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2005. Colectivo Tercerunquinto. S/T (technical data)

 DESCRIPTION AND TECHNICAL NEEDS

Being in our case of works which are supported by conceptual architecture and urbanism, look in your own material realization of the construction and use the same systems it occupies, which is why there is a special need, in these projects, extra assembly or technical requirements that are not listed in the list of the next point.

ENLARGEMENT OF A GREEN AREA

The Enlargement of a green area project consists of extending one of these areas towards the street and the sidewalk, creating, thus, a space between two of the basic order systems in the urban plan.

Requirements

Technical team for construction:• horizontal cement cutter with disk• pick• spade• wheelbarrow• tape measure• level• construction wood (if necessary)

Gardening material:• rake• instrument to sift the earth• bucket• hose• pick• spade

Construction material:• concrete (if necessary)• block or brick (if necessary)• paint (if necessary)• decorative material • steel for urban elements • rod

Gardening materials:• grass and/or flowers (depending on the ornamental design)• earth for plants• fertilizers

Work force:• operator to cut cement• gardener• bricklayer

CONNECTING TWO PLANTERS

Connecting two boxes project: two boxes are connected to the extension from one interrupt urban order system, the street. This interruption is committed by a site bounded and considerate of ornament.

Requirements

Technical equipment for construction:• horizontal concrete cutter with disc• peak• shovel• truck• tape measure• level• timber (if necessary)

Technical equipment for kindergarten:• rake• ground mesh screen• bucket• hose• peak• Shovel

Building materials:• concrete• block or brick (if necessary)• paint (if necessary)• decorative material (if it exists in the context)• iron street furniture (if it exists in the context)• rod (if necessary)

Landscaping materials:• sod rolls and / or flowers (depending ornamental design features)• potting soil• fertilizer

Labor:• concrete cutter operator• gardener• Bricklayer

CONNECTING TWO STOOLS

In another case, the sidewalks belong to a distribution system and pedestrian traffic, assume an order in delineating routes within urban planning but through the obstruction and other system interrupts extension of the same nature, this system streets are almost exclusive use of vehicles.

Requirements

Technical equipment for construction:• peak• Shovel• truck• tape measure• level• timber• horizontal concrete cutter disk (if necessary)• Mixer for reinforced concrete

Building materials:• reinforced concrete• block or brick• paint (if necessary)• decorative material (if it exists in the context)• iron street furniture (if it exists in the context)• rod

Labor:• concrete cutter operator• mason

 

 

 

 

 

 

 

 

 

 

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2005. ARTISTS / INTERVENTIONS / LINKS

Compañía de Caracas    Espacio Móvil    www.angelabonadies.comwww.maggynavarro.com

Colectivo Tercerunquinto        www.tercerunquinto.org

Fernando Baena Familias encontradashttp://www.fernandobaena.com/

Henry Eric Hernández García    Zona vigilada

José Dávila    Mirador Nómada

María Alos + Nicolás Dumit    El museo peatonal    www.longwoodarts.org/artists/nicolas  www.idensitat.org/dumit/dumitcalaf.html   

Óscar Lloveras Sin títulohttp://oscarlloveras.com/

Raimond Chaves    El río, las cosas que pasan    www.puiqui.com    www.lascosasquepasan.net Rebekka Reich + Anne Lorenz    Taxi Madrid    www.rebekkareich.dewww.annelorenz.ch    www.taximadrid.com Simon Greenan + Christopher Sperandio    Soy Madrid    www.kartoonkings.com    www.soymadrid.com

 

 

 

 

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2005. Ramon Parramon. THE CITY OPEN TO THE PROCESS

SPECIFIC TEXT PUBLISHED ON THE MADRID ABIERTO NEWSPAPER 2005The projects presented in this edition experiment on the city through micro-interventions in the public space. The city’s infrastructures, i.e., its communication, connection and traffic networks, are often used and linked to buildings, circulation zones and specific elements of the urban furniture.  But they also introduce, incorporate and seek interaction with citizens. This aspect is perhaps the characteristic feature of this edition, making it a process open to investigation and speculation of the public space as a space for interaction. 

