
Held on 17 Dec 2016
Museo Reina Sofía presents 20 Dancers for the XX Century by the French choreographer and incumbent director of the Musée de la danse, Boris Charmatz. The piece will feature the participation of twenty dancers and performers and will be executed across different gallery spaces housing the Museo’s Collection.
20 Dancers for the XX Century is conceived as a living archive in which twenty dancers from different generations perform, recall, appropriate, explain and transmit extracts from a selection of 20th-century dance solos, originally created and performed by pre-eminent figures from the discipline. Each dancer will put forward their own “museum”, freely interacting with diverse spaces in the Collection, and the piece sees Charmatz explore and expand upon the notion of the museum as a living institution with room for dance practices.
Paraphrasing Boris Charmatz, the project, more than an inheritance, encompasses a kind of archaeology: it seeks to elicit past gestures, restored gestures, reinterpreted by the dancer’s body in the present. From a metaphorical and literal perspective, a dance museum’s collection resides in dancers’ bodies; the body is the most operative storage space: formed by gestures and inhabited by memories which are ready to be activated, in the present and future. The dancers, artists and actors participating in this piece are free to choose and remember, to teach, speak, repeat, reproduce and reappropriate the solos of their choice. Their knowledge of particular works could hail from education or could have been performed previously, while their exercises could adopt the form of wild appropriation or respectful homage, of a division, text, or the reading of documents. The solos are shown where the dancers feel they should be shown and are presented and embodied, but without being allocated a place or time. In this way, emphasis is placed on the mobility and fluidity of bodies: there is no programme to follow, no schedule to adhere to; no one knows exactly who will present what, or where or when. However, everyone is invited to discuss, talk, question and comment.
The activity will be held alongside an encounter with the choreographer, to take place on Tuesday 13 December inside the Nouvel Building’s Auditorium 400
The projects of Boris Charmatz (Chambéry, France, 1973) focus on investigating, rethinking and developing dance from different perspectives. Internationally renowned for his experimental creations, Charmatz’s works have featured at major international festivals and in museums like MoMA, New York. He was also recently the subject of a programme at Tate Modern and Sadler’s Wells, in London, which explored at once his strongest elements of choreography and performance. After passing through Les Champs Libres (Rennes, 2012); MoMA (New York, 2013); the Foreign Affairs Festival (Berlin, 2014); Tate Modern (London, 2015), and Palais Garnier (Paris, 2015), 20 Dancers for the XX Century arrives at the Museo Reina Sofía to coincide with the participation of the Musée de la danse at the Madrid Community’s XXXIV Autumn to Spring Festival with the piece manger (Wednesday, December 14 and Thursday, December 15 at 8:oo p.m. in the Teatros del Canal). Both works are presented within the framework of a two-fold programme which provides audiences with a sharper focus on the figure of the choreographer through different perspectives.
Organised by
Museo Reina Sofía in collaboration with Comunidad de Madrid
In collaboration with
Participants
A project by
Boris Charmatz / Musée de la danse
Dancers
Boglárka Börcsök, Magali Caillet-Gajan, François Chaignaud, Ashley Chen, Raphaëlle Delaunay, Olga Dukhovnaya, Antonia Franceschi, Latifa Laâbissi, La Ribot, Mark Lorimer, Filipe Lourenço, Vera Mantero, Fabrice Mazliah, Mani Mungai, Olga Pericet, Sonja Pregrad, Marlène Saldana, Frédéric Seguette, Frank Willens and Thomas Wodianka.
* cast susceptible of changes
General stage manager
Mathieu Morel
Direction of productions
Martina Hochmuth with the collaboration of the Musée de la danse team
Project produced by
Musée de la danse / Centre chorégraphique national de Rennes et de Bretagne, directed by Boris Charmatz. The association is subsidised by the Ministry of Culture and Communication (the Regional Department of Cultural Affairs / Bretagne), the city of Rennes, the Regional Council of Brittany and the Ille-et-Vilaine General Council. The Institut Français also regularly supports international tours by the Musée de la danse.
Thanks to
Vito Acconci, Jerôme Bel, Anne Teresa De Keersmaeker, Esther Ferrer, William Forsythe, Sanja Iveković, Eszter Salamon, Meg Stuart, The Mike Kelley Foundation for the Arts, The George Balanchine Trust.
Choreography by Merce Cunningham © The Merce Cunningham Trust. Merce Cunningham’s choreography is performed by Mr Ashley Chen with the permission and support of the Merce Cunningham Trust. All rights reserved.
Marco Antonio Álvarez Fernández, Laura Andreu Sedeño, Elisa Angelina Antunes, Matías Daporta González, Ana Isabel Guzmán Morales, Irene Holguín Gómez, Anastasiia Lauhina, Helena Llorente de Carli, Ana Martín García, Nicole Pérez Rapp, Daniel Raventós Puchol, Marta Salas Lozano and Clara Santiago Beato.






