Independent Studies Programme (PEI), 2017-2018

The Independent Studies Programme, called PEI after its acronym in Spanish, is a learning laboratory that takes place inside and outside the museum institution, and whose main aim is to develop critical thought from the intersection of artistic practices, social sciences and political and institutional interventions.

For the last decade, PEI has become an experimental programme working with new means of producing knowledge, as well as a place for setting up spaces where thought can resist and overtake the ceaseless spectacularisation of culture in the context of global tourism and cognitive capitalism. For its current session, PEI returns to its 2006 origins and establishes itself as a programme untied to any university, so as to better adjust to its foundational goals. PEI's update breaks away from the preconceived notion of what a place of ‘higher learning’ is supposed to be, and tries to escape any kind of programme based on the acquirement of skills or professionalisation, understanding the organising of knowledge as a political space, where contents are in radical, feminist and experimental pedagogy, not just as study subjects but as living practices, capable of setting up new spaces for knowledge.

The contents of the programme are organised around large, intersectional areas that deal with critique and thought, political imagination, visual studies, artistic research, feminist studies, queer theory, and post-colonial critique. For the coming year’s course, a new section was introduced, one that will approach the crisis of civilisation and ecological collapse, starting by reflecting on the limits of growth, climate activism and the possibility of producing imaginaries of new ways of post-capitalist life in a world without fossil energy.

During its history, PEI has received students from over 27 different countries, particularly Latin America, with very diverse educational – as well as professional, academic, and social – orientations. Gathered around an international faculty team, they've worked on a political vision for the museum, and an understanding of education as a place for experimentation. One of the specifics of PEI is the production of critical discourse that takes on the epistemologies of the Global South and ponders on the colonial and post-colonial relations between those countries. This current incarnation solidifies the relationship with Latin America and strengthens the links with Mediterranean and neighbouring countries by intensifying the ties with institutions from places such as Greece, Portugal and Italy. Southern European countries share similar realities, including high rates of public debt, being victims of the Troika's austerity policies, having their economies intervened at different levels, and seeing citizens who mobilise themselves met by similar political responses; this has strengthened the political and affective ties between these countries, which is why PEI can foster the development of thought that organises and links these diverse actions and realities.

The forthcoming PEI will take place over four terms, from March 2017 to June 2018. In addition to theoretical classes, the programme offers collective and individual workshops, as well as formats open to the public (PEI Obert), which include international seminars, monographic courses and lectures. The academic administration for the 2017–18 period is in the hands of a faculty consisting of Lucía Egaña, Marcelo Expósito, Marina Garcés, Dora García, Pablo Martínez, Emilio Santiago Muíño and Jaime Vindel.

Organized by MACBA and AECID:







Eduard Aibar, Xavier Bassas, Marina Garcés, David Gràcia, Daniel Inclán, Ester Jordana, Albert Lladó, Santiago López Petit, among others
Nowadays, we still maintain the need for critical thought in every aspect of our interaction with others: education, art, politics, media... But, one must question the way critique has evolved and where it can be implemented today. These days, critique ranges between an empty word and, on the other hand, a sectional and specialised practice, particular to art critics and academia. This subject explores the genealogy of critique as a modern attitude and its transformations in the world and contemporary practices. We will question our own current critical maps, so as to put them up to date, and organise tools of thought that help us intervene honestly and radically in the current world. Critique and Thought will revolve around three axis: critical thought as a modern tradition; critique's current evolution, its cartographies and subjectivities; and finally, the relationship between critique and emancipation.

María Berríos, valeria flores, Marina Garcés, Stefano Harney, Pablo Martínez, Sofía Olascoaga, Jordi Solé Blanch, among others
This section proposes a revision to the pedagogical tradition, critiquing the model of illustrated education, and inserting itself in the possibilities of pedagogy as a political and liberating practice. As an experimental pedagogical laboratory, PEI wishes to ponder on the potential that radical pedagogy has to build critical subjects and incite new forms of political subjectivities. In this sense, prominence will be given to questioning fixed categories in education as well as the conception of learning as an accumulation of knowledges and professional training within cognitive capitalism. Through a viewpoint that researches epistemologies of the South and the possibilities of decolonising knowledge through epistemo-diversity, this section will approach organising knowledge as a political space, defying hierarchies of what should be learned or not. The tradition of feminist and libertarian pedagogy will help reconfigure the order of what's sensitive and the limits of what's given. Faced with a neoliberal horizon and ecological collapse, it's time to ask what new ways towards social emancipation exist.

