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November 11, 2013 Sabatini Building, Auditorium
Session 1. Video Condition
David Cronenberg. Videodrome
Film, 1982. In English with Spanish subtitles, 87’
Using conspiracy as an explanation for the present is a common mechanism in a cinema which, according to Fredric Jameson, is incapable of describing the powers and institutions of the new political scene. In Videodrome, Cronenberg plays a part in this situation, showing how a sect seeks to gain control by broadcasting television programming that features violence and pornography, and that not only affects the viewers' desires but also their perception of the world. The ideas of simulation, implosion or crisis of the real, which are predominant in this decade, appear in this film. At the same time, Videodrome describes a paradox: film approached from the perspective of video, or video, the decade's most significant medium, introduced through film. -
November 14, 2013 Sabatini Building, Auditorium
Session 2. Parodies of the subject
1980s television proposals
Jaime Davidovich. The Live! Show
Video, 1979-1984. In English with Spanish subtitles. 40’
Dara Birnbaum. MTV Artbreak
Video, 1985-1987. In English, 30’’
Doug Hall, Chip Lord y Jody Procter. The Amarillo Tapes
Video, 1980. In English with Spanish subtitles, 25’52’’
General Idea. Shut the Fuck Up
Video, 1984. In English with Spanish subtitles, 14’
Antoni Muntadas. Video Is Television?
Video, 1989-1990. 5’34’’
Television, the protagonist of a large part of the associative and guerrilla experiences of 1970s artistic practices, becomes a homogenizing medium in terms of information and audiences during the 1980s. This session is dedicated to analysing how different artists negotiate this idea. Artists show a fascination for the immediacy, massive reception and new formats offered by television, and at the same time they reproduce the stereotype of a satirical and unidimensional subject trapped in the television spectacle. Thus, collaborations with general networks, such as those undertaken by Dara Birnbaum, Richard Prince and Lynda Benglis with MTV, end in frustration, while the experiences such as those of General Idea or Jaime Davidovich criticize the medium, appropriating its logic. Both cases anticipate a new territory, one that is complex and inevitable: the relationship between art and cultural industries. -
November 18, 2013 Sabatini Building, Auditorium
Session 3. The artist of the cynical reason
Fischli & Weiss. The Least Resistance
Video, 1980-1982. In German with Spanish subtitles, 30’
Andrea Fraser. Museum Highlights: A Gallery Talk
Video, 1989. In English with Spanish subtitles, 29’
Martin Kippenberger. Entrevista de Kippenberger con Roberto Ohrt
Video, 1993. In French with Spanish subtitles, 6’35’’
Rodney Graham. Vexation Island
Video, 1997. 10’
Rodney Graham. How I Became a Rambling Man
Video, 1997. 10’
This session reflects a series of critical and satirical strategies developed in response to an art system lacking external projection. Incapable of articulating an effective intervention that transforms the circulation and reception of art, artists use the resources of modernity, knowing paradoxically that the aims pursued by modernity are no longer possible. Fischli & Weiss give a carnivalesque performance in which their alter egos, the characters Rat and Bear, use caricature to describe how the art market works. Institutional critique, common in the 1970s, is shown to be limited and to have run its course, in the theatricality used by Andrea Fraser. Kippenberger, enfant terrible like none other, mocks exhibition rituals in a liberation revealing more melancholy and indifference than subversion. Rodney Graham, in the 1990s, puts experimental film resources (such as the loop and the film apparatus) to work against themselves. -
November 24, 2013 Sabatini Building, Auditorium
Session 4. Where is the West?
