![Basel Abbas y Ruanne Abou-Rahme, At Those Terrifying Frontiers Where the Existence and Disappearance of People Fade Into Each Other [En esas fronteras aterradoras donde la existencia y la desaparición de personas se disuelven entre sí], 2019. Museo Reina](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/palestina_1.jpg.webp)
Held on 05 jun 2024
Palestine Is Everywhere is the international slogan of solidarity with the Palestinian people and also the title of a global debate that situates Palestine at the centre of our historical time, understanding the war in Gaza as the start of a new cycle shaped by colonial expansion. Under this title, the Museo organises an encounter that opens with a video recital by Palestinian poet Ibrahim Nasrallah, one of the best-known poetic voices in the Arab language. Following his intervention, artists and theorists Nitasha Dhillon and Amin Husain, part of the Decolonize This Place (DTP) movement, philosopher Marina Garcés and anthropologist Massimiliano (Mao) Mollona will exchange reflections, experiences and viewpoints on the Palestinian situation and cause in a round-table discussion. As a coda to the session, there will be a viewing of Those Terrifying Frontiers Where the Existence and Disappearance of People Fade Into Each Other (2019), a work by Palestinian artists Basel Abbas and Ruanne Abou-Rahme which has recently been incorporated into the Museo Reina Sofía Collection via a donation by Mercedes Vilardell in 2024. The eleven-minute video piece sets up a dialogue between the writings of Palestinian-American intellectual Edward Said (1935–2003) and AI-created images of protests at the wall that runs along the Gaza Strip.
With reverberations and protests around the world, Palestine has become a paradigm for a future to be recovered. Slogans such as Palestine Is Everywhere and Palestine Is All Around must be read in light of the rejection of the expansion of the colonial regime as they evoke the vindication and shared sense of inter-connected dissidences and movements for international freedom: from Palestine to the Brazilian rainforest, from Chiapas to Guinea-Bissau. With their resistance and demands, these territories are crying out for a new world-system that is more just, diverse and equal. What does it mean to be part of the planetary anti-colonial struggle? How to reorient ourselves towards fresh global movements that question the hegemony of the nation state? How to relate images of global freedom, those considered from desire, not pain, in this new temporal framework?
Organised by
Museo Reina Sofía and Cinema as Assembly
Inside the framework of
The Museum of the Commons project is organised by the L’Internationale museum confederation and co-funded by the EU’s Creative Europe programme. L’Internationale comprises fourteen major European art institutions: Museo Reina Sofía (Madrid, Spain), MACBA (Barcelona, Spain), M HKA (Antwerp, Belgium), MSN (Warsaw, Poland), SALT (Istanbul and Ankara, Turkey), Van Abbemuseum (Eindhoven, Netherlands), MSU (Zagreb, Croatia), HDK-Valand (Gothenburg, Sweden), NCAD (Dublin, Ireland), ZRC SAZU (Ljubljana, Slovenia), IRI (Italy), Tranzit.ro (Bucharest, Cluj and Iași, Romania) and VCRC (Kiev, Ukraine), as well as two associate organisations: IMMA (Dublin, Ireland) and WIELS (Brussels, Belgium).
Participants
Basel Abbas and Ruanne Abou-Rahme are Palestinian-born artists who live between Ramallah and New York. Through sound, image, text, installation and performance they examine themes such as the intersections between political imaginaries, the body and virtuality. They have shown their work at institutions that include the MIT List Visual Arts Center (Cambridge, Massachusetts, 2024), MoMA (New York, 2022), the Centraal Museum Utrecht (2021) and the Art Institute of Chicago (2021) and have participated in collective shows such as the Sharjah (2023) and Berlin (2022) biennales and at Appel Amsterdam (2018) and CCA Wattis in San Francisco (2018). Their work At Those Terrifying Frontiers Where the Existence and Disappearance of People Fade Into Each Other (2019) is now part of the Museo Reina Sofía Collection via a donation made by Mercedes Villaroel in 2024.
Nitasha Dhillon is an artist, teacher and researcher specialised in journalism. With Amin Husain, she is part of the MTL Collective, which joins research, artistic practice and activism. She also contributes to the magazines Occupy Theory and Occupy Strategy and is part of movements and initiatives such as the Direct Action Front for Palestine and, more recently, the Strike MoMA Working Group and Decolonize This Place, which explore aspects such as Indigenous struggles, action against the patriarchy and freedom for Palestine. She is also a member of the Cinema as Assembly group.
