Live Arts

Songs of the Contemporary Social War is the title of a pamphlet made by Guy Debord, signed anonymously under the pseudonym “Some iconoclasts” and dated May 1981.

The film Estado de malestar (State of Malaise, 2019) by artist María Ruido sets forth an analysis of the malaise and illnesses stemming from capitalism in the information age. 

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.

This double performance serves as an introduction to the Hito Steyerl retrospective in the Museo. The studied disappearance of the image in modern surveillance technology is developed in a performance lecture by the artist, followed by an exploration into the new acoustic landscape of war – between military noise and sounds from consumer devices - by Kassem Mosse. Both performances are a posthumous homage to Harun Farocki.

This programme of activities, which relates Sahrawi culture to a broader social and cultural framework, aims to become tuiza, a space that reimagines an alternative possible geography, where its centres are not metropolises of financial power, but narrations and accounts of a periphery that lives on in expressions of identity and cultural contamination.

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.

Continuous Movement highlights the importance of experimental cinema in the development of film as an independent art form and the evolution of film aesthetics and language, despite the marginal place that this type of film has historically filled with respect to the commercial structures of the audiovisual market. However, experimental film and, later, video have found their place among the visual arts where they share numerous links to the artistic uses of the audiovisual field, particularly with video installation and performance art.

The Action