Santa Cena cuir en Tegucigalpa (Cuir Last Supper in Tegucigalpa), 1965
Photograph: Documentary Collection of José Zambrano, Archivo Honduras Cuir
Held on 12 Dec 2025
Archivo Honduras Cuir is a community archive which safeguards, activates and shares memories of sexual and gender dissidence in Honduras from 1649 to the present. Through images, documents and stories, networks and memories are woven to counter the historical erasing of LGBTQIA+ communities in the country. The archive, pioneering in Central America, is a benchmark in the sphere of cuir memory practices which articulate curatorship, research, affects and activisms.
In conjunction with the publication of first book on the archive published in May 2025, a workshop is set-up around it in the Museo Reina Sofía, inside the collaboration framework between the Tentacular Museum and the Cáder Institute of Central American Art (ICAC). The starting point of the activity are the photographs documenting different parties the cuir community in marginal areas of Tegucigalpa held to fight for their rights in the 1970s and 1980s, documents which in the workshop circulate as vehicles of memory uniting past and future. The activity constitutes an invitation to imagine, with words and carnations, how to transfer these images of the past to other futures and to weave a bridge of hope and memory in difficult times.
Organised by
Inside the framework of
Instituto Cáder de Arte Centroamericano (ICAC)
Collaboration
With the support of
With the support of
With the support of
Participants
Archivo Honduras Cuir
is a project which seeks to grant visibility to diverse LGBTQIA+ realities worldwide and to empower and support artists and creatives, as well as nurturing the creation of networks between different countries. It also works in collaboration with the Network of Cultural Centres from the Spanish Agency for International Development Cooperation (AECID), inside the framework of Armarios Abiertos (Open Closets), an initiative which defends the rights of LGBTQIA+ people and fosters a culture of tolerance and respect towards sexual diversity.
Abigail Galindo
is a trans woman and activist who has documented, with her camera, the LGBTQIA+ reality in Honduras over the past thirty-five years. Her images and voice are a key part of the Archivo Honduras Cuir.
Dany Barrientos-Ramírez
is a photographer and cultural manager from Honduras based in Tegucigalpa. He is the co-founder, together with Abigail Reyes Galindo, of Archivo Honduras Cuir (AHC), an initiative that reconstructs and disseminates the memory of queer communities in Honduras, and fosters community-based, collaborative processes among artists and cultural practitioners across different contexts. The project has been presented at the Museu de Arte de São Paulo (MASP). He has participated as a workshop facilitator at the Museo Reina Sofía and as a guest lecturer in the Independent Studies Program (PEI) at the Museu d’Art Contemporani de Barcelona (MACBA). He also collaborates with the Network of Cultural Centers of the Spanish Agency for International Development Cooperation (AECID) on initiatives that promote rights and sexual diversity in Central America and the Caribbean.
Más actividades
Files of Tropical Revolutions
Sábado 20 y 27 de junio, 2026 - 19:00 H
The Reframing Banana Imagery series concludes with two works that condense the height and twilight of this period in history, epic sagas that cross borders and registers to embody experiences of armed struggle in the region. Cameras mix with firearms, borders between nations blur and patience reaches breaking point. This is where the tipping point lies, where the bloodshed weighs heavy and the murmurings of regional brotherhood are buried in the ground again.
Pan y dignidad (Carta abierta de Nicaragua) [Bread and Dignity (An Open Letter to Nicaragua)] recounts the historical records and process of national reconstruction in Nicaragua via the Sandinista popular uprising. Historias prohibidas de Pulgarcito (Forbidden Tales of Tom Thumb) places the camera at the heart of the El Salvador revolutionary struggle, interspersing testimonies of daily violence with the verses of the poet Roque Dalton.
Both works understand the armed revolution as an open file under construction. The insurgent brotherhood, although dissolved, still resounds in regional history.
Circling Over Exploited Bodies
Friday, 19 and 26 June 2026 - 7pm
When forms of violence are inflicted on society, film responds from urgency. Images become abstract, sounds fade and the register of dissidence comes from the gut. La zona intertidal (The Intertidal Zone) is an essayistic and poetic approach to the repression of teachers in El Salvador in the 1970s — a teacher studies the biodiversity of the El Salvador coast as a boy finds a body on the same beach. A propósito de la mujer (About Women) interweaves testimonies of misery and rage towards patriarchal structures with fictional scenes of a symbolic procession through a harsh desert.
Both films understand the body as a target of violence and a territory of insurrection, a space where the blood shed by militancy and the patriarchal yoke turn pain into denouncement and existence outside the status quo into an act of political dissidence.
