Held on 22, 29 Mar 2025
SOS Racismo Madrid and the Alliance for Solidarity, together with Museo Situado, present the fifth edition of the Festival of Anti-racist Culture, in conjunction with the International Day for the Elimination of Racial Discrimination. Through “artivism” and community creative processes, this encounter seeks to raise awareness of hate speech, call for anti-racist action and spotlight the agenda of racialised people. The festival, with the title Cooltura Futura, champions a change of paradigm in which diversity and anti-racism are its cornerstone. The encounter encompasses participatory spaces such as workshops, debates, ballroom and concerts, and features the participation of migrant, racialised and gender and sexual-affective dissidences. The activities that unfold embrace beauty, identity and community love and eschew the narrative of pain to build narratives of future, enjoyment and social transformation, demonstrating that art not only condemns inequalities but also opens pathways from pride, hope and collective strength.
The full programme is available here (in Spanish).
Collaboration
Madrid City Council and Teatro Accesible
Accessibility
Agenda
sábado 22 mar 2025 a las 12:00
Presentation of projects for the Artivism against Racism competition, by the Alliance for Solidarity
Locutorio Itinerante (Itinerant Phone Box) is an installation made by Cindy Paola Martínez-Acosta that draws inspiration from the phone boxes that were prevalent in the 1990s. Via a series of short stories simulating telephone calls from the daily lives of migrant people, the stress is placed on challenges and strong bonds of alliance.
Sonoridades y corpografías sagradas (Sacred Sounds and Corpographies) is a proposal by the Migrantes Transgresorxs collective and is based on a series of encounters and workshops conducted by young people. By way of podcasts, distant memories and histories of resistance interweave to create a combative counter-discourse to racist, xenophobic and LGBTI-phobic narratives.
¿Qué Mi(g)ras? Fanzine, by the ¿Qué Mi(g)ras? collective, which originates from the Artivism Laboratory, puts forward different artistic techniques to make the work of migrant and racialised artists visible. On this occasion they will present a fanzine.
Location: Nouvel Building, Protocol Room
Capacity: 150 people
sábado 22 mar 2025 a las 12:00
Get Ready with Peruvian transvestite Gad Yola
This session sees Gad Yola guide attendees so they can connect with the political history of drag and its relationship with the anti-racist struggle. Through examples and performances, it prompts a reflection on aesthetics and the drag/transvestite/transformist body. During her make-up, hairstyling and dressing process, she questions the Eurocentric and hegemonic canons of beauty, sharing her experience to foster an anti-racist drag culture in Spain while she offers beauty advice on their dismantling.
Accessible activity
The activity is wheelchair accessible and has accessible WCs.
The first row is reserved for people with hearing or visual disabilities.
Location: Nouvel Building, Protocol Room
Capacity: 150 people
sábado 22 mar 2025 a las 13:00
Encounter: Anybody Walking? Dissident Bodies that Inhabit the Ballroom
Perla Naomi, Cacao Díaz and Brad Scott in Conversation
Ballroom culture originated in the USA as a necessary radical act by the LGBTQIA+, Black and Latin community to respond to discrimination. Crystal LaBeija, a Black trans woman, created the first ballroom for Black and Latin people, creating a safe space for the community, in contrast to today, where ballroom culture opens its doors to all bodies, but without forgetting their origins. In this conversation, representatives from the ballroom community in Spain and part of the Kiki House of Laveaux speak about dissident bodies that inhabit it and their roles — those that perform, those that gaze and those that inhabit the ballroom beyond the dancefloor and categories.
Accessible activity
The activity is wheelchair accessible and has accessible WCs.
The first row is reserved for people with hearing or visual disabilities.
Teatro Accesible also supports the activity through the loan of hearing aid devices: personal magnetic induction loop systems and sound amplification with earphones.
Location: Nouvel Building, Protocol Room
Capacity: 150 people
sábado 22 mar 2025 a las 14:00
Community Lunch with Aires de Alondra
A collaborative, community-centred culinary experience conducted by Aires de Alondra. The initiative puts forward gastronomy and culture as a tool for dialogue and care.
Location: Nouvel Building, Protocol Room
Capacity: 150 people
sábado 22 mar 2025 a las 16:00
Queens at the Museum Kiki Ball
A ball is an event created within ballroom culture, with different categories of competition encompassing fields such as dance (voguing, dance-offs), fashion and the fashion show (runway, fashion killah, labels...), face and body (face, body realness) and others such as Black Hair Magic and Commentator vs Commentator. The aim is to create a space where anybody can express themselves on stage.
It sees in the spring as the Queens come together in the Museo Reina Sofía to celebrate another night of bodies that inhabit the ballroom. The space, replete with artworks, also demonstrates how you can break away from avant-gardes and stereotypes and how you can be the masterpiece that enraptures beholders.