Franco Berardi (Bifo), Maria Elisa Cevasco, Marcelo Expósito, Christina Kaier, María Eugenia Rodriguez Palop, María Ruido, Nico Sguilglia, Enzo Traverso y Jaime Vindel, among others
Political imagination and cultural materialism revolves around historical and contemporary connections between art, critical theory, cultural studies, politics and activism in order to offer a tasting, so to speak, of the temporal space extending between 1917 and 2017. The goal is to recover the specific manner in which various constellations of images, stories, bodies and critical positions have contributed to creating forms of organising experience in which the production of subjectivity and the construction of hegemony appear as indivisible processes. The focus will be on analysing the ways in which these practices took hold in specific intervention devices that tried to be inserted in ways of life and sociopolitical conflicts of subaltern classes: from artistic avant-garde communication experiments, to new prototypes of political organisation, including modes associated to the constitution of an opposing public sphere, and synergies between activist art and social movements. Through different chronological incisions, we'll try to show how critique becomes concrete materiality, and takes part in birthing common and cross-generational meanings and affections whose transition lines and discontinuities, mutations and survival, contribute to reconfiguring the social composition of anti-capitalist struggles. A look at a longer cycle should make exploring/imagining the way critical vectors that traversed history in the last century can be updated for our current times easier, by also incorporating a strategic agenda of social and political change.

Yayo Herrero, Razmig Keucheyan, Jordi Maiso, Ferran Puig Vilar, Jorge Riechmann, Isabelle Stengers, Emilio Santiago Muiño, among others
Framed by a crisis of civilisation, socio-ecological collapse and possibilities for post-capitalist transitions, this course tackles capitalism by reflecting on the limits of growth, climate activism and the possibility of producing imaginaries of new ways of life. The goal is to perform a diagnosis of the times that suits the complexity of our present moment and allows us to understand what's at stake today, and redefine the margins of political emancipatory action as an ‘art of what's possible’. To this end, there are three structural axis: solid foundation in theory, one that can build a true scope of the ‘socio-ecological question’, beyond any conceptual deficiency implied by the notion of ‘environmental problem’; a detailed cartography of the crisis if civilisation that takes into account not just describing global unsustainability and its urgency (energy decline, climate change, ecological overload), but can also penetrate the structural engine that feeds it (industrial-technical system, economic-capitalist system and modern cultural paradigm); and, finally, exploring the horizons of post-capitalist transition that remain open and their implications, from organising political activism to reformulating collective imaginaries.

AMOQA (Athens Museum of Queer Art), Barbara Biglia, Lucía Egaña, Equipo Palomar, valeria flores, Carmo Ge Pereira, Ideadestroyingmuros, Silvia Rivera Cusicanqui, Carmen Romero Bachiller, Javier Sáez, Míriam Sola, Fefa Vila, among others
This section takes a look at the different analytical tools that approach body, sexuality and the construction of gender, in a context imbued by capitalism, colonialism and biopolitical mechanisms of control. This subject covers feminism, sexual dissidence, and other theoretical and practical stances that award us with critical devices for social, micro-political and subjective analysis. It also covers the fact that these devices can become tools or supplies for our own discursive production. An important focus will be the dissident traits of the discourses to be studied, as they constitute opposing forces to the underlying capitalistic hegemonic logics, heteronormativity, androcentrism, colonialism, racism and eurocentrism that construct the modern discourse of contemporary European subjects. These discourses are ones that defy systems of control, as illustrated by modern social construction, by delving into practices of resistance that come from activism and cultural production.

Alfredo Aracil, Antonio Centeno, Equipo Palomar, Dora García, Andrea García Santesmases, Javier Peñafiel, Aimar Pérez Galí, Pantxo Ramas, The Army of Love, Yes, we fuck!, entre otros
The starting point and reference for this section has been taken from Erving Goffman's quote from Encounters (1961): ‘To be awkward or unkempt, to talk or move wrongly, is to be a dangerous giant, a destroyer of worlds. As every psychotic and comic ought to know, any accurately improper move can poke through the thin sleeve of reality.’ Under this lens, the concept of inadequacy encapsulates a large spectrum of behaviours and knowledges that deviate from the norm, so as to be able to, from outside the boundaries, study, organise and modify discourse, understood as a social tie based on language. To achieve a path fitting to this task, we have divided the very complex concept of Inadequacy into the following pairs: Deviation/Exclusion; Basaglia/Radicality; and Language/Censorship.

