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2004. CHART. IDENTITY PROJECT Madrid Abierto (451 Studio / published texts)

BOOK PUBLISHED TEXT

451 / Aitor Méndez y Fernando A. Cienfuegos

The text that follows was written in 2004 as justification for the graphic identity design for Madrid Abierto. As in other of our projects, there is a reflection on the client and another on the work process, in this case the process of preparing the explanations given to a client (or to oneself). These are often prepared after the design work, although presented to the client as the guidelines followed. In the best of cases, they are prepared at the same time as the design work, altering the latter and the latter altering the first as one goes along.

From this point of view, the premises set out are not the same and therefore lack relevance in obtaining a high quality project. The work can culminate in good or bad results regardless of these initial ideas and, in this case, we show how this initial inability does not get in the way of obtaining good results.

INTERNAL INCOHERENCE

Public art has two things: art and the public. You might think “what a silly remark, it is public because it is in the fucking street”, and you would be right, although you could curb your language.

Thinking about this tricky issue, the idea of the public began to acquire a certain obsessive insistence.

Why? My psychiatrist might ask himself. And he would also be right in asking this question, after all that’s why he spent long summer hours knuckling down, missing out for ever on some of the most delicious moments of youth.

Let’s leave him alone to come up with the answer while we concentrate on our work. Hence, we see the public behaving as an individual, i.e., the public is one and always the same, just as the river is always the same, even if the water that runs through it is continuously changing.

This public, made up of undifferentiated individuals, of hidden identifies, is omnipresent, like God. Yes my friend, He is everywhere, or practically everywhere. He goes from one end to the other, strolling through the city or talking on the mobile, in the car or the underground, up and down or from the centre to the outskirts and, in the meantime, the little eyes of the undifferentiated individuals act like sensory organs scattered throughout the body like the suction cups of an octopus.

“What a disgusting example” you might think (if you haven’t, do so now before you go on).

It’s not that disgusting. Let’s show more respect for our public. It is a very smart public. It stretches its tentacles wherever it suits it. It establishes traffic flows with surprising speed to places where it can get goods or food for free. It is captivated by any commemorative plaque announcing the location of a work of contemporary art.

“O.K., but that definition is valid for the public in general and not just for our public art public”, you should be thinking. I take that but, for the moment, I will ignore it.

On another front, we have a suggestion by Jorge to use the letter A, present in the words “mAdrid” and “Abierto”, coinciding with the fact that the public space destined for the exhibition of the work is triangular shaped.

This outlandish idea, combined with our no less absurd obsession with the public, has established the basis for the work realised. Let this be a healthy example of reconciliation of interests between the client and the supplier.

Let this also serve as an example of how to produce a serious, fun graphic identify that meets the communication standards and exudes poetry (pity that we have to say this ourselves) from ludicrous, intuitive and contradictory bases.

“You’re going to drive me mad” you might say now.

I said the same to my psychiatrist and it cost me fortune.

Aitor Méndez.

 

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451 is a group project produced by people working in different fields: music, graphic design, cinema, etc...

For some years, Aitor Méndez and Fernando Cienfuegos have been searching for new graphic languages which aspire to be a reflexion of contemporary thought systems.

For MADRID ABIERTO they have broken away from the classic idea of the stable, unchangeable logo in an attempt to evoke a certain atmosphere by relating the elements of identity in a different way in each case, and according to the expression desired at a given moment.

 

 

 

 

 

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2004. PRESS RELEASE. Etoy CORPORATION

 etoy.ART-INVASION ON PLAZA COLONTHE LEGENDARY ART CORPORATION "etoy" INVADES HISPANIC MARKET TERRITORYOFFICIAL PRESS RELEASE

 In the context of ARCO 04, one of the five most important commercial art fairs in the world, etoy takes its aggressive business model for high risk art investors to the next level. Invited as guest artists in the "Madrid Abierto" program etoy.CORPORATION installs its mobile head quarter, studio and internet node in the heart of Madrid to perform a commercial experiment on the edge of reality.

Two etoy.CARGO-TANKS will land on Plaza Colon during the night of January 29th/30th 2004. Touch down is expected for 00:00:00 CET. FOTO OPPORTUNITY: Crew members, etoy.TANKS, giant cranes, police escort and machinery will be available between 23:30:00 and 02:00:00 CET. etoy, famous for subversive PR stunts like the digital hijack (1,5 million online art hostages in 1996) or the online clash with the American 10 billion dollar corporation eToys inc. in late 1999 (TOYWAR, with 4 billion dollars the most expensive performance in art history), won several international art awards and regularly appears in popular media channels such as CNN, WIRED NEWS, WASHINGTON POST, NZZ, TATE PUBLISHING, EL PAIS etc. Between February 5th and 22nd 2004 15 etoy.AGENTS from Italy, the USA, Germany, Switzerland, Belgium and Spain aggregate in the physical world  to operate a spectacular, living art installation on Plaza Colon. Dressed in their uniforms and equipped with identical high tech tools the etoy.CREW will conduct an art industry analysis to explore the acceptance for a different kind of culture economy. The  fundamental  question is: are collectors, galleries and the Spanish population ready to move away from traditional object ownership (paintings, photography and sculptures) and authorship (masters / stars) in order to test an alternative art production system agent.MARCOS / etoy.CFO: "it is time to question the established models of cultureconomical exchange". THE EXPERIMENT: etoy.CORPORATION offers to participate in an open artwork that is not defined or produced yet. Collectors visiting the ARCO art fair (Feb 12. to 16. 2004) as well as common people in the city (on Plaza Colon from Feb. 5th to 22nd) who normally don't buy art will have the opportunity to purchase etoy.

SHARES. Six different investment packages (from 2 euros to 30.000 euros) allow participation in a very special art work.

etoy.CORPORATION will use all investments acquired in Madrid to create and document concrete cultural value in the Hispanic market within the next 5 years (scale and locations depend on the volume and strategic partners). For their investment the cultural shareholders get the right to vote on project proposals and resolutions. etoy.CORPORATION is organizing the development process and serves as the information hub to coordinate the world wide planning and production. etoy's advanced internet voting system, specific etoy.BLOGS and etoy.CHATS as well as many years of experience guarantee maximum impact (TRACK RECORD: www.etoy.com). The new owners of etoy (already 2500 people participate world wide) will finance, produce and control the Spanish etoy.PROJECT. Their contribution and ownership is certified by a shareholder card and/or a unique etoy.SHARE-CERTIFICATE (see samples on  http://secure.etoy.com/ or on www.etoy.com) that gives them access to internal reports and voting procedures for all future etoy.OPERATIONS. disclaimer: etoy.CORPORATION is a global corporate sculpture to share culture profits instead of maximizing financial wealth. etoy is a registered trade mark of the etoy.VENTURE association. Past success cannot guarantee future performance. Share redemption strictly limited.

 

 

 

 

 

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2004. CHART. IDENTITY PROJECT FOR MADRID ABIERTO (451 Studio)

2004. CHART. IDENTITY PROJECT FOR MADRID ABIERTO (451 Studio)

  

    

 

 

451 GRAPHIC DESIGN STUDIO 

 

 

 

 

 

 

 

 

 

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2004. OPENING Madrid Abierto (pictures)

2004. OPENING Madrid Abierto (pictures)

 

From left to right. Front Row. Jorge Díez. Director of Madrid Abierto. Alicia Moreno. Councillor of Arts of the City of Madrid. Santiago Fisas. Minister of Culture of the Community of Madrid. Maria Teresa Fernandez Talaya. Madrid Nuevo Siglo Foundation Director. Sponsor.

From left to right. Back row. Alberto Sanjuanbenito. Director of Altadis Foundation. Sponsor. Josef Doswald. Swiss Ambassador in Spain

To the right of the photo: Eva Tormo. Managing Director Canal Foundation. Sponsor. ( Blue dressed and sunglasses). Rosina Gómez Baeza. Director of ARCO. Collaborator. (Crouching) Carlos Batzan. Managing Director of Cultural Projects. Madrid City Council.

The work you see behind are the containers of etoy. 

          

    

Photographs: David Jiménez

 

 

 

 

 

 

 

 

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2004 / 2004.02.01. MAS DE ARTE Nº 23. Madrid Abierto 2004

2004 / 2004.02.01. MAS DE ARTE Nº 23. Madrid Abierto 2004

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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2004. CALL FOR PROJECTS (rules and conditions)

 

1 The aim of this competition is the selection of no more than four artistic site specific projects of an ephemeral or temporary nature, to be included in Madrid Abierto (www.madridabierto.com) together with those forming the initial programme (El Perro, Etoy, Diana Larrea, Maider López, Fernando Sánchez Castillo, 451).

2 These projects will be developed, to coincide with ARCO (held in Madrid in February 2004), in an area comprising the Plaza de la Independencia (Puerta de Alcalá), Plaza de Colón (Jardines del Descubrimiento), the confluence of Alcalá and Gran Vía streets, and the Paseo del Prado. Moreover, there will be a specific project for the Depósito Elevado (water tank) belonging to the Fundación Canal in the Plaza de Castilla.

3 Projects entered for selection can be by individuals or groups (in which case a representative should be chosen), of any nationality.

4 Projects must include the following:

· A curriculum vitae (maximum length 2,000 characters) and a photocopy of the Identity Card (or equivalent document) of the artist(s).

· A description of the project (maximum length 4,000 characters).

· A maximum of six sketches and images of the project in jpg format with 72 ppp resolution.

· A detailed estimate of the cost, showing which items have their own funding.

· The average grant for each project selected is 6,000 Euros, except for the project for the water tank (Depósito Elevado), which is 18,000 Euros. In every case this sum includes production costs, artist’s or artists’ fees, and any taxes legally in force.

5 Projects should be sent by electronic mail to: This email address is being protected from spambots. You need JavaScript enabled to view it. before 31th August, 2003, or by post to: Fundación Altadis-Madrid Abierto. c/ Barquillo 7. 28004 Madrid, Spain.

6 The institutions promoting Madrid Abierto will appoint a committee, chaired by the director of the programme, which will select a maximum of four projects.

7 Madrid Abierto reserves the publication and reproduction rights of the projects selected for all the promotional needs of the programme, and will add to its documentary holdings and public archive any do-cumentation generated. The projects and the works selected will remain property of the artists, and the promoting institutions will have preference if any acquisition is proposed.

8 Participation in this competition entails full acceptance of the above rules and conditions.

 

 

 

 

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2004 / 2004.12. DISEÑO DE LA CIUDAD, Nº 46. Madrid Abierto. Intervenciones artísticas en Madrid

2004 / 2004.12. DISEÑO DE LA CIUDAD, Nº 46. Madrid Abierto. Intervenciones artísticas en Madrid

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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2004. ARTISTS / INTERVENTIONS / LINKS

Emancipator bubbleBubble Business   www.emancipator.org

Diana LarreaEl palacio encantado   www.dianalarrea.com

El perro Virtual DemolitionIvan López, Ramón Mateos, Pablo España. Fundado en 1989 y disuelto en 2006www.elperro.info/vdm

Maider López Carteles Y banderolas

Etoy.CORPORATION       www.etoy.com

Fernando López Castillo Perspectiva ciudadana

Warren Neidich+Elena Bajo Silent   www.elenabajo.comwww.warrenneidich.com

Wolfgang Weileder House-Madrid   www.wolfangweileder.comwww.fold-up.infowww.house-proyects.comwww.transfer-project.org

Sans Façon       Tristan Surtees, Charles Blanc   www.sansfacon.co.uk

 

 

 

 

 

 

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2004. CREDITS

2004. CREDITS
      

DIRECTOR: JORGE DÍEZCOORDINATION: RMS LA ASOCIACIÓNGRAPHIC DESIGN: 451ASSOCIATED PROJECTS: BULEVARES ARCO: FRAGMENTOS DE UNA CIUDAD INTERIOR, LUCIANO MATUS EN CASA DE AMÉRICA, METRÓPOLIS, NEO2

© TEXTS: THE AUTHORS© IMAGES: THE AUTHORS

SPONSORS:FUNDACIÓN ALTADISCOMUNIDAD DE MADRID. CONSEJERÍA DE CULTURA Y DEPORTESFUNDACIÓN NUEVO SIGLOFUNDACIÓN CANAL. CANAL DE ISABEL II"

COLLABORATORS:ARCO 04. GRECIATVE. METRÓPOLISAYUNTAMIENTO DE MADRID. CONCEJALÍA DE LAS ARTESD.DI. MINISTERIO DE ECONOMÍACASA DE AMÉRICANEO2CÍRCULO DE BELLAS ARTES

  

 

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2004 / 2004.02. METRÓPOLIS-TV1. Metrópolis en ARCO 04

2004 / 2004.02. METRÓPOLIS-TV1. Metrópolis en ARCO 04

** SEE THE ATTACHED PDF

 

   

    

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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2004. Jorge Díez. PRESENTATION

 

Art Interventions in Madrid. MADRID ABIERTO is a project framed within so-called Public Art i.e. interventions and performances derived from an artistic concept and developed preferably in a public and open context. Interacting with social and political processes, these works are aimed at the active or passive protagonists of such processes, i.e. all those people who, directly or indirectly, regularly or occasionally, live together in a specific physical, communicative, social and symbolic space, in this case, the City of Madrid.

