Held on 06 Oct 2017
In conjunction with Palimpsest, the installation Doris Salcedo (Bogotá, 1958) will display in the Palacio de Cristal from 6 October, the Museo Reina Sofía will hold an encounter between the artist and the historian Estrella de Diego, where both will examine how art confronts the way in which violence perforates each gesture, object and situation in contemporary society.
Salcedo studied at the Universidad Nacional de Colombia in Bogotá between 1988 and 1991, complementing her knowledge of sculpture at New York University in 1994, where she studied the minimalist movement, a language she would radically subvert. Her work tackles the relationship art bears with trauma and its capacity to publicly reveal and exorcise grief in the face of loss, thus adopting the repetition and seriality of minimalist sculpture to define a silent space and poignancy that is conducive to memory and remembrance. Yet, contrasting with practices in minimalism, the artist references specific violent episodes in recent Colombian history in such a way that her installations sit halfway between relic – personal objects, furniture, hair, clothes — and anti-monument, granting visibility to victims deprived of public recognition.
Salcedo’s body of work is indivisible from the context of Colombia and the so-called “culture of the wound”; that is, the link between violence, privacy and public space. Exposing and probing this wound through art, yet standing back from the sensationalism and frivolity found in certain corners of the mass media, constitutes one of her primary aims. Therefore, works such as Atrabiliarios (1990–1991), a series of twenty niches with footprints left by the shoes of Colombian women who have been victims of kidnapping and rape but remain unidentified, or La Casa Viuda (1992-1995), an installation made up of sculptures of assembled furniture and doors taken from houses destroyed by the so-called “death squads” in Colombia, show the viewer the history and invisible subjects of a society in conflict.
In collaboration with
Participants
Doris Salcedo. Artist. She has participated in a wide array of international events, including the São Paulo Biennial (1998), documenta XI, Kassel (2002) and the Istanbul Biennial (2003), and has been the subject of solo exhibitions in institutions such the New Museum of Contemporary Art, New York (1998); the San Francisco Museum of Modern Art (1999 and 2005); Tate Britain, London (1999); Camden Arts Centre, London (2001); Tate Modern, London (2007); Inhotim, Centro de Arte Contemporânea, Belo Horizonte (2008); the Museo Universitario Arte Contemporáneo, Mexico City; Moderna Museet, Malmö; CAM Gulbenkian, Lisbon (2011); MAXXI (Museo nazionale delle arti del XXI secolo), Rome; the Pinacoteca de São Paulo (2012); the Hiroshima Museum of Contemporary Art, Hiroshima (2014); and the Museum of Contemporary Art Chicago (2015). Salcedo also won the Premio Velázquez in 2010 and the Nasher Prize in 2015.
Estrella de Diego. Essayist and professor of Contemporary Art at the Complutense University of Madrid. She has developed her research into gender studies and contemporary artistic practice in numerous publications, such as La mujer y la pintura del siglo XIX español (1987); El andrógino sexuado (1992); Tristísimo Warhol (1999); Quedarse sin lo exótico (1999); Querida Gala. Las vidas ocultas de Gala Dalí (2003); Remedios Varo (2007); Maruja Mallo (2008); No soy yo: autobiografía, performance y los nuevos espectadores (2011) and Rincones de postales: turismo y hospitalidad (2014). In 2010, she won the Gold Medal of Merit in the Fine Arts, and joined the San Fernando Royal Academy of Fine Arts in 2016.
Más actividades
Rethinking Guernica
Monday and Sunday - Check times
This guided tour activates the microsite Rethinking Guernica, a research project developed by the Museo Reina Sofía’s Collections Area, Conservation and Restoration Department and the Digital Projects Area of the Editorial Activities Department, assembling around 2,000 documents, interviews and counter-archives related to Pablo Picasso’s painting Guernica (1937).
The visit sets out an in-situ dialogue between the works hung around the painting and a selection of key documents, selected by the Museo’s Education Team and essential to gaining an idea of the picture’s historical background. Therefore, the tour looks to contribute to activating critical thought around this iconic and perpetually represented work and seeks to foster an approach which refreshes our gaze before the painting, thereby establishing a link with the present. Essentially revisiting to rethink Guernica.
Files of Tropical Revolutions
Sábado 20 y 27 de junio, 2026 - 19:00 H
The Reframing Banana Imagery series concludes with two works that condense the height and twilight of this period in history, epic sagas that cross borders and registers to embody experiences of armed struggle in the region. Cameras mix with firearms, borders between nations blur and patience reaches breaking point. This is where the tipping point lies, where the bloodshed weighs heavy and the murmurings of regional brotherhood are buried in the ground again.
Pan y dignidad (Carta abierta de Nicaragua) [Bread and Dignity (An Open Letter to Nicaragua)] recounts the historical records and process of national reconstruction in Nicaragua via the Sandinista popular uprising. Historias prohibidas de Pulgarcito (Forbidden Tales of Tom Thumb) places the camera at the heart of the El Salvador revolutionary struggle, interspersing testimonies of daily violence with the verses of the poet Roque Dalton.
