-
Wednesday, 13 December 2023 Sabatini Building, Floor 1, Room 102
FIGURY (przestrzenne). Ola Maciejewska
Choreographer Ola Maciejewska has conducted in-depth research into Loie Fuller (Illinois, 1862 — Paris, 1928), one of the most innovative and recognised women dance artists in modernism. Maciejewska’s piece Loie Fuller: Research (2011), was performed in the Museo Reina Sofía in the spring of 2018 and involved a succession of physical exercises which used the “dancer’s dress” invented by Fuller in a piece which tautened and related the sculptural with the figure that sculps and dances the fabric. And thus the idea of physical strength and endurance (necessary to hold the weight of large fabrics) revealed a unique concept of dance and the figure of the dancer: that of a body always related to other bodies and living or lifeless bodies.
FIGURY (przestrzenne) [FIGURE (SPATIAL)] broadens and gives continuity to these investigations, comprising a dance solo that enquires about the body’s relationship with its environment, which tries to incorporate, via gestures and movements, a series of porous sculptures or figures that come into direct contact with space or which, going further, are built by it. Corporeal work is activated around the sense of the deceleration of time and the idea of physical resilience; the search entails inhabiting, adapting, listening and producing new relationships between the body and that which surrounds it to reveal not only spaces but also co-existent temporalities. The interest in the sculptural in this piece is not only related to the artistic discipline but also the question around the commitment a body acquires to its more immediate — spatial, architectural, institutional, affective, physical, sensitive — environment. Maciejewska thus stresses the idea that all elements of the space in which the piece unfolds “develop verbs” that participate in the action and modify its state: a wall, an artwork, a cold marble floor, a dog, a tree, a spectator.
The word “przestrzenne” means spatial figure in Polish and, consequently, FIGURY (przestrzenne) alludes to the way in which the body is always dependent on something that extends beyond it, much in the same way that plants depend on light. This dependence is based on a double concealment: something we intuit as different from the human but actually exists within it.
Credits:
Concept and performance: Ola Maciejewska
Production: Caroline Redy. So We Might As Well Dance
Co-production: CND Pantin, Cndc Angers
Residencies: Pact Zollverein, Muzeum Susch (Acziun Programme)
Project carried out with funding from the Direction régionale des Affaires culturelles (DRAC) Bretagne – Support for choreography projects.
-
Thursday, 14 December 2023 Sabatini Building, Garden
ágidxen. Josu Bilbao
ágidxen is a phonetic transcription of a dialectical variation of the adverb agerian, which in Basque is a derivative of the verb ageri, an important element in the Basque language and epistemology. Possible translations of the verb ageri are: visibly, revealingly, either in public or openly, yet it is a term which, in this instance, refers to the learning acquired by the artist in the environment of the home to refer to the specific circumstance in which a member of the family becomes uncovered at night.
This fact (to become uncovered) prompts a simple form of care in that another person covers them, whether in the middle of the night or in the morning. It is a circumstance that is named — and is comprehended without any need for explanation — through the word ágidxen, which when pronounced creates a specific sound. It is a form of speech which transmits a particular state and makes the word and the tongue a shared place between bodies and voices.
A body is uncovered, unprotected, like a call to be assisted by others. The tongue, as a muscular organ of the mouth, is also exposed at the time of pronouncing words. To speak, say and name is to put the tongue (anatomical and linguistic) in contact with the air. To leave the tongue exposed, openly. ágidxen throws into relief phonation to observe how each sound is developed in the body, understanding that the voice is body and matter and here, in the Museo’s Garden, it is also foliage and half-light. Equally, it looks to be conscious of the time of emission and the semantic landscapes, at times abstract, that this invokes.
The act of creating sound through the voice, as a physical occurrence, also stirs an awareness of other forms of presence. Firstly, orality which, as a collective practice, notices and makes us notice what we are, producing memory and developing history. And secondly, because the space of action and pronunciation are shaped with the vibration of musical composition, in this instance produced by Estanis Comella. The different morphologies of voice and sound are envisaged, remaining in the air or covering themselves in an action of listening and mutual care. Phonemes, words, phrases, ambient sound, air, birds and whispers open mental, imaginary and physical spaces. They make reality.
Credits:
Performance: Josu Bilbao and Estanis Comella
Supported by the Department of Culture and Linguistic Policy of the Basque Government, ágidxen had a first stage, askiè altu, held in the auditorium of the University of the Basque Country/Euskal Herriko Unibertsitatea, in Bilbao, within the framework of the Urak dakar encounters, curated by Bulegoa z/b.