Anarchivo Sida, Aurora Fernández Polanco, Germán Labrador, Ana Longoni, Pablo Martínez, Silvia Maglioni + Graeme Thomson, Laura Mulvey, Raqs Media Collective, Eyal Weizman, among others
Looking to defy the disciplinary framework of the History of Art or Aesthetics, as well as the traditional practices of essay, art or curatorial work, this section tackles the manner in which the media's disposition, intervention, multiplication and socialisation of images powerfully influence our day to day, creating fictions and narratives, producing bodies and identities, and inciting new modes of political subjectivity. From clearly non-disciplinary positions, this course approaches the ways in which artistic practices and image production bring about not only imaginaries but modes of seeing, understanding and of situating oneself in a world made up of the scopic regime of online society. Throughout various seminars, we will highlight the epistemic-critical aspect of images, as well as its relationships with art, politics and power. Analysing images as temporal, in their capacity to redefine the liaisons between imagination and history, is a key element in understanding its central role in the production of anti-hegemonic narratives and the reformulation of the exhibition as a device for narrative and political intervention.

External tutors
Juan Vicente Aliaga, Erick Beltran, Laura Benítez, David Bestué, Pau Cata, Aurora Fernández Polanco Pedro G . Romero, Nancy Garín, Ana Longoni, Santiago López Petit, Javier Peñafiel, Blanca Pujals, María Ruido, Duen Saatchi and the members of the Faculty.




This year the PEI is under the academic direction of Lucía Egaña, Marina Garcés, Dora García, Pablo Martínez and Jaime Vindel.

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).

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.

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).

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).

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).

Practical information

[This call is closed]

FROM 27 MARCH 2017 TO 30 JUNE 2018
Duration: 15 months
Teaching hours (approx.): The course is divided into four trimesters, with a total duration of approximately 450 hours. Monday to Friday, from 4 to 8 pm, with three to four three-hour classwork sessions per week. Workshops and international seminars may be programmed during weekends.
Registration fee: 3,000 euros. Payment may be made in two instalments.
Grants: MACBA offers three full- and four half-grants. Selection criteria take into account applicants’ economic situation, curriculum vitae and suitable profile for the programme. The selection will be made by the academic staff and the coordinator.
Those wishing to apply for a grant must do so in writing when submitting the documentation.

Application for admission:
- First call from 10 October to 25 November 2016.
- Second call from 12 December 2016 to 9 January 2017
- The selection process of the first call will take place from 26 to 30 November 2016.
- The selection process of the second call will take place from 9 to 15 January 2017. The committee will evaluate the new applications and the waiting list.
Communication of acceptance:
- Communication of acceptance in the first call: 12 December 2016.
- Communication of acceptance in the second call: 16 January 2017.

The selection of applicants will be based on the material provided.
       • The relevance of the experience and activities of the applicants, whether academic          or professional, to the contents and objectives of the programme will be evaluated.
       • The programme’s academic level is equivalent to pre-doctoral studies (post-graduate
         or Master’s degree). Non-regulated alternative studies will also be recognised.
       • There is no age limit. A high level of Spanish and English is required. Lectures are          given in Spanish (80%) and English (20%), and 50% of the bibliography is in English.
       • PEI is not a professional training programme, but a space for exploration and
         activation of knowledge. In the selection of the participating students, the
         diversity of their profiles and trajectories will be evaluated to ensure these are
         not solely academic, but relate to the different forms in which knowledge is produced:
         artistic practice, activism, research, working or studying experience, among others.

Applications must be sent by email to pei[arroba], including the following material collated in one PDF document:
       • Completed application form
       • Motivation text (maximum of two pages)
       • Curriculum vitae (if deemed necessary, the selection committee may ask for
         accrediting documentation)
       • Where possible, two letters of recommendation are advisable
       • Photocopy of DNI, ID card or passport
Only email applications will be accepted. All documents must be collated in PDF format and sent as a single attachment.



Term Programme

Critique and thought: Subjects of Critique I, with M. Garcés
Political imagination and cultural materialism: Hegemony and the production of subjectivity between the culture of antifascism and the present, with Jaime Vindel, Marcelo Expósito, Nico Sguiglia. Genealogy of the illusory identity, with Franco Berardi (Bifo). Raymond Williams: Then and Now, with Maria Elisa Cevasco
The cartography of crisis: Socioecological approach: theoretical bases and conceptual devices, with E. Santiago Muiño. The cartography of crisis: with Jorge Riechmann, Ferrán Puig Vilar, Jordi Maiso. Analytical cartographies, with Paula Cobo-Guevara
Inadequacy: Deviation – Exclusion, with Dora García, Equipo Palomar, Francesc Ruiz, Yes, we fuck! Taller with The Army of Love
Visual narratives and non-disciplinary knowledges: Forensic Architectures, with Eyal Weizman, Rosario Güiraldes. Lecture with Laura Mulvey
Technologies of the body: Body technologies and biopolitical resistances, with Lucía Egaña, Carmen Romero. Monographic course with Silvia Rivera Cusicanqui. Collective workshop translation Club
Pedagogies and emancipation: Undercommons, with Pablo Martínez and Stephano Harney

