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
![Céline Sciamma, Naissance des pieuvres [Lirios de agua], 2007, película](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/ciclocine-piscinas-3.jpg.webp)
Céline Sciamma. Water Lilies
Friday, 10 July 2026
Céline Sciamma’s directorial debut, Naissance des pieuvres,depicts the emotional and sexual awakening of three teenagers around an indoor swimming pool in a Parisian suburb. Marie, a fifteen-year-old introvert, becomes fascinated by Floriane, the charismatic captain of a local synchronised swimming team. Driven by this attraction, Marie tries to get closer to her while observing the complex dynamics of desire, friendship and power that develops between the young girls. At the same time, Anne, one of Marie’s friends, has her own experience of insecurity and affective search, shaped by the pressure to fit in and belong. As the relationship between the three intensifies, contradictions surface between the image they outwardly project and their real feelings.
Standing away from the common places on adolescence, Céline Sciamma explores first love, burgeoning queer identity and the uncertainty of desire with an intimate, observational gaze, resulting in a sensitive and honest portrait of a time of transformation, in which each gesture leads to the passage from childhood to adulthood.
Sofia Coppola. Somewhere
Saturday, 11 July 2026
Johnny Marco (Stephen Dorff), a famous Hollywood actor, lives a life of pleasure in Hotel Chateau Marmont in Los Angeles, drifting aimlessly between vacuous relationships, punctuated by film shoots and commercial duties. Cleo (Elle Fanning), his eleven-year-old daughter, stays with him for a few weeks due to her mother’s absence, forcing him to rethink his life.
Sofia Coppola’s employment of swimming pools is carefully considered in the film — blue water in Somewhere is the only place where Marco can recover the meaning of his existence as the pool acts as a womb in which he finds balance. While living with his daughter Cleo and the reflection of these aquatic moments — diving under water, floating, playing or simply sunbathing with no real purpose — everything happens. Thus, Coppola explores in depth themes such as fame, loneliness and the complexity of human ties, putting forward an intimate and profound portrait full of the subtleties of life.
Jonathan Glazer. Sexy Beast
Friday, 17 July 2026
Gal Dove (Ray Winstone), a criminal for the British mafia, lives happily retired with his wife in an idyllic villa in southern Spain and a dazzling swimming pool. Their peace is shattered with the arrival of Don Logan (Ben Kingsley), a former gangster and criminal associate who wants to convince him to do one last job.
If a swimming pool can be at the heart of suspense, then Sexy Beast is the quintessence. The reflection of blue water in Gal’s idyllic seclusion symbolises the artificial paradise that can be broken at any time. This first feature-length film by British director Jonathan Glazer (also the director of The Zone of Interest, 2023) starts with one of the most striking swimming pool scenes, a symbol for the impending danger about to reach this whitewashed haven of peace. The perfect vision of recreated beauty — luxury pools on the Andalusian coast — which, in the depths of pristine water, conceals an unsettling fear of returning to the past.
![François Ozon, Swimming Pool [La piscina], 2003, película](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/ciclocine-piscinas-6.jpg.webp)
François Ozon. Swimming Pool
Saturday, 18 July 2026
Sarah Morton (Charlotte Rampling), a frustrated English writer paralysed by writer’s block, is invited by her editor to spend a few days in her summer house in the south of France. While there she meets Julie (Ludivine Sagnier), the editor’s uninhibited daughter. The young girl’s hypersexuality clashes with Morton’s cold nature, an initial hostility which turns into a fascination with the private life of the young girl, serving the writer as inspiration for her new novel and tugging the story to an ambiguous game between truth and imagination.
Being in crisis is wanting to be another person. Sarah wants to absorb the vitality of her young host, a process of metamorphosis triggered by the swimming pool. The pool is the film’s central character, the place where Julie shows her naked body and amorous acts, sending Sarah into a state of agitation. Through the pool and its water, the writer drinks in Julie’s wild passion. The aquatic enclosure thus acts as catharsis: the place where the subconscious of the writer flourishes, enabling her to unleash her creativity and free her fantasies. At the same time, water distorts the image, blurring fiction and reality; ultimately, the necessary medium to keep art afloat.
![Jean Vigo, Taris, ou la natation [Taris, rey del agua], 1931, película](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/ciclocine-piscinas-7.jpg.webp)
Leni Riefenstahl. Olympia, Part 2. Festival of Beauty and Jean Vigo. Taris, Swimming Champion
Friday, 24 July 2026
The body in water as an object of ideology. This is one of the major themes of the 1930s and this session, where Nazism and Anarchism dissolve into two different swimming pools. Two great films of counterposed ideologies which have gone down in history as examples of film’s power to represent a vision of the world. In Olympia, Part 2. Festival of Beauty, Leni Riefenstahl films the Olympic Games of Berlin in 1936, organised during the Third Reich. The camera leaves the athletics stadium to show the repertoire of modern sports — fencing, polo, cycling, pentathlon — before culminating in the Olympic pool with Adolf Hitler as the host, where the beautiful, disciplined, classical bodies of the swimmers bring to mind, as Susan Sontag wrote, the visual fascination that characterised fascism. Meanwhile, Jean Vigo, the son of an exiled Spanish anarchist, films French Olympic champion Jean Taris in a funny, playful exercise, where the swimming pool becomes a field of play without rules and where avant-garde film-making elements of the 1930s materialise, such as slow motion, superimposed images and dynamic editing. Two avant-garde films, two films on opposite poles that show, for a time, swimming not as an object of pleasure or desire, but as a space of contest from which to demonstrate the power of the twentieth century’s great ideologies.