-
Thursday, 14 December 2023 Sabatini Building, Floor 1, Room 102
Lo que baila (What Dances). Paz Rojo
“The coherence and persistence of Paz’s work has brought about vast and fruitful constellations crossed with questions on what dance does and the affective, political and aesthetic framework of choreography and its relationship to the forces and impulses of the capitalist system, with a view to delving into the possibility of a mode of subjectivation extracted from its regime of value production”.
Andrea RodrigoLo que baila (What Dances) seeks, through a modus operandi rooted in dance, to make something present that is not there, since it has already been there and because, in not being, it is kept latently as an event to come, and can re-appear at any time and in many forms. This form, Paz Rojo tells us, is a found form, “a print or residue that can be enjoyed selflessly”.
This piece gathers and mobilises findings, also making them appear and disappear, and stays in continuous movement, akin to the movement of consciousness, which goes from one thought and observation to the next, without staying with any of them, letting them circulate in disregard, sliding in the direct sense of physical dance. It opens feelings and meanings that are dissociated from the aspiration of a characteristic subjectivity. To dance de-subjectivation to exhaustion. Letting, by doing so, the vibrating contours to be perceived of a body that does not end where the skin ends.
Credits:
Concept, dance and sound space design: Paz Rojo
Sound editing: Paz Rojo and Emilio Tomé
With the support of the Festival Domingo-La Casa Encendida (Madrid, 2021) and programmes of stage creation residencies at the Centro de Cultura Contemporánea Condeduque (Madrid) and Köttinspektionen Dans (Uppsala, Sweden).
Held on 13, 14 Dec 2023
The Museo Reina Sofía presents the fifth edition of ESTUDIO, an annual programme which brings together work in a range of formats and is the outcome of research conducted by a series of artists and researchers whose practices are tied, either directly or dialogically, to the sphere of choreography and performance. From the specific nature of curation and gazing through an experimental prism, ESTUDIO sets out to perceive artistic work as a learning process of what is as yet unknown, incorporating meaning around space — the studio as a place of work and experimentation — and essay — a commitment to opening the uncertain from its alliance with language and its functioning as proof of all that we assume we know.
Under the title In the Recess, Occurrence, this edition turns its attentions towards cavities, both mental and physical, that open in our bodies after the passing-through of other bodies. As porous beings we live in constant relations and exchange with others, not only because we are social, or because we inhabit the planet — filled with other living beings — but because we are the planet. And its history. As part of this planet-being, the proposals in this edition of ESTUDIO take on a poetic responsibility, with Ola Maciejewska, Josu Bilbao and Paz Rojo assaying material forms that are poetic, physical and anatomical, and which entail passing through knowledge knowing that results are not guaranteed.
That which surrounds us — space, people, living beings, a tongue, a language, a form of speech, its sound — produces a sensitive print in our muscles, glands, organs and all that defines us as human animals. Yet our bodies, drawing from Daisy Hildyard’s The Second Body (2017), do not end where our skin ends. The skin has long been that “inviolable frontier” which invites and pushes, where “you are encouraged to be yourself and to express yourself — to be whole, to be one”. In her book, Hildyard suggests that all living beings in fact have two bodies: the animal body demarcated by its skin and a “second body” formed by neuronal, sensitive and affective connections which we maintain with a broad network of ecosystems that involve us in the global development of the planet.
Yet what remains of everything that has left its impression on us, that has left a physical impression on our bodies? The recesses endure, those spaces where the living memory of events and the relations that surround us is encapsulated. Remaining connected to these cavities means to exercise some resistance, not understood as the action of opposing something but rather the capacity of a body to hold the weight — physical, psychological, emotional — of that which it wants to last. It is to walk with such weight, to speak with it, with the force of that desire.
What can be shared of that which remains affixed, that which one carries? To whom does it belong? The different proposals contained within this fifth edition bring to light how an awareness of the connection of the body with life, understood as an occurrence that exceeds biography (and also contains it), prompts thought around the hollows we can open via our gestures, between movements and the displacements of extremities, and also in the movement of the tongue, that organ which, in the act of speaking, comes into contact with the air. The cavity of the mouth, that recess which allows for its sound and transmission. Whoever listens perceives its sense in relation to the ear and the mind, recording, in unsuspected ways, its affective effects, the affection of how to say something in a given moment, and, when it was said previously to the person who now transmits it, a sense that can only be understood in certain contexts.
