27th Contemporary Art Conservation Conference
Maruja Mallo, Canto de las espigas, 1939, detalle imagen IRR + Visible. Museo Reina Sofía
Fotografía: Humberto Durán
© Maruja Mallo, VEGAP, Madrid, 2026
Held on 04, 05 Mar 2026
The 27th Contemporary Art Conservation Conference, organised by the Museo Reina Sofía’s Department of Conservation and Restoration, with the sponsorship of the Mapfre Foundation, is held on 4 and 5 March 2026. This international encounter sets out to share and debate experience and research, open new channels of study and reflect on conservation and the professional practice of restorers.
This edition will be held with in-person and online attendance formats, occurring simultaneously, via twenty-minute interventions followed by a five-minute Q&A.
Organised by
Museo Reina Sofía
With the support of
illycaffèCollaboration
The Mapfre FoundationMore information
Mayte Ortega, Department of Conservation and Restoration, Museo Reina Sofía
jornada.conservacion@museoreinasofia.es / Tel. +34 91 774 10 00 Ext. 289647
Agenda
miércoles 04 mar 2026 a las 8:00
Opening and Registration
miércoles 04 mar 2026 a las 9:00
Opening and Presentation
Manuel Segade Lodeiro (Museo Reina Sofía director), Jorge García Gómez-Tejedor (head of the Museo Reina Sofía’s Department of Conservation and Restoration), Mayte Ortega (coordinator of the 27th Contemporary Art Conservation Conference) and Leyre Bozal Chamorro (colletions curator at the Mapfre Foundation).
miércoles 04 mar 2026 a las 9:15
The Restoration of Frontón BETI JAI. Winner of the 2025 National Prize for the Restoration and Conservation of Cultural Assets
—Presented by: María Luz Sánchez (architect in the Building Works Department of Madrid City Council and restoration project supervisor) and Carolina Aguado Serrano (head of the Department of Cultural Heritage Dissemination, from Madrid City Council’s Department of Culture, Tourism and Sport)
miércoles 04 mar 2026 a las 9:45
Biombo (Folding Screen, ca. 1923), by Salvador Dalí
Eugenia Gimeno Pascual (Museo Reina Sofía) and Keti Nikolaeva Kodova (independent restorer)
—Presented by: Eugenia Gimeno Pascual and Keti Nikolaeva Kodova
miércoles 04 mar 2026 a las 10:15
Collaborative Methodologies to Conserve Colour Photography: The M+ Museum’s (Hong Kong) Photographic Reproduction Guide
Marta García Celma (conservator of photographic materials and contemporary art)
—Presented by: Marta García Celma
miércoles 04 mar 2026 a las 10:45
A multi-analytical study of the degradation kinetics of the modern painting Foule Folle (Asger Jorn, 1960)
Laura Fuster López (the University Institute for Heritage Restoration, Universitat Politècnica de València), Irene Samaniego Jiménez (the University Institute for Heritage Restoration, Universitat Politècnica de València), M.A. Herrero (the University Institute for Heritage Restoration, Universitat Politècnica de València), Margherita Gnemmi (Università Ca’ Foscari, Venice), Maite T. Martínez (Institut Valencià d’Art Modern), Cristina Vázquez (Institut Valencià d’Art Modern), Francesca Caterina Izzo (Università Ca’ Foscari, Venice) and Laura Osete Cortina (the University Institute for Heritage Restoration, Universitat Politècnica de València)
—Presented by: Laura Fuster López
miércoles 04 mar 2026 a las 11:15
Coffee Break
miércoles 04 mar 2026 a las 12:00
Maruja Mallo. MATERIALISM
Manuela Gómez Rodríguez (Museo Reina Sofía), Patricia Molins de la Fuente (curator of the Maruja Mallo. Mask and Compass exhibition, Museo Reina Sofía), Humberto Durán Roque (Hdurán Conservation-Restoration) and María López Fernández (Museo Reina Sofía)
—Presented by: Patricia Molins de la Fuente
miércoles 04 mar 2026 a las 12:15
Net Art Variations. Possible Frameworks for Approaching the Recovery of Net Art
Ricardo Iglesias García (lecturer in the Faculty of Fine Arts at the Complutense University of Madrid)
—Presented by: Ricardo Iglesias García
miércoles 04 mar 2026 a las 12:45
New Proposals to Conserve Video Games and Video Game Art
Carlos Mota Romero (an Archaeology Graduate with an MA in Heritage Conservation)
—Presented by: Carlos Mota Romero
miércoles 04 mar 2026 a las 13:15
Preventative Conservation and Sustainability at the Museo Reina Sofía
Silvia Montero Redondo (Museo Reina Sofía)
—Presented by: Silvia Montero Redondo
