Picasso from Cultural Studies. The Dream and Lie of Spain (1898–1922)
International Congress
Held on 01, 02 Dec 2022
This international congress is the first event to be held inside the framework of the Commemoration of the 50th Anniversary of Pablo Picasso’s Death. Its title alludes to Picasso’s renowned prints under the title Sueño y mentira de Franco (The Dream and Lie of Franco, 1937), and investigates, from the field of Cultural Studies, Picasso’s relationship with the challenges, crises and transformations that shook Spain in the period stretching from the 1898 Disaster to the end of the Rif War in the 1920s.
[dropdown]
In early twentieth-century Spain, the crossroads of modernity was expressed with remarkable intensity and the art forms of the time initiated a genuine revolution of sensibility. After the independence of the final transatlantic assets in 1898, the country wrestled with the panic of foreign occupation, collective mourning, mass despair, new African colonial undertakings and the reinvention — as the eternal nation — of an East-West syncretism of Iberian art. Country and city, nature and industry, big city and territory, contradictions that would invoke collective reactions oscillating between despair and utopia — a rich context of solidarity networks, spaces of autonomy and dreams of worlds to come. The fight against hunger and repression, a nascent class and artistic bohemia forged the country’s own image while its bodies were processed inside a dense lattice of modern institutions. Working women were also the subject of new, specific forms of violence and trade in the home, in the brothel and in the psychiatric hospital, three spaces belonging to an institutional complex which repressed and subjugated the feminine condition as the nineteenth century made way for the twentieth.
Picasso at the turn of the twentieth century, the focal point of this congress, is at once a product and producer of this historical juncture. Inhabiting the interstices of the time, his living environment and aesthetic sensibility arose from the conflicts and desires that built the industrial city and the ways of imagining alternatives that materialised from it, for instance anarchism. Lifestyles which bohemia took to cabarets and workshops, visionary pharmacology and the forms of sociability that characterised that era’s artistic milieu plotted the coordinates of a new style that dubbed Picasso avant-garde. It was in a complex network of travel — Madrid, Barcelona, Gósol, Paris — in a grid, where the imagery of a nation and its ghosts was articulated and looked to replace a mixed-race transatlantic identity in an expansive North African mission.
This congress contends that Picasso’s Spanish identity does not lie in references to the painting of El Greco, Velázquez and Murillo, or in the influence of Iberian sculpture, or even in the traces of Spain’s popular culture, as previously upheld. These references are instead symptoms of the deep-seated redefinition of Spanishness that occurred from 1898 to 1922, between the independence of nations from the Americas and the Picasso File, a report signed by the soldier Juan Picasso — the painter’s great uncle — condemning the Disaster of Annual in the Rif War and marking the start of Primo de Rivera’s dictatorship. It sets out, through the prism of Cultural Studies, to assert that Picasso was not only aware of these historical processes and transformations, but also that his work played a determining role in them. Bohemia, nationalism-colonialism, anarchism, and repressive institutional policies in relation women are the ideas that run along the four elements articulating the congress and look to shed more light on this period.
[/dropdown]
[dropdown]
Carlos Alberdi (1956) is a commissioner for the Commemoration of the 50th Anniversary of Picasso’s Death
Josep Casals (1955) is a lecturer in Aesthetics and Art History at the University of Barcelona. His publications most notably include El expresionismo. Orígenes y desarrollo de una nueva sensibilidad (Montesinos, 1982), Constelación de pasaje. Imagen, experiencia, locura (Anagrama, 2015) and Crónica crítica. Periodismo, universidad, burocracia, política, nación, (Anagrama, 2020). He was awarded the 31st Anagrama Essay Prize for his work Afinidades vienesas. Sujeto, lenguaje, arte (Anagrama, 2003).
