Live Arts

Laurie Anderson will conduct a performance in the Museo Reina Sofía to tie in with the publication of her latest book, All the Things I Lost in the Flood (Rizzoli, 2018), a survey of a career spanning more than forty years.

Gamelan is a traditional ensemble of percussion instruments from the Indonesian islands of Java and Bali. The fascination that has stemmed from its percussive and tonality-rich sound over the past 130 years means it is regarded as one of the major influences on repetitive music and, in turn, a large part of twentieth-century music.

Arbusto Ardiente (Burning Bush) was conceived after Amaia Urra’s artist residency in the landscape garden of Parc Jean-Jacques-Rousseau, Ermenonville, Oise, Paris, where the philosopher lived in the final weeks of his life.

Taking this question as his point of departure, Takao Kawaguchi (1962) began, in 2013, to explore the possibilities of copying the movements of the acclaimed choreographer Kazuo Ohno (1906–2010) as a way to access the intrinsic and seemingly non-transferable qualities of this figure, central not only in Japanese post-war dance but also the universal history of the discipline in the twentieth century.

In its second edition, Archipelago asserts its approach to listening as a form of both knowledge and aesthetic pleasure. Attendants are encouraged to approach the complexities of the cotemporary world not only through the ear, but also through the body, by absorbing sound with all their organs and bones.

This program emerges out of the need to bring together ideas on the illnesses we suffer from, at a time when the welfare state has given way to a type of governance centered on the proliferation of new disorders, diseases, and medications.

Since 2000, certain universities, chiefly in the English-speaking world, have developed multidisciplinary studies, which include visual studies and others with the generic title Sound Studies. Initially, the specialised historiography in this field analysed the presence of sound and music in the arts, before focusing on vibrational force, broadening its field of analysis to literature, painting and, naturally, music.

In its aim to attract new audiences to classical and contemporary music, Spain's National Orchestra and Choir (OCNE) arranges this programme of Mini Concerts, in collaboration with the Museo Reina Sofía and framed within OCNE’s special events scheduled for 2018.

In Loie Fuller: Research, choreographer Ola Maciejewska critically appropriates the “dancer’s dress” invented by Loie Fuller (Illinois, 1862–Paris, 1928), one of the most innovative and widely recognised dance artists in modernism.

The Museo Reina Sofía brings International Dance Day forward to Saturday 28 April with a double programme showcasing the work of choreographers Sofía Asencio (Societat Doctor Alonso) and María Muñoz (Mal Pelo), accompanied by Tirso Orive and Federica Porello, respectively.

The Museo Reina Sofía brings International Dance Day forward to Saturday 28 April with a double programme showcasing the work of choreographers Sofía Asencio (Societat Doctor Alonso) and María Muñoz (Mal Pelo), accompanied by Tirso Orive and Federica Porello, respectively.

The exhibition devoted to Dora García (Valladolid, 1965) is accompanied by a specific programme of performances by the artist. Carried out during the exhibition period, this initiative seeks to vindicate performance as a privileged medium, moving closer to the core strands in García’s work. In this vein, three main ideas will be illuminated: fiction as a construction of situations, readings understood as a collective process which redefines works and the relationships between readers, and narration as a critical exercise in terms of the roles undertaken. Ultimately, these ideas stress how the capacity for giving form, transforming and dismantling accounts that pass through us is an action of resistance.

The Museo Reina Sofía presents The Words of Others by Argentinean artist León Ferrari (Buenos Aires, 1923–2013), a collage he produced between 1965 and 1967, the year it was released by the Argentinean publishing house Falbo. On this occasion, the piece will be performed in full for the first time in Spanish. In the two days leading up to the rendering of this literary collage, and in order to update the issues running through it, the international seminar A Theatre of the Present. Rhetoric and Power in León Ferrari’s The Words of Others, co-organised by Museo Reina Sofía and ARTEA, will be held in the Museo.    

Within the framework of the exhibition Esther Ferrer. All Variations Are Valid, Including this One, the Museo Reina Sofía presents Actions, a series of interventions arranged with scores in the form of a user manual and directed by Esther Ferrer (San Sebastián, 1937) in person.

Within the framework of the exhibition NSK from Kapital to Capital. Neue Slowenische Kunst. An Event of the Final Decade of Yugoslavia, the Museo Reina Sofía presents We Forge The Future, a performance by the industrial rock band Laibach, who formed in 1980 and is one of three landmark groups making up the Slovenian collective NSK (Neue Slowenische Kunst). The performance will be preceded by a guided tour of the exhibition led by Laibach member Ivan Novak.