These sessions explore different formats with which artistic tools enable other possible worlds to be imagined: mapping networks of activism, drawing up manifestos, creating spaces of assembly in the framework of art and developing collective dramaturgies as modes of investigating the present. Researchers, artists and activists from the Institute of Radical Imagination will share their experiences on artistic platforms as strategies of subjectivation and political action in the projects Art for UBI (Universal Basic Income) and Art for Radical Ecologies, in addition to studying the approach to radical pedagogies via projects such as The School of Emergencies, Kirik and Raising Care. Finally, the Centro Revolucionario de Arqueología Social (Revolutionary Centre of Social Archaeology, CRAS), alongside the Institute of Radical Imagination (IRI), will raise issues around the situation of CSA La Tabacalera in Lavapiés after thirteen years of free culture and self-management.
![Maja Bajevic, Arts, Crafts and Facts (Top 10%, 90%) [Artes, artesanías y datos (Ricos 10%, 90%)], 1967. Museo Reina Sofía](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/nim.jpg.webp)
Held on 20, 21 Apr, 25, 26 May, 05, 06 Jul 2023
Inside the framework of the Critical Node Militant Research, from the Museo Reina Sofía’s Study Programme Connective Tissue, the Foundation of the Commons, the Institute of Radical Imagination and La Laboratoria, in collaboration with the Museo en Red team, put forward a space of training and study on the specificity of forms of militant research. Situated outside academic frameworks, these investigations pick up the legacy of workers’ co-research from the 1960s, feminist epistemologies and theories of research-action. Therefore, more than establishing a method, they seek to generate devices in order for social struggles to read each other and find causes that lead to action.
This Critical Node looks to reflect on (and from) tools and learnings from networks with which the Museo has been collaborating over the past fifteen years, in relation to those processes of knowledge production which ultimately aim not to interpret the world but to organise its transformation.
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The Institute of Radical Imagination (IRI) is a Mediterranean-wide network founded in 2017 by artists, activists, academics and cultural producers with a shared interest in co-producing knowledge, artistic and political research and interventions aimed at implementing post-capitalist ways of life. With the vocation of joining art, activism and pedagogy, the IRI emerges as a post-capitalist institution — a "quasi-institution" — which operates as an interface between diverse spaces and agents, causing mutual contamination between academic institutions, museums and self-managed social centres.
La Laboratoria. Spaces of Feminist Research is a transnational device of feminist activist research, that which is developed by those involved in different territories, involved in specific conflicts and struggles, with different yet common languages and questions. The research applies the lens of feminist contempt to diverse processes, flowing beyond any drawer or pigeonhole of so-called "women’s" issues. With participation from four cities — Buenos Aires, Quito, New York and Madrid — La Laboratoria promotes activist research inside the feminist tide as situated theoretical practice allowing maps of position and analysis to be constructed collectively.
Foundation of the Commons is a laboratory of discourse and political action, entangling a series of research, publishing, training and bookshop groups that pool resources to drive the development of critical culture and social democratisation. The structure of the network is made up of social and research spaces (La Casa Invisible, Ateneo La Maliciosa, Traficantes de Sueños, IDRA, Ateneu Candela, Synusia and Katakrak) from different corners of the Iberian Peninsula (Málaga, Madrid, Barcelona, Terrassa, Iruñea-Pamplona).
