
Work session held between Kellys Unión Madrid and Territorio Doméstico, 2024. Photograph: Sinnosotras
Held on 30 nov 2024
On 9 June 2022, Spain’s Congress of Deputies approved the ratification of Convention 189 in relation to decent employment for domestic workers, advocated by the International Labour Organisation (ILO). This significant victory was the outcome of years of struggle and the organisation of workers, who finally witnessed a commitment from the Spanish State to address their labour demands and acknowledge their work. Nevertheless, this road is not at its end and this commitment must materialise in the development of legislation and public policies related to care.
In the same vein of the struggle to improve labour conditions, the Kellys have spent years making the realities they face visible and calling for changes. Within the field of occupational health, they have obtained significant advances in gaining recognition for illnesses such as carpal tunnel syndrome, bursitis and epicondylitis, or “tennis elbow”, ailments associated with the repetitive movement of the arms and hands demanded by day-to-day work.
Within this context, the encounter here prolongs this struggle, fostering alliances between different collectives of female workers in the field of domestic work and care, cleaning, nursing, hotel cleaning — many of whom are migrants and racialised — who are responsible for caring for life. Together, these women seek to open a social dialogue on the need to recognise professional illnesses and occupational health in care-related and cleaning sectors. These jobs are still socially undervalued, which translates into widespread precarity: low salaries, limited health and safety prevention at work and no recognition for illnesses or the repercussions associated with such positions, for instance respiratory problems owing to contact with toxic products, physical injuries, chronic pain, among other health issues, which hinder access to dignified benefits that ensure adequate living conditions.
The encounter gets under way with a round-table discussion and presentation, where the different collectives of the participating female workers share their reflections, evaluations and analyses, as well as specific proposals to improve labour conditions and health, from social struggle and strategies of happiness. It culminates in a performance by Territorio Doméstico and a concert by the singer Ro Tirita, accompanied by the guitar of La Tomi, with both performing songs from the band Sudor Marika and other cumbias to dance to.
Organised by
Ro Tirita (Sudor Marika) and La Tomi
More information
Organised by
Museo Situado, Territorio Doméstico and Kellys Unión Madrid
Agenda
sábado 30 nov 2024 a las 18:30
Round table: Our Health at the Centre
Participants: Kellys Unión Madrid, Territorio Doméstico, SEDOAC (Servicio Doméstico Activo) and Plataforma Unitaria del Servicio de Ayuda a Domicilio (SAD)
sábado 30 nov 2024 a las 19:30
Presentation of the scheduled work process Without Us Women the World Doesn’t Move
sábado 30 nov 2024 a las 20:00
Concert by Ro Tirita ft. La Tomi
sábado 30 nov 2024 a las 20:20
Performance-catwalk: Broken Bodies. Territorio Doméstico
Participants
Kellys Unión Madrid is an autonomous association made up of hotel cleaners who aim to give visibility to labour conditions and contribute to improving their quality of life.
Plataforma Unitaria del Servicio de Ayuda a Domicilio (SAD) is an organisation that defends home help as a universal and essential service that must be managed publicly and under dignified conditions, instead of being outsourced to private companies. Its objectives include putting forward an evaluation of labour risks in homes, the recognition of professional illnesses and early retirement prior to sixty years of age.
Ro Tirita is a singer with Sudor Marika, a queer, dissident and feminist cumbia group from Argentina.
Servicio Doméstico Activo (SEDOAC) is a group which is united by a threefold discrimination: being women, migrants and domestic and care workers. The group demands full equality and the exercise of the social, political, labour and civil rights of domestic workers. Since 2019, they have managed the Centre of Empowerment for Domestic and Care Workers (CETHYC), located in the Madrid neighbourhood of Orcasitas, a place of encounter for domestic and care workers in Madrid, and for migrant women in general and collectives that defend the rights of people at risk of social exclusion.
Territorio Doméstico is an anti-racist feminist collective of women — many of them, but not all, domestic workers — who demand the rights of domestic and care workers.



