Marisa González. Art, Memory and Commitment

— Conducted by Marisa González, Angiola Bonanni and Concha Jerez, in dialogue with curator Violeta Janeiro Alfageme

The starting point of this encounter is the birth of awareness around the artistic subject as a political agent and their capacity to emphasise their own autonomy within the sphere of visual arts. This acquired awareness, which came to light in a context of repression and institutional exclusion, was key to creating an associative movement which engendered the Union Association of Plastic Artists in the Spanish State, validated legally in 1977.

From a feminist perspective, this round-table discussion examines this associative movement of artists through the political and artistic trajectory of three core figures: Marisa González, Angiola Bonanni and Concha Jerez, in conversation with curator and researcher Violeta Janeiro Alfageme. Their experiences thus allow for a critical genealogy of artistic associationism to be traced, and its transformative role at a time when women’s subjectivity was excluded and constrained to the roles of mother and wife.

— Conducted by Marisa González and Violeta Janeiro Alfageme, the show’s curator

Over the course of 2025, Marisa González has worked on digitising valuable unreleased videographic materials, hitherto conserved on video tapes. These images were recorded by the artist in 2003 and 2004, when she documented the dismantling of the Lemóniz nuclear power station, a work which recovered not only a visual archive, but also reconstructed a personal and political archive. Upon reviewing and ordering this material, González reinterprets and resignifies the past, establishing a dialogue between her individual testimony and the collective memory of the anti-nuclear struggle in the Spanish State.

The work shows art’s capacity to reopen still-unresolved debates, particularly in a present shaped by the energy crisis and its reactivation of old controversies. More than simply recording the past, this reworking becomes a critical tool for thinking about the present.

After the screening, artist and curator will engage in a conversation involving the audience on the meaning of retrieving these images, the memories they preserve and which of them fade over time.

Clinic 2628 is a project which supports and brings together writings which stem from the intention to offer a space and sustainable time for research work in art and culture. Framed within an academic context which is increasingly less receptive to the forms in which thinking happens and is expressed, the aim is to rescue the academic from its neoliberal trappings and thus recover the alliance between precision and intuition, work and desire. A further goal is to return writing to a commons which makes this possible through the monitoring of processes and the collectivisation of ideas, stances, references and strategies.

The endeavour, rooted in a collaboration between the Museo Reina Sofía’s Studies Directorship and the Artea research group, via the i+D Experimenta project, is shaped by three annual editions conceived as spaces of experimentation, discussion and a demonstration of writings critical of what is put forward by today’s academia.

What forces, forms and processes are at play when writing about art and aesthetics? In academia, in museums and in other cultural institutions, the practice of writing is traversed by productivist logics which jeopardise rhythms of research and experimentation. The imposition of both scientism inherent in the structure of “the paper” and the quantifying of results which demand a criterion of quality and visibility sterilise and smoothen, from the outset, the coarseness that is particular to writing understood from the concrete part of language: phonic, graphic, syntactic and grammatical resistance connecting the language user to the community the language unites and activates. They also sterilise the roughness enmeshed in the same desire to write, the intuitive, clear and confusing pathways that once again connect the writer to those reading and writing, participating in a common good that is at once discovered and produced.

The progressive commercialisation of knowledge propelled by cognitive capitalism moves further away from the research and production of knowledge in artworks and artistic languages and practices. The work of curators and archive, criticism, performances and essays formerly saw a horizon of formal and emotional possibilities, of imagination that was much broader when not developed in circumstances of competition, indexing and impact. Today, would it be possible to regain, critically not nostalgically, these ways; namely, recovering by forms, and by written forms, the proximity between art thinking and its objects? How to write in another way, to another rhythm, with no more demands than those with which an artwork moves towards different ways of seeing, reading and being in the world? 

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.

Session number two looks to approach film as a place from which cultural work is made visible and processes of production engage in dialogue with artistic creation. From this premise, the session focuses on exploring how audiovisual content is produced, assembled and distributed, from the hands that handle the images to the bodies that participate in its circulation. The aim is to reflect on the invisible effort, precarity and forms of collaboration that uphold cultural life, that transform the filmic experience into an act that recognises and cares for common work.   

As part of the Studies Constellation, the Study Directoship’s annual fellowship, art historian and theorist Sven Lütticken leads the seminar The (Legal) Person and the Legal Form: Theoretical, Artistic, and Activist Commitments to foster dialogue and deepen the hypotheses and questions driving his research project.

This project, titled Unacting Personhood, Deforming Legal Abstraction, explores the dominance of real abstractions—such as exchange value and legal form—over our processes of subjectivation, and asks how artistic practices can open up alternative ways of representing or performing the subject and their legal condition in the contemporary world.

The seminar consists of eight sessions, divided into three chapters throughout the academic year. While conceived as non-public spaces for discussion and collective work, these sessions complement, nourish, and amplify the public program of the Studies Constellation. 

In this second chapter of the seminar, the inquiry into the aesthetics and politics of legal form continues with three sessions that pick up the discussions held in Chapter I but propose new lines of flight. The first session focuses on international law via the writings of the British author China Miéville, which allows us to reconsider the notion of the legal form –following Evgeny Pashukanis— and, through it, a variety of (people’s) tribunals. While the crucial concept of the legal person –as the right-holder central to the form of law— was debated in Chapter I, the second session focuses on attempts to extend personhood not (just) to corporations, but rather to nonhuman animals or ecosystems. Finally, the third session poses the question: how can groups and networks use officially recognized organizational forms (such as the foundation or the cooperative) and/or use a collective persona (without necessarily a legal “infrastructure” to match) to act and represent themselves?

TEJA / Red de espacios culturales en apoyo a situaciones de emergencia [Network of Cultural Spaces in Support of Emergency Situations] has the mission to promote transnational cooperation by offering temporary art residencies to artists and cultural practitioners who find themselves in complex socio-political situations in their countries of origin. During their stay in Spain, residents receive accommodation, legal and psychological counseling, and access to a network of organizations and professionals with whom they can share, develop, and continue with their creative projects. The goal is to provide a safe and stimulating environment where artists can continue their work despite adverse circumstances and generate dialogue spaces that ensure freedom of expression through joint activities both in Spain and with international collaborators.

During 2026, TEJA hosts three new residencies, each lasting three months, dedicated to supporting artists and cultural practitioners residing in the West Bank and Jerusalem. In addition, in the second half of the year, TEJA hosts three additional residencies for Gazan artists, which are offered by invitation (as Spain is currently unable to facilitate evacuations from Gaza, these invitations are coordinated through France). These residencies aim to provide a stable, creative environment and foster artistic exchange in the face of ongoing adversities. Through this new program, TEJA reaffirms its commitment to amplifying Palestinian voices and empowering artists as they navigate these turbulent times.

The selection is carried out by the TEJA network in close collaboration with each hosting partner. This year the hosting partners are: La Escocesa (Barcelona), hablarenarte / Planta Alta (Madrid), Espositivo (Madrid), Institute for Postnatural Studies (Madrid), Casa Árabe (Córdoba). The selection prioritizes the artist’s personal and professional situation first, and then the alignment with the practices and themes of the hosting spaces. Proposal submission deadline is January 12th, 2026, 23:59 h.