Béla Tarr. Sátántangó
Film, 1994. In Hungarian with Spanish subtitles, 450’
At a time in which cinema stands out for no longer being cinema, Béla Tarr represents a search for truth, using the idiosyncrasies and traditions of the medium itself. His realism, closely linked to the material, produces contemporary allegories for a time which, following Jacques Rancière, is no longer that of the present. A turning point, Sátántangó has been compared in importance to Germany, Year Zero (Roberto Rossellini, 1948). The film portrays a moment of moral debacle resulting from the failure of a communal experiment, that of a collective farm in post-Communist Hungary. Lasting over seven hours, the film is a tragic and poetic defence of cinema as a historical monument. It therefore not surprising that Susan Sontag described it as devastating, enthralling for every minute (…), I’d be glad to see it every year for the rest of my life. -
November 25, 2013 Sabatini Building, Auditorium
Session 5. Globalisation and territory
The new order after ’89
Paper Tiger Television. Lines in the Sand. Chapter of the series The Gulf Crisis TV Project
Video, 1990. In English with Spanish subtitles, 28’Hito Steyerl. The Empty Center
Video, 1998. In German with Spanish subtitles. 62’
Jasmila Žbanić. After, After
Video, 1997. In Bosnian with Spanish subtitles, 16’
Ursula Biemann. Writing Desire
Video, 2000. In English with Spanish subtitles, 23’
Hito Steyerl. Mini Europa
Video, 2004. 3’42’’The year 1989 marks the arrival of a new social order all over the world. The fall of the Berlin Wall leads to the end of the communist regimes in Central and Eastern Europe, with decisive events such as the Rumanian revolution and the disintegration of the ex-Yugoslavia. In Latin America long-standing dictatorships come to an end and democratic elections are held, while in China, still underestimated economically and politically, the student massacre at Tiananmen Square takes place. In this new geopolitical reality, still churning and uncertain, the undisputable primacy of the United States is mixed with a series of emerging powers, and policies of economic and arms colonization come into play, as the invasion of Panama and the Gulf War demonstrate. A number of artists question this new territorialisation of ideology, in the words of Hito Steyerl, in narrations tied to documentary. This session contains various proposals of this nature: one episode of Paper Tiger Television about oil as a political axis, works by Ursula Biemann and Hito Steyerl on the new class differences in the neoliberal global scene, and by Jasmila Žbanic on the recovery of memory. As an epilogue, a short piece by Steyerl shows a model of the Berlin Wall in a theme park in Brussels, being demolished over and over again.
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November 28, 2013 Sabatini Building, Auditorium
Session 6. No Wave
Community and subcultures
Vivienne Dick. Guerrillère Talks
Video, 1978. In English with Spanish subtitles, 25’Scott and Beth B. G-Man
Video, 1978. In English with Spanish subtitles, 28’
David Wojnarowicz. Heroin
Video, 1981. In English, 3’
Eric Mitchell. Underground U.S.A.
Film, 1980. In English with Spanish subtitles, 75’
During the urban decline of New York City, between the end of the 1970s and the beginning of the 1980s, a series of alternative attitudes and communities arise in the margins. In them artistic experimentation becomes a form of social relations and also of subjective identification. Against this backdrop No Wave appears, a broad movement consisting of filmmakers, musicians and artists who reject the categories of cultural consumerism (in contrast to the New Wave phenomenon) and instead approach artistic production as an uncontrollable life experience. The No Wave movement is representative of different factors specific to the 1980s: activism based on associationism (inseparable from the creation of independent social centres and venues, such as ABC No Rio), the importance of self-production, personalties and the poetics of care-giving in times of extreme conservatism, and the role of music and music scenes as communicating vessels linking film, video, performance and the visual arts. -
December 2, 2013 Sabatini Building, Auditorium
Session 7. Attitudes of denial in the Spanish context
José Ramón Da Cruz (Grupo TAU: Da Cruz, Valdés and Cebrián). Gran Puk
Video, 1982. In Spanish, 22’50 ''
La Edad de Oro. Entrevista y actuación de Parálisis Permanente
Video, 1983. In Spanish, 10’
La Edad de Oro. Entrevista y actuación de Glutamato Ye-yé
Video, 1983. In Spanish, 30’
Siniestro Total and Poch. Dios salve al lehendakari
Video, 1986. In Spanish, 3’13”
Xavier Villaverde. Alicia en Galicia Caníbal
Video, 1987. In Spanish, 11’
Agustín Parejo School. Málaga Euskadi Da
Video, 1986. In Spanish, 13’25”
This session presents a set of manifestations related to post-punk as a case study of the situation in Spain. Traditionally interpreted in relation to the movida madrileña, these interventions show a counterpoint to affirmative celebration and are characterised by the outbreak of violence and denial. With a continual music soundtrack, the session shows the incipient subculture ambience in Spain in the period between the country’s transition to democracy and the consolidation of its current democratic system, as well as different collective manifestations that distance themselves from the officialization of counterculture and offer a critique of the future State of autonomous communities. -
December 5, 2013 Sabatini Building, Auditorium
Session 8. Self as sign
Feminism of difference
Trinh T. Minh-ha. Reassemblage
Film, 1982. In English with Spanish subtitles, 40’Sadie Benning. Jollies
Video, 1990. In English with Spanish subtitles, 11’
Su Friedrich. Sink or Swim
Film, 1991. In English with Spanish subtitles, 48’
