Situated Voices 16
Another End of the World Is Possible. Examining the “New Normal”

Held on 14 oct 2020
In the sombre days at the start of the pandemic, graffiti bearing the slogan “Another end of the world is possible” appeared on different walls in the cities of Buenos Aires and Santiago de Chile. It paraphrased, with a measure of humour, the old slogan “Another world is possible”, reclaiming the right to decide our future, no matter how dark and turbulent it may seem.
As with all crises, the one caused by COVID-19 has laid bare the strengths and weakness of our societies, bringing to light, once again, the need for global and radical change to guarantee the sustainability of life.
Another End of the World Is Possible. Examining the “New Normal” puts forward an open conversation to address how we imagine other possible futures to the backdrop of a new post-COVID society. What have we learned or are learning from this crisis? What changes are occurring? What world do we want to build? Is the normal we aspire to return to, post-lockdown, part of the problem? What alternatives are considered with regard to the old and new normal in relation to healthcare, care, ecology, the economy, work, education, culture and life itself?
These premises will be debated in a virtual encounter, with each participant offering their perspective on the proposed subject, before leading on to an interactive debate. The activity will be moderated by translator, researcher and activist Marta Malo, and will feature the participation of Santiago Alba Rico, a philosopher, writer and essayist; Rosa Bajo, a primary healthcare doctor and advocate of rights in the universal access to health services; and Francia Márquez, an Afro-Colombian feminist activist and environmentalist.
Programme
Situated Voices
Force line
Action and Radical Imagination
Organised by
Museo Situado
Times:
Madrid, Spain – 6pm
Tunis, Tunisia – 5pm
Bogotá, Colombia – 11am
Participants
Santiago Alba Rico is a writer and essayist with a philosophy degree from Madrid’s Complutense University. In the 1980s, he was a screenwriter on Spain’s legendary television programme La bola de cristal (The Crystal Ball) and has published in excess of twenty books on politics, philosophy and literature, in addition to three children’s stories and a stage play. Since 1988, he has lived in the Arab world, translating Egyptian poet Naguib Surur and Iraqi novelist Mohammed Jydair into Spanish. He is also a regular contributor with different media outlets.
Rosa Bajo is a primary healthcare doctor and an activist who advocates a non-discriminatory national health system that provides universal care. She supports the right to access healthcare and is an instructor in basic notions of care for communities excluded from the healthcare system. Her most recent work has been carried out in the Lavapiés Health Centre in Madrid.
Marta Malo is a translator, researcher and activist, and coordinator of the book Nociones Comunes. Ensayos y experiencias entre investigación y militancia (Traficantes de Sueños, 2004). She has been involved in different collective and militant research initiatives with the aim of activating communities, combatting inequality and defending the commons. The transformation of care in a neoliberal context is one of her main concerns. She has been involved in different practical essays, most notably Precarias a la deriva (Madrid, 2002–2006).
Francia Márquez is an Afro-Colombian human rights activist and environmentalist who was part of the delegation to negotiate Peace Agreements in Colombia. She is currently chairperson of the National Council of Peace, Reconciliation and Co-existence (CNPRC). From 2013 to 2016 she was a legal representative for the Community Council of the afro-descendent communities of La Toma. In 2014, she participated in the so-called “March of the Turbans” to demand the end of illegal mining and land occupation, and the Black Women’s Mobilization for the Care of Life and Ancestral Land, for which she was awarded the Goldman Environmental Prize in 2018.
Marta Pérez is a professor at Madrid’s Complutense University and Duke University. She participates in the movement Yo Sí Sanidad Universal (Yes to Universal Healthcare), which has been creating ways to build universal healthcare since 2012. Her research centres around health and territory, the healthcare system and access, and around possible struggles and institutional forms to ensure the right to health. This work is carried out with the precarious balance between the university and the outside, primarily with the militant research collective Entrar Afuera (Enter Outside). Moreover, she is part of the Training School for Women Promoters of Community Health with Red Interlavapiés (the Interlavapiés Network), Senda de Cuidados (Path to Care), Territorio Doméstico (Domestic Territory), Red Solidaria de Acogida (Refuge Solidarity Network), Yo Sí Sanidad Universal (Yes to Universal Healthcare) and Museo Situado (Situated Museum).
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The show casts light on the close relationship Uslé’s work bears to his life experiences, establishing connections between different stages and series which could ostensibly seem distant. Framed in this context, the conversation looks to explore the artist’s personal and professional journey: his memories, experiences of New York, his creative process, conception of painting, and ties with photography and film, and the cohesiveness and versatility that characterise his art. Key aspects for a more in-depth understanding of his artistic sphere.
The conversation, moreover, spotlights the preparatory research process that has given rise to this exhibition to grant a better understanding of the curatorial criteria and decisions that have guided its development.
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.