miércoles 04 mar 2026 a las 13:45
Towards Sustainable Temporary Exhibitions: Analysing and Measuring Their Environmental Impact
Clara Sánchez Brisa (with an MA in the Conservation and Restoration of Cultural Assets)
—Presented by: Clara Sánchez Brisa
miércoles 04 mar 2026 a las 14:15
Lunch Break
miércoles 04 mar 2026 a las 16:30
The Restorer as a Creative Agent in the Presentation of Contemporary Artworks: The Gala Porras-Kim. Between Lapses of Histories Exhibition as an Example
Alejandra Lechuga Álvarez (chief conservator at the Museo Universitario de Arte Contemporáneo-Universidad Nacional Autónoma de México), Melina Ramírez Zermeño (conservator-restorer of movable cultural heritage at the Museo Universitario de Arte Contemporáneo-Universidad Nacional Autónoma de México) and Sofía Terán Martínez (assistant in the Conservation Laboratory at the Museo Universitario de Arte Contemporáneo-Universidad Nacional Autónoma de México)
—Presented by: Alejandra Lechuga Álvarez
miércoles 04 mar 2026 a las 17:00
Challenges with the In situ Conservation and Restoration of Contemporary Art: The Example of Tríptico (Triptych, 1972), by Manuel Rivera (Madrid), and Other Comparative Experiences in Spain
Macarena Sanz Lucas (restorer and CEO of the INVENIT project and Communications director at ARESPA)
—Presented by: Macarena Sanz Lucas
miércoles 04 mar 2026 a las 17:30
Action Plan for Works from the IVAM Collection Affected by the Floods that Occurred in 29 October 2024
Maite Martínez López (head of the Restoration Department at the Institut Valencià d’Art Modern), Cristina Vázquez Albadalejo (restorer at the Institut Valencià d’Art Modern) and Isidre Sabater Collado (restorer at the Institut Valencià d’Art Modern)
—Presented by: Maite Martínez López
miércoles 04 mar 2026 a las 18:00
Documentation in Galician Contemporary Art Institutions: Its Value and Issues of Ambiguity
Dea Moreno Barroso (conservator-restorer specialised in the managing and display of contemporary art, archive and bibliographical material and technology applied to heritage)
—Presented by: Dea Moreno Barroso
miércoles 04 mar 2026 a las 18:30
Conclusion
jueves 05 mar 2026 a las 9:00
Opening and Registration
jueves 05 mar 2026 a las 9:30
Contemporary Heritage Preservation Trends and their Impact on Easel Painting Conservation Practices
Eglè Aleknaitè (art historian and conservator-restorer)
—Presented by: Eglè Aleknaitè (presentation in English)
jueves 05 mar 2026 a las 10:00
Trojan Horses. When Art Attacks the Museum from Within: Real Examples of Art Installations in MUSAC
Pablo Bernabé Castañón (conservator-restorer at MUSAC, the Museo de Arte Contemporáneo de Castilla y León)
—Presented by: Pablo Bernabé Castañón
jueves 05 mar 2026 a las 10:30
Ondulaciones (Waves, 1974): identification, analysis, restoration, display and cleaning of a textile installation by Aurelia Muñoz
Arianne Vanrell Vellosillo (Museo Reina Sofía) and Verónica García Blanco (head of Restoration at the Real Fábrica de Tapices)
—Presented by: Arianne Vanrell Vellosillo and Verónica García Blanco
jueves 05 mar 2026 a las 11:00
The Transfer and Adaptation of a Large-scale Contemporary Mural Canvas, Problems and Solutions. The case of El Río (The River, 1994), by Juan Vida
Teresa Espejo Arias (Secretariat of Conservation and Restoration, University of Granada), Ricardo Hernández Soriano (Secretariat of Immovable Heritage, University of Granada), Adrián Pérez Álvarez (Artemisia Gestión de Patrimonio S.L.), María Rosario Blanc García (Department of Analytical Chemistry Department, University of Granada) and Víctor Medina Flórez (Paintings Department, University of Granada).
—Presented by: Teresa Espejo Arias and Ricardo Hernández Soriano
jueves 05 mar 2026 a las 11:30
The Transfer and Adaptation of a Large-scale Contemporary Mural Canvas, Problems and Solutions. The case of El Río (The River, 1994), by Juan Vida
Teresa Espejo Arias (Secretariat of Conservation and Restoration, University of Granada), Ricardo Hernández Soriano (Secretariat of Immovable Heritage, University of Granada), Adrián Pérez Álvarez (Artemisia Gestión de Patrimonio S.L.), María Rosario Blanc García (Department of Analytical Chemistry Department, University of Granada) and Víctor Medina Flórez (Paintings Department, University of Granada).
