Freakiness as Methodology
Session 1. The Monstrous Screen. equipoMotor Takes Over the Cinema
Sara Pisos, Buenos días España (Good Morning Spain), 2017, film
Held on 04 Dec 2025
This series is organised by equipoMotor, a group of teenagers, young people and older people who have participated in the Museo Reina Sofía’s previous community education projects, and is structured around four themed blocks that pivot on the monstrous.
This first session explores freakiness as methodology, a way to approach film and museum from experimentation, anomaly and deviation from established canons. Film is understood as a space of essay, where images, sounds and narratives move out of place to open other forms of critical reading, question norms and place the established under strain. This is the framework in which the group agrees to begin from dissent and formulate an initial question: Which monsters already inhabit the institution?
Buenos días España shows how the Brotherhood of Ancient Legionary Knights of Barcelona repeatedly carry out their rituals and military codes of conduct every Sunday, demonstrating how these practices keep far-right ideologies alive. The piece triggers a kind of gaze and tension that interests this group and steers the conversation towards how the abject can inhabit apparent normality.
Collaboration
Organised by
Museo Reina Sofía
Accessible activity
This activity has two spaces reserved for people with reduced mobility
Agenda
jueves 04 dic 2025 a las 17:30
Sara Pisos. Buenos días España
Spain, 2017, DA, colour, sound, original version in Spanish with Spanish subtitles, 30’
Participants
equipoMotor «un poco más Frankenstein»
(2025–2026) is made up of seventeen participants with diverse backgrounds in terms of age, professional trajectories and training. Joined by Galaxxia, the following people are tasked with carrying out collective programme of this audiovisual series: Juan-Bautista Alcalde Jiménez, Águeda Asenjo Bejarano, Nerea Atance López, Maite Casado Bernal, Amelia Die Goyanes, Pedro Fernández Castañón, Clara Fuentes Cocco, Manuel G., Mikina García de Viedma Irueste, Lucía Gómez Montalvo, Daniela Jándula Herrero, Eduardo L., Mario Manso García, Merche Márquez Urruela, Lúa Peña de la Casa, Nora Ramos Alonso and Lucía del Rey Guzmán.
Galaxxia
is a benchmark project at the intersection between cultural work, youth and territorial diversity. Its practice revolves around the defence of cultural rights and community culture, driving narratives that are “a touch more Frankenstein” — hybrid, experimental and critical —that place under strain contemporary museology, among other spheres. The project is produced by Nada Colectivo and managed by Ana Campillos, Francesca Alessandro and Iris Hernández.
Activity within the program...
The Monstrous Screen
equipoMotor Takes Over the Cinema
And what if a museum were “a touch more Frankenstein”?
equipoMotor brings together teenagers, young and elderly people who have participated in the Museo Reina Sofía’s previous community education projects. In this edition, coordinated by the Galaxxia collective, the group is set up as a community of independent programmers that designs and presents four public sessions in the Museo’s Cinema.
The series is arranged into four thematic blocks spread across the year: freakiness as methodology, cultural work, intergenerationality and institutional decentralisation. With the title The Monstrous Screen, this edition champions a dissident, mutant audiovisual space: cinema that has no fear of showing its seams, that lives with its ghosts and turns mixes, errors and drifts into a collective mode of thought. The selected films and videos come from the Hamaca archive, a benchmark platform that assembles the largest experimental audiovisual catalogue in the Spanish State, stretching from the 1960s to the present day.
Ver programa
Institutional Decentralisation
Thursday, 21 May 2026 – 5:30pm
This series is organised by equipoMotor, a group of teenagers, young people and older people who have participated in the Museo Reina Sofía’s previous community education projects, and is structured around four themed blocks that pivot on the monstrous.
This fourth and final session centres on films that take the museum away from its axis and make it gaze from the edges. Pieces that work with that which is normally left out: peripheral territories, unpolished aesthetics, clumsy gestures full of intent. Instead of possessing an institutional lustre, here they are rough, precarious and strange in appearance, legitimate forms of making and showing culture. The idea is to think about what happens when central authority is displaced, when the ugly and the uncomfortable are not hidden, when they are recognised as part of the commons. Film that does not seek to be to one’s liking, but to open space and allow other ways of seeing and inhabiting the museum to enter stage.