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Organised by
Inside the framework of
Connective Tissue. The Museo Reina Sofía’s Study Programme: Critical Node, Militant Research
Participants
Participants
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Thursday, 20 April 2023 Nouvel Building, Protocol Room
Session 1
6pm Approach to Radical Pedagogies: The School of Emergencies and Kirik
— With the participation of Dimitry Vilensky and Zeyno Pekünlü (Institute of Radical Imagination)7:30pm Artistic Platforms as Strategies of Subjectivation and Political Action: Art for UBI and Art for Radical Ecologies
— With the participation of Marco Baravalle, Gabriella Riccio and Emanuele Braga (Institute of Radical Imagination) -
Friday, 21 April 2023 CSA La Tabacalera (calle de Embajadores 51, Madrid)
Session 2
11am Research and Artistic Practices from Self-management
— With the participation of Pablo García Bachiller, Gabriella Riccio and Marco Baravalle (Institute of Radical Imagination) -
Friday, 21 April 2023 Nouvel Building, Protocol Room
Session 3
Tickets6pm Approach to Radical Pedagogies: Raising Care
— With the participation of Maddalena Fragnito, Elena Blesa Cábez and Theo Prodromidis (Institute of Radical Imagination)7:30pm The Common and the Legal: Tools and Strategies
— With the participation of Giuseppe Micciarelli, Gabriella Riccio and Pablo García Bachiller (Institute of Radical Imagination)
Can a summer camp be considered a militant research practice? And the list of organic suppliers who stock a social centre’s canteen? In the following sessions, the Foundation of the Commons explores how spaces of knowledge production forged in the heat of social movements’ political and organisational practices are shaped. To this end, keys to two research devices are shared: Encuesta Inquilina (The Tenant Survey) — propelled with Sindicat de Llogaters from Barcelona — and the line of work around the eco-social crisis, articulated through the series of self-training and encounters The Future Is Unwritten. Organising in the Capitalocene Crisis. Drawing from these experiences, the aim is to put into practice possible militant research.
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Thursday, 25 May 2023 Nouvel Building, Protocol Room and Online platform
Session 4
Online platform6:30pm La Encuesta Inquilina (The Tenant Survey)
— With the participation of IDRA (The Urban Research Institute of Barcelona) (Foundation of the Commons)7:45pm The Future Is Unwritten
— With the participation of Synusia, Katakrak and Traficantes de Sueños (Foundation of the Commons) -
Friday, 26 May 2023 Ateneo La Maliciosa (calle de las Peñuelas 14, Madrid)
Session 5
Online platform11am How Do We Conduct Militant Research?
— With the participation of IDRA, Synusia, Katakrak and Traficantes de Sueños (Foundation of the Commons)
This session sees La Laboratoria look to apply situated research to the systemic dimension and the interconnection between different forms of violence: social, sexual, economic, judicial. It looks to explore the potential of the situated epistemological perspective to deploy a radical critique of hegemonic discourses on violence or the role of States in legitimising and concealing some forms of violence and criminalising others, raising, from collective practices, the possibilities of transformative feminist justice. Alongside feminist researchers and collectives from Quito, Porto Alegre, Buenos Aires, New York and Madrid, and at the crossroads of movements for prison abolition, against the criminalisation of poverty, and dissident street feminisms, a space is opened from which to reflect on the possibilities of thinking about justice as a collective practice, where mutual protection, support, accountability and remediation go hand in hand with a critique of patriarchal, racist and class-biased logics.
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Wednesday, 5 July 2023 Nouvel Building, Auditorium 200 and online platform
Session 6
Tickets5pm Introduction. What Does Investigating Violence from a Situated Perspective Mean?
— With the participation of Susana Draper (Madres Protectoras) and Itzell Sánchez (Técnicas Rudas / Colectiva Acción Directa Autogestiva). Supported by Débora Ávila7pm All that Crushes Us. Intersecting Violence
— With the participation of María José Barrera (Colectivo de Prostitutas de Sevilla), Luci Cavallero (Ni Una Menos) and Ana Pinto (Jornaleras de Huelva en lucha). Supported by Constanza CisnerosThis activity offers a play centre for children to help parents with childcare. The registration form can be found at this link.
