Academic Direction

Lucía Egaña

A graduate in arts, aesthetics and documentary, she holds a doctorate in Audiovisual Communication from the Autonomous University of Barcelona (UAB). She writes and researches on subjects related to feminisms and transfeminism, representation, post-pornography, technology, free software and error. She teaches in institutional and informal settings and her artistic work has been exhibited in Mexico, Uruguay, Chile, Germany, Spain, France, Norway, Ecuador and Colombia, among others. She currently has a long-term residency at the Hangar arts centre (Barcelona). She has published the books Atrincheradas en la carne. Lecturas en torno a las prácticas pospornográficas (Entrenched in the flesh: Readings about post-pornographic practices, Ed. Bellaterra 2017) and Enciclopedia del amor en los tiempos del porno (Encyclopaedia of love in times of porn, together with Josefa Ruiz-Tagle, Cuarto propio, 2014) and works with different collectives and artists, mainly in the performance field. She is part of the Fractalidades en Investigación Crítica, (Fractalities in Critical Research, or FIC) research group at the UAB and, together with Miriam Solá, carried out the research project Máquinas de Guerra, políticas transfeministas de la representación (War Machines, transfeminist representation policies, 2014-2015).

Marina Garcés

She is a philosopher and lectures at the Catalan Open University. Her work centres on the sphere of politics and critical thought, and on the need to construct a philosophical voice able to appeal and commit. To this end she develops her philosophy as a broad experimentation with ideas, learning and forms of intervention in the modern world. Among others, she is the author of the books Un mundo común (A common world, Edicions Bellaterra, 2013), Filosofía inacabada (Unfinished philosophy, Galaxia Gutenberg 2015) and Fuera de clase. Textos de filosofía de guerrilla (Outside class: texts on guerrilla philosophy, Galaxia Gutenberg, 2016), Nueva Ilustración radical (New radical enlightenment, Anagrama, 2017) and Ciudad Princesa (Princess city, Galaxia Gutenberg, 2018). Since 2002 she has promoted and coordinated the Espai en Blanc (Blank Space) project, a collective opting for a committed, practical and experimental relationship with philosophical thought.

Dora García

She is an artist and researches the parameters and conventions of the presentation of art, the question of time - real and fictitious - and the limits between representation and reality. She makes use of a range of media to generate contexts in which the traditional scheme of communication - sender-message-receiver - is disrupted, upsetting the traditional relationship between the artist, their work and their audience. In 2011 she represented Spain at the Venice Biennale with the project Lo inadecuado (the Inadequate) and at the 56th edition in 2015 she presented the performance and installation project The Sinthome Score, based on the transcription of Jacques Lacan’s 23rd seminar Le Sinthome. Jacques Lacan is one of the points of reference for her recent work. she came to him thanks to the writer James Joyce, about whom she has reflected in depth in works like her film The Joycean Society. In 2018 the MNCARS organised Segunda Vez (Second Time), an open journey through many of her previous works under the title of the 1974 short story by Julio Cortázar and presenting the artist’s projects revolving around the figure of Oscar Masotta. She is currently working on RED LOVE, an exhibition and publishing project set up in 2018 in Tensta Konstall, Stockholm, which explores love as something shared and the possible alternative modes of life it leads to. Dora García has had solo exhibitions at the CGAC (Santiago de Compostela, 2009), Index Stockholm (2009), Kunsthalle Bern, Switzerland (2010), Kunsthaus Bregenz (2013), the Torcuato di Tella University (Buenos Aires, 2014) and Toronto Power Plant (Toronto, 2015), as well as at MNCARS (Madrid, 2018). Her work is exhibited at ProjecteSD (Barcelona), Galería Juana de Aizpuru (Madrid), Ellen de Bruijne Projects (Amsterdam) and Galerie Michel Rein (Paris and Brussels).

