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Happy Lamento is the latest film by Alexander Kluge (Halberstadt, Germany, 1932), one of the great intellectuals and film-makers of our time, made in collaboration with Philippine film-maker and enfant terrible Khavn de la Cruz (Quezon City, 1972).

O que arde (Fire Will Come, 2019) takes centre stage in this edition of Intervals, a series devoted to screening recent film productions. The film, a story of containment and the wish for destruction based on the life of an arsonist, won the Un Certain Regard Jury Prize at Cannes 2019. Its director, Oliver Laxe, will present the first session and hold a talk after the screening.

The Documents programme explores the relationships between art and publishing, and other subjects that include the effects of archive on narratives of art history, the artist’s book and publishing as an artistic practice. On this occasion, artist Azucena Vieites will conduct a workshop on collective practices related to the feminist and queer fanzine.

This encounter, organised by the Museo Reina Sofía, welcomes poets Charles Bernstein and Ron Silliman and artist Susan Bee, all with close ties to the Language poetry movement, to perform readings and present their past and present work, as well as engage in conversation with the attending audience.

The 1936 coup d’état and the ensuing civil war splintered reality, the pieces scattering across complex [in]exiles, disappearances, silences… faltering and inconclusive narratives, fertile, multifocal and widespread memories that pulse and throb today, cross-examining the present and managing to distort a univocal, hegemonic gaze.

In conjunction with the Transgender Day of Remembrance, held annually to remember those who have been killed through transphobia, hate and fear, the Museo Reina Sofía will organise an encounter to present the Archivo de la Memoria Trans (Archive of Trans Memory, AMT).

This new edition of Intervals, a screening series centred on recent film work, presents the latest film by J.P. Sniadecki (USA, 1979), made in collaboration with Joshua Bonnetta (Canada, 1979). As a member of the Harvard Sensory Ethnography Lab, J.P. Sniadecki melds experimental film with ethnographic research, analyses of the film medium and immersive experiences.

The second edition of the Aníbal Quijano Chair sets up a dialogue between two experiences of communal feminisms, understood as the grounds from which to build other ways of life: the farms and gyneceum’s of the Kurdish Confederation, a democratic organisation that questions the state logic of Turkey, Iraq, Iran and Syria; and the movement of public Afro-Latin American self-organisation in Colombia.