A clear example of this process is El Museo Peatonalby Nicolás Dumit Estévez and María Alós. It is set out as an itinerant institution dedicated to presenting temporary exhibitions in the urban space. Through an interactive installation, it invites the participation of people who pass by, work or live in the area where it is presented. It imitates the mechanisms of a museum: the creation of a collection and exhibition. The museum’s collection comes from donations from people who visit, work or live in the area where the museum is temporarily located.

The museum as such takes shape as the acquired articles are assembled. The donation process is free and the objects offered are gathered, classified, packed and then exhibited. All this takes place in the street where the “museum” is located, taking advantage of the continuous flow of people getting from one end of the city to another.

This idea of museum-able and museum-ized city acquires a critical stance towards   the use of the resource of culture as construction of a kind of theme park, in the proposal of Henry Eric, Zona Vigilada. It sets out an interpretation of the transformation of the city of Havana understood as a cultural space in crisis, based on a videographic document that he projects in a thematized cultural space of the city of Madrid: the Open Air Museum of Sculptures in La Castellana. This document has been prepared using personal testimonies, archive images and images taken in “cultural” public spaces of the city of Havana. These images are projected simultaneously with images recorded in the space of the museum itself capturing the “use” and wandering about of the people in this public space under the observation and surveillance of security cameras.  Henry Eric focuses on buildings that he calls cultural ghettos: individual or collective spaces constructed by a specific ideology in a specific period and later transformed until disappearing into oblivion or falling into cultural, ideological, economic or social decadence. 

This connection between specific elements of two cities is a device underlying various projects, presenting Madrid as a link to other cities.

 

The city as a connection node with other cities

The idea of inserting fragments of one city into another is one of the objectives set out in the project Espacio Móvil by the collective, Compañía de Caracas. Or, as they propose by way of the slogan “Otra ciudad circula dentro de la ciudad” (another city moves inside the city).

The proposal for this connection is the transformation of four buses so that half of the vehicle acquires the appearance of a bus from the city of Caracas, only half, and the other half keeps the colours of the Madrid’s buses. The important thing about these buses is that they establish a link with another city, and at the same time, with many other Latin American cities, the place of origin of many citizens of Madrid. The buses also include a series of photographs of the city of Caracas, and use the bus stops located between Paseo de la Castellana and Paseo del Prado. The images show the urban flow, through specific elements that identify the place being talked about, whilst highlighting elements that are common to both cities: the images of the spaces in transformation in Caracas are not much different from those of Madrid. They are registers that evoke dichotomies like the generic and the specific, the new and the old phenomena of the city, the rural and the technological, the mutable and that which remains immutable. Evidence of the growing social duality, common to the majority of large contemporary cities.

 

Visibility and intensity of communication

The public space of the city, as physical space, is a large support for publicity and information. Wandering through the city involves passing an infinite number of messages and flashes of information, although we could question the impact of the communicative process. In order for the message to reach the receiver a certain amount of attention and predisposition is required from him. In this respect, the project Taxi Madrid is one of the activities of Madrid Abierto requiring more effort from the spectator (as such) and, as a result, it has less visibility and presence in the urban space. It is an intervention that moves through the city in a series of taxis. It is a project about memory using a selection of persons living in different cities of the world who, in another time, lived in Madrid. Comments and accounts combined with musical elements that refer to the time those persons lived in Madrid and its relationship with the space of the city. In the journey, the taxis include these accounts of experiences of the past, sensations, memories, anecdotes that can refer to the scenes that the citizen taking the taxi is travelling through. These subjective accounts are formulated in a closed space to reach the receiver better so that the communication acquires a greater degree of intensity at the expense of less visibility.

