Esperpento. Popular Art and Aesthetic Revolution

Difficulty. Forms and Political Effects of Deviation in Writing and Contemporary Art is a study group aligned towards thinking about how certain contemporary artistic and cultural practices resist the referentiality that dominates the logics of production and the consumption of present-day art. At the centre of this proposal are the concepts of difficulty and deviation, under which it brings together any procedure capable of preventing artistic forms from being absorbed by a meaning that appears previous to and independent from its expression. By ensuring the perceptibility of their languages, difficulty invites us to think of meaning as the effect of a signifying tension; that is, as a productive and creative activity which, from the materiality of art objects, frees aesthetic experience from the representational mandate and those who participate in it from the passiveness associated with tasks of mimesis and decoding.

The economy of the referential norm translates the social logic of capitalism, where insidious forms of capturing subjectivity and meaning operate. In the early 1980s, and adopting a Marxist framework, poet Ron Silliman highlighted how this logic entailed separating language from any mark, gesture, script, form or syntax that might link it to the conditions of its production, rendering it fetichised (as if without a subject) and alienating its users in a use for which they are not responsible. This double dispossession encodes the political strategy of referential objectivity: with no subject and no trace of its own consistency, language is merely an object, that reality in which it disappears.

The political uses of referentiality, more sophisticated today than ever before, sustain the neoliberal-extractivist phase of capitalism that crosses through present-day societies politically, economically and aesthetically. Against them, fugitive artistic practices emerge which, drawing from Black and Queer studies and other subaltern critical positions, reject the objective limits of what exists, invent forms to name what lies outside what has already been named, and return to subjects the capacity to participate in processes of emission and interpretation.

Read from the standpoint of artistic work, the objective capture of referentiality may be called transparency. Viewed from a social contract that reproduces inequality in fixed identity positions, transparent in this objectivity are, precisely, the discourses that maintain the status quo of domination. Opposite the inferno of these discourses, this group aims to collectively explore, through deviant or fugitive works, the paradise of language that Monique Wittig encountered in the estranged practices of literature. For the political potency of difficulty — that is, its contribution to the utopia of a free language among equals — depends on making visible, first, its own deviations; from there, the norm that those deviations transgress; and finally, the narrowness of a norm which in no way exhausts the possibilities ofsaying, signifying, referring and producing a world.

From this denouncement of referential alienation, fetishisation and capture, Difficulty. Forms and Political Effects of Deviation in Writing and Contemporary Art turns its attention to the strategies of resistance deployed by contemporary artists and poets. Its interest is directed towards proposals as evidently difficult or evasive as those of Gertrude Stein, Lyn Hejinian, Theresa Hak Kyung Cha, Kameelah Janan Rasheed, Kathy Acker, María Salgado and Ricardo Carreira, and as seemingly simple as those of Fernanda Laguna, Felix Gonzalez Torres and Cecilia Vicuña, among other examples that can be added according to the desires and dynamics of the group. 

The ten study group sessions, held between February and December, combine theoretical seminars, work with artworks from the Museo Reina Sofía’s Collections and exhibitions, reading workshops and public programs. All these formats serve as spaces of encounter to think commonly about certain problems of poetics — that is, certain political questions — of contemporary writing and art.

Difficulty. Forms and Political Effects of Deviation in Writing and Contemporary Art inaugurates the research line Goodbye, Representation, through which the Museo Reina Sofía’s Studies Directorship seeks to explore the emergence of contemporary artistic and cultural practices which move away from representation as a dominant aesthetic-political strategy and redirect their attention toward artistic languages that question the tendency to point, name and fix, advocating instead for fugitive aesthetics. Over its three-year duration, this research line materializes in study groups, seminars, screenings and other forms of public programming. 

Clinic 2628 is a project which supports and brings together writings which stem from the intention to offer a space and sustainable time for research work in art and culture. Framed within an academic context which is increasingly less receptive to the forms in which thinking happens and is expressed, the aim is to rescue the academic from its neoliberal trappings and thus recover the alliance between precision and intuition, work and desire. A further goal is to return writing to a commons which makes this possible through the monitoring of processes and the collectivisation of ideas, stances, references and strategies.

The endeavour, rooted in a collaboration between the Museo Reina Sofía’s Studies Directorship and the Artea research group, via the i+D Experimenta project, is shaped by three annual editions conceived as spaces of experimentation, discussion and a demonstration of writings critical of what is put forward by today’s academia.

What forces, forms and processes are at play when writing about art and aesthetics? In academia, in museums and in other cultural institutions, the practice of writing is traversed by productivist logics which jeopardise rhythms of research and experimentation. The imposition of both scientism inherent in the structure of “the paper” and the quantifying of results which demand a criterion of quality and visibility sterilise and smoothen, from the outset, the coarseness that is particular to writing understood from the concrete part of language: phonic, graphic, syntactic and grammatical resistance connecting the language user to the community the language unites and activates. They also sterilise the roughness enmeshed in the same desire to write, the intuitive, clear and confusing pathways that once again connect the writer to those reading and writing, participating in a common good that is at once discovered and produced.

The progressive commercialisation of knowledge propelled by cognitive capitalism moves further away from the research and production of knowledge in artworks and artistic languages and practices. The work of curators and archive, criticism, performances and essays formerly saw a horizon of formal and emotional possibilities, of imagination that was much broader when not developed in circumstances of competition, indexing and impact. Today, would it be possible to regain, critically not nostalgically, these ways; namely, recovering by forms, and by written forms, the proximity between art thinking and its objects? How to write in another way, to another rhythm, with no more demands than those with which an artwork moves towards different ways of seeing, reading and being in the world? 

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.

Session number two looks to approach film as a place from which cultural work is made visible and processes of production engage in dialogue with artistic creation. From this premise, the session focuses on exploring how audiovisual content is produced, assembled and distributed, from the hands that handle the images to the bodies that participate in its circulation. The aim is to reflect on the invisible effort, precarity and forms of collaboration that uphold cultural life, that transform the filmic experience into an act that recognises and cares for common work.   

Within the framework of the Cáder Institute of Central American Art (ICAC), the Tentacular Museum works in collaboration with Salvadoran artist Jose Campos (La Paz, 1986), known as Studio Lenca, via three collaborative workshops conducted across 2026 and centred on the production of materials for present-day social struggles.

Studio Lenca’s artistic practice draws from his own biography, shaped by a childhood in El Salvador disrupted by civil war and his ensuing migration to the USA, his work including different collaborative installations, for instance Rutas (Routes), made in two spaces, Mixteca in New York and the Casa Tochán hostel in Mexico City, and later displayed at MoMA PS1. A work that configures a space where people who have crossed the border to the USA without documents narrate their journey through images.

Through this gaze, Studio Lenca sets forth different workshops traversed by the core aspects that mark a life of present-day struggles and social movements: rights such as housing, residency registration, healthcare, the regularisation of migrant people and children’s right to play. These workshops, aimed at people, collectives and social movements with an interest in collectively producing images, are conceived as spaces of enjoyment, play and co-existence, where activism germinates from cities, rest and collective construction. Moreover, they are developed to invite people to think about, together and from the artist’s working strand, the materials and collective gestures that can be transferred to public space in demonstrations and street encounters.