Held on 19, 20, 26, 28, 29, 30 abr, 03, 05, 06, 07, 10, 11, 13, 14, 17, 19, 20, 21, 24, 25, 27, 28, 31 may, 03, 04, 10 jun 2017
* Please check times of second sessions.
This series presents the filmic actions, imaginaries and productions of the Tricontinental, a collaboration between Global South countries during the period of decolonisation and emancipation in the 1960s and 1970s. The First Tricontinental Conference was held in Havana in January 1966, whereby a new organisation called OSPAAAL (the Organisation of Solidarity with the People of Africa, Asia and Latin America) was set up to build relations of solidarity between countries and revolutionary movements from the three Third World continents flying the flag of internationalism. It sought to bring together “the tw0 biggest contemporary movements from the World Revolution: the Socialist and National Liberation movements,” in the words of Mehdi Ben Barka, chairman of the Tricontinental preparatory commission.
Drawing inspiration from the ideas of Frantz Fanon (The Wretched of the Earth, 1961), Amílcar Cabral, Ho Chi Minh and Ernesto Che Guevara (with his famed “Message to the Tricontinental: create two, three… many Vietnams, that is the watchword”, published in 1967), the Tricontinental formed and set the revolutionary trends of a subaltern world searching for its own speech and identity. After the First Conference, the Tricontinental magazine was published on a regular basis in different languages under the artistic direction of Alfredo G. Rostgaard, while the Conference of the Latin American Solidarity Organisation was arranged in Havana in August 1967.
This frenetic, cosmopolitan and transversal activity, carried out in only a couple of years, interspersed and circulated hitherto national and fragmentary debates about Third Cinema and the New European cinemas — movements such as Cinema Novo in Brazil, Argentina’s New Wave, the Documentary Movement in Cuba and the Liberation Cinema in Africa splintered and mutated into an international, alter-global network of collaboration. The undercurrent of a new political imagination oriented the work of film-makers such as Glauber Rocha, Ruy Guerra, Leon Hirszman, Humberto Solás, Santiago Álvarez, Ousmane Sembène, José Massip, Ugo Ulive, Sarah Maldoror, Masao Adachi, Chris Marker, Jean-Luc Godard and Fernando Solanas, who all worked in alignment with the objectives and aspirations laid down by the pioneering International Tricontinental. This film series demonstrates the cinematic articulations and exchanges of this constellation to set forth a genealogy of responses to contemporary globalization, formulated as the prevalence of the neoliberal regime. Moreover, beyond its fervent but short-lived political moment, the Tricontinental constituted the search for an imaginary of equality in difference, and the fascination of this experience still endures today.
Programme
Session 1. Insurgent cities, cities on the move
Wednesday, April 19 - 7:00 p.m.
Second pass: Saturday, April 29th - 7:00 p.m.
Jorge Sanjinés. ReOVlución [ReOVlution]
Bolivia, 1963, OV, b/w, 9 '
Mario Handler. Me gustan los estudiantes [I like students]
Uruguay, 1968, OV, b/w, 6 '
Ugo Ulive. ¡Basta! [Enough!]
Venezuela, 1969, OV, b/w, 19 '
Mario Handler. Liber Arce, Liberarse [Liber Arce, Liberate]
Uruguay, 1968, OV, b/w, 11 '
Ugo Ulive. Caracas dos o tres cosas [Caracas two or three things]
Venezuela, 1969, OV, b/w, 15 '
João Trevisan. Contestação [Reply]
Brazil, 1969, OV, b/w, 14 '
Nicolás Guillén Landrián. Desde La Habana 1969 recordar Cuba [From Havana 1969 remember Cuba],
Cuba, 1969, OV, b/w, 17 '
With the presentation of Olivier Hadouchi, curator of the cycle.
Session 2. Tackling Torture
Thursday, April 20 - 7:00 p.m.
Second pass: Sunday, April 30th - 5:00 p.m.
