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Tuesday, 13, Wednesday, 14, and Thursday, 15 December 2022 Nouvel Building, Children’s Workshops, Floor -1
Workshop
RegistrationThis 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 G ómez, 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
Tickets—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 Dec 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.
Files of Tropical Revolutions
Sábado 20 y 27 de junio, 2026 - 19:00 H
The Reframing Banana Imagery series concludes with two works that condense the height and twilight of this period in history, epic sagas that cross borders and registers to embody experiences of armed struggle in the region. Cameras mix with firearms, borders between nations blur and patience reaches breaking point. This is where the tipping point lies, where the bloodshed weighs heavy and the murmurings of regional brotherhood are buried in the ground again.
Pan y dignidad (Carta abierta de Nicaragua) [Bread and Dignity (An Open Letter to Nicaragua)] recounts the historical records and process of national reconstruction in Nicaragua via the Sandinista popular uprising. Historias prohibidas de Pulgarcito (Forbidden Tales of Tom Thumb) places the camera at the heart of the El Salvador revolutionary struggle, interspersing testimonies of daily violence with the verses of the poet Roque Dalton.
Both works understand the armed revolution as an open file under construction. The insurgent brotherhood, although dissolved, still resounds in regional history.
Circling Over Exploited Bodies
Friday, 19 and 26 June 2026 - 7pm
When forms of violence are inflicted on society, film responds from urgency. Images become abstract, sounds fade and the register of dissidence comes from the gut. La zona intertidal (The Intertidal Zone) is an essayistic and poetic approach to the repression of teachers in El Salvador in the 1970s — a teacher studies the biodiversity of the El Salvador coast as a boy finds a body on the same beach. A propósito de la mujer (About Women) interweaves testimonies of misery and rage towards patriarchal structures with fictional scenes of a symbolic procession through a harsh desert.
Both films understand the body as a target of violence and a territory of insurrection, a space where the blood shed by militancy and the patriarchal yoke turn pain into denouncement and existence outside the status quo into an act of political dissidence.
Central American Designation of Origin
Thursday, 18 and 25 June 2026 - 7pm
Fertile lands, farmers’ hands, rural faces. This first programme in the series Reframing Banana Imagery understands the foundations of the Central American experience from exploitation, extractivism and displacement, and from the organisation and resistance that emerged as a reaction. The four films within extend from a lyrical documentary on farmers’ solidarity to the playful subversion of the institutional format of the United Fruit Company.
Bananeras (Banana Growers) is a combative portrait of the inhumane conditions of the American banana plantations located in Nicaragua through much of the twentieth century. Costa Rica Banana Republic is a perspicacious satire via an institutional documentary of banana production, spotlighting the extractive nature of this agro-exporting model in the 1970s. Organización Campesina (Farmers’ Organisation) frames rural resistance in Honduras from a direct depiction and lyrical documentary, while Dos veces mujer (Two Times a Woman) dissects the invisibility of the double-shift working day Central American women farmers endure: working in the countryside and working in the home. As a whole, the works here present the earth at once as a wounded body and a space of dignity.
equipoMotor
Jueves alternos, 23 de octubre, 2025 - 11 de junio, 2026 - 17:30 h
El programa equipoMotor regresa en su edición 25-26 con un aire espectral y mutante para lanzar la pregunta: ¿y si el Museo fuera «un poco más Frankenstein»? Inspirándose en dicho monstruo y en todas aquellas criaturas que desafían la norma desde los márgenes, el proyecto de mediación cultural Galaxxia diseña y acompaña una edición incisiva, intergeneracional y descentralizadora, donde saberes invisibilizados, cuerpos raros y deseos molestos se entrelazan para generar nuevas formas de imaginación crítica y radical. En los sótanos y corredores del Museo —un particular laboratorio— las dudas no se esconden: son materia prima.
Así, para este curso el equipoMotor convoca a personas de todas las edades que hayan participado en ediciones anteriores de los distintos equipos del Área de Educación a recorrer el Museo como quien manipula un cuerpo abierto: descoyuntando algunas de sus categorías teóricas y artísticas —la necropolítica, lo crip-cuir, la lucha de clases, las políticas del malestar, la decolonialidad, la temporalidad cuir, la descentralización institucional o el feísmo— para articular un relato díscolo, remendado y palpitante.
El programa se estructura en bloques temáticos sobre lo freak como metodología, el trabajo cultural, la intergeneracionalidad y la diversidad territorial. Cada bloque a su vez se despliega en sesiones que combinan disparadores teóricos y estéticos, visitas a exposiciones y espacios liminales del Museo, talleres artísticos con artistas, ejercicios de curaduría audiovisual colectiva y de relatoría radiofónica, así como instancias de activación pública, mediante proyecciones de cine experimental y coloquios compartidos con el público, en complicidad con el archivo Hamaca y el Área de Cine y Nuevos Medios del Museo.
De este modo, la presente edición incorpora una particularidad: el grupo de participantes irá transformándose en un «colectivo curatorial audiovisual temporalmente autónomo», con capacidad de incidir en la programación del Museo y de abrir la conversación de equipoMotor al público general, cuestionando y expandiendo así los límites entre las cabezas que deciden, las manos que producen y los cuerpos y presencias que habitan la institución. Las personas seleccionadas en la modalidad oyente serán invitadas a las proyecciones públicas, así como a otras activaciones y momentos de apertura del equipoMotor.
Frente al relato de un museo homogéneo, pulcro y lineal, apostamos por un Museo disidente, contradictorio y lleno de vida residual. Un Museo que no tema hacerse preguntas incómodas ni mostrar sus cicatrices. equipoMotor. Un poco más Frankenstein no busca repensar el cuerpo de la institución, sino habitarlo en sus desgarros, tal como es: híbrido, inacabado, infecto, fantasmagórico… y cargado de esporas y chispas por venir.