This lecture saw artist and anti-racist theorist Denise Ferreira da Silva present a new conception of aesthetics, her own approach to countering the colonial, racial and cisheteropatriarchal matrix inherent in Enlightenment and modern Western thought.
A Conversation with Kidlat TahimikEste vídeo da cuenta de la entrevista realizada al cineasta Kidlat Tahimik (Baguió, Filipinas, 1942), uno de los pilares del cine de vanguardia filipino. En la pieza audiovisual el cineasta comparte algunas reflexiones que atraviesan su obra.
From the East. Female Film-makers and the Iron Curtain (1943–1993)
Film SeriesThis video presents From the East. Female Film-makers and the Iron Curtain (1943–1993), a film series held from 3 November 2022 to 22 March that surveys the work of thirty-four women film-makers from fifteen Eastern European countries.
There Is Nothing to Understand Here
A documentary on Elena AsinsThe Museo Reina Sofía presents this documentary on artist Elena Asins. The film is the result of research conducted in the artist’s archive, assembling unseen documents and interpretations around a key figure in Geometric Abstraction and art as research.
Now! We Are All Black
Santiago Álvarez, NOW!, Cuba, 1965, original version with Spanish subtitles, b/n, 35mm, 6’
We wholeheartedly condemn all forms of racism and we hope that, in the aftermath sparked by the tragic death of George Floyd, this implacable wave of protests and demonstrations can produce irrevocable change towards a more just and equal society.
In modern and contemporary art museums we experience art and its ideas as agents of social transformation, as actively being part of a framework of relationships on multiple scales. We do not want to stay on the margins. We want to be spheres that resonate and take a stance, which is why we stand with all people affected by politics underpinned by racism and discrimination across the world.
We join the myriad voices which, from streets and institutions, demand that black lives matter, now and always. With that in mind, we wish to share the work NOW! by Cuban director Santiago Álvarez (Havana, Cuba, 1919–1998). Conceived as a news broadcast to be screened in cinemas in 1965, the film constitutes one of the most emphatic condemnations of US police brutality against African Americans. Álvarez, one of the inventors of montage documentary — “give me two photos, a song, a novel and a moviola and I’ll give you a film”, he claimed — shows a series of photographs of anti-racism protests and their brutal suppression in the 1960s. Sadly, these images could have been taken on the streets of any American city this week. The backdrop to the film is the voice of jazz singer, actress and activist Lena Horne (New York, USA, 1917–2010), in a song with words we make our own: “Now is the moment / Now is the moment / Come on, we’ve put it off long enough / Now, no more waiting / No hesitating / Now, now”.
We associate the overwhelming and current uprising in this short film with the graphic art campaign Argentinian artist Juan Carlos Romero (1931–2017) propelled with the Southern Conceptualisms Network in 2009. “We Are All Black” was the slogan that confronted the fatuous celebration of the bicentenary of independence in Mexico, Argentina and other Latin American countries, and which ignored the memory of an earlier anti-colonial uprising: the Haitian Revolution. That campaign recovered a passage from the first constitution of Haiti written by Toussaint L'Ouverture, a black liberator, which proclaimed that: “all Haitian citizens, hereinafter, shall be known under the generic name of blacks”, explicitly including white women, Germans and Polish, and excluding those who were or would be slave owners. At the beginning of the 19th century, the status of “black” was put forward as a political and cultural denomination, thus disobeying racial or biological categorisation.
Related project: Red de Conceptualismos del Sur and Museo Reina Sofía
Juan Carlos Romero. Ahora todos somos negros [Now! We Are All Black]. Intervention, 2007-2011
Adam Curtis, Without a Mirror
How do we explain a time of excessive and overwhelming information overload? Film-maker Adam Curtis proposes narration as a mechanism for unravelling the present, his documentaries connecting occurrences, people, events and ideas randomly and temporarily, shaping a tightly packed network of connections which explain and confront, in a way few cultural productions do, contemporary reality. How can we add images to this narration? Or, similarly, through film how can we represent the way in which power operates? In this interview, conducted exclusively by Soy Cámara online (CCCB’s video essay channel), and in conjunction with the retrospective on the film-maker in the Museo Reina Sofía, Curtis reflects on these questions and his own concept of film.
the documentary and the word
Eduardo Coutinho (São Paulo, 1933 - Rio de Janeiro, 2014) is an essential name in Latin American documentary film. His work is shaped by political issues but manages to avoid demagogy, as he addresses the everyday lives and subjectivities of marginal majorities with a sensibility not altered by melodrama. He was interviewed on the occasion of the film and video series Eduardo Coutinho. Retrospective, held at Museo Reina Sofía between February and April 2013.
Video Era. Setting and potential (80-00)
What is the role of video in relation to the art institution? What paths and currents has video followed between its arrival and the current situation in Spain? This video comments on the program Video era. Setting and potential (80-00), held at the end of May 2011, which seeks to answer such questions, with a combined format of debate and screenings on four different dates.