Activities

In a proposal by Red Solidaria de Acogida (The Refuge Solidarity Network), Museo Situado, a network of collaboration between different collectives from Madrid’s Lavapiés neighbourhood and Museo Reina Sofía, has organised this new edition of Situated Voices as part of the 8 March demonstrations.

With 8M on the horizon, two key questions have led Bolivian artist, writer and activist María Galindo to develop a performance in the Museo: What are our horizons in feminist struggle? What or from where do we speak about when we are situated as feminists?

This programme sees the Museo Reina Sofía bring together an ensemble of initiatives that will be held over the coming months (from lectures and workshops, exhibitions and digital projects, to guided tours and presentations of the Collection), encompassing the wide-ranging forms of feminist revolt present in our day-to-day.

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.

The Documents programme, which explores the relationships between art and publishing, and other subjects that include the effects of archive on narratives of art history, the artist’s book and publishing as an artistic practice, pays homage in this edition to Guy Schraenen (1941–2018).

After the Event focuses on the progression of the social uprisings that occurred between 2010 and 2013. From Turkey to Spain, Greece, Syria and Egypt, the locations of this unrest, the movements shook existing political systems and, at times, even brought them to their knees.

This new edition of the Intervals programme centres on two recent films which explore how to make cinema by experimenting with performance and with the role and purpose of the actor. The programme is made up of Un diálogo circunstancial (A Circumstantial Dialogue, 2019), the second film by artist Isidoro Valcárcel Medina, co-directed with film-maker and historian Luis Deltell, and Derechos del hombre (Rights of Man, 2018), a feature-length film by Juan Rodrigáñez, made in collaboration with a group of artists and performers.

Happy Lamento is the latest film by Alexander Kluge (Halberstadt, Germany, 1932), one of the great intellectuals and film-makers of our time, made in collaboration with Philippine film-maker and enfant terrible Khavn de la Cruz (Quezon City, 1972).

Over the past 30 years, World AIDS Day has been commemorated on 1 December. During this period, the protests, struggles and actions related to what life with HIV entails have varied, depending on the different stages of the AIDS crisis.

O que arde (Fire Will Come, 2019) takes centre stage in this edition of Intervals, a series devoted to screening recent film productions. The film, a story of containment and the wish for destruction based on the life of an arsonist, won the Un Certain Regard Jury Prize at Cannes 2019. Its director, Oliver Laxe, will present the first session and hold a talk after the screening.

Inside the framework of Museo Situado, a network of collaboration with different migrant collectives and associations from Madrid’s Lavapiés neighbourhood and the Museo Reina Sofía, this new edition of Situated Voices explores the different artistic and feminist approaches to the notion of debt, understood as an instrument of economic, political and cultural domination.

In conjunction with the Transgender Day of Remembrance, held annually to remember those who have been killed through transphobia, hate and fear, the Museo Reina Sofía will organise an encounter to present the Archivo de la Memoria Trans (Archive of Trans Memory, AMT).

As part of the performing arts series staged in collaboration with the Community of Madrid’s Teatros del Canal, the Museo Reina Sofía presents An Evening of Solo Works by choreographer Meg Stuart. Upon the conclusion of the performance, the artist will participate in a conversation, presented and moderated by Isabel de Naverán.

This new edition of Intervals, a screening series centred on recent film work, presents the latest film by J.P. Sniadecki (USA, 1979), made in collaboration with Joshua Bonnetta (Canada, 1979). As a member of the Harvard Sensory Ethnography Lab, J.P. Sniadecki melds experimental film with ethnographic research, analyses of the film medium and immersive experiences.

As part of the series of performing arts staged in collaboration with the Community of Madrid’s Teatros del Canal, the Museo Reina Sofía presents #LOSMICRÓFONOS (#THEMICROPHONES) by Jorge Dutor and Guillem Mont de Palol.

This encounter, organised by the Museo Reina Sofía, welcomes poets Charles Bernstein and Ron Silliman and artist Susan Bee, all with close ties to the Language poetry movement, to perform readings and present their past and present work, as well as engage in conversation with the attending audience.

The second edition of the Aníbal Quijano Chair sets up a dialogue between two experiences of communal feminisms, understood as the grounds from which to build other ways of life: the farms and gyneceum’s of the Kurdish Confederation, a democratic organisation that questions the state logic of Turkey, Iraq, Iran and Syria; and the movement of public Afro-Latin American self-organisation in Colombia.

The 1936 coup d’état and the ensuing civil war splintered reality, the pieces scattering across complex [in]exiles, disappearances, silences… faltering and inconclusive narratives, fertile, multifocal and widespread memories that pulse and throb today, cross-examining the present and managing to distort a univocal, hegemonic gaze.

The Documents programme explores the relationships between art and publishing, and other subjects that include the effects of archive on narratives of art history, the artist’s book and publishing as an artistic practice. This edition, therefore, presents the Centre audiovisuel Simone de Beauvoir, an audiovisual archive that comprises the first feminist video in France and representations of women in the mass media. 

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?

The Intervals series, which screens recent film work, welcomes one of the most arresting and poetic feature-length films in recent years, The Portuguese Woman by Rita Azevedo Gomes (Lisbon, 1952), a director who prolongs that constant tension between experimentation and narrative film-making in her work. 

The film Estado de malestar (State of Malaise, 2019) by artist María Ruido sets forth an analysis of the malaise and illnesses stemming from capitalism in the information age. 

As part of the performing arts series held in collaboration with the Community of Madrid’s Teatros del Canal, the Museo Reina Sofía presents Mix-en-scene (2015), by choreographer and dancer Amaranta Velarde and artist and creative technologist Alba G. Corral.

This activity constitutes the second edition of the annual series Art and Tourism Imaginaries, which explores the relationship between tourism imaginaries and visual arts in Spain from the 1960s onwards.

This new session inside Intervals, a programme which screens recent film work, presents Oscuro y lucientes (Dark and Lucientes), the fourth feature by Samuel Alarcón (Madrid, 1980). The film is one of the most fascinating and original works on Francisco de Goya.