Held on 23 ene 2021
Pan-Pan Kolektiva was formed in March 2020 as a listening-centred research group, with PAN PAN a standard urgency signal standing for Pay Attention Now, but not as urgent as MAYDAY. After the global health and social emergency caused by COVID-19 society is not necessarily at an endpoint, yet it does require our attention. The crisis has been compounded by uncertainty stemming from already unstable employment and personal situations and we have witnessed the rise of individualism, solitude and isolation, which could lead to psychological imbalances.
Over these months, Pan-Pan Kolektiva has focused its interests on analysing, through listening, the effects of these crises, observing how the social fragmentation mentioned above has triggered the simultaneous and oddly related rise of totalitarian ideologies with the ascent of New Age or anti-mask movements that harbour conspiracy theories — generally speaking, what has been termed “conspiritualism”.
Pan-Pan Kolektiva sets out from the hypothesis that the current situation is giving rise to collective trauma and from the following question: Do we have the necessary tools to listen to each other or do we need to create new ones?
Pan-Pan Kolektiva takes this question to form the basis of its work around the concept of “post-traumatic listening”, a mode of listening that is yet to be defined or settled upon, and that relegates our position as an individual subject to collectivise malaise and experiences of mourning. Therefore, the collective has contacted a series of artists, thinkers and cultural agents and asked them to produce a series of tools they will present publicly at this event.
Moreover, the encounter features different listening exercises conducted by Víctor Aguado Machuca, Elisa Arteta, José Begega, José Luis Espejo, the Grupal Crew Collective (GCC), Susana Jiménez Carmona, Mattin, Violeta Mayoral, Agnès Pe, Miguel Prado and Arnau Sala.
Curated by
Pan-Pan Kolektiva
Organised by
Museo Reina Sofía
Additional Material
Pan Pan Kolektiva. Post-traumatic Listening. Disclaimer, 2020
Participants
Víctor Aguado Machuca is an artist, architect, musician and curator. He is president of the Electroacoustic Music Association of Spain (AMEE) and a researcher in Philosophy and Language Sciences at the Autonomous University of Madrid. He has curated exhibitions in institutions such as the Ibero-American Institute of Finland (Madrid), Medialab-Prado (Madrid), the Cervantes Institute in Berlin and New York, The Graduate Center, CUNY (New York) and Oolite Arts (Miami).
Elisa Arteta is a dancer and choreographer with an MA in Contemporary Technological and Performance Art from University of the Basque Country and an MA in Performing Arts and Visual Culture from University of Castilla-La Mancha and Museo Reina Sofía. She combines her art projects in the field of choreography with her management work through co-directing Centro Huarte. Her work, performed in myriad art spaces in Spain and internationally, explores proprioception and the relationship between mind and body.
Jose Begega is a visual artist with a degree in Fine Arts from the Polytechnic University of Valencia and an MA in Artistic Production and Research from the University of Barcelona, and a porn actor and sex worker. Through his own body, life experience and environment he investigates the spectator as an active subject in the artistic process, pornography, the construction of identities and fictions, the internet, interviews and audiovisual mediums to question the notion of reality.
José Luis Espejo is a teacher, researcher and exhibition and concert curator. After studying Art History, he bases his research on the relationships between the art and culture of listening, participating in self-managed projects such as Mediateletipos, Ursonate Fanzine and the Listening Observatory. He is an advisor on the live arts (music-sound) programme in the Museo Reina Sofía’s Public Activities Department and is a contributor to and founding member of RRS, the Museo’s online radio station. Moreover, he coordinates the module on Theory and History on the MA in the Music Industry and Sound Studies at Carlos III University in Madrid.
Grupal Crew Collective (GCC) is an open, mutating and interdisciplinary platform of diverse origins based in Madrid. Its efforts are concentrated into investigating the potential of music and partying as instruments of cultural agitation and social aggregation. GCC draws inspiration from collective creation that is inherent in ludic-music practices of all kinds from communities and sub-cultures, vindicating their habitually disparaged value in the spheres of Art, Culture and Politics (the capitals are not free).
Susana Jiménez Carmona holds a PhD in Humanities and Culture from the University of Girona and is a graduate from the Guitar degree course at the Professional Music Conservatory of Córdoba. She is a lecturer on the MA in Sound Art at the University of Barcelona. Her work flows between music, sound art and philosophy, encompassing research, teaching and artistic practice, particularly its collaborative side. She has collaborated with different stage art companies, artists and collectives, giving an array of lectures and talks and publishing pieces in different international magazines on music and sound art.
