
Miralda and Benet Rossell, París. La Cumparsita, 1972
Museo Reina Sofía
Held on 08 Oct 2025; 24 Jun 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.
Directed by
Julia Morandeira Arrizabalaga and Lola Visglerio Gómez
Coordinated by
Elena Corrales Pérez and Ana Vidal González
Organised by
Museo Reina Sofía
Participant Selection
Particular consideration will be given to candidates whose background and interests align with the study group's contents, as well as their commitment to regular attendance in the chosen format (on-site or online).
Participation requires a biweekly time commitment of two and a half hours per session, in addition to preparation time.
Agenda
miércoles 08 oct 2025 a las 17:30
Session 1. Introduction to the study group. Rethinking pacifism today: the discomfort of peace
miércoles 22 oct 2025 a las 17:30
Session 2. Uses of (non)violence: self-defense, subjectivation and resistance
— Cross-reading of Elsa Dorlin and Judith Butler
Work readings:
- Butler, J. (2020). Introduction. In The Force of Nonviolence: An Ethico-Political Bind (pp. 11-26). Verso.
- Dorlin, E. (2022). Introduction (What a Body Can Do) and Chapter 1 (The Manufacture of Defenseless Bodies). In Self-Defense: A Philosophy of Violence (pp. 1-26). Verso.
Complementary materials:
- Butler, J. (2009). Survivability, Vulnerability, Affect (Chapter 1). In Frames of War: When Is Life Grievable? (pp. 33-62). Verso.
miércoles 05 nov 2025 a las 17:30
Session 3. Aesthetics of violence and the conflict of representation I
—On the representation of victims of violence(s) in the Basque Country: three photographic projects, with Juan Albarrán
Work readings:
- Portela, E. (2016). El eco de los disparos: cultura y memoria de la violencia (pp. 119–146). Galaxia Gutenberg.
Complementary materials:
- Albarrán Diego, J. (2021). Susan Sontag, ante la representación de la tortura. Aisthesis. Revista Chilena de Investigaciones Estéticas, (69), 281–297.
- González de Durana, J. (Ed.). (2004). Laocoonte devorado. Arte y violencia política. Artium; Centro José Guerrero; DA2.
- Guerra, C. (Ed.). (2018). La paz aplazada. Documentos y ensayos en torno a una exposición. Fundació Tàpies.
- Sánchez Biosca, V. (2017). Miradas criminales, ojos de víctima. Imágenes de la aflicción en Camboya. Prometeo.
miércoles 19 nov 2025 a las 17:30
Session 4. Aesthetics of violence and the conflict of representation II
—Cross-reading of Ariella Azoulay, Ariel Goldberg and Yazan Khalili
Work readings:
- Azoulay, A. A. (2008). Whose Gaze? In The Civil Contract of Photography (pp. 375–411). Zone Books.
- Goldberg, A., & Khalili, Y. (2021, February). We Stopped Taking Photos. e-flux Journal, (115).
Complementary materials:
- Azoulay, A. A. (2008). Introduction. In The Civil Contract of Photography (pp. 9–30). Zone Books.
miércoles 03 dic 2025 a las 17:30
Session 5. Transitional justice: artistic interventions and reparative futures I
—Archiviolítica. Methods and exoduses, with Andrés Jurado
Work readings:
- Bermúdez, E. (2020). La música colombiana, pasado y presente. In A. Recasens & C. Spencer (Eds.), A tres bandas: Mestizaje, sincretismo e hibridación en el espacio sonoro iberoamericano (pp. 247–255). SEACEX; AKAL.
- Cure, S., & Jurado, A. (2022). CORTES, Cortacabezas: Conversaciones fragmentadas y visionarias sobre predación y tecnocapitalismo en la Amazonia colombiana. Revista Anthropológicas, 33(2), 114–132. https://doi.org/10.51359/2525-5223.2022.257002
- Figueroa-Salamanca, H. H., Carreño-Gómez, P. J., & Rey-Rodríguez, A. F. (2021). Los orígenes del pacifismo en la ATCC. En defensa del desarrollo territorial y la paz en Colombia (1987–1990). Eleuthera, 23(2), 207–232.
- Flórez Arias, J. M. (2025). Los árboles que borran la sabana: la colonización "verde" del Vichada. Mutante.
- Iyokina Gittoma, V. (2024). Tarro vacío [Short film]. La Vulcanizadora.
