-
January 16, 18, 23 and 25, 2013 Sabatini Building, Auditorium
Block 1. Doing politics with nothing. Territories of violence
This block presents the creative strategies of the human rights movement in Argentina and Chile, along with actions and productions by activist groups with such marginal materiality that they used resources such as silk-screening, photocopies and the body to process and show the consequences of State terrorism with its correlate of massacres, torture, forced disappearances. In various sessions, it explores how the modes of political action in the 1970s became, due to the impossibility of confrontation, the resource used in artistic tactics aimed at ending the isolation of political practice and provoking viewers by means of body-to-body contact in the streets. This open opposition and occupation of the public space would become, in the 1980s, the key elements that allowed for the creation of new citizenries.
Session 1
January 9, 7:00 p.m.
No me olvides (Don't forget me)
Tatiana Gaviola. Chile, 1988. Production format: U-Matic, 15 min. Exhibition copy in DVD. Distributed by Tatiana Gaviola
Somos+ (We are +)
Pedro Chaskel and Pablo Salas. Chile, 1985. Production format: U-Matic, 16 min. Exhibition copy in DVD. Distributed by Pablo Salas
Por la vida (For Life)
Pedro Chaskel and Pablo Salas. Chile, 1985. Production format: U-Matic, 28 min. Exhibition copy in DVD. Distributed by Pablo Salas
Presentation by Miguel Martínez
Miguel Martínez holds a PhD in Political Science and is a researcher in the department of Sociology II at the Universidad Complutense de Madrid. He specializes in social movements and urban studies.Session 2
Dates: January 11, 7:00 p.m.
Arete Guasu
Made by: Dea Pompa. Based on an original idea by: Lia Colombino. Paraguay, 2012. Production format: DV-Cam, 37 min. Exhibition copy in DVD. Distributed by Lia Colombino. Short film not previously released, made jointly with Museo Reina Sofía and the network Conceptualismos del Sur.
-
January 16, 18, 23 and 25, 2013 Sabatini Building, Auditorium
Block 2. Underspaces
The friction of bodies
This block reflects a series of collective experiences in semi-clandestine places, in certain "official" spaces and on the outskirts of large Latin American cities. New cultural manifestations linked to one another by the crudeness of their forms and by their total negation of official values. Later called the ‘subte’ scene (short for subterránea, underground), in this period creativity reached unknown heights, in contrast with the despondency and the brutality of the armed conflict in Peru, the military dictatorship in Chile and the processes of marginalisation in Colombia, Mexico and Brazil. Grouped around libertarian and anarchist discourses, and making use of music, the visual arts and poetry, these groups are characterized by their refusal to remain silent in the face of news about torture and disappearances, but also about the spread of the new market society. This independent scene choose to confront authoritarianism, repression and the social and cultural status quo, and it does so collectively through concerts, posters, scenographies, festivals and multidisciplinary encounters at universities, theatres and other places in the city.
Session 3
January 16, 7 p.m.
Punks
Sarah Yakhni and Alberto Gieco. Chile, 1984. Production format: U-Matic, 35 min. Exhibition copy in DVD. Original language: Portuguese, with Spanish subtitles. Distributed by Sarah Yakhni, Brazil.
Grito subterráneo (Underground Scream)
Julio Montero Solís. Peru, 1986. Production format: various, 120 min. Exhibition copy in DVD. Distributed by Julio Montero Solís, Peru.Session 4
January 18, 7 p.m.
Nadie es inocente (Nobody is innocent)
Sarah Minter. Mexico, 1987. Production format: U-Matic, 58 min. Exhibition copy in DVD. Distributed by Sarah Minter, Mexico.
Alma punk (Punk Soul)
Sarah Minter. Mexico, 1991. Production format: U-Matic, 56 min. Exhibition copy in DVD. Distributed by Sarah Minter, Mexico.Session 5
23 January, 7 p.m.
Rodrigo ‘D’. No futuro (Rodrigo 'D'. No future)
Víctor Gaviria. Colombia, 1990. Production format: 35 mm, 90 min. Exhibition copy in DVD.Session 6
25 January, 6 p.m.
Pank. Orígenes del punk en Chile (Pank. The origins of punk in Chile)
Martín Núñez. Chile, 2010. Production format: various, 80 min. Exhibition copy in DVD. Distributed by Martín Núñez, Chile.
