Held on 22, 29 Mar 2025
SOS Racismo Madrid and the Alliance for Solidarity, together with Museo Situado, present the fifth edition of the Festival of Anti-racist Culture, in conjunction with the International Day for the Elimination of Racial Discrimination. Through “artivism” and community creative processes, this encounter seeks to raise awareness of hate speech, call for anti-racist action and spotlight the agenda of racialised people. The festival, with the title Cooltura Futura, champions a change of paradigm in which diversity and anti-racism are its cornerstone. The encounter encompasses participatory spaces such as workshops, debates, ballroom and concerts, and features the participation of migrant, racialised and gender and sexual-affective dissidences. The activities that unfold embrace beauty, identity and community love and eschew the narrative of pain to build narratives of future, enjoyment and social transformation, demonstrating that art not only condemns inequalities but also opens pathways from pride, hope and collective strength.
The full programme is available here (in Spanish).
Collaboration
Madrid City Council and Teatro Accesible
Accessibility
Agenda
sábado 22 mar 2025 a las 12:00
Presentation of projects for the Artivism against Racism competition, by the Alliance for Solidarity
Locutorio Itinerante (Itinerant Phone Box) is an installation made by Cindy Paola Martínez-Acosta that draws inspiration from the phone boxes that were prevalent in the 1990s. Via a series of short stories simulating telephone calls from the daily lives of migrant people, the stress is placed on challenges and strong bonds of alliance.
Sonoridades y corpografías sagradas (Sacred Sounds and Corpographies) is a proposal by the Migrantes Transgresorxs collective and is based on a series of encounters and workshops conducted by young people. By way of podcasts, distant memories and histories of resistance interweave to create a combative counter-discourse to racist, xenophobic and LGBTI-phobic narratives.
¿Qué Mi(g)ras? Fanzine, by the ¿Qué Mi(g)ras? collective, which originates from the Artivism Laboratory, puts forward different artistic techniques to make the work of migrant and racialised artists visible. On this occasion they will present a fanzine.
Location: Nouvel Building, Protocol Room
Capacity: 150 people
sábado 22 mar 2025 a las 12:00
Get Ready with Peruvian transvestite Gad Yola
This session sees Gad Yola guide attendees so they can connect with the political history of drag and its relationship with the anti-racist struggle. Through examples and performances, it prompts a reflection on aesthetics and the drag/transvestite/transformist body. During her make-up, hairstyling and dressing process, she questions the Eurocentric and hegemonic canons of beauty, sharing her experience to foster an anti-racist drag culture in Spain while she offers beauty advice on their dismantling.
Accessible activity
The activity is wheelchair accessible and has accessible WCs.
The first row is reserved for people with hearing or visual disabilities.
Location: Nouvel Building, Protocol Room
Capacity: 150 people
sábado 22 mar 2025 a las 13:00
Encounter: Anybody Walking? Dissident Bodies that Inhabit the Ballroom
Perla Naomi, Cacao Díaz and Brad Scott in Conversation
Ballroom culture originated in the USA as a necessary radical act by the LGBTQIA+, Black and Latin community to respond to discrimination. Crystal LaBeija, a Black trans woman, created the first ballroom for Black and Latin people, creating a safe space for the community, in contrast to today, where ballroom culture opens its doors to all bodies, but without forgetting their origins. In this conversation, representatives from the ballroom community in Spain and part of the Kiki House of Laveaux speak about dissident bodies that inhabit it and their roles — those that perform, those that gaze and those that inhabit the ballroom beyond the dancefloor and categories.
Accessible activity
The activity is wheelchair accessible and has accessible WCs.
The first row is reserved for people with hearing or visual disabilities.
Teatro Accesible also supports the activity through the loan of hearing aid devices: personal magnetic induction loop systems and sound amplification with earphones.
Location: Nouvel Building, Protocol Room
Capacity: 150 people
sábado 22 mar 2025 a las 14:00
Community Lunch with Aires de Alondra
A collaborative, community-centred culinary experience conducted by Aires de Alondra. The initiative puts forward gastronomy and culture as a tool for dialogue and care.
