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Friday, 9 September 2022 – 7pm / Second session: Saturday, 24 September 2022 Sabatini Building, Auditorium
Gonzalo García-Pelayo. Así se rodó Carne quebrada (The Filming of Broken Flesh)
Spain, 2021, colour, original version in Spanish, digital archive, 70'
Tickets— Presentation and conversation with Gonzalo García-Pelayo and the film crew in both sessions
Así se rodó Carne quebrada (The Filming of Broken Flesh) is based on the behind-the-scenes of a film with a plot that crosses over and is confused with the real story that happens during filming. In Carne quebrada, the film being shot, a group of friends regularly get together to experiment with sex and partner relationships. The director, a renowned underground film-maker, seeks to reflect two obsessions in his new film: journeys as a vital, aesthetic and revelatory experience and sex as the driving force of desire and human evolution.
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Saturday, 10 September 2022 – 7pm / Second session: Thursday, 29 September 2022 Sabatini Building, Auditorium
Gonzalo García-Pelayo. Tu coño (Your Pussy)
Spain, 2022, colour, original version, digital archive, 70’
Tickets— Presentation and conversation between Gonzalo García-Pelayo and the film crew in both sessions
A film which centres on a young and recently married couple in which the man, a young artist, only thinks about having sex with his wife, his sole model for videos and sculptures, around the clock and all over their new home. Despite almost being x-rated due to its explicit sex, it moves away from any convention associated with the porno genre.
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Friday, 23 September 2022 – 7pm / Second session: Friday, 30 September 2022 Sabatini Building, Auditorium
Gonzalo García-Pelayo. Alma quebrada (Broken Soul)
Spain, 2021, colour, original version in Spanish, digital archive, 74’
Tickets— Presentation and talk by Gonzalo García-Pelayo and the film crew in both sessions
A film director goes on a journey to look for locations for her next film. An admirer of Alain Resnais and experimental film, she tries to create a story in which her own biography mixes with that of a singer-songwriter she had a relationship with in the past. Among quotes from mystical Spanish literature, by Saint John of the Cross and Saint Teresa of Ávila, García-Pelayo returns to the creative journey as an element of salvation, the backbone of his 10+1 films.
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Saturday, 12 November 2022 Sabatini Building, Auditorium
Pedro G. Romero y Gonzalo García-Pelayo. Siete jereles (Seven Jereles)
Spain, 2022, colour, original version Spanish, digital archive, 75’
Tickets— Presentation and conversation between Pedro G. Romero and Gonzalo García-Pelayo. Closing flamenco concert by José de los Camarones
The only session of this film, which continues the collaboration between Pedro G. Romero and Gonzalo García-Pelayo that started in Nueve Sevillas (Nine Sevilles, 2020), in which flamenco was explored as a psychogeography of the city’s history, people and places. The different characters are lived through and traversed by the superior force of flamenco culture and history, conceived as a space which congregates the marginal, subordinate and racial in Spain’s history. A stampede of horses crosses the centre of Jerez, passing by seven mythical places in the city’s nightlife. In them, seven shots-sequences unfold to show three performances combining flamenco, history and the avant-garde. The screening opens and closes with a flamenco concert that sees out the series.
Held on 09, 10, 23, 24, 29, 30 sep, 06, 07, 08, 13, 14, 15, 20, 21, 22, 27, 28, 29 oct, 03, 04, 05, 10, 11, 12 nov 2022
The Museo Reina Sofía and Cineteca Madrid jointly organise the second part, and conclusion, of the retrospective devoted to the films of Gonzalo García-Pelayo (Madrid, 1947) with the international premiere of one of contemporary cinema’s most ambitious projects: the production of eleven feature-length films made by the director between 2021 and 2022.
Gonzalo García-Pelayo is a cult film-maker within the landscape of new European film, following his retrospectives at Viennale (2013) and Jeu-de-Paume (2014) and his premieres at BAFICI (2022), in the spirit of early Jean-Luc Godard and with traces of Michelangelo Antonioni and Ingmar Bergman. Manifestations of counterculture, experimentation with film language, the non-distinction between fiction and documentary and the desire for a society to emerge after the dictatorship in Spain characterised García-Pelayo’s film practice from 1975 to 1986, explored in the first part of this retrospective: Stop Prohibiting Because I Can’t Disobey Everything. The Films of Gonzalo García-Pelayo. After a lengthy hiatus, in which he shelved his film-making to focus on music production, publishing work, the mathematical speculation of gambling and the financial system, this against-the-grain director returned to affirm the excess and rupture of any convention.