Frenesí (Frenzy) - Liliana Maresca - 1984/1994
Adriana Miranda. Argentina, 1994.Production format: various, 35 min.Exhibition copy in DVD. Distributed by Adriana Miranda, Argentina.
Presentation by Miguel Conejeros
Miguel Conejeros is a musician. During his early career he was a member of the band Los Pinochet Boys (1984-1987), which pioneered a new way to conceive of rock/pop/electronic/experimental music in Chile and Latin America.
-
January 30 and February 1, 6, 8 and 13, 2013 Sabatini Building, Auditorium
Block 3. Sexual disobediences
The friction of bodies
In the 1980s various artistic experiences involving gender subversion and sexual disobedience put forward a critique of normative heterosexuality, and at the same time questioned the left-wing imaginary, by confronting the naturalized relationships of inequality, authoritarianism and subordination that support these discourses. This situation is addressed in Improper Behaviour, a film in which Cuban refugees are interviewed about the incarceration of homosexuals, political dissidents and Jehovah's Witnesses in labour camps, under the Cuban government's policy of Military Units to Aid Production (UMAP). Many of these art practices were also a response to the HIV/AIDS crisis, as mentioned in Dzi Croquettes, and to the continual stigmatisation of minorities. Through carnivalesque performative interventions, as in Pedro Lemebel: corazón en fuga (Pedro Lemebel: a fleeing heart), images of prosthetic alterations or encounters between non-normative sexualities, such as those seen in Batato's Movie, the artistic insubordination present in this block shatters heterosexuality as a political regime.
Session 7
30 January, 7 p.m.
La peli de Batato (Batato's Movie)
Goyo Anchou y Peter Pank . Argentina, 2011. Production format: various, 150 min. Exhibition copy in DVD. Distributed by Goyo Anchou, Argentina.Session 8
1 February, 7 p.m.
El homosexual o la dificultad de expresarse (The homosexual, or the difficulty of expressing oneself).
Teatro del Sol. Peru, 1990. Production format: VHS, 63 min. Exhibition copy in DVD. Distributed by Giuseppe Campuzano, Peru.
Pedro Lemebel: corazón en fuga (Pedro Lemebel: a fleeing heart)
Verónica Quense. Chile, 2009. Production format: Betacam, 53 min. Exhibition copy in Betacam. Distributed by Verónica Quense, Chile.Session 9
6 February, 7 p.m.
Conducta impropia (Improper Behaviour)
Néstor Almendros and Orlando Jiménez Leal. France, Cuba, 1984. Production format: 35 mm, 93 min. Exhibition copy in Betacam. Original language: Spanish and French, with Spanish subtitles. Distributed by Orlando Jiménez Leal, New York.
Presentation: Andrés Isaac Santana
Andrés Isaac Santana (Matanzas, Cuba, 1979) is an art critic, essayist, editor and exhibition curator. His publications include “Imágenes del desvío. La voz homoerótica en el arte cubano contemporáneo” (Ed. J.C, Sáez, Chile, 2004) and he edited the compilation of texts “Nosotros, los más infieles. Narraciones críticas sobre el arte cubano (1993-2005)”, (Ed. Cendeac, Murcia, 2007).Session 10
8 February, 7 p.m.
108 Cuchillo de palo (108 Wooden Knife)
Renate Costa. Spain, Paraguay, 2010. Production format: Super-8 and digital video, 93 min. Exhibition copy in Betacam. Distributed by: Estudi Playtime, Barcelona.
Reinas
Made by: Dea Pompa. Based on an original idea by: Lia Colombino. Paraguay, 2012. Production format: DV-Cam, 20 min. Exhibition copy in DVD. Distributed by Lia Colombino. Short film not previously released, made jointly with Museo Reina Sofía and the network Conceptualismos del Sur.Session 11
13 February, 7 p.m.
Dzi Croquettes
Tatiana Issa and Raphael Álvarez. Brazil, 2009. Production format: various, 110 min. Exhibition copy in Blu-Ray. Original language: Portuguese, with Spanish subtitles. Distributed by: Tatiana Issa and Raphael Álvarez, Brazil.
-
February 15, 2013 Sabatini Building, Auditorium
Block 4. Ongoing delirium and other experiments
The friction of bodies
The Bureau of Surrealist Enquiries, an institution invented by Antonin Artaud in 1924, was conceived as a place where anyone could go to explore madness in order to reinvent life through creative activity. Taking up the idea of this key institution once again, in the 1980s different groups in Argentina decided to refound the international surrealist movement. Among them was TIC - Taller de Investigaciones Cinematográficas, or the Cinematographic Investigation Workshop - which produced a series of videos now being shown for the first time.
