Activities

In a remembrance of Samba on the anniversary of her death, the Platform in Memory of Samba and Museo Situado organised a participatory action involving the creation of a large collective bunch of flowers made up of artworks in different formats and left on 19 December 2020 in the cemetery where her body lies. In total, more than forty works in her memory were submitted.

This encounter, therefore, sets out to convene, converse with and create fruitful exchanges between some of the leading figures in these struggles, setting out from the conviction that, from their view of the world, their networks of self-protection and their ways of “shouldering” rebellion, they are developing the syndicalist feminism to come.

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 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. 

The collective imaginary and information around the propagation and spread of COVID-19 have radically changed the way we relate to one another, so much so that we perceive encounters with others as a threat. 

The crisis brought on by the pandemic continues to highlight the need to urgently drive forward a programme of interpreters-mediators equipped with enough resources and the capacity to operate constantly and effectively in languages such as Bengali, Wolof, Urdu, Arabic, Bambara, Tagalog and Chinese in all spheres of society, where necessary.

The Museo Reina Sofía presents the second edition of ESTUDIO, an annual programme which brings together work in a range of formats — stage pieces, performance lectures, readings, conversations — and is the outcome of research conducted by a series of artists and researchers whose practices are tied, either directly or dialogically, to the sphere of choreography and performance.  

ESTUDIO in Conversation is an encounter which makes up part of the second edition of ESTUDIO, “Half Said, Unsaid”, a programme which brings together the enquiries of artists and researchers whose practices are tied, either directly or dialogically, to the sphere of choreography and performance, voice and word.  

Time is a project which, through the collective production of an experimental film, explores the intangible, and the personal and collective memories of the Museo’s team of volunteers, delving deeper into different works from the Collection.

In the sombre days at the start of the pandemic, graffiti bearing the slogan “Another end of the world is possible” appeared on different walls in the cities of Buenos Aires and Santiago de Chile.

We Are All Old. We Are All Mortal is an invitation to consider how we want to age, an opportunity to analyse different alternatives and underline the right to live and die with dignity.

The Virus in Fortress Europe sets out an open conversation between social agents that gather diverse experiences and foreground the lives, in these times of pandemic, of migrant people who are blocked, ill-treated and crowded together at Europe’s internal and external borders, the problems they face and their resistance.

Surviving Together. Community Organisation in Times of Pandemic sets out to constitute a reflection based on an open conversation around specific forms of resistance, cooperation, self-management, and community solidarity in different places framed in the context of the capitalist crisis and the current health emergency.

The Museo Reina Sofía and Fundación Arquia present a monographic exhibition on architect José María García de Paredes (Seville, 1924 – Madrid, 1990), in a contribution which aims to disseminate and promulgate Spanish contemporary architecture.

The Museo Reina Sofía’s Juan Antonio Ramírez Chair invites art historian José Emilio Burucúa (Buenos Aires, Argentina, 1946) to participate in its programme of master lectures. In this programme, via a seminar and a lecture, Burucúa, a tireless advocate of the humanities and with a perspective that is as erudite as it is imaginative, seeks to recover an historical discourse capable of revealing the way in which the core principles of civilisations.