In a similar line, in terms of working with subjective messages, Simon Grennan and Christopher Sperandio propose the project Soy Madrid, although the strategy of the project is the other way around, given that they seek to reach the maximum number of persons. To do so, they use the classic media channels: newspaper and advertising panels. The project includes the participation of people living in Madrid and the perceptive interpretation of the artists of project, manifesting the condition of tourists and interpreters of this local reality.  The collaboration of the inhabitants entails offering accounts or phrases gathered and transformed by the artists into a comic format. The accounts or phrases are to do with such subjects as the work, the identity and the temporary or ephemeral nature of the tourist. Comments captured in collective spaces where conditions of belonging to a community are generated. Phrases like: “I am from Madrid. I studied maths. I love my bed and I am looking for a woman”, “I teach history in a college. I just have one thing to say: ¡Madrid wake up, you are an ANTIQUATED society¡”, or “I teach English to young people in Spain since leaving college. I love Madrid’s culture but eating in restaurants can sometimes be a problem because I am a vegetarian. Pork is NOT a vegetable!”

 

Appropriations of space

The subject of collaboration and construction of meaning based on the appropriation by people who live in the area, is one of the aspects that stands out in the work ofthe collective Tercerunquinto. They work from the initial perspective of constructing formal elements that generate situations, using the term sculpture, currently rejected by the majority of artists. In any case, they introduce these “sculptures” into contexts whose raison d’être, as such, lacks meaning. Asphalting a fragment of street in the periphery of Monterrey or paving an area of self-constructed houses which are still unoccupied constitute a constructive action of an element that is subsequently appropriated and reused by the people who live the area. The asphalted street becomes a platform for bringing the community together and generating events. The paving, in a peripheral and marginal area, becomes an integrated part of the self-constructed houses. Tercerunquinto documents these uses during an extended period of time, generating material which becomes a process of analysis of the uses and the subsequent appropriations on the part of the inhabitants of the place.

In the case of the project for Madrid Abierto, they set out to reproduce an element that is present in the urban environment, some watertight boxes destined for connections of telephone cables. They are multiplied until interrupting the trafficable space of a fragment of Paseo de la Castellana. This intervention proposes a modification of the urban experience, inverting the circulation systems and the elements that coexist among these systems. A “sculpture” which will multiply its meaning the moment it can activate this appropriation by citizens.

 

Against the resource of skin

Using the façade as a support device, such as the façade of Casa de América, transforming it into a trafficable vertical surface, and thereby a privileged viewpoint of a fragment of the city, entails tattooing the skin of the building with a live prosthesis.

On the proposal of José Dávila with his Mirador Nómada, he constructs a trafficable scaffolding on the façade of Casa de América, reversing the  normal relation acquired by scaffoldings in the city, from being observed to becoming a viewpoint from where to observe a part of the city of Madrid and contemplating its daily urban events. Through this proposal and the strategic position of this building we can contemplate an emblematic node of the city in an unusual manner.  The project emphasises the large number of scaffoldings found in most European cities. Elements that symbolise active cycles of change and highlight, with the mutation of skin, the prosperous mark of real estate capital. In this case, something normally observed by passers-by becomes a temporary observatory.

In this line of inverting the resource of skin, we find the project by Oscar Lloveras. He normally works in open spaces in direct association with nature, constructing evolutionary structures that establish a direct dialogue with natural spaces. His intervention is proposed for Paseo del Prado, inasmuch as it is a space that evokes a culturised relation with nature. His work channels and promotes this relation of the individual with the staged natural space, using fragile materials such as polychrome silk, paper and rope. Large suspended spatial installations that establish a dialogue with and relate to the vegetation. At the same time, this nature is a support and a stage for his interventions, suspended shapes that generate meanings that connect the city, domesticated nature and the perception of the individual.

 

Seeking and finding. Images found and localised

“In the city it is not just easy to seek and to find, but also to find without seeking, by sheer chance, with all the structures and intercommunications of the city”. Oriol Bohigas. Against the Urban Incontinence. Moral reconsideration of the architecture and the city. Electa, Barcelona 2004.

