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Thursday, 28 June - Nouvel Building, Protocol Room, (Floor 3, enter through terrace)
Session 1
6pm
Situated Unwellness or How Mental Diseases Have Been Privatized
Round table discussion. Participants: Manuel Desviat, Flipas GAM, Hierbabuena y La Revolución Delirante.Many of our regrets and suffering, that move from the physical to the psychological, have their beginnings in the social realm, free from the influence of biology. This is an intuition that the anti-psychiatric movement put into practice during the 60s and 70s, turning the fight against involuntary commitment and violence of the clinic into a battlefield. From the activism of mutual support groups to the care of new professional collectives that reject medicalization as the lone answer to the illnesses we suffer, this round table seeks to situate a series of reflections on a concrete form of governance that represses the right to be different.
8pm
Fake Therapy
A practice proposed by Valentina Desideri with Ainhoa Hernández y Andrea Rodrigo. -
Sunday, 1 July - Sabatini Building, Auditorium
Session 2
7pm
San Clemente, Raymond Depardon and Sophie Ristelhueber, France, 1981, B / W, VOSE, 100 '
Presented by Alfredo AracilThe year 1980, in which this film was filmed, marks the end of a decade of anti-asylum struggles and the beginning of what has been called control societies, with their surveillance and molecular regulation spaces. Raymond Depardon and Sophie Ristelhueber film corridors and common spaces of the last days of a psychiatric hospital on the island of San Clemente, near Venice. This hospital appears as the emblem of an era where therapy inevitably involves confinement, violence and marginalization. The documentary, shot during the carnival period, portrays the daily environment of patients and relatives, as well as its links with medical personnel in the labyrinth of the Venetian hospital.
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Monday 2 July - Sabatini Building, Auditorium
Session 3
7pm
Screening and debate on the unedited documentary in progress Estado de malestar (Unwellness State) by María Ruido and the InsPiradas collective.María Ruido defends film as a space to reflect on the intersection between neo-liberal capitalism and mental health. Her new film, Estado de malestar ((In)adaptación, sintomatología social y enfermedad en tiempos del realismo capitalista), still in progress, uses texts by Franco Berardi Bifo, Mark Fisher, Santiago López Petit, and Marta Plaza, among others, as its foundation, as well as conversations with people diagnosed and undiagnosed with mental illnesses and psychological suffering, to which the artist includes her own experience. In this session, Ruido will share with the audience some of the images from her project, to be finished in November 2018. The feminist collective InsPiradas, which works with mutual support and care as focal points, will participate in the debate.
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Wednesday 4 July - Sabatini Building, Auditorium
Session 4
6pm
One Unyielding Force: to Politize Unwellness
Lecture by Santiago López-Petit. Presented by Franco CastignaniWork means, within the framework of neo-liberalism, a form of political control that demands an obligation, sometimes painful, to “have a life” to manage. In a conversation open to debate with the audience, Santiago López-Petit presents his latest book, El gesto absoluto. El caso Pablo Molano: una muerte política (Pepitas de Calabaza, Logroño, 2018), about the intersection between politics and illness, and on the political nature of suicide.
8pm
Our own homeless
Lecture-performance by Liv Schulmann -
Thursday 5 July - Sabatini Building, Auditorium
Session 5
7pm
Film screening Animación en la sala de espera, (Lively Waiting Room) Carlos Rodríguez Sanz and Manuel Coronado. Spain, 1981, color, In Spanish, 78 min.
Presented by Manuel Desviat and Alfredo Aracil.This documentary was filmed in the former mental hospital in Leganés, today the Psychiatric Institute, between 1977 and 1979, during the transformation process of mental health assistance, which, during the first years of democratic transition post-Franco, resulted in a collegiate direction and of assembly. In line with other films that have entered in the daily lives of mental health patients and users of mental health, Animación en la sala de espera installs a camera in the institution's day-to-day life, also going outside its walls in search of forms of affection and bonds found in minimal gestures and repetition.