Freakiness as Methodology
Past activity
This series is organised by equipoMotor, a group of teenagers, young people and older people who have participated in the Museo Reina Sofía’s previous community education projects, and is structured around four themed blocks that pivot on the monstrous.
This first session explores freakiness as methodology, a way to approach film and museum from experimentation, anomaly and deviation from established canons. Film is understood as a space of essay, where images, sounds and narratives move out of place to open other forms of critical reading, question norms and place the established under strain. This is the framework in which the group agrees to begin from dissent and formulate an initial question: Which monsters already inhabit the institution?
Buenos días España shows how the Brotherhood of Ancient Legionary Knights of Barcelona repeatedly carry out their rituals and military codes of conduct every Sunday, demonstrating how these practices keep far-right ideologies alive. The piece triggers a kind of gaze and tension that interests this group and steers the conversation towards how the abject can inhabit apparent normality.
The Monster of Work
Past activity
This series is organised by equipoMotor, a group of teenagers, young people and older people who have participated in the Museo Reina Sofía’s previous community education projects, and is structured around four themed blocks that pivot on the monstrous.
Session number two looks to approach film as a place from which cultural work is made visible and processes of production engage in dialogue with artistic creation. From this premise, the session focuses on exploring how audiovisual content is produced, assembled and distributed, from the hands that handle the images to the bodies that participate in its circulation. The aim is to reflect on the invisible effort, precarity and forms of collaboration that uphold cultural life, that transform the filmic experience into an act that recognises and cares for common work.
Building on the idea of “the monster of work”, EquipoMotor opens up a dialogue on how the museum might become “a little more Frankenstein” by addressing the material conditions that reproduce, among other things, situations such as those reflected in Get into The Zone, the piece selected by the intergenerational group. The session seeks to continue inhabiting friction, to raise uncomfortable questions and to refine the language with which to imagine futures in which workplace malaise is not silenced but organised.
Get into The Zone is a video essay by Juan David Galindo that explores states of intensive concentration associated with work and leisure in digital environments. The title draws on an expression used in programming to describe a state of productive hyperfocus, linking this condition to contemporary diagnoses and forms of distress such as ADHD, burnout syndrome, anxiety, depression and hyperstimulation.
Galindo’s proposed trajectory combines narrative and conceptual elements. It connects the use of stimulants — from amphetamine-derived pharmaceuticals to coffee, tea, yerba mate and taurine-based drinks — with the economic and cultural history of these substances. It also relates these practices to screen-based work dynamics, video games, electronic music and forms of leisure shaped by continuous stimulation. The author’s personal experience functions here as a guiding thread, situating these processes within a broader social and historical framework.
Intergenerationality
Past activity
This series is organised by equipoMotor, a group of teenagers, young people and older people who have participated in the Museo Reina Sofía’s previous community education projects, and is structured around four themed blocks that pivot on the monstrous.
The third session gazes at film as a place from which to dismantle the idea of one sole history and one sole time. From a decolonial and queer perspective, it explores films which break the straight line of past-present-future, which mix memories, slow progress and leave space for rhythms which customarily make no room for official accounts. Here the images open cracks through which bodies, voices and affects appear, disrupting archive and questioning who narrates, and from where and for whom. The proposal is at once simple and ambitious: use film to imagine other modes of remembering, belonging and projecting futures we have not yet been able to live.
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This series is organised by equipoMotor, a group of teenagers, young people and older people who have participated in the Museo Reina Sofía’s previous community education projects, and is structured around four themed blocks that pivot on the monstrous.
This fourth and final session centres on films that take the museum away from its axis and make it gaze from the edges. Pieces that work with that which is normally left out: peripheral territories, unpolished aesthetics, clumsy gestures full of intent. Instead of possessing an institutional lustre, here they are rough, precarious and strange in appearance, legitimate forms of making and showing culture. The idea is to think about what happens when central authority is displaced, when the ugly and the uncomfortable are not hidden, when they are recognised as part of the commons. Film that does not seek to be to one’s liking, but to open space and allow other ways of seeing and inhabiting the museum to enter stage.
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