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Thursday, 8 June 2023 Nouvel Building, Auditorium 200 and online platform
Artistic Research Encounter
Online platform4pm Welcome and Presentation
― Conducted by Laia Blasco Soplon and Germán Labrador Méndez
4:15pm Presentation of Final Projects from UOC ’s Bachelor’s Degree in Art
― With Albert Comerma Bertran, Loreto Binvignat Streeter, Joan Codina Donaire, Alba López Revelles, Aida Martí Pago and Cesc Sidera Roca.Albert Comerma Bertran. El Transbordador (The Shuttle), 2022
This work explores the artist’s personal memory via four specific components: text, the found image, the technical element and the electric guitar. The project starts from a need for searching in a process of self-transformation — the origin of the conceptual deployment of the work — and seeks to respond to situations of change, key moments which have occurred in recent years in his life. More than finding certainties, he devises new interrogations from artistic research.Loreto Binvignat Streeter. Biotex, 2022
A project, resulting from research into regenerative and biodegradable biomaterials, which imagines other possible futures and new ways to create art by placing value on concepts of sustainability, innovation, science and avant-garde.Joan Codina Donaire. Seguir con el problema. Hacia el abismo, (Carry On with the Problem. Towards the Abyss), 2022–2023.
This work looks to question, create dialogue with and generate new discourses on the exploitation of space through the rotation between the use and disuse of thousands of objects which inevitably increase the environmental footprint and could ultimately put humanity at risk, reflecting on an inability to take on the necessary commitment to the environment.Alba López Revelles. El reflejo de los dientes del lobo (The Reflection of the Wolf’s Teeth), 2023
This project is a contemporary illustrated literary work related to the genre of modern poetry. An intimist-style book made up of narrative texts, poetry and micro-poetry, with the collection created to give a voice to social problems in the most human and sensitive way possible.Aida Martí Pago. Monument 24, 2022
This project focuses on the Commemorative Monument of the Battle of the Ebro (Tortosa, 1964), an imposing propaganda work located in the middle of the Ebro River, and symbolically charged, which was conceived and unveiled during Franco’s dictatorship. The work pursues processes in the gestation, production and activation of the monument by mining archives, and going to the heart and roots of the piece in all its scope. From the work a critical visual essay is distilled in the form of an art publication, playing with the materiality of the work.Cesc Sidera Roca. No matter what, Listen!, 2021
Noises, electromagnetic pulses, radio waves, etc. Inaudible anthrophonies fill the visual vacuums of our local landscape with discursiveness. The art project No matter what, Listen! maps the process of subjectively transforming the identity of the artist’s local environment into agency and an aural temple.5:30pm Debate
―Moderated by Laia Blasco Soplon6:30pm Break
7pm Conversation with Clàudia Pagès Rabal
―Presented and moderated by María Iñigo Clavo and Aida Sánchez de Serdio MartínIn this encounter, María Iñigo Clavo and Aida Sánchez de Serdio Martín, researchers and professors on UOC’s Bachelor’s Degree in Art, engage in conversation with visual artist, performer and writer Claudia Pagès (Barcelona, 1990), whose artistic research explores the multitude of formats for thinking about the insertion of bodies in legal frameworks within a capitalist and migratory context. The conversation, followed by a talk, addresses themes the artist explores in her works, how she articulates art-making and thought in her projects, her formative experience, and her process of professionalisation.
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Friday, 9 June 2023 Meeting point: Nouvel Building, Library and Documentation Centre
Workshop with Patricia Esquivias and Matteo Locci
This workshop sees artists Patricia Esquivias and Matteo Locci go on a walk to test the Museo’s centripetal force. The time the activity will end is not set and is inversely proportional to the group’s indecision.
Aimed primarily at students and recent Art and Fine Arts graduates
![Claudia Pagès, Gerundi Circular [Gerundio Circular], 2021. Museu d'Art Contemporani de Barcelona. Fotografía: Roberto Ruiz](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/claudia-pages-snippet.png.webp)
Held on 08 Jun 2023
Open Chair is a project which stems from a collaboration between Museo Reina Sofía and the Bachelor’s Degree in Art at Universitat Oberta de Catalunya (UOC) and aims to annually organise an in-person encounter to intersect and place in dialogue university with museum. The space, geared towards training artists, seeks to contribute to creating an expanded and connected community of student creators and researchers, and is linked to the Museo Reina Sofía Study Centre.
