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Saturday, 27 May 2023 Sabatini Building, Auditorium
Session 1
TicketsJoseph Morder and Dominique Delcourt. Niños, niñas (Malasaña) (Boys, Girls [Malasaña])
France, 1978, colour, without sound, Super-8 transferred to DA, 36´
— With a presentation by Joseph Morder and Adrián García. Live music from Javi ÁlvarezIn this multi-channel, two-screen film we see images shot single-mindedly by film-makers Joseph Morder and Dominique Delcourt, as if they were seeing the world for the first time. Each image takes on new meaning as it meets the adjacent one, a play of entrances and exits, of clues, that make the film a temporary discrepancy between our gaze and images. On one side, the era and place in which it is set: Spain 1978, for an intended, target generation; for another — younger — starting point. On the other, the narration of a trip to Madrid: an account of pages torn out of a logbook, notes and sketches of the spaces and bodies that inhabit a city. Beyond everything, testimony to a friendship that is reaffirmed in the joint desire to film. The screening also features live music by artist Javi Álvarez, put together expressly for this work.
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Sunday, 28 May 2023 Sabatini Building, Auditorium
Session 2
TicketsJoseph Morder. L’Été madrilène (The Madrid Summer)
France, 1978, colour, original version in French with live commentary from the director, Super-8, 90´
— With a presentation by Joseph Morder and screening by Jorge Suárez-QuiñonesThis episode, the first of seven that make up Joseph Morder’s film diary, records the film-maker’s first trip to Madrid and his return to France, with his friend Dominique Delcourt. Morder’s own voice-over — live in this screening — guides the viewer in his discoveries and flashes of light, filmed with the delicacy of Super-8 and the vibrant colours of Kodachrome. In Morder’s words: “[…] before the trip I decided to introduce a voice-over into the diary which would mix with the live sound of the sequences. The first images record the road trip to the film festival of La Rochelle with Gerard Courant. Afterwards, I travelled to Madrid with my friend Dominique. The amazing thing was that the new form of the diary coincided with this experience and had a profound effect on both of us. This experience has become hugely important in my life. Being in other places, I always recall the Madrid I filmed in 1978. And so, after that trip, the diary began to take on a non-fictional form but by chapters, each one with a title of fiction”.
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Monday, 29 May 2023 Sabatini Building, Auditorium
Session 3
TicketsJoseph Morder. La Gran Vía de Rita Jones (The Gran Vía of Rita Jones)
France, 1996, colour, original version in French with Spanish subtitles, DA, 47´
— With a presentation by Joseph MorderA film shot solely on Madrid’s Gran Vía in a heartfelt homage to the history, architecture and memory of the city through this street. The voice-over of a woman leads a narrative in which the avenue becomes an enthralling space, and with the protagonist and her grandmother, Rita Jones, we cross the twentieth century and its tragedies. Joseph Morder films demonstrations, faces in the crowd, posters, buildings, statues and facades once more. Every edit and camera movement is precise, combining with music and voice-over to the rhythm of the story.
Joseph Morder. Diaries of Madrid
![Joseph Morder, Niños, niñas (Malasaña) (Boys, Girls [Malasaña]), film, 1978](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/morder_snippet.jpg.webp)
Held on 27, 28, 29 may 2023
Joseph Morder (Trinidad and Tobago, 1949) is a film-maker and diarist whose Super-8 films are a monument to experimentation and film as a way of life. This programme, comprising three, single-screening sessions, unveils three of his films on the city of Madrid and its people, neighbourhoods, history and lives: Niños, niñas (Malasaña) (Boys, Girls [Malasaña], 1978), L’Été madrilène (The Madrid Summer, 1978) and La Gran Vía de Rita Jones (The Gran Vía of Rita Jones, 1996). The film-maker will be in attendance at all three screenings.
Morder has always occupied an unorthodox space. With ties to avant-garde film cooperatives from 1970s France — Paris Films Coop, Collectif Jeune Cinéma — and film-makers such as Marguerite Duras, Alain Cavalier, Teo Hernández, Marcel Hanoun and Dominique Noguez, he has never belonged to any one group, participating instead to show his films and watch those made by other artists from a peripheral place.
From a young age he dreamed of making films of a similar ilk to much-admired film-makers like Douglas Sirk, Vincente Minnelli and Fritz Lang; namely, in the classical Hollywood tradition. At the tender age of eighteen, and newly arrived in Paris from Ecuador, Morder filmed his first Super-8 films: life stories and fragments made with friends and relatives. With a solid command of narration and editing from the outset, he was never concerned with avant-garde experimentation or the perfect technical mastery of his medium.
A tireless film archivist, traveller, writer and hardened cinephile with a love of Spanishness in all its forms, Morder has endeavoured to love film as someone loves life. In approaching his filmography, twelve hundred films strong, to date, we encounter a tenacious figure who is able to make a diary and film in each of his trips around the world.
