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March 1, 2012 Sabatini Building, Auditorium
Session 1
Marguerite Duras. Césarée, 1979.
Marguerite Duras. Aurélia Steiner (Melbourne), 1979.
Sally Potter. Thriller, l979.
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March 5, 2012 Sabatini Building, Auditorium
Session 2
Laura Mulvey and Peter Wollen. Riddles of the Sphinx, 1977.
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March 7, 2012 Sabatini Building, Auditorium
Session 3
Shelly Silver. 37 Stories About Leaving Home, 1996.
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March 9, 2012 Sabatini Building, Auditorium
Session 4
Agnès Varda. Vagabound / Sans toit ni loi, 1985.
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March 10, 2012 Sabatini Building, Auditorium
Session 5
Various authors. Seven Women-Seven Sins, 1987.
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March 12, 2012 Sabatini Building, Auditorium
Session 6
Kay Sloan. Suffragettes in the Silent Cinema, 2003.
Joyce Follet. Step by Step: Building a Feminist Movement, 1941-1977, 1998.
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March 14, 2012 Sabatini Building, Auditorium
Session 7
Julie Dash. Daughters of the Dust, 1991.
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March 21, 2012 Sabatini Building, Auditorium
Session 8
Cecilia Barriga. Time´s up!, 2000.
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March 23, 2012 Sabatini Building, Auditorium
Session 9
Margarethe von Trotta. Vision- Aus dem Leben der Hildegard von Bingen, 2009.
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March 24, 2012 Sabatini Building, Auditorium
Session 10
Barbara Hammer. LOVER OTHER: The Story of Claude Cahun and Marcel Moore, 2006.
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March 26, 2012 Sabatini Building, Auditorium
Session 11
Gemma Cubero and Celeste Carrasco. Ella es el matador, 2009.
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March 28, 2012 Sabatini Building, Auditorium
Session 12
Lynn Hershman. ! Women Art and Revolution: A Secret History, 2011.
Silence at the Palace: Feminist perspectives in cinema
Held on 01 mar 2012
While feminism is a social movement that has had an enormous impact on the theory and history of film, this influence has been seen in very diverse film practices, which serve as a stage for the different changes and revisions of feminist criticism itself. The program of this series represents an attempt to bring together works created by women that up to now have been absent from the official historiography of film, but that have stood out, in terms of film analysis, for their subversive capacity. Thus, it is not surprising that back in the 1980s Teresa de Lauretis claims that feminist film should not do away with narrative or destroy visual pleasure, but should instead display an oedipal and vengefulnarrative.
At the beginning, it focused on the female stereotypes so present in Hollywood films. However, it was soon discovered that reaffirming images were not sufficient to change the underlying structures in film. Feminist critics tried to understand the omnipresent power of patriarchal images with the help of structuralist theoretical frameworks such as semiotics and psychoanalysis. That this type of film destroyed the viewer's visual delight was not a problem, critics saw in the disappearance of classic cinematographic narration a sentimental lament.
Feminist film encompasses not only fiction but also documentary film. The problems of finding an appropriate style were perhaps more pronounced in this genre, which was conceived around the idea that a specific truth or reality is an illusion. In this regard, revisioning feminist cinema has its share of contradictions and challenges, such as the construction of a female subject based on the criticism of subjectivity or the idea of another author, different from the dominating and masculine figure of the director.
Curatorship
Berta Sichel
Framework
![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
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.
Long Live L’Abo! Celluloid and Activism
4, 5, 6 DIC 2025
L’Abominable is a collective film laboratory founded in La Courneuve (Paris, France) in 1996. It came into being in response to the disappearing infrastructures in artisan film-making and to provide artists and film-makers with a self-managed space from which to produce, develop and screen films in analogue formats such as Super 8, 16mm and 35mm. Anchored in this premise, the community promotes aesthetic and political experimentation in analogue film opposite digital hegemony. Over the years, L’Abominable, better known as L’Abo, has accompanied different generations of film-makers, upholding an international movement of independent film practices.
This third segment is structured in three sessions: a lecture on L’Abo given by Pilar Monsell and Camilo Restrepo; a session of short films in 16mm produced in L’Abo; and the feature-length film Une isle, une nuit, made by the Les Pirates des Lentillères collective.
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.
![Carol Mansour y Muna Khalidi, A State of Passion [Estado de pasión], 2024, película](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/palestine%20cinema%20day%202.jpg.webp)
Palestine Cinema Days
Sábado 1 de noviembre, 2025 – 19:00 h
The Museo Reina Sofia joins the global action in support of Palestine with the screening of A State of Passion (2024), a documentary by Carol Mansour and Muna Khalidi. The film features in Palestine Cinema Days Around the World, an annual festival, held globally every November, which aims to show films made in Palestine to an international audience. The initiative was conceived as a form of cultural resistance which seeks to give a voice to artists from Palestine, question dominant narratives and create networks of solidarity with the Palestinian people.
Palestine Cinema Days Around the World originates from Palestine Cinema Days, a festival organised in Palestine since 2014 with the aim of granting visibility to Palestinian cinema and to support the local film community. In 2023 the festival was postponed because of the war in Gaza, and has since become borderless in scope, holding close to 400 international screenings in almost sixty countries in 2024. This global effort is a show of solidarity with Palestine and broadens the voices and support networks of the Palestinian people around the world.
A State of Passion exposes the atrocities committed against the Gaza population via the testimony of Dr Ghassan Abu Sittah, a Palestinian-British plastic surgeon living in London who decides to return to Gaza and save lives in the city’s hospitals amid the Israeli army’s indiscriminate bombing of the population. A necessary film exposé of the experience of unrelentingly working twenty-four hours a day for forty-three days in the Al Shifa and Al Ahli Hospitals in the city of Gaza.