The aim of this first edition of MADRID ABIERTO 2004 —to be held from 5th to 22nd February— is to act as a prototype or model for future editions, which will be extended to the rest of the City and Community of Madrid. The intervention will be restricted to the area comprising the Plaza de Colón (Jardines del Descubrimiento), the Plaza de la Independencia (Puerta de Alcalá), the junction of the Calle Alcalá with Gran Vía, and the Paseo del Prado —though a site-specific work will also be produced for the Depósito Elevado (Water Tank) in the grounds of the Fundación Canal in the Plaza de Castilla.

The international MADRID ABIERTO competition received 234 projects from 316 artists, with 57 projects for the site-specific installation for the Water Tank at the Canal Foundation. The competition had an extensive reception worldwide, with the following distribution of projects per country of residence of the participating artists: Spain (129), Italy (16), United Kingdom (11), United States (10), Argentina (10), Mexico (7), Germany (7), Brazil (7), Cuba (5), France (4), Holland (4), Colombia (3), Switzerland (3), Belgium (2), South Korea (2), Chile (2), Australia (2), Portugal (2), Greece (2), Austria (1), Peru (1), Japan (1), China (1), Turkey (1) and the Dutch Antilles (1).

The jury -Paloma Blanco, Ramon Parramon and Jorge Díez (programme director)- has selected the following projects: house-Madrid by Wolfgang Weileder (Munich, 1964), a synchronized process of construction and deconstruction of two identical, front and rear façades, in the form of a sequential choreography in which two different buildings appear on the same site on the Paseo de Recoletos; Silent by Elena Bajo (Madrid, 1972) /Warren Neidich (New York, 1952), a plexiglass acoustic sculpture to be installed on a section of the Paseo de la Castellana close to the open-air Museum of Sculpture as an ephemeral gesture limiting the noise pollution in the City; and Emancipator Bubble, an inflatable dwelling in the form of a bubble, which permits a high degree of independence without leaving home. A product of Bubble Business, S.A., based on an original idea by architects Alex Mitxelena and Hugo Olaizola, directed by Saioa Olmo and produced by Amasté, the Bubble will be installed in the Círculo de Bellas Artes de Madrid. To these three will be added the proposal from Sans Façon -Charles Blanc (Saint Etienne, France, 1974) and Tristan Surtees (Leeds, England, 1977)- for the raised Water Tank in the Plaza de Castilla: by playing with the architectural quality of the construction -the pillars will be covered with acrylic mirrors- a different perception of the object and its surroundings will be generated.

Together with the above projects selected from the international submissions, MADRID ABIERTO will contain interventions by El Perro, Maider López, etoy, Diana Larrea, Fernando Sánchez Castillo and 451. We shall thus encounter interventions alluding to normal urban communication systems like that of Maider López (San Sebastián, 1975) on the municipal advertising supports, the appropriation of a mythic image from Alfred Hitchcock’s The Birds by Diana Larrea (Madrid, 1972) on the façade of the Casa de América, via the most overtly political by Fernando Sánchez Castillo (Madrid, 1970) which, with the collaboration of the Real Academia de Bellas Artes de San Fernando, will make one of the most emblematic monuments of the capital -Pietro Tacca’s equestrian statue of Philip IV in the Plaza de Oriente- accessible to pedestrians. Other projects with a more active participation are also included: the El Perro group who, after a public vote, propose the virtual demolition of some of the most representative buildings in the Paseo de la Castellan area, and etoy, a Swiss group who will instal the offices of their data-processing corporation in the Plaza de Colón to research the art market and initiate their own collection. The 451 team has designed the image and web-page of MADRID ABIERTO and is developing a specific project on all the applications and graphic identity of the programme.

There are also four associate projects: Luciano Matus (Mexico, D.F.,1971) will intervene in various interior and exterior spaces of the Casa de América; NEO2 magazine will include in its February issue a Madrid Abierto dossier that can be used as a programme for the event; in the audiovisual field, Metrópolis, broadcast weekly on Spanish Television’s second channel (a pioneer programme in Spain on contemporary culture specialized in the research and diffusion of the new artistic languages), will produce their own monograph on MADRID ABIERTO. This autonomous piece will then be presented in ARCO 2004 together with all the art interventions in the framework of Bulevares ARCO: Fragmentos de una ciudad interior, also produced as an associate project by the Sociedad Estatal para el Desarrollo del Diseño y la Innovación (D.Di).

January 2004Jorge Díez

 

 

 

 

 

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2004 / 2004.02. MINERVA. Agenda. Círculo de Bellas Artes

2004 / 2004.02. MINERVA. Agenda. Círculo de Bellas Artes

** SEE THE ATTACHED PDF

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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2004 / 2004.02.16. LA RAZÓN. Aumentan los coleccionistas españoles

2004 / 2004.02.16. LA RAZÓN. Aumentan los coleccionistas españoles

** SEE THE ATTACHED PDF

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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2004. Studio 451 (Cv)

AITOR MÉNDEZ MADRID, 1966 LIVES AND WORKS IN MADRID WWW.E451.NET 

FERNANDO A. CIENFUEGOS GRANADA, 1976 LIVES AND WORKS BETWEEN MADRID, GRANADA WWW.CUAC.EU

MADRID ABIERTO WORK: IDENTITY PROJECT FOR MADRID ABIERTO 

451 is a group project produced by people working in different fields: music, graphic design, cinema, etc...

For some years, Aitor Méndez and Fernando Cienfuegos have been searching for new graphic languages which aspire to be a reflexion of contemporary thought systems.

For MADRID ABIERTO they have broken away from the classic idea of the stable, unchangeable logo in an attempt to evoke a certain atmosphere by relating the elements of identity in a different way in each case, and according to the expression desired at a given moment.

 

 

 

 

 

 

 

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2004. Bubble Business. EMANCIPATOR BUBBLE (visual data)

2004. Bubble Business. EMANCIPATOR BUBBLE (visual data)

POSTCARD DRAFT

   

 

DRAFTS

            

 

 

 

 

 

 

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2004. Warren Neidich + Elena Bajo. SILENT (technical data / assembly)

2004. Warren Neidich + Elena Bajo. SILENT (technical data / assembly)

 

 

          

          

            

          

 

 

 

 

 

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2004. Etoy CORPORATION (technical data / assembly)

2004. Etoy CORPORATION (technical data / assembly)

     

     

     

     

 

 

 

 

 

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2004. Sans Façon. S/T (technical data / assembly)

2004. Sans Façon. S/T (technical data / assembly)

     

     

     

          

        

 

 

 

 

 

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2004. CHART. MUPPI Madrid Abierto (451 Studio

2004. CHART. MUPPI Madrid Abierto (451 Studio

 

451 DESIGN STUDIO

 

 

 

 

 

 

 

 

 

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2004. Sans Façon. S/T (location)

Depósito elevado in Plaza de Castilla

 

 

 

 

 

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2004. Emancipator bubble (theoretical data)

"EMANCIPATOR BUBBLE is the solution to all emancipation problems. It’s an inflatable bubble that enables independence without having to leave your parents’ house. Easy to set up, it offers maximum comfort with a minimum effort, thanks to its irrigation channels, electricity and telephone inlets to directly connect it to the family house, you won’t have expenses. There are many different models. Choose yours!”

 

EMANCIPATOR BUBBLE is young, new and fun. It’s what you need to live as you want. The next trend.

EMANCIPATOR BUBBLE offers the possibility of independence to young people from a young perspective. You can easily install it in your parents’ house and enjoy your own space, reaching the limits of ethical and living conditions.

EMANCIPATOR BUBBLE is not created as an emergency device, but does have a limited time use. These limits are established by the user and his family and the product’s resistance.

 

1. A BRIEF SOCIAL CONTEXTUALIZATION

Housing, as work, is one of those inalienable rights that all of us should have, but each day it seems more of a privilege or luxury, and it delays young people’s independence. A matter in which we are about the last country in Europe and that all of us must try to improve.

2. WHAT IS EMANCIPATOR BUBBLE EMANCIPATOR BUBBLE is a fake new product that imitates the aesthetic of commercial product advertisements that we see everyday on the screen or in our mailbox.

EMANCIPATOR BUBBLE’s approach of independence is ironic and playful, but still realistic. It doesn’t offer a real solution to the problem, but it offers discussion, participation and citizen’s awareness. Its main mission is to generate a more self-critical vision on young people and the administration, to open a discussion to obtain real and imaginative solutions to this problem and promote certain concept of community, “Yes, I’m also emancipator”.

3. EMANCIPATOR PUBLIC EMANCIPATOR BUBBLE is mostly oriented to a heterogeneous public of people from 18 to 34 years of age, that are the great majority of people that are in need of a house and very sensitive to this issue. A group that has been called sociological youth, which being supposedly mature, are forced to delay their independence from family and fully integrate society.

4. EMANCIPATOR ELEMENTSEMANCIPATOR BUBBLE being a fictitious product its materialization as a project is done through different communicative effects as presentations, RR.PP actions, press releases, etc).

4.1. EMANCIPATOR BUBBLE GUM 400.000 chewing gums, as a metaphorical element (inflatable, it remains stuck, youthful, etc), they are the main form of word of mouth promotion of EMANCIPATOR BUBBLE.

4.2. www.emancipator.orgEMANCIPATOR BUBBLE’s main communication platform of contents, information and participation and interaction with the public.

With a corporative image, it presents the product, different models, tests, games, opinions are type-characters, with which possible spectators can identify themselves, etc.

4.3. OTHER PLATFORMSCommunication actions and the rumour effect directed to making EMANCIPATOR BUBBLE a news item and create publicity.• Tele-shopping type of advert to be shown on local TV channels.• Presentation set. • Presence in specialized forum son housing, youth, culture, etc, as in other places it’s possible to contact with the objective public (universities, festivals, in the street, transport, exhibitions...)• Other promotional elements that go with the gum and the web to strengthen the sense of community: adverts, pins, t-shirts, stickers• Etc..

 

 

 

 

 

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2004. Wolfgang Weileder. HOUSE MADRID (location)

Paseo de Recoletos, next to Plaza de Colón

 

 

 

 

 

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2004. Warren Neidich + Elena Bajo. SILENT (location)

Paseo de la Castellana, between Eduardo Dato and Marques de Riscal

 

 

 

 

 

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2004. Etoy CORPORATION (location)

Jardines del descubrimiento, next to Plaza de Colón

 

 

 

 

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2004. Sans Façon. S/T (theoretical data)

 

Sans Façón is a collaborative practice between an artist and an architect. Our works are defined by their relation to places, incorporating the situation and the qualities of any given environment as an active part of an installation.

We use the interventions as a filter through which one can look differently at a place, Exposing the conditions of this place, the workings, the structure, by the slightest intervention creates a shift that allows the site to be seen anew. We aim to create something that can be celebrated, not for its magnificence but tor what it reveals, what it allows to be seen, enjoyed and thought about: the site. We use interventions as a tool to enrich our perceptions.

«She was te/ling him: "I don't see what you see" and him: "It is possible that I add, I admit it, but the essentiei is in the things, their power to provocate l. .. I. it's indisputable and my sole interest as a guide is to be able to reveal them to you."»Yves Berger, Santa Fé.  

Our proposal for Madrid Abierto is based on the depósito elevado. This building is a very good example of a banal urban object with no pretension, it is technical and useful. It is the kind of structure that passers-by don't look at beca use it is not labelled as worthy, it's just a water tower. But what a water tower and what a setting tor it. Our installation intends to make people look again, not to look at an artwork on the side of it but enjoy and appreciate this emblematic and impressive structure.

We propose to clad the pillars ot the tower with acrylic mirrors. Firstly creating a different experience of this object, the buildings reflected on the pillars present a new reading of the surroundings, the reflections create an ever-changing appearance to the structure.

Furthermore it plays with and expresses the architectonic quality of the building. The reflections create a sort of transparency, the weight of the concrete tank becomes much more present once the holding structure disappears (whilst remembering the unfinished stage the building was in for 7 years because of political turmoil). This big mass of concrete hovering in the air creates a disturbing and uncomfortable vision of the building, this technical construction doesn't seems to fulfil its structural function anymore. The altered aspect of the water tower questions the immutable state of our built envíronment.

The intervention transforms the depósito elevado into a "sculpture" just by renewing temporally the experience of looking at it.

For a period of time the depósito elevado becomes an event. Previously just part of our everyday peripheric observation, it acquires a new existence through memory and imagination once the event has passed.

«Lite itseft has summoned into being this poetic deity which thousands will pass blindly by, but which suddenly become palpable and terribly haunting for those wtio have at last caught a confused glimpse of tt.»Louis Aragon, París Peasant.