Más actividades

Economy of Hate
18 ABR, 9 MAY 2026
Economy of Hate features one sole work, Oído Odio (2021) by artist Diego del Pozo Barriuso. The piece combines television and media archive materials, recordings with performers with explicitly queer corporalities and 3D animations, combining in a strikingly fluid dialogue. The title alludes to a notion developed by the artist concerning the materiality with which hate circulates and the way it escalates. Setting out from the idea that hate is an affect which gains more value the more it circulates, the video shows the evolution from television to mobiles, expounding how the change of technological paradigm has made viral the fact of being in contact more than ever with explicitly violent images.
Inside the framework of The Collection Screened, a programme rooted in the institution’s film, video and moving image holdings, the Museo invites Laura Baigorri, one of the leading specialists in video art, to approach specific aspects related to identity, self-representation and the body within the Museo’s audiovisual collection since the 1990s.
![Dias & Riedweg, Casulo [Crisálida], 2019, película](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/desafios-cine-2.png.webp)
Other Voices in Us All
17 ABR, 8 MAY 2026
A session which starts from a subtle corporeal challenge that prompts a confrontation with reason from sensibility and emotion, both of which are linked to a difference in mental health or spiritualism. It opens with a beautiful and strange short film entitled A família do Capitao Gervásio (2013), by Tamar Guimarães and Kasper Akhøj, set in a small town in inland Brazil, where around half the inhabitants are psychic mediums whose work centres on community healing. The second piece, Dias & Riedweg’s Casulo, is the outcome of a participatory project with a group of patients from the Institute of Psychiatry at the Universidad Federal de Río de Janeiro. The video bears witness to the development of their routines after hospitalisation and captures their ideas and impressions about different aspects of life, revealing the division between territories of reason and madness in their daily existence.
Inside the framework of The Collection Screened, a programme rooted in the institution’s film, video and moving image holdings, the Museo invites Laura Baigorri, one of the leading specialists in video art, to approach specific aspects related to identity, self-representation and the body within the Museo’s audiovisual collection since the 1990s.

Mediations of the Archive: Art, Community, and Political Action
Tuesday 7, and Thursday 23, April, 2026 – 17:00 h
The online seminar Mediations of the Archive: Art, Community, and Political Action, curated by Sofía Villena Araya, examines the role of archival practices in caring for, dignifying, and activating memory in Central America. As part of the Cáder Institute for Central American Art’s first line of research, driven by the question “What Art Histories does Central America produce?”, this seminar proposes an approach to the archive as a mediator that articulates relationships between art, community, and political action, while engaging with the historiographical questions raised by their intersections.
Although the proposal is not limited to discussions of the Central American isthmus, it is framed by the particular conditions under which memory has been constructed in the region. Central America is a territory vulnerable to natural and geological disasters, marked by political violence exercised by authoritarian states and fragile institutions, a persistent colonial and imperial legacy, and the social fragmentation resulting from these factors. It is also a context in which the archive does not necessarily refer to a specific place —such as a building or documentary collection— nor does it primarily follow the protocols of a discipline such as archival science. Rather, the seminar explores how the archive operates, through art, as a dispositif that forges connections, generates forms of belonging, and opens spaces for political action.
The encounter unfolds across two sessions: the first focuses on archival practices addressing questions of memory, violence, and war; the second examines community-based practices surrounding queer and sex-dissident archives. In the face of the systematic destruction of memory, the archival practices discussed in these sessions demonstrate how the archive emerges in other spaces and according to different logics. Within this framework, the proposed space for exchange and research explores the role of art as a productive medium for constructing archives through images, affects, intimacy, performativity, the body, orality, and fiction, as well as through other materialities that challenge the centrality of the document and of writing.

