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July 11, 2013
Table 1: Encounters between Spain and Latin America
Moderated by: Jesús Carrillo
10:00 a.m.
Presentation
Paula Barreiro López, Jesús Carrillo, Fabiola Martínez Rodríguez and Gabriel Pérez Barreiro
10:30 – 11:10 a.m.
Keynote address
Olga Fernández López. Universidad Autónoma de Madrid
Notas sobre un relato migrante: vanguardias artísticas entre Latinoamérica y España
11:10 a.m. – 12:00 p.m.
Communications
Eamon McCarthy. Queens University, Belfast
Norah Borges: el arte de la negociación
Rodrigo Gutiérrez Viñuales. Universidad de Granada
La vanguardia oculta. Trayectos del diseño gráfico rioplatense (1920-1935)
12:00 – 12:30 p.m.
Break
12:30 – 2:00 p.m.
Communications
Irene Herner. Faculty of Political and Social Sciences, Universidad Nacional Autónoma de México, Mexico City
Siqueiros contra el fascismo y la guerra (1932-1939)
Joan Robledo-Palop. Yale University, New Haven
Frente a Frente y Nueva Cultura: narraciones transatlánticas de la violencia y el fascismo
Idoia Murga Castro. Universidad Autónoma de Madrid
Encuentros en escena: danza mexicana y exilio republicano
Miguel Cabañas Bravo. History Institute CCHS-CSIC, Madrid
Legados y esperanzas en los creadores españoles del exilio de 1939 en Cuba
2:00 – 3:30 p.m.
Lunch Break
3:30 – 5:00 p.m.
Communications
Ana María León. Massachusetts Institute of Technology, Cambridge
Antonio Bonet: el último indiano
Aitor Acilu and Juan Biain. Universidad de Navarra and Arantzazu Gaur Foundation
Jorge Oteiza. De San Agustín a Santiago. Miradas al origen: el pasado como amigo
Jennifer Josten. University of Pittsburgh
La migración de formas entre España y México: Mathias Goeritz y la difusión del arte abstracto en la posguerra
Imelda Ramírez. Universidad EAFIT, Medellín
Relatos de la escultura moderna en Colombia: Jorge Oteiza y Edgar Negret
5:00 – 5:30 p.m.
Break
5:30 – 6:40 p.m.
Communications
Ernesto Hernández Busto. Independent researcher
El sueño y la piedra: notas sobre João Cabral de Melo, Joan Miró, “Dau al Set” y la estética de la composición
María González Pendás. Columbia University, New York
Intercontinentes: ilusiones del exilio republicano en México a través de unas formas de hormigón
Fernando Herrero Matoses. University of Illinois at Urbana-Champaign
Alberto Greco y Julio Cortázar: el 'juego' y la trayectoria nómada de la vanguardia
6:40 – 8:00 p.m.
Responses to the communications and colloquium
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July 12, 2013
Table 2: Modernity and Modernism(s): Displacement and Divergence
Moderated by: Paula Barreiro López.
9:00 – 9:40 a.m.
Keynote address
Michael Asbury. Research Centre for Transnational Art, Identity and Nation (TrAIN), University of the Arts, London
Contesting Notions of Hybridity in Brazilian Modern Art
9:40 – 11:10 a.m.
Communications
Lori Cole. Brandeis University, Waltham
¿Qué es la vanguardia? Ultraism Between Madrid and Buenos Aires
Mara Sánchez Llorens. Universidad Nebrija, Madrid
Cuando los límites del arte son invisibles. Cartografías universitarias latinoamericana
Kaira Cabañas. PhD. Princeton University
Modern and Mad: Ethics of Reception, Rio de Janeiro
Catrin Seefranz. University of the Arts, Zurich
Modernismo Pobre. The Emancipatory Practices of the “Avant-Garde in Bahia” in the 1950s
11:10 – 11:30 a.m.
Break
11:30 a.m. – 1:00 p.m.
