Film and Video

Maximum Respect. Rap, Tapes and Photocopies sets forth a collective reflection on the origins and pathways of rap in Spain, and also serves to present the research project Proposals, Archives and Communities in the Origins of Rap in Spain, which aims to study, document and catalogue activities related to the self-management and self-release of Spanish rap from its beginnings.

This session, the fifth in the series organised with the research group TURICOM, sets out to explore the relationship between tourist imaginaries and the visual arts from the 1960s onwards. The activity looks to reflect on the difficulty, and urgency, of imagining a world after, or beyond, tourism, with the programme comprising a compendium of brief lectures and a subsequent presentation of specific case studies by architecture and urbanism teams involved in re-wilding environments affected by tourism exploitation.

This workshop, drawing from the machinations exhibition, creates and improves Wikipedia entries related to the show’s focal points — War Machines, Schizo Machines, Cinema Machines of Care — and some of the concepts related to works by the artists involved: the crisis of representation, micropolitics, deep ecology, social machines and cyborgs, among others.

This new edition of the summer cinema is devoted to the monsters that inhabit our collective imaginary and customarily represent not only evil, but also the strange, the marginal and the maladjusted. Every Friday and Saturday throughout July and August, the series convenes a bestiary of vampires, witches and other special beings inside the Museo, a coven of deviants and dissidents to share historical phobias, cook up a rejection of the norm and offer an alternative, monstrous gaze through film.  

This round-table discussion features the participation of Ballet Djédje, Demetrio Gómez, Elena Prous, Tatiana Romero Reina and Iki Yos Piña, the voices of different agents hit hard by the logics of hate and fear and who refuse to assume the role of victim that pushes them aside and threatens to absorb the energy and capacity to evolve and build other ways of relating. 

The Museo Reina Sofía Library and Documentation Centre organise, in collaboration with PhotoBook Club Madrid, Harvest, an annual public encounter which presents photobook mock-ups and is open to creators of every stripe. Photobooks have now become one of the biggest vehicles of expression for contemporary photographic creation, with Harvest 2023 an encounter which looks to gauge and share current activity in this field.

The Instituto del Tiempo Suspendido (Institute of Suspended Time, ITS) is a project by Javier Bassas and Raquel Friera which came into being as a fictitious (non)institution seeking to revise temporal regimes established in society.

In this multimedia stage piece, straddling monologue, confession and the activation of body and music, artist Frau Diamanda looks to explore the mutation of transvestite identity, punctuated by questions of class and race and affected by (neo)colonisation and hyperbolic exaltation.

Notes is a new Museo Reina Sofía project which aims to explore other formats and methodologies to accommodate devices and projects which transversally make disciplines hybrid and ensure they are capable of working on processes from erraticism as a possibility.  

This latest edition includes a conversation on the experience of Archivo Arkhé in recovering the historical memory of LGBT prior to 1969 and a visit to its new premises in Madrid. Founded in 2016 in Bogotá by Halim Badawi and Pedro Felipe Inestrosa, the space compiles publications and documents related chiefly to Latin American art and queer subject matter.

This fresh edition of the LGBTIAQ+ programme looks to explore the possibility of imaginatively and politically turning around the logics of hate and fear that run through us, socially raising questions around who personifies a non-normative sex-gender or body position.

The Museo’s Study Centre organises two public sessions based on the first edition of Connective Tissue, the Museo Reina Sofía’s Programme of Critical Museology, Artistic Research Practices and Cultural Studies. During the encounter, the team of mobilisers share the works developed up to this point and reflect on their predictions. Equally, the group of Resident Student Researchers present their work on posters and in installations and talks with people interested.

The exhibition Machinations traces the influence of the machine concept developed by Félix Guattari and Gilles Deleuze in contemporary art within the context following May ’68 in France. Pivotal to putting together the show has been the research work of a scientific committee made up of philosophers Gerald Raunig and Stevphen Shukaitis and cultural theorist Brigitta Kuster. In this round-table discussion, moderated by Raúl Sánchez Cedillo, each guest will present their research. 

The Aníbal Quijano Chair is a space of thought which pays homage to the memory of the great Peruvian thinker, a critic of the coloniality of power, and seeks to open a channel of collective reflection-action to incorporate it into the multiple viewpoints that today discover modernity deprived of its primal pledges. This fifth edition, on the relationship between coloniality, memory and space, constitutes an enquiry on friendship and roots, drawing from Aníbal Quijano’s life and human experience.

El Hierro is not any volcanic island. For centuries, it was considered prime meridian before being replaced by Greenwich Mean Time at the International Meridian Conference in 1884. This occurred after the United Kingdom had standardised the measurement of time for the rest of the planet in 1840 via the Great Western Railway company. El Hierro, sitting halfway between Africa, Europe and South America, is a metaphor for music that circumvents Western media’s powerful grid, which rules the taste, presence and even fees of musicians from the experimental scene. El Hierro will once again be the centre of the world.