Working on the historic memory and linking it to an institution like Círculo de Bellas Artes, turning the monumental presence of the building into a screen that communicates, is the process proposed by Fernando Baena in his project Familias Encontradas (1 enero 1971 al 17 marzo).

The chance encounter of a series of photographs of large families is the pretext for a project that investigates the collective memory. Based on a selection of these images, enlarged and arranged on the façade of the building, a number of events are remembered, historic facts or event belonging to this brief period of time, associated with the present. Five electronic panels accompany the images. Four refer to the society of the moment the photos were taken, classified in the sections: General anniversaries of events - The family - Art in Spain - Círculo de Bellas Artes. The fifth is information, news, the report or the piece of data corresponding to the present. Whilst in the other four panels the information projected is a cyclical repetition of a documented selection, the fifth shows the ephemeral nature of the events that are happening.  It is also a project that seeks subjective privacy within the framework of the public space, as he suggests “In contrast with the hustle and bustle of Gran Vía, in competition with the seduction of publicity, in the opposite direction of current art, it is ultimately a project about time and about us. About the passing of. About the sensation of getting worked up, of uselessly getting worked up and expiring, brief microscopic lives that spring up and fade away without altering the appearance of the final texture”.

Constructing meaning using alternative discourses to the reality manufactured by the media and with this idea of seeking and finding, the proposal of Raimond Chaves, El Río, las cosas que pasan,takes up again this idea of connecting the city to other cities, to other realities.  Taking advantage of his condition of travelling artist who lives and works between Latin America, the Caribbean and Europe, he bases his project on a collection of stories and the re-elaboration of images to offer versions and ‘news’ that he considers relevant. Through images, he sets out events and processes that are taking place in Latin America. Events that although local and restricted to specific areas of Latin America, due to the effects of globalisation and migratory processes, have an influence on Spain and are seldom disseminated in Europe. As a passer-by, citizen and artist, he offers these accounts in the streets of Madrid to boost their public nature and to explain why he wants to bring them to the public’s attention. The work that he presents in Madrid Abierto is included in the Canal Metro schedule and displayed in advertising panels of the city. He takes this idea up again with enthusiasm, developed in other projects, of trusting people’s ability to tell their own experiences, of constructing other stories of the reality, the other side of the wickedness with which it is often constructed in the media.  Connecting with other cities, using media devices, including the participation and opinions of people, seeking new communicative strategies, are all aspects embraced by Raimond Chaves in this project.

In this edition, Madrid Abierto promotes an open process, some projects are a product of a previous path and others have recently initiated a path that is not yet concluded. Others, due to the individual strategy generated, have been unable to establish the mechanisms initially set out and have been readjusted to the moment and the adverse and complex circumstances of interacting in the public space. Madrid Abierto does not pretend to offer clear answers, but to set out issues that require analysis capacity, negotiation capacity and ability to design tactics consistent with the objectives pursued. Time is needed to renew the exhausted forms of public art and to be able to connect with everyday culture.

 

 

Ramon Parramon

 

 

 

 

05pvtb0354

2005. CALL FOR PROJECTS (rules and conditions)

  

1. The aim of this competition is the selection of at least six art projects of an ephemeral or temporary nature. The works chosen will be included in Madrid Abierto (www.madridabierto.com) together with other invited projects like those of the Casa de América and the water tank in the Fundación Canal grounds, in Plaza de Castilla.

2. Programmed to coincide with ARCO (Madrid, February 2005), the interventions will be situated along the Paseo de la Castellana-Paseo del Prado axis. There will also be a site-specific project for the Círculo de Bellas Artes building.

3. The competition is open to artists, either individually or in a group (in which case a representative should be chosen), of all nationalaties.