Communications
Fabiola Martínez Rodríguez. Saint Louis University, Madrid
The Paradoxes of Modernism, and the Divided Legacies of Surrealism and Abstraction in Mexico
Cecilia Fajardo Hill. Independent art historian and curator, Los Angeles
Las ‘otras’ modernidades
María Iñigo Clavo. Spanish University of Distance Education and Universidade de São Paulo
Las preposiciones de la modernidad
Edith Wolfe. Tulane University, New Orleans
Latin America’s Discrepant Cosmopolitanisms and the Limits of Center and Periphery Models for understanding the Avant-Garde
1:00 – 2:00 p.m.
Responses to the communications and colloquium
2:00 – 3:30 p.m.
Lunch Break
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July 12, 2013
Table 3: Museography, representation and curatorial narratives
Moderated by: María Dolores Jiménez-Blanco.
3:30 – 4:10 p.m.
Keynote address
Gabriel Pérez Barreiro. Patricia Phelps de Cisneros Collection Foundation
Algunos apuntes sobre exposiciones de arte 'latinoamericano': constelaciones, estrellas, temas y variaciones
4:10 – 5:40 p.m.
Communications
Dafne Cruz Porchini. Universidad Nacional Autónoma de México, Mexico City
La Exposición Internacional del Surrealismo en México (1940). Símbolo de un cambio de paradigmas
Aleca Le Blanc. Getty Research Institute, Los Angeles
Under Construction: Calder at Rio de Janeiro’s Museu de Art Moderna in 1959
Carmen Juliá. Tate, London
Julio Plaza y el arte postal: redes de intercambio transnacional
Gina Tarver. Texas State University, San Marcos
Espacios ambientales en el Museo de Arte Moderno de Bogotá: fomentando una neo-vanguardia internacional en Colombia
5:40 – 6:10 p.m.
Break
6:10 – 7:40 p.m.
Communications
Miriam Basilio. New York University
El canon latinamericano en desarrollo: exponiendo la colección en el Museo de Arte Moderno, 1945-1954
Blanca Serrano Ortiz de Solórzano. Institute of Fine Arts, New York University
La abstracción geométrica cubana: intercambios artísticos internacionales y políticas museológicas locales
Lucas Baden. Staatliche Hochschule für Gestaltung (HfG), Karlsruhe
'Vochito' contra 'Murales'- de 'Motor' a 'Promotor': Fernando Gamboa, la vanguardia del arte méxicano y la Bienal de Venecia
Francisco Godoy Universidad Autónoma de Madrid
El modelo constelar: Mari Carmen Ramírez y su estela
7:40 – 8:00 p.m.
Break
8:00 – 9:00 p.m.
Responses to the communications and colloquium -
July 13, 2013
Table 4: Genealogies and Discourses of the Avant-garde
Moderated by: Fabiola Martínez Rodríguez.
10:30 – 11:10 a.m.
Keynote address
Andrea Giunta. University of Texas, Austin
Transatlánticos / Transcontinentales. Una discusión sobre diálogos y genealogías
11:10 – 12:20 p.m.
Communications
Harper Montgomery. Hunter College, New York
The Critic and the Visionary Avant-garde, a Transnational Network
Manuel Gutiérrez Silva. Rice University, Houston
Vision and Distinction: Avant-garde Artwriting and the Deconstruction of Visual Culture in Post-revolutionary Mexico
Cecilia Braschi. University of Paris I, Panthéon-Sorbonne
La ‘síntesis de las artes’ en las revistas brasileñas de posguerra: herencias vanguardistas y postulados locales
12:20 – 12:40 p.m.
Break
12:40 – 2:00 p.m.
Communications
Daniela Lucena. Universidad de Buenos Aires, CONICET
Tensiones entre arte/política en la asociación arte concreto-invención
Paula Barreiro López. History Institute CCHS-CSIC, Madrid
Hacia la izquierda: el acomodo de una vanguardia “sans rivages” en el discurso estético marxista de los años sesenta
Jaime Vindel. Universidad de León
Conciencia ética y conciencia estética en la vanguardia argentina de los años sesenta. Una crítica del esteticismo de la teoría de la vanguardia posmarxista
2:00 – 4:00 p.m.
Lunch Break
4:00 – 5:10 p.m.
