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Saturday, 14 July 2018
Ernesto Giménez Caballero / Edgar Neville
Ernesto Giménez Caballero
Esencia de verbena (The Essence of Verbena), 1930
Spain, b/w, original version (shot silently and post-synchronised with a voice-over by Giménez Caballero), 11’Edgar Neville
Domingo de Carnaval, 1945
Spain, b/w, original version, 77’Opening concert by Variedades Azafrán.
Esencia de verbena is an urban symphony, akin to those filmed on Berlin, Paris and Moscow at the end of the 1920s, depicting Madrid through the typical local verbena festivities held in its neighbourhoods. (Edgar Neville)
“Domingo de carnaval is a one-act farce in Madrid, in which a murder plot is interwoven; a storyline in which a police-type mystery intervenes; but it is, above all, an etching, or rather, a moving Solana painting. The action takes place in El Rastro market over the three days of Carnival in 1917 and 1918, with a grotesque crowd with masks of all kinds that move and convulse on a backdrop as thrilling as El Rastro. Some scenes take place at the top of the Pradera de San Isidro, the Goyaesque profile of Madrid in the background. Lastly, I hope everything has that bustling joy of Goya’s The Burial of the Sardine” (Edgar Neville)
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Friday, 20 July 2018
José Antonio Nieves Conde
Surcos (Furrows), 1951
Spain, b/w, original version, 100’Presented by: Memorias en red. Impresiones, a research association that works with studies of memory and spaces of encounters for Lavapiés residents who want to share their experiences, memories and affections.
A family moves from the country to the city in search of better living conditions. “I was presented with this story, which was if anything Arnicheseque, but with the crucial intervention of Gonzalo Torrente Ballester we turned it into a social consideration… Surcos was put together in a way that is now commonplace in French and Italian cinema: with background information. We compiled photographs and interviews for over a month, and dressed the actors in the clothes the local residents actually wore… Even the outdoor scenes were filmed with direct sound”. (José Antonio Nieves Conde).
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Saturday, 21 July 2018
Luis García Berlanga
El verdugo (The Executioner), 1963
Spain, b/w, original version, 91'Presented by: PAH Centro, a Platform for People Affected by Mortgages in the Madrid neighbourhoods of Austrias-Letras, Lavapiés, Arganzuela and Malasaña, and Sindicato de Inquilinas e Inquilinos, an organisation which defends tenants’ rights.
In the guise of a satire about the death penalty during the Franco regime, Berlanga and Azcona created an in-depth and heart-breaking depiction of moral misery in a country which is at once infantilised and repressed. José Luis and Carmen, an executioner applicant and his daughter, dream of leaving the congested neighbourhood of Lavapiés –a marriage and a cosy little apartment on the outskirts in exchange for committing to the cruelty of the Dictatorship. The horizon already forebodes the consequences of this submission, part and parcel of the Transition: tourism and the rampant growth of construction are the economy’s only driving forces.
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Friday, 27 July 2018
Fernando Colomo
Bajarse al moro (Going Down in Morocco), 1989
Spain, colour, original version, 83'
Presented by Fernando ColomoIn an adaptation of the eponymous play by José Luis Alonso de Santos, the endeavours to rework the performance space result in a profusion of images from the Lavapiés neighbourhood, furnished with characteristics that would shape its mythology in the years that followed: a free and accommodating area, where youth is provisionally elongated until there is no choice but to settle down. This film is one of the richest and longest-lasting works on bohemia that defined the area, and which today is becoming ever more difficult to find.
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Saturday, 28 July 2018
Basilio Martín Patino
Paseo por los letreros de Madrid (A Walk Around Madrid’s Street Signs), 1968
Spain, b/w, original version, 15'Madrid, 1987,
Spain, colour, original version, 110'Presented by: Plataforma de Fiestas Populares de Lavapiés, an ensemble of associations, collectives and local residents calling for mixed and diverse street parties.
This session opens with the first short film by a young film-maker who, new to Madrid, unsuccessfully attempted to unsnarl the history and identity of the city by exploring the naming of its streets.
“Madrid is the country’s capital and an indifferent host to its governing powers [...] It’s as though its apparent resignation to live in discord has developed overt escape mechanisms which are completely unrelated to the regional pretensions of other regions with a different historical conscience. It’s a muted discord that endures and is willing to throng the streets and squares again with the strange instinct of something extraordinarily human that re-touches inner fibres. With the certainty that a film camera will be, and will continue to be, in any corner recording certain gestures and indicating something more than local authenticity; in order for its collective speech not to end up being lost in the vacuum of time”. (Basilio Martín Patino).
