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17 and 18 May, 2014
Guided tours
The Museo offers guided tours along the course of its opening hours on both Saturday 17 May and Sunday 18 May, with visits being held every hour from 10.30 a.m. onwards. The programme of visits includes tours around the diverse sections that compose the Collection, a tour through Guernica and its historical contextualisation and a visit to the Playgrounds exhibition.
Aimed at: the general public
Date: 17 and 18 May
Meeting point: the connection between Buildings, Floor 1
Time: From 10.30 a.m. onwards
Length : A maximum of one hour and thirty minutes per visit
Admission : Free, until full capacity is reached
Capacity: 25 people per visitSaturday 17
10.30 a.m. Guernica. A tour through Guernica and its historical contextualisation.
11.30 a.m. Collection 1. A tour around historical Avant-garde movements from the perspective of women as motifs and artists.
12.30 p.m. Collection 2. Body tour, a journey through this core theme to post Second World War artistic creation.
1.30 p.m. Collection 3. A tour that recounts artistic creation from the 1960s to the 1980s, emphasising the new role of art and the artist.4.30 p.m. Guernica. A tour through Guernica and its historical contextualisation.
5.30 p.m. Collection 1. A tour around historical Avant-garde movements from the perspective of women as motifs and artists.6.30 p.m. Collection 2. Body tour, a journey through this core theme to post Second World War artistic creation.
7.30 p.m. Collection 3. A tour that recounts artistic creation from the 1960s to the 1980s, emphasising the new role of art and the artist.
Sunday 18
10.30 a.m. Guernica. A tour through Guernica and its historical contextualisation.
11.30 a.m. Collection 1. A visit that highlights the diversity of the work explored by artists along the first three decades of the 20th century.
12.30 p.m. Collection 2. Body tour, a journey through this core theme to post Second World War artistic creation.
1.30 p.m. Playgrounds. A guided tour of the temporary exhibition Playgrounds. Reinventing the Square.
4.30 p.m. Guernica. A tour through Guernica and its historical contextualisation.
5.30 p.m. Collection 1. A visit that highlights the diversity of the work explored by artists along the first three decades of the 20th century.
5.30 p.m. Playgrounds. A guided tour of the temporary exhibition Playgrounds. Reinventing the Square. -
17 May, 2014
Workshop-Encounter for young people
Admission: free
Capacity: 20 young people from 13 to 18 years of age
Registration: Via email at: hastadieciocho@museoreinasofia.es or by phone: +34 91 774 10 00 Ext. 2096Based around the theme proposed by the IMD, in reference to the bonds created by museum collections, the Team, a group of young people that collaborate with the Museo Reina Sofía, will prepare a special activity that aims to explore the relationship between young people, both male and female aged between 13 and 18, and the Museo Reina Sofía, making it a space for encounters and exchanges.
Therefore, the young participants will have the chance to discover, through performances and different group dynamics, spaces that go unnoticed by the average visitor, as well as alternative ways of approaching the works inside the Museo. The rediscovery of the Museo in a group will take place over two hours on the afternoon of Saturday 17 May. After this journey around the spaces inside the Museo, the young people will be able to enjoy an afternoon snack organised by members of the Team.
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18 May, 2014 Nouvel Building, Auditorium 400
Mastretta and his band. Family concert
Admission: Free, with prior ticket collection at the Museo Ticket Offices from 5 May, up to thirty minutes before the performance. A maximum of five tickets (two adults and three children) will be allocated to each person. Places for wheelchair users and hearing loops are available. If you require any of these services, please write to: accesibilidad@museoreinasofia.es
