The audiovisual programs are intended to counteract the predo
The series Animated Sessions, which complements the exhibition of the same name, offers a brief overview of animation today in eight video programmes that feature the work of artists in this field like Manu Arregui (Santander, 1970), Feng Mengbo (Beijing, 1966), Liane Lang (Munich, 1973) and Jordi Moragues (Barcelona, 1970). The selection includes different styles and techniques - from drawing to modelling, 3D animation and digital applications - and considers a variety of narrative structures and themes in order to draw closer attention to the careers of some of the artists who primarily use this medium, thus offering a perspective on animation within the contemporary art scene.
We Are the World
We Are the World is a series that features works by young artists who share the common ground of being multi-cultural, multi-ethnic and multinational and are also alike that in none of them live in their home country for more than short periods at a time. Drawing on this pluralistic outlook, these creators tackle a series of common problems arising from the need to confront the past and the present by telling stories (real and/or fictional) that reveal their anxieties, hopes, cultural inheritance, political or social conflicts, and, last but not least, their reaction to the fact that they are part of the first real generation of ‘global youth’. The works by these artists offer deep reflections about youth in the world today, at the same time that they provide some perspective on the new world, one that rises above borders, nationalities and differences.
The Museo Nacional Centro de Arte Reina Sofía has chosen nine films from contemporary cinema as part of the summer film programme presented as an alternative to more commercial circuits. Some of the most emblematic films from contemporary French cinema are represented by directors like Jean-Luc Godard (Paris, 1930), Agnès Varda (Brussels, 1928) and the couple Jean-Marie Straub (Metz, 1933) / Danièle Huillet (Paris, 1936 - Cholet, 2006). Bruce Weber (Greensburg, 1946) and Matthew Barney (San Francisco, 1967) offer alternative poetics from American film, while the acclaimed Jia Zhangke (Fenyang, 1970) comes to the museum’s screens with his tale of a changing China, The World (2004).
Remote Control. Art on the TV
Since its earliest days, British television has served as a reference point for creative dialogue between contemporary art and television. As early as 1938, the artist and critic John Piper (Epsom, 1903; - Fawley Bottom, 1992) was appearing in a studio to talk about modern art. Today, the means of broadcast and reception have become decentralised and fragmented. Television as the supreme medium of directed mass culture is in decline and its audience, which was once captive, is dispersed among hundreds of satellite and cable channels, DVDs, videogames and 3G mobile phones. The moment when leisure time was filled with the great cultural television projects that so distinguished the second half of the 20th century will not be repeated. Remote Control features a selection of some of the most historical moments in the history of the relationship between art and television.
El futuro más acá
Mexican science fiction film
El futuro más acá is a film series that brings together a selection of Mexican films that between 1945 and 1980 explored science fiction themes from a point of view very different from that of the discourse dominating the genre in the United States.
Chip Lord. The Empire of the Image
The Museo Nacional Centro de Arte Reina Sofía presents a retrospective of the work of Chip Lord (Cleveland, 1944) a pioneer in video creation in the United States and co-founder of the art and architecture collective Ant Farm, created to map the American psyche of the 1940s and 50s without losing sight of the rapid technological changes of the post-war period. The works done by Ant Farm, whose members (co-founder Doug Michels and Curtis Schreier and Hudson Marquez, who joined later) came from the field of architecture, treated the media in a way that differed significantly from other video collectives in the late 1960s and early 1970s. Decidedly interdisciplinary, the group produced works that combined performance art, media language, sculpture and graphic and architectural design and usually exhibited the countercultural ideology of the era with a free-and-easy sense of humour.
The work of David Lamelas (Buenos Aires, 1946) is unique in that it unites formal objectivism with the embodiment of the artist’s subjective experience and is marked by his time in different cities like Los Angeles, London, Paris and Berlin. This series, structured into three programmes, offers a tour through these cities as they appear in his work at different significant moments of his life between his break with Buenos Aires and his return there.