- Jurado, A. (2020). El renacer del Carare/The Rebirth of Carare [Short film]. La Vulcanizadora.
- Jurado, A. (2022). Yarokamena [Short film]. La Vulcanizadora.
- Rojas Arias, M. (2021). Abrir monte [Short film]. La Vulcanizadora.
- Rojas Arias, M. (2023). Un lugar para pensar tropicalmente (Bienal das Amazônias) [A Place to Think Tropically (Amazônias Biennial)] [Short film].
- Guzmán, G., Fals Borda, O., & Umaña Luna, E. (1962). La Violencia en Colombia. Tercer Mundo.
- Sánchez, G. (1985). Los Bolcheviques del Líbano Tolima. El Áncora Editores.
- Viveiros de Castro, E. (2018). Los involuntarios de la patria. Le Partage. https://www.partage-le.com/2018/09/09/los-involuntarios-de-la-patria-eduardo-viveiros-de-castro/
- La Vulcanizadora. (2025). La impureza del documental. Cuadernos de Cine Colombiano, (35), 106–135.
miércoles 17 dic 2025 a las 17:30
Session 6. Transitional justice: artistic interventions and reparative futures II
—With Manuel Correa
Work readings:
- Giraldo, M., & Restrepo, C. (Dirs.). (2018). The Shape of Now [Feature film]. Atelier Bolombolo.
- Rieff, D., & De Greiff, P. (2016). Does Collective Remembrance of a Troubled Past Impede Reconciliation? [Online debate].
Complementary materials:
- Collins, C. (2018). Transitional Justice "From Within": Police, Forensic and Legal Actors Searching for Chile's Disappeared. Journal of Human Rights Practice, 10 (3), 395–414.
- Correa, M., & Forensic Architecture. (2022). Situated Testimonies [Video].
- Feldman, A. (2015). Chapter 1 (Before the Law at Guantánamo). In Archives of the Insensible: Of War, Photopolitics, and Dead Memory (pp. 33–68). The University of Chicago Press.
- Feldman, A. (2019). War Under Erasure: Contretemps, Disappearance, Anthropophagy, Survivance. Theory & Event, 22(1), 175–203.
lunes 28 sep 2026 a las 17:30
Session 7. Introduction to the second term: Narratives and visual cultures of peace
—Research presentations by group members: Head Shaving: Archives and Repertoires of Shame, with Ana Pol
Work readings:
- Azoulay, A. A. (2019). Natural History of Rape (T. Badia, Trans.). Fundació Antoni Tàpies.
- Ministry of the Presidency, Relations with Parliament and Democratic Memory. (2023). Las rapadas: El rapado de cabello de las mujeres como forma de violencia y humillación política durante la guerra y la dictadura [Teaching guide]. Government of Spain.
- Périot, J.-G. (2006). Eût-elle été criminelle... [Short film].
- Pol, A. & Rosón, M. (2024). Head Shaving: Archives and Repertoires of Shame. Journal of Women's History, 36(4), 151-172.
miércoles 11 feb 2026 a las 17:30
Session 8. Imaginaries and strategies of peace, solidarity and internationalism I
—Who Is Afraid of the Bandung Spirit?, with Philippe Pirotte
Work readings:
- Mey, V., & Pirotte, P. (2025). Who's Afraid of the Bandung Spirit? In V. Mey & P. Pirotte (Eds.), Who's Afraid of the Bandung Spirit? (pp. 1–20). Unpublished manuscript.
Complementary materials:
- Chakrabarty, D. (2010). The Legacies of Bandung: Decolonization and the Politics of Culture. In Making a World after Empire: The Bandung Moment and Its Political Afterlives (pp. 45–68). Ohio University Press.
- Finder, D. M. (2020). Blinded by Bandung? Illumining West Papua, Senegal, and the Black Pacific. Comparative Studies of South Asia, Africa and the Middle East, 40(1), 164–182.
- Gupta, A. (2016). After Bandung: Transacting the Nation in a Postcolonial World. In Postwar: Art between the Pacific and Atlantic, 1945–1965 (pp. 632–637). Haus der Kunst; Prestel.
- Prashad, V. (2007). The Darker Nations: A People's History of the Third World. The New Press.