Mattin is a sound artist and theorist. His work focuses on the conceptual investigation of noise and improvisation, exploring strands that include the role of listening in relation to the immeasurable accumulation of digital information and at a time of mounting polarisation and social fragmentation; or the potential non-verbal communication can activate between bodies participating in a reflexive encounter. Moreover, he has co-edited, with Anthony Iles, Ruido y capitalismo (Noise and Capitalism, 2011) and participated in documenta14 (2017) with the “durational” concert Disonancia social (Social Dissonance).
Violeta Mayoral is a multidisciplinary artist and experimental dramaturgist who holds a degree in Communication and Cultural Industries from the University of Barcelona, with a specialisation in Semiotics and Image Theory from the National Autonomous University of Mexico. She carries out her work with the unswerving conviction that everything can be signified, exploring, from the mise en scène of the everyday, hermeneutic questions that always flow out into a reflection around the existence of the individual and their semiotic condition.
Agnès Pe is a music researcher and sound producer with an interest in pedagogy. Her sound productions transcend limitations of music genre, navigating the detritus generated through MIDI archives and fictionalised narratives. She currently coordinates the radio programme Mitt Paté (Radio On Berlin), exploring the plunderphonics generated and distributed inside the internet framework.
Miguel Prado is an artist and researcher in the Philosophy Department at the University of the West of England, Bristol. He has written extensively about the theory of information and cybernetics in relation to the notion of noise and produces variegated music and audio pieces, working with different sound artists and theorists such as Mattin, with whom he recently produced the podcast Social Discipline. He is currently part of the band Harrga with Dali de Saint Paul.
Arnau Sala Sáez is a musician and visual artist. His different-format works feed into one another, with sound translating into visual structures whose form is condensed into sound compositions. By way of this habitat, Arnau builds a system with elements related to one sole consciousness. Under the name Ex Continent the artist presents installations in which sound, light and image coexist formally and conceptually.
![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
Manuel Correa. The Shape of Now
13 DIC 2025
The Shape of Now is a documentary that explores the challenges and paradoxes of memory, reparation and post-conflict justice, extending a defiant and questioning gaze towards the six-decade armed conflict in which the Colombian State, guerrillas and paramilitary groups clashed to leave millions of victims in the country. The screening is conducted by the Aesthetics of Peace and Desertion Tactics study group and includes a presentation by and discussion with the film’s director, Manuel Correa.
The film surveys the consequences of the peace agreements signed in 2016 between the Colombian State and the FARC guerrilla organisation through the optics of different victims. It was recorded shortly after this signing, a time in which doubts lingered over the country’s future, with many groups speculating in the narration. Correa harnesses the power of images, visual and bodily memory, fiction and re-staging as tools for understanding the conflict, memory and healing, as well as for the achievement of a just peace that acknowledges and remembers all victims.
The activity is framed inside the research propelled by Aesthetics of Peace and Desertion Tactics, a study group developed by the Museo’s Study Directorship and Study Centre. This annual group seeks to rethink, from a theoretical-critical and historical-artistic perspective, the complex framework of concepts and exercises which operate under the notion of pacifism. A term that calls on not only myriad practices ranging from anti-militarism and anti-war movements to activism for non-violence, but also opens topical debates around violence, justice, reparation and desertion.
Framed in this context, the screening seeks to reflect on propositions of transitional and anti-punitive justice, and on an overlapping with artistic and audiovisual practices, particularly in conflicts that have engendered serious human rights violations. In such conflicts, the role played by audiovisual productions encompasses numerous challenges and ethical, aesthetic and political debates, among them those related to the limits of representation, the issue of revictimisation and the risks involved in the artistic commitment to justice. These themes will be addressed in a discussion held after the session.
Francisco López and Barbara Ellison
Thursday, 11 December - 8pm
The third session in the series brings together two international reference points in sound art in one evening — two independent performances which converse through their proximity here. Barbara Ellison opens proceedings with a piece centred on the perceptively ambiguous and the ghostly, where voices, sounds and materials become spectral manifestations.
This is followed by Francisco López, an internationally renowned Spanish sound artist, who presents one of his radical immersions in deep listening, with his work an invitation to submerge oneself in sound matter as a transformative experience.
This double session sets forth an encounter between two artists who, from different perspectives, share the same search: to open ears to territories where sound becomes a poetic force and space of resistance.
