Category: Support


Institute of Radical Imagination joins the call for solidarity published by L’Internationale (below).

As concrete actions are needed IRI decided to make three donations for an amount of € 2.368,20.

We invite all those who can to donate.

“We, the L’Internationale Confederation, are devastated by the news of the severe earthquake in the regions of Turkey and Syria. The death toll is already above 30,000 lives and millions of people are without a home or adequate shelter. After a week of tireless and breathtaking rescue efforts in harsh winter weather there are still miraculous rescues happening that give moments of hope. Above all, the international effort that is now being organised must focus on the victims and offer them care and support both material and spiritual.

We’d like to express our solidarity with all people touched by this tragedy and especially with our colleagues and friends at Salt, with whom we collaborate closely as part of the confederation. We stand by them now and beyond the immediate aftermath of this catastrophe to help them hold their resolve and rebuild for the future.

We would like to urge all our friends and colleagues in the international art community to support the relief efforts by donating to any of the organisations below. This list has been drawn up together with Salt in Istanbul and to our knowledge represents the most credible and effective NGOs working in the region.”

DONATIONS can be done to

If you would like to send materials and coordinate on the ground:

LETTER IN SUPPORT OF MANUEL BORJA-VILLEL | by the Institute of Radical Imagination

Testo in italiano sotto / Texto en español a continuación

#NoMeToquesElMuseo #ElReinaSeQueda #MuseoSituado

We give our full support to Manuel Borja-Villel, until a few days ago director of Museo Reina Sofía in Madrid, and who in the recent weeks has been the subject of a defamatory and violent campaign by some right-wing Spanish media. 

We read what’s going on not as an isolated occurrence. In Spain, just like in Italy, Austria, Slovenia, Poland, Hungary, and many other European territories, there is an awakening of the right-wing political apparatus busy building campaigns to delegitimize the openly anti-fascist and anti-authoritarian culture in defense of social and civil rights. The far-right has realized the importance of building cultural hegemony and is fighting with all its strengths to destroy, piece by piece, the European cultural ecosystem, in order to be able to replace it with nationalist, conservative apparatuses enslaved to a commodified idea of culture. An example of this is the current Italian Minister of Culture under the new far-right government led by Giorgia Meloni, affirming the importance of rebuilding a hegemonic right-wing cultural identity by spreading paradoxical fake news such as the one that sees the figure of Dante Alighieri father of the Italian language, relocated to the register of fascist thinkers.

Manuel Borja-Villel and the Reina Sofia team have worked well in these 15 years of the museum’s management. The Reina Sofia has become one of the most outstanding contemporary art institutions in Europe and a point of reference for a dense Latin American institutional network. A point of reference because it put itself at the service of that decolonial process which weighs on the history of Spain. Reference point for having updated that Guernica that makes the museum famous worldwide, precisely because it takes root in the anti-fascist foundation of twentieth-century Europe.

The work carried out in recent years has updated Guernica not only by redesigning the role of the permanent collection, but also by turning the museum to the Lavapiés district, making the museum a porous institution and breaking down social barriers where architecture had raised walls, however elegant. Transforming the Reina Sofia into a “situated museum”, not only in the neighborhood and the city of Madrid, but also in Athens, Cairo, Istanbul, Venice, Buenos Aires, Berlin, Warsaw, Palestine, Milan, Naples, St. Petersburg, Barcelona, etc. A museum located in all these territories because its projects are devices for the political activation of hundreds of communities and networks. Because Manuel Borja-Villel and his team have been able to promote this idea of transforming networks and relationships into infrastructures for cultural production. New infrastructures for the museum which, however, expand beyond its borders.

Together, we have named this practice of trespassing, this movement, a new instituting artistic form. Reason why the right-wing is afraid of the figure and work of Manuel Borja-Villel, because it does not control the power of the networks with which and on which in those recent years the Museum was fed, because the right-wing disavows and abhors any constituent practice such as that which took place under the direction of Manuel Borja-Villel.

For us at the Institute of Radical Imagination, the Reina Sofia has been a fundamental point of reference for alter-institutional experimentation, political and artistic prefiguration, and for its strong ethic against the elitism and cultural fascism of the current historical moment. We at the Institute of Radical Imagination have had many collaborations with Reina Sofia (research groups, conferences, exhibitions, symposia) which have been fundamental to craft our political and artistic vision and mission. Manuel Borja-Villel’s Reina Sofia has generated around it a connective tissue of intellectuals, artists, cultural institutions and social centers which has constituted a real community of reference for IRI. It is not only the political and artistic vision of Borja-Villel that is being attacked. It is also his ability to understand and interpret important historical transformations through a radical and anti-bourgeois framework but at the same time with pragmatism and “common sense” – qualities that go against the stupid extremisms of our current era.

