Exhibition. Defiant Muses. Delphine Seyrig and the Feminist Video Collectives in France in the 1970s and 1980s
Micha Dell-Prane, Delphine Seyrig and Ioana Wieder holding a camera during a demonstration, 1976. B&W photography. Courtesy of Centre audiovisuel Simone de Beauvoir
Delphine Seyrig (1932-1990) is best known for the roles she played in French auteur cinema, most notably in Alain Resnais’ Last Year at Marienbad, directed by Alain Resnais. However, during the 1970s, she became indeed an activist working collaboratively within the framework of the feminist movement. Around 1975, together with activist video maker Carole Roussopoulos and translator Ioana Wieder, she produced a series of videos under the collective name “Les Insoumuses” (Defiant Muses). This exhibition explores the intersection between the histories of cinema, video and feminism in France. Focusing on the emergence of video collectives in the 1970s, the exhibition proposes to reconsider the history of the feminist movement in France through a set of media practices and looks at a network of creative alliances that emerged in a time of political turmoil. Dates: From 25 September, 2019 to 23 March, 2020 Location: Sabatini Building, Floor 3 Organized by: Museo Reina Sofía, with the collaboration of LaM (Lille Métropole Musée d'art moderne, d'art contemporain et d'art brut) and the Centre audiovisuel Simone de Beauvoir Curatorship: Nataša Petrešin-Bachelez and Giovanna Zapperi
Screening. Callisto McNulty. Delphine et Carole, insoumuses
Callisto McNulty. Delphine et Carole, insoumuses. Film, 2019
In the framework of the exhibition Defiant Muses. Delphine Seyrig and the Feminist Video Collectives in France in the 1970s and 1980s, Museo Reina Sofia presents this film. In 2009 Roussopoulos set in motion a documentary project on Seyrig, her fellow activist, which was cut short by her death just a few months later. This film is the continuation of that unfinished project by film-maker Callisto McNulty and features the collaboration of the Roussopoulos family. Dates: Friday, 4 October and Friday, 11 October 2019 Hour: 7pm Location: Sabatini Building, Auditorium Organized by: Museo Reina Sofía Admission: Free, until full capacity is reached
Seminar. Archives of the Commons III. Non-appropriable Archives?
Lucia Bianchi, Register of the Commons II, 2019. Digital Collage. Courtesy of Lucia Bianchi
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? A non-appropriable archive requires collectivity; it requires our organisation, other possibilities. It urges us to create conditions for collective thinking, new forms of articulation – community, institutional, legal — in order for it to materialise. The aim of this edition of Archives of the Commons is to play a part in tracing feminist, queer, trans*, anti-racist and anti-fascist perspectives with which to approach archives that are at once transversal and geopolitically situated. Therefore, it sets forth a space of reflection to converse with actors from the field of art-politics archives, accommodating different focal points in order to reconstruct their complexities. Dates: 23, 24 and 25 September 2019 Hour: (check programme) Location: Sabatini Building, Auditorium / Nouvel Building, Protocol Room Organized by: Museo Reina Sofía and the Red Conceptualismos del Sur (Southern Conceptualisms Network) Admission: Free, until full capacity is reached
RRS. Mario de Vega. Diptych
Diptych is made up of two electroacoustic works structured around sound incidents recorded in Kathmandu (Nepal), Varanasi (India), Nagasaki (Japan) and Shenzhen (China). Conceived as an aural narration to incite and reflect on the affective qualities of sound, Diptych seeks to offer the listener a phenomenological experience based on displacement and empathy as the main concepts of study, using sound as a medium which is capable of regulating perceptive experiences.
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