Chris Ealham (1965) is a British historian and hispanist who currently lectures in History at Saint Louis University in Madrid. He has published numerous articles in different languages on the history of anarcho-syndicalism and social protest and is the author of Class, Culture and Conflict in Barcelona, 1898–1937 (Routledge, 2004) and Living Anarchism: José Peirats and the Spanish Anarcho-syndicalist Movement (AK Press, 2016) and the co-editor, with Mike Richards, of The Splintering of Spain. Cultural History and the Spanish Civil War, 1936–1939 (Cambridge University Press, 2005).
Pura Fernández (1964) is a research professor at the Institute of Language, Literature and Anthropology from the CSIC Centre of Human and Social Science, director of Editorial CSIC, and head of the Scientific Culture and Citizen Science Area and joint vice-president of Scientific Culture in the same institution. Her recent publications most notably include Engaging the Emotions in Spanish Culture and History (18th Century to the Present) (with E. Delgado and Jo Labanyi; Vanderbilt Press, 2015) and 365 relojes. La Baronesa de Wilson (Taurus, 2022).
Chema González (1979) is head of the Museo Reina Sofía’s Cultural and Audiovisual Activities.
Rafael Jackson-Martín is a lecturer in Art History at the University of Puerto Rico, Recinto de Río Piedras. He has published a number of works linked to the realm of Pablo Picasso, for instance Picasso y las poéticas surrealistas (Alianza Forma, 2003), “Tres hombres líricos: Picasso, Breton, la sombra de Apollinaire y el surrealismo en 1925” (in La balsa de la medusa, No. 33, 1995) and the translation of Dictionnaire abrégé du surréalisme by André Breton and Paul Eluard (Siruela, 2003).
Jèssica Jaques Pi (1967) is a lecturer in Aesthetics and Art Theory at the Autonomous University of Barcelona and joint director of the Picasso PhD (Museo Picasso de Barcelona). She is the author of Picasso en Gósol, 1906: un verano para la modernidad (Antonio Machado, 2007) and head researcher on the project Los escritos de Picasso: textos teatrales, 2016-2018 from Spain’s Ministry of Science and Innovation.
Raquel Jimeno (1985) is coordinator of the Museo Reina Sofía’s Cultural Activities.
Germán Labrador (1980) is director of the Museo Reina Sofía’s Public Activities Department.
Dolors Marín (1957) is a historian and researcher specialised in contemporary European social movements. Her publications most notably include Anarquismo: una introducción (Ariel, 2014) and Espiritistes i lliurepensadores: dones pioneres en la lluita pels drets civils (Angle, 2018).
Eloy Martín Corrales (1949) is the head lecturer of Modern History in the Humanities Department of Universidad Pompeu Fabra, and specialises in Euro-Islamic relations, with a particular interest in economic, political and cultural spheres between the sixteenth and twentieth centuries. He has most notably written the books Comercio de Cataluña con el Mediterráneo musulmán (Siglos XVI-XVIII). El comercio con los “enemigos de la fe” (Bellaterra, 2001) and La imagen del magrebí en España. Una perspectiva histórica, siglos XVI-XX (Bellaterra, 2002), and has edited Marruecos y el colonialismo español (1859-1912). De la guerra de África a la penetración pacífica (Bellaterra, 2002) and La Conferencia de Algeciras en 1906: un banquete colonial (Bellaterra, 2007).
Julia Mirabal (1950) is a journalist and producer. She lectures at the Universidad de Medios Audiovisuales Veritas (Costa Rica) and the Universidad de La Habana, and works in cultural journalism on Cuban television. She directed the documentary Picasso en blanco y negro (2000), among other works.
Rosario Peiró (1968) is head of the Museo Reina Sofía’s Collections Area.