Lucrecia Martel. Our Land
Saturday, 18 April 2026 – 4:30pm
Nuestra tierra (Our Land, 2025) is Argentinian film-maker Lucrecia Martel’s first documentary and her most recent work. The film focuses on the legal case surrounding the murder, in 2009, of Javier Chocobar, a member of the Los Chuschagasta Indigenous community, who was killed while resisting the forced displacement of ancestral land located in northern Argentina, territory hiscommunity has inhabited and farmed for centuries.
Drawning on fragments of the above-mentioned trial, which took place in 2019, as well as a meticulous reconstruction of the history of Los Chuschagasta since the seventeenth century, Martel decries how colonial violence, far from being a relic of the past, underlies current political and social structures and ends in the mistreatment and systematic invisibility of Indigenous peoples.
Lucrecia Martel is a director and screenwriter widely regarded asone of the most relevant film-makers in the twenty-first-centuryLatin American cinema. To date, she has directed four feature-length films: La ciénaga (The Swamp, 2001), Zama (2001), La niña santa (The Holy Girl, 2004) and La mujer rubia (The Blonde Woman, 2008), all of which have been awarded at film festivals, including recognitions in the Official Selection at Cannes. Accross her work Martel explores the complexities of an Argentina shaped by the political and social crisis of the 1990s and by the burden of a colonial past, which she translates into her own visual language of documentary, paradoxically offsetting it against fiction. As Martel asserts: “What I do is all lies, all artifice. I don’t believe in the truth and, if there is any effect of truth in my films, then it’s a miracle”.
These notions, the germinating material of her films, enable a reflection on how the tactics of fiction and imagination, materialized thought creativity, can function as powerful means of resisting the erasure of memory and as a tactic of reparative justice. This line of thought also underpins READ Madrid. The Festival of Books and Ideas, which frames the screening of this film.
READ Madrid is a space of encounter for critical and experimental voices in the sphere of literature and theory. The festival gathers a transatlantic framework of voices related to writing, art and publishing, whose practices challenge hegemonic frameworks of knowledge production and make room for performative and cinematic forms as expanded forms of research.

READ Madrid. Festival of Books and Ideas
Friday 17 and Saturday 18 April, 2026 – Check Programme
READ Madrid. Festival of Books and Ideas emerges as a meeting space for critical and experimental voices in the fields of literature, theory, and publishing. With particular attention to artistic production practices and independent publishing, and seeking to build a transatlantic cultural bridge with Latin America, the program aims to decenter hegemonic frameworks of knowledge production and open up new communities of interpretation and horizons for political imagination. To this end, it takes writing and reading—understood in broad and plural ways across their modes, forms, and registers—as constitutive of a public laboratory of what we call study: a space for thinking collectively, debating and coining ideas, making and unmaking arguments, as well as articulating new imaginaries and forms of enunciation.
In a context of ecological, political, and epistemological crisis, the festival proposes modes of gathering that make it possible to sustain shared time and space for collective reflection, thereby contributing to the reconfiguration of the terms of cultural debate. In this sense, the program is conceived as an intervention into the contemporary conditions of circulation and legitimation of thought and creation, expanding the traditional boundaries of the book and connecting literature, visual arts, performance, and critical thought. These formats are organized around three thematic axes led by key voices in contemporary writing, artistic practice, and critical thinking.
The thematic axes of READ Madrid. Festival of Books and Ideas are: a popular minoritarian, or how to activate an emancipatory practice of the popular; raging peace, or how to sustain justice, mourning, and repair without resorting to pacifying imaginaries devoid of conflict; and fiction against oblivion, which explores the role of science fiction, horror, and speculative narratives as forms of resistance against the liberalism of forgetting. Ultimately, the aim is to interrogate our present through the potential that ideas and books can mobilize within a shared space of study, debate, and enjoyment.


