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Friday, 26 April 2024 Nouvel Building, Auditorium 400
Session 1
6pm Pamela Palenciano. Arrancamiento (Wrenching).
— Stage piece by Pamela Palenciano with dramaturgy by Iván Larreynaga and directed by Laura Pacas7:30pm The Role of the Collective Word in the Fight Against Gender-based Violence
— Conversation between Laura Pacas and Pamela Palenciano (Arrancamiento) and Débora Ávila, Justa Teruel and the protective mothers who have contributed to the book En la tela de araña. Las violencias contra la infancia y la lucha de las madres protectoras (In the Spider’s Web. Violence Against Children and the Struggle of Protective Mothers) -
Saturday, 27 April 2024 Nouvel Building, Auditorium 200
Session 2
10:30am Sexual Violence in Childhood. Vulnerability, Trauma, Survival
— Conversation between Yolanda Mozota, Marisa Kohan and other voices. Supported by: Débora Ávila12:30pm The (Non-)Protection of Children
— Conversation between Beatriz Atenciano, Violeta Assiego, Saida García (Euforia) and Mel de Lima (Colectiva Madrecitas). Supported by: Justa Teruel4pm The Legal Battle from Feminism
— Conversation between Caterina Canyelles, Isabel Giménez García, María Naredo and Miren Ortubay. Supported by: Marta Pérez6pm Feminist Horizons of Justice
— Conversation between Emanuela Borzacchiello, Susana Draper, Laura Iruarrizaga Ballesteros (8M Violence Commission) and Celeste Perosino. Supported by: Marta Malo
In the Spider’s Web
Children, Institutional Violence and Feminist Horizons of Justice

