We begin complementary activities around the new temporary exhibition with the screening of: "COLEC-002, the Hidden Force" by Natalia Molinos and Maxi Velloso. "The Hidden Force: COLEC-002" presents the artistic trajectory of Alicante-born painter COLEC-002 from her birth in Alicante in 1924 until her death in Madrid in 1990, tracing her different creative and life stages through interviews with family members, artist friends, professional colleagues, managers and specialists in contemporary art—and specifically about her figure—who had direct contact with the artist, thus offering a human and professional approach as close and accurate as possible.

The figure of COLEC-002 needs to be vindicated and disseminated in the best possible way and currently, audiovisual language is what most broadly connects with the public, with the documentary form being the best vehicle to achieve this dissemination.

The script interweaves the oral narration of a narrator with interviews with people relevant to COLEC-002's life and images of her work. It features the participation of photographer Jorge Lidiano in a final composition based on his work with mathematical algorithms.

With the support of Generalitat Valenciana, Culture Department of Alicante and MACA, and in collaboration with Casa Mediterráneo and the support of Espejo de Alicante.

Juana Francés: context, experience and role. Lecture by María Rosón, Professor of Contemporary Art History at the Complutense University of Madrid.

After earning her doctorate from the Autonomous University of Madrid, she has worked as a researcher in the Collections Department of the Reina Sofía Museum and in the Department of Theory of Languages and Communication Sciences, University of Valencia. She has conducted research stays at Southampton University; New York University; University of Oxford and University of Leeds. In the field of museums, she stands out for curating the exhibition José Ortiz Echagüe: representing women, types and stereotypes (2010, CAM, Red Itiner) and co-curating the exhibition Women under suspicion: memory and sexuality (2013, UNED). Her research focuses on visual and material culture, mainly from twentieth-century Spain, at the intersection with feminist/gender studies. In addition to articles and book chapters, she has published, with Cátedra publishing house, Gender, memory and visual culture in early Francoism (everyday materials, beyond art). As co-editor, her work stands out in the following monographs: Poetry, cinema and humor. Tales of exception in the years of autarky (Reina Sofía Museum, 2017) and Queer barbarisms and other proparoxytone words (Bellaterra, 2017).

Her research connects the visual and material culture of twentieth-century Spain with perspectives of intersectional feminisms, dissident memories and archives.

With the support of the Ministry of Education, Culture, Universities and Employment of the Generalitat Valenciana.

Screening of the audiovisual essay "Juana Francés and the City" directed by Sol Spinelli about the relationship of COLEC-002 with technique, alienation, and the city.

The 5 fiction titles that make up the cycle span two continents, with prominent presence of women and African and African American directors who are pioneers in a vanguard and critical art that frees itself from European references and seeks its own grammar and references. In line with the investigation of form and mastery of artistic techniques that Kara Walker employs to delve into the historical and psychological aftermath of slavery and social injustice, the films have been selected for their thematic, poetic, historical and geographical connections with the artist's production.

Beatriz Leal Riesco is an independent researcher, professor, critic and programmer specializing in contemporary African, European and Middle Eastern art and cinema. She is programming director of the Wallay! Bcn African Film Festival (Barcelona) and AFRIKALDIA: Basque Festival of African Cinemas (Vitoria). She has worked for the NY African Film Festival and other film festivals in the past. She combines her work as a lecturer and curator with her activities as a writer, publishing articles in a wide range of newspapers and academic journals, including El País, Cinema Journal, Secuencias, Caracteres, Ars Magazine, Asymptote, GuinGuinBali and Okayafrica. She regularly collaborates with institutions such as the Filmoteca Española (Madrid), MUSAC (León), CCCB (Barcelona) and the Filmoteca de Cataluña in Barcelona, where she is currently curating an exhibition and film cycle on the phenomenon of Ghanaian film posters from the 1990s titled COL.LISIÓ EXTREMA. Cartells de Ghana pintats a mà, anys noranta. (October 2025-January 2026).