4. Projects must include:

• CV (maximum 2,000 characters) and a photocopy of the Identity Card(s) -or equivalent document- of the artist(s) concerned.• Description of the project (maximum 4,000 characters).• A maximum of six sketches and images of the project in jpg format with 72 dpi resolution.• Description of the assembly procedure and technical needs.• A detailed estimate of the costs, indicating items which might have their own funding. • The maximum award for each project selected is 12.000 euros, except the site-specific project for the Círculo de Bellas Artes which will receive 18.000 euros. In every case, the sum includes the cost of production, transport and installation, artists’ fees, and any taxes legally in force.

5. Projects should be sent by e-mail to This email address is being protected from spambots. You need JavaScript enabled to view it. before 15th July (or by post to Fundación Altadis-Madrid Abierto, calle Barquillo 7, 28004 Madrid, Spain).

6. The promoters of Madrid Abierto will appoint a selection committee, chaired by the director of the programme, which will choose a minimum of six projects. Proposed interventions will be assessed for quality and viability as well as absolute reversibility.

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 documentation generated. The projects and works selected will remain the 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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2005. TELECAST (list)

2005. TELECAST (list)

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

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2005. Jorge Díez. MADRID - PARÍS - TAIPEI

SPECIFIC TEXT PUBLISHED ON THE MADRID ABIERTO NEWSPAPER 2005

The wide exposure of the first edition of Madrid Abierto in 2004 brought with it, among other things, an invitation to explain the project at the International Conference on Public Art, held last October at the National University of Taipei, organised by Dimension Endowment of Art (DEOA). I intervened, together with the General Delegate for Plastic Arts of France’s Ministry of Culture, Anne-Marie Le Guével, who centred her presentation on the application of part of the resources generated from the 1% assignation from public works contracts to cultural ends (as per the Law on the Historical Heritage) to interventions in the public space and in all kinds of public institution buildings, such as education and cultural centres, and even police stations. This is one of the lines of the continental cultural-policy model which, as we known, France has been championing for years and which, through the assignation of large sums of public funds by central, regional and local administrations to a common objective, has achieved significant advances in different cultural sectors, of which the audiovisual protection fund is the most widely known and the one which has reaped the best results, consolidating French cinema above other countries’ film-making industries now in clear decadence, as for example the once booming Italian and German.

In Spain, on the other hand, we have recently been able to see cases like the projects of the Instituto de Arte Contemporáneo or the Consell de les Arts de Catalunya, which are inspired on the Anglo-Saxon cultural-policy model. In this respect, there is a precedent, initiated during the term in office of the minister, Jorge Semprún, and followed in the period of the minister, Carmen Alborch, with the strengthening of the boards of trustees of a number of national museums in detriment of the role and decision-making power of the directors of those museums and the implementation of the policy promised to the public by the political parties winning the elections. This situation coincides with the growing demand by some of those museum directors and a significant number of curators, critics, gallery directors and artists for more management independence and less political “interference”. The discredited policy and the arbitrary acts produced on more than one occasion encourage this view and serve as an excuse, perhaps inadvertently, to reinforce a model inspired on both the above-mentioned Anglo-Saxon model and the neoliberal revolution of the decade of 1990 headed by Margaret Thatcher and Ronald Reagan.

However, there is a clear distinguishing element in the above-mentioned projects which has to do with the level of representation held by, for example, the Unión de Asociaciones de Artistas Visuales (UAAV) or that which, in one’s private capacity, a specific curator, artist or director of a publication, not to mention a gallery director, regardless of how important it might be in the art market, wants to assert.

In a similar manner, we should distinguish the role of a trustee who finances a national museum through financial resources or artistic funds, as it occurs in the United States, from those who, in one’s private capacity, participate in the management body of a public museum. And in both cases for the simple reason that nobody on an individual basis is legitimised to exercise the decision-making function in respect of objectives and spending public resources, which corresponds to those who hold that responsibility in a democratic system. Because that is the crux of the matter, policy in any sphere, including culture, basically consists of employing funds approved by Parliament to achieve specific objectives and subsequently rendering account to the legitimate representation body, and later facing up to it in the next elections. This does not mean that the responsibility should not be shared in bodies like the above-mentioned Arts Council, but always with those who mediate for the interests of the different sectors through equally representative and democratic bodies, such as the UAAV.