Categories: Black Hair Magic, Fashion Killah, Washed Face, Trans Men Realness/FemmeQueen Realness with Posing, Commentator vs Commentator, OTA (Open to All) Runway, Walk for Your Sistah!, OTA (Open to All) Performance, Vogue for Your Sistah! and Dance-off.
Presented by: Perla Naomi, MC QueenBitch 007 and DJ Jourdan McDaniel Laveaux.
Jury: Godmother Koko Anunnaki, Cori Angels and Cacao Laveaux.
Accessible activity
The activity is wheelchair accessible and has accessible WCs on the third floor (access with lift).
Chairs are available for people who require them.
Location: Nouvel Building, Lobby
Capacity: 200 people
sábado 29 mar 2025 a las 11:30
Encounter: Creative Processes, with Noelia Cortés
Writer Noelia Cortés reflects on the power of the imagination, story and the word to transform common imaginaries, and how the Roma people have their own voice, despite the gaze of others constantly making them create from antagonism.
Accessible activity
The activity is wheelchair accessible and has accessible WCs.
The first row is reserved for people with hearing or visual disabilities.
Teatro Accesible also supports the activity through the loan of hearing aid devices: personal magnetic induction loop systems and sound amplification with earphones.
Location: Nouvel Building, Protocol Room
Capacity: 150 people
sábado 29 mar 2025 a las 12:00
Presentation of projects for the Artivism against Racism competition, by the Alliance for Solidarity
Locutorio Itinerante (Itinerant Phone Box) is an installation made by Cindy Paola Martínez-Acosta that draws inspiration from the phone boxes that were prevalent in the 1990s. Via a series of short stories simulating telephone calls from the daily lives of migrant people, the stress is placed on challenges and strong bonds of alliance.
Sonoridades y corpografías sagradas (Sacred Sounds and Corpographies) is a proposal by the Migrantes Transgresorxs collective and is based on a series of encounters and workshops conducted by young people. By way of podcasts, distant memories and histories of resistance interweave to create a combative counter-discourse to racist, xenophobic and LGBTI-phobic narratives.
¿Qué Mi(g)ras? Fanzine, by the ¿Qué Mi(g)ras? collective, which originates from the Artivism Laboratory, puts forward different artistic techniques to make the work of migrant and racialised artists visible. On this occasion they will present a fanzine.
Location: Nouvel Building, Protocol Room
Capacity: 150 people
sábado 29 mar 2025 a las 16:30
Situated Tours of the Collection
Tours of the Collection conducted by mediators from the Aissatou Ndiaye School of Situated Mediation.
The situated tours are life journeys through the Museo Reina Sofía Collection, whereby situated mediators seek to appeal to the desires and needs of migrant communities. Mediation is understood as a space of knowledge production and a vehicle for welcoming anti-racist and decolonial gazes that enrich museological narratives.
Accessible activity
Wheelchair loans and folding cane seats are available to the public
Location: Sabatini Building, rooms of the Collection. Meeting point: Sabatini Building, Main Entrance, Information Desk
Capacity: 40 people
sábado 29 mar 2025 a las 19:00
Conciertos de Pleneros del Exilio y Justicieros de la Cumbia
This session places music at the heart of a proclamation of Latin American and Caribbean culture: preserving its musical community roots and transmitting a cultural legacy of rhythm and dances.
Accessible activity
The activity is wheelchair accessible and has accessible WCs.
Seats are available for those who need them.
Accessible activity with vibrating backpacks provided by Teatro Accesible, with prior request by filling out a form from SOS Racismo Madrid.
Location: Sabatini Building, rooms of the Collection. Meeting point: Sabatini Building, Main Entrance, Information Desk
Capacity: 40 people
Participants
Aires de Alondra is a cultural association and family initiative that uses gastronomy and culture as tools for dialogue and care.
The ¿Qué mi(g)ras? collective came into being in 2024 from the Alliance for Solidarity’s Artivism Laboratory and puts forward different art techniques to grant visibility to the work of migrant and racialised artists.
Noelia Cortés is a poet and essayist. Her most recent publications include the poetry collection Del mar y la muerte (Editorial Cicely, 2024) and the essay La higuera de las gitanas (Ediciones en el mar, 2022), which analyses the deep-rooted anti-Romani sentiment in spaces such as feminism, culture, the media and language. Her latest work has been as a creative advisor on the documentary Farruquito, premiered in 2025.
Cacao Díaz is an artist of African descent whose practice spans different live-art and stage disciplines, constructing narratives and vibrations through the body that draw inspiration from experiences as a migrant and trans body. Díaz’s relationship with ballroom culture connects to affective communities of sexual dissidences and migrants, while the artist’s creative research focuses on recovering the stolen body, Afro-descendent rituals, transvestite fiction and performances of the body.