A family-oriented concert that brings together the extensive experience of Nacho Mastretta, a renowned multi-instrumentalist and composer, and the backdrop of the stimulating collections inside the Museo. Mastretta’s band, made up of eight musicians that effortlessly move between different musical styles – from jazz to rock via fusion – will perform a set created specifically for the Museo, where the music will enter into dialogue with a selection of audiovisual pieces from the Collection.
The combination of the visual experience with sound, improvisation and the trust and familiarity between the band and its audience, not to mention the playfulness and humour involved, are the keys to a show that will see an audience made up of children and adults of all ages as the focal point.
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18 May, 2014 Nouvel Building, Auditorium 400
Imagining Miró. Concert and audiovisual performance by the Ignasi Terraza Trio
Admission: Free, with prior ticket collection at the Museo Ticket Offices from 5 May, up to thirty minutes before the performance. A maximum of two tickets will be allocated to each person.
Places for wheelchair users and hearing loops are available. If you require any of these services, please write to: accesibilidad@museoreinasofia.esJazz and painting shake hands in the Suite Miró, a series of pieces inspired by works from the Catalan artist, composed by Ignasi Terraza and played by his Trio. The Suite Miró premiered last year at the National Gallery of Art, Washington, and is presented in Madrid for the first time.
In 1966 Duke Ellington visited Joan Miró in his Nice studio, and played a couple of tunes surrounded by some of his sculptures. This meeting, captured on film, serves as an introduction to the performance created by Ignasi Terraza: a production to make the mind wonder as it imagines Miró’s work through music and poetic description.In a secluded hall cloaked in semi-darkness, the rhythms and sounds produced by the Trio are submerged in the imagery of Miró’s work, recreated through poetic descriptions and thought-provoking pieces written by Carlota Polo, as well as images created by the video artist David Cid.
The performance is offered to visitors free of charge thanks to the support of the Orange Foundation and the ONCE Foundation and represents an inclusive cultural initiative aimed at people with or without visual impairments. One and all are invited to share the mental images and sound creations composed by the blind pianist Ignasi Terraza via the world of Miró.
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17 and 18 May, 2014 Nouvel Patio
Privolva Landing
Admission: Free
Privolva means the other side of the moon, the face never seen from the Earth. Three bodies move between the individual and the collective, and are interdependent and functional, like an efficient and unique body that creates the opportunity for survival or limitation. Privolva sets forth a choreographed hypothesis of bodies that become homogenised and work in series in a possible dystopian future, comprehending homogenisation as a safe, but equally limiting, place that dilutes identities. Privolva Landing is found within an undefined space, one that is multi-dimensional and poetic. And what if in the future we had shared individualities? And what if in the future bodies became homogenous? And what if to take a step forward meant we needed another to take that step? This dance piece, based around sci-fi imagery, is created and directed by Olatz de Andrés, who won First Prize in the Choreography Competition in Madrid.
Olatz de Andrés is a choreographer, dancer and art manager. Since 2010 she has co-managed the dance and creation space Muelle 3, in Bilbao.

