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Tuesday, 10 October 2023 Nouvel Building, Protocol Room
Conversation with Chris Ware
— Participant: Elisa McCausland
Tickets -
Wednesday, 11 October 2023 Nouvel Building, Auditorium 400
Encounter with Chris Ware
— Participants: Carla Berrocal, Enrique Bordes and Raquel Jimeno
Tickets
Chris Ware, ACME Novelty Library, 2022 © Chris Ware
Date and time
Held on 10, 11 Oct 2023
The Documents programme explores the relationships between art and publishing, examining themes that include the effects of archive on narratives of art history, the artist’s book and publishing as an artistic practice. This instalment centres on the work of draughtsman and cartoonist Chris Ware (Omaha, Nebraska, 1967), one of the pre-eminent names in independent comics. Ware will also take part in a conversation with Elisa McCausland and encounter with Carla Berrocal, Enrique Bordes and Raquel Jimeno.
The comic can be regarded as a form of visual writing which, in contrast to prose, gives rise to associations and forms of reminiscence through the conjunction of text and image. Using this quality, Ware explores the borders between the real and the imagined, untethering the full potential of a perfected and virtuoso drawing to shape an architectural world inhabited by profoundly melancholy beings. Such examples are the orphan Jimmy Corrigan, the lonely Rusty Brown or the sad mouse Quimby, a version of Ignatz the mouse, a character by his much-admired George Herriman, one of the pioneers of the medium alongside Winsor McCay, or more recently Charles Schulz, both of whom Ware also cites and pays homage to. Despite their predicaments of failure and marginalisation, these characters continue to dream of other lives, a strain between the realism and escapism characterising the universe and personal history of the comics the artist creates. A further hallmark of his practice are his graphic novels straddling book and artefact, and his design of every aspect, from the typeface to the binding, from the overall storyline to the complex world in each vignette. Moreover, he explores and expands the creative possibilities of the book as an object, as in Building Stories (Pantheon Graphic Novels, 2012), a collection in box format which contains fourteen different types of printed works — newspapers, magazines, folded boards, pamphlets and leaflets — in no particular order and can thus be read depending on the connections each reader wishes to make.
At once a brilliant inventor and methodical artisan of books, Ware has connected with the origins of the comic book, putting forward powerful narrative revisions, and showing us, in a celebration of reading, narration and the page, how the comic strip and drawn stories, even in the digital age, are among the most fascinating artistic practices of our time.
Organised by
Museo Reina Sofía, Centro José Guerrero (Granada City Council) and La Madraza. Centro de Cultura Contemporánea (University of Granada)
Programme
Collaboration
illycaffèParticipants
Chris Ware is a cartoonist. His graphic art, which draws inspiration from American artists from the beginning and middle of the twentieth century, and experiments with the language of the medium are a reference point for scores of cartoonists and illustrators worldwide. His graphic novel Jimmy Corrigan: The Smartest Kid on Earth (2000) won the Guardian First Book Award (UK, 2001) and the Angoulême International Comics Festival Prize for Best Album (Angoulême, France, 2003), while Building Stories received the Eisner Award in 2013. His work has also been displayed in museums such as the Whitney Museum of American Art (New York, 2002), the Museum of Contemporary Art (Chicago, 2006) and Centre Georges Pompidou (Paris, 2022). His practice extends beyond the sphere of the cartoon strip, encompassing illustration and graphic design, as shown by his different covers for The New Yorker or his design of George Herriman’s series Krazy & Ignatz for the publishing house Fantagraphics (2019–2023).
Carla Berrocal is an illustrator and cartoonist. Notable among her publications are Epigrafías (Libros del Autoengaño, 2017), La geometría de los silencios: Relatos reales de vidas imaginarias (CEPE, 2019) and Doña Concha. La rosa y la espina (Reservoir Books, 2021). For the third project mentioned she received a MAEC-AECID Comic Book Grant from the Spanish Academy in Rome. Furthermore, she has curated, with Elisa McCausland, the exhibition Presentes: autoras de tebeo de ayer y hoy (Colectivo de Autoras de Cómic and AECID, 2016), which has toured different institutions.
Enrique Bordes is an architect and researcher specialised in graphic art and comics. His work encompasses different spheres such as the comic strip, architecture, museography and photography. Since 2003, he has combined his professional work with university lecturing and, in 2015, was awarded a grant from the Royal Academy of Spain in Rome, in the Design section. He is the author of the publication Cómic, arquitectura narrativa (Cátedra, 2017).