Both works understand the armed revolution as an open file under construction. The insurgent brotherhood, although dissolved, still resounds in regional history.
Circling Over Exploited Bodies
Friday, 19 and 26 June 2026 - 7pm
When forms of violence are inflicted on society, film responds from urgency. Images become abstract, sounds fade and the register of dissidence comes from the gut. La zona intertidal (The Intertidal Zone) is an essayistic and poetic approach to the repression of teachers in El Salvador in the 1970s — a teacher studies the biodiversity of the El Salvador coast as a boy finds a body on the same beach. A propósito de la mujer (About Women) interweaves testimonies of misery and rage towards patriarchal structures with fictional scenes of a symbolic procession through a harsh desert.
Both films understand the body as a target of violence and a territory of insurrection, a space where the blood shed by militancy and the patriarchal yoke turn pain into denouncement and existence outside the status quo into an act of political dissidence.
Central American Designation of Origin
Thursday, 18 and 25 June 2026 - 7pm
Fertile lands, farmers’ hands, rural faces. This first programme in the series Reframing Banana Imagery understands the foundations of the Central American experience from exploitation, extractivism and displacement, and from the organisation and resistance that emerged as a reaction. The four films within extend from a lyrical documentary on farmers’ solidarity to the playful subversion of the institutional format of the United Fruit Company.
Bananeras (Banana Growers) is a combative portrait of the inhumane conditions of the American banana plantations located in Nicaragua through much of the twentieth century. Costa Rica Banana Republic is a perspicacious satire via an institutional documentary of banana production, spotlighting the extractive nature of this agro-exporting model in the 1970s. Organización Campesina (Farmers’ Organisation) frames rural resistance in Honduras from a direct depiction and lyrical documentary, while Dos veces mujer (Two Times a Woman) dissects the invisibility of the double-shift working day Central American women farmers endure: working in the countryside and working in the home. As a whole, the works here present the earth at once as a wounded body and a space of dignity.
equipoMotor
Jueves alternos, 23 de octubre, 2025 - 11 de junio, 2026 - 17:30 h
El programa equipoMotor regresa en su edición 25-26 con un aire espectral y mutante para lanzar la pregunta: ¿y si el Museo fuera «un poco más Frankenstein»? Inspirándose en dicho monstruo y en todas aquellas criaturas que desafían la norma desde los márgenes, el proyecto de mediación cultural Galaxxia diseña y acompaña una edición incisiva, intergeneracional y descentralizadora, donde saberes invisibilizados, cuerpos raros y deseos molestos se entrelazan para generar nuevas formas de imaginación crítica y radical. En los sótanos y corredores del Museo —un particular laboratorio— las dudas no se esconden: son materia prima.
Así, para este curso el equipoMotor convoca a personas de todas las edades que hayan participado en ediciones anteriores de los distintos equipos del Área de Educación a recorrer el Museo como quien manipula un cuerpo abierto: descoyuntando algunas de sus categorías teóricas y artísticas —la necropolítica, lo crip-cuir, la lucha de clases, las políticas del malestar, la decolonialidad, la temporalidad cuir, la descentralización institucional o el feísmo— para articular un relato díscolo, remendado y palpitante.
El programa se estructura en bloques temáticos sobre lo freak como metodología, el trabajo cultural, la intergeneracionalidad y la diversidad territorial. Cada bloque a su vez se despliega en sesiones que combinan disparadores teóricos y estéticos, visitas a exposiciones y espacios liminales del Museo, talleres artísticos con artistas, ejercicios de curaduría audiovisual colectiva y de relatoría radiofónica, así como instancias de activación pública, mediante proyecciones de cine experimental y coloquios compartidos con el público, en complicidad con el archivo Hamaca y el Área de Cine y Nuevos Medios del Museo.
De este modo, la presente edición incorpora una particularidad: el grupo de participantes irá transformándose en un «colectivo curatorial audiovisual temporalmente autónomo», con capacidad de incidir en la programación del Museo y de abrir la conversación de equipoMotor al público general, cuestionando y expandiendo así los límites entre las cabezas que deciden, las manos que producen y los cuerpos y presencias que habitan la institución. Las personas seleccionadas en la modalidad oyente serán invitadas a las proyecciones públicas, así como a otras activaciones y momentos de apertura del equipoMotor.
Frente al relato de un museo homogéneo, pulcro y lineal, apostamos por un Museo disidente, contradictorio y lleno de vida residual. Un Museo que no tema hacerse preguntas incómodas ni mostrar sus cicatrices. equipoMotor. Un poco más Frankenstein no busca repensar el cuerpo de la institución, sino habitarlo en sus desgarros, tal como es: híbrido, inacabado, infecto, fantasmagórico… y cargado de esporas y chispas por venir.