Held on 23 Jan 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.
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.
Más actividades
Cinema, for the First Time
7 and 14 June 2026 – 12:00 pm
The final session in this Moon Projector season contemplates the feeling around the first experience of cinema — cinema as revelation, magic, fantasy and mystery from the first gaze, from the first contact with the medium, and imagery etched on the retina of childhood. The programme shows Émile Cohl’s landmark Fantasmagorie (1908), the first ever hand-drawn animation, and Ignacio Agüero’s Cien niños esperando un tren (One Hundred Children Waiting for a Train, 1988), a feature-length film on play and the origins of cinema.
Fantasmagorie (1908)by Émile Cohl (Paris, 1857– Villejuif, 1938) is the first expression in the history of animated drawing. Émile Cohl was an illustrator who belonged to the Parisian art group Arts incohérents (1882–1895), who was bestowed with an absurdist and pre-Surrealist talent. Whereas the Lumière brothers were able get audiences out of their seats as they witnessed a train moving towards them in 1895, Fantasmagorie is a supernatural experience, akin to an apparition yet also innocuous and entertaining — the inanimate comes to life out of nothing and figures seemingly move with little sense. From the outset, animation was related to caricature, fabulation and the comical, a sweet spot for the dreams of the youngest audience.
From the discovery of new imagery arising from the animated line to knowledge of the world through a screen, Cien niños esperando un tren (1988), by Chilean director Ignacio Agüero (Santiago, 1952), narrates a group of young people’s discovery of cinema in a workshop on the origins of the medium in a poverty-stricken town on the outskirts of Santiago de Chile. Play, fun and learning combine with a fascination with images, as viewing Émile Cohl’s Fantasmagorie (1908) in the workshop becomes an act of freedom.
Institutional Decentralisation
Thursday, 21 May 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.
This fourth and final session centres on films that take the museum away from its axis and make it gaze from the edges. Pieces that work with that which is normally left out: peripheral territories, unpolished aesthetics, clumsy gestures full of intent. Instead of possessing an institutional lustre, here they are rough, precarious and strange in appearance, legitimate forms of making and showing culture. The idea is to think about what happens when central authority is displaced, when the ugly and the uncomfortable are not hidden, when they are recognised as part of the commons. Film that does not seek to be to one’s liking, but to open space and allow other ways of seeing and inhabiting the museum to enter stage.
Ordinary, Common and Public. Common Fixes for Ordinary Communities
Tuesday, 26, and Wednesday, 27 May 2026 – Check programme
Ordinary, Common and Public. Common Fixes for Ordinary Communities is the title of the fourteenth encounter run by Sociología Ordinaria, a transdisciplinary research group that explores daily knowledge deemed ordinary, superficial or frivolous from a traditional academic and intellectual viewpoint.
This latest edition seeks to approach and map connections between concepts of the commons and the public realm — remembering that the ordinary is also the commons — and to ensure affects and moods of discontent are mobilised towards hope.
By way of its multiple declinations — community, community-based practices, the commons, the communal — the encounter seeks to reflect on different ways of creating, (re)configuring, maintaining, fixing, arranging, caring for and defending the public realm and the commons. Furthermore, it explores forms of invocation and experimentation as tools opposite the helplessness of an uncertain present, in addition to resistance against attempts of expropriation, distortion, privatisation and touristification.
Felix Gonzalez-Torres. Sweet Revenge
26 MAY 2026
Nancy Spector and Alejandro Cesarco, curators of the exhibition Felix Gonzalez-Torres. Sweet Revenge, will speak with Manuel Segade, director of the Museo Reina Sofía, in a session dedicated to exploring the interpretive frameworks of this first large-scalepresentation in Madrid of the work of Felix Gonzalez-Torres (1957–1996), whose practicecontinues to resonate in the present.
The conversation begins with the exhibition’s title itself, Sweet Revenge, understood as a paradoxical notion that articulates much of the artist’s thinking. From there, the tensions running through his work are explored: the coexistence of opposing registers, ambiguity as a method, and the simultaneously affective and political charge of his works.
The dialogue also touches on some of the themes that run through his body of work, such as thenotions of identity, citizenship, and authority, alongside experiences linked to the AIDS crisis, and emotions such as love, loss, grief, and optimism. Special attention is given to the way in which Gonzalez-Torres shifts languages associated with Arte Povera, conceptualism, and minimalism towards open, participatory, and deeply personal structures.
The session also includes a reflection on the research process that shaped the exhibition, providing context for the curatorial decisions and criteria that structure it. In this context, Gonzalez-Torres’s work emerges as a device that actively engages those who activate orinterpret it, distributing responsibility for the production of meaning—a process that is alwaysunstable and constantly under negotiation.
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 showsorganised by the Museo from the perspective of artists, curators and specialists.
International Museum Day 2026 with Radio 3
22 MAY 2026
On Friday, 22 May 2026 the Museo Reina Sofía celebrates International Museum Day by way of a vibrant music programme conducted by Radio 3.
From 9am to 11pm, the Museo’s Nouvel Courtyard will host the live broadcast of Radio 3’s day-long programme —also available on a video streaming on the Radio3 website and app, on RTVEPlay and on the Museo’s social media accounts. The programme comprises more than twenty live acts, including artists such as Carlangas, Shego, Soleá Morente, Kokoshca, La Tania, La Pegatina, Pipiolas, Ángel Stanich, Triángulo de Amor Bizarro and Zahara, and many others.
With this programme the Museo Reina Sofía concludes its celebration of International Museum Day, which takes place on Monday, 18 May. Both on 18 May, from 10am to 9pm, and 22 May admission to the Museo will be free of charge.