Long Live L’Abo! Celluloid and Activism
4, 5, 6 DIC 2025
The third instalment of Cinema Commons, a research, programming and publishing project which explores how film articulates interpretive communities, fosters collective debate and devises proposals for common spaces, presents L’Abominable, an artist- and film-maker-run independent film-lab founded in 1996 on the outskirts of Paris. The programme is structured around three sessions: a lecture-workshop on L’Abominable, conducted by film-makers Pilar Monsell and Camilo Restrepo; a session of short films in 16mm produced in L’Abominable; and the feature-length film Une île et une nuit (An Island and One Night), made by the Les Pirates des Lentillères collective.
Better known by the shortened version of L’Abo, the artist-run laboratory emerged in response to disappearing infrastructures in artisan film-making and endeavours to offer the creative community a self-managed space in which to produce, develop and screen films in analogue formats such as Super8, 16mm and 35mm. With this underpinning, L’Abo champions the aesthetic and political experimentation of analogue cinema opposite digital hegemony.
L'Abominable, more than a simple work tool, has become a space of artistic and social exchange which has knitted together a community. It is characterised by endowing technique with a poetic dimension, in a community that manufactures its own film devices, and situates pedagogy at its core — the film-makers and artists train one another on common ground. Further, it seeks to forge an opening to all experimental languages around celluloid, for instance installation and film performance, while constituting a place of preservation and conservation in the history of the medium.
L'Abominable is an example of how, at the height of the digital age, artists and film-makers are recovering cinematography and vindicating the production process in its entirety. This autonomy invents alternative routes in the industry as it creates new tools, develops other forms of expression and explores unknown cinematic territories.
Estrella de Diego Lecture. Holding Your Brain While You Sleep
Wednesday, 3 December 2025 – 7pm
Framed inside the Museo Reina Sofía’s retrospective exhibition devoted to Maruja Mallo, this lecture delivered by Estrella de Diego draws attention to the impact of the artist’s return to Spain after her three-decade exile in Latin America.
Committed to values of progress and renewal in the Second Republic, Mallo was forced into exile to Argentina with the outbreak of the Civil War and would not go back to Spain to settle definitively until 1965 — a return that was, ultimately, a second exile.
Mallo saw out her prolific artistic trajectory with two impactful series: Moradores del vacío (Dwellers of the Void, 1968–1980) and Viajeros del éter (Ether Travelers, 1982), entering her most esoteric period in which she drew inspiration from her “levitational experiences” of crossing the Andes and sailing the Pacific. Her travels, both real and imaginary, became encounters with superhuman dimensions.
In parallel, her public persona gained traction as she became a popular figure and a key representative of the Generation of ‘27 — the other members of which also started returning to Spain.
This lecture is part of the Art and Exile series, which seeks to explore in greater depth one of the defining aspects of Maruja Mallo’s life and work: her experience of exile. An experience which for Mallo was twofold: the time she spent in the Americas and her complex return to Spain.
Haunting History
Friday, 28 November 2025 – 6pm
Curator Patricio Majano invites writer Elena Salamanca, artist Beatriz Cortez and artist and writer Olivier Marboeuf to explore, in conversation, the political agency of artistic forms in relation to the spectral resonances in Central America, the Caribbean, and their diasporas.
Central America is a region inhabited by spectres that continually interrupt any attempt at historical closure. Five centuries of colonisation, counterinsurgency wars, genocides, dictatorships and deportations have resulted in accumulated traumas and persistent forms of violence that still move around under the surface of the present. More than past ruins, these spectres are material forces which persist, invade and reclaim the reparation and reconfiguration of the frameworks of historical legibility. In Central American artistic practice, these spectral presences become method, counter-archive and counter-pedagogy.
Taking El Salvador as both axis and prism, this conference seeks to think about “ghostliness”, not as a metaphor but as a political and aesthetic technology, from the following questions: How is that which persists beyond disappearance manifested? Who speaks from amputation? How does memory operate when the State apparatus has systematically searched for its erasure? How is the spectral tapped into as a form of resistance? Which conditions and methods allow art to articulate a claim, reparation and justice when hegemonic narratives are upheld in denial?
Over the course of 2025, these questions have articulated the research residency of Salvadoran curator Patricio Majano in the The Cáder Institute of Central American Art (ICAC) by virtue of the project Amputated Identities: Ghosts in Salvadoran Art. Majano’s research traces genealogies and resonances between Salvadoran contemporary art, the Indigenous genocide of 1932 and the Civil War (1980–1992), interrogating how these unresolved forms of violence operate with artistic subject matter.
Beyond a closing act of the ICAC residency, this encounter stresses exchange and dialogue as method: opening the process and sharing questions, tensions and unresolved challenges — not as conclusions, but as work in progress.