Carta(s). Unfinished Timelines

Tuesday, 1 December 2020 - 7pm
Online Platform

Free, until full capacity is reached


500 people

Organised by:

Museo Reina Sofía


The Politics and Aesthetics of Memory Chair

Force line:

Politics and Aesthetics of Memory 

Cover of Carta(s). Unfinished Timelines, Museo Reina Sofia, 2020
Cover of Carta(s). Unfinished Timelines, Museo Reina Sofia, 2020

Carta(s) is a series of publications with which the Museo Reina Sofía seeks to broaden, through the publishing format, some of the debates that take place in the institution and beyond its walls, granting visibility to initiatives propelled or embraced by the Museo’s different lines of research and its artistic and critical productions. 

The fifth edition of the series, Unfinished Timelines, compiles some of the proposals and reflections framing the first edition of the Politics and Aesthetics of Memory Chair — a programme which sets out to revise the way in which the shadows of an unfinished past are cast on the living fabric of the present through art, theory, critique and politics.  

The presentation of this new publication takes the form of an encounter between the authors of the texts (Maite Garbayo, Ana Longoni, Nelly Richard and María Rosón), sociologist and feminist archivist Javiera Manzi and artist and cultural critic Marcelo Expósito. A conversation on the echoes of feminist re-readings around the processes of transition in Spain and Latin America, placing the accent on the subjective footprints that shape identity, sexuality and gender, and the emergence (past and present) of women as collective subjects of political expression and social transformation, as vectors of commotion for new historical re-writings.      

This edition includes texts by Nelly Richard, “Memories of Neoliberalism in Chile: Unfinished Pasts, Presents and Futures” and “Unfinished Timelines (Chile, First Neoliberal Laboratory”), also the title of the document-based show held in Space D of the Museo’s Library and Documentation Centre (2019), which exhibited a series of works by artists Felipe Rivas San Martín and Patrick Hamilton and with a photo reportage that is also part of the edition. Furthermore, there are texts by Maite Garbayo, “The Aesthetic Staging of Protest: Bodies, Alienations and Transmission”; María Rosón, “Mother Ghosts. A Feminist Approach to Recent Memory in Spain”; and by Ana Longoni, “Handkerchiefs: How the Mothers Became Feminists and Feminists Found the Mothers”. 



Marcelo Expósito is an artist, cultural critic, writer and teacher. He has lectured at academic institutions that include Universitat Pompeu Fabra, the University of Castilla-La Mancha, and the National University of La Plata, among others, and has published work as an author and editor — individually or in collaboration — of twenty books and monographs, for instance Producción cultural y prácticas instituyentes (Traficantes de Sueños, 2008), Walter Benjamin, productivista (consonni, 2013), Conversación con Manuel Borja-Villel (Turpial, 2015) and Discursos plebeyos. La toma de la palabra y de las instituciones por la gente común (Icaria editorial, 2019). The most recent exhibitions displaying his work in Spain and internationally most notably include: Playgrounds. Reinventing the Square (Museo Reina Sofía, Madrid, 2014), Hard Gelatin. Hidden Stories from the ‘80s (MACBA, Barcelona, 2017), Arte para pensar la nueva razón del mundo (BIENALSUR, Buenos Aires, 2017), Colonia apócrifa. Notas para un cine postcolonial (MUSAC, León, 2017), A World Where Many Worlds Fit (6th Taipei Biennial, 2018) and Tearing Up the Past (Tate Liverpool, 2019).    

Maite Garbayo is a researcher and writer who holds a PhD in Art History from the University of the Basque Country and an MA in Art History from the National Autonomous University of Mexico (UNAM). A member of the Southern Conceptualisms Network, she studied her post-doctoral degree at UNAM’s Institute of Aesthetic Research with the project Intersubjetividad y transferencia: hacia una estética de lo incalculable (Intersubjectivity and Transfer: Towards an Aesthetic of the Incalculable). Her research focuses on the intersections between feminist theory and contemporary art and visual culture, with an emphasis on performance practices, the body and performativity. Her first book, Cuerpos que aparecen: performances y feminismos en el tardofranquismo, was published by consonni in 2016.  