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Friday, 3 August 2018
Francesco Rosi
Las manos sobre la ciudad (Hands on the City), 1963
Italy, colour, original version with Spanish subtitles, 101'Presented by: Darío Corbeira, artist and founding member of the artists’ collective La familia Lavapiés (1975-76).
Set in Naples, Rosi’s home town, the film explores the relationship between the physical make-up of the metropolis and its invisible power structure, laying bare the rotting foundations of both. Real-estate developer Édoardo Nottola plans to build skyscrapers with the blessing of City Hall — where Nottola is also conveniently a councillor. However, the fatal collapse of a block of flats forces alliances to be redressed, with the ideology, not to mention the morality, of the calculated risks the last thing on the councillors’ minds. Hands on the City is one of the bluntest historical manifestations of the thick weft of gentrification.
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Saturday, 4 August 2018
Alberto García Ortiz and Ágatha Maciaszek
A ras del suelo (At Ground Level), 2003
Spain, colour, original version, 95'Presented by: Alberto García Ortiz and Ágatha Maciaszek
The camera pans through the streets of Madrid’s Lavapiés neighbourhood, immersed in an eye-catching process of redevelopment, to focus on the daily turn of events for different residents and their acts of protest against the local authorities, and on the daily encounters between the characters, filmed low down, ‘at ground level’. An out-of-reach health centre, fake-smile, close-fisted politicians, a TV churning out news behind reality’s back, citizens that give free rein to local knowledge despite their poor living conditions. This film is an example of street-level neighbourhood cinema.
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Friday, 10 August 2018
Dan Ollman, Sarah Price and Chris Smith
The Yes Men, 2004
USA, colour, original version with Spanish subtitles, 83'Presented by: Jesús Carrillo, art historian and a member of Lavapiés artists’ collectives such as La fiambrera obrera. He is also the author of the book Space Invaders. Intervenciones artístico-políticas en un territorio en disputa: Lavapiés (1997-2004) (Brumaria, 2018).
The aim of The Yes Men is to call out corporations with parodies that turn the public’s attention towards their harmful and immoral practices. The idea of art as sabotage to dismantle our day-to-day, wielded by these artists/activists, is in tune with the interventions of different Lavapiés collectives in the late 1990s and early 2000s.
“When trying to understand how a machine works, it helps to expose its guts. The same can be said of powerful people or corporations. By catching powerful entities off guard, you can momentarily expose them to public scrutiny. This way, everyone sees how they work and can figure out how to control them. We call this identity correction”. (The Yes Men).
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Saturday, 11 August 2018
Eliane Caffe
Hotel Cambridge, 2016
Brazil, colour, original version with subtitles, 99'Presented by: Sabela Fondevila Estévez, a local resident involved in migrant struggles in Lavapiés.
In 2012 the abandoned Hotel Cambridge building was occupied by MSTC (Movimento Sem-Teto do Centro). Inside the building live 170 families, not just from Brazil but also immigrants and refugees from countries like Bolivia, Haiti, Palestine, Cameroon and the Dominican Republic. Their way of organising goes beyond the obligations required to live together and continue squatting; here the creation of bonds is a priority. Film-maker and activist Eliane Caffe films community life in the hotel — the threat of eviction permanently looming — with a mix of professional actors and the actual residents.
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Friday, 17 August 2018
Aki Kaurismäki
Toivon tuolla puolen (The Other Side of Hope), 2016
Finland, colour, original version with Spanish subtitles, 98'Presented by: Red Solidaria de Acogida, a citizen platform which defends human rights linked to people’s free movement.
In the latest film by one of the most important directors in recent times, a young Syrian refugee seeks asylum in Finland, but comes up against the cruelty and absurdity of the legal system. From this point on, he will have to live from the solidarity of others, characters that have featured heavily in Kaurismäki’s films, and who also face new first-world problems: the disappearance of certain trades, futile globalisation, isolation, a lack of empathy and cruelty as the predominant form of behaviour.
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Saturday, 18 August 2018
Christian Rouaud
Tous au Larzac! (Leadersheep), 2011
France, colour, original version with Spanish subtitles, 120'Presented by: the people in charge of Muestra de Cine de Lavapiés, an event which screens free films in different spaces (squares, empty lots, bookshops, social centres, bars...) around Lavapiés every year in June and July.
