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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
![Mike Nichols, The Graduate [El graduado], 1967, película](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/ciclocine-piscinas-9_0.jpg.webp)
Mike Nichols. The Graduate
Friday, 31 July 2026
Benjamin Braddock (Dustin Hoffman) is a young graduate from a wealthy California family. After returning home he meets Mrs Robinson (Anne Bancroft), who seduces him in successive encounters and shows him things that can’t be read in books. Mrs Robinson’s daughter, Elaine (Katharine Ross), enters his life to turn his feelings upside down.
Anne Bancroft’s remarkable performance shows the need to feel alive in a world gone stale, and the weapons sex possesses opposite romantic love. This is the learning curve young Ben experiences, and it is the time he spends drifting in the swimming pool that takes him from bewilderment to lucidity. He goes from a fool in a wetsuit lost at the bottom of the pool, to letting himself sway on the waters of pleasure or to see the mantle of the pool covered in fallen leaves with the arrival of love. The swimming pool is the place that initiates a change of state: an awakening of life forces.

Sol Iglesias. The Swimmers
Saturday, 1 August 2026
The end of the world, caused by climate change, is here and a group of friends wander from swimming pool to swimming pool at the height of a long, hot summer in Buenos Aires. From pool to pool, they cross the city, drifting leisurely and agreeably. In this transit they encounter different survivors searching desperately for water until their journey ends.
In echoing Frank Perry and Sydney Pollack’s film The Swimmer, Sol Iglesias’s The Swimmers is, equally, a path towards first light. The swimming pools symbolise, on this sunburnt stage, a metaphor at once for shelter and death by asphyxiation. It is the extreme heat that turns it into a fresh and pleasurable ending. The swimming pool, moreover, represents the lethargy of a youth tired of fighting against something they see as “inevitable”. As the young people trespass on a neighbourhood’s private property — rather than in public space — the pool is a stronghold of intimacy that must be seized: the false paradise of a collapsed society. The film brings the viewer closer to another film to feature in this series, La ciénaga (The Swamp, 2001) by Lucrecia Martel, in which bodies search for recesses of stagnant water.

Jack Hazan. A Bigger Splash
Friday, 7 August 2026
Painting endows a fleeting and unique moment with permanence and stability. This was the vision of the late David Hockney when, brushstroke by brushstroke, he returned to the swimming pool in A Bigger Splash: the great dive into a Californian pool which freezes a sense of happiness. A splash made by Peter Schlesinger, the painter’s partner from whom he has just separated.
In the film A Bigger Splash, Jack Hazan portrays the world of a successful artist, art-market and art-dealer pressure, the tension between the ego and personal frailty, and the obligation to continue with a style and iconography which, despite its instantly recognisable artistic imprint, creates doubts for the painter. In a grey, rainy London, a glum Hockney, the victim of soured love, keeps returning to the Californian swimming pool that holds the promise of happiness, in the form of a homosexual Arcadia in which the painter lives with his young partner and a group of equally glowing and attractive friends. Ultimately, the pool, as Jack Hazan recalls in this pioneering artist’s documentary, is a simile for the same painting in its original intention: hang onto fleetingness to lend it a permanence for the beholder, despite it not existing. Hockney, as one of the last great painters, knew his medium remained largely unchanged across hundreds of years of history.

Six Swimming Pools. A Dive into Experimental Film
Saturday, 8 August 2026
For the first time, the Museo’s summer cinema programme includes an experimental film section, centred on the experience and feeling of bodies under water. This session glides between the ostentatious aquatic architecture of Barbara Hammer and Barbara Klutinis and Jakobois’s fantasies, fleeting contact and wet, sexualised bodies. Six completely different swimming pools — private, public, transparent, bottomless, indoor, outdoor — all designed for leisure, competition and desire, nonetheless. A journey ranging from the monumentality of architecture to the intimacy of wet bodies.
Pools, by Barbara Hammer and Barbara Klutinis, turns swimming pools designed by pioneering architect Julia Morgan for the castle of tycoon William Randolph Hearst — the inspiration for Citizen Kane — into a space of play, bodily exploration and queer appropriation, an excuse to dive into a scene reserved for privilege. In An Algorithm, Bette Gordon fragments a series of headfirst dives and turns the sporting gesture into a visual score of repetitions, variations and rhythms. Tony Hill’s Water Work seduces with perspective, reflections and depth — the swimming pool as optical illusion, as an unstable surface which distorts and multiplies the gaze. Cheap Imitation “They Walk and I Walk”, by Rickard Eklund, submerges the camera to capture a choreography of synchronized bodies, a dance suspended under water. Naked bodies that dodge, twist and embrace in a space seemingly with no gravity combine in Gunilla Leander’s All Under. Passage du désir, by Jakobois, closes the programme with a montage in which water is no longer an environment, becoming instead a territory of desire.

Dominga Sotomayor. Debajo and Thais Fujinaga. A Felicidade das Coisas
Friday 14 August 2026
Two gems, from two new voices in Latin American cinema, which swing between families, swimming pools, reencounters and status. In Debajo, a short film on youth by Chilean director Dominga Sotomayor, an abstract yet powerful bird’s-eye view of a swimming pool co-exists with the relationships of a crisis-stricken family, gathered to see an eclipse. Sotomayor’s distinctive film-making of care and affects shares a similar space to the daily naturalism of Thais Fujinaga’s A Felicidade das Coisas. In the director’s first feature film, the swimming pool is not a horizontal basin for swimmers’ immersion; rather it is a huge vertical monolith, a kind of an anti-monument, anchored in the garden of a middle-class family. The film conveys the efforts and challenges of a mother of two children to build a swimming pool in their modest summer house, a mother who, alone, comes up against a hypermasculine world. Equally, the film speaks of family love, and the search for status, with the swimming pool a languishing totem of the Brazilian middle class during the years of Bolsonarism.
![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)