Elsa Plaza (1950) holds a PhD in Art History and is a teacher and writer. She has published the novels Rojiza penumbra (Barataria, 2006); El cielo bajo los pies (Marlow, 2009); Jacqueline o el eco del tiempo (Mecenix, 2012); and El magnetismo del viento nocturno (Ediciones B, 2014), and the research essays Desmontando el caso de la vampira del Raval. Misoginia y clasismo en la Barcelona modernista (Antrazyt, 2014) La calle olvidada. Sant Antoni de Pàdua en el Raval (El Lokal, 2017) and La vieja cárcel de la calle Amalia. Historia y vida cotidiana (El Lokal, 2020).
Julia Ramírez-Blanco (1985) is a researcher and lecturer at the University of Barcelona. She works at the crossroads between art, utopia and activism and has published Artistic Utopias of Revolt. Claremont Road, Reclaim the Streets, and the City of Sol (Palgrave, 2018), 15M. El tiempo de las plazas (Alianza, 2021) and Amigos, disfraces y comunas. Las hermandades de artistas del siglo XIX (Cátedra, 2022).
Servando Rocha (1974) is a writer and the editor of La Felguera Ediciones and the magazine Agente Provocador. Notable among his publications is Historia de un Incendio. Arte y revolución en los tiempos salvajes: de la Comuna de París al advenimiento del punk (La, 2006) and Agotados de esperar el fin. Subculturas, estéticas y políticas del desecho (Virus Editorial, 2008). In 2021, he curated the exhibition The Mask Never Lies (CCCB, Barcelona).
Conxa Rodríguez (1958) is a journalist specialised in the art market and the author of numerous articles for El País and Público. She has published Los Thyssen. Por amor al arte (Ediciones B, 1997) and El ángel de Picasso. Historia de un bebedor de absenta (Parsifal, 2003), among other works.
José María Rodríguez García (1964) is head lecturer in the Department of Romance Studies at Duke University, where he gives courses and seminars on the political-intellectual history of Mexico and Cuba, and on Iberian Cultural Studies from the nineteenth and twentieth centuries. His book The City of Translation: Poetry and Ideology in Nineteenth-Century Colombia (Springer, 2010) received the PROSE Award in 2010 from the Association of American Publishers.
Abigail Solomon-Godeau (1948) is a professor emeritus in the department of Art History at the University of California Santa Bárbara. She is the author of Photography at the Dock: Essays on Photographic Histories, Institutions and Practices (University of Minnesota Press, 1992); Male Trouble: A Crisis in Representation (Thames & Hudson, 1997); Chair à Canons: Photographie, discours, féminisme (Textuel, 2015); and Photography After Photography: Gender, Genre and History(Duke University Press, 2017). Her essays on photography, eighteenth- and nineteenth-century art, and feminism and contemporary art have been broadly compiled and translated.
[/dropdown]
Thursday, 1 December 2022
Session 1. Bohemian Glass: Picasso and New Lifestyles
11am Presentation
―Conducted by Chema González, Germán Labrador and Rosario Peiró
11:10am ¿Picasso, Noir? Bohemian Madrid at the Turn of the Century
―Conducted by Servando Rocha
11:30am The Catalan Window Open to Europe
―Conducted by Conxa Rodríguez
12pm Bohemia and Modernity: Poets, Artists and Critics in Montmartre and Montparnasse
―Conducted by Josep Casals
12:30pm Picasso “dit Pau de Gósol”: Matriarchy and Revolution
―Conducted by Jèssica Jaques Pi
1pm Round-table Discussion and Talk
―Moderated by: Raquel Jimeno
Session 2. Iberian-Colonial Picasso: From Cuba to Rif
5pm The Past as Future: Iberian Atavism in Modern Picassian Imagery
―Conducted by Rafael Jackson-Martín
5:30pm Was Picasso’s Work Influenced by the Colonial Wars? From the War of Melilla (1893) to the Spanish Civil War (1936–1939), via Annual (1921)
―Conducted by Eloy Martín Corrales
6pm Screening of Picasso en blanco y negro by Julia Mirabal
Cuba and Spain 2000, colour and b/w, original version in Spanish, DA, 40’. Documentary on the Afro-Cuban Relations of the Picasso family
7pm Round-table Discussion and Talk
―Moderated by: Germán Labrador
Friday, 2 December 2022