Along with these videos by the TIC, other films recover the imaginary of the 1970s and 1980s and put forward poetic and experimental creations. Homem-ave gira deals with the poetic universe of the Brazilian singer Ney Matogrosso, who during the dictatorship of the 1970s broke sexual taboos with his behaviour on stage. Mi Co-Ra-Zón, by the Mexican Pola Weiss, explores the body, with its organs, guts and fluids, through montages linking the eye to the heart. The block ends with Melquíades Herrera, participant in the collective No-Grupo, who, in modifications of daily activities, takes imagination, provocation and collective creation to transform the “normal” conditions of existence.Session 12
February 15, 7 p.m.
Detrás del muro (Behind the wall)
Taller de Investigaciones Cinematográficas (TIC), Adrián Rivero (Adrián Fanjul). Argentina, 1980. Production format: Super-8, 5 min. Exhibition copy in DVD. Distributed by Roberto Barandalla, Argentina.
El Chulu
Taller de Investigaciones Cinematográficas (TIC), Sergio Bellotti. Argentina, 1980.
Production format: Super-8, 20 min. Exhibition copy in DVD. Distributed by Roberto Barandalla, Argentina.
El amor vence (Love wins)
Taller de Investigaciones Cinematográficas (TIC), Beto Sánchez (Roberto Barandalla).
Argentina, 1980. Production format: Super-8, 12 min. Exhibition copy in DVD. Distributed by Roberto Barandalla, Argentina.
El loco de la carretilla (The Madman with a Wheelbarrow)
Taller de Investigaciones Cinematográficas (TIC), Eduardo Nico "Magoo". Argentina, 1979.
Production format: Super-8, 7 min. Exhibition copy in DVD. Distributed by Roberto Barandalla, Argentina.
Homem-ave
Rafael Saar. Brazil, 2010. Production format: HD, 6 min. Exhibition copy in DVD. Original language: Portuguese, with Spanish subtitles. Distributed by Rafael Saar, Brazil.
Mi Co-Ra-Zón (My heart)
Pola Weiss. Mexico, 1986. Production format: U-Matic, 11 min. Exhibition copy in DVD. Distributed by: Documentary Archive of the MUAC, Universidad Nacional Autónoma de Mexico.
Venta de peines (Selling combs)
Jorge Prior and Melquíades Herrera. Mexico, 1993. Production format: Betacam, 2 min. Exhibition copy in Blu-Ray. Distributed by Producciones Volcán, Mexico.
Uno por 5, 3 por diez (One for 5, 3 for ten)
Jorge Prior and Melquíades Herrera. Mexico, 1992. Production format: Betacam, 11 min. Exhibition copy in Blu-Ray. Distributed by Producciones Volcán, Mexico.
Presentation: Jaime Vindel and Eduardo Nico “Magoo”.
Jaime Vindel is an art historian, a member of the curatorial team of Losing the Human Form and a participant in the network Conceptualismos del Sur.
Eduardo Nico “Magoo” is the co-founder, with Roberto Barandalla, of the Taller de Investigaciones Cinematográficas (Cinematographic Investigation Workshop) He has also published two books of poetry, "La Polaca" (1995) and "Puros por cruza" (2011).
Held on 09 ene 2013
The expression the friction of bodies (el roce de los cuerpos) returns to the idea developed by the Argentine art historian Roberto Amigo about how the new forms of artistic activism in the 1980s in different places in Latin America took shape. If in the 1960s and 70s the linking of art and politics arose within traditional moulds related to the legacy of Marxism, in the 1980s that way of operating underwent a radical transformation. Encounters, festivities, the carnavalisation of protest and other forms of direct contact between bodies, whether in the private sphere or in a clandestine manner, would be the way to create a public counter-sphere in opposition to the devastating effects of violence.
Radical and libertarian attitudes thus appear, interweaving sexual dissidence, countercultural production, occupation of the streets, anarchism, social demands and civil disobedience or the demand that the victims of political disappearances come back to life, spaces and rituals that were previously invisible. This experimental wave brought a new way of thinking about and intervening in political happenings, using imaginaries of resistance and activism that favoured the building of new bodies and socialities, and the rebuilding of the emotional ties that had been broken by terror.