Communications
Mariola V. Alvarez. Rice University, Houston
Neoconcrete Books and the Politics of Participation
Ornela S. Barisone. Universidad Nacional de Rosario, National Board of Scientific and Technical Research, Institute of Latin American Literature, Universidad Autónoma de Entre Ríos
Discursos de la vanguardia e intercambios transnacionales ‘fuera de foco’: sobre el invencionismo y la propuesta integrativa de E. A. Vigo
Fernanda Nogueira. Universidade de São Paulo
La vanguardia más allá de la vanguardia. El caso del Poema/Processo en Brasil
5:10 – 5:30 p.m.
Break
5:30 p.m. – 6:40 p.m.
Communications
José Luis de la Nuez Universidad Carlos III, Madrid
La difusión de las neovanguardias en América Latina y su repercusión en la crítica
Eve Kalyva. Universidad de Buenos Aires
Unas reflexiones sobre la vanguardia después el arte conceptualMara Polgovsky Ezcurra. University of Cambridge
Materia política: Marcos Kurtycz, León Ferrari y el retorno de lo (sur)real
6:40 p.m. – 8:00 p.m.
Responses to the communications and colloquium
8:00 – 8:15 p.m.
Closing act
Transatlantic Encounters: Avant-garde Discourses in Spain and Latin America
Held on 11, 12, 13 Jul 2013
This international event, which brings together researchers, artists and curators from both sides of the Atlantic, seeks to stimulate reflection about the notion of avant-garde in relation to the experience and discourse of modernity between 1920 and 1970.
The main object of this reflection is the political and aesthetic avant-garde that formed in the context of the first and second Avant-gardes (or Neo-avantgardes), and also the role that the exchanges between Spain and Latin America played in the construction of this notion. Through keynote addresses and communications, the various sessions will present the latest research, thus contributing to a better understanding of the relationships and exchanges between Spain and Latin America (which have been little studied to date), and to a reconsideration of historiography and the dominant discourses of modernism and modernity.
Organised by
CSIC History Institute (1), Saint Louis University Madrid, Patricia Phelps de Cisneros Collection and Museo Reina Sofía
(1) Supported by the National Plan for Research, Development and Innovation Project After the Republic: networks and two-way paths in Spanish art since 1931
Participants
Scientific committee
Paula Barreiro López. History Institute at the Human and Social Sciences Centre, CSIC (Spanish National Research Council)
Fabiola Martínez Rodríguez. Saint Louis University, Madrid
Jesús María Carrillo Castillo. Museo Reina Sofía
Gabriel Pérez Barreiro. Patricia Phelps de Cisneros Collection Foundation
Más actividades
Cinema, for the First Time
7 and 14 June 2026 – 12:00 pm
The final session in this Moon Projector season contemplates the feeling around the first experience of cinema — cinema as revelation, magic, fantasy and mystery from the first gaze, from the first contact with the medium, and imagery etched on the retina of childhood. The programme shows Émile Cohl’s landmark Fantasmagorie (1908), the first ever hand-drawn animation, and Ignacio Agüero’s Cien niños esperando un tren (One Hundred Children Waiting for a Train, 1988), a feature-length film on play and the origins of cinema.
Fantasmagorie (1908)by Émile Cohl (Paris, 1857– Villejuif, 1938) is the first expression in the history of animated drawing. Émile Cohl was an illustrator who belonged to the Parisian art group Arts incohérents (1882–1895), who was bestowed with an absurdist and pre-Surrealist talent. Whereas the Lumière brothers were able get audiences out of their seats as they witnessed a train moving towards them in 1895, Fantasmagorie is a supernatural experience, akin to an apparition yet also innocuous and entertaining — the inanimate comes to life out of nothing and figures seemingly move with little sense. From the outset, animation was related to caricature, fabulation and the comical, a sweet spot for the dreams of the youngest audience.
From the discovery of new imagery arising from the animated line to knowledge of the world through a screen, Cien niños esperando un tren (1988), by Chilean director Ignacio Agüero (Santiago, 1952), narrates a group of young people’s discovery of cinema in a workshop on the origins of the medium in a poverty-stricken town on the outskirts of Santiago de Chile. Play, fun and learning combine with a fascination with images, as viewing Émile Cohl’s Fantasmagorie (1908) in the workshop becomes an act of freedom.
