Activities

The sinking of the Prestige in 2002 demonstrated how the majority of contemporary environmental disasters give rise to significant mobilisations of mutual aid and demands in the places where they occur. In this four-day encounter, different researchers, artists, activists and citizens reflect on the relations between ecology, memory and democracy today. The programme revolves around four axes: environmental traditions stretching from the anti-Francoist struggle to the present; memory and citizen creativity following the Prestige oil spill; authoritarian threats that loom from the depletion of fossil fuels; and controversies around imaginable futures.

This lecture sees Ferreira da Silva examine contemporary works and artistic practices which call into question that which she calls the “transparent I”, a concept which references the modern subject hailing from the Enlightenment and customarily adopted in the position of spectator.

Architecture and medicine have always been closely linked. Theories about body and mind traverse architectural discourse, turning the figure of the architect into a kind of doctor, the client into a patient. Every era has its different conditions, each one requiring its own architecture.

The Museo Reina Sofía’s Juan Antonio Ramírez Chair invites Alexandra T. Vázquez, an associate professor of NYU’s Institute of Performing Arts at the Tisch School of the Arts, to participate in its programme of master lectures. The programme for this edition includes a seminar and a lecture concerning music’s relationship with different experiences, objects and spaces, and also the methods, modes and approaches around what we feel we know about the visual.

Twenty years on from the sinking of the Prestige, this Temporary Intensity Zone calls upon the collective potential of a self-organised citizenry facing the life-threatening side of environmental disaster.

This seminar reflects on how performative artistic practices are inserted inside a collection and its institutional framework. To spark this debate, an approach is set forth from different perspectives — theory, practice and ethics — convening voices from inside and outside the museum as an institution. A series of lectures and events with different artists, theorists, curators and researchers brings together different viewpoints and reflections around working conditions with performative works of art.

This TIZ reflects on ghostly relationships, the relationships of events with history, of citizens with politics, of inhabitants with the home or of the missing with those still waiting for them. In the month of the dead, we think about mourning and lamenting, memory and forgetting, and forms of presence and disappearance from the unique spectrality which the same idea of a museum imposes upon us.

The Chair of Situated Thought sets out to articulate different experiences, stances, methods and initiatives of critical thought as it seeks to underscore the singularities of an intellectual and artistic production that converses with social and political circumstances, and which aspires to have an impact on the specific conditions of its environment.

This day of lectures and encounters, the fourth instalment of the series organised by the inter-university group TURICOM, endeavours to examine the relationship between tourist imaginaries and the visual arts from the 1960s onwards. By virtue of a selection of brief lectures and a final conversation, followed by a debate, it looks to reflect on mass tourism and the way in which, as the industry of experience, it is connected to the search for a lived experience that has shaped contemporary art.

This fourth edition, concerning the relationship between coloniality and gender, tries to reflect on certain feminist approaches which manifest a posture of moral, authoritaria and exclusivist superiority, characteristics of the patriarchal episteme. This programme, in charge of Rita Segato and Elisa Fuenzalida — the director and coordinator of the Chair, respectively —, includes a seminar in which local transfeminist activists participate.

This second edition presents the artistic and political pathway taken by Grupo Cultural Yuyachkani, founded in Peru in 1971, and highlights some of the key moments in their long history to spark debates that remain present in Peruvian and Latin American cultural contexts, and in Spanish and European spheres.

The Neighbourhood Picnic constitutes an annual opportunity to create a space where Lavapiés (Madrid) residents can come together in the Museo’s Garden. A place for everyone and part of the daily life of the neighbourhood in which it is situated.  

Slumil K’ajxemk’op — which means “rebel land” in Tzotzil, a Mayan dialect — is how the Zapatista delegation renamed Europe during its visit to the continent in 2021. A gift for being aware of and recognising ourselves as part of another Europe “abducted” from itself, and which invites us to reinvent our ties to the past in an emancipatory mode of expression, to the point of returning our otherness to us: the non-suppressed condition.

This international encounter, setting out from Graphic Turn. Like the Ivy on a Wall, a collective exhibition stemming from a long research process driven by the Southern Conceptualisms Network, brings together researchers, artists and activists as it looks to foster exchanges to examine art and political graphic action art in Latin America, as much in its recent history as a present characterised by the return of authoritarianism and the loss of civil liberties. 

Bioliteratures 1 is conceived as a series of sessions in which writing forms converge around authors whose careers defy distances between subject and language, between the self and us, between the public and the private. For this first session, made up of two round-table discussions, the literary work of Rafael Chirbes, which speaks to us of disarticulated and violent nature intrinsically constituting our times, has been selected.