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Friday 6 July - Nouvel Building, Protocol Room, (Floor 3, enter through terrace)
Session 6
5pm
Round table discussion
With the participation of: to be confirmed, possibly Franco Castignani, Belén Solá (La Rara Troupe), participants of the program’s reading group, Amador Fernández-Savater.6:30pm
How to live by our won – how to live together
Lecture by Peter Pál PelbartBeginning with a meeting with Gilles Deleuze in the early 1980s, Peter Pál Pelbart reflects on how to how to combine the desire to be together when we are not left sufficiently alone, in a crossroads of references and tones that span from Roland Barthes' text this program takes its title from to Jean Oury's experiences, director along with Félix Guattari of La Borde clinic. How does one sustain a collective that maintains a dimension of individuality? How does one create heterogeneous spaces, with its own tonalities and different atmospheres, in which each one is connected in its own way? How does one maintain an availability capable of promoting encounters without imposing them, or attention that permits contact and preserves otherness? How does one make room for chance, without planning for it? How does one sustain a “gentleness” that allows for the emergency of speaking there, where the affective void prospers. These are some of the questions that emerge from this philosopher's research, his conception of health beyond diagnoses and the medical paradigm.
8pm
Schizo pic-nic
Performance, Florencia Rodríguez Giles. Museum tour, beginning at Nouvel Building, Protocol Room
A Possible Strength: Towards a Poietics of Living Together
Round table, performance, conference, and film screening series

Held on 28 Jun 2018
This program emerges out of the need to bring together ideas on the illnesses we suffer from, at a time when the welfare state has given way to a type of governance centered on the proliferation of new disorders, diseases, and medications. A possible strength: towards a “poietics” of living together brings together artists, theorists, and activists, in order to share experiences on a number of care networks, non-governmental and communal forms of organization, situated knowledge and ways of life that, after the anti-psychiatric movements of the 1970s, operate as an alternative to medical devices against unwellness, inasmuch as techniques for the repression of subjectivity, desires, and pleasures that do not adhere to what is considered normal. The known conditions of anxiety, stress, depression, panic, or attention deficit disorder, as well as the emergence of new illnesses such as fibromyalgia, or other forms of chronic exhaustion, are related, without a doubt, to phenomena such as the precariousness or absence of salaried work, in both psychological and physical aspects. As such, the success of drug treatments is measured by its coercive efficacy and by the empiric skill with which they transform the smallest somatization into a stable diagnosis table.
The growing critical attitude and a new way of understanding clinical practice make up two complementary forces that allow us to envision a therapeutic outlook from which to work on fears and challenges that stem from the need to live together, and that does not end at the medical model, nor at rehabilitating behavior, nor at integrating those who are different into the mode of existence that neo-liberalism considers desirable. It is not about breaking down personal suffering into mere biology, as part of neuroscience does, but rather about investigating political and social conditions that make torture, seclusion, and emotional isolation possible, more secret and commonplace everyday, almost trivial, and justified by medical reasons. In that sense, A possible strength: towards a “poietics” of living together seeks to free unwellness from being appropriated by medical science, and at the same time releasing the power of language and knowledge of the living body. In other words, it is so unwellness to not be the heartbreaking individual experience of the alienated, eccentric, and marginalized. Beginning with activities of varied formats (round table discussions, conferences, screenings, performances, and reading sessions), the program also wants the truth from every damaged body, its suffering, and the vulnerability it causes, to become visible to the public eye, as a personal and collective euphoria, to affect the largest number of people possible, until it becomes an experience that imagines new ways of living and negotiating, where every emotional crisis or catastrophe is always met with the creation of a new possible world, as suggested by Peter Pál Pelbart, with conditions conducive to subjective change.
This program is complemented by the A Possible Strength Reading group, that during June and July will work with texts related to the group’s principal theses.
