Activities

AIDS Anarchive began within the framework of the 2012-2013 research residencies at Museo Reina Sofía, as part of the production process of a “counter-archive” or an anarchive of AIDS policies, with attention being paid for the first time to practices occurring outside of the Anglo-Saxon or Western and Central European settings.

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 audiovisual series looks at the 1980s, and that decade’s prolongation into the 1990s, as a genealogy of much of the dialectics that explain contemporary, as a time period and cultural category.

Film on the margins, from the peripheries, and the other cinema are among the terms used to refer to works that have been made outside the industry in recent years in Spain. Beyond this condition of existence, a number of additional criteria are fulfilled by these films, suggesting something of a group identity. More specifically: independent production and distribution platforms, the incorporation of the experimental language used in the field of art (exhibition video and film) and the liberal use of documentary techniques in the form of essay film are some of the features found throughout this other cinema.

In recent years, it has been pointed out that one of the identifying features of Spanish alternative film is the exploration of the real.

News from Ideological Antiquity: Marx/Eisenstein/Capital (2008) is one of the most complex and monumental films of recent film history. Throughout the almost nine hours that the film lasts, its director, Alexander Kluge (Germany, 1932), offers his own construction of Eisenstein's unfinished project of filming Capital by Karl Marx, an idea conceived after a feverish encounter between the Russian filmmaker and James Joyce in 1927.

This audiovisual series looks at Salvador Dalí's film, video and television production, as a culmination of the exhibition Dalí. All of the poetic suggestions and all of the plastic possibilities. Almost five hours in length, this collection of works, with repeat screenings over two days, argues that the relationship between Dalí and mass culture is key to understanding the artist's work, but also to developing a different idea of modernity, one that conveys the spectacular and tumultuous nature of 1930s modernity. 

This summer film series explores one of the contemporary cinematographies that, although very interesting, is among the least distributed in Europe. Midway between new auteur voices and the poetics of documentary, this series shows how film responds to a situation of provisionality and how it imagines the future from the vantage point of uncertainty.

With his films, Harun Farocki (Czech Republic, 1944) dissects the control, representation and value systems derived from capital and its images. This event, the first of the Intervalos program, shows two recent works, one of which was produced by Museo Reina Sofía, and also includes a lecture by Thomas Elsaesser. 

Eduardo Coutinho (São Paulo, 1933) is an essential name in Latin American documentary film. His work is shaped by political issues but manages to avoid propaganda, as he addresses the everyday lives and subjectivities of marginal majorities with a sensibility not altered by melodrama. This retrospective, the most extensive to date, presents a body of work that ranges from the context of Cinema Novo to the analysis of fiction in contemporary film.

The friction of bodies is a film and video series that presents a broad panorama of different artistic and political manifestations from the 1980s, which arose during and co-existed with the years of repression in Latin America. Many of these videos and films, most of which have never been shown publicly outside of their original contexts, demonstrate the emergency of new political subjects and forms of subcultural participation. The program also includes recent film proposals that look back at the agitated times of the 1980s in this context, to offer different readings or to activate a memory still throbbing within us.