The movement of bodies progressively opens spaces along the way, accommodating hitherto unperceived forms and temperatures. It is in the recess where the possibility of other forms of presence — physical or psychological, present, past or future and undoubtedly material — occur. And it is in the occurrence of direct action where other modes of temporality are also made possible, temporalities that are hard to restrain, qualities and textures that tilt back and forth between the internal and the external, or where these notions of inside/outside are no longer opposed. In view of the above, this edition encourages participation in a shared experience to live in, for an afternoon/evening, the cavities — gestural, dance-related, linguistic — to observe how time unfolds durée réelle (real duration), a concept vitalist philosopher Henri Bergson defined as a succession of qualitative changes that penetrate without a precise contour.
ESTUDIO V. In the Recess, Occurrence, therefore, continues along the line of previous editions: Estudio I (2019), Half Said, Unsaid (2020), Go Out to Encounter. Speak to Place (2021) and Second Skin. Subcutaneous (2022). In each of these editions, the practical research of guest artists served as conceptual triggers to trace a non-linear path around the voice as materiality; the blurring of subjectivity; the willingness for dialogue with landscape, the environment, places and other living beings; and awareness of a subcutaneous historical memory or the capacity to withstand sensitive impressions. Therefore, the presentations unfurled by Maciejewska, Bilbao and Rojo will take place across two consecutive afternoons/evenings inside the spaces of the Sabatini Garden and Room 102 in the Museo, constituting an invitation to observe, think and feel together, to witness the world from the minimal and proximate gestures it contains.
Curator
Isabel de Naverán (ARTEA)
Organised by
Museo Reina Sofía
Participants
Josu Bilbao sets out from the persistent orality in certain languages that are dying out to expand his work towards sculpture as a practice which produces physical and sensorial spatiality. He has carried out exhibitions and collaborations in spaces and institutions such as Bulegoa z/b (Bilbao), Halfhouse (Barcelona), etHALL (Barcelona), Carreras Múgica (Bilbao), Centro Párraga (Murcia), Centro Botín (Santander), CentroCentro (Madrid), Museo de Bellas Artes (Bilbao) and Tabakalera (San Sebastián).
Estanis Comella currently develops work in which writing and musical production converge, along with other disciplines, using live performance as a medium to create an ephemeral architectural atmosphere in spaces. He has shown and performed his work, among other spaces, in Azkuna Zentroa (Bilbao), Tabakalera (San Sebastián), Bulegoa z/b (Bilbao), CentroCentro (Madrid), Bombon Projects (Barcelona), etHALL (Barcelona), La Panera (Lleida), Carreras Múgica (Bilbao) and Azala (Lasierra).
Ola Maciejewska is a choreographer and researcher who was born in Poland and lives in Paris. In 2012, she gained an MA in Contemporary Theatre and Dance from the University of Utrecht. In addition to a number of academic explorations, Maciejewska has performed the pieces Loie Fuller: Research (2011), Bombyx Mory (2015) and Dance Concert (2018), which have been presented in contemporary dance and art contexts in Canada, Spain, France, the Netherlands, Poland, Portugal, Switzerland and Taiwan. From 2016 to 2018, she was an associate artist at the centre chorégraphique national de Caen en Normandie (France).
Paz Rojo is a choreographer, dancer and researcher whose interests revolve around dance and its potential to create alternative ecologies that include debates on the ontology of dance in late capitalism and the aesthetics of dance after the end of the future. She attained a PhD in Performance Practices, specialising in Choreography, from the Stockholm University of the Arts with the research thesis The Decline of Choreography and Its Movement: a Body's (path)Way (2019). As part of this research, she published the book To Dance in the Age of No-Future (Circadian, 2020).
![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
Difficulty. Forms and Political Effects of Deviation in Writing and Contemporary Art
23 February – 14 December 2026 – Check programme
Difficulty. Forms and Political Effects of Deviation in Writing and Contemporary Art is a study group aligned towards thinking about how certain contemporary artistic and cultural practices resist the referentiality that dominates the logics of production and the consumption of present-day art. At the centre of this proposal are the concepts of difficulty and deviation, under which it brings together any procedure capable of preventing artistic forms from being absorbed by a meaning that appears previous to and independent from its expression. By ensuring the perceptibility of their languages, difficulty invites us to think of meaning as the effect of a signifying tension; that is, as a productive and creative activity which, from the materiality of art objects, frees aesthetic experience from the representational mandate and those who participate in it from the passiveness associated with tasks of mimesis and decoding.
