Film and Video

The public presentation of the Julián Díaz Sánchez research residency. This project analyses Spanish Informalism in relation to the exhibition New Spanish Painting and Sculpture, held in New York’s MoMA in 1960.

Reactivate/reinterpret brings together a varied group of specialists from different fields with the idea of analysing the place of performative practices within the realm of contemporary art museums. The series is comprised of various public lectures, workshops with the students of the Study Centre and two art interventions, by Jerôme Bel and Falke Pisano.

Founded in 2008, the young Granada-based group Neoars Sonora will be at the Centro Nacional de Difusión Musical (CNDM) to give the premier performance of two new works: Quasi una serenata by Jorge Fernández Guerra and Aleph, for voice, violin, cello and piano, by the Gerona-born composer Iluminada Pérez.

This performance, organised in connection with the exhibition Locus Solus. Impressions of Raymond Roussel, is a unique opportunity to see the work of Guy de Cointet in the context for which it was conceived, somewhere between the theatre and the museum. Put on by the Dutch company If I Can't Dance, I Don't Want To Be Part Of Your Revolution, the two plays are the result of a long research process related to the complexity of re-staging.

This presentation by Ángel González, Eva Rivas, José Luis Gallero and José María Parreño explores the life and work - inseparable from one another - of Quico Rivas. Cómo escribir de pintura sin que se note [How to write about painting without anybody noticing] is the name of a collection of critical texts written by the critic in the final years of his life.

This activity is divided into two sessions: a conference and guided visit through the rooms devoted to the Spanish Republic Pavilion. Both endeavour to contrast and draw connections between three exhibitions presented in Munich, Paris and New York in 1936 and 1937 in order to analyse the footprints of post-war art and the Museo’s Collection.

At this round table, the artist, theorists and project participants debate the exhibition Entre/Between, from its narrative components up through its spatial arrangement and the way it speaks to the public.

Guernica, a testimony and condemnation of the bombing by Franco's forces of the Basque town of the same name is considered a foundational work of 20th century art and it continues to be a universal symbol of the struggle against oppression. Its arrival in Madrid in September of 1981 was presented as the symbolic conclusion of Spain's transition to democracy following the dictatorship. The complicated diplomatic negotiations undertaken to bring about the painting's move were also the first important steps in cultural policy to be taken by the country's new government, and they highlighted the role that avant-garde art would play in the official culture of Spain's young democracy. With its arrival, it ceased to be the emblem of dissidence against the dictatorship and became the symbol of the healing of the fracture between the two historical factions in Spain: a sign of the reconciliation upon which the new democratic society would be based.

In this concert, Morton Subotnick is accompanied by the visual artist Lillevan, a frequent collaborator of musicians on the experimental music scene, who will offer a visual interpretation of Subotnick's music. The concert will feature pieces from Silver Apples Of The Moon (1967) and from another one of his pioneering albums, A Sky of Cloudless Sulfur (1978).

This series presents a number of videos and performances that have arisen out of contemporary feminist, queer/cuir and "transmarikabollo" (Spanish slang term for LGBT) practices situated within the tradition of guerrilla video: exercises in appropriation of lightweight mass media as counter-information media, but also as dissident gender and sexuality production techniques.

Five hundred years into the invention of America, and two hundred years after the birth of the first Latin American republics, a question appears, like an inescapable shadow, hidden in the very name comprising these countries: Is it possible to think about a thing called Latin America? Is it even possible to think of it as a unit that can be grasped? Evidently, the answer is no. However, the main issue eludes this contradiction inasmuch as the name given to this part of the world calls for general reflections that encompass the whole and also multiple reflections that go further and take into account particular questions relevant to each geographical area.

The art critic and independent curator Santiago Olmo has a conversation with the artist Soledad Sevilla about the exhibition Written in the celestial bodies, a site-specific installation at Palacio de Cristal in Madrid's Parque del Retiro.

Spoken Exhibition is an alternative history of Polish art since 1960, a history that tells about the creation of art institutions, the major exhibitions and the art gestures that have determined the specificity of a post-communist era. It is presented as a cross between performance art and narrative that is reinterpreted and reread in every new context in which it takes place.