Pablo Martínez

He has worked as head of programmes at the MACBA since 2016. He has been in charge of Education and Public Activities at the CA2M (2009-2016) and associate lecturer in the History of Contemporary Art at the Fine Arts faculty of the Complutense University of Madrid (2011-2015). He edits the et al. series of essays (MACBA-Arcàdia). His lines of research include educational work with the body, as well as research into the power of images to produce political subjectivity. He is editorial secretary of the research journal Re-visiones and a member of the research and action group on education, art and cultural practices Las Lindes. He has edited published publications including Arte actual. Lecturas para un espectador inquieto (Art today: readings for a concerned spectator, CA2M, 2011) and No sabíamos lo que hacíamos. Lecturas para una educación situada (We didn’t know what we were doing: readings for a situated education, CA2M, 2016); he has curated exhibitions by Werker (2014) and Adelita Husni-Bey (2016), and has collaborated in numerous collective publications including Visualidades críticas y ecologías culturales (Critical visualities and cultural ecologies, Brumaria, 2018), Patricia Esquivias. A veces decorado (Patricia Esquivias: sometimes decorated, CA2M, 2016), Willem de Rooij. Index (Koenig Books, 2016) and Pensar la Imagen, Pensar con Imágenes (Thinking the Image, Thinking with Images, Delirio, 2014).

Jaime Vindel

European Doctor of History of Art and Master of Philosophy and Social Sciences, he is the author of various essays and publications (
He has worked in universities in Argentina, Chile and Spain, enabling him to research the intersections between art, activism and politics in these contexts from the 1970s to the present. He is a member the Red Conceptualismos del Sur (Southern Conceptualisms Network) and was part of the curating team for the exhibition Perder la forma humana. Una imagen sísmica de los años ochenta en América Latina (Losing the human form: a seismic image of the eighties in Latin America, MNCARS, 2012).
His post-doctoral research focuses on different episodes and critical dilemmas connected with heterodox Marxism, cultural practices and ecological sensitivity from the Cold War period to the present. His work includes the rediscovery of the intellectual career of the Hispano-Mexican philosopher Adolfo Sánchez Vázquez, the reconstruction of the relations between art and Maoism during the political transition in Spain and a proposal to rethink cultural studies from a materialist, de-colonial perspective to take account of the multi-dimensionality of the eco-social crisis.
He is the author of the books Transparente opacidad. Arte conceptual en los límites del lenguaje y la política (Transparent opacity: conceptual art at the limits of language and politics, Brumaria, 2015) and La vida por asalto: arte, política e historia en Argentina entre 1965 y 2001 (Life for asphalt: art, politics and history in Argentina between 1965 and 2001, Brumaria, 2014) and has edited or co-edited, among others, the books Visualidades críticas y ecologías culturales (Critical visualities and cultural ecologies, Brumaria, 2018) and (together with Jesús Carrillo) the volume Desacuerdos 8. Crítica (Disagreements 8: Criticism, MACBA, 2014).

Guest Lecturers

Franco Berardi «Bifo»

A writer, philosopher, cultural agitator and media activist, in 1977 he founded the historical magazine A/traverso, the fanzine of the creative movement in Bologna (Italy). He was involved in Italian Autonomism movements and in historical experiences in alternative communication, such as Radio Alice. In the next decade, he anticipated the future impact of the internet network as a mass social and cultural phenomenon, while since 2005 he has been an active agitator in the “telestreet” movement in Italy. He is the author of various essays on the transformations of work, innovation and communication processes in capitalism, publishing in various countries. Some of these works have been translated into Spanish, including La fábrica de la infelicidad. Nuevas formas de trabajo y movimiento global (Traficantes de Sueños, 2003), Máquina imaginativa no homologada (Ediciones de Intervención Cultural, 2004), El sabio, el mercader y el guerrero. Del rechazo del trabajo al surgimiento del cognitariado (Acuarela & A. Machado, 2007), La sublevación (Artefakte, 2013), Después del Futuro. Desde el futurismo al cyberpunk. El agotamiento de la modernidad (Enclave de Libros, 2014), El trabajo del alma. De la alienación a la autonomía (Cruce Casa Editora, 2016) and Fenomenología del fin. Sensibilidad y mutación conectiva (Caja Negra, 2017).