Departing from this point, and from its first edition under the title Forms of Thinking, the Chair places value on artistic research as a space from which to generate thought, welcoming some of today’s pertinent critical debates. It is a public programme which starts with the presentation of a selection of six final degree works by students from the UOC’s aforementioned Art Degree, opening a subsequent discussion to share processes, methodologies, questions and learnings related to artistic practice and reflection. The Chair will then host a public conversation with visual artist, performer and writer Clàudia Pagès centred on her work, methodology, experience and career, and will conclude with a workshop conducted by Patricia Esquivias and Matteo Locci, whereby a walk will put into practice the methodology of performative research.
Organising Committee
Laia Blasco Soplon (UOC), Muriel Gómez Pradas (UOC), Diana Guijarro Carratalá (UOC), María Iñigo Clavo (UOC), Germán Labrador Méndez (Museo Reina Sofía), Mariona Peraire Selva (Museo Reina Sofía-UOC), Aida Sánchez de Serdio Martín (UOC)
Organised by
Museo Reina Sofía and Universitat Oberta de Catalunya (UOC)
Programme
Inside the framework of
Participants
Loreto Binvignat Streeter is a designer and artist whose work brings together design, sustainability, innovation and research. She is an Art graduate from Universitat Oberta de Catalunya (UOC).
Laia Blasco Soplon is the director of UOC’s Bachelor’s Degree in Art. She holds a degree in Fine Arts from the Universitat de Barcelona and is a candidate on UOC’s Online PhD Programme in Information Technology and Networks. Her artistic and academic research focuses on the creation, study and critique of interactive visual tools for experimentation and learning.
Joan Codina Donaire is an artist. His interest in art-making can be understood as an obsession with creating images that depict human beings and their relationships and behaviours. His works reflect on life, art and human misery, and from daily life, absurdity and irony he looks to create new realities which lay bare our contradictions.
Albert Comerma Bertran is an electric guitarist who plays live and records in Spain, and is a guitar and music teacher, a columnist in didactics for Cutaway Guitar Magazine and an endorser of different international brands. Currently, his work on electric guitar and thought is carried out under the name Eremitt.
Patricia Esquivias is a storyteller and narrator. In her videos, drawings, photography, sculptures and installations she deconstructs hegemonic narratives and offers alternative routes to reconstruct them and rediscover lost stories, taking as her point of departure events, characters, cultural objects, phenomena from pop culture and archive images. She has displayed her work in Spain (Museo Reina Sofía, Centro de Arte Dos de Mayo, Museu d'Art Contemporani de Barcelona), Germany (Frankfurter Kunstverein, 5th Berlin Biennale), the USA (White Columns, New Museum, Hammer Museum, Midway Contemporary Art) and the UK (EASTInternational, Tate Modern).
María Iñigo Clavo is a professor on UOC’s Bachelor’s Degree in Art. Her research themes include colonialism, museology, modernity and its inventions of otherness, critical heritage, and art and curatorship in Latin America, with a focus on Brazilian art.
Germán Labrador Méndez is the director of the Museo Reina Sofía’s Public Activities Department.
Matteo Locci is a multimedia artist and researcher who articulates his work through collaboration with multiple collectives of which he is either a member or ally. Among other collectives, he is the co-founder of the ATI collective from Rome (2014), whose work considers questions around contemporary political representations, architectural ideology and interventions in public space. He is a founding member of the collective Funduk (2020), where he works on perceptive and interactive concerns in the link between speech, language and politics.
Alba López Revelles is a multi-disciplinary artist whose concerns from a very young age have revolved around the art world, particularly drawing, literature and poetry. She began a degree in Fine Arts at Universitat de Barcelona, and continued her studies at UOC. The themes she explores include violence, introspection and the gender condition, and also works on herself using her alter ego “el lobo” (the wolf).
Aida Martí Pago is an interior designer and Art graduate at UOC. In parallel with her art studies, she has embarked upon a personal and professional project as a freelance artist, employing different languages and techniques in her work to create a symbiosis between training and practice. She currently works as a drawing teacher in secondary education.