- Samour, N. (2025). Palestine at Bandung: The Longwinded Start of a Reimagined International Law. In V. Mey & P. Pirotte (Eds.), Who's Afraid of the Bandung Spirit? (pp. 1–21). Spector Books.
- Shimazu, N. (2014). Diplomacy as Theatre: Staging the Bandung Conference of 1955. Modern Asian Studies, 48(1), 225–252.
miércoles 25 feb 2026 a las 17:30
Session 9. Imaginaries and strategies of peace, solidarity and internationalism II
—Research presentations by group members: Images of peace? Aesthetics and strategies of peace and internationalism in the Spanish Anti-NATO Movement, with Giulia Quaggio and Lola Visglerio Gómez
Work readings:
- Quaggio, G. (2025). The Dark Mirror of Latin America and the Spanish Anti-NATO Movements in the Late Cold War. In L. A. Brunet & E. Karamouzi (Eds.), Beyond the Euromissile Crisis: Global Histories of Anti-Nuclear Activism in the Cold War (pp. 253–278). Berghahn Books.
Complementary materials:
- Quaggio, G. (2021). Walls of Anxiety: The Iconography of Anti-NATO Protests in Spain, 1981–1986. Journal of Contemporary History, 56(3), 693–719.
- Quaggio, G., & Molina, S. (Eds.). (2023). Imaginando la Guerra Fría desde los márgenes. Comares.
- VV. AA. (2018). The Long 1980s: Constellations of Art, Politics and Identities. Valiz; L'Internationale.
- Ziemann, B. (2008). The Code of Protest: Images of Peace in the West German Peace Movements, 1945–1990. Contemporary European History, 17(2), 237–261.
miércoles 11 mar 2026 a las 17:30
Session 10. Imaginaries and strategies of peace, solidarity and internationalism III
—Past Disquiet: Excavating Solidarity in the Arts, with Rasha Salti
Work readings:
- Khouri, K., & Salti, R. (Eds.). (2018). Past Disquiet: Essays on the International Art Exhibition for Palestine and 1970s Anti-Imperialist Solidarity (pp. 27–59). Museum of Modern Art in Warsaw.
Complementary materials:
- Museu d'Art Contemporani de Barcelona. (2015). Past Disquiet. Narratives and Ghosts from the International Art Exhibition for Palestine, 1978.
miércoles 25 mar 2026 a las 17:30
Session 11. Feminisms and raging peace
—Research presentations by group members: Photography as feminist insurrection: visual practices of a raginge peace, with Sandra Bustamante; Feminist memories in Latin America, with Sandra Villanueva-Gallardo.
Work readings:
- Cvetkovich, A. (2003). Introduction. In An Archive of Feelings: Trauma, Sexuality, and Lesbian Public Cultures (pp. 1–7). Duke University Press.
- Villanueva-Gallardo, S. (2025). Outsider-insider: una experiencia identitaria de los feminismos latinoamericanos. Íconos. Revista de Ciencias Sociales, 29(81), 199–216.
Complementary materials:
- Cixous, H. (1992). Introduction. In D. Jenson (Ed.), Coming to Writing and Other Essays (pp. 1–58). Harvard University Press.
- Cixous, H. (Summer, 1976). La Laugh of the Medusa. Signs, 1(4), pp. 875-893.
- De La Cerda, D. (2023). Feminismo sin cuarto propio. IEn Desde los zulos (pp. 11–46). Sexto Piso.
- Mora, M. (2022). Agendas feministas anti-racistas y descoloniales, la búsqueda del locus de enunciación del ser mestiza. Estudios Sociológicos, 40 (Special Issue), 179–210.
miércoles 08 abr 2026 a las 17:30
Session 12. Desertion: fugitive aesthetics and tactics I
— Desertion, Escape, Strike: Rejection and Non-Reconciliation, with Julia Morandeira Arrizabalaga
- Berardi, F. (2024). Introduction. In Quit Everything: Interpreting Depression. Repeater Books.
miércoles 22 abr 2026 a las 17:30
Session 13. Desertion: fugitive aesthetics and tactics II
— The Desire to Stop a War: Liberation Radio, with Martí Manen
- Johnson, E., Nguyen, N., & Sweet, M. (2025). Liberation Radio fine cut [Video]. Index Foundation.