Central American Designation of Origin
Thursday, 18 and 25 June 2026 - 7pm
Fertile lands, farmers’ hands, rural faces. This first programme in the series Reframing Banana Imagery understands the foundations of the Central American experience from exploitation, extractivism and displacement, and from the organisation and resistance that emerged as a reaction. The four films within extend from a lyrical documentary on farmers’ solidarity to the playful subversion of the institutional format of the United Fruit Company.
Bananeras (Banana Growers) is a combative portrait of the inhumane conditions of the American banana plantations located in Nicaragua through much of the twentieth century. Costa Rica Banana Republic is a perspicacious satire via an institutional documentary of banana production, spotlighting the extractive nature of this agro-exporting model in the 1970s. Organización Campesina (Farmers’ Organisation) frames rural resistance in Honduras from a direct depiction and lyrical documentary, while Dos veces mujer (Two Times a Woman) dissects the invisibility of the double-shift working day Central American women farmers endure: working in the countryside and working in the home. As a whole, the works here present the earth at once as a wounded body and a space of dignity.
Cinema, for the First Time
7 and 14 June 2026 – 12:00 pm
The final session in this Moon Projector season contemplates the feeling around the first experience of cinema — cinema as revelation, magic, fantasy and mystery from the first gaze, from the first contact with the medium, and imagery etched on the retina of childhood. The programme shows Émile Cohl’s landmark Fantasmagorie (1908), the first ever hand-drawn animation, and Ignacio Agüero’s Cien niños esperando un tren (One Hundred Children Waiting for a Train, 1988), a feature-length film on play and the origins of cinema.
Fantasmagorie (1908)by Émile Cohl (Paris, 1857– Villejuif, 1938) is the first expression in the history of animated drawing. Émile Cohl was an illustrator who belonged to the Parisian art group Arts incohérents (1882–1895), who was bestowed with an absurdist and pre-Surrealist talent. Whereas the Lumière brothers were able get audiences out of their seats as they witnessed a train moving towards them in 1895, Fantasmagorie is a supernatural experience, akin to an apparition yet also innocuous and entertaining — the inanimate comes to life out of nothing and figures seemingly move with little sense. From the outset, animation was related to caricature, fabulation and the comical, a sweet spot for the dreams of the youngest audience.
From the discovery of new imagery arising from the animated line to knowledge of the world through a screen, Cien niños esperando un tren (1988), by Chilean director Ignacio Agüero (Santiago, 1952), narrates a group of young people’s discovery of cinema in a workshop on the origins of the medium in a poverty-stricken town on the outskirts of Santiago de Chile. Play, fun and learning combine with a fascination with images, as viewing Émile Cohl’s Fantasmagorie (1908) in the workshop becomes an act of freedom.
Elisa González and Leah Pattem. Soy Tribulete 7
13 JUN 2026
Framed inside this year’s Neighbourhood Picnic is the screening, in the Museo’s Cinema, of a film related to the life and protests of the Lavapiés neighbourhood, addressing issues of gentrification and the right to housing: Soy Tribulete 7 (I Am Tribulete 7, 2026), directed by Elisa González and Leah Pattem.
As the Spanish housing crisis takes hold in Lavapiés, this story begins in February 2024, when the residents of Calle Tribulete, 7, a block of apartments on a street in this Madrid barrio, receive a letter informing them that their building has been sold to a vulture fund. The news spreads quickly around the neighbourhood and, when it comes to the attention of González and Pattem, they grab their cameras and head straight for the building, where they encounter one hundred or so residents still in shock. The film Soy Tribulete 7 flows into the building and the daily lives of a community united, whose looming eviction occasions the fight of their lives. Ultimately, a path of resistance that will turn the community into a symbol of struggle for the right to housing.
Both film-makers worked closely with a group of tenants — Cris, Nani, Blanca, José, María Jesús and Antonia — to tell the story of how the building became the most creative stage of resistance ever witnessed in the area. The work presents the daily life of these residents in Madrid’s now-iconic “building fighting eviction”, depicting their collective struggle and the violent disruption to their lives. Through personal interviews, observational footage, archive material, music and a narration by eighty-year-old actress Ana Martín García, the film casts light on the human stories behind a community struggle.
The Neighbourhood Picnic is an annual gathering of festivities organised by Museo Situado, a network made up of associations, activists and residents from Lavapiés, a racially diverse, working-class neighbourhood where the Museo Reina Sofía is located.