PEI OBERT (formats open to the public)
- Deviation – Exclusion, 31 March
- Petroleum, international seminar, 26-28 May, with E. Santiago Muiño, Miren Etxezarreta, Razmig Keucheyan, Alicia Valero, Ugo Bardi, Vicenc Navarro, Antonio Turiel, Leah Temper, Jorge Riechmann, Yayo Herrero
- Silvia Rivera Cusicanqui, lecture, 22 June

Critique and thought: Critique, a modern tradition, with Marina Garcés. Reading workshop with Xavier Bassas, Santiago López Petit
Pedagogies and emancipation: Learning to imagine oneself with Pablo Martínez, valeria flores, María Berrios, Sofía Olascoaga. Anarchivo Sida. Lecture with Massimo Recalcati
Political imagination and cultural materialism: Reformulations of artistic activism and institutional critique, with Jaime Vindel, Marcelo Expósito. Session with Enzo Traverso
Visual narratives and non-disciplinary knowledges: : In search of UIQ, with Silvia Maglioni, Graeme Thompson.
Re-materialize the image: writing with active voice
, with Aurora Fernández Polanco
Inadequacy: Basaglia – Radicality, with Dora García, Alfredo Aracil, Pantxo Ramas, Radio Nicosia, Montserrat Rodríguez Garzo
Technologies of the body: Queer writings and pedagogies , with valeria flores, Fefa Vila, Miriam Solá, Javier Sáez. Translation Club with Lucía Egaña
The cartography of crisis: Workshop with Emilio Santiago Muiño

- Revolution, seminar, September 27 with Enzo Traverso, Jaime Vindel, Marcelo Expósito
- Learning to imagine oneself. Pedagogies and emancipation, seminar November 16 to 18 with valeria flores, Sofía Olascoaga, Maria Berrios, Marina Garcés, Pablo Martínez, colectivo Microsillons, Pili Álvarez, Jordi Solé

Critique and thought: Reading workshop with Eduard Aibar, David Gràcia, Ester Jordana, Albert Lladó. Course with Daniel Inclán, El tiempo roto y el tiempo histórico
Technologies of the body: Queer methodologies with Lucrecia Masson, Barbara Biglia. PIGS Self-Management with Equipo Palomar, AMOQA, ideadestroyingmuros. Taller Anarchivo Sida
Inadequacy: Language - Censorship, with Dora García, Javier Peñafiel, Andrea Valdés
The cartography of crisis: Post-capitalist horizons, with Emilio Santiago Muiño, Isabel Stengers, Yayo Herrero
Imaginació política i materialisme cultural: Reformulations of artistic activism and institutional critique, with Jaime Vindel, Marcelo Expósito, German Labrador

- PIGS Self-Management, from 6 to 9 February
- Comunism,seminare 2 and 3 March
- Germán Labrador, conference March 21

Critique and thought: Subjects of Critique II, with M. Garcés
Visual narratives and non-disciplinary knowledges: Course with Anna Longoni. Workshop with Un Faulduo
Technologies of the body: Activations Dislocated Archive
Political imagination and cultural materialism: Course with María Ruido

Presentation of research projects. From 11 to 19 June




AMOQA (Athens Museum of Queer art), Anarchivo Sida, Eduardo Aibar, Alfredo Aracil, Xavier Bassas, Ugo Bardi, Franco Berardi Bifo, María Berríos, Maria Elisa Cebasco, Antonio Centeno y Raúl de la Morena, Equipo Palomar, David Grácia, Paula Cobo Guevara, , Aurora Fernández Polanco, valeria flores, Andrea García Santesmases, Carmo Gê Pereira, Stefano Harney, Yayo Herrero, Ideasdestroyingmuros, Daniel Inclán, Ester Jordana, Razmig Keucheyan, Christina Kaier, Germán Labrador, Ana Longoni, Albert Lladó, Santiago López Petit, Jordi Maiso, Silvia Maglioni y Graeme Thomson, Yera Moreno, Carmen Moreno Bachiller. Laura Mulvey, Sofía Olascoaga, Javier Peñafiel, Ferran Puig Vilar, Raqs Media Collective, Pantxo Ramas, Jorge Riechmann, Silvia Rivera Cusicanqui, Montserrat Rodríguez Garzo, María Eugenia Rodríguez Palop, Carmen Romero, María Ruido, Francesc Ruiz, Duen Sacchi, Javier Sáez, Nico Sguiglia, Miriam Sola, Jordi Solé Blanch, Isabel Stengers, Enzo Traverso, Francesc Torres, The Army of Love, Alicia Valero, Fefa Vila, Un Faúlduo Eyal Weizman.

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