Institutional Decentralisation
Thursday, 21 May 2026 – 5:30pm
This series is organised by equipoMotor, a group of teenagers, young people and older people who have participated in the Museo Reina Sofía’s previous community education projects, and is structured around four themed blocks that pivot on the monstrous.
This fourth and final session centres on films that take the museum away from its axis and make it gaze from the edges. Pieces that work with that which is normally left out: peripheral territories, unpolished aesthetics, clumsy gestures full of intent. Instead of possessing an institutional lustre, here they are rough, precarious and strange in appearance, legitimate forms of making and showing culture. The idea is to think about what happens when central authority is displaced, when the ugly and the uncomfortable are not hidden, when they are recognised as part of the commons. Film that does not seek to be to one’s liking, but to open space and allow other ways of seeing and inhabiting the museum to enter stage.
Ordinary, Common and Public. Common Fixes for Ordinary Communities
Tuesday, 26, and Wednesday, 27 May 2026 – Check programme
Ordinary, Common and Public. Common Fixes for Ordinary Communities is the title of the fourteenth encounter run by Sociología Ordinaria, a transdisciplinary research group that explores daily knowledge deemed ordinary, superficial or frivolous from a traditional academic and intellectual viewpoint.
This latest edition seeks to approach and map connections between concepts of the commons and the public realm — remembering that the ordinary is also the commons — and to ensure affects and moods of discontent are mobilised towards hope.
By way of its multiple declinations — community, community-based practices, the commons, the communal — the encounter seeks to reflect on different ways of creating, (re)configuring, maintaining, fixing, arranging, caring for and defending the public realm and the commons. Furthermore, it explores forms of invocation and experimentation as tools opposite the helplessness of an uncertain present, in addition to resistance against attempts of expropriation, distortion, privatisation and touristification.
Felix Gonzalez-Torres. Sweet Revenge
26 MAY 2026
Nancy Spector and Alejandro Cesarco, curators of the exhibition Felix Gonzalez-Torres. Sweet Revenge, will speak with Manuel Segade, director of the Museo Reina Sofía, in a session dedicated to exploring the interpretive frameworks of this first large-scalepresentation in Madrid of the work of Felix Gonzalez-Torres (1957–1996), whose practicecontinues to resonate in the present.
The conversation begins with the exhibition’s title itself, Sweet Revenge, understood as a paradoxical notion that articulates much of the artist’s thinking. From there, the tensions running through his work are explored: the coexistence of opposing registers, ambiguity as a method, and the simultaneously affective and political charge of his works.
The dialogue also touches on some of the themes that run through his body of work, such as thenotions of identity, citizenship, and authority, alongside experiences linked to the AIDS crisis, and emotions such as love, loss, grief, and optimism. Special attention is given to the way in which Gonzalez-Torres shifts languages associated with Arte Povera, conceptualism, and minimalism towards open, participatory, and deeply personal structures.
The session also includes a reflection on the research process that shaped the exhibition, providing context for the curatorial decisions and criteria that structure it. In this context, Gonzalez-Torres’s work emerges as a device that actively engages those who activate orinterpret it, distributing responsibility for the production of meaning—a process that is alwaysunstable and constantly under negotiation.
These inaugural conversations, part of the main working strands of the Museo’s Public Programmes Area, aim to explore in greater depth the exhibition narratives of the showsorganised by the Museo from the perspective of artists, curators and specialists.
International Museum Day 2026 with Radio 3
22 MAY 2026
On Friday, 22 May 2026 the Museo Reina Sofía celebrates International Museum Day by way of a vibrant music programme conducted by Radio 3.
From 9am to 11pm, the Museo’s Nouvel Courtyard will host the live broadcast of Radio 3’s day-long programme —also available on a video streaming on the Radio3 website and app, on RTVEPlay and on the Museo’s social media accounts. The programme comprises more than twenty live acts, including artists such as Carlangas, Shego, Soleá Morente, Kokoshca, La Tania, La Pegatina, Pipiolas, Ángel Stanich, Triángulo de Amor Bizarro and Zahara, and many others.
With this programme the Museo Reina Sofía concludes its celebration of International Museum Day, which takes place on Monday, 18 May. Both on 18 May, from 10am to 9pm, and 22 May admission to the Museo will be free of charge.