Session 1. Anarchism and Body Politics
11am The Social, Anarchist and Intellectual Pathways of a Young Picasso (Barcelona, 1895–1906): “Let the Orators Fall Silent and the Chemists Speak”
―Conducted by Dolors Marín
11:30am The Anarcho-Syndicalist Public Sphere and the Creation of a Workers’ City in Picasso’s Barcelona (1902–1917)
―Conducted by Chris Ealham
12pm Picasso and Libertarian Naturism
―Conducted by Julia Ramírez-Blanco
12:30pm The Circus Represented by Picasso as a Model for an Anarchist Society
―Conducted by José María Rodríguez García
1pm Round-table Discussion and Talk
―Moderated by: Chema González
Session 2. Picasso Inside the Framework of the Denouncement of Institutional Policies Against Women
5pm Presentation to commemorate the 50th anniversary of Pablo Picasso’s death
―Presentation by Carlos Alberdi, commissioned to commemorate the 50th anniversary of Pablo Picasso’s death
17:10 h The Case of the “Vampire of El Raval” and Sexual Violence in Modernist Barcelona
―Conducted by Elsa Plaza
5:30pm The Literary Genealogy of Les Demoiselles d'Avignon or Cultural Discourses on Sex Work Between Centuries
―Conducted by Pura Fernández
6:15pm Closing Lecture. Les Demoiselles d'Avignon through the Feminist Prism
―Conducted by Abigail Solomon-Godeau
7:15pm Round-table Discussion and Talk
―Moderated by: Rosario Peiró
Academic coordination
Chema González, Germán Labrador and Rosario Peiró
Organised by
Museo Reina Sofía
Inside the official programme Celebrating Picasso 1973–2023
The National Commission to Commemorate the 50th Anniversary of Pablo Picasso’s Death
Organised by
With the support of
Participating company in Spain
Participants
Participants
![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
Difficulty. Forms and Political Effects of Deviation in Writing and Contemporary Art
23 February – 14 December 2026 – Check programme
Difficulty. Forms and Political Effects of Deviation in Writing and Contemporary Art is a study group aligned towards thinking about how certain contemporary artistic and cultural practices resist the referentiality that dominates the logics of production and the consumption of present-day art. At the centre of this proposal are the concepts of difficulty and deviation, under which it brings together any procedure capable of preventing artistic forms from being absorbed by a meaning that appears previous to and independent from its expression. By ensuring the perceptibility of their languages, difficulty invites us to think of meaning as the effect of a signifying tension; that is, as a productive and creative activity which, from the materiality of art objects, frees aesthetic experience from the representational mandate and those who participate in it from the passiveness associated with tasks of mimesis and decoding.
The economy of the referential norm translates the social logic of capitalism, where insidious forms of capturing subjectivity and meaning operate. In the early 1980s, and adopting a Marxist framework, poet Ron Silliman highlighted how this logic entailed separating language from any mark, gesture, script, form or syntax that might link it to the conditions of its production, rendering it fetichised (as if without a subject) and alienating its users in a use for which they are not responsible. This double dispossession encodes the political strategy of referential objectivity: with no subject and no trace of its own consistency, language is merely an object, that reality in which it disappears.
The political uses of referentiality, more sophisticated today than ever before, sustain the neoliberal-extractivist phase of capitalism that crosses through present-day societies politically, economically and aesthetically. Against them, fugitive artistic practices emerge which, drawing from Black and Queer studies and other subaltern critical positions, reject the objective limits of what exists, invent forms to name what lies outside what has already been named, and return to subjects the capacity to participate in processes of emission and interpretation.