The Aissatou Ndiaye School of Situated Mediation is a project fostered by the Museo Situado assembly and the Museo Reina Sofía’s Tentacular Museum and Education Departments, in collaboration with intercultural mediator Hanan Dalouh Amghar. Its objective is for the Museo to be a more accessible space that is mindful of the demands of the community of which it is part, geographically and affectively, understanding mediation as a space of knowledge production and a vehicle for welcoming anti-racist and decolonial gazes which enrich the narratives of the Museo’s Collections. The Situated Mediators run visits to the Museo which appeal to the desires and needs of its communities and conduct them in Spanish and other languages such as Wolof, Bengali, Darija, Arabic and French.
Justicieros de la cumbia is a music band which plays a mix of cumbia, rock, reggae, funk, with a dash of madness, creating a stage-shaking musical experience.
Cindy Paola Martínez-Acosta is a political scientist and researcher.
Migrantes Transgresorxs formed in 2009 as a focal point of the LGBTI+ social movements of migrant, refugee and racialised people in Spain. The intersectional collective fights to preserve racialised lives and enhance the construction of migrant communities through encounters, workshops, actions and campaigns on human, social and cultural rights.
Perla Naomi is a trans-Indigenous-migrant artist. With a degree in Fine Arts from the Complutense University of Madrid, she works inside the framework of ballroom, opening new paths from an anti-racist, decolonial, trans and queer discourse. She has shown her work at Matadero Madrid, the Centro de Arte Dos de Mayo, La Parcería, the Centro de Cultura Contemporánea Condeduque, the Festival Ciudad Bailar, the SOS Racismo’s Anti-racist Festival in Puerta del Sol in 2019, the Boiler Room Festival, CoruFest, Noche Blanca Oviedo and Don’t Hit a la Negrx, among other art events.
Pleneros del exilio are a Madrid-based Puerto Rican band who come together to preserve idiosyncrasy. The rich musical rhythms that characterise Puerto Rico are the main vehicle they use to proclaim Latin American and Caribbean culture, taking it to stage and street.
Brad Scott was born in Venezuela and currently lives in Madrid. For the past four years, Scott has been actively involved in the ballroom community, most notably as the Princess in the House of Laveaux, as well as performing, during this period, in renowned spaces like La Casa Encendida, Matadero Madrid and Noche Blanca Oviedo.
Youssef Taki is an artist and researcher whose work encompasses, from different approaches, an understanding of migratory processes and colonial and post-colonial occurrences, analysing how they impact the present and daily life. Taki is part of the Al’Akhawat collective.
Teatro accesible is a pioneering project centred on integrating accessibility measures into theatre in Spain. It was set up in 2011 with the support of the Vodafone Foundation, the Centro de Rehabilitación Laboral Nueva Vida and the technology and accessibility company Aptent. Their approach centres on adapting plays by incorporating subtitling, audio description and sign language, as well as creating inclusive experiences such as touch tours and accessible talks for people with vision impairments.
Gad Yola is a multidisciplinary artist who, through the practice of drag, creates a critical discourse around heteronormativity and European whiteness. Born in Lima and raised in Madrid, she works to disrupt and rethink institutions, exhibition rooms and Spanish pop culture. She holds a degree in Audiovisual Communication from the Universidad Carlos III in Madrid and employs music and audiovisual production to express her opposition to racism and LGBTI phobia.
Más actividades
![Joseph Kosuth. One and Three Chairs [Una y tres sillas]](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/joseph_kosuth.jpg.webp)
The (legal) person and the legal form. Chapter III
Monday 11, Wednesday 13 and Thursday 14 May 2026
As part of the Studies Constellation, the Study Directoship’s annual fellowship, art historian and theorist Sven Lütticken leads the seminar The (Legal) Person and the Legal Form: Theoretical, Artistic, and Activist Commitments to foster dialogue and deepen the hypotheses and questions driving his research project.
The seminar consists of eight sessions, divided into three chapters throughout the academic year. While conceived as non-public spaces for discussion and collective work, these sessions complement, nourish, and amplify the public program of the Studies Constellation.
First session of the third chapter focuses on the transformation of the artwork in the context and wake of Conceptual art. The very notion of the artwork, together with its ownership and authenticity, is reconsidered from a broad perspective open to new and alternative models of management, which could ultimately transform the relationship between artist, artwork and owner. Can some of the practices in question serve as critical models? To what extent is it possible to think and act with them, and extrapolate from them, beyond a beautiful niche?
The second session turns to the question of representation. While many (but not all) human natural persons can, in principle, represent themselves in legal matters, other needs representatives. This goes for minors as well for adults who have been placed under legal guardianship; it applies to fictitious persons such as corporations and states, who need human representatives to sign contracts or defend them in court. We will look into the question of legal representation in conjunction with other forms of representation, in the cultural as well as political register—taking cues from Spivak’s distinction between portrait (Darstellung) and proxy (Vertretung), which is an unstable and historically mutable one.