A new phase opens for the Museo Reina Sofía from February 2nd on: we hope that this constituent process will succeed in determining a future in continuity with the work of Manuel Borja-Villel, through all the collective intelligence of the workers who crossed the museum, of the artists who contributed to his program and the networks of cultural operators, academics and activists who are linked to him. 

We make an international appeal to support the Museo Reina Sofía team in this moment of transition and change and to determine together what is to come.

Lettera di sostegno per Manuel Borja-Villel

Institute of Radical Imagination

Vogliamo dare il nostro supporto a Manuel Borja-Villel, fino a pochi giorni fa direttore del Museo Reina Sofia di Madrid, che nelle ultime settimane è stato oggetto di una campagna diffamatoria e violenta da parte di alcuni media di destra spagnola.

Leggiamo questa vicenda non in modo isolato. In Spagna, come in Italia, in Austria, in Slovenia, in Polonia, in Ungheria, e in tanti altri territori europei, c’è in atto un risveglio dell’apparato politico di destra che mira a costruire campagne per delegittimare la cultura dichiaratamente antifascista, antiautoritaria e in difesa dei diritti sociali e civili. La destra si è accorta dell’importanza di costruire egemonia culturale e sta lottando per distruggere, pezzo dopo pezzo, l’ecosistema culturale europeo, per potervi sostituire apparati nazionalisti, conservatori e asserviti a un’idea di cultura mercificata. Ne è un esempio l’attuale Ministro della Cultura italiano, nel neo governo di destra estrema diretto da Giorgia Meloni, quando afferma l’importanza di ricostruire un’identità culturale di destra egemonica diffondendo fake news paradossali come quella che vede Dante Alighieri, padre della lingua italiana, ricollocato nell’albo dei pensatori fascisti.  

Manuel Borja-Villel e il team del Reina Sofia hanno lavorato bene in questi 15 anni di direzione del museo. Il Reina Sofia è diventata una tra le più importanti istituzioni d’arte contemporanea in Europa e punto di riferimento per una fitta rete istituzionale Latinoamericana. Punto di riferimento perché ha cercato di mettersi al servizio di quel processo decoloniale che pesa sulla storia della Spagna. Punto di riferimento per aver attualizzato quel Guernica che lo rende tanto famoso, perché affonda le radici nella fondazione antifascista dell’Europa novecentesca.

Il lavoro svolto in questi anni ha attualizzato il Guernica non solo ridisegnando il ruolo della collezione permanente, ma anche restituendo il museo al quartiere dove si trova,  Lavapiés, rendendo il museo un’istituzione porosa e abbattendo le barriere sociali laddove l’architettura aveva elevato muri per quanto elegantissimi. Trasformando il Museo Reina Sofia in un “museo situato”, non solo per il quartiere e la città di Madrid, ma anche per Atene, il Cairo, Istanbul, Venezia, Buenos Aires, Berlino, Varsavia, Palestina, Milano, Napoli, San Pietroburgo, Barcelona, etc. Un museo situato in tutti questi territori perché i suoi progetti sono dispositivi di attivazione politica di centinaia di comunità e di reti. Perché Manuel Borja-Villel e il suo team sono stati in grado di promuovere questa idea di trasformare le reti e le relazioni in infrastrutture per la produzione culturale. Nuove infrastrutture per il museo che però si espandono oltre i suoi confini.

Insieme, abbiamo chiamato questa pratica di sconfinamento, questo movimento, come una inedita forma artistica istituente. Motivo per cui la destra ha paura della figura e lavoro di Manuel Borja-Villel, perché non controlla la potenza delle reti con cui e di cui il Museo si è alimentato in questi anni, perché disconosce e aborra ogni pratica costituente come quella avvenuta sotto la sua direzione. 

