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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
Más actividades
![Tracey Rose, The Black Sun Black Star and Moon [La luna estrella negro y negro sol], 2014.](https://recursos.museoreinasofia.es/styles/small_landscape/public/Obra/AD07091_2.jpg.webp)
On Black Study: Towards a Black Poethics of Contamination
Monday 27, Tuesday 28 and Wednesday 29 of April, 2026 – 16:00 h
The seminar On Black Study: Towards a Black Poethics of Contamination proposes Black Study as a critical and methodological practice that has emerged in and against racial capitalism, colonial modernity and institutional capture. Framed through what the invited researcher and practitioner Ishy Pryce-Parchment terms a Black poethics of contamination, the seminar considers what it might mean to think Blackness (and therefore Black Study) as contagious, diffuse and spreadable matter. To do so, it enacts a constellation of diasporic methodologies and black aesthetic practices that harbor “contamination” -ideas that travel through texts, geographies, bodies and histories- as a method and as a condition.
If Blackness enters Western modernity from the position of the Middle Passage and its afterlives, it also names a condition from which alternative modes of being, knowing and relating are continually forged. From within this errant boundarylessness, Black creative-intellectual practice unfolds as what might be called a history of touches: transmissions, residues and socialities that unsettle the fantasy of pure or self-contained knowledge.
Situated within Black radical aesthetics, Black feminist theory and diasporic poetics, the seminar traces a genealogy of Black Study not as an object of analysis but as methodological propositions that continue to shape contemporary aesthetic and political life. Against mastery as the horizon of study, the group shifts attention from what we know to how we know. It foregrounds creative Black methodological practices—fahima ife’s anindex (via Fred Moten), Katherine McKittrick’s expansive use of the footnote, citation as relational and loving labour, the aesthetics of Black miscellanea, and Christina Sharpe’s practices of annotation—as procedures that disorganise dominant regimes of knowledge. In this sense, Black Study is approached not as a discrete academic field but as a feel for knowing and knowledge: a constellation of insurgent practices—reading, gathering, listening, annotating, refusing, world-making—that operate both within and beyond the university.
The study sessions propose to experiment with form in order to embrace how ‘black people have always used interdisciplinary methodologies to explain, explore, and story the world.’ Through engagements with thinkers and practitioners such as Katherine McKittrick, C.L.R. James, Sylvia Wynter, Christina Sharpe, Fred Moten, Tina Campt, Hilton Als, John Akomfrah, fahima ife and Dionne Brand, we ask: What might it mean to study together, incompletely and without recourse to individuation? How might aesthetic practice function as a poethical intervention in the ongoing work of what Sylvia Wynter calls the practice of doing humanness?
Mediations of the Archive: Art, Community, and Political Action
Tuesday 7, and Thursday 23, April, 2026 – 17:00 h
The online seminar Archival Mediations: 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.
Intergenerationality
Thursday, 9 April 2026 – 5:30pm
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.
The third session gazes at film as a place from which to dismantle the idea of one sole history and one sole time. From a decolonial and queer perspective, it explores films which break the straight line of past-present-future, which mix memories, slow progress and leave space for rhythms which customarily make no room for official accounts. Here the images open cracks through which bodies, voices and affects appear, disrupting archive and questioning who narrates, and from where and for whom. The proposal is at once simple and ambitious: use film to imagine other modes of remembering, belonging and projecting futures we have not yet been able to live.
Thinking with African Guernica by Dumile Feni
Wednesday 25, March 2026 - 7p.m.
Curator Tamar Garb brings together a panel of specialists from different disciplines, ranging from Art and Social Anthropology to African Studies and the History of violence, on the occasion of the first edition of the series History Doesn’t Repeat Itself, but It Does Rhyme, starring African Guernica (1967) by Dumile Feni (Worcester, South Africa, 1942 – New York, 1991). The aim of this meeting is to collectively reflect on the points of convergence between the works of both Pablo Picasso and the South African artist.
African Guernica is the monumental drawing created by Dumile Feni in the 1960s. The piece is being shown for the first time outside South Africa, in dialogue with Picasso’s Guernica (1937). This provocative physical encounter invites us to consider both artworks as anti-war and anti-totalitarian manifestos, albeit relating to different places and moments.
For this panel, Siyabonga Njica presents the artistic and cultural context of 1960’s Johannesburg, contemporary to Dumile Feni’s work. Pumla Gobodo-Madikizela addresses the trauma of apartheid from both aesthetic and oneiric perspectives. Thozama April analyses the artist’s corpus in relation to archival practices and conservation. Finally, Elvira Dyangani Ose offers a reading of African Guernica through the lens of Pan-African modernity and the collapse of the centre-periphery duality.
These events, which form part of the core strands of the Public Programmes department, aim to provide deeper insight into and broaden public engagement with the Museo’s Collections and temporary exhibitions.
History Doesn’t Repeat Itself, but It Does Rhyme. Dumile Feni: African Guernica
Tuesday 24 March 2026 – 6.30p.m.
On the occasion of the exhibition History Doesn’t Repeat Itself, but It Does Rhyme. Dumile Feni: African Guernica, its curator Tamar Garb, introduced by Manuel Segade, Director of the Museo Reina Sofía, highlights the opportunities for reflection offered by the presentation at the Museum of African Guernica (1967), the African sibling to Pablo Picasso’s emblematic painting. The event concludes with the live premiere of a musical composition created especially for this event by the South African artists Philip Miller and Tshegofatso Moeng.
African Guernica, the monumental drawing produced by the South African artist Dumile Feni (Worcester, South Africa, 1942 – New York, 1991) in the 1960s, is presented for the first time outside South Africa in dialogue with Picassos’s Guernica (1937). Dumile Feni’s work is deeply connected to its place of origin, emerging from the context of state violence and institutionalised racial oppression under apartheid. Viewing both artworks side by side makes it possible to consider their shared references and strategies, their similarities and synergies, as well as the formal and figurative differences that largely result from their geographical and temporal separation.
The musical composition by Philip Miller and Tshegofatso Moeng intends to establish a parallel dialogue between traditional South African sounds and the classical repertoire for strings, voice and wind instruments. A full ensemble of performers from South Africa and Spain has been brought together for this purpose.
These inaugural conversations, which form part of the core strands of the Public Programmes Department, aim to explore in depth the content of the exhibitions organised by the Museo from the perspective of artists, curators and specialists.