Coco Guzmán, Rizoma Salvaje (Wild Rhizome). Pencil on paper, 2019
Held on 05 Mar 2021
In recent years, the struggle for the depathologization of binary and non-binary trans* people and the attainment of their civil rights has questioned debates on feminisms. The publication of the draft bill for Real and Effective Equality for Trans People, which broadens gender self-determination, has set forth a public debate that once again draws attention to key issues that were a decades-long part of feminist theory; for instance, difference between sex and gender categories or the structural violence reproducing daily discrimination in legal, labour, medical, education, family, and sex-affective fields, among others.
What confusion and misconceptions appear in the media? What needs and difficulties do trans* people and their families encounter in daily life? How can they be resolved inside a legal framework? What common objective can be proposed in transfeminist movements? What social and cultural changes are sought?
This conversation between people with first-person trans* experiences, their families and their environments seeks to situate the specific demands of the collectives involved, and to understand the key parts to this future law and the problems underlying the controversies it provokes.
Aitzole Araneta is a sexologist and specialist in issues of equality and participation. Born in San Sebastián, she has worked in performing arts as an actress and in cultural management. She is part of the work group on the new Law of Real and Effective Equality for Trans People, and as an activist she has been involved in a number of social and collective movements, advocating the movement for trans* depathologization. Furthermore, for eight years she has been part of a work group that has advised the World Health Organisation on the process of revising the catalogue of diseases around the issue of the conditions of transsexuality.
Rubén Castro is a non-binary transmasculine person who is currently pregnant. He is also a children’s educator and leisure monitor and at the present time is studying for a qualification in Social Education. The path between his desire to gestate, accompanying him throughout his life, and the intersection of his identity has not been easy to transit. In his words: “Until you find references it’s difficult to know you can exist. That’s why I always embrace visibility, because that which is unnamed does not exist”.
Coco Guzmán is a queer, non-binary artist who investigates the liminal and latent accounts that emerge from political violence. Using drawing and installation, Coco’s work is a vessel of histories that remain hidden but live everyday life as corporeal memories or whispers. Through an interdisciplinary process in which critical theory, comics, queer strategies, archive research, observations and conversations with friends are melded, the work of Coco Guzmán evokes latent histories that invite spectators to wonder who they are and about the society in which they live.
Carolina León is a journalist, writer and bookseller. Since 2004, she has written articles and literary critique in different media, and currently collaborates, sporadically, with El Salto and CTXT. She also participates in the collective books CT o la cultura de la transición (Debolsillo, 2012) and Cuerpos marcados. Vidas que cuentan y políticas públicas (Ediciones Bellaterra, 2019), and is the author of Trincheras permanentes. Intersecciones entre política y cuidados (Pepitas de calabaza, 2017).
Lucas Platero holds a PhD in Sociology and Political Science from UNED (the National Distance Education University) and a degree in Psychology from the Complutense University of Madrid, and teaches Socio-community Involvement. Currently, he is a Psychology lecturer at Rey Juan Carlos University, which he combines with his work as editor of Ediciones Bellaterra. He was recently awarded the Emma Goldman prize from the Flax Foundation and is a member of the research teams AFIN and Fractalidades de la Investigación Crítica. Moreover, he investigates the psychosocial factors brought about by the COVID-19 pandemic and those affecting LGTBQA+ people. His recent publications as editor include Cuerpos marcados. Vidas que cuentan y políticas públicas (Ediciones Bellaterra, 2019) and (h)amor 6 trans (Con tinta me tienes, 2021).
Sabrina Sánchez is a Mexican woman who defines herself as transfeminine and lesbian. After studying journalism, and as a survival strategy, she opted to migrate and become a sex worker. She is a spokesperson with the International Committee on the Rights of Female Sex Workers in Europe.
Coordinated by
Lucas Platero
Organised by
Museo Situado
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Situated Voices
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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).
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Dear Felix:
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1926–2026: One Hundred Years of the Lyceum Club Femenino
Thursday, 2 July 2026
The Lyceum Club Femenino (Lyceum Women’s Club) was established in Madrid in 1926, constituting a space which opened new pathways for women to participate in Spain’s intellectual, artistic and political life in the first third of the twentieth century, and for figures such as designer Victorina Durán, pedagogue María de Maeztu, lawyer and politician Victoria Kent and artist Ángeles Santos, to name but a few. To mark the Madrid Club’s one hundredth anniversary, this research symposium examines its role as a key place for studying women’s and feminist culture in Spain’s Silver Age by analysing and vindicating the different agencies, trajectories and cultural projects that structured the space.
By way of three lectures and two round-table discussions, the symposium sets forth a journey through the Lyceum Club Femenino and the cultural context from which it emerged, from its standing as a pioneering institution to the study of cultural material from the period and the process of constructing the figure of the “modern woman”. These talks and discussions look to shed light on how new ways of thinking, creating and occupying public space were shaped, expanding the gaze on cultural, educational and social networks linked to the Lyceum — as much concerning its ties with other intellectual and artistic circles as the continuity and transformation of these networks during Republican exile. Finally, the symposium features three artistic interventions conceived to recover the artistic legacy of this space in Madrid.
The Museo Reina Sofia joins the Ministry of Culture’s cultural programme focused on the centenary of the Lyceum Club Femenino via these sessions, co-organised with the Spanish National Research Council (CSIC).
Robert Capa
Friday, 26 June 2026 – 6pm
This international encounter centred on the figure of Robert Capa (Budapest, 1913 — Thai Binh, Vietnam, 1954), one of photojournalism’s pre-eminent figures, is held within the framework of the government initiative Spain and Freedom. Fifty Years and in conjunction with a cluster of three locations — the building on number 10 Calle Peironcely, the Plaza del Fotógrafo Robert Capa and the San Carlos Borromeo Parish in Vallecas — declared as a Place of Democratic Memory.
The emblematic photo Robert Capa took in 1936 of this area of Republican Madrid, featuring anonymous children talking in front of a bullet-riddled building attacked by Nazi-fascist air forces, has, in recent years, become a catalyst for impassioned collective action vindicating memory and denouncing the horrors and brutality of wars, past and present.
Within this context, representatives from cultural and academic spheres and civil society organisations from Germany, the USA and Spain discuss the legacy of Capa and photojournalism in European democratic memory, exploring in greater depth two citizen initiatives constructed by Europe from its shared memory: #SalvaPeironcely10 (#SavePeironcely10), in Entrevías (Puente de Vallecas), and the Capa Haus Initiative in the Lindenau neighbourhood of Leipzig, both united by the protection and conservation of historical heritage and by the defence of peace.
The round-table discussion features the participation of Cynthia Young, Juan Miguel Sánchez Vigil, Ulf-Dietrich Brumann and José María Uría Fernández and is moderated by Myriam Soto Lucas. Carmina Gustrán Loscos, the commissioner of Spain and Freedom. Fifty Years, will also join the discussion.
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.