Mohandi Ali-Yahia. Die Frage [The Question]
Germany, 1961-1962, OV with Spanish subtitles, b/w, 16 '
Ugo Ulive. TO3
Venezuela, 1972, OV, b/w, 24 '
Sarah Maldoror. Monagambée
Angola / Algeria, 1969, OV with Spanish subtitles, b/w, 19 '
Chris Marker. On OVus parle de la torture [We talk about torture]
France, 1969, OV with Spanish subtitles, b/w, 23 '
Cine Base Group. Las tres A son las tres armas: Carta abierta de Rodolfo Walsh a la junta militar [The three A's are the three arms: Rodolfo Walsh's open letter to the Argentine military junta]
Argentina, 1979, OV, b/w, 25 '
Session 3. Portrait of an artist in crisis
Wednesday, April 27 - 7:00 p.m.
Second pass: Saturday, May 6th - 7:00 p.m.
Glauber Rocha. Terra em transe [Earth in trance]
Brazil, 1967. OV , b/w, 100 '
Session 4. Breathing blows
Friday, April 28th - 7:00 p.m.
Second pass: Sunday, May 7th - 5:00 p.m.
Piero Nelli. Labanta negro! [Get up nigger!]
Italy-Guinea Bissau, 1966, OV with Spanish subtitles, b/w, 38 '
Jean Rouch and Jacques d'Arthuys. Makwayela
France, Mozambique, 1977, OV with Spanish subtitles, color, 18 '
Session 5. Towards a cinema of liberation
Wednesday, May 3 - 7:00 p.m.
Second pass: Saturday, May 13 - 7:00 p.m.
Leon Hirszman. Maioria absoluta [Absolute majority]
Brazil, 1964, OV with Spanish subtitles, b/w, 16 '
Fernando Solanas and Octavio Getino. La hora de los hornos [The hour of the furnaces]
Argentina, 1968, OV, b/w, 90 '
Session 6. The Dawn of the Damned
Friday, May 5 - 7:00 p.m.
Second pass: Sunday, May 14 - 5:00 p.m.
Ahmed Rachedi. L'Aube des damnés [The dawn of the damned]
Algeria, 1965, OV with Spanish subtitles, b/w, 90 '
Session 7. Black Atlantic Screams
Wednesday, May 10 - 7:00 p.m.
Second pass: Saturday, May 20th - 7:00 p.m.
Ousmane Sembène. Borom Sarret [The man and the car]
Senegal, 1963, OV with Spanish subtitles, b/w, 18 '
Ousmane Sembène. The noire of ... [The She Black ...]
Senegal, 1966, OV with Spanish subtitles, b/w, 60 '
Djibril Diop Mambéty. Contras 'City
Senegal, 1970, OV with Spanish subtitles, color, 22'
Humberto Solás. Simparelé
Cuba, 1974, OV with Spanish subtitles, color, 31 '
Session 8. African culture will be reOVlutionary or not
Thursday, May 11 - 7:00 p.m.
Second pass: Sunday, May 21 - 5:00 p.m.
William Klein. Festival Panafricain d'Algiers
RFA, Algeria, France, 1970, OV with Spanish subtitles, color, 90 '
Session 9. Reinterpreting the Colonial Massacre
Wednesday, May 17 - 7:00 p.m.
Second pass: Saturday, May 27th - 7:00 p.m.
Ruy Guerra. Mueda, memória e massacre [Mueda, memory and massacre]
Mozambique, 1979, OV with Spanish subtitles, b/w, 100 '
Session 10. 4 times 25
Friday, May 19 - 7:00 p.m.
Second pass: Sunday, May 28th - 5:00 p.m.
Celso Martinez Corréa and Celso Lucca. 25
Brazil, Mozambique, 1975, OV with Spanish subtitles, b/w, 120 '
Session 11. Storms from the East
Wednesday, May 24th - 7:00 p.m.
Second pass: Saturday, June 3 - 7:00 p.m.
Masao Adachi and Koji Wakamatsu. Red Army / PLFP: Declaration of World War
Japan, 1971, OV with Spanish subtitles, color, 71 '
Session 12. Here and elsewhere
Thursday, May 25th - 7:00 p.m.
Second pass: Sunday, June 4 - 5:00 p.m.