Per noi dell Institute of Radical Imagination il Museo Reina Sofia e’ stato un punto di riferimento fondamentale di sperimentazione alter-istituzionale, prefigurazione politica ed artistica, e di forte etica contro l’elitismo ed il fascismo culturale che caratterizza l’attuale momento storico. Noi dell’ ‘Institute of Radical Imagination abbiamo avuto con il Reina Sofia tante collaborazioni, (gruppi di ricerca, conferenze, mostre, simposi) che hanno avuto un peso fondamentale nella nostra visione e missione politica ed artistica. Il Reina Sofia di Manuel Borja-Villel ha generato intorno a sé un tessuto connettivo di intellettuali, artisti, istituzioni culturali e centri sociali che per l’IRI ha costituito una vera e propria comunità di riferimento. Non e’ solo la visione politica ed artistica di Borja-Villel che si sta attaccando. E’ anche la sua immensa capacità di comprendere ed interpretare i grandi cambiamenti storici in chiave radicale ed antiborghese ma al tempo stesso con pragmatismo e “senso comune” – qualità scomode nell’ attuale era di stupidi estremismi.

Dal secondo febbraio si apre una nuova fase per il Museo Reina Sofia: ci auguriamo che questo processo costituente riesca a determinare un futuro in continuità con il lavoro di Manuel Borja-Villel, attraverso tutta l’intelligenza collettiva dei lavorat* che lo attraversano, degli artist* che hanno contribuito al programma e delle reti di operatori culturali, accademici e attivisti che a lui sono legati. 

Facciamo un appello internazionale a sostenere il team del Museo Reina Sofia in questo momento di transizione e mutamento, e per determinare insieme ciò che verrà.

Carta de apoyo a Manuel Borja-Villel

Institute of Radical Imagination

Queremos dar nuestro apoyo a Manuel Borja-Villel, director del Museo Reina Sofía de Madrid hasta hace unos días, quien en las últimas semanas ha sido objeto de una campaña difamatoria y violenta por parte de algunos medios de comunicación de la derecha española. 

No leemos esta historia de forma aislada. En España, como en Italia, Austria, Eslovenia, Polonia, Hungría y en muchos otros territorios europeos, hay un despertar constante del aparato político de derecha que pretende construir campañas para deslegitimar la cultura abiertamente antifascista, antif-autoritaria y en defensa de los derechos sociales y civiles. La derecha se ha dado cuenta de la importancia de construir una hegemonía cultural y lucha por destruir, pieza a pieza, el ecosistema cultural europeo, para poder reemplazarlo con aparatos nacionalistas, conservadores, esclavizados a una idea mercantilisada de la cultura. Un ejemplo de ello es el actual Ministro de Cultura italiano, en el nuevo gobierno ultraderechista encabezado por Giorgia Meloni, cuando afirma la importancia de reconstruir una identidad cultural de derecha hegemónica difundiendo paradójicas fake news como la que ve a Dante Alighieri, padre de la lengua italiana, trasladado al registro de pensadores fascistas.

Manuel Borja-Villel y el equipo del Reina Sofía han trabajado bien en estos 15 años de gestión del museo. El Reina Sofía se ha convertido en una de las instituciones de arte contemporáneo más importantes de Europa y en un punto de referencia para una densa red institucional Latinoamericana. Se ha convertido en punto de referencia porque ha querido ponerse al servicio de ese proceso decolonial que pesa sobre la historia de España. Es también punto de referencia por haber actualizado ese Guernica que le hace tan famoso, precisamente mostrando  las raíces antifascistas de la Europa del siglo XX. 

El trabajo realizado en los últimos años ha actualizado Guernica no solo rediseñando el papel de la colección permanente, sino también devolviendo el museo al barrio donde está ubicado, Lavapiés, haciendo del museo una institución porosa y rompiendo las barreras sociales donde la arquitectura había levantado elegantes paredes .  El Museo Reina Sofía se ha convertido en un “museo situado”, no sólo para el barrio y la ciudad de Madrid, sino también para Atenas, El Cairo, Estambul, Venecia, Buenos Aires, Berlín, Varsovia, Palestina, Milán, Nápoles, San Petersburgo, Barcelona, etc. Un museo situado en todos estos territorios porque sus proyectos son dispositivos de activación política de cientos de comunidades y redes. Porque Manuel Borja-Villel y su equipo han sabido impulsar esta idea de transformar redes y relaciones en infraestructuras para la producción cultural. Nuevas infraestructuras para el museo que, sin embargo, se expanden más allá de sus límites físicos. 

Juntos, hemos denominado esta práctica de traspasar límites, este movimiento, una nueva forma artística instituyente. Por este motivo, la derecha teme a la figura y obra de Manuel Borja-Villel, porque no controla el poder de las redes con las que el Museo ha crecido en los últimos años, porque repudia y aborrece cualquier práctica constituyente como la que ha tenido  lugar durante su dirección.