Program organizer
Alfredo Aracil
Organised by
Museo Reina Sofía as part of the Midstream. New ways of audience development in contemporary art project

Participants
Alfredo Aracil. Curator, arts manager, and researcher. He has collaborated with magazines such as Experimenta, LUMIÈRE and Nosotros. His research concentrates on the transformation of psychiatry in Spain at the end of the 1970s (doctoral thesis).
Franco Castignani.Political expert and independent researcher. His principal areas of interest analyze mutations in contemporary labor, new sensibilities, and the politicization of illness.
Valentina DesideriArtist, researcher, and writer residing in Amsterdam, where she has launched the performative practices Fake Therapy and Political Therapy, as well as co-organizing the Performing Arts Forum.
Manuel Desviat. Mental health professional, he has worked in clinics, organization and services management, teaching, and research. Author of books such as Cohabitar la diferencia: de la reforma psiquiátrica a la salud mental colectiva (Traficantes de sueños, Madrid, 2016).
FLIPAS/GAM. Mutual support group from Madrid that works for the understanding of mental health from a socio-political activism standpoint. They fight against label, social discrimination, manipulation, and violence.
Ainhoa Hernández Escudero and Andrea Rodrigo. Together they think about complicity devices and ways to produce knowledge and sensibility, taking an interest in artistic investigation, curation, and contemporary choreography. They are involved in contexts such as Performing Arts Forum (St. Erme, France). They have collaborated with Valentina Desideri on a piece undertaken along with Corazón del Sol for the exhibition Cale, cale, cale! Caale!!!, curated by Juan Canela in Tabakalera (Donostia).
Hierbabuena. Organization from Asturias made up of and for people who understand mental suffering. Since 2000 it works to spread and improve knowledge society has about these types of problems and experiences, free from discrimination and prejudice.
InsPiradas. Collective from Madrid with a relationship to exclusively feminist mental health. Based on first-person experiences to denounce a hetero-patriarchal capitalist system that harms mental health.
La Rara Troupe. Thought, reflection, and creation collective on mental health that emerged in 2012 out of the Department for Education and Cultural Action at the Museum of Contemporary Art in León (MUSAC). Composed of people diagnosed and undiagnosed, its action is based on using audiovisual creation from self-representation to first-person narration.
La Revolución Delirante. Critical movement made up of mental health professionals started in 2011 in Valladolid. It is principally directed at the new generations of professionals with three objectives: promote a broad, independent, and rigorous education of these professionals; understand the aid and position of these professionals in the context of the abandonment of the position of power and social control with which the “psi” disciplines were born; take these ideas to society to neutralize the social stigma associated with so-called mental illness. Communicate that mental illness is a way of being in the world that should be respected and as such, give the mentally ill back their status of citizen.
Santiago López-Petit. Chemist and philosopher, he is a follower of Foucault and Deleuze's French post-structuralism, and Toni Negri's Italian Marxism, among others. He has spurred on collective initiatives such as Dinero gratis and Espai en blanc, that bring together radical criticism with experimentaion. He has recently published Acaba de publicar El gesto absoluto. El caso pablo Molano. Una muerte política (Pepitas de Calabaza, Logroño, 2018).
Peter Pál Pelbart. Philosopher, essayist, and professor at the PUC-SP (Pontifícia Universidade Católica de São Paulo). He is the author of Filosofía de la deserción (Tinta Limón, 2009), the notebook “Carta aberta aos secundaristas” in Caixa Pandemia de Cordéis (n-1 Edicões, São Paulo, 2016), and Cartography of Exhaustion: Nihilism inside out (Univocal, Minneapolis, 2015).
Florencia Rodríguez Giles. Artist specializing in painting and performance. Her research has for many years examined the different states of matter and of the psyche. María Ruido. Visual artist, researcher, and cultural producer. She develops interdisciplinary projects on stereotypes in labor in post-Fordist capitalism and on the construction of memory and its relation with narrative forms of history.
