The Museo Reina Sofía contributes, once again, to the annual contemporary art fair ARCOmadrid — which focuses this year on the Amazon — by virtue of the programme Wametisé: Ideas for an Amazofuturism. On this occasion, the Museo hosts two different events conducted by two artists who symbolise its present day and emergence: a performance by trans-Indigenous artist Uýra Sodoma and a DJ set by Uruguayan sound artist Pablo de Vargas, who also works under the moniker Lechuga Zafiro.
According to the cosmogeny of Indigenous peoples from Alto Río Negro (Amazonas), Wametisé, meaning “named places”, references the time when humanity was assigned each territory. Drawing inspiration from this idea, Amazofuturism explores identities and narratives which challenge Western art models, constituting a new form of creation and representation which demonstrates a hybrid existence between the human, the vegetative, the physical and the metaphysical.
Observable within the context of contemporary art is a mounting interest in Indigenous people’s thinking and ways of life, and, in this case, in the Amazonia region identity is underpinned by a collective future and the artistic practices which evolve are, more plurally, forms of resistance and healing that set forth a more sustainable relationship with nature.
Collaboration
Museo Reina Sofía
Organised by
ARCOmadrid / IFEMA MADRID
Sponsor
Agenda
viernes 07 mar 2025 a las 18:00
The Reina with ARCOmadrid. Performance by Uýra Sodoma
Within the Wametisé: Ideas for an Amazofuturism programme, curated by María Wills and Denilson Baniwa
Uýra Sodoma presents her performance inside the framework of the Wametisé: Ideas for an Amazofuturism programme. This diasporic Indigenous artist uses her body as a support to narrate stories through photorealism, performance and installations, in this instance inviting the audience to participate and interact in the performance.
viernes 07 mar 2025 a las 21:30
Reina Party with ARCOmadrid. DJ Set by Lechuga Zafiro
Within the Wametisé: Ideas for an Amazofuturism programme, curated by Magui Dávila
In the construction of this DJ set, Uruguayan sound artist Pablo de Vargas, who also performs under the moniker Lechuga Zafiro, seeks to convey the nuances of the Latin American experience through his music, combining the exploratory nature of dance culture and poetry in sound design. His sets move, with intricacy and energy, between funk and techno, as well as his own productions.
Participants
Uýra Sodoma is a diasporic Indigenous person, two sprits (transvestite) and an inhabitant of Manaus (Amazonas, Brazil), an industrial area amid the forest where she works as an educator with traditional communities. A biologist with an MA in Amazonian Ecology and a visual artist, Uýra uses her body as a support to narrate stories via photorealism, performance and installations. She has participated in over fifty collective exhibitions, both national and international, including at the Museu de Arte Moderna do Rio de Janeiro (Brazil) and the Currier Museum of Art (USA). She has also displayed her work at biennials such as the São Paulo Biennial (Brazil), the Manifesta! Biennial (Kosovo), the 13th São Paulo Architecture Biennial and the 1st Bienal das Amazônias (Brazil), and has received numerous awards, for instance the EDP Award in the Arts (Instituto Tomie Ohtake), the PIPA Prize (2022), the SIM Award for Racial Equality (2023) and the Art Rio FOCO Prize (2023).
Lechuga Zafiro is Pablo de Vargas, a sound artist from Uruguay. His work fuses an interest in experimental music and southern-hemisphere rhythms, and, influenced by the percussion of candombe — Afro-Uruguayan culture — Mexican tribal music and the Angolan rhythms of kuduro, Zafiro came to the attention of dancers and musicians with his debut track “Sapo de Manga”, released in 2013 on Cómeme, followed by the EPs "Aequs Nyama" and "Testigo”. In 2024, he released his first album on the Colombian imprint TraTraTrax. In addition to producing, Zafiro is a DJ who moves, ironically, between different music genres.
Más actividades
Rethinking Guernica
Monday and Sunday - Check times
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).
The visit sets out an in-situ dialogue between the works hung around the painting and a selection of key documents, selected by the Museo’s Education Team and essential to gaining an idea of the picture’s historical background. Therefore, the tour looks to contribute to activating critical thought around this iconic and perpetually represented work and seeks to foster an approach which refreshes our gaze before the painting, thereby establishing a link with the present. Essentially revisiting to rethink Guernica.
Dear Felix:
Saturdays at 6pm
The immediately recognisable art of Felix Gonzalez-Torres, which is on display, from May to October 2026, in the show Sweet Revenge, moves beyond the transmission of messages laden with poetic evocation, vital or biographical reflection, or even a clear political or ethical positioning. Rather, it seeks an active response by visitors to the exhibition. His work invites engagement with these messages so that, whether delighting, moving or challenging, it still prompts viewers to participate in the dialogue and complete the artistic undertaking with their own actions.
Thus, the guided tour Dear Felix: offers a shared, dialogue-inflected tour through the show, with the aim of collectively thinking and feeling the gestures the artist’s work puts forward. Ostensibly simple actions such as crossing through a beaded curtain to take a sweet and eat it, taking a poster from a stack of paper or simply observing a billboard closely, all contain ways of understanding life, loss, love, injustice or the passing — never linear — of time. The tour’s ultimate aim is not to set meanings or create an overload of interpretations of the work, nor does it seek to crystallise an image of the artist and his life in a response to questions which are not there. It looks instead to provide a space to open shared meaning in these apparently simple objects and to attempt a possible correspondence of return from the here and now. A lumbering attempt at responding which starts with a simple Dear Felix:
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.