 

 

 

 

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2004. El Perro. VIRTUAL DEMOLITION MOBILE (location)

Paseo de Recoletos next to Plaza de CibelesVirtual demolition of the buildings rated online

 

 

 

 

 

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2004. Wolfgang Weileder. HOUSE MADRID (proposed location)

 

house-Madrid will be located at the pedestrian area in the middle of Paseo de Recoletos next to Plaza de Colón. The site is accessible for the delivery of materials.

The light weight blocks can be sto red at a fenced off compound area close to the building site.

 

 

 

 

 

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2004. Diana Larrea. EL PALACIO ENCANTADO (location)

 Casa de América façade, Plaza de Cibeles

 

 

 

 

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Wolfgang Weileder. HOUSE MADRID (technical data)

 

TECHNICAL REQUIREMENTSAII technical requirements are based on the structural engineers report for house-Madrid from ARUP, Newcastle (see attached copy).

PRINCIPAL BUILDERSR.BAU Limited have agreed to be the principal builders of house-Madrid. R.BAU Limited will carry out all construction and de-construction work of the project. This includes the setting out of the wet course (first course in normal mortar) and the construction of the thin joint block work. Operational and site management, site perimeter and perímeter safety are the responsibility of R.BAU Limited.

Site maintenance, material handling, deconstructing the project and cleaning up of the site on completion of the project are carried out by R.BAU Limited.

R.BAU Limited will ensure that health and safety regulations as applicable to building works are followed by its employees. However the company will not be responsible for ensuring the compliance of other partners in the project or accept liability for the safety of the site except for factors directly attributed to the company's works.

BLOCKSThe blocks required for house-Madrid will be sponsored by THERMALlTE, Birmingham. THERMALlTE has agreed to deliver the blocks to the site in Madrid.

OTHER MATERIALS FOR THE BUILDING

Materials and tools to be organized by Madrid Abierto:- ScaffoldingTwo heavyweight braced scaffolds (height of 6m and ea. 4m width)A scaffolder from Madrid should put up the scaffolding for the workers.- FencingFencing for the storage area and the site- HoistsTwo hoists to get the material up the scaffolding.- An electrical mixing-whisk(To mix the thin joint mortar)- 20 bags of cement and 0.5 tonne of sand(For the first wet course)- A cement mixerTo mix the mortar for the first wet course- 4 buckets- A skip(For the material waste)- 12 timber lintels:Rough sawn timber 25mm x 200mm x 1200mm- damp proof membrane 50cm wide, 50m long4 shovels

Materials and tools to be organized by R.Bau and THERMALlTE:- R.Bau will provide the hand tools, helmets and other misc.THERMALlTE will provide the thin joint mortar.

MADRID ABIERTOMadrid Abierto will be responsible for ensuring compliance of all legal requirements for the construction of the project and should inform the artist and R.BAU Limited in writing, giving sufficient notice of any matter pertinent to the project requiring compliance from our company.

Madrid Abierto will provide accommodation for 7 workers (5 workers, one mentor and one supervisor) from R.BAU Limited and the artist.

Madrid Abierto will provide access to 220Volt power and water. Madrid Abierto will also ensureaccess to the Internet.

Madrid Abierto will organize the waste disposal and the disposal of all used and unused material.

VOLUNTARILY WORKERS FROM MADRIDhouse-Madrid is dependent on the voluntary help of people from Madrid. This forms an important part of concept of the art piece. The helpers should be involved in the building and deconstruction process. For house-city, Newcastle we worked together with the brick laying department of the local college. Ten of their students and two teachers were helping us throughout the four day building periodo Madrid Arbierto would organise a similar collaboration with either a building company or a similar college in Madrid.Used and unused material will be donated to the building college of Madrid. They need to pick up the material from the site and be involved in the cleaning of the site.

MOVIE, WEB-CAM AND TIME LAPSE PHOTOGRAPHShouse-Madrid will be documented with two time lapse movies.

The artist will need access to power and a lockable room nearby to store the equipment.The movie cameras need to be placed around the site according to attached floor plan and photographs.

house-Madrid will also be documented with a live web-cam. The camera needs to be installed close to power and Internet access. (see photographs and floor plan). The artist is hosting the web page for the live web-cam.

The artist will take time-Iapse photographs during the 10-day building period of house-Madrid.Four large format photographic cameras need to be placed around the site according to attached floor plan and photographs.

To mount the install the cameras the artist needs:Heavy weight braced scaffolding parts to support a lamppost and to form a tripod.(see photographs and floor plan)To be organized by Madrid Abierto together with the scaffolding for the building.

Madrid Abierto will organize the permits for installing the cameras according to attached floor plan and photographs.

INFO POINTMadrid Abierto will set up an info-point close to the site. Details need to be discussed.

 

PLANNINGThe building work on house-Madrid will start on Thursday, 5th of February 2004 and finish on Sunday, 15th of February 2004. The working hours will be 7am - 7pm each day.

The materials will arrive on Saturday, 4th of February 2004.

The site will be cleaned on the last working day, Sunday, 15th of February 2004.

 

 

 

 

 

 

 

 

 

 

04prtc0062, 04prtc0065

2004. Bubble Business. EMANCIPATOR BUBBLE (location)

- Círculo de Bellas Artes- Arco- Zona de intervenciones

 

 

 

 

 

 

 

 

 

 

 

04intd0135

2004. Wolfgang Weileder. HOUSE MADRID (theoretical data)

 

Three stories high, house-Madrid will be constructed during MADRID ABIERTO over a period of four till seven days in an public space in Madrid.

Two groups of builders will simultaneously construct and de-construct the two identical shells of house-Madrid during the four days. 6.3 m high shells will be built out of lightweight blocks up to third floor level and juxtaposed with each other in rotational symmetry. The process will be synchronized so that the construction and de-construction is choreographed sequentially: The opposite segments of the two shells will slowly move around each other until bouse- Madrid is completed. Two separate houses will appear on the same spot at the same time.

house-Madrid becomes a structure of constant movement as walls appear and disappear, its spatiality constantly changing and unstable. This will raise questions about the permanence of architectural structures, their relationship to their surroundings, and the nature of housing. Architecture is re-defined as what we might consider to be a permanent structure becomes animated and temporary.

As a work of collaboration, house-Madrid reveals the process, the labour and skill of building as a visible experience. The construction of the monumental becomes an event, a visible and spatial experience of a process in flux rather than the presentation of a finished architectural structure.

house-Madrid explores the relationship between the temporary and the permanent in architecture as well as investigating the boundaries between process, artwork and documentation.

house-Madrid will be recorded using a unique process. Three specially constructed cameras will be positioned strategically around the sculpture. The photographic plates will be exposed for the duration (four till seven daysl to produce time lapsed black and white photographs. The resulting large-scale photographs will eventually reveal the only complete view of the two separate houses, the overlaid shells, of house-Madrid. Additionally, a time-Iapse video and 16mm movie will be made.

 

 

 

 

 

04prtc0061

2004. Warren Neidich + Elena Bajo. SILENT (visual data)

2004. Warren Neidich + Elena Bajo. SILENT (visual data)

PHOTOMONTAGE

"Silent"  Paseo de Recoletos render

"Silent" road crossing view rendering, Paseo de Recoletos, Madrid

 

REFERENCES

 

 

 

 

 

 

04prtic0048, 04pric0050

2004. Warren Neidich + Elena Bajo. SILENT (theoretical data)

 

PROJECT DESCRIPTION

We are proposing a plexiglass noise barrier/sculpture called "Silent" that would run down Paseo de Recoletos from the Plaza de Cibeles to the Plaza de Colon. This kind of noise barrier has usually been placed along highways as a means of limiting noise pollution for those living near the highway. But urban environments and city dwellers also suffer the effects of insidious noise pollution The purpose of this artwork is to create areas of stillness, silence and quiet within the complex, bustling, congested urban space and to create asculpture which communicates to the other beautiful sculptures already in place.

Instead of being a visual monument linked to the past as the other sculptures in the area are, "Silent" ís about space and process. It is a socially interactive work which creates a place where people can once again enjoy peace and quiet; where they can cogitate, read or engage in intimate conversations at cafés which border the route. This is a normal condition in the countryside where there are many places in the forest or the field in which aman or woman can enjoy such peace but in the city and in places where the urban environment has been reduced and compressed. Spaces such as the one we would like to create are limited, fragile and precious. We want to make this piece as a gift / artwork to the people of Madrid as an act of generosity to improve the quality of their lives , an ephemeral gesture.

Noise Barriers, as the name implies are barriers constructed to deflect dissonant sound waves coming from the interaction of the automobiles with the highway. As highly industrialized nations like those of the European Union out grow their available land mass, marginal spaces along motorways and railroad tracks have begun to be developed for living. Domestic suburban communities have sprung up in these spaces and created new strategies and solutions to counter certain characteristic distasteful qualities like air and sound pollution. Noise barriers are one such recent invention. But the city is also a place where this kind of noise pollution exists. Our project is fundamentally a redesign, reimplementation and relocation of an already available industrial artifact from its primary site along the highway to one embedded in the urban infrastructure and contiguous too a busy thoroughfare, the Paseo de Recoletos. It is a recontextualized readymade configured to align itself with an urban plan to redefine it as a less sibilant place while at the same time creating an artwork as a weaving gesture of pure translucency.

But there are other levels of discourse that act subliminaly yet are just as important in defining the social, politícal, historical and psychological relations of our project which must be addressed. As mentioned before this work of public art will be deeply connected to people who see and interact with it. Its reiteration of the urbanscape will create metaphoric and analogic meanings as a social sculpture which must be crossed and dealt with. This reiteration is visual, acoustic and physical. First its transparency will frame certain scenes anew giving certain structures greater atlention whilst simultaneously decreasing the presence of others. Secondly, urban planners andarchitects who for so long have been part of a culture of spectacle and phaticity are now designing structures to decrease stimulation.

We are all being over stimulated by the random sounds of our technologic culture and need some peace from it. This work of art decreases sound and its random brother noise. Finally, it abruptly starts and stops at pedestrian crossways and these sites are a kind of stage for the reenactment of a crossing that refers to the works proximity to the Christopher Columbus Monument. We are also interested in the way these sound barriers operate in spaces of indeterminacy separating the nomadic culture of the highway from the pristine domesticity of sedentary life; as if the barrier was impenetrable to sound but permeable to other forms of information allowing these very diverse and different cultures to interpenetrate forming morphologies of hybridity. I think that in our changing, fast paced, global world this type of analogous hybridity forms an important analogy for how other very diverse cultures based on very different discourses might intermingle and mutate.

Especially in their most recent manifestation as transparent plexi-glass sheets these sound barriers begin to operate as metaphors of openness as they make it more and more possible for these two extreme but necessary forms of living to coexist in close proximity creating new possibilities a kind of third space, to emerge. We must atso considers this works ties to past sculptural experiments and we can not help but remark on the uncanny morphologic similarities these structures have to the sculptures of Richard Serra with which they also share strong perceptual, phenomenological underpinnings although its emphasis on beauty and its socially positive message are very different concerns then those that interested him.

Together these deeper levels of meaning noat up to interact with the materialist underpinnings of this physical sculpture set in the real, physical world. But by reading the structure in these many ways the work becomes metaphysical and immaterial.

 

 

 

 

 

 

 

04prtc0047

2004. El Perro. VIRTUAL DEMOLITION MOBILE (visual data / draft + related work)

2004. El Perro. VIRTUAL DEMOLITION MOBILE (visual data / draft + related work)

DRAFT

 

RELATED WORK

    

 

 

 

 

 

 

 

 

04pric0038, 04pric0039

2004. Bubble Business. EMANCIPATOR BUBBLE (proposed locations)

2004. Bubble Business. EMANCIPATOR BUBBLE (proposed locations)

       

EMANCIPATOR BUBBLE IN MADRID ABIERTO

We believe that a public space intervention is an interaction with the context and, most of all, the people and their daily worries.

So for MADRID ABIERTO, EMANCIPATOR BUBBLE wants to present itself as a container information stand (location must still be determined) in which to present a product to pedestrians in different ways (web, model, chewing gum, notice-board...), at the same time as we collect information to open.

There is a possibility (according to the budget or the option of establishing some type of agreement), for example, with the use of billboards and promotional video in some of the local televisions or in the subway TV, etc.

 

 

 

 

 

 

 

 

04prmc3427

2004. Sans Façon. S/T (published text)

 Sans façon is a collaborative practice between an artist (Tristan Surtees) and an architect (Charles Blanc). Theirs works are defined by their relation to places, incorporating the situation and the qualities of any given environment as an active part of an installation.

They use the interventions as a filter through which one can look differently at a place. Exposing the conditions of this place, the workings, the structure, by the slightest intervention creates a shift that allows the site to be seen anew. They aim to create something that can be celebrated, not for its magnificence but for what it reveals, what it allows to be seen, enjoyed an thought about: the site. They use interventions as a tool to enrich our perceptions.

