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Monday 29 and Tuesday 30 June, 2020
Graphic Outbreak 4. Dissident Masks Workshop
Every New Normality Has its Dissidence
This workshop, conducted by artist and activist Kaioia Luco, to make proud, irreverent, dislocated masks, to practice new involvement, is structed around two sessions: the first on revising the current forms of social distancing and its languages, and what is entailed when inhabiting a public space cross-cut with notions and habits related to “health”, “hygiene”, and “individuality”; and a second which sets out a re-reading of daily objects and old materials prone to being re-assembled in this exercise to imagine and tailor dissident masks, moving away from the concept of “mouth coverings” to become forms of critical expression.
Force line: Action and Radical Imagination
Organised by: Museo Situado
Coordinator: Kaioia Luco
Programme: Graphic OutbreakDate: Monday, 29 and Tuesday, 30 June 2020
Time: 5pm
Place: Taller de Diógenes - C/ Fernando Mora, 8, bajo (next to Parque de San Isidro, Carabanchel), Madrid
Admission: free, with prior registration by filling out the following form, until 26 June.
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Wednesday 1 July, 2020 - 7pm / Live stream from the Nouvel Auditorium 400
Sexyalities. Identity Dictatorships in a State of Emergency
Mama Lynch (Lyncoln Diniz) has developed the performance action Basket de las excluidas (Basket of the Excluded) since 2015. With editions in Brazil, Portugal and Mexico, this self-managed activity surfaced in Madrid after a group of people decided to occupy a public court to play transvestite basketball. In these “games” they sought to break the oppressive cis hetero culture that predominates sports practices, as well as celebrating cultural diversity, gender transgression and sexuality.
The encounter sets out to debate, from performance practices, concepts such as “sexuality”, “exile”, “migration” and “guerrilla art”. The present lockdown has spotlighted how the restrictions imposed by the state of emergency are only something new for those considered “normal” — isolation, hyper-surveillance and control of movement are customary experiences in the daily life of marginal subjects and bodies.
Force line: Action and Radical Imagination
Coordinated by: Mama Lynch (Lyncoln Diniz)Date and hour: Wednesday, 1 July 2020 - 7pm
Location: Live stream from the Nouvel Auditorium 400. Link on 1 July
Access: free
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From 26 June to 2 July, 2020 / Museo Reina Sofía’s Vimeo Channel
Uncertain Times II. Representing the Pandemic
Session 1. AIDS, the Other Pandemic
The first session of the audiovisual series Uncertain Times II is framed inside the special programme offered by the Museo during LGTBIQ+ Pride week. Bearing the title AIDS, the Other Pandemic it shows examples of activism in the experimental video and film made in conjunction with the AIDS epidemic: the vindication for the visibility of LGTBIQ+ desire in the face of the public authorities’ criminalisation of it; the media-created paranoia surrounding the disease; the involvement of the public sphere to fight the pandemic; the artist as an icon in the slogan “the personal is political”. Salient among collectives such as Gran Fury and artists such as Pepe Espaliú are Barbara Hammer, whose work replaces sight with tactile experience in her investigations of lesbian experimental film, and David Wojnarowicz, a gay artist whose work and life were an exercise in against-the-grain survival in Reagan’s America.
Force line: Contemporary Disturbances
Curator: Chema GonzálezDate: from 26 June to 2 July, 2020
Lugar: Museo Reina Sofía’s Vimeo Channel
Access: free
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Video
Pink Triangle: A Project on LGTBIQ+ Activism in Schools
The Pink Triangle project looks to consolidate a space of convergence between different agents working in the sphere of sexual diversity and gender in schools, aiming to develop, in accordance with the legislation in force, comprehensive programmes against LGTBIphobia and discrimination of sexual orientation and identity.
Two editions, Pink Triangle 1 and 2, held in July and October 2019 respectively, witnessed the exchange of methodology and practices between different types of programmes, for instance LGTBIQ+ tutoring, diversity classrooms, and so on. In order to prepare the programme’s return for the 2020–2021 school year and to celebrate LGTBIQ+ Pride, the Museo Reina Sofía shares this diagram, which was worked upon in previous editions and condenses the issues, urgencies and objectives explored.