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Sunday, 23 November 2025 - 7:30pm
This year’s opening night of the fifteenth edition of the Márgenes International Contemporary Film Festival will take place inside the Museo Reina Sofía. The inaugural session will witness artists Neutro Gris and Nodoaviom perform, live and for the first time, the multimedia performance Music 4 Salvation, which extends their language towards a sensorial experience fusing sound, image and digital emotion.
Music 4 Salvation unfolds as a sound and visual collage in which different strands are linked in one sole narrative of youth and adulthood, notions from which the piece puts forward a second reading of popular symbology and iconography and culminates by evoking the transitional time between these two stages of life. And all from a post-internet gaze and found footage aesthetics.
The Márgenes Festival is held from 23 to 30 November in Madrid and shines a light on innovative initiatives that combine up-and-coming and acclaimed talent. Its film programme explores the convergence of cinema, the visual arts and sound art with approaches that expand the limits of the film experience, encompassing screenings, audiovisual shows, performances, encounters and sessions for children. In addition to the opening event, the Museo also welcomes, among the organised activities this year, the series Emotional Interface. The Films of Metahaven.

The Films of Ira Sachs
From Thursday, 20, to Sunday, 23 November 2025 – Check times
The International Festival of LGBTQIA+ Cinema in Madrid (QueerCineMad) and the Museo Reina Sofía come together to organise a retrospective on Ira Sachs (USA, 1965), a pivotal film-maker in contemporary queer cinema whose work has charted, across three decades, the affects, losses and resistance that traverse the lives of the LGBTQIA+ community. Sachs is the creator of a filmography which conceives of New York as the emotional architecture of his narratives, and as a space of memory, struggle and community. This programme includes the premiere of his most recent film, Peter Hujar’s Day (2025), in Madrid, with the film-maker in attendance in three of its sessions.
Sachs has filmed, with delicacy and conviction, the tensions between desire, precarity and belonging, from his first feature-length film, The Delta (1996), set on the margins of the Mississippi, to Love Is Strange (2014), where a gay couple have to give up their Manhattan apartment after marrying. In Keep the Lights On (2012) intimacy becomes a battleground in confronting addiction and neglect, while Lady (1994), a short film on the solitude of an elderly woman in New York, anticipates his sensibility for bodies made invisible. Last Address (2010) is a silent homage to queer artists who died from AIDS/HIV-related illnesses — Robert Mapplethorpe, Keith Haring, David Wojnarowicz — whereby the façades of the buildings they lived in become intimate monuments, the remnants of history erased through windows. Thus, Ira Sachs’s body of work engages in a profound dialogue with film-makers such as Rainer Werner Fassbinder in situating the gaze at the centre of bodies, in exploring the complexity of the struggle between himself and his films. Further, his practice reverberates through New Queer Cinema, a 1990s film movement that transformed the representation of sexuality from difference.
The director’s presence in Madrid, coupled with the premiere of his new work, makes this film season an event which extols both his career and his form of gazing and inhabiting the city from the queer, the community and the poetic. In these times of eviction and urban homogenisation, Sachs’s film-making reminds us that the neighbourhood can also be a gesture of care, a form of resistance, a future promise.

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Further, the event seeks to shine a light on the richness of Afro-Brazilian culture while opening a space of reflection on resistance to racism throughout history and today, as well as inequality and disregard. In the words of philosopher Sueli Carneiro (2000), “the fight for the rights of black women and the community of African descent is inseparable from the rescue of history and the memory of our ancestors”. It is an artistic and vindicatory celebration that invites the whole community to aquilombarse: to come together, celebrate and affirm collective memory, for, as sociologist Florestan Fernandes (1976) affirmed, “the history of peoples of African descent can only be understood through the active resistance to oppression”. Long live Dandara. Long live Zumbi. Long live Afro-Brazilian ancestry.

Crossed Vignettes
Friday, 21 November 2025 – Check programme
The Crossed Vignettes conference analyses the authorship of comics created by women from an intergenerational perspective and draws from the Museo Reina Sofía Collections. Across different round-table discussions, the programme features the participation of illustrators Marika, Carla Berrocal, Laura Pérez Vernetti and Bea Lema and researchers Viviane Alary, Virginie Giuliana and Elisa McCausland.
The aim of the encounter is twofold: to explore in greater depth the different forms in which women comic book artists have contributed to developing a counterculture; namely, the appearance of ruptures, reformulations and new genres within the ninth art. And to set up a dialogue which ignites an exploration of genealogies linking different generations of artists.
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In redefining the visual narratives of the comic book and questioning gender stereotypes in a male-dominated world, women comic book writers and artists have impelled greater visibility and a more prominent role for women in this sphere. The study of intergenerational dialogue between female artists past and present enables an analysis of the way in which these voices reinterpret and carry the legacy of their predecessors, contributing new perspectives, forms of artistic expression and a gender-based hybridisation which enhances the world of comics.
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![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)