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As a preamble to the opening of the exhibition HU/هُوَ. Dance as if no one were watching you, film-maker Oliver Laxe (Paris, 1982) engages in conversation with the show’s curators, Julia Morandeira and Chema González, touching on the working processes and visual references that articulate this site-specific project for the Museo Reina Sofía. The installation unveils a new programme in Space 1, devoted from this point on to projects by artists and film-makers who conduct investigations into the moving image, sound and other mediums in their exhibition forms.
Oliver Laxe’s film-making is situated in a resilient, cross-border territory, where the material and the political live side by side. In HU/هُوَ. Dance as if no one were watching you, this drift is sculpted into a search for the transcendency that arises between dancing bodies, sacred architectures and landscapes subjected to elemental and cosmological forces. As a result, this conversation seeks to explore the relationship the piece bears to the imagery of ancient monotheisms, the resonance of Persian Sufi literature and the role of abstraction as a resistance to literal meaning, as well as looking to analyse the possibilities of the image and the role of music — made here in collaboration with musician David Letellier, who also works under the pseudonym Kangding Ray — in this project.
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.

Manuel Correa. The Shape of Now
13 DIC 2025
The Shape of Now is a documentary that explores the challenges and paradoxes of memory, reparation and post-conflict justice, extending a defiant and questioning gaze towards the six-decade armed conflict in which the Colombian State, guerrillas and paramilitary groups clashed to leave millions of victims in the country. The screening is conducted by the Aesthetics of Peace and Desertion Tactics study group and includes a presentation by and discussion with the film’s director, Manuel Correa.
The film surveys the consequences of the peace agreements signed in 2016 between the Colombian State and the FARC guerrilla organisation through the optics of different victims. It was recorded shortly after this signing, a time in which doubts lingered over the country’s future, with many groups speculating in the narration. Correa harnesses the power of images, visual and bodily memory, fiction and re-staging as tools for understanding the conflict, memory and healing, as well as for the achievement of a just peace that acknowledges and remembers all victims.
The activity is framed inside the research propelled by Aesthetics of Peace and Desertion Tactics, a study group developed by the Museo’s Study Directorship and Study Centre. This annual group seeks to rethink, from a theoretical-critical and historical-artistic perspective, the complex framework of concepts and exercises which operate under the notion of pacifism. A term that calls on not only myriad practices ranging from anti-militarism and anti-war movements to activism for non-violence, but also opens topical debates around violence, justice, reparation and desertion.
Framed in this context, the screening seeks to reflect on propositions of transitional and anti-punitive justice, and on an overlapping with artistic and audiovisual practices, particularly in conflicts that have engendered serious human rights violations. In such conflicts, the role played by audiovisual productions encompasses numerous challenges and ethical, aesthetic and political debates, among them those related to the limits of representation, the issue of revictimisation and the risks involved in the artistic commitment to justice. These themes will be addressed in a discussion held after the session.

Francisco López and Barbara Ellison
Thursday, 11 December - 8pm
The third session in the series brings together two international reference points in sound art in one evening — two independent performances which converse through their proximity here. Barbara Ellison opens proceedings with a piece centred on the perceptively ambiguous and the ghostly, where voices, sounds and materials become spectral manifestations.
This is followed by Francisco López, an internationally renowned Spanish sound artist, who presents one of his radical immersions in deep listening, with his work an invitation to submerge oneself in sound matter as a transformative experience.
This double session sets forth an encounter between two artists who, from different perspectives, share the same search: to open ears to territories where sound becomes a poetic force and space of resistance.

Long Live L’Abo! Celluloid and Activism
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Better known by the shortened version of L’Abo, the artist-run laboratory emerged in response to disappearing infrastructures in artisan film-making and endeavours to offer the creative community a self-managed space in which to produce, develop and screen films in analogue formats such as Super8, 16mm and 35mm. With this underpinning, L’Abo champions the aesthetic and political experimentation of analogue cinema opposite digital hegemony.
L'Abominable, more than a simple work tool, has become a space of artistic and social exchange which has knitted together a community. It is characterised by endowing technique with a poetic dimension, in a community that manufactures its own film devices, and situates pedagogy at its core — the film-makers and artists train one another on common ground. Further, it seeks to forge an opening to all experimental languages around celluloid, for instance installation and film performance, while constituting a place of preservation and conservation in the history of the medium.
L'Abominable is an example of how, at the height of the digital age, artists and film-makers are recovering cinematography and vindicating the production process in its entirety. This autonomy invents alternative routes in the industry as it creates new tools, develops other forms of expression and explores unknown cinematic territories.

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.
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