The expansion of neo-conservatism that characterises the 1980s at the international level brought the end of the so-called second wave feminism, known for the intense feminist activism that dominated the two preceding decades. However, in contrast to this apparent retreat, there arises a feminist theory based on the impossibility of developing a universal category of “woman,” which is translated into the emergency of a series of practices focussing on the visualisation of non-normative sexualities or on racial difference, influenced by post-colonial theory. The three films in this session play with the idea of identity as a performative construction, and thus Jollies and Sink or Swim propose an autobiographical narrative while Trin T. Minh-ha, in something near linguistic ethnography, describes how the gaze outwards can be an encounter with oneself. -
December 12, 2013 Sabatini Building, Auditorium
Session 9. Images without moralism
AIDS and representation
David Wojnarowicz. A Fire in My Belly
Video, 1986-1987. 20’55’’Dereck Jarman. Blue
Film, 1993. In English with Spanish subtitles, 20’55’’
This session presents two divergent voices in the representation of the 1980s and 90s pandemic. David Wojnarowicz, an artist linked to the No Wave, made this video the same year that his partner, Peter Hujar, died of AIDS, and he himself found out that he was infected. Still censured in recent showings in the United States, A Fire in My Belly is a cry from the most abject, scopic violence, offended bodies, blood and injury. On the other hand, the filmmaker Derek Jarman presents in Blue, his last film before dying of the illness, a contained and poetic vision with an autobiographical tone. Blue shows a saturated blue screen that submerges the spectator in the blindness that the virus caused in the filmmaker, while his off-screen voice reflects on the health policies of the Thatcher government and makes oblique references to his life. Despite their differences, the two works share an idea put forward by Douglas Crimp, that of being images free of moralism with respect to AIDS.
Held on 11, 14, 18, 24, 25, 28 Nov, 02, 05, 12 Dec 2013
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 the contemporary, as a time period and cultural category. The 1980s have traditionally been considered in terms of market extension and as the articulation of a pensive, self-referential artistic sphere. Hence, the appeals to the final moments of identity-centred historicism, appeals that are visible in the returns to painting in Europe, or to the theses of the end of history as a justification of global neoconservatism, have resulted in this decade being considered through the paradigms of spectacle and banalisation.
Without completely rejecting it, The image is a virus confronts and qualifies this thesis. Taking as its starting point a reference to William Burroughs, a decisive writer for the interests and themes of this decade’s counterculture, this series compares the idea of the image as contagion and transmission to the diagnosis of implosion and banalisation that dominates the theoretical analyses of the post-modern image. In doing so, The image is a virus does not seek to replace one paradigm by another, but rather to present the 1980s as a decade that was, more than spectacular, decidedly bipolar, characterised not by the predominance of great narratives but by a series of unresolved tensions that will dominate the constitution of the contemporary period. The series, which accompanies and expands upon the discourse of Minimal Resistance, aims to show over its nine sessions some of these contradictions: in contrast with an all-embracing institutionality, the formation of artistic activisms and collectivisms; in contrast with the specificity of art, its blurring into ways of life mixed with music as an experience and form of resistance; in contrast with the globalisation starting in 1989, the territory as a place of reconstruction and memory; in contrast with the return to the myth of the artist, a tragicomic parody of the artist trapped within the art system.
In short, The image is a virus undertakes a revision of the 1980s and its echoes, doing so from the perspective of some of its fractures, showing a decade characterised by a series of narratives in constant tension.
This series is the second edition of the program of Histories of cinema, which looks at how the discourses of the Collection are seen in film. Organised by Museo Reina Sofía within the framework of “The Uses of Art,” a project by the European museum network L’Internationale.
Curatorship
Cristina Cámara, Chema González and Lola Hinojosa
Más actividades
![Isabel Coixet, 100 Years and You Everywhere [100 años y tú en todos los sitios], 2026, película](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/2.diseminar-mundo.jpg.webp)
John Berger and Isabel Coixet. Continued Ways of Seeing
Thursday, 17 September 2026 at 7pm
Ways of Seeing (1972) is one of the most revolutionary television series on art history, the museum and contemporary critical culture. Across four episodes, an articulate, enthusiastic John Berger unpacks the relationships between classical art through the gaze and new technology, the nude and feminism, the oil painting and commodity fetichism, advertising and consumerism. In essence, a level of critical commitment only comparable to its capacity for dissemination. Unsurprisingly, the series, and the book that would distil it, continues to forge vocations. This session sees art historians Alberto López Cuenca and Modesta Di Paola carry out an analysis of Berger’s audiovisual work, placing the stress on episodes one and four of the series. In the first episode, Berger reflects on the connection between the act of seeing, looking and being in light of new technology, such as the film camera. At the same time, it analyses how the culture of reproduction is turning paintings into messages or fragments of communication while stressing the importance of silence when observing historical paintings. In the fourth and final episode, he introduces advertising as a new iconic-verbal language that shares certain principles with the message of oil painting as a luxury item.
