The AMA Study Centre at Artium Museoa is a platform that works in close relation with the museum’s exhibition programme to provide a space for research in the contemporary art and the formats of production and expansion of knowledge and  critical research methodologies based on collaboration and experimentation.

This public programme aims to establish a point of contact pierced by a pressing question: how to continue talking about Palestine – and from where – at a time marked by violence, a saturation of images and the fragility of engagement methods.

Rosalind Nashashibi’s exhibition that is opening at Artium Museoa focuses on a recent series of works evoking Palestinian memory and resistance. Through references to the history of painting and film, her work constitutes a sensitive way of insisting on the need to “continue talking about” about Palestine.

Engaging with this proposal, Mahmoud Alshaer displaces writing into a realm of experimentation and vulnerability. Rather than appearing as cultural production or a device for identity representation, his literary practice emerges as a form of risky experience capable of coexisting with rupture, gesture, performance or interruption.

Amador Fernández-Savater, for his part, suggests thinking of interruption as a way of awakening sensitivity: actions capable of altering the usual perception of the real and raising questions where there seemed to be no room for them.

The programme thus seeks to sustain a field of collective listening, attention and thought in which artistic practice, writing and public discourse can continue to produce forms of relating, dissent and presence.

PROGRAMME

12 June 
11 am to 1 pm. Plaza Gallery
Workshop with Amador Fernández-Savater. A Limit To Force

Gaza, says Rita Segato, is a watershed in history: the fiction of law collapses, and the power of death is openly displayed as law, without disguise. The laments over the ineffectiveness of international law in stopping the destruction reveal a failure to understand the nature of our time. 
Is the uninhibited brutalism of the present (driven to its limits by the new far-right movements) merely a passing parenthesis? A temporary nightmare after which law and international democracy will once again shine? Or does this era compel us to rethink force and war anew? How to place limits on force and war when none of the existing institutions are capable of containing them? Is there a weak force, a force of the weak, capable of restraining war and destruction? 

Registrations: ikasketazentroa@artium.eus

6 to 7 pm. Auditorium
A conversation between Rosalind Nashashibi and Mahmoud Alshaer. 

The artist Rosalind Nashashibi and the poet and writer Mahmoud Alshaer will have a conversation based on their artistic practice.

7 pm. A1 Gallery
Opening of the exhibition Get Me A Stone by Rosalind Nashashibi.

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Mahmoud Alshaer (Rafah, 1990) is a poet, editor, and cultural activist. His work moves between literature and cultural practice, exploring writing as a form of life and resistance against erasure. In 2013, he founded 28 Magazine, an independent platform for writers and artists in Gaza, which later evolved into a space for documenting self-organized artistic practices under siege. He also co-founded Dahaleez Group and has contributed to various collective cultural projects. His work has appeared in multiple literary platforms, and his book I Am Still Alive: Dispatches from Gaza was published in Berlin in 2025.

Amador Fernández-Savater (Madrid, 1974) is an independent researcher, editor, activist, and “pirate philosopher”. His work lies at the intersection of critical thought and active political reflection, exploring contemporary forms of discontent, desire, and social transformation. He has published, among others, Habitar y gobernar (NED, 2020), La fuerza de los débiles (Akal, 2021), Capitalismo libidinal, and more recently La batalla del pensamiento (NED, 2026). His activities and publications can be followed at filosofiapirata.net.

Rosalind Nashashibi (Londres, 1973) is a painter and filmmaker preoccupied with looking, to the extent of passing over onto the side of the subject in a way that can be disconcerting and yet empathetic. Her films, shot on 16mm, have a handmade quality with a surprisingly intimate way of communicating a creative process or an experience of communality. Palestine is an enduring subject amongst others in both films and paintings, and in the latter, familiar signs and art historical references become strange and intrigue us into looking at them anew.  

All activities in this public programme are free to attend until full capacity is reached, except for the workshop, for which prior registration is required at ikasketazentroa@artium.eus.

Certificate of participation
It is possible to request a certificate attesting to participation in the programmes required.
The request must be made to ikasketazentroa@artium.eus prior to the start of the corresponding programme.