![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
Christian Nyampeta and the École du soir
13, 14, 15 NOV, 11, 12, 13 DIC 2025
Christian Nyampeta is a Rwandan artist, musician and film-maker whose work encompasses pedagogies and community forms of knowledge production and transmission. His Ècole du soir (Evening School) is an art project conceived as a mobile space of collective learning and is named in homage to Ousmane Sembène (1923–2007), a pioneer of African cinema who defined his films as “evening classes” for the people, a medium of education and emancipation through culture.
This block is made up of three double sessions: the video work of Christian Nyampeta, the films of École du soir and one of Ousmane Sèmbene’s feature-length films. Nyampeta will introduce all three first sessions.
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.
The Joaquim Jordà Residencies 2025
Friday, 7 November 2025 - 7pm
In this activity, the recipients of the 2024–2025 Joaquim Jordà Residencies call, María Aparicio (Argentina, 1992) and Andrés Jurado (Colombia, 1980), present respective projects related to their body of work in an open session in which to discover the creative interests of two of the most up-and-coming independent film-makers in Latin America today.
María Aparicio presents the working process behind her film De sol a sol (From Sun to Sun), along with a brief journey through the films prior to this project and her filmic searches in recent years. Aparicio synthesises the storyline of De sol a sol from the silhouettes of a group of men who appear between the stalks of a reedbed. Their knives glisten as the sun hits them, flashing and disappearing with their hand movements. Apprentices split the canes using no method; seasoned workers cut with skill. They are workers from a sugar mill in northern Argentina and are watched by Juan Bialet Massé, accompanied by Rosich, assistant and photographer. It is Argentina in 1904 and he is carrying out a mission assigned to him by his country’s government: to travel the Argentinian provinces, reporting on the state of the working classes.
Andrés Jurado, for his part, will look over his own work and the work of the La Vulcanizadora lab in this session. He will also open the archive stemming from the research process in the project Tonada, a journey through the succession of peace agreement betrayals in the history of Colombia. From the colonial era, understood in tumultuous terms, as a hurricane that keeps swirling, to the present day he traces the stories of people like Tacurrumbí, Benkos Biohó, Bateman and the many women and men who were betrayed by governments and oppressors. Tonada seeks to build a sound and film dialogue between the guerrilla disarmament of 1953 and the period following the peace agreement of 2016, invoking these and other events and confronting traumas of betrayal through a film composition devised to be sung. But what is sung? Some of these songs are heard and voices are shared in this presentation.
The Joaquim Jordà Residences programme for film-makers and artists was set in motion by the Museo Reina Sofía in 2022. The initiative comprises a grant for writing a film project rooted in experimentation and essay, as well as two subsequent residencies in FIDMarseille and Doclisboa, international film festivals devoted to exploring non-fictional film and new forms of audiovisual expression.
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.
![Carol Mansour y Muna Khalidi, A State of Passion [Estado de pasión], 2024, película](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/palestine%20cinema%20day%202.jpg.webp)
Palestine Cinema Days
Sábado 1 de noviembre, 2025 – 19:00 h
The Museo Reina Sofia joins the global action in support of Palestine with the screening of A State of Passion (2024), a documentary by Carol Mansour and Muna Khalidi. The film features in Palestine Cinema Days Around the World, an annual festival, held globally every November, which aims to show films made in Palestine to an international audience. The initiative was conceived as a form of cultural resistance which seeks to give a voice to artists from Palestine, question dominant narratives and create networks of solidarity with the Palestinian people.
Palestine Cinema Days Around the World originates from Palestine Cinema Days, a festival organised in Palestine since 2014 with the aim of granting visibility to Palestinian cinema and to support the local film community. In 2023 the festival was postponed because of the war in Gaza, and has since become borderless in scope, holding close to 400 international screenings in almost sixty countries in 2024. This global effort is a show of solidarity with Palestine and broadens the voices and support networks of the Palestinian people around the world.
A State of Passion exposes the atrocities committed against the Gaza population via the testimony of Dr Ghassan Abu Sittah, a Palestinian-British plastic surgeon living in London who decides to return to Gaza and save lives in the city’s hospitals amid the Israeli army’s indiscriminate bombing of the population. A necessary film exposé of the experience of unrelentingly working twenty-four hours a day for forty-three days in the Al Shifa and Al Ahli Hospitals in the city of Gaza.