![Elise Fitte-Duval, Des mareyeuses attendent les pêcheurs tôt le matin, sur la plage de Bargny [Mujeres procesadoras de pescado esperan a los pescadores temprano por la mañana en la playa de Bargny], 2019](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/museo-g.gif.webp)
Held on 26 nov 2019
Inside the framework of Museo Situado, a network of collaboration with different migrant collectives and associations from Madrid’s Lavapiés neighbourhood and the Museo Reina Sofía, this new edition of Situated Voices explores the different artistic and feminist approaches to the notion of debt, understood as an instrument of economic, political and cultural domination. In this respect, debt alludes to, on the one side, States’ foreign debts, leaving them without agency and at the service of external economic interests; and, on the other, to a widespread mechanism of social control in the contemporary world, delineating what is gradually becoming known as “the factory of the indebted man”.
This activity is organised in dialogue with the project Pincha tu Deuda (Pierce Your Debt), developed by Grigri Projects and Plataforma Auditoría Ciudadana, both of which look to kindle and conduct actions and alliances to debate how foreign debt operates in different countries and the tools citizens can employ to combat the effects.
Debt has a deeper impact on women given that the assets and public services that cease to become available on account of the prioritisation of debt payments are related to care, which mainly falls on women. Among other issues, this situation brings about instability and forces migration towards the North. From this perspective, therefore, the encounter brings together different experiences from Senegal and Argentina, two countries adversely affected by foreign debt, which works today to drive unequal capital accumulation all over the world.
Senegal-based Martinique photographer Elise Fitte-Duval, who creates portraits from the everyday world in her work, and Senegalese activist Khady Diouf, a specialist in migration, will analyse the problem of debt in their country and on the African continent, in addition to its origins, the consequences entailed and the possible channels to demand a more equal global economy.
For their part, the Argentinian feminist group Ni una menos (Not One Less) will put forward an audiovisual synthesis of the research project Una lectura feminista de la deuda: ¡Vivas, libres y desendeudadas nos queremos! (A Feminist Reading of Debt: We Want to Be Alive, Free and Debt-free!), conceived as a collective tool for understanding why the problem of States’ and subjects’ structural debts are linked to violence against feminised bodies.
Programme
Situated Voices
Force line
Contemporary Malaise
With the collaboration of
Grigri Projects and Plataforma Auditoría Ciudadana
Organised by
Museo Situado
Participants
Majo Castells is a designer and ceramicist. She participates in the design, cultural revitalisation and project coordination of Grigri Projects, a project devoted to research, creation and cultural production and with a sphere of action in participatory design, urban intervention and transdisciplinary community processes. She is currently working as a producer and coordinator on the project Pincha tu Deuda (Pierce Your Debt).
Khady Diouf is a migration specialist and an activist against female genital mutilation with the Union of Families Association (UNAF). She holds an MA in International Relations and in Spanish Language and Literature from the Cheikh Anta Diop de Dakar University (UCAD). Her intervention preparations on this occasion feature the collaboration of Fatou Binetou Mbaye, Lala Konaté and Batouly Rahmatoulay Ly.
Elise Fitte-Duval is a Martinique-born photographer who lives in Senegal. A graduate from the Martinique École d'Arts Plastiques (DNAP) and École Nationale Supérieure des Arts Decoratifs (EnsAD) in Paris, she won a Casa África award at the Bamako Photography Biennale as best African female photographer in 2011 for her series Vivre les pieds dans l'eau, on the floods in Dakar.
Verónica Gago is a militant feminist, a lecturer at the University of Buenos Aires and the University of San Martín and a member of the publishing house Tinta Limón; Luci Cavallero is a militant feminist and researcher at the University of Buenos Aires. Both are members of the feminist collective Ni Una Menos (Not One Less). In 2019, they published Una lectura feminista de la deuda: ¡Vivas, libres y desendeudadas nos queremos! (A Feminist Reading of Debt: We Want to Be Alive, Free and Debt-free), a book which assembles militant research, and, for this occasion, both have prepared an audiovisual synthesis of the project, to be presented by Argentinian artist and activist Guillermina Mongan.
![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
Rethinking Guernica
Monday and Sunday - Check times
This guided tour activates the microsite Rethinking Guernica, a research project developed by the Museo Reina Sofía’s Collections Area, Conservation and Restoration Department and the Digital Projects Area of the Editorial Activities Department, assembling around 2,000 documents, interviews and counter-archives related to Pablo Picasso’s painting Guernica (1937).
The visit sets out an in-situ dialogue between the works hung around the painting and a selection of key documents, selected by the Museo’s Education Team and essential to gaining an idea of the picture’s historical background. Therefore, the tour looks to contribute to activating critical thought around this iconic and perpetually represented work and seeks to foster an approach which refreshes our gaze before the painting, thereby establishing a link with the present. Essentially revisiting to rethink Guernica.
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.
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.
Situated Voices 36
Thursday, 16 October 2025 – 7pm
Territorio Doméstico is a feminist collective made up of female domestic and care workers who live in the Community of Madrid. They form a cross-border space which responds to a number of urgent problems: defending labour rights for female domestic workers and demanding the regularisation of migrant workers, as well as the right to family reunification, social recognition and the reparation of care debt by institutions.
The collective will provide accompaniment in this encounter by putting forward a cross-sectional round-table discussion centred on professional illnesses suffered by specific collectives of women doing jobs that are predominantly physical, such as care and domestic work and farm work. The aim is to shine a light on the physical and psychological tolls these body-oriented jobs take on the people that do them, in addition to the scant social, legal and healthcare recognition they receive.
Professional illnesses for women are often not recognised as such and are diagnosed simply as common illnesses, and with everything that entails on a legal and administrative level. Furthermore, obtaining sick leave can often become a huge struggle, thereby breaching labour rights.
The Museo Situado assembly convenes to discuss this reality, granting it the space it deserves to collectively call for solutions which respect the rights of all female worker.
Sven Lütticken
Friday, 10 October 2025 – 7pm
Academic disciplines are, effectively, disciplinary — they impose habits of thought, ideological parameters and, a priori, methodological parameters on those who have studied them. Yet what does being disciplined by art history mean? What has art history done to us? Further, what can we continue to do with it? The Juan Antonio Ramírez Chair, an annual programme organised by the Museo Reina Sofía which is devoted to reflecting on art history and historiography, and their limits and vanishing points, invites Sven Lütticken to explore these questions in light of different cases chosen by Lütticken and related to his own practice.
His work, framed inside art history and theory, has constantly championed expanding, interrogating and questioning the limits of discipline until it becomes theoretical and (self)critical. Throughout his trajectory, Lütticken has aligned his interest primarily towards historical, critical and theoretical research around autonomy. An important landmark in this working strand is his participation in the The Autonomy Project, an initiative from the Van Abbemuseum in Eindhoven with different art schools and university departments and resulting in the published volume Art and Autonomy (Afterall, 2022). A second strand is made up of the long-term project Forms of Abstraction, which analyses contemporary artistic practices as interventions in forms of “real abstraction”, such as value-form, precisely as Marx theorised it.
Sven Lütticken will be a resident on Studies Constellation, the Museo Reina Sofía’s annual fellowship programme, and will work on the research project Unacting Personhood, Deforming Legal Abstraction.