Raquel Jimeno is an activity coordinator at the Museo Reina Sofía.
Elisa McCausland (1983) is a journalist, critic and researcher specialised in comics. She is a regular contributor to Radio 3, Dirigido por, El Salto and Sofilm, and her most notable publications include Wonder Woman. El feminismo como superpoder (Errata Naturae, 2017) and, with Diego Salgado, Supernovas. Una historia de la ciencia ficción audiovisual (Errata Naturae, 2019) and Sueños y Fábulas. Historia de Vertigo (Ecc Ediciones, 2022). Furthermore, she has curated the exhibition Presentes: Autoras de tebeo de ayer y hoy (Rome, 2016), and promoted Colectivo de Autoras de Cómic (The Collective of Women Comics Artists) and is a member of the ECC-UAH Chair of Comic Research and Culture.
Más actividades
Rethinking Guernica
Monday and Sunday - Check times
This guided tour activates the microsite Rethinking Guernica, a research project developed by the Museo Reina Sofía’s Collections Area, Conservation and Restoration Department and the Digital Projects Area of the Editorial Activities Department, assembling around 2,000 documents, interviews and counter-archives related to Pablo Picasso’s painting Guernica (1937).
The visit sets out an in-situ dialogue between the works hung around the painting and a selection of key documents, selected by the Museo’s Education Team and essential to gaining an idea of the picture’s historical background. Therefore, the tour looks to contribute to activating critical thought around this iconic and perpetually represented work and seeks to foster an approach which refreshes our gaze before the painting, thereby establishing a link with the present. Essentially revisiting to rethink Guernica.
Dear Felix:
Saturdays at 6pm
The immediately recognisable art of Felix Gonzalez-Torres, which is on display, from May to October 2026, in the show Sweet Revenge, moves beyond the transmission of messages laden with poetic evocation, vital or biographical reflection, or even a clear political or ethical positioning. Rather, it seeks an active response by visitors to the exhibition. His work invites engagement with these messages so that, whether delighting, moving or challenging, it still prompts viewers to participate in the dialogue and complete the artistic undertaking with their own actions.
Thus, the guided tour Dear Felix: offers a shared, dialogue-inflected tour through the show, with the aim of collectively thinking and feeling the gestures the artist’s work puts forward. Ostensibly simple actions such as crossing through a beaded curtain to take a sweet and eat it, taking a poster from a stack of paper or simply observing a billboard closely, all contain ways of understanding life, loss, love, injustice or the passing — never linear — of time. The tour’s ultimate aim is not to set meanings or create an overload of interpretations of the work, nor does it seek to crystallise an image of the artist and his life in a response to questions which are not there. It looks instead to provide a space to open shared meaning in these apparently simple objects and to attempt a possible correspondence of return from the here and now. A lumbering attempt at responding which starts with a simple Dear Felix:
1926–2026: One Hundred Years of the Lyceum Club Femenino
Thursday, 2 July 2026
The Lyceum Club Femenino (Lyceum Women’s Club) was established in Madrid in 1926, constituting a space which opened new pathways for women to participate in Spain’s intellectual, artistic and political life in the first third of the twentieth century, and for figures such as designer Victorina Durán, pedagogue María de Maeztu, lawyer and politician Victoria Kent and artist Ángeles Santos, to name but a few. To mark the Madrid Club’s one hundredth anniversary, this research symposium examines its role as a key place for studying women’s and feminist culture in Spain’s Silver Age by analysing and vindicating the different agencies, trajectories and cultural projects that structured the space.
By way of three lectures and two round-table discussions, the symposium sets forth a journey through the Lyceum Club Femenino and the cultural context from which it emerged, from its standing as a pioneering institution to the study of cultural material from the period and the process of constructing the figure of the “modern woman”. These talks and discussions look to shed light on how new ways of thinking, creating and occupying public space were shaped, expanding the gaze on cultural, educational and social networks linked to the Lyceum — as much concerning its ties with other intellectual and artistic circles as the continuity and transformation of these networks during Republican exile. Finally, the symposium features three artistic interventions conceived to recover the artistic legacy of this space in Madrid.
The Museo Reina Sofia joins the Ministry of Culture’s cultural programme focused on the centenary of the Lyceum Club Femenino via these sessions, co-organised with the Spanish National Research Council (CSIC).
