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
Files of Tropical Revolutions
Sábado 20 y 27 de junio, 2026 - 19:00 H
The Reframing Banana Imagery series concludes with two works that condense the height and twilight of this period in history, epic sagas that cross borders and registers to embody experiences of armed struggle in the region. Cameras mix with firearms, borders between nations blur and patience reaches breaking point. This is where the tipping point lies, where the bloodshed weighs heavy and the murmurings of regional brotherhood are buried in the ground again.
Pan y dignidad (Carta abierta de Nicaragua) [Bread and Dignity (An Open Letter to Nicaragua)] recounts the historical records and process of national reconstruction in Nicaragua via the Sandinista popular uprising. Historias prohibidas de Pulgarcito (Forbidden Tales of Tom Thumb) places the camera at the heart of the El Salvador revolutionary struggle, interspersing testimonies of daily violence with the verses of the poet Roque Dalton.
Both works understand the armed revolution as an open file under construction. The insurgent brotherhood, although dissolved, still resounds in regional history.
Circling Over Exploited Bodies
Friday, 19 and 26 June 2026 - 7pm
When forms of violence are inflicted on society, film responds from urgency. Images become abstract, sounds fade and the register of dissidence comes from the gut. La zona intertidal (The Intertidal Zone) is an essayistic and poetic approach to the repression of teachers in El Salvador in the 1970s — a teacher studies the biodiversity of the El Salvador coast as a boy finds a body on the same beach. A propósito de la mujer (About Women) interweaves testimonies of misery and rage towards patriarchal structures with fictional scenes of a symbolic procession through a harsh desert.
Both films understand the body as a target of violence and a territory of insurrection, a space where the blood shed by militancy and the patriarchal yoke turn pain into denouncement and existence outside the status quo into an act of political dissidence.
Central American Designation of Origin
Thursday, 18 and 25 June 2026 - 7pm
Fertile lands, farmers’ hands, rural faces. This first programme in the series Reframing Banana Imagery understands the foundations of the Central American experience from exploitation, extractivism and displacement, and from the organisation and resistance that emerged as a reaction. The four films within extend from a lyrical documentary on farmers’ solidarity to the playful subversion of the institutional format of the United Fruit Company.
Bananeras (Banana Growers) is a combative portrait of the inhumane conditions of the American banana plantations located in Nicaragua through much of the twentieth century. Costa Rica Banana Republic is a perspicacious satire via an institutional documentary of banana production, spotlighting the extractive nature of this agro-exporting model in the 1970s. Organización Campesina (Farmers’ Organisation) frames rural resistance in Honduras from a direct depiction and lyrical documentary, while Dos veces mujer (Two Times a Woman) dissects the invisibility of the double-shift working day Central American women farmers endure: working in the countryside and working in the home. As a whole, the works here present the earth at once as a wounded body and a space of dignity.
Aesthetics of Peace and Desertion Tactics
8 October 2025 – 24 June 2026
The study group Aesthetics of Peace and Tactics of Desertion: Prefiguring New Pacifisms and Forms of Transitional Justice proposes a rethinking—through both a theoretical-critical and historical-artistic lens—of the intricate network of concepts and practices operating under the notion of pacifism. A term not without contestation and critical tension, pacifism gathers under its name a multiplicity of practices—from anti-militarism and anti-war movements to non-violence activism—while simultaneously opening urgent debates around violence, justice, reparation, and desertion. Here, pacifism is not conceived as a moral doctrine, but as an active form of ethical and political resistance capable of generating aesthetic languages and new positions of social imagination.
Through collective study, the group seeks to update critical debates surrounding the use of violence and non-violence, as well as to explore the conflict of their representation at the core of visual cultures. In a present marked by rearmament, war, genocide, and the collapse of the social contract, this group aims to equip itself with tools to, on one hand, map genealogies and aesthetics of peace—within and beyond the Spanish context—and, on the other, analyze strategies of pacification that have served to neutralize the critical power of peace struggles. Transitional and anti-punitive justice proposals will also be addressed, alongside their intersections with artistic, visual, and cinematic practices. This includes examining historical examples of tribunals and paralegal activisms initiated by artists, and projects where gestures, imaginaries, and vocabularies tied to justice, reparation, memory, and mourning are developed.