—Presented by: Teresa Espejo Arias
jueves 05 mar 2026 a las 12:15
Concerns in Preserving Almada, un nome de guerra (Almada, a Nome de Guerra, 1983), by Ernesto de Sousa
Mariana Torres (specialist in cinema conservation)
—Presented by: Mariana Torres
jueves 05 mar 2026 a las 12:45
Analytical Study of Conhece a via láctea? by Joaquim Pinto Vieira: The Degradation of Synthetic Polymers in Contemporary Art
Ana Sofía Dantas (art conservator)
—Presented by: Ana Sofía Dantas (presentation in English)
jueves 05 mar 2026 a las 13:15
Between Line and Material: Conserving the Linoleum Printing Blocks of Uche Okeke
Rita L. Amor García (senior paintings conservator, Simon Gillespie Studio, London)
—Presented by: Rita L. Amor García
jueves 05 mar 2026 a las 13:45
Farewell and Conclusion
jueves 05 mar 2026 a las 15:45
WORKING SESSION: DEBATE ON RESPONSIBILITY IN THE CONSERVATION OF MEDIA ART IN SPAIN
Registered for the 27th Conference on Contemporary Art Conservation. Prior registration via the form at this link is required.
3:45 p.m. Presentation of the research project “SafeARTECH – Safeguarding Digital, Experimental and Technological Art of Recent Decades in Spain: Perspectives, Challenges and Opportunities”
—Esther Moñivas (Universidad Complutense de Madrid) and Regina Rivas (Museo Reina Sofía)
4:00 p.m. Keynote lecture: “Conserving the Unstable: Processes of Social Participation, Institutional Legitimation and Conflicts in Contemporary Art”
—Stefano Magnolo (Università del Salento)
4:45 p.m. Transdisciplinary working groups
5:30 p.m. Presentation of conclusions and closing discussion
6:00 p.m. Close
SUBMITTING PROPOSALS (CLOSED)
The deadline for presenting proposals ends on 28 September 2025. Those interested must send an email to jornada.conservacion@museoreinasofia.es, submitting the following documents:
- An unpublished proposal related to the conservation or restoration of contemporary art.
- A 1,700-word summary, written in Word, on the theme addressed. Please indicate the topic at the top of the document with five keywords and the presentation format (in-person or virtual). Preference will be given to the in-person format.
- CV and contact details.
- Only one proposal per person will be accepted.
- Proposals related to talks given in the last three conferences will not be accepted.
Proposals may be submitted in Spanish, French or English and will be evaluated by a Scientific Committee, which will select the submissions to be presented during these conference days and will determine their possible participation in a subsequent publication, the inclusion of which will undergo a second and definitive evaluation by the Editorial Committee.
For submissions in a virtual format, participants must send a recording following certain technical requirements they will receive once participation is confirmed.
The programme of sessions will be published in the coming days.
Más actividades
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.
Ordinary, Common and Public. Common Fixes for Ordinary Communities
Tuesday, 26, and Wednesday, 27 May 2026 – Check programme
Ordinary, Common and Public. Common Fixes for Ordinary Communities is the title of the fourteenth encounter run by Sociología Ordinaria, a transdisciplinary research group that explores daily knowledge deemed ordinary, superficial or frivolous from a traditional academic and intellectual viewpoint.
This latest edition seeks to approach and map connections between concepts of the commons and the public realm — remembering that the ordinary is also the commons — and to ensure affects and moods of discontent are mobilised towards hope.
By way of its multiple declinations — community, community-based practices, the commons, the communal — the encounter seeks to reflect on different ways of creating, (re)configuring, maintaining, fixing, arranging, caring for and defending the public realm and the commons. Furthermore, it explores forms of invocation and experimentation as tools opposite the helplessness of an uncertain present, in addition to resistance against attempts of expropriation, distortion, privatisation and touristification.
Felix Gonzalez-Torres. Sweet Revenge
26 MAY 2026
Nancy Spector and Alejandro Cesarco, curators of the exhibition Felix Gonzalez-Torres. Sweet Revenge, will speak with Manuel Segade, director of the Museo Reina Sofía, in a session dedicated to exploring the interpretive frameworks of this first large-scalepresentation in Madrid of the work of Felix Gonzalez-Torres (1957–1996), whose practice continues to resonate in the present.
The conversation begins with the exhibition’s title itself, Sweet Revenge, understood as a paradoxical notion that articulates much of the artist’s thinking. From there, the tensions running through his work are explored: the coexistence of opposing registers, ambiguity as a method, and the simultaneously affective and political charge of his works.
The dialogue also touches on some of the themes that run through his body of work, such as thenotions of identity, citizenship, and authority, alongside experiences linked to the AIDS crisis, and emotions such as love, loss, grief, and optimism. Special attention is given to the way in which Gonzalez-Torres shifts languages associated with Arte Povera, conceptualism, and minimalism towards open, participatory, and deeply personal structures.
The session also includes a reflection on the research process that shaped the exhibition, providing context for the curatorial decisions and criteria that structure it. In this context, Gonzalez-Torres’s work emerges as a device that actively engages those who activate orinterpret it, distributing responsibility for the production of meaning—a process that is alwaysunstable and constantly under negotiation.
These inaugural conversations, part of the main working strands of the Museo’s Public Programmes Area, aim to explore in greater depth the exhibition narratives of the shows organised by the Museo from the perspective of artists, curators and specialists.