánea, Donostia / San Sebastián (January 13 - March 31, 2017)
Filmoteca Cantabria (August 30, 2017 - October 1, 2017)
La Filmoteca - Institut Valencià de Cultura (January 9, 2018 - February 7, 2018)
NUMAX, S. Coop. Galega (February 6, 2018 - December, 2018)
Organised by
Museo Reina Sofía
Itinerancies
CGAI, Centro Galego de Artes da Imaxe
29 December, 2016 - 22 February, 2017
Tabakalera
13 January, 2017 - 31 March, 2017
La Filmoteca - Institut Valencià de Cultura
9 January, 2018 - 7 February, 2018
![Miguel Brieva, ilustración de la novela infantil Manuela y los Cakirukos (Reservoir Books, 2022) [izquierda] y Cibeles no conduzcas, 2023 [derecha]. Cortesía del artista](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/ecologias_del_deseo_utopico.jpg.webp)
![Ángel Alonso, Charbon [Carbón], 1964. Museo Reina Sofía](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/perspectivas_ecoambientales.jpg.webp)
Más actividades
Aesthetics of Peace and Desertion Tactics
8 October 2025 – 24 June 2026
The study group Aesthetics of Peace and Tactics of Desertion: Prefiguring New Pacifisms and Forms of Transitional Justice proposes a rethinking—through both a theoretical-critical and historical-artistic lens—of the intricate network of concepts and practices operating under the notion of pacifism. A term not without contestation and critical tension, pacifism gathers under its name a multiplicity of practices—from anti-militarism and anti-war movements to non-violence activism—while simultaneously opening urgent debates around violence, justice, reparation, and desertion. Here, pacifism is not conceived as a moral doctrine, but as an active form of ethical and political resistance capable of generating aesthetic languages and new positions of social imagination.
Through collective study, the group seeks to update critical debates surrounding the use of violence and non-violence, as well as to explore the conflict of their representation at the core of visual cultures. In a present marked by rearmament, war, genocide, and the collapse of the social contract, this group aims to equip itself with tools to, on one hand, map genealogies and aesthetics of peace—within and beyond the Spanish context—and, on the other, analyze strategies of pacification that have served to neutralize the critical power of peace struggles. Transitional and anti-punitive justice proposals will also be addressed, alongside their intersections with artistic, visual, and cinematic practices. This includes examining historical examples of tribunals and paralegal activisms initiated by artists, and projects where gestures, imaginaries, and vocabularies tied to justice, reparation, memory, and mourning are developed.
It is also crucial to note that the study programme is grounded in ongoing reflection around tactics and concepts drawn, among others, from contemporary and radical Black thought—such as flight, exodus, abolitionism, desertion, and refusal. In other words, strategies and ideas that articulate ways of withdrawing from the mandates of institutions or violent paradigms that must be abandoned or dismantled. From feminist, internationalist, and decolonial perspectives, these concepts have nourished cultural coalitions and positions whose recovery today is urgent in order to prefigure a new pacifism: generative, transformative, and radical.
Aesthetics of Peace and Tactics of Desertion, developed and led by the Museo Reina Sofía’s Studies Management, unfolds through biweekly sessions from October to June. These sessions alternate between theoretical discussions, screenings, work with artworks and archival materials from the Museo’s Collection, reading workshops, and public sessions. The group is structured around sustained methodologies of study, close reading, and collective discussion of thinkers such as Judith Butler, Elsa Dorlin, Juan Albarrán, Rita Segato, Sven Lütticken, Ruth Wilson Gilmore, and Franco “Bifo” Berardi; historical episodes such as the anti-nuclear and anti-arms race movement in Spain; and the work of artists and activists including Rojava Film Commune, Manuel Correa and the Oficina de Investigación Documental (Office for Documentary Investigation), and Jonas Staal, among other initial cases that will expand as the group progresses.
27th Contemporary Art Conservation Conference
Wednesday, 4, and Thursday, 5 March 2026
The 27th Contemporary Art Conservation Conference, organised by the Museo Reina Sofía’s Department of Conservation and Restoration, with the sponsorship of the MAPFRE Foundation, is held on 4 and 5 March 2026. This international encounter sets out to share and debate experience and research, open new channels of study and reflect on conservation and the professional practice of restorers.
