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Monday, 27 June 2022 Nouvel Building, Protocol Room and online platform
Situated Voices 25
The Crime of Existing. The Situation of LGTBIQ+ Refugees in Spain
TicketsPeople who are persecuted in some way over their sexual orientation, gender identity or sexual characteristics can request asylum as refugees. Many of these people look to countries like Spain. The experience of those who have embarked upon this forced migration forms the starting point of El delito de existir (The Crime of Existing, 2022), a documentary made by Fabiola Barranco and Olmo Calvo. In this edition of Situated Voices, the screening of the aforementioned documentary is followed by a conversation on the protagonists’ experience after arriving in Spain.
Organised by: GRIGRI, Museo Situado and ONG Rescate
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Monday, 27 June and Thursday, 3 November 2022 Online platform
Revealing the Unmanageable: The Reproductive as Devaluation
Research and Public Debates Overseen by Luisa Fuentes Guaza
Revealing the Unmanageable seeks to explore how the devaluation of reproductive work also takes place inside the psycho-dynamics of the Museo, understanding it as a living social body and an artefact that replicates hegemonic social practices. The programme includes public debates which, respectively, revolve around the questions: How does the devaluation of the reproductive spread inside the Museo? What are the restorative strategies to deactivate the devaluation of the reproductive inside it?
Coordinated by: Luisa Fuentes Guaza
Organised by: Museo Reina Sofía
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Wednesday, 6 July 2022 Nouvel Building, Protocol Room
Sows
Performance
TicketsCerdas (Sows) depicts the problems and consequences that materialise when body worship fails. By way of a series of scenes and seemingly unconnected “re-performances”, a landscape is devised to prepare the body for an “other” that is seldom present, creating vagueness in the narcissistic relationship between another possible body and another body-subject. The participating artists, harnessing repetition and the theatre of the absurd, show the violence inherent in certain regulated spaces that prevent queer corporality, for instance marriage, cybersex, dance, the beauty salon and the fashion show.
Artistic direction: Carlos García de la Vega
Organised by: Museo Reina Sofía
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Friday, 8, and Saturday, 9 July 2022 Sabatini Building, Garden
The World Is a Stage: Musicals!
Summer Cinema (Programme 1. The Queer Musical)
This year’s edition of the summer cinema centres on musical film, viewed at once as a genre which is both playful and high-spirited and also a discourse which incorporates striking ruptures in formats and narratives. The opening week is devoted to the queer musical and comprises two sessions, showing in the first Tráiler para amantes de lo prohibido (Trailer for Lovers of the Forbidden, 1985), a short musical film by Almodóvar which opens the programme, and Luis María Delgado’s Diferente (Different, 1962), the first film with a homosexual protagonist in Spanish film. The second session features John Greyson’s film Patience (1993), a musical on AIDS and the black legend of its origins.
Curator: Chema González
Organised by: Museo Reina Sofía
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10 September - 20 October 2022 Nouvel Building, Workshops and Protocol Room
Queer Malaise
Study Group
RegistrationViolence pervades queer people, who constantly face barriers to social structures which hinder and constrain the development of subjectivity and the free expression of affections and desires. In an era of widespread malaise, this vulnerability intensifies, often leading to a downward spiral of solitude, pathologisation and victimisation that is hard to evade. Queer Malaise seeks to share and politicise these situations, which isolate people and single them out, through tools that include dialogue, narration, make-up, performance and the collective production of images.
Coordinated by: Izan Parra
Organised by: Museo Reina Sofía
What’s Happening to Us? How Are We? Diagnosing the Queer Condition in the Post-Pandemic Period
The 2022 LGTBIQ+ Programme
Held on 01, 02, 03, 04, 05, 06, 08, 09, 10, 11, 12, 13, 15, 16, 17, 18, 19, 20, 22, 23, 24, 25, 26, 27, 29, 30 jun, 01, 02, 03, 04, 06, 07, 08, 09, 10, 11, 13, 14, 15, 16, 17, 18, 20, 21, 22, 23, 24, 25, 27, 28, 29, 30, 31 jul, 01, 03, 04, 05, 06, 07, 08, 10, 11, 12, 13, 14, 15, 17, 18, 19, 20, 21, 22, 24, 25, 26, 27, 28, 29, 31 ago, 01, 02, 03, 04, 05, 07, 08, 09, 10, 11, 12, 14, 15, 16, 17, 18, 19, 21, 22, 23, 24, 25, 26, 28, 29, 30 sep, 01, 02, 03, 05, 06, 07, 08, 09, 10, 12, 13, 14, 15, 16, 17, 19, 20, 21, 22, 23, 24, 26, 27, 28, 29, 30, 31 oct, 02, 03, 04, 05, 06, 07, 09, 10, 11, 12, 13, 14, 16, 17, 18, 19, 20, 21, 23, 24, 25, 26, 27, 28, 30 nov 2022
“I’m not okay” and “we’re not okay” are phrases uttered to describe the current state of many LGTBIQ+ people. COVID-19 has intensified the pathologisation of certain lives already affected by decades of HIV and the medicalisation of their identity. An underlying malaise has escalated, with symptoms multiplying. After so many years of struggle and protest, a yearned-for wellbeing appears to disappear from the horizon, highlighting the gulfs in affective frameworks and life projects. Sexuality is encoded and unfurls through pharmapornograpic channels that displace our bodies and desires and put them out of our control, creating both anxiety and frustration. Politically, debate and dissent become entrenched in ill will and irreconcilable positions inside the community as we witness an upsurge in homophobic and transphobic violence inside and outside our borders.