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Thursday, 6 July 2023 Nouvel Building, Protocol Room and online platform
Session 7
Tickets5pm Debates around (Anti)Punitivism from Situated Feminist Struggles
— With the participation of Vicky García (La Laboratoria Nodo Europa Sur), Fernanda Martins and Laia Serra. Supported by Justa Montero7pm Beyond Victimisation. Feminist Self-defence and Strategies of Community Responsibility
— With the participation of Jazmin Sofia Escuntar Chavez (Mujeres de Frente), Martha Cecilia Collaguazo Velasco (Mujeres de Frente), Maria Jose "Guru" Jiménez Cortiñas (Asociación Gitanas Feministas por la Diversidad), Aida Elizabeth Pino Naranjo (Mujeres de Frente) and Helena Silvestre (Escola Feminista Abya Yala). Supported by Tatiana RomeroThis activity offers a play centre for children to help parents with childcare. The registration form can be found at this link.
![Miguel Brieva, ilustración de la novela infantil Manuela y los Cakirukos (Reservoir Books, 2022) [izquierda] y Cibeles no conduzcas, 2023 [derecha]. Cortesía del artista](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/ecologias_del_deseo_utopico.jpg.webp)
![Ángel Alonso, Charbon [Carbón], 1964. Museo Reina Sofía](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/perspectivas_ecoambientales.jpg.webp)
Más actividades
CLINIC 2628. A Community of Writing and Research in the Arts
February – October 2026
Clinic 2628 is a project which supports and brings together writings which stem from the intention to offer a space and sustainable time for research work in art and culture. Framed within an academic context which is increasingly less receptive to the forms in which thinking happens and is expressed, the aim is to rescue the academic from its neoliberal trappings and thus recover the alliance between precision and intuition, work and desire. A further goal is to return writing to a commons which makes this possible through the monitoring of processes and the collectivisation of ideas, stances, references and strategies.
The endeavour, rooted in a collaboration between the Museo Reina Sofía’s Studies Directorship and the Artea research group, via the i+D Experimenta project, is shaped by three annual editions conceived as spaces of experimentation, discussion and a demonstration of writings critical of what is put forward by today’s academia.
What forces, forms and processes are at play when writing about art and aesthetics? In academia, in museums and in other cultural institutions, the practice of writing is traversed by productivist logics which jeopardise rhythms of research and experimentation. The imposition of both scientism inherent in the structure of “the paper” and the quantifying of results which demand a criterion of quality and visibility sterilise and smoothen, from the outset, the coarseness that is particular to writing understood from the concrete part of language: phonic, graphic, syntactic and grammatical resistance connecting the language user to the community the language unites and activates. They also sterilise the roughness enmeshed in the same desire to write, the intuitive, clear and confusing pathways that once again connect the writer to those reading and writing, participating in a common good that is at once discovered and produced.
The progressive commercialisation of knowledge propelled by cognitive capitalism moves further away from the research and production of knowledge in artworks and artistic languages and practices. The work of curators and archive, criticism, performances and essays formerly saw a horizon of formal and emotional possibilities, of imagination that was much broader when not developed in circumstances of competition, indexing and impact. Today, would it be possible to regain, critically not nostalgically, these ways; namely, recovering by forms, and by written forms, the proximity between art thinking and its objects? How to write in another way, to another rhythm, with no more demands than those with which an artwork moves towards different ways of seeing, reading and being in the world?
The (legal) person and the legal form. Chapter II
8, 12, 15 January, 2026 – 16:00 to 19:00
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 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.
In this second chapter of the seminar, the inquiry into the aesthetics and politics of legal form continues with three sessions that pick up the discussions held in Chapter I but propose new lines of flight. The first session focuses on international law via the writings of the British author China Miéville, which allows us to reconsider the notion of the legal form –following Evgeny Pashukanis— and, through it, a variety of (people’s) tribunals. While the crucial concept of the legal person –as the right-holder central to the form of law— was debated in Chapter I, the second session focuses on attempts to extend personhood not (just) to corporations, but rather to nonhuman animals or ecosystems. Finally, the third session poses the question: how can groups and networks use officially recognized organizational forms (such as the foundation or the cooperative) and/or use a collective persona (without necessarily a legal “infrastructure” to match) to act and represent themselves?