The session opens with the premiere of a filmic letter from Isabel Coixet, one of Spain’s most internationally acclaimed directors, to John Berger, with whom she maintained a long friendship and deep admiration. The short film is testament to the ubiquitous and long-lasting presence of the author of Ways of Seeing, even after his death in 2017.
![Chantal Akerman, Woman Sitting after Killing [Mujer sentada después de matar], 2001, instalación. Museo Reina Sofía](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/chantal-akerman-mujer-sentada-despues-matar.jpg.webp)
On Your Screen: Art History and the Museum Facing the Audiovisual Challenge
18, 19 SEP 2026
The conference On Your Screen: Art History and the Museum Facing the Audiovisual Challenge sparks debate around the transformations of art history and museum space upon embracing the audiovisual format. Its starting point is John Berger’s emblematic television series Ways of Seeing (1972), a landmark in the democratisation of art-historical discourse. In the series, Berger illustrated how the transfer of a work such as Goya’s Los fusilamientos del 3 de mayo (The Third of May 1808 or the Executions) from museum gallery to home TV screen completely changed the viewer’s experience, allowing the image to travel to straight to the viewer.
In the twenty-first century, this screen-based ecosystem has expanded exponentially, with museums not only physically integrating screenings and devices into their galleries— following in the wake of many exhibitions on the moving image — but also deploying complex virtual strategies. Equally, numerous en vez de a multitudeof historians, students and creators use digital platforms to circulate their ideas and projects. This audiovisual shift opens access to ignored materials and democratises knowledge, as well as challenging traditional hierarchies and the interpretive authority of institutions. The conference, promoted by the research project ATLAS AV: The Audiovisualisation of Art History and the Museum, seeks to analyse this vast audiovisual material, its archives, and its capacity to transform the memory of art.
Godard and Miéville: Time and Ruin
Friday, 18 September 2026 - 7pm
Inside the framework of the conference On Your Screen: Art History and the Museum Facing the Audiovisual Challenge, this film series sets forth three critical visions of the museum via three sessions featuring the works of John Berger, Jean-Luc Godard and Anne-Marie Miéville, Ariella Azoulay, Alan Resnais and Chris Marker, Kwate Nee-Owoo, and the premiere of short films by Isabel Coixet and La Vulcanizadora (Maria Rojas Arias and Andrés Jurado). In classical theory, the museum gives the world meaning; it contains fragments of the past, granting them a history, a narrative that explains preterite time and the present. Today, there is an implicit assumption that this function hides and legitimises forms of power, yet what if the museum, instead of explaining the world, multiplied it through radical ideas, silenced periods and repressed subjects? Such is the approach of the film-makers and artists in this film season.
In 1972 the writer John Berger opened the landmark television series Ways of Seeing with an iconoclastic gesture: slicing Sandro Botticelli’s painting Venus and Mars (1485) in London’s National Gallery. A transgressive act that recalls contemporary attacks on the museum by dissident youth and with which Berger, after revealing it was a reproduction, sought to ignite debate around the idea of an original artwork and a copy. In this, the hundredth anniversary of his birth, the first session pays homage to one of the great art writers of the twentieth century. Starting with a review of Berger’s audiovisual work by art historians Alberto López Cuenca and Modesta Di Paola, the series begins with the premiere of 100 Years and You Everywhere (2026), an unreleased short film by Isabel Coixet composed as a beautifully crafted letter to Berger, and continues with an analysis of fragments of Ways of Seeing in relation to the museum and contemporary art.
The second session screens two medium-length films by Jean-Luc Godard and Anne-Marie Miéville on time, ruin and museum. In The Old Place. Small Notes Regarding the Arts at Fall of 20th Century (1999), both film-makers consider what remains of that “old place”, the museum, at the close of a century of wars and totalitarianism, and ask whether it should be more of a legend or desire than a place. This same driving principle leads Godard to build his own imaginary museum in Reportage amateur (maquette expo) (2006), a rickety toy museum which, paradoxically, contains the great film-maker’s full power of thought on history and images.
