International Dance Day

Dance Attacks in the Museo Reina Sofía

Live Arts

Asaltos de Danza 2014. Museo Reina Sofía. Fotografía de Ignacio Urrutia — *Dance Attacks 2014*. Museo Reina Sofía. Photograph by Ignacio Urrutia

Held on 29 abr 2015

Once again, the Museo joins in with the activities held to mark International Dance Day, to take place on Wednesday 29 April, with a view to giving an artistic practice that is becoming increasingly more prominent in the Museo’s Collection and activities visibility and integrate it into its spaces. The work of artists and producers is ongoing in creating communities and collaboration around multiple pieces, techniques, forms and trends that the art of movement currently manifests.

It is precisely this dialogue between creators and audiences that the Museo seeks to promote as it welcomes Dance Attacks into its spaces, a proposal by the Professional Association of Dance Professionals from the Madrid Community and the Cultural Association for Dance. A total of nine performances, in different spaces inside the Museo, will be carried out, presenting a series of choreographers from the most diverse styles: contemporary dance, Spanish dance, new flamenco and urban dance, which will all enter into dialogue with the spaces and works inside the Museo. The programme will get under way with a reading of the Manifestos of International Dance Day and the screening of Dance Attacks 2014.

Program

Four dance "guides" from the caraBdanza Company will join members of the audience who wish to follow the whole series of choreographed pieces.

12:00 p.m. Sabatini Building, Auditorium

Presentation to the media and guests. A reading of the National and International Manifestos (UNESCO) by José Carlos Martínez, director of the National Dance Company

Diálogos del Alma (Dialogues from the Soul)

Choreography and Performance: Ana Arroyo
Screening of the Dance Attack 2014 videos
12:30 p.m. Sabatini Building, Façade

Remerino (Swing song from Granada)

Iberian Dance Company

Choreography: Manuel Segovia
Dancers: Raquel Ruiz and Alberto Quejido
1:00 p.m. Sabatini Building, Room 102, Richard Serra

PDA (Public Displays Affections)

Company: caraBdanza

Artistic Direction: Gonzalo Díaz and Carolina Márquez
Choreography: Adam Rutherford
Performers: Gonzalo Díaz, Eduardo Alvés, María Fernández, Marcos Montes, Sandra Ostrowski, Jessica Russo, Camille Balcaen and Sandra Martínez
1:30 p.m. Sabatini Building, Garden

Lento

Real Conservatorio Profesional de Danza Mariemma

Choreography: Pedro Berdäyes
Performers: Marcos Galisteo Pedraz, Pablo Badillo Soler, Juan Antonio Pereira Márquez, Nikita Anishchenko, Abraham Iglesias Rodríguez, Diego Francisco Rueda Vizcaíno
2:00 p.m. Nouvel Building, Patio

Reinterpreting Rosas danst Rosas

Choreography: Anne Teresa de Keersmaeker
Performers: interested attendees. Open session
2:30 p.m. Nouvel Building, Floor 1, Entrance Hall 104

- 34/35

Carmelo Segura Companhia

Choreography: Carmelo Segura
Dancer: Carlos Rod
3:00 p.m. Sabatini Building, Room 206.07

A palo seco

Choreography and Performance: Sara Cano
3:30 p.m. Sabatini Building, Room 203

Palo en la rueda

Choreography and Performance: Poliana Lima
4:00 p.m. Nouvel Building, Patio

Revolting children

Artistic Direction: Víctor Ullate Roche
Choreography: Alberto Sánchez
Performers: Raúl Álvarez, Yanira Vallejo, Alia Shawa, María Ángeles Sánchez, José Miguel Martín, Marina Prieto Baena, Gabriel González, María Teresa Mínguez, Lucia Cardona, Jesús Santana, Marta Mateos, Sara Vega, Gema Mateos, Adriana Merlo, Lucia Ranz, Danel Xabier Nogales, Fanny Souto, Diego Ramírez, Naiara Álvarez, Tamia Déniz, Alba Sáiz, Mª Ángeles de la Torre, Olga Barrios Zurita, Andrea Carnicero Sacristán, David Bernal del Valle, Mario del Campo Castillo, Gemma Romero Batalla, Georgina Sánchez Lomba
Faculty: Alberto Sánchez Diezma, Víctor Ullate Roche, Nuria Sánchez González, Daniel Merino Conde-Salazar

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Activity

Live Arts

International Dance Day

Open session. Reinterpreting Rosas danst Rosas by Anne Teresa de Keersmaeker

Activity

Workshop

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Workshop on Amerindian Languages

Vista de la exposición Eva Lootz. Hacer como quien dice: ¿y esto qué es?, Museo Reina Sofía, 2024

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Film and Video

Film Thinking about Film

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Research

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L’Armari de la Memòria, archivo de la Generalitat Valenciana. Cortesía: L’Armari de la Memòria

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Encounter

Ecologies of Utopian Desire

Miguel Brieva in Conversation with Julia Ramírez-Blanco and Alberto Berzosa

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Encounter

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Encounter with Jaume Franquesa and Iñaki Prádanos

Ángel Alonso, Charbon [Carbón], 1964. Museo Reina Sofía

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Wednesday, 4, and Thursday, 5 March 2026
The 27th Contemporary Art Conservation Conference, organised by the Museo Reina Sofía’s Department of Conservation and Restoration, with the sponsorship of the MAPFRE Foundation, is held on 4 and 5 March 2026. This international encounter sets out to share and debate experience and research, open new channels of study and reflect on conservation and the professional practice of restorers.

This edition will be held with in-person and online attendance formats, occurring simultaneously, via twenty-minute interventions followed by a five-minute Q&A.

Submitting Proposals

The deadline for presenting proposals ends on 28 September 2025. Those interested must send an email to jornada.conservacion@museoreinasofia.es, submitting the following documents:

An unpublished proposal related to the conservation or restoration of contemporary art.

A 1,700-word summary, written in Word, on the theme addressed. Please indicate the topic at the top of the document with five keywords and the presentation format (in-person or virtual). Preference will be given to the in-person format.

CV and contact details.

Only one proposal per person will be accepted.

Proposals related to talks given in the last three conferences will not be accepted.

Proposals may be submitted in Spanish, French or English and will be evaluated by a Scientific Committee, which will select the submissions to be presented during these conference days and will determine their possible participation in a subsequent publication, the inclusion of which will undergo a second and definitive evaluation by the Editorial Committee.

For submissions in a virtual format, participants must send a recording following certain technical requirements they will receive once participation is confirmed.

The programme of sessions will be published in the coming days.
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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.
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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?

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