Marcelo Expósito

His work as an artist has generally tended towards the fields of critical theory, publishing, curating, teaching and translation. He has sat on the PEI board since helping to set it up in 2006, acting as co-director of the fourth edition (2012-2013), and has taught in academic and autonomous institutions in Europe and Latin America such as the Pompeu Fabra University (Barcelona), the Elisava School (Barcelona), the Fine Arts faculty of the University of Castilla-La Mancha (Cuenca), the UNAM University Museum of Contemporary Art (MUAC), the Art Research Centre (Buenos Aires) and the universities of Buenos Aires (UBA) and La Plata (Argentina).

He was co-founder and editor (2002-2006) of the journal Brumaria; he has been part (2006-2011) of the editorial collective of the multilingual webzine transversal, published by eipcp (european institute for progressive cultural policies); and he has also taken part in militant research networks like the Universidad Nómada (Nomad University) and the Red Conceptualismos del Sur (Southern Conceptualisms Network). He has written or published, alone or in collaboration, books on critical theory, cultural activism and the history of artistic avant-gardes including Plusvalías de la imagen. Anotaciones (locales) para una crítica de los usos (y abusos) de la imagen (Appreciation of the image: (local) notes for a criticism of the uses (and abuses) of the image, Rekalde, 1993), Chris Marker. Retorno a la inmemoria del cineasta (Chris Marker: return to the non-memory of the film-maker, Ediciones de la Mirada, 2000), Modos de hacer. Arte crítico, esfera pública y acción directa (Ways of doing: critical art, the public sphere and direct action, Ediciones Universidad de Salamanca 2001), Historias sin argumento. El cine de Pere Portabella (Stories without a plot: the films of Pere Portabella, Ediciones de la Mirada, 2001), Producción cultural y prácticas instituyentes. Líneas de ruptura en la crítica institucional (Cultural output and establishing practices: fault lines in institutional criticism, Traficantes de sueños, 2008), Los nuevos productivismos (The new productivisms, Barcelona, MACBA, UAB, 2010), Walter Benjamin, productivista (Walter Benjamin, productivist, Consonni, 2013), Desinventario. Esquirlas de Tucumán Arde en el archivo de Graciela Carnevale (Disinventory: splinters of Tucumán Arde in the Graciela Carnevale archive, Ocho libros, 2015) and Conversación con Manuel Borja-Villel (Conversation with Manuel Borja-Villel, Turpial, 2015).

Involved as an activist since the nineties in movements to combat neoliberalism and support social and political rights, he is currently a member of the Spanish parliament, where he is third secretary of the lower house.

Aurora Fernández Polanco

PhD in Art History from the Universidad Complutense de Madrid and full professor in the History of Contemporary Art. Her research areas focus on changes in perception in the appreciation of contemporary art and problems related to visuality, thought and writing, subjects she has dealt with in articles, lectures, courses, seminars and books. These include Formas de mirar en el arte actual (Edilupa, 2004), Otro mundo es posible ¿Qué puede el arte? (2007) and “Pensar con imágenes: historia y memoria en la época de la googleización”, in the book Arte y Política. Argentina, Brasil, Chile y España, 1989-2004 (Editorial Complutense, 2010). She is also the editor of the indexed journal Re-visiones and has curated exhibitions for the Museo Nacional Centro de Arte Reina Sofía (MNCARS), Arts Santa Mònica and the Centro de Arte Dos de Mayo, amongst others.

