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Narcisa Hirsch is one of the foremost figures in the history of Latin American and international experimental film. Born in Germany in 1928, and living in Argentina since her childhood, her name has lurked in the shadows unduly, owing to a twofold “eccentricity”: being a woman and making films that lie outside central spaces constructing the history of this filmic modality: the United States and Europe.  

What are we talking about when we say indigenous contemporary art? How can we approach racialised artistic practices, beyond a violent colonial translation? What does it mean to think about ancestry as an ontological force? This activity, the title of which draws inspiration from the poem Ojer bix re ri kik’el (The Blood’s Old Song), by the K’iche’ Maya writer Humberto Ak’abal, sets forth an introduction to artistic practices articulated from places of occlusion and silence.  

Carta(s) is a series of publications with which the Museo Reina Sofía seeks to broaden, through the publishing format, some of the debates that take place in the institution and beyond its walls, granting visibility to initiatives propelled or embraced by the Museo’s different lines of research and its artistic and critical productions. The presentation of this new publication takes the form of an encounter between the authors of the texts (Maite Garbayo, Ana Longoni, Nelly Richard and María Rosón), sociologist and feminist archivist Javiera Manzi and artist and cultural critic Marcelo Expósito. 

The Museo’s Education Area sets in motion a series of actions, listening journeys, encounters and mediation projects to accompany and amplify these exhibitions, inviting participation for anyone interested in absorbing and reflecting on sounds to form a diverse group of hearers and listeners that can, at the same time, transmit back their experiences and impressions.

This encounter, therefore, sets out to convene, converse with and create fruitful exchanges between some of the leading figures in these struggles, setting out from the conviction that, from their view of the world, their networks of self-protection and their ways of “shouldering” rebellion, they are developing the syndicalist feminism to come.

Like the Palm of My Hand seeks to illuminate new forms of doing from the digital sphere to reflect on virtual possibilities in cultural institutions. 

In a collaboration with the Community of Madrid’s Autumn Festival, the Museo Reina Sofía presents the Spanish premiere of Scorpion and Felix, a work by Buenos Aires-based La Columna Durruti, an iconoclastic collective carrying out performance actions and made up of Emilio García Wehbi, Maricel Álvarez, Marcelo Martínez, Julieta Potenze, Martín Antuña, among others.

The collective imaginary and information around the propagation and spread of COVID-19 have radically changed the way we relate to one another, so much so that we perceive encounters with others as a threat.