As a counterbalance, we are also seeing the growing desire to speak out and share what is happening to us, shelving taboos and complexes and recognising our own and others’ discontent as a principle of collective agency.
This programme, coinciding with the celebration of LGTBIQ+ Pride, does not look to “thematise” a pathological situation. Rather, it sets out to demonstrate the power of admitting we ourselves are fragile and vulnerable, together with other lives shaken by persecution and exile. Nor does it seek to moralise on the positions and practices outside the norm, vindicating a greater capacity for agency of and over our bodies and sexual impulses, developed here through plastic, poetic, written and performative devices.
Curator
Jesús Carrillo
![Miguel Brieva, ilustración de la novela infantil Manuela y los Cakirukos (Reservoir Books, 2022) [izquierda] y Cibeles no conduzcas, 2023 [derecha]. Cortesía del artista](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/ecologias_del_deseo_utopico.jpg.webp)
![Ángel Alonso, Charbon [Carbón], 1964. Museo Reina Sofía](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/perspectivas_ecoambientales.jpg.webp)
Más actividades
Christian Nyampeta and the École du soir
13, 14, 15 NOV, 11, 12, 13 DIC 2025
Christian Nyampeta is a Rwandan artist, musician and film-maker whose work encompasses pedagogies and community forms of knowledge production and transmission. His Ècole du soir (Evening School) is an art project conceived as a mobile space of collective learning and is named in homage to Ousmane Sembène (1923–2007), a pioneer of African cinema who defined his films as “evening classes” for the people, a medium of education and emancipation through culture.
This block is made up of three double sessions: the video work of Christian Nyampeta, the films of École du soir and one of Ousmane Sèmbene’s feature-length films. Nyampeta will introduce all three first sessions.
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.
The Joaquim Jordà Residencies 2025
Friday, 7 November 2025 - 7pm
In this activity, the recipients of the 2024–2025 Joaquim Jordà Residencies call, María Aparicio (Argentina, 1992) and Andrés Jurado (Colombia, 1980), present respective projects related to their body of work in an open session in which to discover the creative interests of two of the most up-and-coming independent film-makers in Latin America today.
María Aparicio presents the working process behind her film De sol a sol (From Sun to Sun), along with a brief journey through the films prior to this project and her filmic searches in recent years. Aparicio synthesises the storyline of De sol a sol from the silhouettes of a group of men who appear between the stalks of a reedbed. Their knives glisten as the sun hits them, flashing and disappearing with their hand movements. Apprentices split the canes using no method; seasoned workers cut with skill. They are workers from a sugar mill in northern Argentina and are watched by Juan Bialet Massé, accompanied by Rosich, assistant and photographer. It is Argentina in 1904 and he is carrying out a mission assigned to him by his country’s government: to travel the Argentinian provinces, reporting on the state of the working classes.
Andrés Jurado, for his part, will look over his own work and the work of the La Vulcanizadora lab in this session. He will also open the archive stemming from the research process in the project Tonada, a journey through the succession of peace agreement betrayals in the history of Colombia. From the colonial era, understood in tumultuous terms, as a hurricane that keeps swirling, to the present day he traces the stories of people like Tacurrumbí, Benkos Biohó, Bateman and the many women and men who were betrayed by governments and oppressors. Tonada seeks to build a sound and film dialogue between the guerrilla disarmament of 1953 and the period following the peace agreement of 2016, invoking these and other events and confronting traumas of betrayal through a film composition devised to be sung. But what is sung? Some of these songs are heard and voices are shared in this presentation.
The Joaquim Jordà Residences programme for film-makers and artists was set in motion by the Museo Reina Sofía in 2022. The initiative comprises a grant for writing a film project rooted in experimentation and essay, as well as two subsequent residencies in FIDMarseille and Doclisboa, international film festivals devoted to exploring non-fictional film and new forms of audiovisual expression.
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.
![Carol Mansour y Muna Khalidi, A State of Passion [Estado de pasión], 2024, película](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/palestine%20cinema%20day%202.jpg.webp)
Palestine Cinema Days
Sábado 1 de noviembre, 2025 – 19:00 h
The Museo Reina Sofia joins the global action in support of Palestine with the screening of A State of Passion (2024), a documentary by Carol Mansour and Muna Khalidi. The film features in Palestine Cinema Days Around the World, an annual festival, held globally every November, which aims to show films made in Palestine to an international audience. The initiative was conceived as a form of cultural resistance which seeks to give a voice to artists from Palestine, question dominant narratives and create networks of solidarity with the Palestinian people.
Palestine Cinema Days Around the World originates from Palestine Cinema Days, a festival organised in Palestine since 2014 with the aim of granting visibility to Palestinian cinema and to support the local film community. In 2023 the festival was postponed because of the war in Gaza, and has since become borderless in scope, holding close to 400 international screenings in almost sixty countries in 2024. This global effort is a show of solidarity with Palestine and broadens the voices and support networks of the Palestinian people around the world.
A State of Passion exposes the atrocities committed against the Gaza population via the testimony of Dr Ghassan Abu Sittah, a Palestinian-British plastic surgeon living in London who decides to return to Gaza and save lives in the city’s hospitals amid the Israeli army’s indiscriminate bombing of the population. A necessary film exposé of the experience of unrelentingly working twenty-four hours a day for forty-three days in the Al Shifa and Al Ahli Hospitals in the city of Gaza.