Radio Web MACBA

@radiowebmacba.bsky.social

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Radio Web MACBA (RWM) is MACBA's radiophonic project. 20 years of intense podcasting, long conversations and slow loving cooking! Art, sound, critical thinking, collective listening, philosophy, activism and more! https://rwm.macba.cat/

“I grew up in a context where I was perceived as white. Throughout the years I lived in Brazil, I was certain that I was white. I never questioned it. But race is complicated, right? I think there's an intersection between how you're perceived and many other factors. It doesn't depend only on the color of your skin. Your surname matters—I have an Italian surname, and that plays a role. The material conditions of your life, what you have access to, also matter. So it's this intersection of many things. I think class and nationality carry weight as well. Then I moved to Europe, and for the first time I was treated as though I was somehow less than others. That was completely new to me. It wasn't so much the case in Portugal, but especially after I moved to Denmark, and later in Norway, people started referring to me as a 'woman of color.' I remember thinking, What the heck is a woman of color? It took me some time to understand what was happening.” Carol Stampone
“Soy madre de una hija trans. Creo que he parido dos veces. Este también ha sido un proceso políticamente potente, intenso, de acompañamiento y también de entender el tipo de miedos que me aparecen, porque México es un país de una enorme transfobia y de una enorme cantidad de transfeminicidios. Entonces estoy aprendiendo a gestionar mi miedo y a acompañar a mi hija sin contagiarselo, sino enseñándole herramientas de autodefensa, de relación con sus pares, con sus amigues, para crear esa red de cuidados y de entendimiento. Pero es hermoso.” Vivian Abenshushan
“Abans que caiguin les bombes, la gent mor amb el llenguatge.” Mariam Barghouti
"It's the hardest thing not to have a language to not just describe a reality, but to be able to respond to it. We don't want to just talk to hear our voices, or just write to write. It's a form of interaction. But then I keep remembering things like the word Nakba. Nakba –'catastrophe'– was formulated after the catastrophe of 1948. Palestinian academics and writers got together and said, 'What can best describe what we just experienced?' And they came up with, or employed, the word Nakba. It's translated as 'catastrophe,' but that's not the accurate translation. It's closer to massacre, slaughter, sacrifice –Nakba. Nakba was inflicted on us. But it was translated to 'catastrophe,' and I think that's a failure, because the world didn't understand what Nakba meant." Mariam Barghouti
Video-Nou, "Fons Video-Nou / Servei de Vídeo Comunitari", 1977-1983. Colección MACBA. Centro de Estudios y Documentación. Donación del Archivo Colectivo Video-Nou / Servei de Vídeo Comunitari
Foto: Dani Blanco
Razan AlSalah 'Your Father Was Born A Hundred Years Old, And So Was The Nakba', 2017
A portrait photo of artist Santiago Mostyn standing in a gallery space with teal-painted walls. He has short curly dark hair, a beard, and round wire-frame glasses, and wears a navy long-sleeve top under a dark grey zip vest with red-orange trousers, hands tucked in his pockets. He stands between two framed works: a small black-and-white photograph to his left, and a larger color photograph behind him showing bare winter trees with red berries against a blue sky, above tangled dry brush. Credit: photo by Senay Berhe.
“Lo importante es que entendamos que somos eslabones de una cadena. Y sentirnos hijas y nietas y biznietas y tataranietas de una larga línea de personas que trabajan en la crítica de la representación y en la construcción de una genealogía crítica de las imágenes.” María Ruido
“Una pifilca antigua… no quisieron ponerla libre, sino con vitrina hermética antibalas. ¡Tienen terror a que los roben! Y es muy extraño. Yo no sé porqué tanta vigilancia, si ellos lo robaron.” Francisco Huichaqueo
Francisco Huichaqueo de pie en exterior, en blanco y negro, con una vincha tejida tradicional y un pañuelo anudado al cuello, sosteniendo una vasija cerámica c…Francisco Huichaqueo de pie en exterior, en blanco y negro, con una vincha tejida tradicional y un pañuelo anudado al cuello, sosteniendo una vasija cerámica con tallos secos. Detrás, grandes figuras de madera tallada —chemamüll— se alzan contra un cielo abierto. Foto: Juan Wenuan.
‘Part of my understanding about infrastructural violence had to do with my own encounter with infrastructure fragmentation — with infrastructures of colonial occupation. With going through a road in Palestine, whether in the West Bank or elsewhere. The lack of water because all of a sudden water got cut off, or all of a sudden the electricity would get cut off. And so that experience of being in Palestine, and really running through and going through and paying careful attention to things that are otherwise assumed to be mundane and banal — that was part of this effort to get acquainted with what really is an infrastructure in this context, in Palestine. To the point where, all of a sudden, I would never come to see a road as a road.’ Omar Jabary Salamanca
‘To be a periphery, to be rendered peripheral –but not really peripheral– generates the conditions of… doubleness… There are remarkable solidarities, at the same time as there are remarkable divisions… extraordinary practices of care, but also rampant practices of indifference, and violence, and neglect… Within this doubleness, how do you think about a middle space…?’ AbdouMaliq Simone
‘Imagine yourself standing on a balcony, looking at a beautiful forest. And you sort of think: ‘this is me, I’m the human, and that’s the non-human, that is nature’. The thing you’re not paying attention to is the balcony, there’s a thing that you’re standing on. Some labour happened in between to make this relationship possible.’ (McKenzie Wark in OBJECTHOOD #6)
AbdouMaliq Simone seated outdoors, wearing glasses, a grey cap, and a black hoodie, looking down as he writes. Soft-focus flowers and greenery in the background.
Foto: Fernando Domínguez Rubio
View of the exhibition by Basel Abbas and Ruanne Abou-Rahme: Prisoners of Love. Until the Sun of Freedom, 2026. Photo: Juande Jarillo.
Mahmoud Alhaj "Lavender"
“El archivo ha sido un espacio de sanación… no es la sanación que la farmacéutica te vende en un blister, sino una sanación que viene de la reconstrucción interna y comunitaria y del encuentro con la identidad.” Dany Barrientos sobre el Archivo Honduras Cuir
Foto: Dani Cantó
Photo: Paul Shiakallis
Photo: Bernhard Cella
Foto: Paula Illescas
Haig Aivazian "All of the Lights"
Imatge: Tania Safura Adam