- The Swedish Contemporary Art Foundation. (2025). Liberation Radio [Exhibition handout]. (2025). Index Foundation. https://indexfoundation.se/media/lr_exhibition_handout.pdf
- Sweet, M. (Host). (2026, February 2). Liberation Radio [Audio podcast episode]. In The Documentary Podcast. BBC World Service. https://www.bbc.co.uk/programmes/p0mxpj6g
miércoles 06 may 2026 a las 17:30
Session 14. Carceral and abolitionist geographies
—Cross-reading of Ruth Wilson Gilmore and Fred Moten
Work readings:
- Gilmore, R. W. (2022). Abolition Geography and the Problem of Innocence. In B. Bhandar & A. Toscano (Eds.), Abolition Geography: Essays Towards Liberation (pp. 373–394). Verso.
- Gilmore, R. W. (2025, May 25). Abolir la industria del castigo: retos y prácticas políticas para la emancipación [Video]. Institut Català Internacional per la Pau.
- Moten, F. (2023). The Abolition of Art, the Abolition of Freedom, the Abolition of You and Me. Wave Books.
Complementary materials:
- Gilmore, R. W. (2025, May 26). Seguridad y justicia: modelos alternativos al punitivismo [Video]. Institut Català Internacional per la Pau. https://www.youtube.com/live/KN97LghMyMM?si=D9tl1gdXKkPMolXG
miércoles 20 may 2026 a las 17:30
Session 15. Anti-Punitivism and transformative justice
— Screening and discussion of Oído odio, by Diego del Pozo Barriuso
Work readings:
- Del Pozo Barriuso, D. (Dir.). (2021). Oído odio [Feature film].
- Barnard Center for Research on Women. (2020, March 11). What is Transformative Justice? [Video]. https://bcrw.barnard.edu/videos/what-is-transformative-justice/
miércoles 03 jun 2026 a las 17:30
Session 16. What idea of peace today?
— Closing session


Más actividades
![Blake Edwards, The Party [El guateque], 1968, película](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/ciclocine-piscinas-14.jpg.webp)
Blake Edwards. The Party
Thursday, 20 August 2026
In The Party, actor Hrundi V. Bakshi (Peter Sellers) is mistakenly invited to a glamorous dinner party in Hollywood. His curiosity and two left feet lead to one funny mishap after the other. During the soiree he consoles Michèle, a young actress who has been fired by her producer, and the chaos gathers momentum when Bakshi accidentally opens a retractable floor, making the guests fall into a swimming pool. A small hippie-style elephant gatecrashes the party, brought by a group of young people, and Bakshi asks the guests to wash the elephant as it is a sacred animal in his country. The house fills with soap suds, culminating in a wackily chaotic party.
When Stanley Kubrick was once asked who Peter Sellers was, he replied: “There is no such person as Peter Sellers”. The Party is one of the most widely recognised comedies in the history of film, its director Blake Edwards and the English actor making an entertaining critique of a fading conservative society. The cultural revolutions of the 1960s fit into the container of a choppy swimming pool: people from high society, an elephant, a Russian ballet, waiters, beatnik youth… similar to Sellers’s own identity: an empty vessel that can be refilled. In the film, Edwards tapped into the ingenious actor’s innate improvisation and the swimming pool as a container for revolutionary intent.

Lucrecia Martel. La ciénaga (The Swamp)
Viernes 21 de agosto, 2026
A couple of families spend the summer in a country cottage. The relationship between them exposes a crisis. The alcoholism of Mecha (Graciela Borges) and Gregorio (Martín Adjemián) becomes clear, leading to a drift in the education of their children and impacting relationships of respect and affect. Weariness expresses the lackadaisical environment.
In La ciénaga Lucrecia Martel approaches the decadence of a middle-class Argentinian family. The pool of dirty, stagnant water reflects the economic and social collapse of a whole country, yet reflects more than economic crisis as it becomes a murky well feeding off the pain of those living in the house. An erstwhile space of joy, the swimming pool becomes a reflection of adult depression, resulting in apathy. And the children, especially the girls, seem to be the only people awake in this drift. Barring a flicker of unawareness, the young people immerse themselves in rainwater or the water from the river, in water that flows, but are cautious of getting too close to the swimming pool.