She was telling him: “I don´t see what you see” and him: “It is possible that I add, I admit it, but the essential is in the things, their power to provocate [...], it´s indisputable and my sole interest as a guide is to be able to reveal them to you.Yves Berger, Santa Fe.

Their proposal for Madrid Abierto is based on the Depósito Elevado. This building is a very good examble of a banal urban object with no pretension, it is technical and useful. It is the kind of structure that passers-by don´t look at because it is not labelled as worthy, it´s just a water tower. But what a water tower and what a setting ofr it.

This installation intends to make people look again, not to look at an artwork on the side of it but enjoy and appreciate this emblematic and impressive structure.

The intervention propose to clad the pillars of the tower with acrylic mirrors. Firstly creating a different experience of this object, the buildings reflected on the pillars present a new reading of the surroundings, the reflections create and ever-changing appearance to the structure.

Furthemore it plays with and expresses the architectonic quality of the building. The reflections create a sort of transparency, the weight of the concrete tank becomes much more present once the holding structure disappears (whilst remembering the unfinished stage the building was in for 7 years because of political turmoil). This big mass of concrete hovering in the air creates a disturbing and uncomfortable vision of the building, this technical construction doesn´t seems to fulfil its structural function anymore. The altered aspect of the water tower questions the immutable state of our built environment.

The intervention transforms the depósito elevado into a “sculpture” just by renewing temporally the experience of looking at it.

For a period of time the depósito elevado becomes an event. Previously just part of our every day peripheric observation, it acquires a new existence through memory and imagination once the event has passed.

 

 

 

 

 

 

04intc0134

2004. Fernando Sánchez Castillo. PERSPECTIVA CIUDADANA (published text)

 The aim of the project is to reveal to the spectator the qualities of equestrian sculpture which, due to its elevated position, is inaccessible to pedestrians –who are only able to see the sculptures of eminent people at street level when they are knocked down or exchanged for others.

Especially important is the statue of Philip IV in the Plaza de Oriente. City Authority personnel in charge of recent cleaning were amazed by the richness of the detail and invited the casting department of the Royal Academy of San Fernando to make moulds of the most significant parts. Moulds were made of the head and one leg of the horse, the king's gloves and other small details threatened with deterioration from pollution. 

Features and motifs -unknown and therefore uncatalogued- adorning the saddle and reins were discovered. The excellence, opulence and ostentation of the sculpting, chiselling and founding merit both the exhibition of the pieces and a reflection on the expression of power. 

The artwork displays the cast bronze fragments of the statue on a low platform, uses, moreover, the same popular strategies of pseudo-history or romantic ruins revived ad infinitum by postmodernity, and also attempts to encourage a continuous debate on imposed or desired heroes which historically have been eliminated and quickly substituted. Perspectiva ciudadana wishes to recover the ability to think as the essence of contemporary man.

 

 

 

 

 

04intc0122

2004. Warren Neidich + Elena Bajo. SILENT (published text)

The artists are proposing a plexiglass noise barrier/sculpture called Silent that would run down Castellana Street from the Museo de Escultura al Aire Libre towards Marqués del Riscal Sreet. This kind of noise barrier has usually been placed along highways as a means of limiting noise pollution for those living near the highway. But urban environments and city dwellers also suffer the effects of insidious noise pollution. The purpose of this artwork is to create areas of stillness, silence and quiet within the complex, bustling, congested urban space and to create a sculpture which communicates to the other beautiful sculptures already in place. Instead of being a visual monument linked to the past as the other sculptures in the area are, Silent is about space and process. It is socially interactive work which creates a place where people can once again enjoy peace and quiet; where they can cogitate, read or engage in intimate conversations at cafés which border the route. This is a normal condition in the countryside where there are many places in the forest of the field in which a man or woman can enjoy such peace but in the city and in places where the urban environment has been reduced and compressed. Spaces such as the one the artists would like to create are limited, fragile and precious. They want to make this piece as a gift/artwork to the people of Madrid as an act of generosity to improve the quality of their lives, an ephemeral gesture.

Noise Barriers, as the name implies, are barriers constructed to deflect dissonant sound waves coming from the interaction of the automobiles with the highway. As highly industrialized nations like those of the European Union out grow their available land mass, marginal spaces along motorways and railroad tracks have begun to be developed for living. Domestic suburban communities have sprung up in these spaces and created new strategies and solutions to counter certain characteristic distasteful qualities like air and sound pollution. Noise barriers are one such recent invention. But the city is also a place where this kind of noise pollution exists. This project is fundamentally a redesign, reimplementation and relocation of an already available industrial artifact from its primary site along the highway to one embedded in the urban infrastructure and contiguous too a busy thoroughfare, the Castellana Street. It is a recontextualized readymade configured to align itself with an urban plan to redefine it as a less sibilant place while at the same time creating an artwork as a weaving gesture of pure translucency.

But there are other levels of discourse that act subliminaly yet are just as important in defining the social, political, historical and psychological relations of our project which must be addressed. As mentioned before this work of public art will be deeply connected to people who see and interact with it. Its reiteration of the urbanscape will create metaphoric and analogic meanings as a social sculpture which must be crossed and dealt with. This reiteration is visual, acoustic and physical. First is transparency will frame certain scenes anew giving certain structures greater attention whilst simultaneously decreasing the presence of others. Secondly, urban planners and architects who for so long have been part of a culture of spectacle and phaticity are now designing structures to decrease stimulation. They are all being over stimulated by the random sounds of our technologic culture and need some peace from it. This work of art decreases sound and its random brother noise. We are also interested in the way these sound barriers operate in spaces of indeterminacy separating the nomadic culture of the highway from the pristine domesticity of sedentary life; as if the barrier was impenetrable to sound but permeable to other forms of information allowing these very diverse and different cultures to interpenetrate forming morphologies of hybridity. I think that in our changing, fast paced, global world this type of analogous hybridity forms an important analogy for how other very diverse cultures based on very different discourses might intermingle and mutate. Especially in their most recent manifestation as transparent plexiglass sheets these sound barriers begin to operate as extreme but necessary forms of living to coexist in close proximity creating new possibilities a kind of third space, to emerge.

We must also considers this works ties to past sculptural experiments and we can no help but remark on the uncanny morphologic similarities these structures have to the sculptures of Richard Serra with which they also share strong perceptual, phenomenological underpinnings although its emphasis on beauty and its socially positive message are very different concerns then those than interested him. Together these deeper levels of meaning float up to interact with the materialist underpinnings of this physical sculpture set in the real, physical world. But by reading the structure in these may ways the work becomes metaphysical and immaterial.

 

 

 

 

 

04intc0125

2004. Sans Façon. S/T (visual-technical data)

2004. Sans Façon. S/T (visual-technical data)

 

    

     

      

     

       

       

       

    

    

 

 

 

 

 

 

 

 

 

 

 

 

04inmb3424

2004. Etoy CORPORATION (published text)

 Invited as guest artists etoy.CORPORATION installed its mobile headquarter, studio and Internet node in the heart of Madrid to perform a commercial experiment on the edge of reality, that answered Madrid Abierto proposal in order to research the art industry. Two etoy.CARGO-TANKS landed on Plaza Colon during the night of January 29th/30th 2004.

etoy, famous for subversive PR stunts like the digital hijack (1,5 million online art hostages in 1996) or the online clash with the American 10 billion dollar corporation eToys inc. In late 1999 (TOYWAR, with 4 billion dollars the most expensive performance in art history), won several international art awards and regularly appears in popular media channels such as CNN, Wired News, Washington Post, NZZ, Tate Publishing, El País etc.

Between February 5th and 22nd 15 etoy.AGENTS from Italy, the USA, Germany, Switzerland, Belgium and Spain aggregate in the physical world to operate a spectacular, living art installation on Plaza Colon. Dressed in their uniforms and equipped with identical high tech tools the etoy.CREW will conduct an art industry analysis to explore the acceptance for a different kind of culture economy. The fundamental question is: are collectors, galleries and the Spanish population ready to move away from traditional object ownership (paintings, photography and sculptures) and authorship (masters / stars) in order to test an alternative art production system? agent.MARCOS / etoy.CFO: “it is time to question the established models of cultureconomical exchange.”

THE EXPERIMENT

etoy.CORPORATION offers to participate in an open artwork that is not defined or produced yet. Collectors visiting the ARCO art fair as well as common people in the city who normally don’t buy art will have the opportunity to purchase etoy.

SHARES

Six different investment packages (from 2 euros to 30.000 euros) allow participation in a very special art work. etoy.CORPORATION will be using all investments acquired in Madrid to create and document concrete cultural value in the Hispanic market within the next 5 years (scale and locations depend on the volume and strategic partners). For their investment the cultural shareholders get the right to vote on project proposals and resolutions. etoy.CORPORATION is organizing the development process and serves as the information hub to coordinate the world wide planning and production. etoy’s advanced internet voting system, specific etoy.BLOGS and etoy.CHATS as well as many years of experience guarantee maximum impact (TRACK RECORD: www.etoy.com).

The new owners of etoy (already 2500 people participate world wide) will finance, produce and control the Spanish etoy.PROJECT. Their contribution and ownership is certified by a shareholder card and/or a unique etoy.SHARE-CERTIFICATE (see samples on www.secure.etoy.com or on www.etoy.com) that gives them access to internal reports and voting procedures for all future etoy.OPERATIONS.

DISCLAIMER

etoy.CORPORATION is a global corporate sculpture to share culture profits instead of maximizing financial wealth. etoy is a registered trade mark of the etoy.VENTURE association. Past success cannot guarantee future performance. Share redemption strictly limited.

MISION

the etoy.CORPORATION is a corporate sculpture officially incorporated 1994 in zurich. etoy is a typical early mover (online since 1994) and developed rapidly into a controversial market leader in the field of experimental internet entertainment and art. actions and services like the digital hijack (1996), etoy.TIMEZONE (1998), TOYWAR (1999/2000) or etoy.DAYCARE (2002) are classics of art. The etoy. CORPORATION is owned by more than 2000 etoy. SHAREHOLDERS: international art collectors, venture capitalists, the etoy.AGENTS, the etoy.MANAGEMENT, fans and a few hundred TOYWAR. soldiers (who protected the etoy.BRAND during the legendary TOYWAR.battle). The etoy.INVESTORS control and own the corporate sculpture etoy.

etoy does not sell isolated art objects. etoy sells, trades and exchanges parts of itself: “etoy.SHARES” represent participation and cultural value. all 640.000 etoy. SHARE-UNITS available on the international art market equal 100% of the etoy.POWER (=100% of the company). Unique and registered etoy.SHARE-CERTIFICATES and etoy.MAGNETIC-CODE-CARDS guarantee the strict limitation of etoy.SHARES.

Since 1998 orange etoy.TANKS (12 and 6 meter long standardized windowless shipping containers - the icons of globalisation) build etoy’s mobile and multifunctional office system including studios, hotels, conference rooms etc. where ever etoy is needed in the physical world, the orange etoy.TANKS pop up or vanish over night to infect the way people think and feel (i.e. in San Diego, San Francisco, New York, Zurich, Tokyo or Torino between 1998 and 2003). Depending on the market situation and projects between 5 and 15 etoy.CORE-AGENTS (currently 4 women and 11 men in switzerland, austria, italy, germany, japan and the usa) build the production and research crew of the etoy.CORPORATION. Day to day business is conducted by the etoy.MANAGEMENT (2 from 3 etoy.DIRECTORS must sign contracts).

etoy won several international art awards (i.e. the golden nica in the .net category / prix ars electronica) and regularly appears on TV (invited and uninvited) as well as in other traditional media channels to injectthe etoy.VIRUS: the New York Times, Silicon Valley Reporter, Washington Post, Wired News, NPR, Le Monde, Der Spiegel, NZZ, WOZ, La Repubblica, Relax Japan etc. etoy.CREW-MEMBERS lectured and spoke at the MIT media lab in Boston, UCSD in San Diego, DASARTS in Amsterdam, ETH Zurich, Gottlieb Duttweiler Institute, Intercommunication Center ICC in Tokyo, the Interactive Institute in Stockholm and at many international festivals.

 

 etoy.DISCLAIMER: etoy.INVESTMENTS are not focused on financial profits.

the etoy.VENTURE is all about cultural revenue, social profit and intellectual capital generated with the invested resources.

 

 

 

 

 

04intc0119

2004. Sans Façon (Cv)

CHARLES BLANC / SAINT ETIENNE, FRANCE, 1974TRISTAN SURTEES / UNITED KINGDOM, 1977LIVES AND WORKS IN GLASGOW WWW.SANSFACON.CO.UK

CHARLES BLANC1999· March, Advanced Architectural Design, Universidad Strathclyde, Glasgow.

1998· DPLG, Escuela de Arquitectura de St. Etienne.

TRISTAN SURTEES2000· BA Hon´s, Escuela de Arte de Glasgow.

1997· HND, Leeds College of Art and Design.