Clàudia Pagès Rabal is a visual artist, performer and writer. Her most recent work focuses on the logistics system and its link to jurisdictional language, with both operating in the verb tense of a non-finite and violent gerund which has direct effects on bodies. She has performed and exhibited at Fundació Joan Miró and Museu d'Art Contemporani de Barcelona (Barcelona), Vleeshal Center for Contemporary Art (Middelburg), La Casa Encendida (Madrid), Hebbel am Ufer (Berlin), Capc Musée d'art contemporain de Bordeaux (Bordeaux) and the Sharjah Art Foundation (United Arab Emirates), among others.
Aida Sánchez de Serdio Martín holds a PhD in Fine Arts from Universitat de Barcelona and is a professor on UOC’s Bachelor’s Degree in Art. Her main field of specialisation is educational and community practices in relation to arts and culture, understood as a place to produce knowledge, political debate and social transformation.
Cesc Sidera Roca is an Art graduate at UOC. He is a freelance sound artist and composer with over fifteen years’ experience in creating and developing community art and culture projects. In recent years, the body of his art projects has sparked dialogue between experimentation, research and the socialisation of sound and listening as an art object and social agent.
![Matteo Locci, Documentation from the up-to-date rare, and, back then, very first time I signed an artwork with my own birth name [Rara documentación y, en aquel entonces, primera vez que alguien documentó una obra de arte que firmé con mi propio nombre de nacimiento hasta la fecha], 2013. Archivo personal del artista](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/mateo-locci.png.webp)
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.
Dear Felix:
Saturdays at 6pm
The immediately recognisable art of Felix Gonzalez-Torres, which is on display, from May to October 2026, in the show Sweet Revenge, moves beyond the transmission of messages laden with poetic evocation, vital or biographical reflection, or even a clear political or ethical positioning. Rather, it seeks an active response by visitors to the exhibition. His work invites engagement with these messages so that, whether delighting, moving or challenging, it still prompts viewers to participate in the dialogue and complete the artistic undertaking with their own actions.
Thus, the guided tour Dear Felix: offers a shared, dialogue-inflected tour through the show, with the aim of collectively thinking and feeling the gestures the artist’s work puts forward. Ostensibly simple actions such as crossing through a beaded curtain to take a sweet and eat it, taking a poster from a stack of paper or simply observing a billboard closely, all contain ways of understanding life, loss, love, injustice or the passing — never linear — of time. The tour’s ultimate aim is not to set meanings or create an overload of interpretations of the work, nor does it seek to crystallise an image of the artist and his life in a response to questions which are not there. It looks instead to provide a space to open shared meaning in these apparently simple objects and to attempt a possible correspondence of return from the here and now. A lumbering attempt at responding which starts with a simple Dear Felix:
1926–2026: One Hundred Years of the Lyceum Club Femenino
Thursday, 2 July 2026
The Lyceum Club Femenino (Lyceum Women’s Club) was established in Madrid in 1926, constituting a space which opened new pathways for women to participate in Spain’s intellectual, artistic and political life in the first third of the twentieth century, and for figures such as designer Victorina Durán, pedagogue María de Maeztu, lawyer and politician Victoria Kent and artist Ángeles Santos, to name but a few. To mark the Madrid Club’s one hundredth anniversary, this research symposium examines its role as a key place for studying women’s and feminist culture in Spain’s Silver Age by analysing and vindicating the different agencies, trajectories and cultural projects that structured the space.
By way of three lectures and two round-table discussions, the symposium sets forth a journey through the Lyceum Club Femenino and the cultural context from which it emerged, from its standing as a pioneering institution to the study of cultural material from the period and the process of constructing the figure of the “modern woman”. These talks and discussions look to shed light on how new ways of thinking, creating and occupying public space were shaped, expanding the gaze on cultural, educational and social networks linked to the Lyceum — as much concerning its ties with other intellectual and artistic circles as the continuity and transformation of these networks during Republican exile. Finally, the symposium features three artistic interventions conceived to recover the artistic legacy of this space in Madrid.
The Museo Reina Sofia joins the Ministry of Culture’s cultural programme focused on the centenary of the Lyceum Club Femenino via these sessions, co-organised with the Spanish National Research Council (CSIC).
