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Friday, 29 March and 2 April 2019 - 7pm to 9:30pm
Sessions 1 and 2. Mapping Ourselves: Colonisation and Emotional (de)Territory
The first two sessions aim to place the diverse nature of migrant, deterritorialised and racialised identifications through the practices of conversation and the construction of narratives.
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Friday, 26 April and 10 May 2019 - from 7pm to 9:30pm
Sessions 3 and 4. Links and Supports Against Certainty
The second block of sessions explores how the recognition of links and relations of interdependence are produced, and how they are addressed and cultivated through the joyful and melodramatic exploration of affective and activist migrant aesthetics, traversing the ‘migrant struggle’ through the soap opera, music, food, etc.
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Friday, 24 May and 7 June 2019 - 7pm to 9:30pm
Session 5 and 6. Affection in Re-Existence: Towards Shared Living
Session 5 is set up as a ‘talk show’ with guest Hector Acuña/Frau Diamanda, moving towards the (characteristic) rhetoric of the affective migrant and racialised fabrics in re-existence, and towards shared living.
Session 6 focuses on playing and reinventing and is set forth as a loom or collective weft, whereby participants map out their own experiences, making use of different tools and collectively laying out their memories and desires. This encounter is in the mould of a party, a commemoration of our co-existence in Madrid.
Affection in Re-Existence
Held on 29 mar, 12, 26 abr, 10, 24 may, 07 jun 2019
Affection in Re-Existence constitutes an invitation to encounter the affective pathways that envelop migrant memory in Spain. This participatory and open workshop seeks to contextualise conversations and collective learning from an ethical, critical and situated perspective of black, cross-border and decolonial feminism. Its aim is to politicise the different paradoxes shrouding migrant and/or racialised affectivity, acknowledging re-existence as a daily strategy enabling space and time to be creatively inhabited and developed from the experience of transit, body movements and collective memory that knits together the here and there, according to the idiosyncrasies of living in Madrid.
The workshop’s methodological approach is from participatory research/action, employing elements of popular education and combining them with different tools: some start out from the theories and proposals aligned with the decolonisation of the self and the affective shift of social sciences; others stem from art and enable movement in the vague territory of the inside-outside. These politics of space, affective-physical geography and common colonial memory untangle re-existence, encompassing the multiple intersections between the public and the private. Thus, the aim is to question the Eurocentric values that demarcate emotional aspects as an opposite space of reason and, from this register, reveal the ‘Latin drama’, the tenderness, rage, that which is deemed sentimental, pain, cannibalism and stigmatised subjects in urgency, sweetness, and bitterness shrouding everyday dispossession: food, dance, music (bachata, salsa, huayno, cumbia, etc.) as moments of displacement, from what Enrique Dussel calls the European conquiro (‘I conquer’) ego.
Activity included in the programme
Organised by
Museo Reina Sofía
Affection in Re-Existence is a project developed by the research group Situated Feminisms, associated with the Museo Reina Sofía Study Centre and made up of researchers Elisa Fuenzalida and Jeannette Tineo.
Educational program developed with the sponsorship of
Participants
Designed and conducted by:
Elisa Fuenzalida is a feminist migrant and student in the MA in Advanced Studies in Social and Cultural Anthropology from the Complutense University of Madrid. She coordinates the Museo Reina Sofía Study Centre’s Aníbal Quijano Chair with anthropologist Rita Segato.
Jeannette Tineo Durán has worked in the psychosocial field, and research and teaching in the Dominican Republic, the Caribbean and Latin America, and has professional experience in popular education, and anti-racist and decolonial feminism. She is currently conducting PhD research into Dominican diaspora in Madrid,
With the collaboration of:
Héctor Acuña/Frau Diamanda is a translator, writer, self-taught audiovisual artist, drag performer, independent curator, cultural infector and DJ who has recently finished the 2017–18 Programme of Independent Studies (PEI) at the Museo de Arte Contemporáneo de Barcelona (MACBA).
Aimed at
People with migrant and/or racialised backgrounds or experiences who are interested in reflecting on their life experiences; activists from different associative-collaborative backgrounds who wish to politicise affection; cross-border people and dissidents of desire, sexuality and identities; people seeking spaces of self-care and healing justice through art and (psycho) drama…
Participant selection
The level of interest in the programme content will be assessed above all else. Although the workshop is designed as a mixed, open space, priority will be given to non-EU migrants and racialised people.
Selected participants will receive a confirmation email on 18 March 2019.
![Miguel Brieva, ilustración de la novela infantil Manuela y los Cakirukos (Reservoir Books, 2022) [izquierda] y Cibeles no conduzcas, 2023 [derecha]. Cortesía del artista](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/ecologias_del_deseo_utopico.jpg.webp)
![Ángel Alonso, Charbon [Carbón], 1964. Museo Reina Sofía](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/perspectivas_ecoambientales.jpg.webp)
Más actividades
Christian Nyampeta and the École du soir
13, 14, 15 NOV, 11, 12, 13 DIC 2025
Christian Nyampeta is a Rwandan artist, musician and film-maker whose work encompasses pedagogies and community forms of knowledge production and transmission. His Ècole du soir (Evening School) is an art project conceived as a mobile space of collective learning and is named in homage to Ousmane Sembène (1923–2007), a pioneer of African cinema who defined his films as “evening classes” for the people, a medium of education and emancipation through culture.
This block is made up of three double sessions: the video work of Christian Nyampeta, the films of École du soir and one of Ousmane Sèmbene’s feature-length films. Nyampeta will introduce all three first sessions.
UP/ROOTING
11, 12, 13, 14, 15, 16 NOV 2025
Museo Reina Sofía and MACBA Museu d'Art Contemporani de Barcelona (MACBA) invite applications for the 2025 iteration of the School of Common Knowledge, which will take place from November 11th to 16th in Madrid and Barcelona.