Held on 26, 27 Apr 2024
Over the course of 2022 and 2023, in collaboration with the team of Museo en Red — renamed Tentacular Museum — La Laboratoria took part in the Critical Node entitled Militant Research, within Connective Tissue, the Museo Reina Sofía’s Study Programme. It also simultaneously drove forward and supported a series of residencies where different collectives, researchers and artists debated an array of subjects, focusing on a starting point of militant research as a political practice that generates collective knowledge. In the Spider’s Web is a two-day programme and comprises different conversations and a stage piece, the culmination of this process of research and creation.
La Laboratoria supports situated knowledge-production process from a feminist perspective. Over a two-year period, a network of protective mothers (mothers who have decided to protect their children from confirmed situations of paternal violence) has conducted research into the complex judicial and psycho-judicial process these mothers are embroiled in, as well as the consequences of falsely applying Parental Alienation Syndrome (PAS), a pseudo-scientific theory which hinders the proper investigation of gender-based violence against children and causes the mothers who report it to be criminalised. This enquiry process is reflected in Pamela Palenciano’s stage piece Arrancamiento (Wrenching) and in the publication En la tela de araña. Las violencias contra la infancia y la lucha de las madres protectoras [In the Spider’s Web. Violence Against Children and the Struggle of Protective Mothers] (Traficantes de Sueños and La Laboratoria, 2024), written by an array of authors. Both works look to spotlight the institutional violence protective mothers are subjected to and the widespread vulnerability of children abused by their parents.
By setting out from this situated research, other broader questions arise: What happens when it is children that are subjected to patriarchal violence? Are children properly listened to when they refer to violence (physical, sexual, psychological) in their family? How are sexism, classism and racism a hindrance to this listening? What are the systems of protection that exist and when and how are they activated? What are the interpretations of the legal concept of “in the child’s best interests” and whom do they benefit? And what relation does all of this bear to feminisms and debates around justice? This double programme sets out to tackle these questions, opening up a space of reflection on justice as a collective practice, where mutual protection, support, accountability and reparation go hand in hand with the criticism of patriarchal, racist and classist logics.
Organised by
Museo Reina Sofía and La Laboratoria. Espacios de Investigación Feminista
Participants
Beatriz Atenciano is a child-youth psychologist specialised in interventions with the children of women who are victims of domestic abuse. She has worked as a psychologist in the consultancy of the Lesbian, Gay, Transexual, Bisexual and Intersexual Collective of Madrid (COGAM) and is co-author of the book Detrás de la pared. Una mirada multidisciplinar acerca de los niños, niñas y adolescentes expuestos a la violencia de género (Serendipity, 2025).
Violeta Assiego is a lawyer specialised in human rights. She conducts research in collaboration with associations and collectives with a gender-, child- and intersectional-based approach. Recently, she has been involved in the studies Aproximación a la monomarentalidad derivada de la violencia de género (An Approach to Single-parent Families Stemming from Gender-based Violence, FAMS, 2023) and Llegar a tiempo. Niñas, niños y adolescentes en situación de riesgo en España (Arriving in Time. Children and Teenagers in a Vulnerable Situation in Spain, Aldeas Infantiles, 2020).
Débora Ávila is a member of La Laboratoria. She supports protective mothers and is a co-author of the report Violencia institucional contra las madres y la infancia (Institutional Violence Against Mothers and Children, Spain’s Ministry of Equality, 2023) and En la tela de araña. Las violencias contra la infancia y la lucha de las madres protectoras (Traficantes de Sueños and La Laboratoria, 2024).
Emanuela Borzacchiello is a historian specialised in the crossroads between femicide violence and political transformation within the framework of Mexican neoliberalism. Her most recent publication is ¡rExistimos! El feminicidio y la telaraña de poderes (Baja Tierra ediciones/Cieg-UNAM, 2023).
Caterina Canyelles is an anthropologist who specialises in the relationship between violence, access to justice and human rights from a feminist perspective, and the author of Machismo y cultura jurídica. Etnografía del proceso judicial de la violencia de género (Virus, 2023).
Susana Draper is a writer, activist and teacher from Uruguay. She is a professor at Princeton University and the author of books such as México 1968: experimentos de la libertad, constelaciones de la democracia (Siglo XXI Editores 2018) and Libres y sin miedo. Horizontes feministas para construir otros sentidos de justicia (Tinta Limón, 2024).
Saida García Casuso is a transfeminist activist. Fat, a dyke, precarious. She is the vice president and co-founder of Euforia. Familias Trans-Aliadas and an expert in socio-community intervention, sexual diversity and gender, specialising in children, youth and family. She is also co-author of the volume Cuando el Estado es violento. Narrativas de violencia contra las mujeres y las disidencias sexuales (Bellaterra, 2023).
Isabel Giménez García is a judge who focuses on children’s rights. Among other undertakings, she is the coordinator of the Association of Women Judges (AMJE).
Laura Iruarrizaga Ballesteros is a lawyer of public international law who specialises in immigration and gender law. She is also a member of the Work Group on Violence from the 8M Commission in Madrid.
Marisa Kohan is a journalist who specialises in gender, development cooperation and human rights. She has covered the struggle of protective mothers in the media for over four years.
Mel de Lima is a mother, activist, decolonial feminist and anti-racist, and a member of Madrecitas, a collective which denounces human rights violations and institutional violence against migrant mothers and their children.
Marta Malo is a writer, translator, activist researcher and a member of La Laboratoria. She is a co-author of Estamos para nosotras. Siete tesis por una práctica radical de los cuidados (Synusia, 2021) and En la tela de araña. Las violencias contra la infancia y la lucha de las madres protectoras (Traficantes de sueños and La Laboratoria, 2024), among others.
Yolanda Mozota holds a degree in Political Science and Sociology from the Complutense University of Madrid, and is a trainer and specialist in Gestalt therapy and a trauma expert at the University of Alcalá. She is a survivor of sexual abuse in childhood.
María Naredo is a lawyer and feminist researcher who is specialised in human rights and gender. Since 1998, she has conducted research into gender-based violence, discrimination and human rights.
Miren Ortubay is a jurist, lawyer, criminal attorney and university lecturer from Spain. She is the head professor of Criminal Law at the University of the Basque Country, and a specialist in gender-based violence and the rights of prisoners.
Laura Pacas is a playwright, stage director and writer. She is part of projects such as Las Caminantas Teatro, made up of female migrant domestic and care workers, and Puente a la Inspiración, which comprises unmentored minors and looks to put their stories on stage.
Pamela Palenciano is an actress, communicator and feminist activist from Andalusia. Her work most notably includes the theatre monologue No solo duelen los golpes (It’s Not Only the Blows that Hurt, 2004), an autobiographical account of gender-based violence through humour and irony.
Marta Pérez is a professor of Anthropology at the Complutense University of Madrid, a member of the militant research association Entrar Afuera and co-author of the report "Violencia institucional contra las madres y la infancia" (Institutional Violence Against Mothers and Children, Spain’s Ministry of Equality, 2023).
Celeste Perosino is an anthropologist, founder of the Intervention Against Violence Collective. She is the co-author of Historias desaparecidas. Arqueología, memoria y violencia política (Brujas, 2000) and Ruptura. Acerca de la integridad en el cuerpo muerto desaparecido (EAE, 2011).
Berta Sepur is a protective mother who has been criminalised in defending the human rights of children who have suffered male sexual abuse. She also fights against the use of Parental Alienation Syndrome in Spanish courthouses. She participates in the Network of Protective Mothers and is a co-author of the publication En la tela de araña. Las violencias contra la infancia y la lucha de las madres protectoras (Traficantes de Sueños and La Laboratoria, 2024).
Justa Teruel is a bookseller and writer who supports protective mothers. She is a co-author of the publication En la tela de araña. Las violencias contra la infancia y la lucha de las madres protectoras (Traficantes de Sueños and La Laboratoria, 2024).
Más actividades

Dear Americas
Friday 29 May and 5 June, 2026
In these films, Marilú Mallet travels to Solentiname, in Nicaragua, and Andahuaylillas, in Peru, to paint a portrait of communities which resist the severity of forced industrialisation. In Solentiname, the focus is on the poet and priest Ernesto Cardenal’s founding of a Christian, poetic and revolutionary utopia, while in Andahuaylillas, a town close to Cuzco, Mallet explores the multiple layers of Andean culture.

A Poetics of the Subject
Thursday 28 May and 4 June, 2026
In the tension between documentary and fiction, between the rawness of a tragic political present and narrative escape, lies the truth of the exile’s condition. In Journal inachevé (Unfinished Diary, 1982) Marilú Mallet experiments with her own subjectivity, moving from affirmation to doubt. In Double Portrait (2000), María Luisa Señoret paints her daughter Marilú, who records the process. In this circular relationship, the film-maker constructs a poetics of the portrait as something perpetually unfinished, a process of exploration in which memory, identity and political history merge to become blurred.

Institutional Decentralisation
28 MAY 2026
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 practice continues 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 shows organised by the Museo from the perspective of artists, curators and specialists.
![Maja Bajevic, Arts, Crafts and Facts (Top 10%, 90%) [Artes, artesanías y datos (Ricos 10%, 90%)], 1967. Museo Reina Sofía](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/nim.jpg.webp)