Liv Schulman. Artist and writer. She has coordinated and directed performative practice series related to writing, such as Triple Frontera, and the publication of the art and poetry fanzine Pobre, Feo, and Elegant. She writes in different platforms such as Emargé, Allotrope, and Artists talking.
Más actividades
![Joseph Kosuth. One and Three Chairs [Una y tres sillas]](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/joseph_kosuth.jpg.webp)
The (legal) person and the legal form. Chapter III
Monday 11, Wednesday 13 and Thursday 14 May 2026 - Registration deadline extended
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.
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.
First session of the third chapter focuses on the transformation of the artwork in the context and wake of Conceptual art. The very notion of the artwork, together with its ownership and authenticity, is reconsidered from a broad perspective open to new and alternative models of management, which could ultimately transform the relationship between artist, artwork and owner. Can some of the practices in question serve as critical models? To what extent is it possible to think and act with them, and extrapolate from them, beyond a beautiful niche?
The second session turns to the question of representation. While many (but not all) human natural persons can, in principle, represent themselves in legal matters, other needs representatives. This goes for minors as well for adults who have been placed under legal guardianship; it applies to fictitious persons such as corporations and states, who need human representatives to sign contracts or defend them in court. We will look into the question of legal representation in conjunction with other forms of representation, in the cultural as well as political register—taking cues from Spivak’s distinction between portrait (Darstellung) and proxy (Vertretung), which is an unstable and historically mutable one.
The seminar concludes with a closing session dedicated to collectively revisiting and reflecting on the themes and discussions that have emerged throughout the first Studies Constellation Residency Program.

Collection. Contemporary Art: 1975–Present
Miércoles 13 de mayo, 2026 - 19:00 h
In this lecture, Museo Reina Sofía director Manuel Segade outlines the key readings of the new presentation of the Collection on Floor 4 of the Sabatini Building. This new arrangement is framed inside an ambitious rehang that harnesses the uses of the Museo’s architecture, in a plan that will continue in 2027 with the opening of Floor 3 in the same building, culminating with Floor 2 in 2028.
The new rehang of the Collections, unveiled on 16 February 2026, sets forth a journey through contemporary art history over the past fifty years in Spain. Rather than an unambiguous narrative, the floor recounts the same period — from the Transition to democracy in Spain to the present — in three different ways, starting back at the 1970s time and again.
The exhibition route gets under way with a prologue that travels through the affections, material culture and institutionalism of the Spanish Transition, serving as a starting point for the three routes that follow. The first, A History of Affect in Contemporary Art, advances from affective systems in artmaking linked to the second wave of feminism, arriving at grief as a tool to interpret new realities. The second route, The Powers of Fiction: Sculpture, New Materialisms, and Relational Aesthetics, is conceived as a sculpture gallery in which the artworks engage with the public, focusing on the performance side of the discipline. This route shows, among other aspects, how Spanish sculpture has gained significant international visibility since the 1980s, with women artists playing a key role in this display. The third route, A New Framework. The Institution, the Market, and the Art that Transcends Both, zooms in on the origins of the Museo and its role in the process of art’s institutionalisation in Spain. In May 1986 the Centro de Arte Reina Sofía opened, occupying the first and second floors of the former hospital: the forty years that have elapsed since then enable a re-evaluation of the effects of the Museo on Spanish art and art on the institution.
This talk strengthens the goal of socially integrating the narratives produced by the Museo at a time when the Collections are under permanent review.

Patricia Falguières
Tuesday May 12th 2026 – 19:00 h
Art historian Patricia Falguières inaugurates the María Luisa Caturla Chairwith the lecture Art History in Dark Times. This Chair, dedicated to the reflection on art in times «sick with uncertainty», is aimed at dismounting, digressing and imagining multiple temporalities and materialities in art history and cultural studies from an eccentric gaze, in the sense of being displaced, off-centre or with a centre that is different.
