![Barış Doğrusöz. Sandstorm and the Oblivion [La tormenta de arena y el olvido], película, 2017. Cortesía del artista](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/ardisik_snippet.png.webp)
Barış Doğrusöz, Sandstorm and the Oblivion, Film, 2017. Courtsesy of the artist
Held on 21 ene 2022
The Museo Reina Sofía welcomes a video programme created by contemporary Turkish artists, featuring works commissioned by the SALT Contemporary Art Centre — with sites in Istanbul and Ankara — to commemorate the tenth anniversary of the institution. Under the title Ardışık (The Sequential), the programme sketches the scene of the most salient recent art in Turkey and is set forth as a reflection of the major debates taking place in the country.
At its site in the Galata neighbourhood, the original project included a series of solo shows by participating artists — Barış Doğrusöz, Deniz Gül, Volkan Aslan, Fatma Belkıs and Onur Gökmen, and Aykan Safoğlu — to present their new creations. The basis of the project is the generational link between these six artists, who all grew up in the 1980s and were young people in 1990s and thus share experiences and sensibilities. This is a generation that has experienced the thwarted promises of Westernisation and the autarchic Islamist shift that has shaped recent decades in Turkey. The works share a series of themes, such as the consideration of who writes history and from where, the debate between language and representation, the effects of symbolic power, the influence of advertising as unlimited exhibitionism and a questioning of modernisation as a manifest destiny.
On this occasion, Ardışık is presented as a touring video programme which seeks to enable the circulation of works between different museums, advocating their connection and debating hybrid models of production in contemporary art. The ultimate aim is to support artists’ practice given the potentially adverse effects in such turbulent times, and to examine with these formats the relationships and habits that could be established between artists, museums and audiences.
The programme is part of the actions emanating from L’Internationale, a confederation of seven major European institutions — including SALT and Museo Reina Sofía — which articulates and fosters these collaboration spaces.
Programme
Friday, 21 January 2022 – 6pm / Second session: Saturday, 22 January 2022 – 6pm
Barış Doğrusöz. Sandstorm and the Oblivion
Turkey, 2017, colour, original version in Turkish with Spanish subtitles, DA, 8’
Deniz Gül. Kartpostal (Postcard)
Turkey, 2017–2020, colour, original version, sound, DA, 12’ in 3 fragments of 4’
Volkan Aslan. Best Wishes
Turkey, 2019, colour, original version in Turkish with Spanish subtitles, DA, 9’
Fatma Belkıs y Onur Gökmen. Alakadar (The Connected)
Turkey, 2021, colour, original version in Turkish with Spanish subtitles, DA, 30’
Aykan Safoğlu. Hundsstern steigt ab (Dog Star Descending)
Germany and Turkey, colour, original version in German with Spanish subtitles, DA, 12’
Co-produced by the 11th Berlin Biennale and SAHA
―First session presented by Meriç Öner Güven, associate director of SALT, and a post-session talk between artists Fatma Belkıs and Onur Gökmen.
―Second session presented by Meriç Öner Güven, associate director of SALT.
As part of his trilogy Locus of Power, Barış Doğrusöz examines in the Sandstorm and the Oblivion the archaeological site of Dura Europos, a huge ancient city, through an economic and political history in which the colonial discourse is confused with archaeology. The screening of Postcard is interspersed in the programme is a compendium of audiovisual fragments filmed by Deniz Gül in different countries; moving images which consider quotidian aspects as a visual alphabet and a modest attempt to reinterpret the aesthetics of postcards in a digital environment. Volkan Aslan’s Best Wishes is a letter addressed to the future, to anyone living in any part of the world, in which the recipient has no address, gender, race or age. It represents the variety and mundaneness of violence caused by state policy and how it subtly filters into our daily lives under the state of emergency. In The Connected, Fatma Belkıs and Onur Gökmen analyse the anxiety and fragility of the desire for modernisation, a recurring theme among the Turkish intelligentsia from the Ottoman Empire to contemporary Turkey. Finally, Dog Star Descending narrates, in a dynamic animation, the artist’s experience of alienation and queer identity through a personal archive of photographs.