Para nosotros en el Instituto de Imaginación Radical, el Museo Reina Sofía ha sido un referente fundamental para la experimentación alterinstitucional, la prefiguración política y artística, y para una ética fuerte frente al elitismo y fascismo cultural que caracteriza el momento histórico actual. En el Instituto de Imaginación Radical hemos tenido muchas colaboraciones con el Reina Sofía (grupos de investigación, conferencias, exposiciones, simposios) que han tenido un peso fundamental en nuestra visión y misión política y artística. El Reina Sofía de Manuel Borja-Villel ha generado en torno a él un tejido conectivo de intelectuales, artistas, instituciones culturales y centros sociales que ha constituido una auténtica comunidad de referencia para el IRI. No es sólo la visión política y artística de Borja-Villel la que está siendo atacada. Es también su inmensa capacidad para entender e interpretar los grandes cambios históricos en clave radical y antiburguesa pero al mismo tiempo con pragmatismo y “sentido común”, cualidades incómodas en la era actual de extremismos estúpidos.

A partir del dos de febrero se abre una nueva etapa para el Museo Reina Sofía: esperamos que este proceso constituyente logre determinar un futuro en continuidad del legado de Manuel Borja-Villel, a través de toda la inteligencia colectiva de los trabajadores que atraviesan el museo, de los y las artistas que contribuyen a su programa y de las redes de operadores culturales, académicos y activistas que se vinculan a él.

Hacemos un llamamiento internacional para apoyar al equipo del Museo Reina Sofía en este momento de transición y cambio, y determinar juntos lo que está por venir.