PROJECTS ON COURSE2003·    Fish Quay, instalación temporal en North Shield, Newcastle.·    Stories, diseño de instalación en colaboración con Nick Bone, Magnetic North Theatre Company, Scotland.·    Billboards, serie de instalaciones en escaparates comerciales, Glasgow.·    Weeds, serie de instalaciones sobre la vegetación urbana, Glasgow.

2002-2003·    Viewing platform, comisariado de arte público para Valot wetland, Devon. ·    The walled garden, comisariado de arte público en Gorbals, Glasgow. ·    Millennium Award, investigación y diseño de una audio-librería para la ciudad de Glasgow.

PREVIOUS PROJECTS2001·    Stirring the City, comisariado y diseño de exposición de Gorbals Artworks Programme, Lighthouse, Glasgow.

2000·    Zones, programa estudiantil de la Escuela de Arte de Glasgow, 3º year Environmental Art.·    Samples, grabación del la Plaza de la Reina Elizabeth antes de su demolición, Glasgow.

GROUP EXHIBITIONS2002·    Private view. Dun Laoghaire, Irlanda.·    En Passant, Sacy-le-Petit, Francia.·    Traces, exposición colectiva, RK Burt, Londres.

2001·    CATS, exposición colectiva. Dundee Contemporary Arts.·    Stirring the City, exposición colectiva en The Lighthouse, Glasgow.

2000·    Royal Scottish Academy, exposición colectiva, Edimburgo.

·    Clear @ Home, exposición colectiva, Glasgow.

PUBLICATIONS2003·    C.I.P.02, catálogo de exposición, Dun Laoghaire, Irlanda.

2002·    En passant, catálogo de exposición, Sacy-le-Petit, Francia.

2001·    Views of the West Coast of Scotland, producido por Book Lab™, comisariado por Cove Park.·    Sans façon, publicación propia.

2000·    Desire line, publicación colectiva publicada por la Escuela de Arte de Glasgow.

1999·    STARTS, publicación colectiva publicada por la Escuela de Arte de Glasgow.·    Becas

2002·    Sacy-le-Petit, Picardie, Francia.

2001-2002·    Dundee Contemporary Arts, Creative and Technical Skills Training Programme.

2001·    Cove Park, Outside the Box, Escocia.

 

 

 

 

 

04prtb0029

2004. Wolfgang Weileder. HOUSE MADRID (published text)

Three stories high, house-Madrid will be constructed during Madrid Abierto over a period of ten days in an public space in Madrid.

Two groups of builders will simultaneosly construct and de-construct the two identical shells of house-Madrid during the ten days. 6,3 meters high shells will be built out of lightweight blocks up to third floor level and juxtaposed with each other in rotational symmetry. The process will be synchronized so that the construction and de-construction is choreographed sequentially: the opposite segments of the two shells will slowly move around each other until house-Madrid is completed. Two separate houses will appear on the same spot at the same time.

house-Madrid becomes a structure of constant movement as walls appear and disappear, its spatiality constantly changing and unstable. This will raise questions about the permanence of architectural structures, their relationship to their surroundings, and the nature of housing. Architecture is re-defined as what might consider to be a permanent structure becomes animated and temporary.

As a work of collaboration, house-Madrid reveals the process, the labour and skill of building as a visible experience. The construction of the monumental becomes an event, a visible and spatial experience of a process in flux rather than the presentation of a finished architectural structure.

The art work explores the relationship between the temporary and the permanent in architecture as well as investigating the boundaries between process, artwork and documentation.

house-Madrid will be recorded using a unique process. Three specially constructed cameras will be positioned strategically around the sculpture. The photographic plates will be exposed for the duration to produce time lapsed black and white photographs. The resulting large-scale photographs will eventually reveal the only complete view of the two separate houses, the overlaid shells. Additionally, a time-lapse video and 16mm movie will be made.

 

 

 

 

 

 

 

04intc0131

2004. Wolfgang Weileder (Cv)

MUNICH, 1965LIVES AND WORKS IN NEWCASTLE, REINO UNIDOWWW.WOLFGANGWEILEDER.COM | WWW.FOLD-UP.INFO | WWW.HOUSE-PROJECTS.COM | WWW.TRANSFER-PROJECT.ORGWORK EXPOSED IN MADRID ABIERTO: House-Madrid

EDUCATION1989-1995· Academy of Fine Arts, Munich.· Universidad de Newcastle, Inglaterra.· MFA Photography and Related Media Programme, Escuela de Artes Visuales, New York.

2000–2002· Beca de Investigación en Escultura, Universidad de Newcastle.· Desde 2001· Profesor Fine Art Department, Universidad de Newcastle.

GRANTS AND AWARDS2000·    Ministerio Bávaro de Ciencia y Cultura. Beca de Investigación para EE.UU.

1999·    Premio del Estado Bávaro.

1998·    Residencia en la Fundación Erich Hauser

1995·    Servicio Alemán de Intercambio Académico (DAAD), Beca Debütantenpreis,·    Premio de la Academia de Bellas Artes, Munich.

1991·    Beca de La Fundación Nacional Alemana de Becas.

1990·    Primer Premio Kardinal Wetter.

SOLO PROJECTS 2003·    house-city, instalación efímero, Grainger Town, Newcastle.·    Barriers + dinghies, instalación temporal para Blue River Design, Newcastle.

2002·    Muraiki, instalación sonora en colaboración con Matthew Sansom, t-u-b-e·    Galerie für radiophone Kunst, München y Globe Gallery, North Shields, Reino Unido.

2000·    Jam, Ausstellungsforum FOE 156, Munich.

1998·    Presentación de la obra realizada durante la residencia en la Fundación Erich Hauser, Saline 36, Rottweil.

1996·    Sie zeigten, da?..., con Daniel Tharau, Arena, Berlín.·    Checkmate, con Daniel Tharau, SVA Amphitheater, Nueva York.

1994·    Kunstforum, Städtische Galerie im Lenbachaus, Munich.

1992·    Boat, Hatton Gallery, Universidad de Newcastle, Reino Unido.

GROUP EXHIBITIONS SINCE 1994 (selection)2002·    Connecting principle, Universidad Newcastle, Newcastle.·    Land and the Samling, Sculpture Park at Kielder Reservoir, Northumberland.

2001·    Ceramics, E.P.O. European Patent Office and Rathausgalerie, Munich.·    Premios de la Fundación Erich Hauser Foundation, Saline 36, Rottweil.

2000·    Was geschied bestimmt der Ort, L.A.C. Lieu d´art Contemporain, Sigean, France.·    Premios del Estado Bávaro, Galerie der Künstler, München.

1999·    x-mas, Kent Gallery, New York.

1997·    X Exposición de la Fundación Jürgen Ponto, Kunstverein, Frakfurt.

1996·    Specifics, SVA Gallery, New York·    Junge Kunst 1996, Saar Ferngas Förderpreis, Wilhelm-Hack-Museum, Ludwigshafen.·    Out of Egypt, Ägyptische Staatssammlung, Munich.

1995·    Debütantenpreis 1995, Academy of Fine Arts, Munich.·    Ortung, GSF-Forschungszentrum für Umwelt und Gesundheit, Munich.

1994·    Kunststudenten stellen aus, Kunsthalle der Bundesrepublik Deutschland, Bonn.·    Anvisiert, Deutsches Museum, Munich/Oberschleissheim.

 

 

 

 

 

04prtc0028

2004. Maider López. CARTELES PUBLICITARIOS Y BANDEROLAS (published text)

In my work I like to focus on the formal occupation of space and the calibration of its physical and objectual dimensions.

I am interested in linguistic reflection on what painting does or doesn’t mean, and also in discovering the complicities arising between painting and architecture in our understanding of the human habitat, and by extension the urban habitat. The site of my project will be two of the capital’s main arteries: Paseo de la Castellana and Calle de Alcalá, serving in turn as a link between the various Madrid Abierto projects.

Accordingly I propose a project in which pictorial works will cross over to unusual media such as advertising streamers or hoardings, and which are at the same time integrated into our collective urban space.

To stroll along a street is to be continually identifying signs. A bombardment of images that our brains have learnt to ignore or to take in only selectively.

Decipherable codes are all around us: traffic lights (green = walk, red = don’t walk, etc.), traffic signals, advertising (with texts and graphic designs that we also identify).

But what happens when traffic signals do not say things we recognize and when advertising hoardings speak to us in a code that we cannot decipher?

ADVERTISING THAT APPARENTLY ADVERTISES NOTHING

ADVERTISING HOARDINGS WHICH, INSTEAD OF REFERRING US TO ANOTHER OBJECT, ARE SELF-REFERENTIAL

HOARDINGS THAT ADVERTISE ONLY THEMSELVES

 

 

 

 

 

 

04intc0116

2004. Warren Neidich + Elena Bajo (Cv)

WARREN NEIDICH NEW YORK, 1962LIVES AND WORKS IN BERLÍNWWW.WARRENNEIDICH.COM

ELENA BAJOMADRID, 1975LIVES AND WORKS AMONG MADRID, NEW YORK, BERLÍN, LOS ÁNGELES.WWW.ELENABAJO.COM

WORK EXPOSED IN MADRID ABIERTO: Silent

WARREN NEIDICHTrabaja temporalmente como artista invitado en el Goldsmiths College de Londres y en The Cooper Union for Art and Science de Nueva York. Actualmente disfruta de la beca de investigación ACE-AHRB Arts and Science de British Council. Próximas exposiciones en Kunstverien Potsdam de Alemania, en Buero Fredrich de Berlín y en Edward Mitterand Gallery de Ginebra, Suiza.En 2002 tuvo una exposición individual en el California Museum of Photography de Riverside (California), en Muller de Chiara Gallery de Berlín (Alemania), en The Storefront for Art and Architecture de New York, y en Edward Mitterand Gallery de Ginebra (Suiza). Próximas exposiciones individuales en Kunstverein Potsdam, en Postdam (Alemania), y en Muller de Chiara Gallery.Su libro Blow-up: Photography, Cinema and the Brain, co-producido por Ford Foundation y DAP, presenta una introducción del historiador de arte Norman Bryson. Es miembro co-fundador de artbrain-org, una web site que trata sobre arte, escritos y cine relacionados con el cerebro.

ELENA BAJOLicenciada en Ciencias por la Universidad Complutense de Madrid, obtuvo la titulación superior en Arquitectura en la Universidad Internacional de Cataluña.Su trabajo artístico da prioridad a la experiencia receptiva a través de videos, intalaciones, performances y piezas arquitectónicas-escultóricas con las que investiga la relación entre las personas y el ambiente social en el que viven, cuestionándose sobre el tiempo y la percepción del espacio, y su influencia en el comportamiento humano.En 2003 se presentó un video y una performance titulada Undercovered en lo LMCC Open Studios en Nueva York, así como follow the rabbit hole formando parte de la feria de arte Miami-Basel Art. Próximamente se exhibirá en Nueva York un proyecto para Diesel, Miss Diesel, una instalación-performance que itinerará a Japón. En Septiembre de participará en la exposición Mondo Materialis en el Museo de Arte Moderno de Nueva York.

 

 

 

 

04prtb0027

2004. Fernando Sánchez Castillo (Cv)

MADRID, 1970LIVES AND WORKS BETWEEN ENTRE MADRID, AMSTERDAMWORK EXPOSED IN MADRID ABIERTO: Perspectiva ciudadana

EDUCATION2000· Programa de investigación, ENSBA, París.

1995· MA en Filosofía y Estética. Universidad Autónoma, Madrid.

1993· Licenciatura en Bellas Artes. Universidad Complutense, Madrid

SOLO EXHIBITIONS2003· A cada uno lo suyo, Fundaciò Espais, Gerona.· A caballo, Caja San Fernando, Sevilla.· Anamnesis. La casa encendida, Madrid.

2002· NIHIL OBSTAT. Galería Max Estrella, Madrid.· Tremblez Tyrans. Los Castillos, Alcorcón.· A caballo. Caja San Fernando, Jerez.

2000· Galerie Romain. Larivière, París.

1998· Galería Marta Cervera, Madrid.

1996· Desde el cuarto de estar. Galería Marta Cervera, Madrid.

1992· Sala Recursos. Comunidad de Madrid, Madrid.

GROUP EXHIBITIONS2003·    Fundación NMAC, Cádiz.·    Bad Boys. Comisariada por Agustín Pérez Rubio, Venecia.·    Spencer Browstone Gallery, Nueva York.·    Otros Incluidos. Casa de América, Madrid.·    ARCO´03. Art of this Century Gallery. Galería Max Estrella. Stand Caja Madrid. Madrid.·    Monocanal. Centro de Arte Reina Sofía, Madrid.

2002·    París Photo. Galería Juana de Aizpuru, París.·    Doméstico´02, Madrid.·    Madrid al descubierto. Salas de la CAM, Madrid.·    Capital Confort. Alcorcón, Madrid. ·    Extreme Protection. Nit Niu, Pollensa, Mallorca. ·    Plural. Salas del Senado, Madrid.·    ARCO´02. Galería Max Estrella, Madrid.·    Postperformance y otros acontecimientos paralógicos. Fundació Espais, Gerona.·    Burning. MNAC, Marsella.·    Big Torino 2002. Turín.·    Show y basura. Foro Sur, Cáceres.