The above is especially relevant when artistically intervening in the public sphere, as in the case of projects like Madrid Abierto. The first edition, despite the modest approaches and financial resources employed, had a more than acceptable national and international projection, as evidenced, for example, in Taipei by the enormous interest raised in teachers, students, artists and professionals of the different sectors of visual arts. Despite the distant cultural relationship between our country and Taiwan, and regardless of the degree of acceptance received by the individual artistic interventions included in the first edition of Madrid Abierto, which incidentally was very high, the model was particularly appreciated, which is based on an international call for presentation of projects, the ephemeral nature of the projects, the assignation of the vast majority of the budget to production and artists’ fees, as well as the collective work in the developing the programme. All this is even more appreciable in an artistic context like Taiwan’s, which is still centred on the public sculpture permanently installed in cities, roads, and the vicinity of museums and all kinds of institutions.

In our country, Madrid Abierto had a large following on the part of all the media channels, although admittedly most were from the general media, as the specialised media, either willingly or unwillingly, marked a civilised distance with regard to this first edition of Madrid Abierto, with the only exception of a categorically bitter and discrediting article published in one of the main cultural supplements. This is the biggest disadvantage of acting independently without any one backing you, except the sponsors, headed by the Fundación Altadis, and the collaboration of the City Council and the Government of the Autonomous Community of Madrid, which acted with the highest respect for the required autonomy of the programme and with valuable support to experimental methods that act in the public sphere. We should also highlight the collaboration of the director of ARCO, who has boosted Madrid Abierto from its beginnings, despite the fact that some of the approaches of the Fair can objectively enter into conflict in some respect with those of this public art programme which, in this second edition, curated by Ramon Parramon, can make a great leap forward in its initial objectives.

From the start, what we have attempted to do in Madrid Abierto is to approach artistic activity as a practice which, in the current complex context, is capable of generating other symbolic imaginaries different from those imposed by the dominant society of entertainment.

Jorge DíezJanuary 2005

 

 

 

 

 

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2005. CREDITS

2005. CREDITS

 

 SPONSORS

 

 

 COLLABORATORS

 

 

  THANKS TO

 

DIRECTOR: JORGE DÍEZCURATOR: RAMON PARRAMONSELECTION COMMITTE: JORGE DÍEZ, ROSINA GÓMEZ-BAEZA, BARTOLOMEO PIETROMARCHI, RAMON PARRAMON,WITH THE COLABORATION OF CARLOS ASHIDACOORDINATOR: RMS LA ASOCIACIÓNGRAPHIC DESIGN: 451

© TEXTS: THE AUTHORS© IMAGES: THE AUTHORS

SPONSORS:FUNDACIÓN ALTADISCOMUNIDAD DE MADRID. CONSEJERÍA DE CULTURA Y DEPORTESAYUNTAMIENTO DE MADRID. ÁREA DE LAS ARTESCÍRCULO DE BELLAS ARTES

COLLABORATORS:ARCO 05. MEXICOTVE. METRÓPOLISCASA DE AMÉRICACONACULTASAEBBVA. BANCOMERAEROMEXICO

THANKS TO:TELEFONICAEL MUNDOCANAL METRO MADRIDORIGINATELE TAXIFTPRESA

 

 

 

 

 

 

 

 

 

 

 

 

05pvid0361, 05pvie0363, 05pvf0365

2005. María Alos + Nicolás Dumit. MUSEO PEATONAL ( didactic text and cassette)

The Passer-by Museum uses a didactic text and cassette to inform the potential donators of its philosophy and how it offers its services.