valeria flores

A writer, researcher and Lesbian activist, Flores worked as a primary teacher for 15 years in public schools in the city Neuquén, Patagonia. Her field of interest intersects with her activity as a writer of essays and poetry as modes of political and aesthetic intervention, as well as activism, feminist theory and sexual dissidence, and anti-normative pedagogies. She was part of the team that founded in Argentina the Archivo Digitalizado del Activismo Lésbico Potencia Tortillera [Digital Archive of Lesbian Activism Dyke Power] (2011), and was a member of Fugitivas del desierto [Desert Fugitives] (2004-2008), a group of Lesbian feminists working to intervene politically, culturally and theoretically. She is the author of Notas lesbianas. Reflexiones desde la disidencia sexual (Editorial Hipólita 2005), Deslenguada. Desbordes de una proletaria del lenguaje (Ají de Pollo, 2010), Lenguaraz, written together with Macky Corbalán (La Mondonga Dark, 2012) and Bruma coja (La Mondonga Dark, 2012). She is also the editor of Chonguitas. Masculinidades de niñas (La Mondonga Dark, 2013), together with Fabi Tron and Desmontar la lengua del mandato, criar la lengua del desacato (Colectivo Utópico de Disidencia Sexual, 2014), amongst other articles and essays published in a variety of magazines and books.

Yayo Herrero

Anthropologist, social educator and technical agricultural engineer. She works as a professor and collaborator with the UNESCO Chair in Environmental Education and Sustainable Development (UNED) and is a founding partner of the Garúa Cooperative. A leading researcher in eco-feminism and amongst European eco-socialists, she has participated in various social initiatives to defend human rights and social ecology, a field where she has published more than twenty books and various articles. She was general director of the FUHEM foundation from 2012 to 2018 and coordinator of the Centro Complutense de Estudios e Información Medioambiental of the General Foundation of the Estudios e Información Medioambiental, at the Fundación General Universidad Complutense de Madrid, from 2009 to 2012. A member of the publishing board of Hegoa and the editorial board of Papeles, she was also the confederal coordinator of Ecologistas en Acción, from 2005 to 2014.

Daniel Inclán

A teacher at the Economic Research Institute of the Universidad Autónoma de México, his areas of research include the history of Latin American geopolitics and community economies and systemic bifurcations. He is a member of the Observatorio Latinoamericano de Geopolítica, whose goal is to research the critical node where systemic and civilization projects are engaged, discussed and remodelled, on the basis of which hegemony and power relationships are built, studying them from a perspective accentuating territoriality as a basic dimension of the organisation of social existence.

Germán Labrador

Professor in the Department of Spanish and Portuguese Languages and Cultures at Princeton University. His interests include cultural and literary history, studies on memory, poetry, social movements and urban cultures. His main research area is modern and contemporary Iberian cultures. His many publications feature Letras arrebatadas. Poesía y química en la transición española (Devenir, 2009) on a group of underground poets from the 1960s and their relationship to the psychedelic utopias of 1968 and heroin consumption in the 1980s, and Culpables por la literatura. Imaginación política y contracultura en la transición española (1968-1986) (Akal, 2017), on the importance of alternative social movements in the democratic transition and their advocacy of a break with the Franco regime and in favour of citizen participation.

Ana Longoni

Ana Longoni is a writer, a research at the Consejo Nacional de Investigaciones Científicas y Técnicas (Argentina), and has a PhD in Arts from the University of Buenos Aires, where she teaches both degree and post-grad courses. She currently holds the position of Programme Director at the Museo Nacional Centro de Arte Reina Sofía (MNCARS). Her research activity centres on the intersection between art and politics in Argentina and Latin America from the mid-20th century to our days. Recent publications, individually or as co-author, include Del Di Tella a “Tucumán Arde”. Vanguardia artística y política en el 68 argentino (El Cielo por Asalto, 2000; new editions: Eudeba, 2008 and 2010), Traiciones. La figura del traidor en los relatos acerca de los sobrevivientes de la represión (Norma, 2007), El Siluetazo (Adriana Hidalgo Editora, 2008), Conceptualismos del Sur/Sul (Annablume, 2009), Romero (Fundación Espigas, 2010), Roberto Jacoby. El deseo nace del derrumbe (La Central - Adriana Hidalgo - MNCARS, 2011), Leandro Katz (Fundación Espigas, 2013) and Vanguardia y revolución. Arte e izquierda en la Argentina de los sesenta-setenta (Ariel, 2014). She has been involved with Red Conceptualismos del Sur since its beginnings. She has curated various exhibitions, amongst them Roberto Jacoby. Desire Rises from Collapse (MNCARS, Madrid, 2011) and Losing the Human Form. A Seismic Image of the 1980s in Latin America (MNCARS, Madrid, 2012 - Museo de Arte de Lima, Lima, 2013 / Museo de la Universidad Nacional de Tres de Febrero Buenos Aires, 2014), as well as Oscar Masotta: Theory as Action (Museu d’Art Contemporani de Barcelona, 2018). She has written the theatrical plays La Chira (2003) and Árboles (2006), both of which have premiered in Buenos Aires.