These film and video productions were made by documentary makers, artists, researchers, historians and people involved in these episodes. They include: amateur productions arising in underground spaces; works with the visual sophistication of a renewed cinematographic experimentalism; films of limited commercial circulation that draw connections between crisis periods by examining urban violence, music and drugs; and also new productions made especially for this exhibition. Using memory, narrative, recovered documents and images, and also musical production, this living archive of those events attempts to rethink the ways in which film and video have given a different visibility to a multitude of dissident bodies and behaviours.
Itinerary
Itinerary in collaboraction with AECID
Organised by
Conceptualismos del Sur Network and Museo Reina Sofía
Itinerancies
Museo Nacional Centro de Arte Reina Sofía, Madrid
9 January, 2013 - 15 February, 2013
Centro Cultural Juan de Salazar. Asunción, Paraguay
2 October, 2013 - 14 October, 2013
MALI. Lima, Perú
11 January, 2014 - 23 February, 2014
Centro Cultural de España en México, México D.F.
19 February, 2014 - 4 April, 2014
Centro Cultural de España en Tegucigalpa
5 March, 2014 - 20 March, 2014
Centro Cultural Parque de España, Rosario, Argentina
9 March, 2014 - 27 April, 2014
CCEBA (Centro Cultural de España) y UNTREF (Universidad Nacional de Tres de Febrero) Buenos Aires, Argentina
3 April, 2014 - 9 May, 2014
CCE (Centro Cultural de España), Montevideo
23 September, 2014 - 29 November, 2014
CCEG (Centro Cultural de España en Guatemala)
10 February, 2015 - 19 March, 2015
Centro Cultural de España, Santo Domingo, República Dominicana
5 May, 2015 - 30 May, 2015
Centro Cultural de España en Costa Rica
17 February, 2016 - 24 February, 2016
![Miguel Brieva, ilustración de la novela infantil Manuela y los Cakirukos (Reservoir Books, 2022) [izquierda] y Cibeles no conduzcas, 2023 [derecha]. Cortesía del artista](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/ecologias_del_deseo_utopico.jpg.webp)
![Ángel Alonso, Charbon [Carbón], 1964. Museo Reina Sofía](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/perspectivas_ecoambientales.jpg.webp)
Más actividades
Christian Nyampeta and the École du soir
13, 14, 15 NOV, 11, 12, 13 DIC 2025
Christian Nyampeta is a Rwandan artist, musician and film-maker whose work encompasses pedagogies and community forms of knowledge production and transmission. His Ècole du soir (Evening School) is an art project conceived as a mobile space of collective learning and is named in homage to Ousmane Sembène (1923–2007), a pioneer of African cinema who defined his films as “evening classes” for the people, a medium of education and emancipation through culture.
This block is made up of three double sessions: the video work of Christian Nyampeta, the films of École du soir and one of Ousmane Sèmbene’s feature-length films. Nyampeta will introduce all three first sessions.
UP/ROOTING
11, 12, 13, 14, 15, 16 NOV 2025
Museo Reina Sofía and MACBA Museu d'Art Contemporani de Barcelona (MACBA) invite applications for the 2025 iteration of the School of Common Knowledge, which will take place from November 11th to 16th in Madrid and Barcelona.
The School of Common Knowledge (SCK) draws on the network, knowledge and experience of L’Internationale, a confederation of museums, art organizations and universities that strives to reimagine and practice internationalism, solidarity and communality within the cultural field. This year, the SCK program focuses on the contested and dynamic notions of rooting and uprooting in the framework of present —colonial, migrant, situated, and ecological— complexities.
Building on the legacy of the Glossary of Common Knowledge and the current European program Museum of the Commons, the SCK invites participants to reflect on the power of language to shape our understanding of art and society through a co-learning methodology. Its ambition is to be both nomadic and situated, looking at specific cultural and geopolitical situations while exploring their relations and interdependencies with the rest of the world.
In the current context fraught with war and genocide, the criminalization of migration and hyper-identitarianism, concepts such as un/belonging become unstable and in need of collective rethinking:
How can we reframe the sense and practice of belonging away from reductive nationalist paradigms or the violence of displacement? How to critically hold the entanglement of the colonial routes and the cultural roots we are part of? What do we do with the toxic legacies we inherit? And with the emancipatory genealogies and practices that we choose to align with? Can a renewed practice of belonging and coalition-making through affinity be part of a process of dis/identification? What geographies —cultural, artistic, political— do these practices of de/centering, up/rooting, un/belonging and dis/alignment designate?