The seminar concludes with a closing session dedicated to collectively revisiting and reflecting on the themes and discussions that have emerged throughout the first Studies Constellation Residency Program.
Patricia Falguières
Tuesday May 12th 2026 – 19:00 h
Art historian Patricia Falguières inaugurates the María Luisa Caturla Chairwith the lecture Art History in Dark Times. This Chair, dedicated to the reflection on art in times «sick with uncertainty», is aimed at dismounting, digressing and imagining multiple temporalities and materialities in art history and cultural studies from an eccentric gaze, in the sense of being displaced, off-centre or with a centre that is different.
The lecture’s title references Hannah Arendt’s collection of essays Men in Dark Times, which in turn paraphrases a Bertol Brecht poem. In it, Arendt asserts «dark times are not only not new, they are no rarity in history».
Patricia Falguières also claims history knows many periods when the public realm has been obscured, when the world becomes so uncertain that people cease to ask anything of politics except to relieve them of the burden of their vital interests and their private freedom. The art historian —whose expertise is in the field of Renaissance art and philosophy but paying close attention to contemporaneity— invites us to a «chaotic and adventurous journey», from the Italian Renaissance to Fukushima, through which to delve into the questions: What can the practice of art history mean today, in a world ablaze with ominous glimmers and even more ominous threats, if not as mere entertainment or social ornament? Of what vital interests, of what freedom can it bear witness and serve as an instrument?
![Tracey Rose, The Black Sun Black Star and Moon [La luna estrella negro y negro sol], 2014.](https://recursos.museoreinasofia.es/styles/small_landscape/public/Obra/AD07091_2.jpg.webp)
On Black Study: Towards a Black Poethics of Contamination
27, 28, 29 ABR 2026
The seminar On Black Study: Towards a Black Poethics of Contamination proposes Black Study as a critical and methodological practice that has emerged in and against racial capitalism, colonial modernity and institutional capture. Framed through what the invited researcher and practitioner Ishy Pryce-Parchment terms a Black poethics of contamination, the seminar considers what it might mean to think Blackness (and therefore Black Study) as contagious, diffuse and spreadable matter. To do so, it enacts a constellation of diasporic methodologies and black aesthetic practices that harbor “contamination” -ideas that travel through texts, geographies, bodies and histories- as a method and as a condition.
If Blackness enters Western modernity from the position of the Middle Passage and its afterlives, it also names a condition from which alternative modes of being, knowing and relating are continually forged. From within this errant boundarylessness, Black creative-intellectual practice unfolds as what might be called a history of touches: transmissions, residues and socialities that unsettle the fantasy of pure or self-contained knowledge.
Situated within Black radical aesthetics, Black feminist theory and diasporic poetics, the seminar traces a genealogy of Black Study not as an object of analysis but as methodological propositions that continue to shape contemporary aesthetic and political life. Against mastery as the horizon of study, the group shifts attention from what we know to how we know. It foregrounds creative Black methodological practices—fahima ife’s anindex (via Fred Moten), Katherine McKittrick’s expansive use of the footnote, citation as relational and loving labour, the aesthetics of Black miscellanea, and Christina Sharpe’s practices of annotation—as procedures that disorganise dominant regimes of knowledge. In this sense, Black Study is approached not as a discrete academic field but as a feel for knowing and knowledge: a constellation of insurgent practices—reading, gathering, listening, annotating, refusing, world-making—that operate both within and beyond the university.
The study sessions propose to experiment with form in order to embrace how ‘black people have always used interdisciplinary methodologies to explain, explore, and story the world.’ Through engagements with thinkers and practitioners such as Katherine McKittrick, C.L.R. James, Sylvia Wynter, Christina Sharpe, Fred Moten, Tina Campt, Hilton Als, John Akomfrah, fahima ife and Dionne Brand, we ask: What might it mean to study together, incompletely and without recourse to individuation? How might aesthetic practice function as a poethical intervention in the ongoing work of what Sylvia Wynter calls the practice of doing humanness?
Mediations of the Archive: Art, Community, and Political Action
Tuesday 7, and Thursday 23, April, 2026 – 17:00 h
The online seminar Archival Mediations: 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.
Intergenerationality
Thursday, 9 April 2026 – 5:30pm
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.
The third session gazes at film as a place from which to dismantle the idea of one sole history and one sole time. From a decolonial and queer perspective, it explores films which break the straight line of past-present-future, which mix memories, slow progress and leave space for rhythms which customarily make no room for official accounts. Here the images open cracks through which bodies, voices and affects appear, disrupting archive and questioning who narrates, and from where and for whom. The proposal is at once simple and ambitious: use film to imagine other modes of remembering, belonging and projecting futures we have not yet been able to live.