Curator
Amira Akbıyıkoğlu and Farah Aksoy
Organized by
Museo Reina Sofía and SALT
![Deniz Gül, Kartpostal [Tarjeta postal], película, 2017–2020. Cortesía del artista](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/2_25.png.webp)
![Volkan Aslan, Best Wishes [Con los mejores deseos], película, 2019. Cortesía del artista](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/3_21.png.webp)
![Miguel Brieva, ilustración de la novela infantil Manuela y los Cakirukos (Reservoir Books, 2022) [izquierda] y Cibeles no conduzcas, 2023 [derecha]. Cortesía del artista](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/ecologias_del_deseo_utopico.jpg.webp)
![Ángel Alonso, Charbon [Carbón], 1964. Museo Reina Sofía](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/perspectivas_ecoambientales.jpg.webp)
Más actividades
Christian Nyampeta and the École du soir
13, 14, 15 NOV, 11, 12, 13 DIC 2025
Christian Nyampeta is a Rwandan artist, musician and film-maker whose work encompasses pedagogies and community forms of knowledge production and transmission. His Ècole du soir (Evening School) is an art project conceived as a mobile space of collective learning and is named in homage to Ousmane Sembène (1923–2007), a pioneer of African cinema who defined his films as “evening classes” for the people, a medium of education and emancipation through culture.
This block is made up of three double sessions: the video work of Christian Nyampeta, the films of École du soir and one of Ousmane Sèmbene’s feature-length films. Nyampeta will introduce all three first sessions.
Crossed Vignettes
Friday, 21 November 2025 – Check programme
The Crossed Vignettes conference analyses the authorship of comics created by women from an intergenerational perspective and draws from the Museo Reina Sofía Collections. Across different round-table discussions, the programme features the participation of illustrators Marika, Carla Berrocal, Laura Pérez Vernetti and Bea Lema and researchers Viviane Alary, Virginie Giuliana and Elisa McCausland.
The aim of the encounter is twofold: to explore in greater depth the different forms in which women comic book artists have contributed to developing a counterculture; namely, the appearance of ruptures, reformulations and new genres within the ninth art. And to set up a dialogue which ignites an exploration of genealogies linking different generations of artists.
Moreover, the activity is put forward as a continuation to the exhibition Young Ladies the World Over, Unite! Women Adult Comic Book Writers (1967–1993) and the First International Conference on Feminist Comic Book Genealogies, held in April 2024 at the Complutense University of Madrid.
In redefining the visual narratives of the comic book and questioning gender stereotypes in a male-dominated world, women comic book writers and artists have impelled greater visibility and a more prominent role for women in this sphere. The study of intergenerational dialogue between female artists past and present enables an analysis of the way in which these voices reinterpret and carry the legacy of their predecessors, contributing new perspectives, forms of artistic expression and a gender-based hybridisation which enhances the world of comics.
The conference, organised jointly by the Museo Reina Sofía and Université Clermont Auvergne/CELIS (UR4280), is the outcome of the following projects: The Spanish Artistic Canon. Between Critical Literature and Popular Culture: Propaganda, Debates, Advertising (1959–1992), Casa de Velázquez (CALC); Horizon Europa COST Actions iCOn-MICs (Comics and Graphic Novels from the Iberian Cultural Area); and COS-MICs (Comics and Sciences).
UP/ROOTING
11, 12, 13, 14, 15, 16 NOV 2025
Museo Reina Sofía and MACBA Museu d'Art Contemporani de Barcelona (MACBA) invite applications for the 2025 iteration of the School of Common Knowledge, which will take place from November 11th to 16th in Madrid and Barcelona.