Silvia Rivera Cusicanqui

Bolivian sociologist and activist. Emeritus Professor of Sociology at the Universidad Mayor de San Andrés de La Paz. She has taught at various universities around the world. Throughout her career she has researched anarchist theory, as well as the Quechua and Aymara cosmologies. As an activist, she works directly with indigenous movements in Bolivia, such as the Katarista and coco workers movements, through the Taller de Historia Oral Andina [Andean Oral History Workshop], which she directs and is a co-founder of. More recently, she has initiated the space of El Tambo Colectivo, a cultural centre in La Paz that seeks to connect theoretical knowledge with manual and environmental labour. Her work features a combination of languages, which has led her explore the essay, documentaries, art criticism and exhibition curating.

Carmen Romero Bachiller

PhD in Sociology from the Universidad Complutense de Madrid, where she is currently a professor. She has participated in various research projects on transnational migrations and the restructuration of urban spaces, as well as on biomedical discourses and practices in the production of sexed bodies. She has published various articles and has participated in book projects that reflect her interest in areas bringing together intersectional feminist perspectives, post-colonial studies, cultural studies, social studies of techno-science and queer theory. Currently she is working on queer diasporas and homo-nationalism, on the reconfiguration of transnational homes, and on the reworking of sex/gender positions amongst migrants from Ecuador and Senegal settled in the Lavapiés neighbourhood of Madrid.

María Salgado

Poet and researcher. She works with language as the material for texts, sound-texts and actions. PhD in Theory of Literature and Comparative Literature from the Universidad Autónoma de Madrid, with a thesis on poetics oriented towards language in Spain since 1964. Together with Patricia Esteban she began the research group Seminario Euraca. She has published four books of poetry: Ferias (City of San Sebastián de los Reyes, 2007), 31 poemas (Puerta del Mar, 2010; Danke, 2016), ready (Arrebato Libros, 2012) and Hacía un ruido. Frases para un film político (Contrabando, 2016). Since 2012 she has been working with the composer Fran MM Cabeza de Vaca.

Emilio Santiago Muiño

PhD in Social Anthropology with a thesis on the systemic transition in Cuba after the fall of the Soviet Union. He was a doctoral researcher and teacher in the Department of Social Anthropology and Spanish Philosophical Thought at the Universidad Autónoma of Madrid. He has been member of the Transdisciplinary Research Group on Socio-ecological Transitions, as part of HUAMECO (Humanidades Ambientales. Estrategias para la Empatía Ecológica y la Transición hacia Sociedades Sostenibles), as well as serving on the board of the Instituto Universitario DEMOSPAZ (Universidad Autonóma de Madrid). He also participated in the core group of the manifesto entitled “Última llamada” [Last Call] (2013). Along with his academic publications he has written books such as No es una estafa, es una crisis (de civilización) (Enclave, 2015) and Rutas sin mapa. Horizontes de transición ecosocial (los Libros de la Catarata, 2016, winner of the II Catarata de Ensayo Award. He is founder of the social transformation project Rompe el Círculo [Break the Circle] (Móstoles), and is an activist at the Instituto de Transición Rompe el Círculo [Break the Circle Transition Institute]. Currently he is Director of the Environment for the Municipality of Móstoles.