Finally, the third session explores one of the major challenges of recent years: the decolonisation of the museum, the recognition of its link to imperialist discourses of power and the need to situate a new silenced or repressed subject at the centre of the Western narration of history. Under the title Museums and Restitution, it includes the film Undocumented. Unlearning Imperial Plunder (2019), by theorist Ariella Azoulay, Statues Also Die, by Alan Resnais and Chris Marker (1953), Kwate Nee-Owoo’s You Hide Me (1970) and the first screening of the short film Quinto verso, parte de Tonada (Fifth Verse, Part of Tonada), by La Vulcanizadora (Maria Rojas Arias and Andrés Jurado), filmed at the Museo de América in Madrid.
![Ariella Azoulay, Un-documented. Unlearning Imperial Plunder [Indocumentados. Desaprendiendo el saqueo imperial], 2019, película](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/5.diseminar-mundo.jpg.webp)
Museums and Restitution
Saturday, 19 September 2026 - 7pm
Centuries of plundering, decades of amnesia, years of living with unmitigated extractivist power… Does a museum, as we know it, have a raison d'être in a postcolonial society?
This session expounds the operations of the museum as a colonial machine, while putting forward ideas, in narration, for a more just, equal and inclusive institution of the future via society’s marginalised and minority voices. The session begins with the international premiere of Quinto verso, parte de Tonada (Fifth Verse, Part of Tonada), which presents a vision of the Quimbaya Collection (fifth and sixth centuries CE) from the Museo de América in Madrid. It is constructed with the voices and chants of Wayúu mourners and guides, not only as a way of reinstating the role of these gold idols — anthropomorphic figures of men and women used as vessels in ritual practices — but also to imagine that what must be exhibited is not the gold itself. It is the ritual’s own chant. In the classic film You Hide Me (1970), Ghanaian film-maker Kwate Nee-Owoo accesses the British Museum’s collection of African art, located in the building’s basement, to question the meaning behind a museum plundering and nullifying. A fine exercise of first-person institutional critique screened for the first time in Spain. Almost seventy years since Resnais and Marker made Statues Also Die (1953), a reflection on the aura-bearing value of the museum opposite the identity-based and cultural belonging of African art, theorist Ariella Azoulay films the same statues again at the Musée du Trocadéro (today the Musée du Quai Branly), which survive and wait to be reunited with their people. Azoulay, whose wholly original undertaking is a lesson to the museum of the future, connects the forced migration of these sculptures with the mass transit of people crossing borders artificially imposed by the same system that has plundered their culture.
The School of Transformative Institutionalism and Local Organisation
From 21 to 24 September 2026
The School of Transformative Institutionalism and Local Organisation (S.T.I.L.O.) is a programme of joint learning and join strategy which sets in motion a process for the exchange of questions, methodologies and experiences between cultural organisations. The overall aim is to create, circulate and prototype tactics, tools and collective knowledge on institutional practices that open new channels for defending culture and advocating structural transformation in divergent geographical contexts.
The project is part of the Laboratorio de Institucionalidad Compartida (The Laboratory of Shared Institutionalism, LIC), a space for the Museo Reina Sofía’s research, work and advocacy centred on developing, experimenting with and systemising practices, protocols and tools which contribute to a fairer and more liveable cultural ecosystem.
For many years now, so-called infrastructural critique in museums questions material, legal and economic infrastructures, among others, as well as the forms of solidarity and practices required to sustain the cultural ecosystem. By approaching current debates, S.T.I.L.O. raises questions on the ways in which organisations define and interpret their practices, organise their relations and respond to the social contexts in which they operate.
The school gathers four cultural organisations that work via different institutional models – scale, contexts, conditions, different working models — with the goal of pooling common strategies and tools of organisation, advocacy and relationships with local communities.
The programme is conceived as a collaborative process with the participation of Arika, La Revuelta, BAK Basecamp and The Tentacular Museum (Museo Reina Sofía) and is structured around preparatory online sessions and an in-person seminar in Madrid.
S.T.I.L.O. is an activity framed inside the working strand of Situated Organisations from L'Internationale’s Museum of the Commons project, which reflects on the role of museums and art organisations as actors within complex social networks and ecosystems, with a view to exploring new ways to democratise institutions and make them more open, inclusive and useful.