2001·    Itinerarios. Fundación Marcelino Botín, Santander.·    Appartement, Intervención con Franz West. Deitchtorhallen, Hamburgo, Alemania.·    Art Cologne. Galería Max Estrella, Koln, Alemania.·    GAP. Grandes arquitecturas pequeñas. Asturias.·    OBSORGE. Zug Kunsthaus, con Franz West. CH·    Señales. Parque Ferial Juan Carlos I, Madrid.·    LISTE ’01. Galería Romain Larivière, Basilea.·    Batophare. París.·    Portes ouvertes. Programa de investigación, ENSBa, París.·    ARCO’ 01. Galería Max Estrella. Madrid.·    Open Spaces, ARCO’01.

2000·    Art Cologne. Galería Max Estrella, Alemania.·    Insumisiones. Fundación Marcelino Botín, Santander.·    Toy Stories. Injuve, Sala Amadís, Madrid.·    ARCO´00. Galería Max Estrella, Madrid.

1999·    FuturoPresente. Salas de Exposiciones de la Plaza de España, Madrid.·    Abracadabra. TATE Gallery of Modern Art, Londres.·    ARCO’99. Galería Marta Cervera, Madrid.

1998·    Germinations. The Factory, Atenas.·    Gramercy Park. Galería Marta Cervera, Nueva York.·    ARCO’98. Galería Marta Cervera, Madrid.·    Colección ARCO. CEGAC, Santiago de Compostela.·    Espacios Mentales. Zona de Acción Temporal, Madrid.·    La Voladura del Maine. Sala PEMASA, Madrid.·    Llocs Lliures. Altea, Alicante.·    Conjunto Vacío. Sala PEMASA, Madrid.

1997·    Muestra de Arte Joven. MEAC, Madrid.·    ARCO 97. Galería Marta Cervera, Madrid.·    Crías de Polvo. Facultad Bellas Artes, Madrid.

1996·    Circuitos-Comunidad de Madrid. Itinerante en Madrid e Inglaterra.·    Dibujos. Galería Marta Cervera, Madrid.·    Walking Behind The Glass. LAICPS, Los Ángeles.

1994·    Uno Cada Uno. Galería Juana de Aizpuru, Madrid.

GRANTS AND AWARDS 2002·    Beca para proyecto Generación 2002, Caja Madrid, Madrid.

2000·    Fundación Marcelino Botín, Santander.

1994·    Casa de Velázquez, Madrid.

WORKS IN MUSEUMS AND COLLECTIONS ·    FNAC, Fond National d’Art Contemporain, París.·    Fundación ARCO. Centro Galego de Arte Contemporanea (CGAC), Santiago de Compostela.·    Instituto de la Juventud (Injuve), Ministerio de Trabajo y Asuntos Sociales.·    Ayuntamiento de Alcorcón, Madrid.·    Fundación Jean Marc Salomon, Annency, Francia.·    UNED, Madrid.·    Consejería de Cultura, Cantabria.·    MUSAC, Junta de Castilla y León.·    Obra Social, Caja Madrid.

 

 

 

 

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2004. El Perro. VIRTUAL DEMOLITION MOBILE (published text)

 The ever-greater presence of the image in the street as a new advertising channel requires strategies that will transmit messages with maximum efficiency. The traditional advertising poster is being displaced by the moving image in shop windows and is gradually appearing on canopies and display panels. The concept of the public thoroughfare as an area of continuous conflict, so close to theories associated with the postulates of radical democracy, is certainly true, if we understand such conflict as the struggle to locate messages, whether political or commercial. 

It is some time now since power in the advanced democracies has been associated with the flow of information. Providing the possibility of directly participating in a communication medium also means allowing new discourses. Given the difficulty of placing these in highly controlled media like television —recall the obstacles Addbusters and Media Foundation encountered to broadcast their subversive advertisements in general channels even when they were paying— the public thoroughfare presents itself as an open zone of communication.

VDM is a new technology for the broadcasting of messages, a vehicle with a video projector that operates while the vehicle moves round the city. Virtual Demolition Mobile offers the spectacle of the city in flames, virtual therefore innocuous, a playful extension of the fears of present-day urban society.

The image of the city as the theatre of catastrophe is the spectacular image of our time. An outstanding aesthetic experience is the media spectacle projected by television channels into every living-room, in every home, where the security and comfort with which the information is received contrasts with the catastrophe itself. 

Virtual Demolition Mobile is a product that seeks to commercialize experience. And though, as Ogilvey says, voices are raised against the "commercialization of passion", they should recognize that passion is safer confined to the market than when, sublimated by religion or politics, it begins to erupt. 

The proposal will be developed in Madrid in 3 phases: 

1. A notice will be sent to the residents of Madrid, requesting them to reply by e-mail. They will be asked to choose a building or monument in the city which they would like to subject to a virtual demolition. 

2. A notice stating the date and time of the virtual demolitions which have been democratically elected.

3. Virtual demolitions

 

 

 

 

 

04intc0112

2004. Etoy CORPORATION (Cv)

FOUNDED IN IN 1994 iN VIENA, LJUBLJANALIVE AND WORK AMONG ZÜRICH; BERLIN; CAMBRIDGE, UNITED KINGDOM; SAN JOSÉ, COSTA RICAWWW.ETOY.COM

La corporación etoy es un controvertido jugador global que actúa on-line desde 1994. etoy utiliza una estructura corporativa para maximizar el valor cultural. El acceso final en la cadena de valores. Para etoy los dramáticos problemas de la globalización no se solucionan simplemente rechazando los mercados globales, los intercambios económicos o las corporaciones multinacionales, sino que etoy se concentra en los valores que dirigen estas compañías, la cultura, los individuos y los políticos.

Compartiendo riesgos, recursos, manteniendo un fuerte sistema de delegaciones y maximizando el valor de los accionistas, la corporación etoy intenta explorar el valor social, cultural y financiero. Los accionistas de etoy invierten tiempo, conocimiento e ideas (o simplemente financiación). Las operaciones etoy se centran en el solapamiento de los valores del entretenimiento, cultura, sociedad y economía. Los accionistas de etoy participan en una obra de arte dinámica que tiene lugar durante 24 horas al día (on line y offline) en el centro de la sociedad.

 

 

 

 

 

 

04prtb0025

2004. Maider López (Cv)

SAN SEBASTIÁN, 1975 LIVES AND WORKS IN SAN SEBASTIÁNWORK EXPOSED IN MADRID ABIERTO: Carteles publicitarios y banderolas

 

EDUCATION · Comienza doctorado en arquitectura. Universidad del País Vasco.

1998–99· Master en Bellas Artes, Chelsea College of Art and Design. Londres.

1998· Licenciada en Bellas Artes. Facultad de Bellas Artes de Bilbao (UPV). Especialidad pintura.

1995· Historia del Arte en Vitoria (UPV), simultaneado con Bellas Artes.

SOLO EXHIBITIONS 2003·    Max Estrella, Madrid.

2002·    Bores & Mallo. Cáceres.·    Torre de Ariz. Basauri.

2001·    65 x 90 cm. Galería DV. San Sebastián.

1997·    Sala Gallarta.

GROUP EXHIBITIONS2003·    Arco´03. Galería DV. Max Estrella. Trayecto. Caja Madrid.

2002·    Ocupaciones. Sala Amadís. Madrid.·    La Caixa. Lleida.·    Zona cero. Canal Isabel II, Madrid.·    Arco´02. Galería Trayecto y Galería DV.

2001·    Doméstico´01. 9 aulas en una academia. Madrid.·    Pasos de cebra. Muestra de Arte Joven Injuve. Círculo de Bellas Artes, Madrid.·    Puntos de Encuentro´01. Galería Cruce, Madrid.·    Itinerarios: Instituto Cervantes, Roma, y Fundación Marcelino Botín, Santander.·    ARCO´01, Galería DV.·    Las Representaciones del andar (1950-2000). Koldo Mitxelena. ·    Gure Artea. Koldo Mitxelena. San Sebastián.

2000·    Itinerarios 1998-99. Fundación Botín.·    El espacio como proyecto. Bienal de Pontevedra.

1999·    Galería Trayecto. Vitoria.·    MA Final Show. Chelsea College of Art and design. Londres.·    Depósito de Aguas. Vitoria. ·    Artistas Noveles de Guipúzcoa. Koldo Mitxelena, Guipúzcoa.

1998·    Gure Artea. Sala Amárica.

1997·    Wimbledon Library Gallery. Dirigida por el artista Richard Wentworth. Londres.·    Artistas Noveles. Koldo Mitxelena, Guipúzcoa.

1996·    Talleres de arte actual. Círculo de Bellas Artes, Madrid. ·    Villa Iris. Fundación Botín. Santander.

1995·    Exposición-taller H. Pijuan. Villa Iris. Fundación Marcelino Botín, Santander.

GRANTS AND AWARDS2002·    Generación 2002. Beca Caja Madrid.

2001·    Beca Juan de Otaolaza y Pérez de Saracho. Basauri.

1999·    Beca de Artes Plásticas de la Diputación de Guipúzcoa.·    2º Premio Artistas Noveles de Guipúzcoa.

1998-99 ·    Beca de Artes Plásticas de la Fundación Botín.

1998·    Premio de pintura formato pequeño. Gayarta.

1997·    Beca de arte Mojácar, Almería.

1996-97 ·    Beca Erasmus. Wimbledon School of Art. Londres.

WORKS IN COLLECTIONS ·    Ayuntamiento de Mojácar, Almería.·    Compañía Talens.·    Universidad del País Vasco (UPV)·    Kutxa. Caja de Ahorros de Gipuzkoa.·    Fundación Marcelino Botín.·    Artium. Museo de Arte Contemporáneo de Vitoria-Gasteiz.·    INJUVE. Ministerio de Cultura.

 

 

 

 

 

04prtb0024

2004. Emancipator bubble (published text)

 The solution to emancipation problems. What a young person of today needs in order to live as he/she pleases.

DESCRIPTION

This inflatable dwelling in the form of a bubble allows a large amount of independence without having to leave home. Easy to set up, it provides maximum comfort with minimum effort thanks to its water, electricity and telephone terminals which can be directly connected to the family house installation thus reducing expenses to zero.

Besides the BASIC bubble model, there is a wide range of other versions designed for each type of modern young person. Top of the range is EMANCIPATOR DELUXE, equipped with an EMANCIPATOR-CARD which enables the occupier to charge the shopping up to the family account. Another model is XXL which provides an extra 33% independence. The FIRE-WIRE is manufactured with an advanced material that intelligently adapts to light and temperature fluctuations and includes a number of entrance and exit interfaces. The AUTODETERMINATOR is devised for those who want nothing to do with their parents despite living on parental territory. The SEXMANCIPATION, manufactured with a plastic similar to latex and with a permanently lubricated interior, is ideal for taking your partner home. The GARDEN, the ÉTER, the PUNCHETA… Choose one for yourself.

RECOMMENDATIONS

The use of EMANCIPATOR BUBBLE is especially recommended for persons between 18 and 24, who, though regarded as adult, are obliged for various socio-economic reasons (poor jobs, exorbitant housing prices, convenience…) to delay their family emancipation process and their total integration into society.

WARNING

EMANCIPATOR BUBBLE, though not devised as an emergency shelter, does have a limited life. The limits are imposed by the user or his/her family and the resistance of the material itself.

More information and specifications on www.emancipator.org and .org This email address is being protected from spambots. You need JavaScript enabled to view it.

A product of BUBBLE BUSINESS S.A., EMANCIPATOR BUBBLE is based on an original idea by the architects Alex Mitxelena and Hugo Olaizola. It is being developed and directed by Saioa Olmo and produced by AMASTÉ.

SAIOA OLMO (Bilbao 1976) has a Degree in Fine Arts from the Universidad del País Vasco and a Master in Design from DZ. She sees her work as a way of producing experiences and situations in which the spectator plays a very active part. She works in a completely interdisciplinary manner, often in a group. Her recent projects are: the communication and new corporate image of ARTELEKU (with AMASTÉ); Chi-gua-gua, concerning fashion and nightlife; and QUÉJATE_KEXATU, in which a place for complaints etc is provided. At the moment, besides EMANCIPATOR, she is working on projects like PAÍS VASCO TRADE MARK (brand image design); FOYU (a postmusic group), with Leticia Orue; and takes part in LABITACIONES, a laboratory on housing (ARTELEKU).

AMASTÉ (www.amaste.com), directed by Txelu Balboa (Vitoria 1974) and Ricardo Antón (Bilbao, 1974), is dedicated to the production and diffusion of projects related to current society and contemporary culture, culture as a collective space of communication rather than a means of self-expression. They publish ESETÉ magazine, collaborate on various interdisciplinary projects, and are regularly present at events like ARCO, SONAR, LAUS, etc. At the moment , as well as EMANCIPATOR, they are preparing issues of ESETÉ on sex, underground railways, and prohibitions; round tables on new publications for ARCO; and their presence at the Lerida Biennale.