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Video
Diego del Pozo, Untitled (Eroticism Casts Everything)
In conjunction with the 2019 exhibition David Wojnarowicz. History Keeps Me Awake at Night, artist Diego del Pozo carried out the performance Untitled (Eroticism Casts Everything) in the form of a walk around the show. During the routes, participants read texts and statements from artist and activist David Wojnarowicz, embodying his voice through myriad other voices. This approach, which started from the question of how to love collectively under the fear of contact after the AIDS crisis, and also a meditation on how to celebrate love, friendship and eroticism, gains even greater weight in relation to a new health emergency like the present one.
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Online documentary exhibition
Queer Archive?
A Virtual Activation
The Library and Documentation Centre offers a virtual exhibition on a collaborative project propelled by the Museo entitled Queer Archive?: a documentary ensemble which, since its creation in 2012, has undergone numerous reactivations to collectively explore, from queer standpoints, the traditional notion of the archive. More specifically, the touchstone of the show is the activist struggle the queer movement developed in facing up to the AIDS pandemic in the 1990s in Madrid via collectives such as La Radical Gai and LSD. Thus, the materials and documents in the show suggest certain convergences, parallels and divergencies with the present health emergency, addressing questions such as the fear of infection, unfamiliarity with the illness, stigmatisation of the sick, the blame placed on certain collectives and minorities, the call for social responsibility and the demand for an emphatic and globalised institutional response.
Every New Normality Has its Dissidence
LGTBIQ+ 2020 Programme
Held on 26 Jun 2020
Amid the deeply unusual context brought about by the COVID-19 pandemic, the Museo Reina Sofía joins the LGTBIQ+ Pride celebration by examining the legacies of sexual and gender dissidence. More than ever, such dislocated, irreverent and rebellious legacies materialise as vectors of the imagination and critical resistance to the naturalised “return to normality”, with our collective experience in facing the current health emergency bearing a relation to the HIV/AIDS pandemic, bolstering the importance of rescue and a revision of forms of resistance and care historically formulated by the LGTBIQ+ collective.
From the crossroads of sexual and gender dissidence with the migrant condition, can we question forms of control and discourse around social distancing, based largely on a univocal idea of subject, body and desire? How can we activate and articulate this dissident knowledge to invent other possibilities of supporting and caring for ourselves, and, most importantly, to continue fighting for the right to non-standard lives?
This programme assembles highly diverse affections and intensities, uttered from equally distinctive voices and contexts, expressing pain, rage, delirium, and pride. Despite this disparity, the common denominator lies in declarations from indifference, an irreducible difference that denounces and rebels before the violence of processes of normalisation and homogenisation, to which the art institution is no stranger either.
Organised by
Museo Reina Sofía
Más actividades
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.
Dear Americas
Friday 29 May and 5 June, 2026
In these films, Marilú Mallet travels to Solentiname, in Nicaragua, and Andahuaylillas, in Peru, to paint a portrait of communities which resist the severity of forced industrialisation. In Solentiname, the focus is on the poet and priest Ernesto Cardenal’s founding of a Christian, poetic and revolutionary utopia, while in Andahuaylillas, a town close to Cuzco, Mallet explores the multiple layers of Andean culture.
A Poetics of the Subject
Thursday 28 May and 4 June, 2026
In the tension between documentary and fiction, between the rawness of a tragic political present and narrative escape, lies the truth of the exile’s condition. In Journal inachevé (Unfinished Diary, 1982) Marilú Mallet experiments with her own subjectivity, moving from affirmation to doubt. In Double Portrait (2000), María Luisa Señoret paints her daughter Marilú, who records the process. In this circular relationship, the film-maker constructs a poetics of the portrait as something perpetually unfinished, a process of exploration in which memory, identity and political history merge to become blurred.
Institutional Decentralisation
28 MAY 2026
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.
This fourth and final session centres on films that take the museum away from its axis and make it gaze from the edges. Pieces that work with that which is normally left out: peripheral territories, unpolished aesthetics, clumsy gestures full of intent. Instead of possessing an institutional lustre, here they are rough, precarious and strange in appearance, legitimate forms of making and showing culture. The idea is to think about what happens when central authority is displaced, when the ugly and the uncomfortable are not hidden, when they are recognised as part of the commons. Film that does not seek to be to one’s liking, but to open space and allow other ways of seeing and inhabiting the museum to enter stage.