Live Arts

Performing Gender is a European project that takes a critical look at the politics of gender and sexuality using dance and performance tools. Bodies and their multiple gender inscriptions are the subject of exploration and experimentation by a group of artists that, over the course of one year, have carried out their research by touring around different European institutions.

Once again, the Museo Reina Sofía joins the annual celebration of International Museum Day (IMD) with two open days and a selection of activities that aim to take a deeper look at the dialogue between the collections and the public, as well as reinforcing the idea of the museum as a space for non-disciplinary education and collective learning.

The Association of Dance Professionals in the Madrid Community and the Cultural Association for Dance, together with the Museum, have organized a total of 10 performances with different dance styles coexisting alongside plastic arts.

The Museo welcomes the choreographer and dancer Simone Forti. The encounter is made up of a conversation between Forti and Tania Arias, with a presentation in the Nouvel Auditorium Hall of the results of some of the work produced by students in the workshop run by Forti in La Casa Encendida.

Portuguese choreographer Cláudia Dias presents her latest composition, Vontade de Ter Vontade, a solo inspired by two works by the writers and thinkers Tony Judt and Boaventura de Sousa Santos. Through this piece Dias prolongs her work on identity and territory.

A workshop based on the technique created by the Portuguese artist João Fiadeiro. Composition in Real Time is a method of investigation on different forms of encounter, and its use perpetually aims to be in relation with the other. Its utopia is collective experience, being together, whether in a social or artistic context.

Through the gaze of three curators, this lecture series inquires into different topics such as feminism, video dance and the diversity of languages present during these years.

In this performative lecture, in parallel with the presentation of Minimal Resistance. Between late modernism and Globalisation: artistic practices during the 80s and 90s, Mullican reviews and comments on some of his performances under hypnosis, in which he recreates, as he does in his visual works, the logic of an unstable and irrational world.

This year the Mexican dance company Tumakat presents, in connection with Latin American art, the work Maravillosa at the Museum. This chamber piece is an exercise in reflection on the nature of dance as spectacle. Using humour, Federica Folco, from Uruguay, and Josie Cáceres, from Ecuador, have created a piece about the questioning of limits.

Acoustic Space began in 2010 as a way for the Museum to make a place in its programming for the wide range of currents in today's heterogeneous musical scene.  This time the series features a selection of artists who have released, all of them, a new album in 2013: Kalabrese, Helado Negro, Carmen Villain, Amateur Best and Emika. 

On Sunday, April 28, Museo Reina Sofía will be the host of a series of Dance Attacks. An initiative of the Association of Dance Professionals and the Cultural Association for Dance of Madrid, working in collaboration with Museo Reina Sofía, this activity is held in celebration of International Dance Day, which is April 29.

The new direction taken by political and social happenings in recent years has once again made public space an excellent place for manifestations by the community. In contrast with the situation during the last third of the 20th century, dissident action does not avoid urban spectacularization, hiding in private or clandestine spheres. Instead it transforms and is shown in public space. This seminar explores the use of “theatrical” gestures, behaviours and performances in social space for the purpose of expressing disagreement and dissidence, and it also examines the way that today's art, specifically theatre, has taken in and dialogued with these non-artistic theatricalities.

Three mysterious occurrences in a city haunted by images, of people known to me, and others unknown. Images abandoned by their occupants; some have become ruins. An image is invaded, a new face moves in—sometimes an ally, sometimes an old foe. One vanishes, while another travels from one picture to another

Rabih Mroué.