
Held on 24 May 2023
The right to the city and public space, understood as a communal life territory, is increasingly at risk. The rising cost of housing, the emptying-out of social centres and police violence as a form of social control are just some of the symptoms of growing privatisation. Such circumstances bring to light more sharply the need for a common space built to encompass the interests, needs and desires of the communities that inhabit it.
Opposite the capitalist concept of the city as a financial centre or tourist park built for consumerism, Situated Voices 28 seeks to articulate the foundations, from collectiveness, to reformulate concepts of property and belonging in relation to public space. How can we impact the desired city model? How can we reclaim, defend, attain, conquer or confer the right to the city? Who remains outside of this right? Who are legitimised for its reclamation and who are not? Who do we exclude and which divides (social, economic, gender-based, racial, among others) hinder its application? From institutions, how can we facilitate a participatory city based on asylum, reciprocity and mutual recognition?
In looking for the answers to these questions, this encounter is set out as a space for sharing experiences, tools and neighbourhood actions which search for channels of collective transformation. A conversation-discussion takes place in Madrid’s Lavapiés neighbourhood, prompting, from specific lived experiences, attendees to reflect on the right to the city and the possibilities of intervening in and reappropriating urban spaces.
This activity offers a children’s play centre organised by the collectives Esta es una plaza (This Is a Square) and Banco de Alimentos del Barrio (The Neighbourhood Food Bank) to facilitate work and childcare. Click on this link and fill out the form to sign up.
Mercedes Arce “Chiqui” is a librarian and a co-founder and current chairperson of Parque Sí Chamberí (Park for Me, Chamberí), a neighbourhood association which works to defend, advocate, promote and develop green areas and recreation in Madrid’s Chamberí neighbourhood. She also participated in making the documentary De interés general. Un barrio por un parque (Common Good. A Neighbourhood for a Park, 2021), by Miguel Ángel Sánchez Sebastián.
Jose Luis Fdez. Casadevante “Kois” is a sociologist, international food sovereignty expert at the International University of Andalusia (UNIA) and a member of the Garúa cooperative. He is also a neighbourhood activist, and is currently involved in promoting urban agriculture projects as the head of Huertos Urbanos (Urban Allotments) at the Regional Federation of Neighbourhood Associations of Madrid (FRAVM). Furthermore, he writes the blog Raíces en el asfalto (Roots on the Pavement)
Dolores Galindo Fontán is a journalist and researcher of social and cultural anthropology. She is the chairperson of Dragones de Lavapiés, a football club whose mission is to weave, through sporting values and competition, ties of solidarity, respect and community, advocating dialogue between people from more than fifty different countries.
Sara Porras Sánchez is a professor of Sociology at the Complutense University of Madrid. She works as a researcher on different research projects in the Community of Madrid, analysing urban processes and conflicts and the importance of socio-community networks in the configuration of neighbourhoods and in creating social space.
Eduardo Ramis is an anthropologist and a member of the Pasillo Verde Imperial Neighbourhood Association, one of the member collectives in the platform #YoDefiendoEsteÁrbol (#IDefendThisTree), which came into being to protect trees and green areas under threat from the project to expand Metro de Madrid’s Line 11 in five areas of the city (Arganzuela, Carabanchel, Moratalaz, Puente de Vallecas and Retiro).
Coordinan
Banco de Alimentos del Barrio y Esta es una plaza
Programa


Participants
Más actividades

Exile and Alienation
Saturday 30 May and 6 Jun, 2026 - 18:00 H
In the years of the Popular Unity Government in Chile, three young film-makers, Marilú Mallet, Valeria Sarmiento and Angelina Vázquez, went to the offices of Chile Films to present a film project. This session screens three films which convey the three directors’ experience of exile. In Dos años en Finlandia (Two Years in Finland), Angelina Vázquez depicts the social and working conditions of Chileans exiled in the Nordic country. The fictional work Lentement, directed by Marilú Mallet, follows a young Chilean exile around spaces of Montreal blighted by nostalgia and political rage. In Huellas (Fingerprints), Valeria Sarmiento returns to Chile to explore the memory of violence inflicted by Pinochet’s military dictatorship. The session culminates in a talk with the three directors, gathered here for the first time.

From North to South and South to North
Sunday 31 May and Friday 5 June, 2026
In a kind of road movie, Marilú Mallet travels across her native Chile after forty years of exile. The journey is an exploration of the dynamism of national identity, leading the film-maker to return to questions previously explored in her filmography and to search for new forms of filming the encounter between body and landscape.

Dear Americas
Friday 29 May and 5 June, 2026
In these films, Marilú Mallet travels to Solentiname, in Nicaragua, and Andahuaylillas, in Peru, to paint a portrait of communities which resist the severity of forced industrialisation. In Solentiname, the focus is on the poet and priest Ernesto Cardenal’s founding of a Christian, poetic and revolutionary utopia, while in Andahuaylillas, a town close to Cuzco, Mallet explores the multiple layers of Andean culture.

A Poetics of the Subject
Thursday 28 May and 4 June, 2026
In the tension between documentary and fiction, between the rawness of a tragic political present and narrative escape, lies the truth of the exile’s condition. In Journal inachevé (Unfinished Diary, 1982) Marilú Mallet experiments with her own subjectivity, moving from affirmation to doubt. In Double Portrait (2000), María Luisa Señoret paints her daughter Marilú, who records the process. In this circular relationship, the film-maker constructs a poetics of the portrait as something perpetually unfinished, a process of exploration in which memory, identity and political history merge to become blurred.

Institutional Decentralisation
28 MAY 2026
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.
This fourth and final session centres on films that take the museum away from its axis and make it gaze from the edges. Pieces that work with that which is normally left out: peripheral territories, unpolished aesthetics, clumsy gestures full of intent. Instead of possessing an institutional lustre, here they are rough, precarious and strange in appearance, legitimate forms of making and showing culture. The idea is to think about what happens when central authority is displaced, when the ugly and the uncomfortable are not hidden, when they are recognised as part of the commons. Film that does not seek to be to one’s liking, but to open space and allow other ways of seeing and inhabiting the museum to enter stage.