The School of Common Knowledge (SCK) draws on the network, knowledge and experience of L’Internationale, a confederation of museums, art organizations and universities that strives to reimagine and practice internationalism, solidarity and communality within the cultural field. This year, the SCK program focuses on the contested and dynamic notions of rooting and uprooting in the framework of present —colonial, migrant, situated, and ecological— complexities.
Building on the legacy of the Glossary of Common Knowledge and the current European program Museum of the Commons, the SCK invites participants to reflect on the power of language to shape our understanding of art and society through a co-learning methodology. Its ambition is to be both nomadic and situated, looking at specific cultural and geopolitical situations while exploring their relations and interdependencies with the rest of the world.
In the current context fraught with war and genocide, the criminalization of migration and hyper-identitarianism, concepts such as un/belonging become unstable and in need of collective rethinking:
How can we reframe the sense and practice of belonging away from reductive nationalist paradigms or the violence of displacement? How to critically hold the entanglement of the colonial routes and the cultural roots we are part of? What do we do with the toxic legacies we inherit? And with the emancipatory genealogies and practices that we choose to align with? Can a renewed practice of belonging and coalition-making through affinity be part of a process of dis/identification? What geographies —cultural, artistic, political— do these practices of de/centering, up/rooting, un/belonging and dis/alignment designate?
Departing from these questions, the program consists of a series of visits to situated initiatives (including Museo Situado, Paisanaje and MACBA's Kitchen, to name a few), engagements with the exhibitions and projects on view (Project a Black Planet: The Art and Culture from Panafrica), a keynote lecture by Stefano Harney and Fred Moten, as well as daily reading and discussion gatherings, editorial harvest sessions, and conviviality moments.
The Joaquim Jordà Residencies 2025
Friday, 7 November - 7pm
In this activity, the recipients of the 2024–2025 Joaquim Jordà Residencies call, María Aparicio (Argentina, 1992) and Andrés Jurado (Colombia, 1980), present respective projects related to their body of work in an open session in which to discover the creative interests of two of the most up-and-coming independent film-makers in Latin America today.
María Aparicio presents the working process behind her film De sol a sol (From Sun to Sun), along with a brief journey through the films prior to this project and her filmic searches in recent years. Aparicio synthesises the storyline of De sol a sol from the silhouettes of a group of men who appear between the stalks of a reedbed. Their knives glisten as the sun hits them, flashing and disappearing with their hand movements. Apprentices split the canes using no method; seasoned workers cut with skill. They are workers from a sugar mill in northern Argentina and are watched by Juan Bialet Massé, accompanied by Rosich, assistant and photographer. It is Argentina in 1904 and he is carrying out a mission assigned to him by his country’s government: to travel the Argentinian provinces, reporting on the state of the working classes.
Andrés Jurado, for his part, will look over his own work and the work of the La Vulcanizadora lab in this session. He will also open the archive stemming from the research process in the project Tonada, a journey through the succession of peace agreement betrayals in the history of Colombia. From the colonial era, understood in tumultuous terms, as a hurricane that keeps swirling, to the present day he traces the stories of people like Tacurrumbí, Benkos Biohó, Bateman and the many women and men who were betrayed by governments and oppressors. Tonada seeks to build a sound and film dialogue between the guerrilla disarmament of 1953 and the period following the peace agreement of 2016, invoking these and other events and confronting traumas of betrayal through a film composition devised to be sung. But what is sung? Some of these songs are heard and voices are shared in this presentation.
The Joaquim Jordà Residences programme for film-makers and artists was set in motion by the Museo Reina Sofía in 2022. The initiative comprises a grant for writing a film project rooted in experimentation and essay, as well as two subsequent residencies in FIDMarseille and Doclisboa, international film festivals devoted to exploring non-fictional film and new forms of audiovisual expression.
Ylia and Marta Pang
Thursday, 6 November - 8pm
The encounter between Spanish DJ and producer Ylia and visual artist Marta Pang is presented in the form of a premiere in the Museo Reina Sofía. Both artists converge from divergent trajectories to give form to a new project conceived specifically for this series, which aims to create new stage projects by setting out from the friction between artists and dialogue between disciplines.
![Carol Mansour y Muna Khalidi, A State of Passion [Estado de pasión], 2024, película](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/palestine%20cinema%20day%202.jpg.webp)
Palestine Cinema Days
Sábado 1 de noviembre, 2025 – 19:00 h
The Museo Reina Sofia joins the global action in support of Palestine with the screening of A State of Passion (2024), a documentary by Carol Mansour and Muna Khalidi. The film features in Palestine Cinema Days Around the World, an annual festival, held globally every November, which aims to show films made in Palestine to an international audience. The initiative was conceived as a form of cultural resistance which seeks to give a voice to artists from Palestine, question dominant narratives and create networks of solidarity with the Palestinian people.
Palestine Cinema Days Around the World originates from Palestine Cinema Days, a festival organised in Palestine since 2014 with the aim of granting visibility to Palestinian cinema and to support the local film community. In 2023 the festival was postponed because of the war in Gaza, and has since become borderless in scope, holding close to 400 international screenings in almost sixty countries in 2024. This global effort is a show of solidarity with Palestine and broadens the voices and support networks of the Palestinian people around the world.
A State of Passion exposes the atrocities committed against the Gaza population via the testimony of Dr Ghassan Abu Sittah, a Palestinian-British plastic surgeon living in London who decides to return to Gaza and save lives in the city’s hospitals amid the Israeli army’s indiscriminate bombing of the population. A necessary film exposé of the experience of unrelentingly working twenty-four hours a day for forty-three days in the Al Shifa and Al Ahli Hospitals in the city of Gaza.