And, besides Alex and Hugo, who are the consultants and Pedro Pérez, the industrial designer who has developed the prototype, there are a number of institutions, etc supporting the project, like ARTELEKU, Montehermoso, the Youth Department of the Basque Government, Madrid Abierto, and Bilbotex, not forgetting lots of other people without whom it would not have been possible.

 

 

 

 

 

04intc0106

2004. El perro (Cv)

PABLO ESPAÑA, 1970IVÁN LÓPEZ, 1970RAMÓN MATEOS, 1968Fundado en Madrid en 1989 y disuelto en 2006. En la actualidad Pablo España e Iván López siguen trabajando en colectivo bajo el nombre de Democracia (www.democracia.com.es) y Ramón Mateos bajo su propio nombre (www.ramon-mateos.com; www.blackandnoir.com)WORK EXPOSED IN MADRID ABIERTO: Virtual Demolition Mobile

 

SOLO EXHIBITIONS 2001·    Wayaway. Sala Amadís, Injuve. Madrid

2000·    Situación Crítica (en colaboración con PSJM y Aitor Méndez). Mercat de les flors. Barcelona.

GROUP EXHIBITIONS 2003·    Exposición documental La fragua & Centro de arte Párraga, Murcia.·    Advertising. Proyecto de arte público en Sabadell.·    Doble Seducción. Injuve, Sala Amadís, Madrid.·    Public Space/ Legal Space. Établissement dén face. Bruselas, Bélgica.·    Deluxe. Monasterio de Prado, Valladolid.·    Monocanal. Museo Nacional Centro de Arte Reina Sofía, Madrid. Sala Díaz Cassou de Murcia. Centro Galego de Arte Contemporànea de Santiago de Compostela. Museo Patio Herreriano de Valladolid. Art in General, New York, EE.UU.·    Proyecto Boda. MEIAC, Badajoz.·    Arco 2003. Galería Salvador Díaz. Madrid.·    Arco 2003. Las otras galerías, MEIAC, Madrid.

2002·    Deluxe Miami. Casas Reigner Gallery, Miami, EE.UU. Art Basel Miami Beach 2002. Galería Salvador Díaz, Miami, EE.UU.·    Madrid al descubierto. Sala de exposiciones de Alcalá 31, Madrid.·    Arco 2002. Galería Salvador Díaz, Madrid.·    Arco 2002. Becas para Proyectos, Caja Madrid, Madrid.·    Big Torino 2002. Bienal de arte joven, Torino, Italia.·    Ninguna persona es ilegal. INÉDITOS. La casa encendida, Madrid.·    Deluxe. Sala de exposiciones de Plaza de España, Madrid.·    Advertising. Proyecto de arte público, Mataró.·    XXVII Bienal de Pontevedra. Pazo de la Cultura, Pontevedra. 

2001·    Periferias 2001. Sala de exposiciones de la Diputación de Huesca. Huesca.·    Media Ambientes. Mad 2001, Madrid.·    Puntos de encuentro. Cruce. Madrid·    Videometal. Circo Interior Bruto, Madrid.·    Screen Adictions. Dotlight club, Barcelona.·    Arte joven. Programa Nexo. Sala de exposiciones del convenio Andrés Bello, Bogotá. Colombia.·    Open Spaces. Arco 2001. Galería Salvador Díaz. Madrid.·    Programa Nexo. Museo Sofía Imber, Caracas, Venezuela. 

2000·    Oficina de arte público. Evento continuo de Rirkrit Tiravanija. Galería Salvador Díaz, Madrid.·    Operario de ideas. www.operariodeideas.com·    Muestra de Arte Joven Injuve 1999 en Iberoamérica. Itinerancia por Argentina, Uruguay, Paraguay, Guatemala y El Salvador.·    Generación 2000. Premios de Caja Madrid. Itinerancia por Madrid, Barcelona, Valladolid, Sevilla, Valencia.·    Tránsitos. Festival de arte contemporáneo, Toledo.·    Insumisiones. Fundación Marcelino Botín, Santander.·    Capital Confort. Intervenciones en espacios públicos. Alcorcón, Madrid.

SOLO PROJECTS  (Proyectos comisariados por El Perro)2003·    Deluxe (en colaboración con Paco Barragán). Monasterio de Prado, Valladolid.

2002·    Deluxe Miami (en colaboración con Paco Barragán). Casas Reigner Gallery, Miami, EE. UU.·    Quién es el arte. La Fábrica de Pan, Madrid.·    Deluxe (en colaboración con Paco Barragán). Sala de exposiciones de Plaza de España, Madrid.·    Capital confort. Intervenciones en espacios públicos de Alcorcón, Madrid.

2001·    Capital confort. Intervenciones en espacios públicos de Alcorcón, Madrid.

2000·    Capital confort. Intervenciones en espacios públicos de Alcorcón, Madrid..

1999·    Qué hago yo aquí. Espacio de Arte Garaje Pemasa, Madrid.

GRANTS AND AWARDS2001·    Beca para proyectos, nuevas tendencias. Generación 2001. Premio Caja Madrid.

2000·    Generación 2000. Premio Caja Madrid.

SELECTED PUBLICATIONS·    Qué hago yo aquí. Revista Anual. Números: Qué es el arte?, 2001; Quién es el arte?, 2002; Dónde es el arte?, 2003.

 

 

 

 

 

 

 

04prtb0023

2004. Diana Larrea (published text)

 The work presented is one of a new series in which the artist have made use of different film myths, recreating them literally, in a deliberate attempt to reproduce them exactly and faithfully.

In this case, her propose to appropriate a mythical image from Alfred Hitchcock’s The Birds and reconstruct it as a tangible reality. In order to do this, Diana Larrea will invade the two main façades of the Casa de América with a horde of black crows made of synthetic material. They will perch on the cornices, window-ledges, balconies etc. of the building in such a way that they will cover practically everything like an enormous swarm of bees. As in the film, the threatening presence of the birds in everyday surroundings will alter our customary perception of everyday reality.

The basis of this work is found at the point when the spectator, on seeing this image omnipresent in our collective memory, immediately identifies and recognizes it, recalling the original model in the film. The artist is very interested in reflecting on the concept of the myth as a cultural image that participates in the integration of individuals. Contrary to what is usually claimed, the more a myth is used the more it perpetuates its essential meaning, affirming its own power in the world of collective illusions. The power of the myth lies in the fact that it gives us a much more intense awareness of reality than reality itself.

The symbolism of this image can be found in the universal myth of divine punishment. Like the episode narrated in the Old Testament of the plagues in Egypt, the occupation by the threatening birds is something we do not expect and cannot explain. When D. Larrea use this artistic replica to repeat a similar event in our current world, she is refering to those dreaded prophecies that are inexorably fulfilled. That an image from the fantasy world of our nightmares can suddenly take on concrete form confers on the work a certain sinister quality that is very disturbing.

 

 

 

 

 

04intc0109

2004. Diana Larrea (Cv)

MADRID, 1972LIVES AND WORKS IN MADRIDWWW. DIANALARREA.COMWORK EXPOSED IN MADRID ABIERTO: El palacio encantado

 

EDUCATION1991–96* Licenciada en Bellas Artes. Universidad Complutense. Madrid.

1980–96* Estudios de Música. Real Conservatorio Superior de Música. Madrid.

SOLO EXHIBITIONS2002* Galería Garage Regium. Madrid.

2000* La Ventana de La Fábrica. Madrid.* Espacio F. Mercado de Fuencarral. Madrid.

1999* Doblespacio. Madrid.* Centro de Arte Joven de la Comunidad de Madrid.

GROUP EXHIBITIONS 2003* God. Human and Art. Gallery Kobo Chika. Tokio, Japón.* ARCO’03. Galería Fernando Pradilla. Madrid.* Certamen Audiovisual Injuve 2002. Sala Amadís, Madrid.* Otros incluidos. Casa de América, Madrid.

2002* ARCO’02. Stand Caja Madrid.* Magazine. Sala Amadís, Madrid.* Zona Cero. Sala del Canal de Isabel II, Madrid.* Galería Rina Bouwen. PhotoEspaña’02. Madrid.* 143 Delicias. II Festival de vídeo. Madrid.* Videometal II Muestra de vídeo experimental. C.S.O. El laboratorio 3. Madrid.* Premi Ciutat de Palma d’Arts Plàstiques. Casal Solleric. Palma de Mallorca.* Mujeres. Instituto Cervantes. Tánger, Marruecos.* ARTELISBOA, Stand Galería Bores & Mallo. Lisboa, Portugal.* ARTissima, the International Fair of Contemporary Art in Turin. Galería Garage Regium. Turín, Italia.* III Muestra de Videodanza. Aula de Danza, Universidad de Alcalá.

2001* Pasos de cebra. XVII Muestra de Arte Injuve. Círculo de Bellas Artes. Madrid.* Capital confort. Muestra de Arte Público comisariada por El Perro. Alcorcón.* songs of love and hate- side b. Galerie Wieland. Berlín, Alemania.* VII Bienal de Pamplona. Ciudadela del Ayuntamiento de Pamplona.

2000* ne travaillez jamais. Künstlerwerkstätte. Munich, Alemania.* XXVI Bienal de Arte de Pontevedra. Pontevedra.* Circuitos de Artes plásticas y Fotografía. Centro de Arte Joven de la Comunidad de Madrid. Itinerancia en Pontevedra, Alcalá de Henares y Nueva York.

1999* Paisajes españoles de hoy. Garage Regium. Madrid.* XV Premio de pintura L´orèal. Centro Cultural Conde Duque. Madrid.

GRANTS AND AWARDS 2002* Beca de Creación Plástica. Casa de América. Madrid* Proyecto seleccionado para su producción, II Encuentro de Arte Público Ardearganda’02. Arganda del Rey.* Primer Premio, II Concurso de Fotografía El Cultural. Diario El Mundo.* Proyecto seleccionado para su producción, Certamen audiovisual Injuve.

2001* Adquisición de obra. Muestra de Arte Injuve. Instituto de la Juventud.* Beca para realizar un proyecto, Generación 2001. Obra Social Caja Madrid.

1999* XV Premio de Pintura L´orèal.

1998* Beca de Arte. Ayuntamiento de Mojácar, Almería.* Obra en colecciones/ Works in collections* Ayuntamiento de Mojácar. Almería.* Biblioteca Nacional. Madrid.* Calcografía Nacional. Madrid.* Colección Caja Madrid.* Dirección General de la Mujer. Comunidad de Madrid.* Instituto de la Juventud. Ministerio de Trabajo y Asuntos Sociales.

 

 

 

 

 

 

 

04prtb0022

2004. Bubble Business. EMANCIPATOR BUBBLE (pictures)

2004. Bubble Business. EMANCIPATOR BUBBLE (pictures)

          

          

                   

                    

                    

 

 

 

 

 

 

04inic0104

2004. Emancipator bubble (Cv)

SAIOA OLMO (BILBAO, 1976)TXELU BALBOA (VITORIA, 1974)RICARDO ANTÓN (BILBAO, 1974)WORK EXPOSED IN MADRID ABIERTO: Emancipator bubble

 

 SAIOA OLMO (Bilbao, 1976) es licenciada en Bellas Artes en la UPV y Master de Diseño en DZ. Entiende su trabajo como un modo de producción de experiencias y situaciones de encuentro en las que el espectador tenga una función muy activa. Trabaja de un modo completamente interdisciplinar, muchas veces colectivamente. Sus últimos proyectos son: la comunicación y nueva imagen de ARTELEKU (con AMASTÉ);Chi-gua-gua, alrededor del mundo de la moda y la noche; o QUÉJATE_KEXATU, en el que se proporcionaba un espacio para la queja,etc. Actualmente, además de en EMANCIPATOR, trabaja en proyectos como PAIS VASCO TRADE MARK, un proyecto sobre el diseño de la identidad; FOYU, un grupo de postmúsica junto a Leticia Orue; o forma parte del laboratorio sobre vivienda LABITACIONES en Arteleku.

AMASTÉ (www.amaste.com) está dirigida por Txelu Balboa (Vitoria1974) y Ricardo Antón (Bilbao, 1974). Se dedica a la producción y difusión de proyectos relacionados con la sociedad actual y la cultura contemporánea. Entienden la creatividad, no tanto como un modo de expresión individual, sino como un espacio colectivo de comunicación. Editan la revista ESETÉ, colaboran en numerosos proyectos interdisciplinares y están presentes regularmente en eventos como ARCO, SONAR, LAUS, etc. Actualmente preparan números de ESETÉ dedicados al sexo, el metro o las prohibiciones, unas mesas de debate sobre nuevas publicaciones para ARCO o su presencia en la Bienal de Lleida.