Marina Garcés is a philosopher, writer and teacher. She is an undergraduate and MA professor in Arts and Humanities Studies at the Universitat Oberta de Catalunya, and has aligned much of her career towards practical, critical and collective thought that she propels from Espai en Blanc. Her publications most notably include En las prisiones de lo posible (Bellaterra, 2002), Un mundo común (Bellaterra, 2013), Filosofía inacabada (Galaxia Gutenberg, 2015), Nova il·lustració radical (Anagrama, 2017), Ciutat Princesa (Galaxia Gutenberg, 2018) and Escola d’aprenents (Galaxia Gutenberg, 2020).
Amin Husain is an artist, teacher and researcher who specialises in philosophy and political science. Of Palestinian-US origin, he is part of the MTL Collective with Nitasha Dhillon, an initiative that joins research, artistic practice and activism. He also contributes to the magazines Occupy Theory and Occupy Strategy and is part of movements and initiatives such as the Direct Action Front for Palestine and, more recently, the Strike MoMA Working Group and Decolonize This Place, which explore aspects such as Indigenous struggles, action against the patriarchy and freedom for Palestine. He is also a member of the Cinema as Assembly group.
Massimiliano (Mao) Mollona is a theorist and anthropologist. With interdisciplinary training in economy and anthropology, his work is centred on the relationships between art and political economy. He has conducted far-reaching fieldwork in Italy, the UK, Norway and Brazil, primarily in economic institutions, analysing the relationships between economic development and political identity through participatory and experimental film projects. His practice is situated at the crossroads between pedagogy, art and activism, and he is a co-founder of the Institute of Radical Imagination (IRI) and a member of the Cinema as Assembly group.
Ibrahim Nasrallah is a poet, novelist, teacher and journalist. He was born in a Palestinian refugee camp in Jordan and was educated in one of the UN Agency’s schools for Palestinian Refugees in the Near East (UNRWA). Following a long career as a teacher and journalist in Saudi Arabia, he returned to Jordan in 1996 and since then has devoted his work to literature. His prolific output, spanning poetry, prose and essay, is shaped by exile and the Palestinian conflict. Some of his most recent works include Gaza Weddings (Hoopoe, 2017), Prairies of Fever (Interlink Books, 1998) and Time of White Horses (Hoopoe, 2016). He has been honoured with the Award for Best Poetry Collection Published in Jordan and the Arab Literary Award.
![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
Juan Uslé. That Ship on the Mountain
Tuesday, 25 November 2025 – 7pm
Ángel Calvo Ulloa, curator of the exhibition Juan Uslé. That Ship on the Mountain, engages in conversation with artist Juan Uslé (Santander, 1954) in the Museo’s Auditorium 400 to explore in greater depth the exhibition discourse of this anthological show spanning four decades of Uslé’s artistic career.
The show casts light on the close relationship Uslé’s work bears to his life experiences, establishing connections between different stages and series which could ostensibly seem distant. Framed in this context, the conversation looks to explore the artist’s personal and professional journey: his memories, experiences of New York, his creative process, conception of painting, and ties with photography and film, and the cohesiveness and versatility that characterise his art. Key aspects for a more in-depth understanding of his artistic sphere.
The conversation, moreover, spotlights the preparatory research process that has given rise to this exhibition to grant a better understanding of the curatorial criteria and decisions that have guided its development.
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.
Fifteenth Edition of the Márgenes Festival
Sunday, 23 November 2025 - 7:30pm
This year’s opening night of the fifteenth edition of the Márgenes International Contemporary Film Festival will take place inside the Museo Reina Sofía. The inaugural session will witness artists Neutro Gris and Nodoaviom perform, live and for the first time, the multimedia performance Music 4 Salvation, which extends their language towards a sensorial experience fusing sound, image and digital emotion.
Music 4 Salvation unfolds as a sound and visual collage in which different strands are linked in one sole narrative of youth and adulthood, notions from which the piece puts forward a second reading of popular symbology and iconography and culminates by evoking the transitional time between these two stages of life. And all from a post-internet gaze and found footage aesthetics.
The Márgenes Festival is held from 23 to 30 November in Madrid and shines a light on innovative initiatives that combine up-and-coming and acclaimed talent. Its film programme explores the convergence of cinema, the visual arts and sound art with approaches that expand the limits of the film experience, encompassing screenings, audiovisual shows, performances, encounters and sessions for children. In addition to the opening event, the Museo also welcomes, among the organised activities this year, the series Emotional Interface. The Films of Metahaven.
The Films of Ira Sachs
From Thursday, 20, to Sunday, 23 November 2025 – Check times
The International Festival of LGBTQIA+ Cinema in Madrid (QueerCineMad) and the Museo Reina Sofía come together to organise a retrospective on Ira Sachs (USA, 1965), a pivotal film-maker in contemporary queer cinema whose work has charted, across three decades, the affects, losses and resistance that traverse the lives of the LGBTQIA+ community. Sachs is the creator of a filmography which conceives of New York as the emotional architecture of his narratives, and as a space of memory, struggle and community. This programme includes the premiere of his most recent film, Peter Hujar’s Day (2025), in Madrid, with the film-maker in attendance in three of its sessions.