The economy of the referential norm translates the social logic of capitalism, where insidious forms of capturing subjectivity and meaning operate. In the early 1980s, and adopting a Marxist framework, poet Ron Silliman highlighted how this logic entailed separating language from any mark, gesture, script, form or syntax that might link it to the conditions of its production, rendering it fetichised (as if without a subject) and alienating its users in a use for which they are not responsible. This double dispossession encodes the political strategy of referential objectivity: with no subject and no trace of its own consistency, language is merely an object, that reality in which it disappears.
The political uses of referentiality, more sophisticated today than ever before, sustain the neoliberal-extractivist phase of capitalism that crosses through present-day societies politically, economically and aesthetically. Against them, fugitive artistic practices emerge which, drawing from Black and Queer studies and other subaltern critical positions, reject the objective limits of what exists, invent forms to name what lies outside what has already been named, and return to subjects the capacity to participate in processes of emission and interpretation.
Read from the standpoint of artistic work, the objective capture of referentiality may be called transparency. Viewed from a social contract that reproduces inequality in fixed identity positions, transparent in this objectivity are, precisely, the discourses that maintain the status quo of domination. Opposite the inferno of these discourses, this group aims to collectively explore, through deviant or fugitive works, the paradise of language that Monique Wittig encountered in the estranged practices of literature. For the political potency of difficulty — that is, its contribution to the utopia of a free language among equals — depends on making visible, first, its own deviations; from there, the norm that those deviations transgress; and finally, the narrowness of a norm which in no way exhausts the possibilities ofsaying, signifying, referring and producing a world.
From this denouncement of referential alienation, fetishisation and capture, Difficulty. Forms and Political Effects of Deviation in Writing and Contemporary Art turns its attention to the strategies of resistance deployed by contemporary artists and poets. Its interest is directed towards proposals as evidently difficult or evasive as those of Gertrude Stein, Lyn Hejinian, Theresa Hak Kyung Cha, Kameelah Janan Rasheed, Kathy Acker, María Salgado and Ricardo Carreira, and as seemingly simple as those of Fernanda Laguna, Felix Gonzalez Torres and Cecilia Vicuña, among other examples that can be added according to the desires and dynamics of the group.
The ten study group sessions, held between February and December, combine theoretical seminars, work with artworks from the Museo Reina Sofía’s Collections and exhibitions, reading workshops and public programs. All these formats serve as spaces of encounter to think commonly about certain problems of poetics — that is, certain political questions — of contemporary writing and art.
Difficulty. Forms and Political Effects of Deviation in Writing and Contemporary Art inaugurates the research line Goodbye, Representation, through which the Museo Reina Sofía’s Studies Directorship seeks to explore the emergence of contemporary artistic and cultural practices which move away from representation as a dominant aesthetic-political strategy and redirect their attention toward artistic languages that question the tendency to point, name and fix, advocating instead for fugitive aesthetics. Over its three-year duration, this research line materializes in study groups, seminars, screenings and other forms of public programming.
CLINIC 2628. A Community of Writing and Research in the Arts
February – October 2026
Clinic 2628 is a project which supports and brings together writings which stem from the intention to offer a space and sustainable time for research work in art and culture. Framed within an academic context which is increasingly less receptive to the forms in which thinking happens and is expressed, the aim is to rescue the academic from its neoliberal trappings and thus recover the alliance between precision and intuition, work and desire. A further goal is to return writing to a commons which makes this possible through the monitoring of processes and the collectivisation of ideas, stances, references and strategies.
The endeavour, rooted in a collaboration between the Museo Reina Sofía’s Studies Directorship and the Artea research group, via the i+D Experimenta project, is shaped by three annual editions conceived as spaces of experimentation, discussion and a demonstration of writings critical of what is put forward by today’s academia.
What forces, forms and processes are at play when writing about art and aesthetics? In academia, in museums and in other cultural institutions, the practice of writing is traversed by productivist logics which jeopardise rhythms of research and experimentation. The imposition of both scientism inherent in the structure of “the paper” and the quantifying of results which demand a criterion of quality and visibility sterilise and smoothen, from the outset, the coarseness that is particular to writing understood from the concrete part of language: phonic, graphic, syntactic and grammatical resistance connecting the language user to the community the language unites and activates. They also sterilise the roughness enmeshed in the same desire to write, the intuitive, clear and confusing pathways that once again connect the writer to those reading and writing, participating in a common good that is at once discovered and produced.