Location: Nouvel Building, Protocol Room
Capacity: 150 people
sábado 22 mar 2025 a las 16:00
Queens at the Museum Kiki Ball
A ball is an event created within ballroom culture, with different categories of competition encompassing fields such as dance (voguing, dance-offs), fashion and the fashion show (runway, fashion killah, labels...), face and body (face, body realness) and others such as Black Hair Magic and Commentator vs Commentator. The aim is to create a space where anybody can express themselves on stage.
It sees in the spring as the Queens come together in the Museo Reina Sofía to celebrate another night of bodies that inhabit the ballroom. The space, replete with artworks, also demonstrates how you can break away from avant-gardes and stereotypes and how you can be the masterpiece that enraptures beholders.
Categories: Black Hair Magic, Fashion Killah, Washed Face, Trans Men Realness/FemmeQueen Realness with Posing, Commentator vs Commentator, OTA (Open to All) Runway, Walk for Your Sistah!, OTA (Open to All) Performance, Vogue for Your Sistah! and Dance-off.
Presented by: Perla Naomi, MC QueenBitch 007 and DJ Jourdan McDaniel Laveaux.
Jury: Godmother Koko Anunnaki, Cori Angels and Cacao Laveaux.
Accessible activity
The activity is wheelchair accessible and has accessible WCs on the third floor (access with lift).
Chairs are available for people who require them.
Location: Nouvel Building, Lobby
Capacity: 200 people
sábado 29 mar 2025 a las 11:30
Encounter: Creative Processes, with Noelia Cortés
Writer Noelia Cortés reflects on the power of the imagination, story and the word to transform common imaginaries, and how the Roma people have their own voice, despite the gaze of others constantly making them create from antagonism.
Accessible activity
The activity is wheelchair accessible and has accessible WCs.
The first row is reserved for people with hearing or visual disabilities.
Teatro Accesible also supports the activity through the loan of hearing aid devices: personal magnetic induction loop systems and sound amplification with earphones.
Location: Nouvel Building, Protocol Room
Capacity: 150 people
sábado 29 mar 2025 a las 12:00
Presentation of projects for the Artivism against Racism competition, by the Alliance for Solidarity
Locutorio Itinerante (Itinerant Phone Box) is an installation made by Cindy Paola Martínez-Acosta that draws inspiration from the phone boxes that were prevalent in the 1990s. Via a series of short stories simulating telephone calls from the daily lives of migrant people, the stress is placed on challenges and strong bonds of alliance.
Sonoridades y corpografías sagradas (Sacred Sounds and Corpographies) is a proposal by the Migrantes Transgresorxs collective and is based on a series of encounters and workshops conducted by young people. By way of podcasts, distant memories and histories of resistance interweave to create a combative counter-discourse to racist, xenophobic and LGBTI-phobic narratives.
¿Qué Mi(g)ras? Fanzine, by the ¿Qué Mi(g)ras? collective, which originates from the Artivism Laboratory, puts forward different artistic techniques to make the work of migrant and racialised artists visible. On this occasion they will present a fanzine.
Location: Nouvel Building, Protocol Room
Capacity: 150 people
sábado 29 mar 2025 a las 16:30
Situated Tours of the Collection
Tours of the Collection conducted by mediators from the Aissatou Ndiaye School of Situated Mediation.
The situated tours are life journeys through the Museo Reina Sofía Collection, whereby situated mediators seek to appeal to the desires and needs of migrant communities. Mediation is understood as a space of knowledge production and a vehicle for welcoming anti-racist and decolonial gazes that enrich museological narratives.
Accessible activity
Wheelchair loans and folding cane seats are available to the public
Location: Sabatini Building, rooms of the Collection. Meeting point: Sabatini Building, Main Entrance, Information Desk
Capacity: 40 people
sábado 29 mar 2025 a las 19:00
Conciertos de Pleneros del Exilio y Justicieros de la Cumbia
This session places music at the heart of a proclamation of Latin American and Caribbean culture: preserving its musical community roots and transmitting a cultural legacy of rhythm and dances.
Accessible activity
The activity is wheelchair accessible and has accessible WCs.
Seats are available for those who need them.
Accessible activity with vibrating backpacks provided by Teatro Accesible, with prior request by filling out a form from SOS Racismo Madrid.
Location: Sabatini Building, rooms of the Collection. Meeting point: Sabatini Building, Main Entrance, Information Desk
Capacity: 40 people
Participants
Aires de Alondra is a cultural association and family initiative that uses gastronomy and culture as tools for dialogue and care.