Sachs has filmed, with delicacy and conviction, the tensions between desire, precarity and belonging, from his first feature-length film, The Delta (1996), set on the margins of the Mississippi, to Love Is Strange (2014), where a gay couple have to give up their Manhattan apartment after marrying. In Keep the Lights On (2012) intimacy becomes a battleground in confronting addiction and neglect, while Lady (1994), a short film on the solitude of an elderly woman in New York, anticipates his sensibility for bodies made invisible. Last Address (2010) is a silent homage to queer artists who died from AIDS/HIV-related illnesses — Robert Mapplethorpe, Keith Haring, David Wojnarowicz — whereby the façades of the buildings they lived in become intimate monuments, the remnants of history erased through windows. Thus, Ira Sachs’s body of work engages in a profound dialogue with film-makers such as Rainer Werner Fassbinder in situating the gaze at the centre of bodies, in exploring the complexity of the struggle between himself and his films. Further, his practice reverberates through New Queer Cinema, a 1990s film movement that transformed the representation of sexuality from difference.
The director’s presence in Madrid, coupled with the premiere of his new work, makes this film season an event which extols both his career and his form of gazing and inhabiting the city from the queer, the community and the poetic. In these times of eviction and urban homogenisation, Sachs’s film-making reminds us that the neighbourhood can also be a gesture of care, a form of resistance, a future promise.
The History and Roots of Samba
Saturday, 22 November 2025 – 6pm
Museo Situado and the Maloka Brazilian Cultural Association come together to offer this artistic, historical and social activity in conjunction with Black Consciousness Day in Brazil, which pays homage to Dandara and Zumbi dos Palmares, universal symbols of Afro-Brazilian resistance and the fight against slavery.
In the activity, dance, poetry and performance become tools of memory and resistance via a programme which surveys the history of samba, from its origins in Bahia to its consolidation in Rio de Janeiro. It features the participation of more than ten Brazilian artists and pays homage to key figures in samba such as Tia Ciata, Clementina de Jesús, Cartola, Dona Ivone Lara, Elza Soares, Martinho da Vila and Alcione.
Further, the event seeks to shine a light on the richness of Afro-Brazilian culture while opening a space of reflection on resistance to racism throughout history and today, as well as inequality and disregard. In the words of philosopher Sueli Carneiro (2000), “the fight for the rights of black women and the community of African descent is inseparable from the rescue of history and the memory of our ancestors”. It is an artistic and vindicatory celebration that invites the whole community to aquilombarse: to come together, celebrate and affirm collective memory, for, as sociologist Florestan Fernandes (1976) affirmed, “the history of peoples of African descent can only be understood through the active resistance to oppression”. Long live Dandara. Long live Zumbi. Long live Afro-Brazilian ancestry.
Crossed Vignettes
Friday, 21 November 2025 – Check programme
The Crossed Vignettes conference analyses the authorship of comics created by women from an intergenerational perspective and draws from the Museo Reina Sofía Collections. Across different round-table discussions, the programme features the participation of illustrators Marika, Carla Berrocal, Laura Pérez Vernetti and Bea Lema and researchers Viviane Alary, Virginie Giuliana and Elisa McCausland.
The aim of the encounter is twofold: to explore in greater depth the different forms in which women comic book artists have contributed to developing a counterculture; namely, the appearance of ruptures, reformulations and new genres within the ninth art. And to set up a dialogue which ignites an exploration of genealogies linking different generations of artists.
Moreover, the activity is put forward as a continuation to the exhibition Young Ladies the World Over, Unite! Women Adult Comic Book Writers (1967–1993) and the First International Conference on Feminist Comic Book Genealogies, held in April 2024 at the Complutense University of Madrid.
In redefining the visual narratives of the comic book and questioning gender stereotypes in a male-dominated world, women comic book writers and artists have impelled greater visibility and a more prominent role for women in this sphere. The study of intergenerational dialogue between female artists past and present enables an analysis of the way in which these voices reinterpret and carry the legacy of their predecessors, contributing new perspectives, forms of artistic expression and a gender-based hybridisation which enhances the world of comics.
The conference, organised jointly by the Museo Reina Sofía and Université Clermont Auvergne/CELIS (UR4280), features the participation of the Casa de Velázquez and is framed inside the context of the CALC programme The Spanish Artistic Canon. Between Critical Literature and Popular Culture: Propaganda, Debates, Advertising (1959–1992), co-directed by Virginie Giuliana. It is also the outcome of the projects Horizon Europa COST Actions iCOn-MICs (Comics and Graphic Novels from the Iberian Cultural Area, CA19119) and COS-MICs (Comics and Sciences, CA24160).