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
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.
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.