After It’s All Said

L’Abominable is a collective film laboratory founded in La Courneuve (Paris, France) in 1996. It came into being in response to the disappearing infrastructures in artisan film-making and to provide artists and film-makers with a self-managed space from which to produce, develop and screen films in analogue formats such as Super 8, 16mm and 35mm. Anchored in this premise, the community promotes aesthetic and political experimentation in analogue film opposite digital hegemony. Over the years, L’Abominable, better known as L’Abo, has accompanied different generations of film-makers, upholding an international movement of independent film practices.  

This third segment is structured in three sessions: a lecture on L’Abo given by Pilar Monsell and Camilo Restrepo; a session of short films in 16mm produced in L’Abo; and the feature-length film Une isle, une nuit, made by the Les Pirates des Lentillères collective.     

Framed inside the Museo Reina Sofía’s retrospective exhibition devoted to Maruja Mallo, this lecture delivered by Estrella de Diego draws attention to the impact of the artist’s return to Spain after her three-decade exile in Latin America.   

Committed to values of progress and renewal in the Second Republic, Mallo was forced into exile to Argentina with the outbreak of the Civil War and would not go back to Spain to settle definitively until 1965 — a return that was, ultimately, a second exile.  

Mallo saw out her prolific artistic trajectory with two impactful series: Moradores del vacío (Dwellers of the Void, 1968–1980) and Viajeros del éter (Ether Travelers, 1982), entering her most esoteric period in which she drew inspiration from her “levitational experiences” of crossing the Andes and sailing the Pacific. Her travels, both real and imaginary, became encounters with superhuman dimensions.  

In parallel, her public persona gained traction as she became a popular figure and a key representative of the Generation of ‘27 — the other members of which also started returning to Spain.  

This lecture is part of the Art and Exile series, which seeks to explore in greater depth one of the defining aspects of Maruja Mallo’s life and work: her experience of exile. An experience which for Mallo was twofold: the time she spent in the Americas and her complex return to Spain.    

Ángel Calvo Ulloa, curator of the exhibition Juan Uslé. That Ship on the Mountain, engages in conversation with artist Juan Uslé (Santander, 1954) in the Museo’s Auditorium 400 to explore in greater depth the exhibition discourse of this anthological show spanning four decades of Uslé’s artistic career.  

The show casts light on the close relationship Uslé’s work bears to his life experiences, establishing connections between different stages and series which could ostensibly seem distant. Framed in this context, the conversation looks to explore the artist’s personal and professional journey: his memories, experiences of New York, his creative process, conception of painting, and ties with photography and film, and the cohesiveness and versatility that characterise his art. Key aspects for a more in-depth understanding of his artistic sphere.      

The conversation, moreover, spotlights the preparatory research process that has given rise to this exhibition to grant a better understanding of the curatorial criteria and decisions that have guided its development.  

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 shows organised by the Museo from the perspective of artists, curators and specialists. 

The International Festival of LGBTQIA+ Cinema in Madrid (QueerCineMad) and the Museo Reina Sofía come together to organise a retrospective on Ira Sachs (USA, 1965), a pivotal film-maker in contemporary queer cinema whose work has charted, across three decades, the affects, losses and resistance that traverse the lives of the LGBTQIA+ community. Sachs is the creator of a filmography which conceives of New York as the emotional architecture of his narratives, and as a space of memory, struggle and community. This programme includes the premiere of his most recent film, Peter Hujar’s Day (2025), in Madrid, with the film-maker in attendance in three of its sessions.   

Sachs has filmed, with delicacy and conviction, the tensions between desire, precarity and belonging, from his first feature-length film, The Delta (1996), set on the margins of the Mississippi, to Love Is Strange (2014), where a gay couple have to give up their Manhattan apartment after marrying. In Keep the Lights On (2012) intimacy becomes a battleground in confronting addiction and neglect, while Lady (1994), a short film on the solitude of an elderly woman in New York, anticipates his sensibility for bodies made invisible. Last Address (2010) is a silent homage to queer artists who died from AIDS/HIV-related illnesses — Robert Mapplethorpe, Keith Haring, David Wojnarowicz — whereby the façades of the buildings they lived in become intimate monuments, the remnants of history erased through windows. Thus, Ira Sachs’s body of work engages in a profound dialogue with film-makers such as Rainer Werner Fassbinder in situating the gaze at the centre of bodies, in exploring the complexity of the struggle between himself and his films. Further, his practice reverberates through New Queer Cinema, a 1990s film movement that transformed the representation of sexuality from difference.  

The director’s presence in Madrid, coupled with the premiere of his new work, makes this film season an event which extols both his career and his form of gazing and inhabiting the city from the queer, the community and the poetic. In these times of eviction and urban homogenisation, Sachs’s film-making reminds us that the neighbourhood can also be a gesture of care, a form of resistance, a future promise.