La Ribot. Panoramix (1993 - 2003)

Held on 07 may 2003
The artist, dancer and choreographer La Ribot (María José Ribot) (Madrid, 1966) was honoured in 2000 with the Premio Nacional de Danza (National Dance Prize), in recognition of a career that included dance, performing arts and visual arts. Her best known work is the Series Distinguidas (1993-2003), a collection of short pieces created as a reflection on the body and from the body.
These actions -which began by being performed in theatres and later made the jump to galleries and museums- are now the subject of the exhibition Panoramix at the Palacio de Velázquez del Parque del Retiro. The exhibition is a journey through all of her Piezas Distinguidas performed over three hours. This same program is also presented at the Centre Pompidou in Paris, the Centre d'Art Contemporain in Geneva and Tate Modern in London. Although these pieces fall into three very distinctive series -13 Piezas distinguidas, Más distinguidas y Still distinguished created in 1993-94, 1997 and 2000 respectively- the presentation does not follow a chronological order but an order of meaning.
The space dedicated to La Ribot’s performance has been occupied by a variety of objects with which the artist interacts in each of her actions. A chair on which to jump on-top of or with which to make noise, a metre to measure various body parts, a sheet with which to represent the tail of a mermaid, adhesive tape with which to stick wood slats on to her body and transform herself into a hand-made cyborg, a wet suit, wigs, clothing, bottles and other everyday items whose meaning is subverted in the hands of the artist who often appears nude on stage.
The public is placed in the centre of the action in such a way that their presence is part of the actual scenery that accompanies her pieces. The music, ranging from pop tunes to traditional Italian songs to jazz, is an essential component to Series Distinguidas. The various movements, sometimes specific to the dance, sometimes to the performance, become part of the whole action giving indications about the ultimate meaning of the pieces developed.
Another fundamental ingredient of La Ribot’s work in Series Distinguidas is a certain taste for humorous winks. Actions are devoid of the gravity that sometimes possesses the performance and results in a playful idea of movement as a form of expression. In some of the pieces the artist introduces the text, oral or written, increasing complicity with the spectator who is forced to abandon their role of voyeur.
These Series Distinguidas have been sold to: collectors, museums, galleries and businesses. A total of thirty-four actions of variable duration (between thirty seconds and seven minutes) collected in this exhibition display La Ribot’s last decade of work, which is presented as a reference to the opening of performance and the performing arts to new possibilities.
Itinerary
Musée National d'Art Moderne Centre Georges Pompidou París; Centro de Arte Contemporáneo de Ginebra;Tate Modern, Londres
Organised by
Museo Nacional Centro de Arte Reina Sofía in collaboration with the Consejería de las Artes de la Comunidad de Madrid
Más actividades

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The film surveys the consequences of the peace agreements signed in 2016 between the Colombian State and the FARC guerrilla organisation through the optics of different victims. It was recorded shortly after this signing, a time in which doubts lingered over the country’s future, with many groups speculating in the narration. Correa harnesses the power of images, visual and bodily memory, fiction and re-staging as tools for understanding the conflict, memory and healing, as well as for the achievement of a just peace that acknowledges and remembers all victims.
The activity is framed inside the research propelled by Aesthetics of Peace and Desertion Tactics, a study group developed by the Museo’s Study Directorship and Study Centre. This annual group seeks to rethink, from a theoretical-critical and historical-artistic perspective, the complex framework of concepts and exercises which operate under the notion of pacifism. A term that calls on not only myriad practices ranging from anti-militarism and anti-war movements to activism for non-violence, but also opens topical debates around violence, justice, reparation and desertion.
Framed in this context, the screening seeks to reflect on propositions of transitional and anti-punitive justice, and on an overlapping with artistic and audiovisual practices, particularly in conflicts that have engendered serious human rights violations. In such conflicts, the role played by audiovisual productions encompasses numerous challenges and ethical, aesthetic and political debates, among them those related to the limits of representation, the issue of revictimisation and the risks involved in the artistic commitment to justice. These themes will be addressed in a discussion held after the session.

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This is followed by Francisco López, an internationally renowned Spanish sound artist, who presents one of his radical immersions in deep listening, with his work an invitation to submerge oneself in sound matter as a transformative experience.
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L'Abominable, more than a simple work tool, has become a space of artistic and social exchange which has knitted together a community. It is characterised by endowing technique with a poetic dimension, in a community that manufactures its own film devices, and situates pedagogy at its core — the film-makers and artists train one another on common ground. Further, it seeks to forge an opening to all experimental languages around celluloid, for instance installation and film performance, while constituting a place of preservation and conservation in the history of the medium.
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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.
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Taking El Salvador as both axis and prism, this conference seeks to think about “ghostliness”, not as a metaphor but as a political and aesthetic technology, from the following questions: How is that which persists beyond disappearance manifested? Who speaks from amputation? How does memory operate when the State apparatus has systematically searched for its erasure? How is the spectral tapped into as a form of resistance? Which conditions and methods allow art to articulate a claim, reparation and justice when hegemonic narratives are upheld in denial?
Over the course of 2025, these questions have articulated the research residency of Salvadoran curator Patricio Majano in the The Cáder Institute of Central American Art (ICAC) by virtue of the project Amputated Identities: Ghosts in Salvadoran Art. Majano’s research traces genealogies and resonances between Salvadoran contemporary art, the Indigenous genocide of 1932 and the Civil War (1980–1992), interrogating how these unresolved forms of violence operate with artistic subject matter.
Beyond a closing act of the ICAC residency, this encounter stresses exchange and dialogue as method: opening the process and sharing questions, tensions and unresolved challenges — not as conclusions, but as work in progress.



![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)