The Passerby Museum

The Passerby Museum is an itinerant institution dedicated to presenting temporary exhibitions in different locations throughout the city. The museum draws its collection from donations from people like you, those who visit, work or live where it is in operation at any given time. The Passerby Museum serves as a physical marker, recording the presence of its collaborators in the neighborhood.

The museum is currently accepting donations for this site. We therefore encourage you to contribute to this in-progress exhibition with an object of your own. Anonymity of the donor will be preserved upon request. For inquiries and assistance, please see one of the members of our curatorial department. All of the objects donated will become the property of The Passerby Museum.

We thank you for your interest.

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2005. RADIOCAST (list)

2005. RADIOCAST (list)

** SEE THE ATTACHED PDF

 

 

 

 

 

 

 

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2005. Interview by Ramon Parramon. ROSINA GÓMEZ BAEZA

 Your contribution to and participation in Madrid Abierto is undoubtedly based on your point of view of director of ARCO, but also as a member of the selection committee which a few months ago proposed a series of projects to be produced in Madrid Abierto. In this respect, in this interview I would like focus on issues relative to both the Art Fair and to the city, on which Madrid Abierto bases its structure and raison d’être.

What are the current functions of ARCO? (From the social, cultural and market point of view and other relevant aspects).

ARCO’s current function is the result of a work in progress which began several years ago, when Spain had no real infrastructure in place for contemporary art. From its condition of Fair, and its ephemeral nature, ARCO had no other option than to become a meeting point for this country’s contemporary arts. Today, Spain has in place a real network of centres which promote cultural programmes which ARCO has always been willing to collaborate with, going beyond its function of Fair, and always aware of the importance of creating a work context.

Normally, the media tends to analyse ARCO's success by sales volume and number of visitors. In your opinion, what aspects should be taken into account when measuring the outreach of the Fair?

It is obvious that sales and number of visitors are a priority when talking about a market structure, but it is also important to consider how the necessary atmosphere to generate this is created. ARCO has concentrated on, and I think that we are pioneers in this, distinguishing the visitors to the Fair through specialised programmes for collectors, gallery owners, theoreticians, journalists etc. addressing their needs and ensuring connecting links between them. No doubt, one of ARCO’s main achievements, which I consider fundamental when measuring the outreach of the Fair, is the increase in the number private collectors in this country, a sector which was inexistent a few years ago. Giving a voice to collectors is crucial if we want to build a contemporary art heritage.

Let us imagine a situation that has already occurred on more than one occasion: a minister comes to ARCO and buys a work of art. What is the message given? What should be the role of institutions with regard to ARCO? (I am referring to institutions whose work is associated with contemporary art, whether programming or organising a collection) What do you think should be the role of the institutions with regard to contemporary art?

To establish the base for a solid contemporary art heritage, institutions and their representatives should and must get involved in the process.  For several years now ARCO has been engaged in a programme called Proyecto Salas, with the participation of some of the main institutions of this country, to ensure a real link for interchange and a common exhibition space. We have also seen a progressive increase in the number of institutions that come to ARCO to purchase art, enriching the national heritage and ensuring that the fabulous architectural spaces that have proliferated in Spain in the last twenty years house international collections and that they establish an itinerant circuit of exhibitions with other foreign institutions. These spaces also contribute to the public’s appreciation of and education in art.

“Neither ARCO nor any other international art fair reflects what is currently happening. Because the primary objective of the galleries that come to these events is to sell as many works of art as possible. This commercial vision of art often goes against current creative proposals. ARCO is an event for visitors to go and see the work of well-known and consolidated artists, those highly valued in the market, but far removed from a space for promoting or launching new talent.”

This comment by Rafael Tous, published in the magazine, Lateral, I think underlies various aspects that you could perhaps explain, comment or challenge:

ARCO has promoted artists that are now already part of the international mainstream as rising talent. Yes, art is sold in ARCO because it is a Fair, but it is also a very diverse exhibit of what is happening in no less than thirty-five countries. ARCO organises a series of programmes curated by some of the most important international curators, apart from the general programme of galleries, where there is room for different kinds of projects with alternative supports, highlighting the Fair’s interest in current creations.