This feature-length film recounts a struggle. In 1971, the announcement of the expansion of a military base signals the start of the ‘self-taught militancy’ of 103 male and female farmers who, under the threat of expropriation and to defend their land, change sides and join hippies and insubordinates with different ideologies. The Larzac Committees group together the left-wing working class and farmers, anarcho-syndicalists, Maoists, and Catholic farmers. An unconventional melange in which the assets of each group serve the common good, thus creating a productive anomaly that the Lavapiés community has likened to life in the neighbourhood.
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Friday, 24 August 2018
Fabrizio Terranova
Donna Haraway: Story Telling for Earthly Survival, 2016
Belgium, colour, original version with Spanish subtitles, 90’Presented by: Fabrizio Terranova and Fefa Vila, a professor of Gender Relations in Contemporary Society at the Complutense University of Madrid and a queer-feminist activist.
The main premise of the film is how activism is no longer linked to an idea or territory, but to the defence of diverse ways of life, amply demonstrated in Lavapiés in recent years. Haraway, an impassioned speaker, discusses this and other issues: capitalism and Anthropocene, science fiction as philosophical writing, unconventional sexual and family relations, the suppression of women writers, the relationship between species and the need for new post-colonial and post-patriarchal narratives: “With her inimitable brilliance and wit, Donna Haraway takes us on an exhilarating journey that combines sharp theoretical insights and moving personal moments. An intellectual giant comes to life as never before. Enjoy the ride!” (Rosi Braidotti).
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Saturday, 25 August 2018
Youssef Chahine
Al-Massir (Destiny), 1997
France-Egypt, colour, original version with Spanish subtitles, 138'Presented by: Pepa Torres, theologist, social educator and aid worker in migrant movements.
Destiny is Youssef Chahine’s vehement reaction to the attacks of Egypt’s Islamic fundamentalists after the censorship of his previous film Al-Mohager (The Emigrant) and the assassination attempt on his friend, the writer Naguib Mahfuz. Through an open interpretation of the life of Averroes, an Andalus philosopher, and with the spirit of classic adventure, Chahine demonstrates that fundamentalism is not exclusive to our era or to Islam, and nor is tolerance and intellectual curiosity exclusive to Europe. The film, a coda to the series, sets forth religious difference as a source of vital and intellectual wealth, in lieu of its associations with fundamentalism and misery, a common representation in the media.
Lavapiés, Lavapiés. Just Look at You Now

Held on 14, 20, 21, 27, 28 jul, 03, 04, 10, 11, 17, 18, 24, 25 ago 2018
This summer’s film season explores the idea of neighbourhood cinema as an open, local space, in which images prompt a dialogue on the history, local residents, aspirations and desires inhabiting Madrid’s Lavapiés barrio. Not only is this neighbourhood the home of the Museo, it is also an example of a historic quarter transformed by the complex dynamics of real-estate speculation and a large influx of tourists, a similar story in numerous international-scale city centres. Lavapiés, authentic and outspoken, refuses to fade, reaffirming itself again and again as a space of opposition and social reinvention. To put it another way, the neighbourhood it has always been.
The history of Lavapiés is the history of Madrid, but its most working-class, low-income, tumultuous and rebellious side, the town detached from the royal courts, the seat of power. The opening sessions in the series show early films which focus on and are shot in this neighbourhood: Lavapiés, tough and subversive (Esencia de verbena and Domingo de Carnaval); the first disembarkation point for rural exodus (Surcos), and abashed in its misery (El verdugo); its conception as a brittle paradise (Bajarse al moro) and a repository of rebellion and local memory (Madrid); the search for local resistance (A ras del suelo) where others only sniff get-rich-quick opportunities (Las manos sobre la ciudad).
The second half of the series moves away from Madrid, looking to other geographical and mental coordinates for its identity, unearthing the sprawling imagery and sensibilities that shape and mould the neighbourhood. The desires and limits of the capacity to embrace human beings (The Other Side of Hope and Hotel Cambridge); recollecting the junction between activism and contemporary art (The Yes Men); and, in the final stretch, extolled snippets of better worlds to which the cultures running through the neighbourhood have contributed: the creative defence of territory and ways of life from ideological and generational confluence (Tous au Larzac!); the experience of subjects, love and care demonstrated by ecofeminism and hacktivism (Donna Haraway: Story Telling for Earthly Survival); and the generous, open and united tradition of Islam (Al-Massir).