The ¿Qué mi(g)ras? collective came into being in 2024 from the Alliance for Solidarity’s Artivism Laboratory and puts forward different art techniques to grant visibility to the work of migrant and racialised artists.
Noelia Cortés is a poet and essayist. Her most recent publications include the poetry collection Del mar y la muerte (Editorial Cicely, 2024) and the essay La higuera de las gitanas (Ediciones en el mar, 2022), which analyses the deep-rooted anti-Romani sentiment in spaces such as feminism, culture, the media and language. Her latest work has been as a creative advisor on the documentary Farruquito, premiered in 2025.
Cacao Díaz is an artist of African descent whose practice spans different live-art and stage disciplines, constructing narratives and vibrations through the body that draw inspiration from experiences as a migrant and trans body. Díaz’s relationship with ballroom culture connects to affective communities of sexual dissidences and migrants, while the artist’s creative research focuses on recovering the stolen body, Afro-descendent rituals, transvestite fiction and performances of the body.
The Aissatou Ndiaye School of Situated Mediation is a project fostered by the Museo Situado assembly and the Museo Reina Sofía’s Tentacular Museum and Education Departments, in collaboration with intercultural mediator Hanan Dalouh Amghar. Its objective is for the Museo to be a more accessible space that is mindful of the demands of the community of which it is part, geographically and affectively, understanding mediation as a space of knowledge production and a vehicle for welcoming anti-racist and decolonial gazes which enrich the narratives of the Museo’s Collections. The Situated Mediators run visits to the Museo which appeal to the desires and needs of its communities and conduct them in Spanish and other languages such as Wolof, Bengali, Darija, Arabic and French.
Justicieros de la cumbia is a music band which plays a mix of cumbia, rock, reggae, funk, with a dash of madness, creating a stage-shaking musical experience.
Cindy Paola Martínez-Acosta is a political scientist and researcher.
Migrantes Transgresorxs formed in 2009 as a focal point of the LGBTI+ social movements of migrant, refugee and racialised people in Spain. The intersectional collective fights to preserve racialised lives and enhance the construction of migrant communities through encounters, workshops, actions and campaigns on human, social and cultural rights.
Perla Naomi is a trans-Indigenous-migrant artist. With a degree in Fine Arts from the Complutense University of Madrid, she works inside the framework of ballroom, opening new paths from an anti-racist, decolonial, trans and queer discourse. She has shown her work at Matadero Madrid, the Centro de Arte Dos de Mayo, La Parcería, the Centro de Cultura Contemporánea Condeduque, the Festival Ciudad Bailar, the SOS Racismo’s Anti-racist Festival in Puerta del Sol in 2019, the Boiler Room Festival, CoruFest, Noche Blanca Oviedo and Don’t Hit a la Negrx, among other art events.
Pleneros del exilio are a Madrid-based Puerto Rican band who come together to preserve idiosyncrasy. The rich musical rhythms that characterise Puerto Rico are the main vehicle they use to proclaim Latin American and Caribbean culture, taking it to stage and street.
Brad Scott was born in Venezuela and currently lives in Madrid. For the past four years, Scott has been actively involved in the ballroom community, most notably as the Princess in the House of Laveaux, as well as performing, during this period, in renowned spaces like La Casa Encendida, Matadero Madrid and Noche Blanca Oviedo.
Youssef Taki is an artist and researcher whose work encompasses, from different approaches, an understanding of migratory processes and colonial and post-colonial occurrences, analysing how they impact the present and daily life. Taki is part of the Al’Akhawat collective.
Teatro accesible is a pioneering project centred on integrating accessibility measures into theatre in Spain. It was set up in 2011 with the support of the Vodafone Foundation, the Centro de Rehabilitación Laboral Nueva Vida and the technology and accessibility company Aptent. Their approach centres on adapting plays by incorporating subtitling, audio description and sign language, as well as creating inclusive experiences such as touch tours and accessible talks for people with vision impairments.
Gad Yola is a multidisciplinary artist who, through the practice of drag, creates a critical discourse around heteronormativity and European whiteness. Born in Lima and raised in Madrid, she works to disrupt and rethink institutions, exhibition rooms and Spanish pop culture. She holds a degree in Audiovisual Communication from the Universidad Carlos III in Madrid and employs music and audiovisual production to express her opposition to racism and LGBTI phobia.
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.