Read from the standpoint of artistic work, the objective capture of referentiality may be called transparency. Viewed from a social contract that reproduces inequality in fixed identity positions, transparent in this objectivity are, precisely, the discourses that maintain the status quo of domination. Opposite the inferno of these discourses, this group aims to collectively explore, through deviant or fugitive works, the paradise of language that Monique Wittig encountered in the estranged practices of literature. For the political potency of difficulty — that is, its contribution to the utopia of a free language among equals — depends on making visible, first, its own deviations; from there, the norm that those deviations transgress; and finally, the narrowness of a norm which in no way exhausts the possibilities ofsaying, signifying, referring and producing a world.
From this denouncement of referential alienation, fetishisation and capture, Difficulty. Forms and Political Effects of Deviation in Writing and Contemporary Art turns its attention to the strategies of resistance deployed by contemporary artists and poets. Its interest is directed towards proposals as evidently difficult or evasive as those of Gertrude Stein, Lyn Hejinian, Theresa Hak Kyung Cha, Kameelah Janan Rasheed, Kathy Acker, María Salgado and Ricardo Carreira, and as seemingly simple as those of Fernanda Laguna, Felix Gonzalez Torres and Cecilia Vicuña, among other examples that can be added according to the desires and dynamics of the group.
The ten study group sessions, held between February and December, combine theoretical seminars, work with artworks from the Museo Reina Sofía’s Collections and exhibitions, reading workshops and public programs. All these formats serve as spaces of encounter to think commonly about certain problems of poetics — that is, certain political questions — of contemporary writing and art.
Difficulty. Forms and Political Effects of Deviation in Writing and Contemporary Art inaugurates the research line Goodbye, Representation, through which the Museo Reina Sofía’s Studies Directorship seeks to explore the emergence of contemporary artistic and cultural practices which move away from representation as a dominant aesthetic-political strategy and redirect their attention toward artistic languages that question the tendency to point, name and fix, advocating instead for fugitive aesthetics. Over its three-year duration, this research line materializes in study groups, seminars, screenings and other forms of public programming.
CLINIC 2628. A Community of Writing and Research in the Arts
February – October 2026
Clinic 2628 is a project which supports and brings together writings which stem from the intention to offer a space and sustainable time for research work in art and culture. Framed within an academic context which is increasingly less receptive to the forms in which thinking happens and is expressed, the aim is to rescue the academic from its neoliberal trappings and thus recover the alliance between precision and intuition, work and desire. A further goal is to return writing to a commons which makes this possible through the monitoring of processes and the collectivisation of ideas, stances, references and strategies.
The endeavour, rooted in a collaboration between the Museo Reina Sofía’s Studies Directorship and the Artea research group, via the i+D Experimenta project, is shaped by three annual editions conceived as spaces of experimentation, discussion and a demonstration of writings critical of what is put forward by today’s academia.
What forces, forms and processes are at play when writing about art and aesthetics? In academia, in museums and in other cultural institutions, the practice of writing is traversed by productivist logics which jeopardise rhythms of research and experimentation. The imposition of both scientism inherent in the structure of “the paper” and the quantifying of results which demand a criterion of quality and visibility sterilise and smoothen, from the outset, the coarseness that is particular to writing understood from the concrete part of language: phonic, graphic, syntactic and grammatical resistance connecting the language user to the community the language unites and activates. They also sterilise the roughness enmeshed in the same desire to write, the intuitive, clear and confusing pathways that once again connect the writer to those reading and writing, participating in a common good that is at once discovered and produced.
The progressive commercialisation of knowledge propelled by cognitive capitalism moves further away from the research and production of knowledge in artworks and artistic languages and practices. The work of curators and archive, criticism, performances and essays formerly saw a horizon of formal and emotional possibilities, of imagination that was much broader when not developed in circumstances of competition, indexing and impact. Today, would it be possible to regain, critically not nostalgically, these ways; namely, recovering by forms, and by written forms, the proximity between art thinking and its objects? How to write in another way, to another rhythm, with no more demands than those with which an artwork moves towards different ways of seeing, reading and being in the world?