This edition will be held with in-person and online attendance formats, occurring simultaneously, via twenty-minute interventions followed by a five-minute Q&A.
Submitting Proposals
The deadline for presenting proposals ends on 28 September 2025. Those interested must send an email to jornada.conservacion@museoreinasofia.es, submitting the following documents:
- An unpublished proposal related to the conservation or restoration of contemporary art.
- A 1,700-word summary, written in Word, on the theme addressed. Please indicate the topic at the top of the document with five keywords and the presentation format (in-person or virtual). Preference will be given to the in-person format.
- CV and contact details.
- Only one proposal per person will be accepted.
- Proposals related to talks given in the last three conferences will not be accepted.
Proposals may be submitted in Spanish, French or English and will be evaluated by a Scientific Committee, which will select the submissions to be presented during these conference days and will determine their possible participation in a subsequent publication, the inclusion of which will undergo a second and definitive evaluation by the Editorial Committee.
For submissions in a virtual format, participants must send a recording following certain technical requirements they will receive once participation is confirmed.
The programme of sessions will be published in the coming days.
Rethinking Guernica
Monday and Sunday - Check times
This guided tour activates the microsite Rethinking Guernica, a research project developed by the Museo Reina Sofía’s Collections Area, Conservation and Restoration Department and the Digital Projects Area of the Editorial Activities Department, assembling around 2,000 documents, interviews and counter-archives related to Pablo Picasso’s painting Guernica (1937).
The visit sets out an in-situ dialogue between the works hung around the painting and a selection of key documents, selected by the Museo’s Education Team and essential to gaining an idea of the picture’s historical background. Therefore, the tour looks to contribute to activating critical thought around this iconic and perpetually represented work and seeks to foster an approach which refreshes our gaze before the painting, thereby establishing a link with the present. Essentially revisiting to rethink Guernica.
UP/ROOTING
11, 12, 13, 14, 15, 16 NOV 2025
Museo Reina Sofía and MACBA Museu d'Art Contemporani de Barcelona (MACBA) invite applications for the 2025 iteration of the School of Common Knowledge, which will take place from November 11th to 16th in Madrid and Barcelona.
The School of Common Knowledge (SCK) draws on the network, knowledge and experience of L’Internationale, a confederation of museums, art organizations and universities that strives to reimagine and practice internationalism, solidarity and communality within the cultural field. This year, the SCK program focuses on the contested and dynamic notions of rooting and uprooting in the framework of present —colonial, migrant, situated, and ecological— complexities.
Building on the legacy of the Glossary of Common Knowledge and the current European program Museum of the Commons, the SCK invites participants to reflect on the power of language to shape our understanding of art and society through a co-learning methodology. Its ambition is to be both nomadic and situated, looking at specific cultural and geopolitical situations while exploring their relations and interdependencies with the rest of the world.
In the current context fraught with war and genocide, the criminalization of migration and hyper-identitarianism, concepts such as un/belonging become unstable and in need of collective rethinking:
How can we reframe the sense and practice of belonging away from reductive nationalist paradigms or the violence of displacement? How to critically hold the entanglement of the colonial routes and the cultural roots we are part of? What do we do with the toxic legacies we inherit? And with the emancipatory genealogies and practices that we choose to align with? Can a renewed practice of belonging and coalition-making through affinity be part of a process of dis/identification? What geographies —cultural, artistic, political— do these practices of de/centering, up/rooting, un/belonging and dis/alignment designate?
Departing from these questions, the program consists of a series of visits to situated initiatives (including Museo Situado, Paisanaje and MACBA's Kitchen, to name a few), engagements with the exhibitions and projects on view (Project a Black Planet: The Art and Culture from Panafrica), a keynote lecture by Stefano Harney and Fred Moten, as well as daily reading and discussion gatherings, editorial harvest sessions, and conviviality moments.
Ylia and Marta Pang
Thursday, 6 November - 8pm
The encounter between Spanish DJ and producer Ylia and visual artist Marta Pang is presented in the form of a premiere in the Museo Reina Sofía. Both artists converge from divergent trajectories to give form to a new project conceived specifically for this series, which aims to create new stage projects by setting out from the friction between artists and dialogue between disciplines.