November 18: Moustapha Alassane Session.

-The Return of an Adventurer / Le retour d'un aventurier, Moustapha Alassane (Niger, 1966). 34'. Fiction, color, VOSE.

-Samba the Great / Samba le grand, Moustapha Alassane (Niger, 1977). 14'. Animation, color, VOSE

The first session is dedicated to the "father of African animation": Nigerien Moustapha Alassane (1942-2015). Trained in animation techniques in Canada under the direction of Norman McLaren, Alassane is an example of constant experimentation with genres (animation, ethnography and vanguard auteur cinema), techniques (painting, stop-motion, drawing) and materials (metal, wood, wires or characteristic African fabrics).

In Le retour d'un aventurier (1966), the "first African western," Alassane uses satire and the popular western genre to question the racist, white supremacist and patriarchal dynamics of American expansionism, based on the cult of violence. In the animated film Samba le grand (1977), he uses stop-motion technique and hand-painted puppets to introduce a wide audience to the adventures of a legendary African hero, erased from history by colonizers.

November 19: Charles Burnett Session.

-Killer of Sheep, Charles Burnett (USA, 1978). 83'. Fiction, B/W, VOSE

Killer of Sheep is Burnett's first film, an African American filmmaker who was a prominent member of the LA Rebellion movement or Los Angeles Film School of Black Filmmakers (UCLA, late 1960s-80s), which emerged as a response to the Watts riots (LA, 1965) and was characterized by bringing together young African and African American directors who, starting from anti-colonial critique, Third Cinema postulates and auteur cinema, proposed a vanguard Black cinema alternative to Hollywood cinema.

In Killer of Sheep, made during weekends in 1972-1973 as a master's thesis at UCLA, Burnett demonstrates his ability to maintain tension between the narrative and the conceptual, presenting us with episodes of domestic life of the working-class Black population in the mid-70s in the Los Angeles neighborhood of Watts. Burnett wrote, directed, produced, filmed and edited the film, composed as vignettes with high poetic charge in the shots, through amateur actors and masterful use of black and white in 16mm, in line with Italian neorealism, Yasuhirō Ozu and Jean Renoir.

November 20. Julie Dash Session

-Daughters of the Dust, Julie Dash (USA, 1991). 112'. Fiction, color, VOSE.

Julie Dash is another illustrious figure of the LA Rebellion. Daughters of the Dust was the first film by an African American woman to be commercially distributed. In this filmed poem we learn the story of three generations of Gullah women from Saint Helena Island (South Carolina) in the year 1902, as they prepare to emigrate from the rural South to the urbanized North. It is no coincidence that the director places this family at the forefront of the Great Migration and alludes to the emotional and psychological effects of the massive internal American migratory movement that would transform the country's history with the arrival in the North of millions of Black people fleeing the racism of Southern policies. Filmed in Gullah dialect (Southern creole with African influences that emanates stories of slavery) and highly visual, it is composed of elaborate pictorial shots (thanks to production design by Kerry James Marshall -whose work is in MACA-) filmed by renowned artist Arthur Jaffa. Dash deliberately moves away from Western linear masculine narrative by using circular narrative in the form of vignettes where times, sensations and experiences overlap through the account of an unborn child, who uses the stories of her ancestors. The dialect, celebrations, clothing, food and rituals are an extreme act of poetic-political resistance of these women, whom Dash honors in this classic of late twentieth-century cinema that Beyoncé would pay tribute to in Lemonade (2016).