Cultural Work
Thursday, 12 February 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.
Session number two looks to approach film as a place from which cultural work is made visible and processes of production engage in dialogue with artistic creation. From this premise, the session focuses on exploring how audiovisual content is produced, assembled and distributed, from the hands that handle the images to the bodies that participate in its circulation. The aim is to reflect on the invisible effort, precarity and forms of collaboration that uphold cultural life, that transform the filmic experience into an act that recognises and cares for common work.
The (legal) person and the legal form. Chapter II
8, 12, 15 January, 2026 – 16:00 to 19:00
As part of the Studies Constellation, the Study Directoship’s annual fellowship, art historian and theorist Sven Lütticken leads the seminar The (Legal) Person and the Legal Form: Theoretical, Artistic, and Activist Commitments to foster dialogue and deepen the hypotheses and questions driving his research project.
This project, titled Unacting Personhood, Deforming Legal Abstraction, explores the dominance of real abstractions—such as exchange value and legal form—over our processes of subjectivation, and asks how artistic practices can open up alternative ways of representing or performing the subject and their legal condition in the contemporary world.
The seminar consists of eight sessions, divided into three chapters throughout the academic year. While conceived as non-public spaces for discussion and collective work, these sessions complement, nourish, and amplify the public program of the Studies Constellation.
In this second chapter of the seminar, the inquiry into the aesthetics and politics of legal form continues with three sessions that pick up the discussions held in Chapter I but propose new lines of flight. The first session focuses on international law via the writings of the British author China Miéville, which allows us to reconsider the notion of the legal form –following Evgeny Pashukanis— and, through it, a variety of (people’s) tribunals. While the crucial concept of the legal person –as the right-holder central to the form of law— was debated in Chapter I, the second session focuses on attempts to extend personhood not (just) to corporations, but rather to nonhuman animals or ecosystems. Finally, the third session poses the question: how can groups and networks use officially recognized organizational forms (such as the foundation or the cooperative) and/or use a collective persona (without necessarily a legal “infrastructure” to match) to act and represent themselves?
TEJA 2026. Open Call for Emergency Art Residencies
Proposal submission until 12 January, 2026
TEJA / Red de espacios culturales en apoyo a situaciones de emergencia [Network of Cultural Spaces in Support of Emergency Situations] has the mission to promote transnational cooperation by offering temporary art residencies to artists and cultural practitioners who find themselves in complex socio-political situations in their countries of origin. During their stay in Spain, residents receive accommodation, legal and psychological counseling, and access to a network of organizations and professionals with whom they can share, develop, and continue with their creative projects. The goal is to provide a safe and stimulating environment where artists can continue their work despite adverse circumstances and generate dialogue spaces that ensure freedom of expression through joint activities both in Spain and with international collaborators.
During 2026, TEJA hosts three new residencies, each lasting three months, dedicated to supporting artists and cultural practitioners residing in the West Bank and Jerusalem. In addition, in the second half of the year, TEJA hosts three additional residencies for Gazan artists, which are offered by invitation (as Spain is currently unable to facilitate evacuations from Gaza, these invitations are coordinated through France). These residencies aim to provide a stable, creative environment and foster artistic exchange in the face of ongoing adversities. Through this new program, TEJA reaffirms its commitment to amplifying Palestinian voices and empowering artists as they navigate these turbulent times.
The selection is carried out by the TEJA network in close collaboration with each hosting partner. This year the hosting partners are: La Escocesa (Barcelona), hablarenarte / Planta Alta (Madrid), Espositivo (Madrid), Institute for Postnatural Studies (Madrid), Casa Árabe (Córdoba). The selection prioritizes the artist’s personal and professional situation first, and then the alignment with the practices and themes of the hosting spaces. Proposal submission deadline is January 12th, 2026, 23:59 h.