Towards a Socialism of Creation
Luis Camnitzer in conversation with María Acaso and Selina Blasco
Held on 17 Oct 2018
Inside the framework of the retrospective Luis Camnitzer: Hospice of Failed Utopias (17 October 2018 to 4 March 2019) and the launch of the studies, residencies and cultural productions programme the Perturbable School, this encounter sees the artist touch on his conception of critical artistic pedagogy, not only in schools and universities but also museums, and on where this work of reflection fits into his own artistic career.
Luis Camnitzer (Lübeck, 1937) views conceptual art as a practice of political intervention in a repressed public sphere. This occurs in his art and curation work, demonstrated by the influential landmark exhibition Global Conceptualism: Points of Origin, 1950s-1980s (conceived with Jane Farver and Rachel Weiss at New York’s Queens Museum in 1999). In the same manner, Camnitzer is one of the most incisive thinkers with regard to the relationship between art and education, an issue which has led him to consider the different possibilities in the museum institution, the art object, spectators and even the role of art.
Upon what are his ideas of education and art based? In opposition with predominant ideas, which see learning as being contingent upon an explanation of the art work, Camnitzer endorses the integration of both, thus enabling this traditional dependency to be subverted and seeking alternatives to market logic, where art is conceived to produce the art object and education is viewed as training towards a particular end. According to Camnitzer, in this new relationship “education is art and art is education”. This new idea of art, moreover, entails radically questioning the limits of the museum and the artwork; in the words of the artist, which lend this debate its name, “Liberating the spectator so they think about everything they do artistically, and helping them to create a socialism of creation”.
With the collaboration of
In the framework of
An education programme developed with the patronage of
Educational program developed with the sponsorship of
Participants
María Acaso is head of Education at the Museo Reina Sofía. A teacher and theorist, her reflections include the concept of “educational revolution”, a method of action to develop an alternative teaching practice. Her publications include Art Thinking: un libro que revolucionará la manera de educar (2017) and La educación artística no son manualidades. Nuevas prácticas en la enseñanza de las artes y la cultura visual (2014), and she is the founder of Invisible Pedagogies, a collective of disruptive education.
Selina Blasco is a professor of Art History in the Faculty of Fine Arts at the Complutense University of Madrid. The collective initiatives she has worked on include “Sin créditos” (Without Credits), a programme based on learning as an experimental process. She is also one of the academic coordinators in the MA on Contemporary Art History and Visual Culture run by the Museo Reina Sofía.
Luis Camnitzer is an artist, educator and theorist who has exhibited his work at the Venice Biennale, the São Paulo Biennial, the Whitney Museum and documenta, Kassel, to name but a few. Moreover, his work belongs to the Collections of MoMA (New York), the Getty Museum (Los Angeles), Tate Modern (London), the Blanton Museum (Austin, Texas), the Cisneros Collection (Caracas/New York) and the Museo Reina Sofía (Madrid). His publications most notably include Arte y Enseñanza: La ética del poder (2000) and Didáctica de la liberación. Arte conceptualista latinoamericano (2009), and he was the pedagogical curator at the 6th Mercosul Biennial and the Iberé Camargo Foundation (Porto Alegre) between 2007 and 2010.
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On Friday, 22 May 2026 the Museo Reina Sofía celebrates International Museum Day by way of a vibrant music programme conducted by Radio 3.
From 9am to 11pm, the Museo’s Nouvel Courtyard will host the live broadcast of Radio 3’s day-long programme —also available on a video streaming on the Radio3 website and app, on RTVEPlay and on the Museo’s social media accounts. The programme comprises more than twenty live acts, including artists such as Carlangas, Shego, Soleá Morente, Kokoshca, La Tania, La Pegatina, Pipiolas, Ángel Stanich, Triángulo de Amor Bizarro and Zahara, and many others.
With this programme the Museo Reina Sofía concludes its celebration of International Museum Day, which takes place on Monday, 18 May. Both on 18 May, from 10am to 9pm, and 22 May admission to the Museo will be free of charge.
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Thursday, 21 May 2026 – 5:30pm
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.
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This encounter pays homage to Gerardo Mosquera (Havana, 1945), a pre-eminent curator, an essayist who has been part of key debates on decolonisation and the drifts of globalisation, a communicator and, primarily, an art critic who has managed to radically situate discourses and practices, while still taking on risks and perpetually upholding committed ethical positions.
Mosquera is one of the foremost curators internationally and was involved with the Havana Biennial from its foundation in 1984 to 1989, as well as curating pivotal shows in museums and art centres around the globe. Notable among his curatorial work is as adjunct curator at the New Museum in New York (1995–2009), the Liverpool Biennial (2006) and the exhibition It’s Not Just What You See. Perverting Minimalism (Museo Reina Sofía, 2000).
This round-table discussion, which features the participation of Gerardo Mosquerahimself and an ensemble of art critics, thinkers and artists, for instance Fernando Castro Flórez, Diana Cuéllar, Lillebit Fadraga and René Francisco Rodríguez, will approach the multifaceted and extremely fertile work of Mosquera as a renowned master curator.
Miguel Falomir, Director of the Museo Nacional del Prado, in Conversation with Museo Reina Sofía Director Manuel Segade
18 MAY 2026
Museo del Prado and Museo Reina Sofía directors, Miguel Falomir and Manuel Segade, respectively,engage in conversation on Monday, 18 May in the Museo Reina Sofía’s Auditorium 400, in conjunction with International Museum Day 2026, the theme of which is “Museums Uniting a Dividing World”. The discussion, moderated by journalist and poet Antonio Lucas, will see the two heads of these major cultural institutions share their reflections on the role they play in today’s society.
In addition to addressing the management of art, the conversation seeks to explore in greater depth museums’ potential as meeting points to face today’s social tensions, thereby fulfilling the international mandate of this year’s edition.
The activity will be live-streamed and is available at this link.
Collection. Contemporary Art: 1975–Present
Miércoles 13 de mayo, 2026 - 19:00 h
In this lecture, Museo Reina Sofía director Manuel Segade outlines the key readings of the new presentation of the Collection on Floor 4 of the Sabatini Building. This new arrangement is framed inside an ambitious rehang that harnesses the uses of the Museo’s architecture, in a plan that will continue in 2027 with the opening of Floor 3 in the same building, culminating with Floor 2 in 2028.
The new rehang of the Collections, unveiled on 16 February 2026, sets forth a journey through contemporary art history over the past fifty years in Spain. Rather than an unambiguous narrative, the floor recounts the same period — from the Transition to democracy in Spain to the present — in three different ways, starting back at the 1970s time and again.
The exhibition route gets under way with a prologue that travels through the affections, material culture and institutionalism of the Spanish Transition, serving as a starting point for the three routes that follow. The first, A History of Affect in Contemporary Art, advances from affective systems in artmaking linked to the second wave of feminism, arriving at grief as a tool to interpret new realities. The second route, The Powers of Fiction: Sculpture, New Materialisms, and Relational Aesthetics, is conceived as a sculpture gallery in which the artworks engage with the public, focusing on the performance side of the discipline. This route shows, among other aspects, how Spanish sculpture has gained significant international visibility since the 1980s, with women artists playing a key role in this display. The third route, A New Framework. The Institution, the Market, and the Art that Transcends Both, zooms in on the origins of the Museo and its role in the process of art’s institutionalisation in Spain. In May 1986 the Centro de Arte Reina Sofía opened, occupying the first and second floors of the former hospital: the forty years that have elapsed since then enable a re-evaluation of the effects of the Museo on Spanish art and art on the institution.
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