The films will be introduced by members of collectives, artists, and intellectuals – local residents, ultimately – who will relate their field of work with the theme of each session, illustrating the richness of the barrio’s associative network. The series opens with a concert by the group Variedades Azafrán and their contemporary take on authentic popular music from Madrid.
With the support of
Programme
Ana Useros and Chema González
Organised by
Museo Reina Sofía
Más actividades
Rethinking Guernica
Monday and Sunday - Check times
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.
UP/ROOTING
11, 12, 13, 14, 15, 16 NOV 2025
Museo Reina Sofía and MACBA Museu d'Art Contemporani de Barcelona (MACBA) invite applications for the 2025 iteration of the School of Common Knowledge, which will take place from November 11th to 16th in Madrid and Barcelona.
The School of Common Knowledge (SCK) draws on the network, knowledge and experience of L’Internationale, a confederation of museums, art organizations and universities that strives to reimagine and practice internationalism, solidarity and communality within the cultural field. This year, the SCK program focuses on the contested and dynamic notions of rooting and uprooting in the framework of present —colonial, migrant, situated, and ecological— complexities.
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?
Departing from these questions, the program consists of a series of visits to situated initiatives (including Museo Situado, Paisanaje and MACBA's Kitchen, to name a few), engagements with the exhibitions and projects on view (Project a Black Planet: The Art and Culture from Panafrica), a keynote lecture by Stefano Harney and Fred Moten, as well as daily reading and discussion gatherings, editorial harvest sessions, and conviviality moments.
Ylia and Marta Pang
Thursday, 6 November - 8pm
The encounter between Spanish DJ and producer Ylia and visual artist Marta Pang is presented in the form of a premiere in the Museo Reina Sofía. Both artists converge from divergent trajectories to give form to a new project conceived specifically for this series, which aims to create new stage projects by setting out from the friction between artists and dialogue between disciplines.
Situated Voices 36
Thursday, 16 October 2025 – 7pm
Territorio Doméstico is a feminist collective made up of female domestic and care workers who live in the Community of Madrid. They form a cross-border space which responds to a number of urgent problems: defending labour rights for female domestic workers and demanding the regularisation of migrant workers, as well as the right to family reunification, social recognition and the reparation of care debt by institutions.
The collective will provide accompaniment in this encounter by putting forward a cross-sectional round-table discussion centred on professional illnesses suffered by specific collectives of women doing jobs that are predominantly physical, such as care and domestic work and farm work. The aim is to shine a light on the physical and psychological tolls these body-oriented jobs take on the people that do them, in addition to the scant social, legal and healthcare recognition they receive.
Professional illnesses for women are often not recognised as such and are diagnosed simply as common illnesses, and with everything that entails on a legal and administrative level. Furthermore, obtaining sick leave can often become a huge struggle, thereby breaching labour rights.
The Museo Situado assembly convenes to discuss this reality, granting it the space it deserves to collectively call for solutions which respect the rights of all female worker.
Sven Lütticken
Friday, 10 October 2025 – 7pm
Academic disciplines are, effectively, disciplinary — they impose habits of thought, ideological parameters and, a priori, methodological parameters on those who have studied them. Yet what does being disciplined by art history mean? What has art history done to us? Further, what can we continue to do with it? The Juan Antonio Ramírez Chair, an annual programme organised by the Museo Reina Sofía which is devoted to reflecting on art history and historiography, and their limits and vanishing points, invites Sven Lütticken to explore these questions in light of different cases chosen by Lütticken and related to his own practice.
His work, framed inside art history and theory, has constantly championed expanding, interrogating and questioning the limits of discipline until it becomes theoretical and (self)critical. Throughout his trajectory, Lütticken has aligned his interest primarily towards historical, critical and theoretical research around autonomy. An important landmark in this working strand is his participation in the The Autonomy Project, an initiative from the Van Abbemuseum in Eindhoven with different art schools and university departments and resulting in the published volume Art and Autonomy (Afterall, 2022). A second strand is made up of the long-term project Forms of Abstraction, which analyses contemporary artistic practices as interventions in forms of “real abstraction”, such as value-form, precisely as Marx theorised it.
Sven Lütticken will be a resident on Studies Constellation, the Museo Reina Sofía’s annual fellowship programme, and will work on the research project Unacting Personhood, Deforming Legal Abstraction.