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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 abr 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

Long Live L’Abo! Celluloid and Activism
4, 5, 6 DIC 2025
L’Abominable is a collective film laboratory founded in La Courneuve (Paris, France) in 1996. It came into being in response to the disappearing infrastructures in artisan film-making and to provide artists and film-makers with a self-managed space from which to produce, develop and screen films in analogue formats such as Super 8, 16mm and 35mm. Anchored in this premise, the community promotes aesthetic and political experimentation in analogue film opposite digital hegemony. Over the years, L’Abominable, better known as L’Abo, has accompanied different generations of film-makers, upholding an international movement of independent film practices.
This third segment is structured in three sessions: a lecture on L’Abo given by Pilar Monsell and Camilo Restrepo; a session of short films in 16mm produced in L’Abo; and the feature-length film Une isle, une nuit, made by the Les Pirates des Lentillères collective.

Estrella de Diego Lecture. Holding Your Brain While You Sleep
Wednesday, 3 December 2025 – 7pm
Framed inside the Museo Reina Sofía’s retrospective exhibition devoted to Maruja Mallo, this lecture delivered by Estrella de Diego draws attention to the impact of the artist’s return to Spain after her three-decade exile in Latin America.
Committed to values of progress and renewal in the Second Republic, Mallo was forced into exile to Argentina with the outbreak of the Civil War and would not go back to Spain to settle definitively until 1965 — a return that was, ultimately, a second exile.
Mallo saw out her prolific artistic trajectory with two impactful series: Moradores del vacío (Dwellers of the Void, 1968–1980) and Viajeros del éter (Ether Travelers, 1982), entering her most esoteric period in which she drew inspiration from her “levitational experiences” of crossing the Andes and sailing the Pacific. Her travels, both real and imaginary, became encounters with superhuman dimensions.
In parallel, her public persona gained traction as she became a popular figure and a key representative of the Generation of ‘27 — the other members of which also started returning to Spain.
This lecture is part of the Art and Exile series, which seeks to explore in greater depth one of the defining aspects of Maruja Mallo’s life and work: her experience of exile. An experience which for Mallo was twofold: the time she spent in the Americas and her complex return to Spain.

Juan Uslé. That Ship on the Mountain
Tuesday, 25 November 2025 – 7pm
Ángel Calvo Ulloa, curator of the exhibition Juan Uslé. That Ship on the Mountain, engages in conversation with artist Juan Uslé (Santander, 1954) in the Museo’s Auditorium 400 to explore in greater depth the exhibition discourse of this anthological show spanning four decades of Uslé’s artistic career.
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.

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.

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.
Moreover, the activity is put forward as a continuation to the exhibition Young Ladies the World Over, Unite! Women Adult Comic Book Writers (1967–1993) and the First International Conference on Feminist Comic Book Genealogies, held in April 2024 at the Complutense University of Madrid.
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.
The conference, organised jointly by the Museo Reina Sofía and Université Clermont Auvergne/CELIS (UR4280), features the participation of the Casa de Velázquez and is framed inside the context of the CALC programme The Spanish Artistic Canon. Between Critical Literature and Popular Culture: Propaganda, Debates, Advertising (1959–1992), co-directed by Virginie Giuliana. It is also the outcome of the projects Horizon Europa COST Actions iCOn-MICs (Comics and Graphic Novels from the Iberian Cultural Area, CA19119) and COS-MICs (Comics and Sciences, CA24160).
![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)



![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)