“Laia Estruch: Hello Everyone” is the monograph published on the occasion of the homonymous exhibition—Laia Estruch’s first survey—currently on view at the Museo Reina Sofía in Madrid. Designed by long-time collaborator Ariadna Serrahima (If publications), the book is available in separate English and Spanish editions.

This 200-page book brings together over a decade of Laia’s artistic practice through a detailed chronological inventory of her performances and sculptural works, accompanied by extensive visual documentation, descriptions, and textual scores. Functioning both as an inventory and an abbreviated catalogue raisonné, the book aligns conceptually with the exhibition itself—conceived as a navigable warehouse, a dynamic repository where sculptural resources and vocal expressions are stored, indexed, and mobilised. It encompasses all of Laia’s artworks and performances—whether presented in exhibitions, festivals, or as one-off events—including iterative series and projects spanning from 2011 to the exhibition’s opening in February 2025.

Among the book’s idiosyncratic features are a number of seemingly blank pages printed in the characteristic colours of Estruch’s work, and a coded system of archival registrations resembling product serial numbers – such as CMPMBSRB19EA30 for “Crol (Moll)”. These notations are derived from the title, location, colour, and date of each work and its first presentation and/or performance characteristics.

Another unique detail is the system of symbols indicating which works are included in the Reina Sofía exhibition. These markings originate in a late-17th-century notation system developed to record arm movements in dance. Hovering between gesture and script, they evoke Laia’s use of the arms in her performances—tracing graphic forms such as crosses or cuts in the air—and further deepen the relationship between movement, form, and meaning in her practice.

The monograph is introduced by Manuel Segade, the director of the Museo Reina Sofía, and features in-depth essay by Latitudes which traces Laia’s evolving engagement with voice, language, and the body, and its entanglement with experimental theatre, physical exertion, and embodied storytelling. Artist Sharon Hayes, her former professor at The Cooper Union in New York, contributes a reflection on performance pedagogy, while an extended conversation between Laia and curator Marc Navarro offers insight into the questions and processes that have shaped her work over time. Order your copy now!