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Thursday, 13 October 2022 Sabatini Building, Room 102
Doble muda. Alejandra Pombo Su
TicketsAnimal presence is not theatrical; animals do not build an external image of themselves in relation to their appearance. Their behaviour is not based on trying to be something. Rather, their presence is full at all times. It is about being a situation and a place. The artist explores this animal presence with the voice, in vibration and transformation, as a body that sheds its skin towards an open and undefined space.
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Thursday, 13 October 2022 Nouvel Building, Protocol Room
duet. Kike García and Fran MM Cabeza de Vaca
Ticketsduet is the search for different compositional, matter and movement-based relations via the dialogue between a violin, a shawl, a musician and a dancer. The qualities of each element are explored, from listening and touch, from passiveness with agency and enjoyment, from doing, undoing, re-making. The possibilities of dancing and touching become infinite and invite semantic liberation.
It is the weight, the volume, the caress, the acoustics, the “infamous” form that creates movement. The shawl also dances, moves, holds the person wrapped in it and adapts to new forms of being together. In conversation, the violin develops into a surface from which to resignify touch as tact: rubbing, brushing, vibrating and making the instrument’s wood emerge, the horse hair, the metal, air and strings, the meteoric relationship with the shawl.
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Thursday, 13 October 2022 Sabatini Building, Room 102
Envioletá / un estudio. Javiera de la Fuente
TicketsHere the body is constructed, or, in addition to the body I carry — almost naked yet full of information — wishes to be emptied and filled again. It occurs once more in the encounter with flamenco, with a kind of skin I inherit but also choose, which questions and welcomes me.
Javiera de la Fuente
There was a time in the early musical career of Violeta Parra when, encouraged by her brother and guide Nicanor, she focused on Spanish genre music in the 1940s, ultimately winning a Spanish dance and song contest with the famed copla entitled La zarzamora. That little-known anecdote would give rise to Envioletá, a hybrid project lying between personal research on that universal artist, critical thought, flamenco, song, tradition and experimentation. More than an artwork, Envioletá is, above all, a series of physical and relational states, a mode of art-making and being. She presents here Envioletá / un estudio, a capsule that seeks to stir, move, slide, fade, touch and be touched by the tactile and the textile, singing and dancing this hidden part of the poetic, sound and performative legacy of Violeta Parra and also La zarzamora which mirrors flamenco culture.
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Friday, 14 October 2022 Sabatini Building, Auditorium
ESTUDIO IV in Conversation
TicketsThis activity looks to bring the audience closer to the different performance pieces by approaching research fields which explore the different projects. Thus, it constitutes a common learning space in the form of a conversation between speakers in collaboration with the artists participating in this fourth edition. Set out around three conversations, the encounter prompts a reflection, questions and shared references as well as detecting and revealing common interests, connections and potential.
Held on 13, 14 Oct 2022
The Museo Reina Sofía presents the fourth edition of ESTUDIO, an annual programme which brings together work in a range of formats and is the outcome of research conducted by a series of artists and researchers whose practices are tied, either directly or dialogically, to the sphere of choreography and performance.
Under the title Second Skin. Subcutaneous, this latest edition approaches people’s relationship with the world through the skin, understood both in the literal sense, the integumentary system which covers the body of vertebrate animals, and figuratively, the layer or layers of experiences, affection, knowledge, tradition or bodily techniques determining appearance and relationships.
Under the skin, the fabric, the dress or the shawl, under the voice, the structure of language and the human appearance a subcutaneous surface stretches across which, like the skin, operates as a living organ. This second layer, furthermore, appeals to the archive of memories: that which is lived, inherited, learned, which is an unapproachable, hypodermic, printed archive in the lymphatic layer that acts as a membrane fostering symbiotic processes with the environment.
If, as Juhani Pallasmaa writes in The Eyes of the Skin. Architecture and the Senses (Wiley, 1996 [2012]), “all the senses, including vision, are extensions of the tactile sense, like specialisations of skin tissue”, then this programme calls upon us to haptically, sensually and sensorially move closer via works that experiment in and with the edges of the skin. The sonority of the voice, the physical vibration in space, reinforces and confuses the identification of the human voice as an animal roar. The movement of fabric on the body creates tension in the dialogue that dance, as a poetic movement and technical tradition, has held with certain textiles such as the Manila shawl or the tailed gown.
Therefore, in line with the dynamic of previous editions, ESTUDIO IV elicits a step-by-step journey over the course of an afternoon, offering three performances held in two spaces inside the Museo: the Nouvel Building’s Protocol Room, located in the building’s highest point, and Room 102 in the historic Sabatini Building, the site of the former San Carlos Hospital, founded in the eighteenth century. The programme is completed with ESTUDIO IV in Conversation, an encounter organised with dialogues between participating artists and speakers who collaborate in their processes.
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Ángela Bonadies is an artist whose work explores time and memory, that which resists, fades and which is out of place. Her practice sets out from photography, expanding towards mediums such as writing and drawing. She has participated in exhibitions that include A Universal History of Infamy (LACMA, Los Angeles and 18th Street Arts Center, Santa Monica, 2017), La pesca (Galería Freijo, Madrid, 2019), Cruzando la línea (Cinemateca Distrital de Bogotá, 2019), De confines y confinamientos (Fundación Municipal Bienal de Cuenca, Ecuador, 2020) and En las entrañas de la bestia (La Virreina Centre de la Imatge, Barcelona, 2022).