![Yorgos Lanthimos, Kynodontas [Canino], 2009, película](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/ciclocine-piscinas-16_00.jpg.webp)
Yorgos Lanthimos. Dogtooth
Saturday, 22 August 2026
A couple with three adult children live in a modern country cottage. A large swimming pool takes centre stage in a sizeable garden. The property is skirted by a large fence that blocks a view of the outside. Here, the father has educated his children without outside contact, maintaining their belief in a false world: aeroplanes fall in the garden like toys and they must act like dogs to defend themselves from the ferocious cats that surround the house. The promise of going out into the world when they lose their dogtooth is proof of their maturity.
Lanthimos builds a world that is surreal, comical and terrible. The swimming pool is the house’s central element, a limited, controlled space assimilated like the sea, yet under the father’s supervision. A space of imagination, but with sinister intentions: the children are indoctrinated under the water as they believe in a better world. Far from reality. The swimming pool’s limits are the limits of their freedom, a false state of well-being expressed in the weightless bodies in the water. The liquid element is an analgesic magma with the power to educate offspring under the latent fear of a shark bite.
![Binka Zhelyazkova, Baseynat [La piscina], 1977, película](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/ciclocine-piscinas-17_00.png.webp)
Binka Zhelyazkova. The Swimming Pool
Viernes 28 de agosto, 2026
The young, bright Bella (Yanina Kasheva), after unforeseen heartbreak at her graduation party, meets Apostol (Kosta Tsonev), a reserved architect, and Boyan (Kliment Denchev), a comedy actor who is cynical about his country. The three characters climb up to a diving board in a municipal swimming pool, where they begin a strange relationship of friendship, love and despair which reflects a generational clash.
Binka Zhelyazkova, the great enfant terrible of Eastern European cinema, critic of the communist system and widely acclaimed film-maker beyond Bulgarian borders, made in The Swimming Pool a masterly metaphor for a country in decline. The public pool symbolises a closed, immovable enclosure where society is festering. From the height of a diving board she sees, in a panoptic view, the different generations living underneath a limited space. On one side, older people attempt to preserve the old revolutionary spirit with constant collective swimming exercises while, on the other, young people don’t hide the desire for freedom that remains unrealised. The result is an ideological clash in how to act and move in the enclosure, unearthing vast hypocrisy in the lost ideals of socialism, reflected in the total apathy of youth. The Swimming Pool for Zhelyazkova is a reflection of the disillusionment and existential void of a whole country and system.
![Jacques Deray, La piscine [La piscina], 1969, película](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/ciclocine-piscinas-18.jpg.webp)
Jacques Deray. The Swimming Pool
Saturday, 29 August 2026
The characters played by Alain Delon (Jean-Paul) and Romy Schneider (Marianne) experience their love in apparent splendour. A sun-drenched house, a blissful swimming pool, beautiful bodies, sexuality in abundance. The visit of Harry (Maurice Ronet), a successful musician, friend of Jean-Paul and ex-lover of Marianne, accompanied by his young and beautiful daughter Penélope (Jane Birkin), rocks their relationship, bringing to light the jealousy and insecurities of each one in a dark game of possession and male rivalry.
If there was a definition of the glistening blue pool in this sexual thriller, it would be the paradise of Adam and Eve, represented by the shots of happiness of Romy Schneider and Alain Delon in this swimming pool on France’s Côte d’Azur. The appearance of these two beautiful creatures kissing semi-naked by the water is one of film’s resonant images. The paradise cannot be fractured, not even by death. As in the crossing of the Tigris and Euphrates rivers, where humanity’s first lovers bathed naked in the water, innocent to their imminent end, the reflection of the crystalline water of The Swimming Pool shows this game, and the deep traumas which, under this mantle, are hidden in the amorous relationships and limits that only love is capable of breaking to solve.
In this session both endings to the film are screened: the original version, open and symbolic, and the Spanish version, marked by censorship during Francoism, and its sequence for a Spanish premiere — a stereotypical and reductive vision reflecting the sociological condition of the country.


![Francesc Abad, Procés transformació [Proceso transformación, 1972]. Museo Reina Sofía](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/AD05219-009-actividad.jpg.webp)

![Basel Abbas y Ruanne Abou-Rahme, At Those Terrifying Frontiers Where the Existence and Disappearance of People Fade Into Each Other [En esas fronteras aterradoras donde la existencia y la desaparición de personas se disuelven entre sí], 2019](https://recursos.museoreinasofia.es/styles/small_landscape/public/Colecci%C3%B3n/abbasabourahme.png.webp)