Robert Capa
Friday, 26 June 2026 – 6pm
This international encounter centred on the figure of Robert Capa (Budapest, 1913 — Thai Binh, Vietnam, 1954), one of photojournalism’s pre-eminent figures, is held within the framework of the government initiative Spain and Freedom. Fifty Years and in conjunction with a cluster of three locations — the building on number 10 Calle Peironcely, the Plaza del Fotógrafo Robert Capa and the San Carlos Borromeo Parish in Vallecas — declared as a Place of Democratic Memory.
The emblematic photo Robert Capa took in 1936 of this area of Republican Madrid, featuring anonymous children talking in front of a bullet-riddled building attacked by Nazi-fascist air forces, has, in recent years, become a catalyst for impassioned collective action vindicating memory and denouncing the horrors and brutality of wars, past and present.
Within this context, representatives from cultural and academic spheres and civil society organisations from Germany, the USA and Spain discuss the legacy of Capa and photojournalism in European democratic memory, exploring in greater depth two citizen initiatives constructed by Europe from its shared memory: #SalvaPeironcely10 (#SavePeironcely10), in Entrevías (Puente de Vallecas), and the Capa Haus Initiative in the Lindenau neighbourhood of Leipzig, both united by the protection and conservation of historical heritage and by the defence of peace.
The round-table discussion features the participation of Cynthia Young, Juan Miguel Sánchez Vigil, Ulf-Dietrich Brumann and José María Uría Fernández and is moderated by Myriam Soto Lucas. Carmina Gustrán Loscos, the commissioner of Spain and Freedom. Fifty Years, will also join the discussion.
equipoMotor
Jueves alternos, 23 de octubre, 2025 - 11 de junio, 2026 - 17:30 h
El programa equipoMotor regresa en su edición 25-26 con un aire espectral y mutante para lanzar la pregunta: ¿y si el Museo fuera «un poco más Frankenstein»? Inspirándose en dicho monstruo y en todas aquellas criaturas que desafían la norma desde los márgenes, el proyecto de mediación cultural Galaxxia diseña y acompaña una edición incisiva, intergeneracional y descentralizadora, donde saberes invisibilizados, cuerpos raros y deseos molestos se entrelazan para generar nuevas formas de imaginación crítica y radical. En los sótanos y corredores del Museo —un particular laboratorio— las dudas no se esconden: son materia prima.
Así, para este curso el equipoMotor convoca a personas de todas las edades que hayan participado en ediciones anteriores de los distintos equipos del Área de Educación a recorrer el Museo como quien manipula un cuerpo abierto: descoyuntando algunas de sus categorías teóricas y artísticas —la necropolítica, lo crip-cuir, la lucha de clases, las políticas del malestar, la decolonialidad, la temporalidad cuir, la descentralización institucional o el feísmo— para articular un relato díscolo, remendado y palpitante.
El programa se estructura en bloques temáticos sobre lo freak como metodología, el trabajo cultural, la intergeneracionalidad y la diversidad territorial. Cada bloque a su vez se despliega en sesiones que combinan disparadores teóricos y estéticos, visitas a exposiciones y espacios liminales del Museo, talleres artísticos con artistas, ejercicios de curaduría audiovisual colectiva y de relatoría radiofónica, así como instancias de activación pública, mediante proyecciones de cine experimental y coloquios compartidos con el público, en complicidad con el archivo Hamaca y el Área de Cine y Nuevos Medios del Museo.
De este modo, la presente edición incorpora una particularidad: el grupo de participantes irá transformándose en un «colectivo curatorial audiovisual temporalmente autónomo», con capacidad de incidir en la programación del Museo y de abrir la conversación de equipoMotor al público general, cuestionando y expandiendo así los límites entre las cabezas que deciden, las manos que producen y los cuerpos y presencias que habitan la institución. Las personas seleccionadas en la modalidad oyente serán invitadas a las proyecciones públicas, así como a otras activaciones y momentos de apertura del equipoMotor.
Frente al relato de un museo homogéneo, pulcro y lineal, apostamos por un Museo disidente, contradictorio y lleno de vida residual. Un Museo que no tema hacerse preguntas incómodas ni mostrar sus cicatrices. equipoMotor. Un poco más Frankenstein no busca repensar el cuerpo de la institución, sino habitarlo en sus desgarros, tal como es: híbrido, inacabado, infecto, fantasmagórico… y cargado de esporas y chispas por venir.