Held on 17 May 2014
Once again, the Museo Reina Sofía joins the annual celebration of International Museum Day (IMD) with two open days and a selection of activities that aim to take a deeper look at the dialogue between the collections and the public, as well as reinforcing the idea of the museum as a space for non-disciplinary education and collective learning. The theme proposed by IMD this year, the ties created by museum collections, is a reminder of how museums are living institutions that allow bonds to be created between visitors and their collections, maintaining and reviving the relationship of a community and its history, and presenting spaces for dialogue between generations.
Along with other activities, the Museo presents an extensive programme of guided tours, a family concert performed by Mastretta and his band, the concert and audiovisual performance Imagining Miró, by the Ignasi Terraza Trio, and the dance piece Privolva Landing by the choreographer and dancer Olatz de Andrés.
Admission to the Museo is free on 17 and 18 May.
Organised by
Museo Reina Sofía
Educational program developed with the sponsorship of

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Economy of Hate
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Inside the framework of The Collection Screened, a programme rooted in the institution’s film, video and moving image holdings, the Museo invites Laura Baigorri, one of the leading specialists in video art, to approach specific aspects related to identity, self-representation and the body within the Museo’s audiovisual collection since the 1990s.
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A session which starts from a subtle corporeal challenge that prompts a confrontation with reason from sensibility and emotion, both of which are linked to a difference in mental health or spiritualism. It opens with a beautiful and strange short film entitled A família do Capitao Gervásio (2013), by Tamar Guimarães and Kasper Akhøj, set in a small town in inland Brazil, where around half the inhabitants are psychic mediums whose work centres on community healing. The second piece, Dias & Riedweg’s Casulo, is the outcome of a participatory project with a group of patients from the Institute of Psychiatry at the Universidad Federal de Río de Janeiro. The video bears witness to the development of their routines after hospitalisation and captures their ideas and impressions about different aspects of life, revealing the division between territories of reason and madness in their daily existence.
Inside the framework of The Collection Screened, a programme rooted in the institution’s film, video and moving image holdings, the Museo invites Laura Baigorri, one of the leading specialists in video art, to approach specific aspects related to identity, self-representation and the body within the Museo’s audiovisual collection since the 1990s.

We Go On from Here… And Will Not Move
Thursday, 16 April and Thursday, 7 May 2026 — 19:00
This session advances a programme focused on the most elemental side of performance: a simple, direct act that starts from the self-exhibition of the body. At certain points, from the calculated serenity of Miguel Benlloch’s Tengo tiempo (I Have Time, 1994); at other times, from the challenging and visceral impulse of Bollos (Buns, 1996), by Cabello y Carceller, or the rage of Habla (Talk, 2008), by Cristina Lucas; and, finally, from video-graphic experimentation, disconcerting and sustained in the dance culture of Moving Backwards (2019), by Pauline Boudry and Renate Lorenz, whose mise en scène reminds us that it is not actually déjà vu but the present, unfortunately, that moves through a reactionary period.
Inside the framework of The Collection Screened, a programme rooted in the institution’s film, video and moving image holdings, the Museo invites Laura Baigorri, one of the leading specialists in video art, to approach specific aspects related to identity, self-representation and the body within the Museo’s audiovisual collection since the 1990s. The session recovers paradigmatic performances, from three successive decades, crossed by the indisputable expression of gender; that is, mediated by the confronted acts of feminisms and the queer paradigms of culture.

Mediations of the Archive: Art, Community, and Political Action
Tuesday 7, and Thursday 23, April, 2026 – 17:00 h
The online seminar Mediations of the Archive: 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.

READ Madrid. Festival of Books and Ideas
Friday 17 and Saturday 18 April, 2026 – Check Programme
READ Madrid. Festival of Books and Ideas emerges as a meeting space for critical and experimental voices in the fields of literature, theory, and publishing. With particular attention to artistic production practices and independent publishing, and seeking to build a transatlantic cultural bridge with Latin America, the program aims to decenter hegemonic frameworks of knowledge production and open up new communities of interpretation and horizons for political imagination. To this end, it takes writing and reading—understood in broad and plural ways across their modes, forms, and registers—as constitutive of a public laboratory of what we call study: a space for thinking collectively, debating and coining ideas, making and unmaking arguments, as well as articulating new imaginaries and forms of enunciation.
In a context of ecological, political, and epistemological crisis, the festival proposes modes of gathering that make it possible to sustain shared time and space for collective reflection, thereby contributing to the reconfiguration of the terms of cultural debate. In this sense, the program is conceived as an intervention into the contemporary conditions of circulation and legitimation of thought and creation, expanding the traditional boundaries of the book and connecting literature, visual arts, performance, and critical thought. These formats are organized around three thematic axes led by key voices in contemporary writing, artistic practice, and critical thinking.
The thematic axes of READ Madrid. Festival of Books and Ideas are: a popular minoritarian, or how to activate an emancipatory practice of the popular; raging peace, or how to sustain justice, mourning, and repair without resorting to pacifying imaginaries devoid of conflict; and fiction against oblivion, which explores the role of science fiction, horror, and speculative narratives as forms of resistance against the liberalism of forgetting. Ultimately, the aim is to interrogate our present through the potential that ideas and books can mobilize within a shared space of study, debate, and enjoyment.

