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Tuesday, 13, Wednesday, 14, and Thursday, 15 December 2022 Nouvel Building, Children’s Workshops, Floor -1
Workshop
This workshop explores the reverberations of underground visual culture today, shining a light on the trajectory of draughtswomen and the existence, or not, of genealogies with present-day artists via both theory and practice.
The first session traces a timeline from pioneering women comics artists in Spain to contemporary female fanzine artists and committed graphic art. The second session, conducted by Ángela Fernández del Campo, comprises practical exercises focused on boosting creative and critical meaning by way of different artistic techniques. The third and final session approaches self-management, the root of the DIY concept that makes alternative cultural production possible. It features Yeyei Gómez, the coordinator of two self-publishing events, Lo hacemos nosotras and Autozine, and Marika Vila, who will share her experience in this sphere.
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Thursday, 15 December 2022 Nouvel Building, Protocol Room
Round-table Discussion
—Moderated by: Elisa McCausland
This round table features the participation of some of the most salient figures in Spain’s comix underground, for instance Isa Feu, Marta Guerrero, Laura Pérez Vernetti and Marika Vila, alongside researcher and spokesperson Elisa McCausland. As a coda to the programme, the discussion includes the first-person testimonies of these artists and widens the questions addressed in the previous workshop.
Documents 23. Women Artists from Spain’s Comix Underground
Workshop and Round-table

Held on 13, 14, 15 dic 2022
The Documents programme explores the relationships between art and publishing, exploring themes that include the effects of archive on narratives of art history, the artist’s book and publishing as an artistic practice. This latest edition, comprising a workshop and a round-table discussion, recovers and grants visibility to women artists from Spain’s comix underground.
In the early 1970s in Spain, a vindication of ugliness, seediness and excess arose from a youth disillusioned and stymied by Francoist censorship, framed inside a context marked by the final repressive throes of the dictatorship. Numerous artists developed their work in magazines like El Rrollo enmascarado, El Víbora, Star and countless transgressive fanzines, yet women’s presence remained out of sight. The lack of women cartoonists was coupled with many women’s invisibility, either owing to careers being shelved in the world of comics or for working alongside other artists that ultimately emerged. Thus, this new edition of Documents recovers the work of female cartoonists such as Montse Clavé, Ana Miralles, Núria Pompeia and Mariel Soria, and serves as a prelude to a document-based show on the same theme, to be held in the Museo’s Library and Documentation Centre in 2023.
A workshop coordinated by illustrator Yeyei Gómez and a round-table discission, featuring the participation of artists such as Isa Feu, Marta Guerrero, Laura Pérez Vernetti and Marika Vila, highlight the role these women played in developing Spanish counterculture and in creating new narratives and references from the feminism of the time.
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Isa Feu (1956) is a draughtswoman and comic book artist who regularly contributed to magazines such as Los tebeos del Rrollo, El Víbora and Cavall Fort. She also published illustrations in Diario de Barcelona, La Vanguardia, El Periódico and other periodic publications, and her works have been displayed in the rooms of Metrònom (Barcelona), Amadís (Madrid) and Vinçon (Barcelona). Since 1991, she has worked in film as an assistant set designer.
Ángela Fernández del Campo (1991) is an illustrator and silk-screen printer. She is the founder of the silk-screen printing and illustration workshop La Caverna (Madrid), and is a participant in the Autozine Festival, in Madrid, and a member of publishing collectives such as Turbina Magia and Ediciones Cavernícolas. Moreover, she has participated in self-publishing events like Gutter Fest (Barcelona), Vendetta (Marseille), Hungry Eyes (Berlin) and Tenderete (Valencia). In 2016, she was awarded the CreaCIC (Cuenca) First Prize for Illustration.
Yeyei Gómez (1993) is a draughtswoman and cartoonist who works in the field of editorial illustrations, graphic-art humour and poster art, publishing her work in newspapers such as The New York Times and El Salto and with publishers like Penguin Random House. Her self-published works include Cuaderno de clase (2019), Guy (2017) and Naufragio Universal (2017). In 2021, she was awarded a grant from the Academy of Spain in Rome.