Ángel Calvo Ulloa is an exhibition curator and art critic with a degree in Art History from the University of Santiago Compostela and an MA in Contemporary Art from the University of Vigo. He has curated exhibitions such as Complexo Colosso (Centro Internacional das Artes José de Guimarães [CIAJG], 2021) and Habitación. Archivo F.X. (Centro de Arte Dos de Mayo [CA2M], Museu Nacional d'Art de Catalunya [MNAC] and La Nau, 2018–2019). Moreover, he has carried out projects for other institutions such as Artium Museoa in Vitoria-Gasteiz, the Museo de Arte Contemporánea de Vigo (MARCO), the Centro de Cultura de España in Mexico (CCEMX) and La Casa Encendida in Madrid, among others. Together with Juan Canela, he has published Desde lo curatorial. Conversaciones, experiencias y afectos (consonni, 2020).
Javiera de la Fuente is an artist and flamenco dancer who explores languages in close proximity to performance in unconventional stage spaces, combining critical reflection and dance in hybrid formats such as the performance lecture. She has performed with this format in the following spaces: Bergen Assembly (Aire del Mar. Canciones de la guerra social contemporánea, 2019), the European Forum For Advanced Practices at the Centro de Arte Dos de Mayo in Móstoles (El drama de una realidad Sur, 2019) and the Federico García Lorca Foundation in Granada (Una niebla invisible, 2022).
Kike García is a dancer, choreographer and embroiderer. He began learning taekwondo at the age of four and continued towards contemporary dance, butoh and flamenco, bringing together all of these languages of movement. A graduate from the HZT-UdK Inter-University Centre for Dance in Berlin, he has presented his work with different choreographers in Reykjavik, Madrid, Casablanca, Athens and Berlin. Furthermore, he has transferred his investigations in the field of movement, dance and performance over to embroidery.
Pablo Marte is an artist, writer and researcher who has made audiovisual and film pieces such as Imperial Eyes (2015), Mañana Goodbye (with Marion Cruza Le Bihan, 2016) and Venceremos (with Taxio Ardanaz, 2021). With consonni, he carried out the project El problema está en el medio (2013), the theatre work Again Again(st) (2013) and Pretty Woman (2014), a fictional essay in book format and a curatorial work featuring ten interventions by other artists. Moreover, he has collaborated with researchers like Isabel de Naverán, Aimar Arriola and Idoia Zabaleta. In 2021, he was involved in founding Basilika, a space of cultural critique podcasts, where he produces the programmes Sector Conflictivo and Informe Infame.
Fran MM Cabeza de Vaca is a composer, sound artist and music teacher. He has premiered instrumental, electronic and performance pieces at various national and international festivals, and as a composer and performer he has participated in the stage pieces La Casa, by Aitana Cordero, and ECLIPSE : MUNDO, by Paz Rojo. His audiovisual work has led to his involvement with the ZEMOS98 collective. Since 2012, he has worked closely with the poet María Salgado, most notably on the trilogy of audio-textile works Jinete Último Reino Frag.1-3 (2017–2021). As a performer, he is currently an active part of Fanfarria Transfeminista (Tansfeminist Fanfare) in Madrid.
Alejandra Pombo Su is an artist with a degree in Visual Arts from the Complutense University of Madrid, broadening her studies with the MA in Digital Arts from the Pompeu Fabra University and the Independent Studies Programme at the Museu d’Art Contemporani de Barcelona (MACBA). Her work moves between the visual arts, film and performance arts, and she has participated in projects such as What is Third (La Casa Encendida, Madrid, 2015) and Mugatxoan (LABoral, in Gijón, Fundação de Serralves, in Porto, and Arteleku de Donostia, 2004–2009). She has also carried out residencies at the Atlantic Center for the Arts (Florida, USA) and the PACT Zollverein (Essen, Germany), among others.
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Más actividades
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.
Exile and Alienation
Saturday 30 May and 6 Jun, 2026 - 18:00 H
In the years of the Popular Unity Government in Chile, three young film-makers, Marilú Mallet, Valeria Sarmiento and Angelina Vázquez, went to the offices of Chile Films to present a film project. This session screens three films which convey the three directors’ experience of exile. In Dos años en Finlandia (Two Years in Finland), Angelina Vázquez depicts the social and working conditions of Chileans exiled in the Nordic country. The fictional work Lentement, directed by Marilú Mallet, follows a young Chilean exile around spaces of Montreal blighted by nostalgia and political rage. In Huellas (Fingerprints), Valeria Sarmiento returns to Chile to explore the memory of violence inflicted by Pinochet’s military dictatorship. The session culminates in a talk with the three directors, gathered here for the first time.
From North to South and South to North
Sunday 31 May and Friday 5 June, 2026
In a kind of road movie, Marilú Mallet travels across her native Chile after forty years of exile. The journey is an exploration of the dynamism of national identity, leading the film-maker to return to questions previously explored in her filmography and to search for new forms of filming the encounter between body and landscape.