Además, Alex y Hugo participan como consultores, Pedro Pérez es el diseñador industrial que ha desarrollado el prototipo y hay numerosos colaboradores que nos ayudan a sacar el proyecto adelante, como por ejemplo: Arteleku, Montehermoso, el Dpto. de Juventud del Gobierno Vasco, Madrid Abierto, Bilbotex y un montón de gente más sin la que todo esto no hubiese sido posible.

 

 

 

 

 

04prtb0021

2004. El Perro. VIRTUAL DEMOLITION MOBILE (pictures)

2004. El Perro. VIRTUAL DEMOLITION MOBILE (pictures)

 

     

     

     

     

     

     

      

     

                    

                    

 

 

 

 

 

04inic0110

2004. Diana Larrea. PALACIO ENCANTADO (pictures)

2004. Diana Larrea. PALACIO ENCANTADO (pictures)

 

          

          

          

          

 

 

 

 

 

04inic0107

2004. Maider López. CARTELES PUBLICITARIOS Y BANDEROLAS (pictures)

2004. Maider López. CARTELES PUBLICITARIOS Y BANDEROLAS (pictures)

 

     

     

     

       

     

          

                     

                              

 

 

 

 

 

04inic0114

2004. Etoy CORPORATION (pictures)

2004. Etoy CORPORATION (pictures)

 

          

          

          

          

          

          

      

 

 

 

 

 

 

04inic0117

2004. Fernando Sánchez Castillo. PERSPECTIVA CIUDADANA (pictures)

2004. Fernando Sánchez Castillo. PERSPECTIVA CIUDADANA (pictures)

 

          

          

          

       

       

 

 

 

 

 

 

04inic0120

2004. Sans Façon. S/T (pictures)

2004. Sans Façon. S/T (pictures)

 

                   

                    

                    

                    

       

       

       

       

 

 

 

 

 

 

04inic0132

2004. Wolfgang Weileder. HOUSE MADRID (pictures)

2004. Wolfgang Weileder. HOUSE MADRID (pictures)

 

        

       

       

      

       

               

                

 

 

 

 

 

 

04inic0126

2004. Warren Neidich + Elena Bajo. SILENT (pictures)

2004. Warren Neidich + Elena Bajo. SILENT (pictures)

 

         

         

         

 

 

 

 

 

 

04inic0123

2004. Wolfgang Weileder. HOUSE-MADRID (video-installation)

2004. Wolfgang Weileder. HOUSE-MADRID (video-installation)

 

           

  

       

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

f04invc0128, f04inmc0129

2004 / 2004.02. ¡HOLA!. La reina Doña Sofía inauguró ARCO

2004 / 2004.02. ¡HOLA!. La reina Doña Sofía inauguró ARCO

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

04dima0218

2004 / 2004.02.15. LA RAZÓN. Gran acogida de Madrid Abierto en la capital española

2004 / 2004.02.15. LA RAZÓN. Gran acogida de Madrid Abierto en la capital española

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

 

 

 

 

04dima0214

2004 / 2004.02. ABC. CULTURAL. En el corazón de ARCO

2004 / 2004.02. ABC. CULTURAL. En el corazón de ARCO

** OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

 

 

04dima0210

2004 / 2004.02. METRO. Arte actual en las calles de Madrid

2004 / 2004.02. METRO. Arte actual en las calles de Madrid

** SEE THE ATTACHED PDF 

 

 

 

 

 

 

 

 

 

04dita0209

2004 / 2004.02.13-19. ABC. GUÍA DE MADRID. Madrid Abierto

2004 / 2004.02.13-19. ABC. GUÍA DE MADRID. Madrid Abierto

** SEE THE ATTACHED PDF

 

 

 

 

 

 

 

 

 

04dima0207

2004 / 2004.02. GUÍA DEL OCIO. Ruta urbana: Madrid Abierto

2004 / 2004.02. GUÍA DEL OCIO. Ruta urbana: Madrid Abierto

** SEE THE ATTACHED PDF

 

 

 

 

 

 

 

 

04dima0206

2004 / 2004.02. GUÍA DEL OCIO. Art & exhibitions: Art in the open

2004 / 2004.02. GUÍA DEL OCIO. Art & exhibitions: Art in the open

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

 

 

04dima0205

2004 / 2004.02.13. LA RAZÓN. Arco´04

2004 / 2004.02.13. LA RAZÓN. Arco´04

** VER EL DOCUMENTO ADJUNTO

 

 

 

 

 

 

 

 

04dima0204

2004 / 2004.02.11. ABC DE ARCO. Entrevista a Jorge Díez, director de Madrid Abierto

2004 / 2004.02.11. ABC DE ARCO. Entrevista a Jorge Díez, director de Madrid Abierto

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

 

 

 

04dima0201

2004 / 2004.02. ABC. Metrópolis, La 2

2004 / 2004.02. ABC. Metrópolis, La 2

** SEE THE ATTACHED PDF

04dima0198

2004 / 2004.02. DOMINICAL. Arte: Feria local ARCO´04 invade la calle

2004 / 2004.02. DOMINICAL. Arte: Feria local ARCO´04 invade la calle

** SEE THE ATTACHED PDF

 

 

 

 

 

 

 

 

 

 

 

 

04dima0194

2004 / 2004.02. LA NUEVA ESPAÑA. Arte para Arco

2004 / 2004.02. LA NUEVA  ESPAÑA. Arte para Arco

** SEE THE ATTACHED PDF

 

 

 

 

 

 

 

 

 

 

04dima0193

2004 / 2004.02.07. EL PAÍS. BABELIA. Otras exposiciones

2004 / 2004.02.07. EL PAÍS. BABELIA. Otras exposiciones

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

04dima0192

2004 / 2004.02. EL PAÍS. MADRID. Madrid Abierto pretende acercar el arte a los viandantes

2004 / 2004.02. EL PAÍS. MADRID. Madrid Abierto pretende acercar el arte a los viandantes

 **  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

 

04dima0189

2004 / 2004.02. GUÍA DEL OCIO. Ferias: Madrid Abierto

2004 / 2004.02. GUÍA DEL OCIO. Ferias: Madrid Abierto

** SEE THE ATTACHED PDF

 

 

 

 

 

 

 

 

 

 

04dima0188

2004 / 2004.02. GUÍA DEL OCIO. Madrid Abierto. El arte toma la calle

2004 / 2004.02. GUÍA DEL OCIO. Madrid Abierto. El arte toma la calle

 **  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

 

04dima0187

2004 / 2004.02. METRO. FIN DE SEMANA. El arte se pasea por las calles

2004 / 2004.02. METRO. FIN DE SEMANA. El arte se pasea por las calles

** OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

04dima0186

2004 / 2004.02.6-12. EL PUNTO DE LAS ARTES. Madrid Abierto, ARCO es Madrid

2004 / 2004.02.6-12. EL PUNTO DE LAS ARTES. Madrid Abierto, ARCO es Madrid

** SEE THE ATTACHED PDF

 

 

 

 

 

 

 

 

 

 

 

04dima0185

2004 / 2004.02. LA LUNA. Madrid está invertida

2004 / 2004.02. LA LUNA. Madrid está invertida

** SEE THE ATTACHED PDF

 

 

 

 

04dima0184

2004 / 2004.02. METRÓPOLI. El Arco… Año Olímpico

2004 / 2004.02. METRÓPOLI. El Arco… Año Olímpico

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

 

 

04dima0183

2004 / 2004.02.06. EL PAÍS DE LAS TENTACIONES. Arco se sale. El arte urbano está de moda…

2004 / 2004.02.06. EL PAÍS DE LAS TENTACIONES. Arco se sale. El arte urbano está de moda…

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

 

 

 

 

 

04dima0182

2004 / 2004.02.06. EL MUNDO. La provocación está en la calle

2004 / 2004.02.06. EL MUNDO. La provocación está en la calle

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

 

04dima0181

2004 / 2004.02. ABC. El arte efímero salta a las calles

2004 / 2004.02. ABC. El arte efímero salta a las calles

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

04dima0180

2004 / 2004.02. DIARIO DE PONTEVEDRA. Presencia de Bellas Artes de Pontevedra en "Arco"

2004 / 2004.02. DIARIO DE PONTEVEDRA. Presencia de Bellas Artes de Pontevedra en "Arco"

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

 

 

 

 

04dita0178

2004 / 2004.02. 20 MINUTOS MADRID. El arte se hace cotidiano en plena Castellana

2004 / 2004.02. 20 MINUTOS MADRID. El arte se hace cotidiano en plena Castellana

 **  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

04dima0173

2004 / 2004.winter. WOMAN. ARCO 2004. Su mejor momento

2004 / 2004.winter. WOMAN. ARCO 2004. Su mejor momento

** SEE THE ATTACHED PDF

 

 

 

 

 

 

 

 

 

 

 

04dima0169

2004 / 2004.02. NEO2. Madrid Abierto

2004 / 2004.02. NEO2. Madrid Abierto

 **  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

 

 

 

 

 

 

04dima0168

2004 / 2004.winter. ESETÉ. Madrid Abierto

2004 / 2004.winter. ESETÉ. Madrid Abierto

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

04dima0167

2004 / 2004.02. TENDENCIAS. ARCO Cita con el arte emergente y la vanguardia helénica

2004 / 2004.02. TENDENCIAS. ARCO Cita con el arte emergente y la vanguardia helénica

 **  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

04dima0166

2004 / 2004.02. VANIDAD. Arte en la calle (2): Madrid Abierto

2004 / 2004.02. VANIDAD. Arte en la calle (2): Madrid Abierto

 **  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

 

 

 

 

 

 

04dima0165

2004 / 2004.01.30. METRO. ARCO saldrá a las calles

2004 / 2004.01.30. METRO. ARCO saldrá a las calles

* SEE THE ATTACHED PDF

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

04dima0162

2004 / 2004.01.30. EL MUNDO. El gobierno regional sacará ARCO a la calle

2004 / 2004.01.30. EL MUNDO. El gobierno regional sacará ARCO a la calle

 * SEE THE ATTACHED PDF

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

04dita0161

2004 / 2004.01.30. ABC. Madrid, abierto al arte

2004 / 2004.01.30. ABC. Madrid, abierto al arte

 * SEE THE ATTACHED PDF

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

04dita0160

2004 / 2004.01.30. EL PAÍS. El gobierno regional quiere impulsar el arte en la calle

2004 / 2004.01.30. EL PAÍS. El gobierno regional quiere impulsar el arte en la calle

* SEE THE ATTACHED PDF

 

 

 

 

 

 

 

 

 

 

 

 

 

 

04dita0159

2004 / 2003.12. RONDA IBERIA. Arco dispara el arte griego

2004 / 2003.12. RONDA IBERIA. Arco dispara el arte griego

* SEE THE ATTACHED PDF

 

 

 

 

 

 

 

 

 

 

 

04dima0157

2004 / 2003.10.09. EL PAÍS. Más de 300 autores aportan proyectos para Madrid Abierto

2004 / 2003.10.09. EL PAÍS. Más de 300 autores aportan proyectos para Madrid Abierto

 * SEE THE ATTACHED PDF

 

 

 

 

 

 

 

 

 

 

 

 

 

 

04dita0156

2004 / 2003.08.01-09.04. EL PUNTO DE LAS ARTES. Proyecto Madrid Abierto

2004 / 2003.08.01-09.04. EL PUNTO DE LAS ARTES. Proyecto Madrid Abierto

* SEE THE ATTACHED PDF

 

 

 

 

 

 

 

 

 

 

 

 

04dita0153

2004 / 2003.06-08. D(X)I. Madrid Abierto

2004 / 2003.06-08. D(X)I. Madrid Abierto

* SEE THE ATTACHED PDF

 

 

 

 

 

 

 

 

 

 

04dita0152

2004 / 2003.06. ON DISEÑO. Madrid Abierto 2004

2004 / 2003.06. ON DISEÑO. Madrid Abierto 2004

* SEE THE ATTACHED PDF

 

 

 

 

 

 

 

 

 

 

 

 

 

 

04dima0151

2004 / 2003.05.02. LA LUNA. Certámen ciudad abierta

2004 / 2003.05.02. LA LUNA. Certámen ciudad abierta

* SEE THE ATTACHED PDF

 

 

 

 

 

 

 

 

 

 

04dima0150

2004 / 2003.04.18. METRÓPOLI. Convocatoria

2004 / 2003.04.18. METRÓPOLI. Convocatoria

* SEE THE ATTACHED PDF

 

 

 

 

 

 

 

 

 

 

 

 

 

04dita0149

2004 / 2003.04.11-24. EL PUNTO DE LAS ARTES. Madrid Abierto 2004

2004 / 2003.04.11-24. EL PUNTO DE LAS ARTES. Madrid Abierto 2004

* SEE THE ATTACHED PDF

 

 

 

 

 

 

 

 

 

 

04dita0148

2004 / 2003.04.10. ABC. ARCO saldrá a las calles de Madrid el año que viene

2004 / 2003.04.10. ABC. ARCO saldrá a las calles de Madrid el año que viene

* SEE THE ATTACHED PDF

 

 

 

 

 

 

 

 

 

 

 

04dita0147