Marta Guerrero (1965) is a draughtswoman, designer and animation director. She was a regular contributor to the magazines ¡¡Al ataque!! and El Víbora, publishing the series Los sonidos del morbo, Sarita and Dolores sus labore. She also made …De ellas (Edicions de Ponent, 2006) and has participated in collective exhibitions that include Brazil Inspiração and El cómic en la democracia española, 1975-2005/6 (Brussels, 2005). In 2017 she premiered the aminated short film El Mag.
Elisa McCausland (1983) is a journalist, critic and researcher specialised in comics. She is a regular contributor to Dirigido por, El Salto and Sofilm, and her most notable publications include Wonder Woman. El feminismo como superpoder (Errata Naturae, 2017) and, with Diego Salgado, Supernovas. Una historia de la ciencia ficción audiovisual (Errata Naturae, 2019) and Sueños y Fábulas. Historia de Vertigo (Ecc Ediciones, 2022). Furthermore, she has curated the exhibition Presentes: Autoras de tebeo de ayer y hoy (Rome, 2016), and promoted Colectivo de Autoras de Cómic (The Collective of Women Comics Artists) and is a member of the Association of Spain’s Comix Critics and Spokespeople.
Laura Pérez Vernetti (1958) is a comics artist, illustrator and photographer. She is a regular contributor to the magazine El Víbora, and has published the albums El toro blanco (La Cúpula, 1989), Las habitaciones desmanteladas (Edicions de Ponent, 1999), El brillo del gato negro (Edicions de Ponent, 2008) and Sarà Servito (Edicions de Ponent, 2010). She has exhibited her work in the Museo de Arte Contemporáneo de Madrid, Es Baluard Museu (Palma de Mallorca) and the Centre de Cultura Contemporània de Barcelona, among others.
Marika Vila (1949) is a comics artist, illustrator, curator and teacher. Her works have been disseminated in Butifarra!, El Periódico de Catalunya, Totem and El Papus, and most notably include the comic strips Si en el día una mujer… ( Troya/Totem), Dossier Amparo Torrego ( Totem) and Mata Hari (Isla de Nabumbu, 2019). She has also received the Homage Prize for her career at the XVIII Salón del Cómic de Getxo (2019), the Honorary Prize from the Colectivo de Autoras de Cómic (The Collective of Women Comics Artists, 2020) and the Girocòmic Prize (2022), among others.
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Curated by
Raquel Jimeno y Alberto Medina
Organised by
Museo Reina Sofía
Collaboration
Illycaffè and Colectivo de Autoras de Cómic
Programme
Participants
Participants






Más actividades
Rethinking Guernica
Monday and Sunday - Check times
This guided tour activates the microsite Rethinking Guernica, a research project developed by the Museo Reina Sofía’s Collections Area, Conservation and Restoration Department and the Digital Projects Area of the Editorial Activities Department, assembling around 2,000 documents, interviews and counter-archives related to Pablo Picasso’s painting Guernica (1937).
The visit sets out an in-situ dialogue between the works hung around the painting and a selection of key documents, selected by the Museo’s Education Team and essential to gaining an idea of the picture’s historical background. Therefore, the tour looks to contribute to activating critical thought around this iconic and perpetually represented work and seeks to foster an approach which refreshes our gaze before the painting, thereby establishing a link with the present. Essentially revisiting to rethink Guernica.
UP/ROOTING
11, 12, 13, 14, 15, 16 NOV 2025
Museo Reina Sofía and MACBA Museu d'Art Contemporani de Barcelona (MACBA) invite applications for the 2025 iteration of the School of Common Knowledge, which will take place from November 11th to 16th in Madrid and Barcelona.
The School of Common Knowledge (SCK) draws on the network, knowledge and experience of L’Internationale, a confederation of museums, art organizations and universities that strives to reimagine and practice internationalism, solidarity and communality within the cultural field. This year, the SCK program focuses on the contested and dynamic notions of rooting and uprooting in the framework of present —colonial, migrant, situated, and ecological— complexities.
Building on the legacy of the Glossary of Common Knowledge and the current European program Museum of the Commons, the SCK invites participants to reflect on the power of language to shape our understanding of art and society through a co-learning methodology. Its ambition is to be both nomadic and situated, looking at specific cultural and geopolitical situations while exploring their relations and interdependencies with the rest of the world.
