
Held on 20 sep 2021
The health crisis affecting the world and the ensuing economic and social disarray has left indelible marks on daily lives, on the bodies of those precariously inhabiting them and on neoliberal capitalism’s circuits of economic and commercial exchanges, which have been abruptly halted and interrupted. The pandemic, precipitating lockdowns leaving individuals isolated and emptying cities, has created a favourable setting for disciplining entire populations and placing them under surveillance, while the most vulnerable side of different existences surviving in total defencelessness owing to a lack of resources and rights has been brought to light during it. The pandemic has also sparked violence which the cruelty of the system of capitalist domination metes out to those subjects deemed useless or surplus. Furthermore, it has spread dread and occasioned elemental fears which, in the global context of frail and flawed democracies, are used by the Right and Far Right to lead their neo-fascist campaigns against those fighting for the emancipation of bodies and minds.
We already know that neoliberalism is not solely an economic doctrine or a series of governance methods, but rather a regime of signs that captures subjectivities in a framework of professional competencies and advertising gratuities promoting the individualism of efficiency and consumerism, breaking all community links in the process. Feminist power and its women’s organisations has imparted knowledge on how to recreate micropolitical ties that range from collective struggles protesting sexual violence to the defence of an ethical solidarity of care.
This international seminar prompts passage from violence and fear to the community of affection (“to be affected by” and “to affect”), drawing on social activism, artistic creation and critical thought to range across sensibility, language, bodies, imagination and politics.
Education programme developed with the sponsorship of the
Monday, 20 September 2021
Opening of the Chair
How can subjectivity be liberated from colonial-racialising-capitalistic captivity? Opening lecture by Suely Rolnik (Brazil)
Opposite capitalism’s global seizure of power, in its monetised fold (at once economically neoliberal and culturally neoconservative), movements have been bursting forth, particularly in Latin America, materialising among racialised populations (black, indigenous, women’s, LGBTQI+, casual worker populations, etc.) and in entire cities. These movements extend beyond the history of left-wing resistance, restricting the macropolitical sphere and its target of unequal rights and intervening in the micropolitical sphere, the sphere of the unconscious regime that structures subjectivities and their formation in the social field, which in turn is dependent upon the existential consistency of the dominant system and its production and reproduction. There is no possibility of real change without micropolitical resistance. Within this realm, the margins between activism and artistic and therapeutic practices become indiscernible.
Presentation and conversation: Nelly Richard (Chile/Spain)
Tuesday, 21 September 2021
Table 1. Reshaping Aspects of Sensitivity
The experience of the pandemic laid bare at once the insecurity and fragility of our existence and the need to turn to affection as the key to reciprocity in constructing non-violent subjectivities. “Sensitive” aspects (matter, body, experience) take on relevance when it comes to correcting mean-spirited neoliberal structuring and the value it places solely on utility and profitable data. In which ways can the aesthetic, the political and the ethical be reconjugated in new grammars of desire and imagination, as well as responsibility?
Participan: Gabriel Gatti (Uruguay/Spain), Marina Garcés (Spain) and Luis Ignacio García (Argentina) 
Moderated by: Janaina Carrer (Brazil)
Wednesday, 22 September 2021
Table 2. Political Violence and Conflicts of Memory
The management of neoliberal consensus and the levelling of a present cultivated by technocratic rationality both repress exercises of critical memory. However, there are several traumatic entanglements that continue to be projected as ghosts of the present, from a yesterday marked by dictatorial fractures. How can there be a continued exploration of the conflictive magnitude of social historicity that ties together memory but without ceasing, at the same time, to fight against the threat of new violence — economic, social, ethnic, gender-sexual — intersecting today’s political cycles?
Participants: Ileana Diéguez (Cuba/Mexico), Juan Gutiérrez (Spain) and Teresa Villarós (Spain) 
Moderated by: José Miguel Neira (Chile)
Thursday, 23 September 2021
Table 3. Trans/feminisms Today: Conquests and Challenges
Feminist power (theory and practice) has been key to deciphering the knots that tether, socio-structurally, capitalism and the patriarchy, vindicating gender as an analytical category. It has also unfurled its collective force, engendering changing forms of intervention: marches, protests, strikes, assemblies, social networks, performances, etc. What are the new challenges the feminist project faces today to expand upon and transversally consolidate its conquests?
Participants: Verónica Gago (Argentina), Clara Serra (Spain) and Elisa Fuenzalida (Peru) 
Moderated by: Ybelice Briceño (Venezuela/Ecuador)
Friday, 24 September 2021
Conclusion of the Chair
Baroque Signs. Closing Lecture by Diamela Eltit (Chile)
This lecture examines the expressive turbulence of certain signs stemming from social settings. It centres on the excess (or excesses, in plural) of the representation of the void, and considers the grammar of bodies as mobile forms able to promote local narratives (with a particular focus on Chile). From edges where brightness and opaqueness co-exist, the talk delves into the present time of a world that has become one big hospital, and where the virtual and the material entwine.
Presentation and conversation: Ana Longoni (Argentina)
Curator
Nelly Richard
Programme:
The Politics and Aesthetics of Memory Chair
Organised by
Museo Reina Sofía
Educational program developed with the sponsorship of

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.

Crossed Vignettes
Friday, 21 November 2025 – Check programme
The Crossed Vignettes conference analyses the authorship of comics created by women from an intergenerational perspective and draws from the Museo Reina Sofía Collections. Across different round-table discussions, the programme features the participation of illustrators Marika, Carla Berrocal, Laura Pérez Vernetti and Bea Lema and researchers Viviane Alary, Virginie Giuliana and Elisa McCausland.
The aim of the encounter is twofold: to explore in greater depth the different forms in which women comic book artists have contributed to developing a counterculture; namely, the appearance of ruptures, reformulations and new genres within the ninth art. And to set up a dialogue which ignites an exploration of genealogies linking different generations of artists.
Moreover, the activity is put forward as a continuation to the exhibition Young Ladies the World Over, Unite! Women Adult Comic Book Writers (1967–1993) and the First International Conference on Feminist Comic Book Genealogies, held in April 2024 at the Complutense University of Madrid.
In redefining the visual narratives of the comic book and questioning gender stereotypes in a male-dominated world, women comic book writers and artists have impelled greater visibility and a more prominent role for women in this sphere. The study of intergenerational dialogue between female artists past and present enables an analysis of the way in which these voices reinterpret and carry the legacy of their predecessors, contributing new perspectives, forms of artistic expression and a gender-based hybridisation which enhances the world of comics.
The conference, organised jointly by the Museo Reina Sofía and Université Clermont Auvergne/CELIS (UR4280), is the outcome of the following projects: The Spanish Artistic Canon. Between Critical Literature and Popular Culture: Propaganda, Debates, Advertising (1959–1992), Casa de Velázquez (CALC); Horizon Europa COST Actions iCOn-MICs (Comics and Graphic Novels from the Iberian Cultural Area); and COS-MICs (Comics and Sciences).

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.



![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)