You can fill the form below to sign the letter

Signatures | Firmatari | Firmas

  1. Institute of Radical Imagination
  2. Carola Spadoni, artist and filmmaker, Berlin.
  3. Joaquin Barriendos, writer, Mexico.
  4. Ana Longoni, researcher and professor, Buenos Aires.
  5. Angela Dimitrakaki, art historian, Edinburgh.
  6. Erik Bordeleau, researcher, Berlin.
  7. Antifascist Culture, collective, Athens.
  8. Andy Abbott, artist and arts organiser, UK.
  9. Andrea Conte – Studio ANDRECO, visual artist, Rome, Italy.
  10. Marc Herbst, editor/researcher, Leipzig Germany.
  11. Marianna Tsionki, curator, researcher, Manchester.
  12. iLiana Fokianaki, Curator, director of State of Concept, Athens.
  13. Chiara Sartori, Padova.
  14. Marina Fokidis, curator, Athens , Greece.
  15. Ahlam Shibli, artist, Palestine and Berlin.
  16. MACAO, assembly, Milano.
  17. Anna Rispoli, artist, Belgium.
  18. Christophe Meierhans, artist, Brussels, Belgium.
  19. Sale Docks, Self managed cultural space, Venice, Italy.
  20. Open School for Immigrants of Piraeus, Association, Piraeus, Greece.
  21. Gaele Sobott, writer and arts worker, Sydney Australia.
  22. Lorenzo Sandoval, artist/curator/filmmaker, Germany/Spain.
  23. Luciano Gigante, dirigente in pensione, Bisceglie Italia.
  24. Niki Nikonanou, Museum-educator, University of Thessaly, Greece.
  25. Lina Dzuverovic, university lecturer, London, UK.
  26. Barbora Kleinhamplová, artist and co-director of Institute of Anxiety, Prague / Czech Republic.
  27. Claudia Gonzalez, cultural manager, Madrid.
  28. State of the Arts, artistic think tank and pressure group, Belgium.
  29. Sabrina Conte, artista, Bressana Pv Italia.
  30. Laura Burocco, researcher, Portugal/SouthAfrica/Brasil.
  31. Isla Aguilar, gestora cultural, directora FIT de Cádiz, España.
  32. Leif Grünewald, Belém/Brazil.
  33. Guille Mongan, historiador del arte, artista y profesor de la Facultad de Artes UNLP, Buenos Aires, Argentina.
  34. L’Asilo, comunità lavoratrici e lavoratori dell’arte in autogoverno all’Ex Asilo Flangieri, Napoli, Italia.
  35. Amanda Salas Rossetti, docente e investigadora en arte, Chile.
  36. Fernanda Carvajal, investigadora, Buenos Aires / Santiago de Chile.
  37. Marcelo Mardones Peñaloza, historiador, Santiago/Chile.
  38. Anna Daneri, curator, Italy.
  39. Juan Pablo Pacheco Bejarano, artist and professor, Maastricht / The Netherlands.
  40. Judit Angel, curator and director of, Bratislava, Slovakia.
  41. Xenia Kalpaktsoglou, curator, founding member LUC, Athens, GR.
  42. Laboratory for the Urban Commons, collective, Athens, Greece.
  43. Susan Main, artist, curator, Rockville, Maryland, US.
  44. Marina Vishmidt, writer and lecturer, London, UK.
  45. Laura Marcela Carrascal, artista y profesora de escuela de arte, España.
  46. Federica Arcoraci, Padova.
  47. Eugenia Delfini, curator, Italy.
  48. Madeleine Park, curator / director MRK artcenter, Molde, Norway.
  49. Chiara Colasurdo, labour lawyer, Rome, Italy.
  50. Amalur Gaztañaga, cultural manager, Donostia / Spain.
  51. Spieler, Reinhard, director Sprengel Museum Hannover, Hannover, Germany.
  52. Alessandra Pomarico, curator, educator, founder of Free Home University, Italy? New York.
  53. Nikolay Oleynikov, artist, activist, educator, Russia/ Italy.
  54. Cecilia Widenheim, director, Stockholm.
  55. Chto Delat, cultural workers collective, Berlin and elsewhere.
  56. Beatrice Merz, Fondazione Merz, Torino.
  57. Cristina Baldacci, professor, Contemporary Art, Ca’ Foscari University of Venice, Venice.
  58. Lukas Heistinger, artist and curator, Austria.
  59. Claudio Decastelli, public employee, Torino/Italy.
  60. Imma Prieto, director Es Baluard Museum, curator and writer, Palma, Spain.
  61. Daniel García Andújar, artist, España.
  62. Greta De Marchi, Exhibition Assistant, Italy.
  63. Kike España, editor, Málaga / Spain.
  64. Rogelio Lopez Cuenca, artist, España.
  65. Elo Vega, artista, Málaga / Spain.
  66. Anna Cestelli Guidi, curator, Rome.
  67. Idoia Hormaza, Researcher, art educator, Bilbao, Spain.
  68. Alexander Tuchack,artist and professor, Zürich/Switzerland.
  69. Agnoletto Licinio, imprenditore, Santa Maria di Sala – VE.
  70. Karl Ingar Røys, Anti Fascist Filmmaker, Myanmar.
  71. Gareth James, artist and teacher, Vancouver, Canada.
  72. Caspar Stracke, artist/curator, Germany/Mexico.
  73. Stephen Cope, Poet, Professor, Radio Host, Ithaca, NY, USA.
  74. Giovanni Sinicato, Civil servant, Vicenza- Italy.
  75. Petja Dimitrova, Academy of fine arts Vienna, Vienna.
  76. Serge Guilbaut, Professor emeritus, Canada.
  77. Gisela Frick, Sound Artist, Santiago / Chile.


Citizen Initiative for a Self-Managed Space by citizens. Former Legazpi Fruit and Vegetable Market. EVA Espacio Vecinal Arganzuela wants the transfer of the space for self-managed use by social organizations and citizen entities of the Arganzuela district.

The Institute of Radical Imagination supports and invites you to sign! to support EVA by sending an email to the political leaders of the Madrid City Council requesting the 4-year extension for the Arganzuela Neighborhood Spaces:

The email you send will be redirected with your name to the Arganzuela District Board, the councilor, president and coordinator of the district, as well as to the mayor and vice mayor of Madrid City Council.


La Ingobernable CSO, is a key space when it comes to the common thinking in Madrid. The second IRI meeting, held in Madrid, occurred in parallel with the “Master” in Urban Commons and both sessions took place at La Ingobernable, which had a central role in designing and realizing the Master, developed along other common spaces as L’Asilo (Naples) or La Casa Invisible (Málaga), conceived as an action intervention for the legalization of the commons.

La Ingobernable is an occupied social centre in the heart of the city of Madrid facing constant threats of eviction, due the fact the city council doesn’t recognize it’s central function and value for everyday’s life in common for the inhabitants of Madrid..

La Ingobernable launched a support campaign based on the document that they are presenting to the city council with the purpose of opening a dialogue with the government of the mayor Manuela Carmena. IRI strongly believes on supporting this values and encourages to show your support and invites you to sign the letter