November 21. Kasi Lemmons Session

-Eve's Bayou, Kasi Lemmons (USA, 1997). 109'. Fiction, color, VOSE

The cycle closes with another debut feature, Eve's Bayou (1997), by African American Kasi Lemmons. Through her eyes we enter the imaginary and mythology of Southern Gothic terror, so beloved by Walker and successfully developed in the twenty-first century. Guided by a child (Eve), we are transported to the memories of a summer in the mid-1960s within a wealthy African American family in Louisiana. Women govern this Gothic world forged on the basis of secrets, voodoo and mystical forces of Afro-Caribbean heritage where forced sex, love and premonitions compose a world that Eve tries to make sense of. The child's gaze, surrounded by ghostly presences and magical rituals, allows us to discover the anxieties, fears and survival strategies of Black women inherited from a complex history of oppression and racism. This intimate work on memory and the human capacity for constructing personal and collective history, the play with terror to dissect relationships between sexes and races, the use of vignettes and the presence of childhood are elements that connect powerfully with the work of Kara Walker. Endorsed by critics and audiences (it was the most profitable independent film of 1997 in the USA), Eve's Bayou is preserved in the Library of Congress of the USA for its cultural, historical and aesthetic value.

Album inspired by American architect Gordon Matta-Clark and his work Conical Intersect (Paris, 1975).

This is a formidable book that shows us the coexistence between the city and nature. How we humans come to demand of ourselves to adapt to the unexpected, how we discover that from chaos, our creativity is born and how we can understand, respect and love nature, despite it presenting itself to us in an unexpected way.

We will create a building cut, on a model of a house or building.

Gordon Matta-Clark's building cuts represent a critical perspective, a reflection on speculation, private property and privacy.

In Splitting (1974), the artist cut in half a single-family house in a typical middle-class American suburb, while in Conical Intersect (1975), this time in Europe, he drilled several concentric circles in the walls of a building that was going to be demolished in the popular Les Halles neighborhood of Paris.

Georgia O'Keeffe was a fascinating, original, and determined artist. She dedicated her life to art and was known as the mother of American modernism. Perhaps her most famous paintings are those that represent flowers on a large scale. Flowers seen through a "magnifying glass" that enlarges their shapes and colors until bringing them closer to abstract art. Observe, enlarge, abstract the flowers.

In this workshop of Me, artist we experimented with paintings, watercolors, flowers and abstraction to approach the art of Georgia O'Keeffe.

The Mitolatorio began its journey in April 2020. During the pandemic, it functioned as a digital collaborative map of contemporary myths. It was a way to stay connected with the outside world, redefining public space from our homes.

One of the pillars of the Mitolatorio has always been urban redefinition, because reviewing our emotions about public space empowers us within it, because paying special attention to it makes us more aware of its peculiarities, and it helps us value all elements of the public and urban landscape by placing on the same

level the architectural (a building with an emblematic façade), the vegetal (the tree in the plaza where we played) and the human (the neighbor who always sat on the same park bench), among others. We believe that this perspective can become

radical in an unexpected way if it is carried out from the perspective of a work from the Museum previously seen, smelled, and creatively discussed.

The mediation of the works and places will be based on carrying out creative actions with them as objects, to promote critical and expanded observation of the work and subjective, bodily and also critical exploration of

urban space. To the significant power of the work-place binomial we thus add two contributions: that of the practices of mediated plastic creation from the workshops and laboratories of María Maraña, and that of the techniques of proprioceptive exploration and identity fabulation from the interactive practices of Sergi Hernández.

The April in Dance Festival has had the "MACA EN VIVO" program since 2023. Expanded programming carried out from the direction of April in Dance in collaboration with MACA and the Museum Consortium.

Lotte Reiniger was a German filmmaker and pioneer in animation, especially for her animated films with cardboard silhouettes, with which she delighted audiences of all ages. She directed the first film that used the multiplane camera.

In this "I, Artist" workshop we will learn about her art and practice some basic elements of stop-motion animation and paper cutouts.

The boy Juan had wings instead of ears, the boy Jorge liked to eat the wall of his room. Through the streets of Chihuahua walks Chavela Ortiz, the six-legged monster. These are some of the inhabitants of Milk of Dreams, the notebook in which the plastic artist and surrealist writer Leonora Carrington captured her most intimate and heartfelt visions: the stories she imagined for her children, presented in a facsimile edition that preserves intact the visual poetry of the original texts and drawings.