In the current context fraught with war and genocide, the criminalization of migration and hyper-identitarianism, concepts such as un/belonging become unstable and in need of collective rethinking:
How can we reframe the sense and practice of belonging away from reductive nationalist paradigms or the violence of displacement? How to critically hold the entanglement of the colonial routes and the cultural roots we are part of? What do we do with the toxic legacies we inherit? And with the emancipatory genealogies and practices that we choose to align with? Can a renewed practice of belonging and coalition-making through affinity be part of a process of dis/identification? What geographies —cultural, artistic, political— do these practices of de/centering, up/rooting, un/belonging and dis/alignment designate?
Departing from these questions, the program consists of a series of visits to situated initiatives (including Museo Situado, Paisanaje and MACBA's Kitchen, to name a few), engagements with the exhibitions and projects on view (Project a Black Planet: The Art and Culture from Panafrica), a keynote lecture by Stefano Harney and Fred Moten, as well as daily reading and discussion gatherings, editorial harvest sessions, and conviviality moments.
Ylia and Marta Pang
Thursday, 6 November - 8pm
The encounter between Spanish DJ and producer Ylia and visual artist Marta Pang is presented in the form of a premiere in the Museo Reina Sofía. Both artists converge from divergent trajectories to give form to a new project conceived specifically for this series, which aims to create new stage projects by setting out from the friction between artists and dialogue between disciplines.
Sven Lütticken
Friday, 10 October 2025 – 7pm
Academic disciplines are, effectively, disciplinary — they impose habits of thought, ideological parameters and, a priori, methodological parameters on those who have studied them. Yet what does being disciplined by art history mean? What has art history done to us? Further, what can we continue to do with it? The Juan Antonio Ramírez Chair, an annual programme organised by the Museo Reina Sofía which is devoted to reflecting on art history and historiography, and their limits and vanishing points, invites Sven Lütticken to explore these questions in light of different cases chosen by Lütticken and related to his own practice.
His work, framed inside art history and theory, has constantly championed expanding, interrogating and questioning the limits of discipline until it becomes theoretical and (self)critical. Throughout his trajectory, Lütticken has aligned his interest primarily towards historical, critical and theoretical research around autonomy. An important landmark in this working strand is his participation in the The Autonomy Project, an initiative from the Van Abbemuseum in Eindhoven with different art schools and university departments and resulting in the published volume Art and Autonomy (Afterall, 2022). A second strand is made up of the long-term project Forms of Abstraction, which analyses contemporary artistic practices as interventions in forms of “real abstraction”, such as value-form, precisely as Marx theorised it.
Sven Lütticken will be a resident on Studies Constellation, the Museo Reina Sofía’s annual fellowship programme, and will work on the research project Unacting Personhood, Deforming Legal Abstraction.
The (legal) person and the legal form. Chapter I
September, 2025 – May, 2026
As part of the Studies Constellation, the Study Directoship’s annual fellowship, art historian and theorist Sven Lütticken leads the seminar The (Legal) Person and the Legal Form: Theoretical, Artistic, and Activist Commitments to foster dialogue and deepen the hypotheses and questions driving his research project.
This project, titled Unacting Personhood, Deforming Legal Abstraction, explores the dominance of real abstractions—such as exchange value and legal form—over our processes of subjectivation, and asks how artistic practices can open up alternative ways of representing or performing the subject and their legal condition in the contemporary world.
The seminar consists of eight two-hour sessions, divided into three chapters throughout the academic year. While conceived as non-public spaces for discussion and collective work, these sessions complement, nourish, and amplify the public program of the Studies Constellation.
This first chapter of the seminar, composed of three sessions, serves as an introduction to the fundamental issues of the research concerning theoretical, artistic, and activist engagements with the legal form. It includes three sessions dedicated respectively to: the legal form, through the work of French jurist, philosopher, and lawyer Bernard Edelman, with particular attention to his Marxist theory of photography (translated into German by Harun Farocki); the (legal) person, via contributions from Italian philosopher Roberto Esposito, academic, social justice activist, and writer Radha D’Souza, and visual artist Jonas Staal; and land, through the work of researcher Brenna Bhandar—specialist in the colonial foundations of modern law and the notion of property—and artist, filmmaker, and researcher Marwa Arsanios.
Through these and other readings, case study analyses, and collective discussions, the seminar aims to open a space for critical reflection on the ways in which the law—both juridical form and legal form—is performed and exceeded by artistic and activist practices, as well as by theoretical and political approaches that challenge its foundations and contemporary projections.