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In his 1936 essay, The Artwork in the Age of Its Technical Reproducibility, Walter Benjamin uses the Blaue Blume—the romantic incarnation of unobtainable desire—to signify the artifice and perceived immediacy of film made possible through the concealment of the cinematic apparatus.

Reactivate/reinterpret brings together a varied group of specialists from different fields with the idea of analysing the place of performative practices within the realm of contemporary art museums. The series is comprised of various public lectures, workshops with the students of the Study Centre and two art interventions, by Jerôme Bel and Falke Pisano.

In conjunction with ARCOmadrid 2020, the Museo Reina Sofía has organised an encounter among different professionals from museum institutions, both in Europe and Latin America, in order to create synergies, promote institutional collaboration and set forth a critical reflection on the role museums must play in relation to the society that promotes them.

This year sees the Museo Reina Sofía devote its summer cinema series to ways of appropriating, resisting and imagining the city from the neighbourhood understood as a community with class identity and a shared common history. Taking this main premise as its point of departure, the programme is organised into thematic weeks, in which every Friday and Saturday different films converse.

The third edition of the seminar Archives of the Commons, co-organised by the Red Conceptualismos del Sur (Southern Conceptualisms Network) and the Museo Reina Sofía, takes as its point of departure a question that seeks to operate as a concept: Is it possible to put in place an archive as non-appropriable?

Twenty years on from the sinking of the Prestige, this Temporary Intensity Zone calls upon the collective potential of a self-organised citizenry facing the life-threatening side of environmental disaster.