Multimedia

For the third year running, the programme Archipelago encourages an understanding of the complexity of the contemporary world through listening, exploring what is understood by experimental music and the relation it bears to popular culture by way of different narratives and geographies. 

The present edition explores the concept of tradition: a term predominantly associated with conservatism and regression in the face of change, but with a meaning that implies the transfer of knowledge from one person to another and from one generation to the next.

This retrospective exhibition devoted to the work of Jörg Immendorff (Bleckede, Germany, 1945 –Düsseldorf, Germany, 2007) surveys a career spanning more than four decades, setting forth the key stages and transformations in the artist’s work: from the sociopolitical and political upheaval works he conceived between the 1960s and early 1980s, to the encoded paintings in the latter stages of his output.

This retrospective on the work of Mario Merz (Milan, Italy, 1925 – Milan, Italy, 2003) surveys the provenance of a body of work suspended in a kind of pre-historic time, at odds with the discourse of modern-era history. This anachronistic perspective, apparent in the choice of materials and iconography, stems from the ideological and committed stance of an artist and his relation to the political and intellectual climate in Italy in the 1960s and 1970s, in addition to his rejection of pervasive capitalism and the American way of life after the Second World War.

The search for mythology distinguished Merz’s work from his kindred contemporaries, for his archaism bore no relation to a melancholic yearning for the past, but instead was related to a razor-sharp critique of industrial and consumerist modernity.   

As part of the performing arts series staged in collaboration with the Community of Madrid’s Teatros del Canal, the Museo Reina Sofía presents, over two sessions, Corbeaux (Crows), by choreographer Bouchra Ouizguen.

Corbeaux is a kind of “living sculpture” with no contrivance, comprising raw elements, gestures, silences and, at times, the cries of a group of women dressed in black, their bodies creating figures and forms in the space they share with spectators. As the piece evolves, pre-conceived notions of time and space vanish, making way for a hard-to-classify lived experience intended to be both intimate and universal.