Jean-Luc Godard and Anne-Marie Miéville. Ici et ailleurs [Here and elsewhere]
France, 1974, OV with Spanish subtitles, color, 53 '
Session 13. Lost and forgotten battles in the Middle East
Wednesday, May 31 - 7:00 p.m.
Second pass: Saturday, June 10 - 7:00 p.m.
Heiny Srour. Saat El Fahrir Dakkat, Barra Ya Isti Mar [The time of liberation has arrived]
United Kingdom, France, Lebanon, 1974, OV with Spanish subtitles, color, 62 '
Jocelyne Saab. Beirut Madinati [Beirut, my city]
Lebanon, 1982, OV with Spanish subtitles, color, 36 '
Curatorship
Olivier Hadouchi
Inside the framework of
PHotoEspaña 2017
![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
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.
Sven Lütticken
Friday, 10 October 2025 – 7pm
Academic disciplines are, effectively, disciplinary — they impose habits of thought, ideological parameters and, a priori, methodological parameters on those who have studied them. Yet what does being disciplined by art history mean? What has art history done to us? Further, what can we continue to do with it? The Juan Antonio Ramírez Chair, an annual programme organised by the Museo Reina Sofía which is devoted to reflecting on art history and historiography, and their limits and vanishing points, invites Sven Lütticken to explore these questions in light of different cases chosen by Lütticken and related to his own practice.
His work, framed inside art history and theory, has constantly championed expanding, interrogating and questioning the limits of discipline until it becomes theoretical and (self)critical. Throughout his trajectory, Lütticken has aligned his interest primarily towards historical, critical and theoretical research around autonomy. An important landmark in this working strand is his participation in the The Autonomy Project, an initiative from the Van Abbemuseum in Eindhoven with different art schools and university departments and resulting in the published volume Art and Autonomy (Afterall, 2022). A second strand is made up of the long-term project Forms of Abstraction, which analyses contemporary artistic practices as interventions in forms of “real abstraction”, such as value-form, precisely as Marx theorised it.
Sven Lütticken will be a resident on Studies Constellation, the Museo Reina Sofía’s annual fellowship programme, and will work on the research project Unacting Personhood, Deforming Legal Abstraction.
![Francesc Abad, Procés transformació [Proceso transformación, 1972]. Museo Reina Sofía](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/AD05219-009-actividad.jpg.webp)
The (legal) person and the legal form. Chapter I
September, 2025 – May, 2026
As part of the Studies Constellation, the Study Directoship’s annual fellowship, art historian and theorist Sven Lütticken leads the seminar The (Legal) Person and the Legal Form: Theoretical, Artistic, and Activist Commitments to foster dialogue and deepen the hypotheses and questions driving his research project.
This project, titled Unacting Personhood, Deforming Legal Abstraction, explores the dominance of real abstractions—such as exchange value and legal form—over our processes of subjectivation, and asks how artistic practices can open up alternative ways of representing or performing the subject and their legal condition in the contemporary world.
The seminar consists of eight two-hour sessions, divided into three chapters throughout the academic year. While conceived as non-public spaces for discussion and collective work, these sessions complement, nourish, and amplify the public program of the Studies Constellation.
This first chapter of the seminar, composed of three sessions, serves as an introduction to the fundamental issues of the research concerning theoretical, artistic, and activist engagements with the legal form. It includes three sessions dedicated respectively to: the legal form, through the work of French jurist, philosopher, and lawyer Bernard Edelman, with particular attention to his Marxist theory of photography (translated into German by Harun Farocki); the (legal) person, via contributions from Italian philosopher Roberto Esposito, academic, social justice activist, and writer Radha D’Souza, and visual artist Jonas Staal; and land, through the work of researcher Brenna Bhandar—specialist in the colonial foundations of modern law and the notion of property—and artist, filmmaker, and researcher Marwa Arsanios.
Through these and other readings, case study analyses, and collective discussions, the seminar aims to open a space for critical reflection on the ways in which the law—both juridical form and legal form—is performed and exceeded by artistic and activist practices, as well as by theoretical and political approaches that challenge its foundations and contemporary projections.