Departing from these questions, the program consists of a series of visits to situated initiatives (including Museo Situado, Paisanaje and MACBA's Kitchen, to name a few), engagements with the exhibitions and projects on view (Project a Black Planet: The Art and Culture from Panafrica), a keynote lecture by Stefano Harney and Fred Moten, as well as daily reading and discussion gatherings, editorial harvest sessions, and conviviality moments.
The Joaquim Jordà Residencies 2025
Friday, 7 November 2025 - 7pm
In this activity, the recipients of the 2024–2025 Joaquim Jordà Residencies call, María Aparicio (Argentina, 1992) and Andrés Jurado (Colombia, 1980), present respective projects related to their body of work in an open session in which to discover the creative interests of two of the most up-and-coming independent film-makers in Latin America today.
María Aparicio presents the working process behind her film De sol a sol (From Sun to Sun), along with a brief journey through the films prior to this project and her filmic searches in recent years. Aparicio synthesises the storyline of De sol a sol from the silhouettes of a group of men who appear between the stalks of a reedbed. Their knives glisten as the sun hits them, flashing and disappearing with their hand movements. Apprentices split the canes using no method; seasoned workers cut with skill. They are workers from a sugar mill in northern Argentina and are watched by Juan Bialet Massé, accompanied by Rosich, assistant and photographer. It is Argentina in 1904 and he is carrying out a mission assigned to him by his country’s government: to travel the Argentinian provinces, reporting on the state of the working classes.
Andrés Jurado, for his part, will look over his own work and the work of the La Vulcanizadora lab in this session. He will also open the archive stemming from the research process in the project Tonada, a journey through the succession of peace agreement betrayals in the history of Colombia. From the colonial era, understood in tumultuous terms, as a hurricane that keeps swirling, to the present day he traces the stories of people like Tacurrumbí, Benkos Biohó, Bateman and the many women and men who were betrayed by governments and oppressors. Tonada seeks to build a sound and film dialogue between the guerrilla disarmament of 1953 and the period following the peace agreement of 2016, invoking these and other events and confronting traumas of betrayal through a film composition devised to be sung. But what is sung? Some of these songs are heard and voices are shared in this presentation.
The Joaquim Jordà Residences programme for film-makers and artists was set in motion by the Museo Reina Sofía in 2022. The initiative comprises a grant for writing a film project rooted in experimentation and essay, as well as two subsequent residencies in FIDMarseille and Doclisboa, international film festivals devoted to exploring non-fictional film and new forms of audiovisual expression.
Ylia and Marta Pang
Thursday, 6 November - 8pm
The encounter between Spanish DJ and producer Ylia and visual artist Marta Pang is presented in the form of a premiere in the Museo Reina Sofía. Both artists converge from divergent trajectories to give form to a new project conceived specifically for this series, which aims to create new stage projects by setting out from the friction between artists and dialogue between disciplines.
![Carol Mansour y Muna Khalidi, A State of Passion [Estado de pasión], 2024, película](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/palestine%20cinema%20day%202.jpg.webp)
Palestine Cinema Days
Sábado 1 de noviembre, 2025 – 19:00 h
The Museo Reina Sofia joins the global action in support of Palestine with the screening of A State of Passion (2024), a documentary by Carol Mansour and Muna Khalidi. The film features in Palestine Cinema Days Around the World, an annual festival, held globally every November, which aims to show films made in Palestine to an international audience. The initiative was conceived as a form of cultural resistance which seeks to give a voice to artists from Palestine, question dominant narratives and create networks of solidarity with the Palestinian people.
Palestine Cinema Days Around the World originates from Palestine Cinema Days, a festival organised in Palestine since 2014 with the aim of granting visibility to Palestinian cinema and to support the local film community. In 2023 the festival was postponed because of the war in Gaza, and has since become borderless in scope, holding close to 400 international screenings in almost sixty countries in 2024. This global effort is a show of solidarity with Palestine and broadens the voices and support networks of the Palestinian people around the world.
A State of Passion exposes the atrocities committed against the Gaza population via the testimony of Dr Ghassan Abu Sittah, a Palestinian-British plastic surgeon living in London who decides to return to Gaza and save lives in the city’s hospitals amid the Israeli army’s indiscriminate bombing of the population. A necessary film exposé of the experience of unrelentingly working twenty-four hours a day for forty-three days in the Al Shifa and Al Ahli Hospitals in the city of Gaza.