The Year of 10+1 Films is a project bearing little resemblance to the filmed diary or films about daily life. Rather, it sustains the thematic coherence and conceptual structure of his original work. These eleven pictures — one made in collaboration with Pedro G. Romero and another with Paco Campano — are imbued with common ideas and elements which impart a unique identity to the series. One such example is his vision of cinema as a kind of emotional geography. The films cross places visited previously by the film-maker (Kerala, Tamil Nadu, Kazakhstan, Tierra de Fuego, Andalusia, Alentejo, etc.) and characters which, as in the films of Jean-Marie Straub and Danièlle Huillet, resonate with and reverberate in these places to reflect the histories and feelings they awaken. Moreover, García-Pelayo uses the same cast of actors to play roles across the eleven films — a technique used by Fassbinder to introduce an anti-actor notion of performance — and to share an element of metafilm, film inside film, a constant in his work since Vivir en Sevilla (Living in Seville, 1978). Other common ideas among them are music (in a range of genres) as an expression of the storyline, the philosophical conversations between characters and sex as a torrential force, alluding, in line with the paradigm of Surrealist mad love, to the triumph of instinct over culture. The zenith of the 10+1 films is a numerical calculation that adheres to a basic principle: accelerating the average of the usual filming time in Spanish cinema (three years for a film) up to 33 times, the speed most commonly used to produce vinyl records. Thus, García-Pelayo returns with an unparalleled film corpus to show how film is a way of life before being an industry or profession.
These eleven films are screened between the Museo Reina Sofía and Cineteca Madrid.
Organised by
Museo Reina Sofía and Cineteca Madrid
Curators
Chema González (Museo Reina Sofía) and Luis E. Parés (Cineteca Madrid)
![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)
Más actividades
Aesthetics of Peace and Desertion Tactics
8 October 2025 – 24 June 2026
The study group Aesthetics of Peace and Tactics of Desertion: Prefiguring New Pacifisms and Forms of Transitional Justice proposes a rethinking—through both a theoretical-critical and historical-artistic lens—of the intricate network of concepts and practices operating under the notion of pacifism. A term not without contestation and critical tension, pacifism gathers under its name a multiplicity of practices—from anti-militarism and anti-war movements to non-violence activism—while simultaneously opening urgent debates around violence, justice, reparation, and desertion. Here, pacifism is not conceived as a moral doctrine, but as an active form of ethical and political resistance capable of generating aesthetic languages and new positions of social imagination.
Through collective study, the group seeks to update critical debates surrounding the use of violence and non-violence, as well as to explore the conflict of their representation at the core of visual cultures. In a present marked by rearmament, war, genocide, and the collapse of the social contract, this group aims to equip itself with tools to, on one hand, map genealogies and aesthetics of peace—within and beyond the Spanish context—and, on the other, analyze strategies of pacification that have served to neutralize the critical power of peace struggles. Transitional and anti-punitive justice proposals will also be addressed, alongside their intersections with artistic, visual, and cinematic practices. This includes examining historical examples of tribunals and paralegal activisms initiated by artists, and projects where gestures, imaginaries, and vocabularies tied to justice, reparation, memory, and mourning are developed.
It is also crucial to note that the study programme is grounded in ongoing reflection around tactics and concepts drawn, among others, from contemporary and radical Black thought—such as flight, exodus, abolitionism, desertion, and refusal. In other words, strategies and ideas that articulate ways of withdrawing from the mandates of institutions or violent paradigms that must be abandoned or dismantled. From feminist, internationalist, and decolonial perspectives, these concepts have nourished cultural coalitions and positions whose recovery today is urgent in order to prefigure a new pacifism: generative, transformative, and radical.