Oliver Laxe. HU/هُوَ. Dance as if no one were watching you
Tuesday, 16 December 2025 – 7pm
As a preamble to the opening of the exhibition HU/هُوَ. Dance as if no one were watching you, film-maker Oliver Laxe (Paris, 1982) engages in conversation with the show’s curators, Julia Morandeira and Chema González, touching on the working processes and visual references that articulate this site-specific project for the Museo Reina Sofía. The installation unveils a new programme in Space 1, devoted from this point on to projects by artists and film-makers who conduct investigations into the moving image, sound and other mediums in their exhibition forms.
Oliver Laxe’s film-making is situated in a resilient, cross-border territory, where the material and the political live side by side. In HU/هُوَ. Dance as if no one were watching you, this drift is sculpted into a search for the transcendency that arises between dancing bodies, sacred architectures and landscapes subjected to elemental and cosmological forces. As a result, this conversation seeks to explore the relationship the piece bears to the imagery of ancient monotheisms, the resonance of Persian Sufi literature and the role of abstraction as a resistance to literal meaning, as well as looking to analyse the possibilities of the image and the role of music — made here in collaboration with musician David Letellier, who also works under the pseudonym Kangding Ray — in this project.
These inaugural conversations, part of the main working strands of the Museo’s Public Programmes Area, aim to explore in greater depth the exhibition narratives of the shows organised by the Museo from the perspective of artists, curators and specialists.
Manuel Correa. The Shape of Now
13 DIC 2025
The Shape of Now is a documentary that explores the challenges and paradoxes of memory, reparation and post-conflict justice, extending a defiant and questioning gaze towards the six-decade armed conflict in which the Colombian State, guerrillas and paramilitary groups clashed to leave millions of victims in the country. The screening is conducted by the Aesthetics of Peace and Desertion Tactics study group and includes a presentation by and discussion with the film’s director, Manuel Correa.
The film surveys the consequences of the peace agreements signed in 2016 between the Colombian State and the FARC guerrilla organisation through the optics of different victims. It was recorded shortly after this signing, a time in which doubts lingered over the country’s future, with many groups speculating in the narration. Correa harnesses the power of images, visual and bodily memory, fiction and re-staging as tools for understanding the conflict, memory and healing, as well as for the achievement of a just peace that acknowledges and remembers all victims.
The activity is framed inside the research propelled by Aesthetics of Peace and Desertion Tactics, a study group developed by the Museo’s Study Directorship and Study Centre. This annual group seeks to rethink, from a theoretical-critical and historical-artistic perspective, the complex framework of concepts and exercises which operate under the notion of pacifism. A term that calls on not only myriad practices ranging from anti-militarism and anti-war movements to activism for non-violence, but also opens topical debates around violence, justice, reparation and desertion.
Framed in this context, the screening seeks to reflect on propositions of transitional and anti-punitive justice, and on an overlapping with artistic and audiovisual practices, particularly in conflicts that have engendered serious human rights violations. In such conflicts, the role played by audiovisual productions encompasses numerous challenges and ethical, aesthetic and political debates, among them those related to the limits of representation, the issue of revictimisation and the risks involved in the artistic commitment to justice. These themes will be addressed in a discussion held after the session.
Francisco López and Barbara Ellison
Thursday, 11 December - 8pm
The third session in the series brings together two international reference points in sound art in one evening — two independent performances which converse through their proximity here. Barbara Ellison opens proceedings with a piece centred on the perceptively ambiguous and the ghostly, where voices, sounds and materials become spectral manifestations.
This is followed by Francisco López, an internationally renowned Spanish sound artist, who presents one of his radical immersions in deep listening, with his work an invitation to submerge oneself in sound matter as a transformative experience.
This double session sets forth an encounter between two artists who, from different perspectives, share the same search: to open ears to territories where sound becomes a poetic force and space of resistance.