The School of Common Knowledge (SCK) draws on the network, knowledge and experience of L’Internationale, a confederation of museums, art organizations and universities that strives to reimagine and practice internationalism, solidarity and communality within the cultural field. This year, the SCK program focuses on the contested and dynamic notions of rooting and uprooting in the framework of present —colonial, migrant, situated, and ecological— complexities.
Building on the legacy of the Glossary of Common Knowledge and the current European program Museum of the Commons, the SCK invites participants to reflect on the power of language to shape our understanding of art and society through a co-learning methodology. Its ambition is to be both nomadic and situated, looking at specific cultural and geopolitical situations while exploring their relations and interdependencies with the rest of the world.
In the current context fraught with war and genocide, the criminalization of migration and hyper-identitarianism, concepts such as un/belonging become unstable and in need of collective rethinking:
How can we reframe the sense and practice of belonging away from reductive nationalist paradigms or the violence of displacement? How to critically hold the entanglement of the colonial routes and the cultural roots we are part of? What do we do with the toxic legacies we inherit? And with the emancipatory genealogies and practices that we choose to align with? Can a renewed practice of belonging and coalition-making through affinity be part of a process of dis/identification? What geographies —cultural, artistic, political— do these practices of de/centering, up/rooting, un/belonging and dis/alignment designate?
Departing from these questions, the program consists of a series of visits to situated initiatives (including Museo Situado, Paisanaje and MACBA's Kitchen, to name a few), engagements with the exhibitions and projects on view (Project a Black Planet: The Art and Culture from Panafrica), a keynote lecture by Stefano Harney and Fred Moten, as well as daily reading and discussion gatherings, editorial harvest sessions, and conviviality moments.
The Joaquim Jordà Residencies 2025
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In this activity, the recipients of the 2024–2025 Joaquim Jordà Residencies call, María Aparicio (Argentina, 1992) and Andrés Jurado (Colombia, 1980), present respective projects related to their body of work in an open session in which to discover the creative interests of two of the most up-and-coming independent film-makers in Latin America today.
María Aparicio presents the working process behind her film De sol a sol (From Sun to Sun), along with a brief journey through the films prior to this project and her filmic searches in recent years. Aparicio synthesises the storyline of De sol a sol from the silhouettes of a group of men who appear between the stalks of a reedbed. Their knives glisten as the sun hits them, flashing and disappearing with their hand movements. Apprentices split the canes using no method; seasoned workers cut with skill. They are workers from a sugar mill in northern Argentina and are watched by Juan Bialet Massé, accompanied by Rosich, assistant and photographer. It is Argentina in 1904 and he is carrying out a mission assigned to him by his country’s government: to travel the Argentinian provinces, reporting on the state of the working classes.
Andrés Jurado, for his part, will look over his own work and the work of the La Vulcanizadora lab in this session. He will also open the archive stemming from the research process in the project Tonada, a journey through the succession of peace agreement betrayals in the history of Colombia. From the colonial era, understood in tumultuous terms, as a hurricane that keeps swirling, to the present day he traces the stories of people like Tacurrumbí, Benkos Biohó, Bateman and the many women and men who were betrayed by governments and oppressors. Tonada seeks to build a sound and film dialogue between the guerrilla disarmament of 1953 and the period following the peace agreement of 2016, invoking these and other events and confronting traumas of betrayal through a film composition devised to be sung. But what is sung? Some of these songs are heard and voices are shared in this presentation.
The Joaquim Jordà Residences programme for film-makers and artists was set in motion by the Museo Reina Sofía in 2022. The initiative comprises a grant for writing a film project rooted in experimentation and essay, as well as two subsequent residencies in FIDMarseille and Doclisboa, international film festivals devoted to exploring non-fictional film and new forms of audiovisual expression.
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Thursday, 6 November - 8pm
The encounter between Spanish DJ and producer Ylia and visual artist Marta Pang is presented in the form of a premiere in the Museo Reina Sofía. Both artists converge from divergent trajectories to give form to a new project conceived specifically for this series, which aims to create new stage projects by setting out from the friction between artists and dialogue between disciplines.