Aesthetics of Peace and Tactics of Desertion, developed and led by the Museo Reina Sofía’s Studies Management, unfolds through biweekly sessions from October to June. These sessions alternate between theoretical discussions, screenings, work with artworks and archival materials from the Museo’s Collection, reading workshops, and public sessions. The group is structured around sustained methodologies of study, close reading, and collective discussion of thinkers such as Judith Butler, Elsa Dorlin, Juan Albarrán, Rita Segato, Sven Lütticken, Ruth Wilson Gilmore, and Franco “Bifo” Berardi; historical episodes such as the anti-nuclear and anti-arms race movement in Spain; and the work of artists and activists including Rojava Film Commune, Manuel Correa and the Oficina de Investigación Documental (Office for Documentary Investigation), and Jonas Staal, among other initial cases that will expand as the group progresses.
27th Contemporary Art Conservation Conference
Wednesday, 4, and Thursday, 5 March 2026
The 27th Contemporary Art Conservation Conference, organised by the Museo Reina Sofía’s Department of Conservation and Restoration, with the sponsorship of the MAPFRE Foundation, is held on 4 and 5 March 2026. This international encounter sets out to share and debate experience and research, open new channels of study and reflect on conservation and the professional practice of restorers.
This edition will be held with in-person and online attendance formats, occurring simultaneously, via twenty-minute interventions followed by a five-minute Q&A.
Submitting Proposals
The deadline for presenting proposals ends on 28 September 2025. Those interested must send an email to jornada.conservacion@museoreinasofia.es, submitting the following documents:
- An unpublished proposal related to the conservation or restoration of contemporary art.
- A 1,700-word summary, written in Word, on the theme addressed. Please indicate the topic at the top of the document with five keywords and the presentation format (in-person or virtual). Preference will be given to the in-person format.
- CV and contact details.
- Only one proposal per person will be accepted.
- Proposals related to talks given in the last three conferences will not be accepted.
Proposals may be submitted in Spanish, French or English and will be evaluated by a Scientific Committee, which will select the submissions to be presented during these conference days and will determine their possible participation in a subsequent publication, the inclusion of which will undergo a second and definitive evaluation by the Editorial Committee.
For submissions in a virtual format, participants must send a recording following certain technical requirements they will receive once participation is confirmed.
The programme of sessions will be published in the coming days.
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.
UP/ROOTING
11, 12, 13, 14, 15, 16 NOV 2025
Museo Reina Sofía and MACBA Museu d'Art Contemporani de Barcelona (MACBA) invite applications for the 2025 iteration of the School of Common Knowledge, which will take place from November 11th to 16th in Madrid and Barcelona.
The School of Common Knowledge (SCK) draws on the network, knowledge and experience of L’Internationale, a confederation of museums, art organizations and universities that strives to reimagine and practice internationalism, solidarity and communality within the cultural field. This year, the SCK program focuses on the contested and dynamic notions of rooting and uprooting in the framework of present —colonial, migrant, situated, and ecological— complexities.
Building on the legacy of the Glossary of Common Knowledge and the current European program Museum of the Commons, the SCK invites participants to reflect on the power of language to shape our understanding of art and society through a co-learning methodology. Its ambition is to be both nomadic and situated, looking at specific cultural and geopolitical situations while exploring their relations and interdependencies with the rest of the world.
In the current context fraught with war and genocide, the criminalization of migration and hyper-identitarianism, concepts such as un/belonging become unstable and in need of collective rethinking:
How can we reframe the sense and practice of belonging away from reductive nationalist paradigms or the violence of displacement? How to critically hold the entanglement of the colonial routes and the cultural roots we are part of? What do we do with the toxic legacies we inherit? And with the emancipatory genealogies and practices that we choose to align with? Can a renewed practice of belonging and coalition-making through affinity be part of a process of dis/identification? What geographies —cultural, artistic, political— do these practices of de/centering, up/rooting, un/belonging and dis/alignment designate?
Departing from these questions, the program consists of a series of visits to situated initiatives (including Museo Situado, Paisanaje and MACBA's Kitchen, to name a few), engagements with the exhibitions and projects on view (Project a Black Planet: The Art and Culture from Panafrica), a keynote lecture by Stefano Harney and Fred Moten, as well as daily reading and discussion gatherings, editorial harvest sessions, and conviviality moments.
Ylia and Marta Pang
Thursday, 6 November - 8pm
The encounter between Spanish DJ and producer Ylia and visual artist Marta Pang is presented in the form of a premiere in the Museo Reina Sofía. Both artists converge from divergent trajectories to give form to a new project conceived specifically for this series, which aims to create new stage projects by setting out from the friction between artists and dialogue between disciplines.