The progressive commercialisation of knowledge propelled by cognitive capitalism moves further away from the research and production of knowledge in artworks and artistic languages and practices. The work of curators and archive, criticism, performances and essays formerly saw a horizon of formal and emotional possibilities, of imagination that was much broader when not developed in circumstances of competition, indexing and impact. Today, would it be possible to regain, critically not nostalgically, these ways; namely, recovering by forms, and by written forms, the proximity between art thinking and its objects? How to write in another way, to another rhythm, with no more demands than those with which an artwork moves towards different ways of seeing, reading and being in the world?
Cultural Work
Thursday, 12 February 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.
Session number two looks to approach film as a place from which cultural work is made visible and processes of production engage in dialogue with artistic creation. From this premise, the session focuses on exploring how audiovisual content is produced, assembled and distributed, from the hands that handle the images to the bodies that participate in its circulation. The aim is to reflect on the invisible effort, precarity and forms of collaboration that uphold cultural life, that transform the filmic experience into an act that recognises and cares for common work.
![Basel Abbas y Ruanne Abou-Rahme, At Those Terrifying Frontiers Where the Existence and Disappearance of People Fade Into Each Other [En esas fronteras aterradoras donde la existencia y la desaparición de personas se disuelven entre sí], 2019](https://recursos.museoreinasofia.es/styles/small_landscape/public/Colecci%C3%B3n/abbasabourahme.png.webp)
Gaza and Aestheticide
Tuesday February 10, 2026 – 16:00 h
This seminar examines the systematic destruction of Palestinian collective sensibility — what we might call “aestheticide” — that has accompanied Israel’s genocide and ecocide in Gaza, and considers the conditions of artistic practice in its aftermath. Over more than two years, the demolition of universities, archives, museums, and libraries has not only erased cultural and intellectual infrastructure but has also targeted the very possibility of representation itself. The destruction of a people has been accompanied by the destruction of their image, their history, and their capacity to be known: reportage, scholarship, and cultural memory have been deliberately undermined, with media institutions, universities, and museums often complicit in this repression. Gaza consequently functions as a rehearsal space for a possible global future — of fascism, post-liberal authoritarianism, militarized borders, and AI-enabled warfare —, a laboratory for an emerging world order. What, then, becomes of critical analysis and resistance under these conditions? And what becomes of aesthetics and politics?
This three-hour seminar engages in dialogue with a broader line of work on the climate emergency and decolonial perspectives developed within the Museum of the Commons project (2023–2026) of the L’Internationale network, of which the Museo Reina Sofía is a member; as well as with some of the questions that animate the study group Aesthetics of Peace and Desertion Tactics. Finally, it is also embedded in a wider strategy of support for and commitment to the artistic and discursive practices of Palestinian artists and cultural practitioners, most clearly reflected in the TEJA network.
TEJA 2026. Open Call for Emergency Art Residencies
Proposal submission until 12 January, 2026
TEJA / Red de espacios culturales en apoyo a situaciones de emergencia [Network of Cultural Spaces in Support of Emergency Situations] has the mission to promote transnational cooperation by offering temporary art residencies to artists and cultural practitioners who find themselves in complex socio-political situations in their countries of origin. During their stay in Spain, residents receive accommodation, legal and psychological counseling, and access to a network of organizations and professionals with whom they can share, develop, and continue with their creative projects. The goal is to provide a safe and stimulating environment where artists can continue their work despite adverse circumstances and generate dialogue spaces that ensure freedom of expression through joint activities both in Spain and with international collaborators.
During 2026, TEJA hosts three new residencies, each lasting three months, dedicated to supporting artists and cultural practitioners residing in the West Bank and Jerusalem. In addition, in the second half of the year, TEJA hosts three additional residencies for Gazan artists, which are offered by invitation (as Spain is currently unable to facilitate evacuations from Gaza, these invitations are coordinated through France). These residencies aim to provide a stable, creative environment and foster artistic exchange in the face of ongoing adversities. Through this new program, TEJA reaffirms its commitment to amplifying Palestinian voices and empowering artists as they navigate these turbulent times.
The selection is carried out by the TEJA network in close collaboration with each hosting partner. This year the hosting partners are: La Escocesa (Barcelona), hablarenarte / Planta Alta (Madrid), Espositivo (Madrid), Institute for Postnatural Studies (Madrid), Casa Árabe (Córdoba). The selection prioritizes the artist’s personal and professional situation first, and then the alignment with the practices and themes of the hosting spaces. Proposal submission deadline is January 12th, 2026, 23:59 h.