Revisiting Tenerife

Encounter with Carme Nogueira

Wednesday, 21 April 2021 - 6pm

Free, until full capacity is reached, with prior ticket collection on the Museo Reina Sofía website from 10am on 20 April. A maximum of 1 per person. Doors open 30 minutes before the activity.

Nouvel Building, Protocol Room
Tamara Díaz Bringas
Organised by
Museo Reina Sofía
The Forms of Making, the Making of Forms
 Carme Nogueira, Tenerife intervened through an image taken by Eli Lotar in Madrid, 2021. Paper print.
Carme Nogueira, Tenerife intervened through an image taken by Eli Lotar in Madrid, 2021. Paper print.

The Forms of Making, the Making of Forms is a programme on methodologies, tools and techniques in artistic practice. This second edition sees artist Carme Nogueira share her art-making as she revisits, with a group of Museo Reina Sofía workers, her project Tenerife (2020), in which she engages in dialogue with the homonymous 1932 film by Yves Allégret and Eli Lotar, who both worked with Luis Buñuel on the documentary Las Hurdes. Land without Bread (1933).

The photograph of a laundry room taken by Lotar on a visit to Madrid in 1932, during a trip with Yves Allégret and his wife Renée, in which they would reach the Canary Islands instead of Las Hurdes, forms the track through which to question past and present. In this encounter with Carme Nogueira, photography sets off narratives around a place and its relationship with the city, water and work, functioning as an open image allowing for new accounts and fictions.  

Carme Nogueira (Vigo, 1970) is a multidisciplinary artist and researcher. She has worked on processes of subjectivation and the normalising role of spaces through artistic research. Via spatial devices and actions in public space, she often involves spectators and collaborators in her work: in this vein, some of her site-specific projects include Nos Camiños (CGAC, Santiago de Compostela, 2006–2007), Rotterdamweg (Het Wilde Weten, Rotterdam, 2009), Porteños (VÄLPARAÍSO INterVENCIONES, Chile, 2010), Bewegtcentrum, el centro en desplazamiento (Botín Foundation Visual Arts Grant 2010–2011), Castillete, retablo minero (MUSAC, León, 2012), Citoyenneté I y II (Montehermoso, Vitoria-Gasteiz, 2012 and Pavillon Vendôme, Paris, 2014), A propósito de Alvão (Kubikgallery, Porto, 2017), Vida gallega(CentroCentro, Madrid, 2018), Noticias Ordinarias del Norte (Nuevo Baztán, Madrid, 2018), Pinofranqueado por los niños (Pinofranqueado and Cáceres, 2019) and Tenerife (TEA, Tenerife, 2020). Her “gallery devices” — spatial conceptions and site-specific museographies for exhibitions — most notably include those created for the shows ¡Aquí y ahora! by Erreakzioa-Reacción (Sala Rekalde, Bilbao, 2008), Contenedor de Feminismos (Casa-Museo Emilia Bazán, Coruña and Villagarcía, Bilbao and León 2009–2014), Archivacción (Pontevedra Biennial, 2010) and Anarchivo sida (Tabakalera, Donosti, 2016 and Centro Conde Duque, Madrid 2017), among others. She is also author of the book La representación como puesta en escena: para una teoría de la mirada (Alfons el Magnanim, Valencia, 2001).