The lecture’s title references Hannah Arendt’s collection of essays Men in Dark Times, which in turn paraphrases a Bertol Brecht poem. In it, Arendt asserts «dark times are not only not new, they are no rarity in history».
Patricia Falguières also claims history knows many periods when the public realm has been obscured, when the world becomes so uncertain that people cease to ask anything of politics except to relieve them of the burden of their vital interests and their private freedom. The art historian —whose expertise is in the field of Renaissance art and philosophy but paying close attention to contemporaneity— invites us to a «chaotic and adventurous journey», from the Italian Renaissance to Fukushima, through which to delve into the questions: What can the practice of art history mean today, in a world ablaze with ominous glimmers and even more ominous threats, if not as mere entertainment or social ornament? Of what vital interests, of what freedom can it bear witness and serve as an instrument?

School of SUP: Trash Cinema Session
Thursday 30 April 2026 – 7pm
The deranged study plan by School of SUP, an equipo1821 development, brings to public attention their unique display of classwork with this screening. The session shows three short films made with analogue cameras, written and edited by and starring, collectively, students in pure DIY style, followed by a presentation of American SUP (2026), a feature-length and irreverent trash film by Soy una pringada and Dani Tezla.
American SUP (2026) is a US road trip through the American Midwest, recorded with a camera from 1997, in which YouTuber, DJ, cultural agitator and cult internet personality Soy una pringada and Dani Tezla direct and star in an adventure with no shortage of stellar appearances and impossible settings: the home of American Football, a corpse store, the Rainforest Café storm, a Cannibal Corpse gig, a basement in Minnesota, foul hotels, cuck chairs and a clown-filled hall of fame. The film is a lo-fi, folk-tinged version of American Gothic, a genre practised by film-makers such as George Kuchar, Harmony Korine and Sean Price Williams.
This session, moreover, is articulated with the core strands of the equipo1821 education programme School of SUP. Film, Art and Nihilism in the 1990s, which, through film — mainly from the 1990s — explores different underground practices, urban cultures, crossovers of art with popular culture and a kind of generational adolescent angst as background noise.
![Aurèlia Muñoz, Ocell estel S2 [Pájaro-cometa S2], 1982. Archivo Aurèlia Muñoz](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/aurelia-munoz-charlainaugura.jpg.webp)
Aurèlia Muñoz. Beings
28 ABR 2026
In conjunction with the opening of Aurèlia Muñoz. Beings, an exhibition curated by Fundación EINA via its einaidea platform, Manuel Cirauqui, einaidea’s founding director, and collaborators Rosa Lleó and Sílvia Ventosa engage in conversation around the curatorial approach to this anthological show devoted to Aurèlia Muñoz (Barcelona, 1926–2011). The exhibition, organised by the Museo Reina Sofía and the Museu d’Art Contemporani de Barcelona (MACBA), traces an extensive path through the artist’s career and revises the conceptual points that run through her work, points which are pivotal to understanding the development of contemporary textile art.
The encounter seeks to explore new perspectives imparted by the show and to offer a wider reading of Muñoz’s legacy, travelling through more than fifty years of artistic practice: from monumental textile structures to handmade paper sculptures, from her beginnings linked to Nouvelle Tapisserie and the Catalan Tapestry School to the consolidation of her own language, which flows beyond the limits of fabric and craft.
Furthermore, the conversation touches on the experimental nature of Muñoz’s work, defined by a constant investigation into techniques and materials that interlace ancestral knowledge and artisan traditions with contemporary resources, as well as her main points of reference, influences and unique concept of space. Thus, the focus rests on the concept of “beings”, which are key to understanding her semi-abstract sculptures and suspended structures, conceived as constantly evolving forms which inhabit space. Finally, her drawings, maquettes and personal archive are presented as keys to understanding the cohesiveness and depth of her creative universe.
These inaugural conversations, part of the main working strands of the Museo’s Public Programmes Area, aim to explore in greater depth the exhibition narratives of the shows organised by the Museo from the perspective of artists, curators and specialists.