Robert Capa
Friday, 26 June 2026 – 6pm
This international encounter centred on the figure of Robert Capa (Budapest, 1913 — Thai Binh, Vietnam, 1954), one of photojournalism’s pre-eminent figures, is held within the framework of the government initiative Spain and Freedom. Fifty Years and in conjunction with a cluster of three locations — the building on number 10 Calle Peironcely, the Plaza del Fotógrafo Robert Capa and the San Carlos Borromeo Parish in Vallecas — declared as a Place of Democratic Memory.
The emblematic photo Robert Capa took in 1936 of this area of Republican Madrid, featuring anonymous children talking in front of a bullet-riddled building attacked by Nazi-fascist air forces, has, in recent years, become a catalyst for impassioned collective action vindicating memory and denouncing the horrors and brutality of wars, past and present.
Within this context, representatives from cultural and academic spheres and civil society organisations from Germany, the USA and Spain discuss the legacy of Capa and photojournalism in European democratic memory, exploring in greater depth two citizen initiatives constructed by Europe from its shared memory: #SalvaPeironcely10 (#SavePeironcely10), in Entrevías (Puente de Vallecas), and the Capa Haus Initiative in the Lindenau neighbourhood of Leipzig, both united by the protection and conservation of historical heritage and by the defence of peace.
The round-table discussion features the participation of Cynthia Young, Juan Miguel Sánchez Vigil, Ulf-Dietrich Brumann and José María Uría Fernández and is moderated by Myriam Soto Lucas. Carmina Gustrán Loscos, the commissioner of Spain and Freedom. Fifty Years, will also join the discussion.
equipoMotor
Jueves alternos, 23 de octubre, 2025 - 11 de junio, 2026 - 17:30 h
El programa equipoMotor regresa en su edición 25-26 con un aire espectral y mutante para lanzar la pregunta: ¿y si el Museo fuera «un poco más Frankenstein»? Inspirándose en dicho monstruo y en todas aquellas criaturas que desafían la norma desde los márgenes, el proyecto de mediación cultural Galaxxia diseña y acompaña una edición incisiva, intergeneracional y descentralizadora, donde saberes invisibilizados, cuerpos raros y deseos molestos se entrelazan para generar nuevas formas de imaginación crítica y radical. En los sótanos y corredores del Museo —un particular laboratorio— las dudas no se esconden: son materia prima.
Así, para este curso el equipoMotor convoca a personas de todas las edades que hayan participado en ediciones anteriores de los distintos equipos del Área de Educación a recorrer el Museo como quien manipula un cuerpo abierto: descoyuntando algunas de sus categorías teóricas y artísticas —la necropolítica, lo crip-cuir, la lucha de clases, las políticas del malestar, la decolonialidad, la temporalidad cuir, la descentralización institucional o el feísmo— para articular un relato díscolo, remendado y palpitante.
El programa se estructura en bloques temáticos sobre lo freak como metodología, el trabajo cultural, la intergeneracionalidad y la diversidad territorial. Cada bloque a su vez se despliega en sesiones que combinan disparadores teóricos y estéticos, visitas a exposiciones y espacios liminales del Museo, talleres artísticos con artistas, ejercicios de curaduría audiovisual colectiva y de relatoría radiofónica, así como instancias de activación pública, mediante proyecciones de cine experimental y coloquios compartidos con el público, en complicidad con el archivo Hamaca y el Área de Cine y Nuevos Medios del Museo.
De este modo, la presente edición incorpora una particularidad: el grupo de participantes irá transformándose en un «colectivo curatorial audiovisual temporalmente autónomo», con capacidad de incidir en la programación del Museo y de abrir la conversación de equipoMotor al público general, cuestionando y expandiendo así los límites entre las cabezas que deciden, las manos que producen y los cuerpos y presencias que habitan la institución. Las personas seleccionadas en la modalidad oyente serán invitadas a las proyecciones públicas, así como a otras activaciones y momentos de apertura del equipoMotor.
Frente al relato de un museo homogéneo, pulcro y lineal, apostamos por un Museo disidente, contradictorio y lleno de vida residual. Un Museo que no tema hacerse preguntas incómodas ni mostrar sus cicatrices. equipoMotor. Un poco más Frankenstein no busca repensar el cuerpo de la institución, sino habitarlo en sus desgarros, tal como es: híbrido, inacabado, infecto, fantasmagórico… y cargado de esporas y chispas por venir.