Ana Longoni is a writer and researcher who has propelled, since its foundation, the Southern Conceptualisms Network and is the current director of the Museo Reina Sofía’s Public Activities Area. With a PhD in the Arts from the University of Buenos Aires (UBA), she specialises in the relations between art and politics in Argentina and Latin America from the middle of the 20th century to the present day. Her books most notably include Del Di Tella a Tucumán Arde (Eudeba, 2000), Traiciones. La figura del traidor en los relatos acerca de los sobrevivientes de la represión (Norma, 2007) and Vanguardia y revolución. Arte e izquierda en la Argentina de los sesenta-setenta (Ariel, 2014). She has also overseen exhibitions such as: Roberto Jacoby. Desire Rises from Collapse (Museo Reina Sofía, Madrid, 2011), Losing the Human Form. A Seismic Image of the 1980s in Latin America (Museo Reina Sofía, 2012; Museo de Arte de Lima, 2013; Museo de la Universidad Nacional de Tres de Febrero, Buenos Aires, 2014), and Oscar Masotta. Theory As Action (MUAC, Mexico, 2017; MACBA, Barcelona, 2018; and Parque de la Memoria, Buenos Aires, 2018–2019). Since 2019, she is the director of Museo Reina Sofía’s Public Activities Area.

Javiera Manzi Araneda is a sociologist, archivist and militant feminist who is currently coordinator of the Southern Conceptualisms Network. She explores the crossroads between graphic art, social movements, feminisms and internationalist networks in Chile and Latin America, and was part of the curatorial team in Poner el Cuerpo. Llamamientos de arte y política en los años ochenta en América Latina (Museo de la Solidaridad Salvador Allende, Santiago de Chile, 2016) and ¡A la Calle Nuevamente! Gráfica y movilización estudiantil en Chile (Casa de las Américas, La Habana, 2018). Moreover, she is part of the 8M Feminist Coordination and Brigada Laura Rodig, two collectives from Santiago de Chile. She has also published work in different national and international journals and magazines and is co-author of the books Resistencia Gráfica. Dictadura en Chile: APJ y Tallersol (LOM, 2016). She has recently written about the present struggles in the feminist movement and the uprising in Chile in the books Por una constitución feminista (Libros del Pez Espiral, 2020), La Internacional Feminista (Tinta Limón / Traficantes de Sueños, 2020) and De la Marcha y el Asalto (Tiempo Robado, 2020).   

Nelly Richard is a theorist and essayist. She founded and directed Revista de Crítica Cultural (The Magazine of Cultural Critique, 1990–2008), and was director of the MA in Cultural Studies from the University of Art and Social Sciences (ARCIS) from 2006 to 2013. She has written a broad number of national and international publications, for instance Margins and Institutions. Art in Chile Since 1973 (Metales pesados, 1986, re-printed in 2008); Masculine/Feminine. Practices of Difference(s) (Francisco Zegers Editor, 1993); The Insubordination of Signs. Political Change, Cultural Transformation, and Poetics of the Crisis (Cuarto propio, 1994); Cultural Residues. Chile in Transition (Cuarto propio, 1998); Fracturas de la memoria. Arte y pensamiento crítico (Siglo Veintiuno, 2007); Feminismo, género y diferencia(s) (Palinodia, 2008), Eruptions of Memory. The Critique of Memory in Chile, 1990–2015 (Universidad Diego Portales, 2010); Crítica y política (Palinodia, 2013); and Diálogos latinoamericanos en las fronteras del arte (Ediciones upd, 2014). Moreover, she curated the Chilean Pavilion at the 56th Venice Biennale in 2015 under the title Poetics of Dissent: Paz Errázuriz – Lotty Rosenfeld, and, since 2019, she has coordinated the force line Politics and Aesthetics of Memory and the Chair under the same title framed inside the Museo Reina Sofía’s Public Activities Area and Study Centre.

María Rosón holds a PhD in Art History from the Autonomous University of Madrid. She works as a post-doctoral researcher at the University of Valencia, in the research group REPERCRI (the Spanish acronym for the Contemporary Representations of Perpetrators of Mass Crimes), in which the feminist perspective intersects with the study of aggressors. Her lines of research are centred on material culture, specifically in twentieth-century Spain, at the crossroads with gender studies and studies of memory. In addition to articles and book chapters, she has published, with the publishing house Cátedra, Género, memoria y cultura visual en el primer franquismo (materiales cotidianos, más allá del arte). As co-editor, she has also worked on the following monographs: Poetry, Film, Humour. Narratives of Exception in the Years of Autarky (Museo Reina Sofía, 2017) and Queer Barbarisms and Other Proparoxytones (Bellaterra, 2017).