Tag: Museo Reina Sofia

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 tranzit.sk, 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.

NO LAND AHOY! DRIFTING CONVERSATIONS ON RADICAL ART | PODCAST Marco Baravalle & Manuel Borja Villel


Marco Baravalle in conversation with Manuel Borja Villel Episode #3 of the podcast series No Land Ahoy! Drifting Conversations on Radical Art within the framework of The School of Mutation

Marco Baravalle talks to artists, curators and activists. From the phantom archive of activist art to the museo situado, from Afrofutirism to decolonisation of neoliberal museums, these constellations of radical art may help us trace possible routes through the drift of the present.

EPISODE #3 with MANUEL BORJA VILLEL

Borja Villel addresses his critical practice as a museum director. How to transform from within the neoliberal structure and functions of an art institutions? How to work with concepts such as “Museo situado”? How to create alliances with the subalterns instead of the wealthy? How to break the cause-effect relationship between museums and gentrification? How to dialogue with examples of radical art from the Global South avoiding cultural extractivism? How to work on an epistemological revolution of collections?

Profile

Manuel Borja-Villel is Director of the Museo Nacional Centro de Arte Reina Sofía (MNCARS) in Madrid and is one of the institutional agents of Spanish culture. Borja-Villel has directed three of the major art institutions in Spain: Fundació Antoni Tàpies in Barcelona (1990–1998); Museu d’Art Contemporani de Barcelona (MACBA, 1998–2008); and Museo Reina Sofía (2008–present). He has curated solo exhibitions of some of the most important artists of the last century: Marcel Broodthaers, Lygia Clark, James Coleman, Óyvind Fahlström, Luis Gordillo, Hans Haacke, Lygia Pape, Antoni Muntadas, Michelangelo Pistoletto, Nancy Spero, Antoni Tàpies, Krzysztof Wodiczko, amongst others. His most recent book is titled Campos magnéticos: Escritos de arte y política (Arcadia, 2020).

ART FOR UBI (Manifesto) #3 | Assembly

Art for UBI Terraforming, courtesy of Emanuele Braga

Location / Lugar Museo Reina Sofia, Edificio Sabatini Jardin Date / Fecha: September 17 19:00

with Andy Abbot, Emanuele Braga, Marco Baravalle, Érik Bordeleau, Ilenia Caleo, Anna Cerdà Callís, Kuba Szreder.


Art for UBI Terraforming, courtesy of Emanuele Braga
Art for UBI Terraforming, courtesy of Emanuele Braga

Third public assembly organized by the ART for UBI (Manifesto) an initiative born within the framework of the activities of The School of Mutation by the Institute of Radical Imagination. The Pandemic of Covid19 has been correctly defined as a syndemic. The term clearly shows how pre-existing conditions of social, race, gender and environmental asymmetries, influenced the impact of Covid19, exposing to serious consequences poor and precarious workers, women and lgbtqia+ subjectivities, racialized and indigenous people and those living in areas more subjected to pollution and extractivism. In Europe (and elsewhere) thousands of billions of Euros are allocated to respond to the crisis. Unfortunately, at least from European perspective, it looks like the vast majority of these funds will go to the supply side, in the vain hope that financing private companies will have an overall positive impact on society. The result will be a further polarization of global richness, and the progressive impoverishment of millions of people. Contrary to this option, It is time to support the implementation of forms of universal, basic and unconditional income. We believe UBI is a struggle of primary importance in order to finally achieve a fair remuneration for the value freely extracted from our lives on a daily basis (for example through platform capitalism and through the still invisible care work performed mainly by women). We believe UBI will have a radical impact on social life, not only in terms of reducing poverty and precarity, but also freeing time and energies to build worlds where care, mutual aid and the commons become priorities.

Using the ART FOR UBI [Art for Universal Basic Income] Manifesto as its starting point, the IRI has been proposing discussions on the role that art and the world of cultural production should play in the fight for financial redistribution based on mutualism, methods of self-management of resources, access to the means of production and other solidarity practices. This activity begins in the Museum’s Sabatini Garden, with a “performative round table” based on the proposal of the artist Anna Rispoli, who regularly works on topics such as remuneration, income and the UBI (universal basic income), mixing performance, social research and conducting real experiments on how to share assets and financial resources.


PROFILES

Andy Abbot is an artist, musician and cultural activator. He has exhibited and performed as a solo artist and in various collaborations, including the Black Dogs art collective. He participates in different projects as a musician, both solo and in groups, and composes music for film, performance and installations. In 2012 he obtained his PhD from the University of Leeds with his thesis “Art, self-organized cultural activity and the production of post-capitalist subjectivity”.

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Marco Baravalle is a member of S.a.L.E. Docks, a collective and an independent space for visual arts, activism, and experimental theater located in what had been an abandoned salt-storage facility in Dorsoduro, Venice. Founded in 2007, its programming includes activist-group meetings, formal exhibitions, screenings, and actions. In addition to managing the diverse programming at S.a.L.E. Docks, Baravalle is currently a research fellow at INCOMMON (IUAV University of Venice). His fields of research include the relationship between art, theatre and activism, creative labor, gentrification, and the positioning of art within neoliberal economics.

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Emanuele Braga co-founder of Macao center, an artist, researcher and activist. In addition to his work at Macao, he co-founded the dance and theatre company Balletto Civile (2003), the contemporary art project Rhaze (2011), as well as Landscape Choreography (2012), an art platform questioning the role of the body under capitalism. His research focuses on models of cultural production, processes of social transformation, political economy, labor rights and the institution of the commons.

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Anna Cerdà Callís is a manager and cultural activist. She has been working in the MACBA Department of Exhibitions since 2005, a task that she combines with the field of music. She co-directed the popArb festival (2005-2015) and since 2017 she is involved in the design and organization of Acció Cultura Viva. She is also part of the governing council of La Murga, and participates in MIM (Women of the Music Industry) and the board of the Xàfec association of small festivals.

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Ilenia Caleo is performer and researcher in queer studies and feminist epistemologies at the IUAV University of Venice. She is among the co-founders of Campo Innocente, a network founded after the pandemic outbreak to defend art workers rights and to promote UBI.

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Érik Bordeleau is a researcher at the SenseLab of the Université Concordia de Montreal and the Center for Arts, Business and Culture of the Stockholm School of Economics, which he combines with his activity as a fugitive financial designer at the Economic Space Agency (ECSA). His work is articulated at the intersection of political philosophy, media and financial theory, contemporary art, and film studies. He is currently working on creating a Master’s program in Cryptoeconomics at the Global Center for Advanced Studies (GCAS) with campuses in Dublin and New York.

AFTER THE EVENT by Begüm Özden Fırat y Zeyno Pekünlü


Museo Reina Sofía, Open presentation Thursday 16th, January 2020 19:00, Workshop Friday 17th, January 2020 20:00, full program below


After the event focuses on the afterlife of the recent cycle of revolts initiated in late 2010. Wherever they have emerged- Turkey to Spain, from Greece to Syria and Egypt- these movements shook the existing political systems and sometimes toppled them down, yet they proved to be not powerful enough to subvert the political establishment as a whole.

Continue reading “AFTER THE EVENT by Begüm Özden Fırat y Zeyno Pekünlü”