It is also crucial to note that the study programme is grounded in ongoing reflection around tactics and concepts drawn, among others, from contemporary and radical Black thought—such as flight, exodus, abolitionism, desertion, and refusal. In other words, strategies and ideas that articulate ways of withdrawing from the mandates of institutions or violent paradigms that must be abandoned or dismantled. From feminist, internationalist, and decolonial perspectives, these concepts have nourished cultural coalitions and positions whose recovery today is urgent in order to prefigure a new pacifism: generative, transformative, and radical.
Aesthetics of Peace and Tactics of Desertion, developed and led by the Museo Reina Sofía’s Studies Management, unfolds through biweekly sessions from October to June. These sessions alternate between theoretical discussions, screenings, work with artworks and archival materials from the Museo’s Collection, reading workshops, and public sessions. The group is structured around sustained methodologies of study, close reading, and collective discussion of thinkers such as Judith Butler, Elsa Dorlin, Juan Albarrán, Rita Segato, Sven Lütticken, Ruth Wilson Gilmore, and Franco “Bifo” Berardi; historical episodes such as the anti-nuclear and anti-arms race movement in Spain; and the work of artists and activists including Rojava Film Commune, Manuel Correa and the Oficina de Investigación Documental (Office for Documentary Investigation), and Jonas Staal, among other initial cases that will expand as the group progresses.
equipoMotor
Jueves alternos, 23 de octubre, 2025 - 11 de junio, 2026 - 17:30 h
El programa equipoMotor regresa en su edición 25-26 con un aire espectral y mutante para lanzar la pregunta: ¿y si el Museo fuera «un poco más Frankenstein»? Inspirándose en dicho monstruo y en todas aquellas criaturas que desafían la norma desde los márgenes, el proyecto de mediación cultural Galaxxia diseña y acompaña una edición incisiva, intergeneracional y descentralizadora, donde saberes invisibilizados, cuerpos raros y deseos molestos se entrelazan para generar nuevas formas de imaginación crítica y radical. En los sótanos y corredores del Museo —un particular laboratorio— las dudas no se esconden: son materia prima.
Así, para este curso el equipoMotor convoca a personas de todas las edades que hayan participado en ediciones anteriores de los distintos equipos del Área de Educación a recorrer el Museo como quien manipula un cuerpo abierto: descoyuntando algunas de sus categorías teóricas y artísticas —la necropolítica, lo crip-cuir, la lucha de clases, las políticas del malestar, la decolonialidad, la temporalidad cuir, la descentralización institucional o el feísmo— para articular un relato díscolo, remendado y palpitante.
El programa se estructura en bloques temáticos sobre lo freak como metodología, el trabajo cultural, la intergeneracionalidad y la diversidad territorial. Cada bloque a su vez se despliega en sesiones que combinan disparadores teóricos y estéticos, visitas a exposiciones y espacios liminales del Museo, talleres artísticos con artistas, ejercicios de curaduría audiovisual colectiva y de relatoría radiofónica, así como instancias de activación pública, mediante proyecciones de cine experimental y coloquios compartidos con el público, en complicidad con el archivo Hamaca y el Área de Cine y Nuevos Medios del Museo.
De este modo, la presente edición incorpora una particularidad: el grupo de participantes irá transformándose en un «colectivo curatorial audiovisual temporalmente autónomo», con capacidad de incidir en la programación del Museo y de abrir la conversación de equipoMotor al público general, cuestionando y expandiendo así los límites entre las cabezas que deciden, las manos que producen y los cuerpos y presencias que habitan la institución. Las personas seleccionadas en la modalidad oyente serán invitadas a las proyecciones públicas, así como a otras activaciones y momentos de apertura del equipoMotor.
Frente al relato de un museo homogéneo, pulcro y lineal, apostamos por un Museo disidente, contradictorio y lleno de vida residual. Un Museo que no tema hacerse preguntas incómodas ni mostrar sus cicatrices. equipoMotor. Un poco más Frankenstein no busca repensar el cuerpo de la institución, sino habitarlo en sus desgarros, tal como es: híbrido, inacabado, infecto, fantasmagórico… y cargado de esporas y chispas por venir.