Curator
Adrián García Prado
Organised by
Museo Reina Sofía
![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)
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Christian Nyampeta and the École du soir
13, 14, 15 NOV, 11, 12, 13 DIC 2025
Christian Nyampeta is a Rwandan artist, musician and film-maker whose work encompasses pedagogies and community forms of knowledge production and transmission. His Ècole du soir (Evening School) is an art project conceived as a mobile space of collective learning and is named in homage to Ousmane Sembène (1923–2007), a pioneer of African cinema who defined his films as “evening classes” for the people, a medium of education and emancipation through culture.
This block is made up of three double sessions: the video work of Christian Nyampeta, the films of École du soir and one of Ousmane Sèmbene’s feature-length films. Nyampeta will introduce all three first sessions.
Crossed Vignettes
Friday, 21 November 2025 – Check programme
The Crossed Vignettes conference analyses the authorship of comics created by women from an intergenerational perspective and draws from the Museo Reina Sofía Collections. Across different round-table discussions, the programme features the participation of illustrators Marika, Carla Berrocal, Laura Pérez Vernetti and Bea Lema and researchers Viviane Alary, Virginie Giuliana and Elisa McCausland.
The aim of the encounter is twofold: to explore in greater depth the different forms in which women comic book artists have contributed to developing a counterculture; namely, the appearance of ruptures, reformulations and new genres within the ninth art. And to set up a dialogue which ignites an exploration of genealogies linking different generations of artists.
Moreover, the activity is put forward as a continuation to the exhibition Young Ladies the World Over, Unite! Women Adult Comic Book Writers (1967–1993) and the First International Conference on Feminist Comic Book Genealogies, held in April 2024 at the Complutense University of Madrid.
In redefining the visual narratives of the comic book and questioning gender stereotypes in a male-dominated world, women comic book writers and artists have impelled greater visibility and a more prominent role for women in this sphere. The study of intergenerational dialogue between female artists past and present enables an analysis of the way in which these voices reinterpret and carry the legacy of their predecessors, contributing new perspectives, forms of artistic expression and a gender-based hybridisation which enhances the world of comics.
The conference, organised jointly by the Museo Reina Sofía and Université Clermont Auvergne/CELIS (UR4280), is the outcome of the following projects: The Spanish Artistic Canon. Between Critical Literature and Popular Culture: Propaganda, Debates, Advertising (1959–1992), Casa de Velázquez (CALC); Horizon Europa COST Actions iCOn-MICs (Comics and Graphic Novels from the Iberian Cultural Area); and COS-MICs (Comics and Sciences).
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.
The Joaquim Jordà Residencies 2025
Friday, 7 November 2025 - 7pm
In this activity, the recipients of the 2024–2025 Joaquim Jordà Residencies call, María Aparicio (Argentina, 1992) and Andrés Jurado (Colombia, 1980), present respective projects related to their body of work in an open session in which to discover the creative interests of two of the most up-and-coming independent film-makers in Latin America today.
María Aparicio presents the working process behind her film De sol a sol (From Sun to Sun), along with a brief journey through the films prior to this project and her filmic searches in recent years. Aparicio synthesises the storyline of De sol a sol from the silhouettes of a group of men who appear between the stalks of a reedbed. Their knives glisten as the sun hits them, flashing and disappearing with their hand movements. Apprentices split the canes using no method; seasoned workers cut with skill. They are workers from a sugar mill in northern Argentina and are watched by Juan Bialet Massé, accompanied by Rosich, assistant and photographer. It is Argentina in 1904 and he is carrying out a mission assigned to him by his country’s government: to travel the Argentinian provinces, reporting on the state of the working classes.
Andrés Jurado, for his part, will look over his own work and the work of the La Vulcanizadora lab in this session. He will also open the archive stemming from the research process in the project Tonada, a journey through the succession of peace agreement betrayals in the history of Colombia. From the colonial era, understood in tumultuous terms, as a hurricane that keeps swirling, to the present day he traces the stories of people like Tacurrumbí, Benkos Biohó, Bateman and the many women and men who were betrayed by governments and oppressors. Tonada seeks to build a sound and film dialogue between the guerrilla disarmament of 1953 and the period following the peace agreement of 2016, invoking these and other events and confronting traumas of betrayal through a film composition devised to be sung. But what is sung? Some of these songs are heard and voices are shared in this presentation.
The Joaquim Jordà Residences programme for film-makers and artists was set in motion by the Museo Reina Sofía in 2022. The initiative comprises a grant for writing a film project rooted in experimentation and essay, as well as two subsequent residencies in FIDMarseille and Doclisboa, international film festivals devoted to exploring non-fictional film and new forms of audiovisual expression.
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