This combination and display of commercial activity and cultural activity; how do you think it is perceived by the community of gallery owners and artists who participate in the Fair?

ARCO strives to ensure that the cultural activity that necessarily surrounds the Fair is directed and approached with the highest respect for the gallery context by ensuring that it interferes as less as possible with their commercial activity and that the space which they undoubtedly are the stars of is a quiet space and lends itself to their activities. However, we are also aware that the more attractive the Fair’s cultural programme, in harmony with what is happening in the city, the more professionals and collectors of contemporary art will be attracted by our cultural and commercial offer.

For artists it is of course extremely positive, given that ARCO tries to make sure that all its special guests, from curators to gallery owners and museum directors, become familiar with this country’s production and that a cultural interchange is activated to facilitate the promotion of artists abroad. Because, let’s be honest, one of this country’s main pending issues is the qualified promotion of the image of Spanish contemporary art outside our borders. Everyone knows that the majority of our artists are forced to leave Spain to promote their work. This is why ARCO seeks to become a window for tendencies with own names, displaying this country’s immense artistic panorama, and the persistent efforts of Spanish gallery owners, who have taken on a role that should rightfully be shared with government institutions.

Let us go one step further with regard to the activities included in the scope of ARCO. In relation to the city, how do you think Madrid’s socio-cultural activity is affected by the event?

February has become the cultural month par excellence in Madrid, and this circumstance is directly associated with the action process initiated by ARCO. In just a few days hundreds of outstanding persons of the art world arrive in Madrid and find themselves involved in an endless number of activities and inaugurations of the highest level, which transform the city into the cultural capital desired by all.

It has sometimes been suggested that ARCO absorbs so much energy that the city of Madrid becomes a cultural desert the rest of the year. This image of desolation continues to be mentioned in art circles. How would you rate the city’s activity after ARCO? To what extent does it revitalise or burden the activity of the city over the year?

Indeed, ARCO’s pulling power as a brief event and an important meeting space gives rise to inaugurations and cultural programmes of great magnitude taking place that month, but this frenetic activity leads to agreements being clenched, people getting to know one another, and co-operation links being created between different institutions for possible future collaboration.

The initiative Madrid Abierto, headed by Jorge Díez, emerged a year ago with the aim of working within the real context of the city, but associated with this energy field generated by ARCO. What does Madrid Abierto mean to you? To what extent is it associated or disassociated from the Open Spaces that used to be organised inside ARCO’s exhibition site?

Street art is no longer the transferral of the museum to the street as exhibition space but a means of interacting with the public/passers-by to establish reciprocal reflection. It is a way of relating to everyday spaces and offering different points of view of our own existence in the city. It proposes that what is public is not just confined to what we can see but it also forms part of that abstract space of public domain. In this respect, Madrid Abierto is set out as a question mark directed at the space of the city, a city like Madrid, which makes daily efforts to become more habitable, within the complexity of a growing metropolis.

The Open Spaces developed during the different editions of the Fair have been the detonating factor and the initiative that have inspired intersections between the artistic object and the city.

The majority of the projects selected for this second edition require some explanation to understand their meaning and their position or relationship with the mechanisms of the city, i.e., transport systems, advertising devices, etc. In fact, they evidence a certain dematerialisation or deobjetivisation. How does this fit in into the framework of a fair that is based on the sale of art objects?

I think that we must understand that contemporary art is plural and diverse, and cannot be subject to a single category. In the Fair we try to ensure that all these possibilities are contemplated from different standpoints; for example, in the International Forum of Experts in Contemporary Art we have a session that specifically addresses the Collection of previously uncollectible art, which will address the ways art fairs will have to assume, among other things, that new quality of contemporary art within the dematerialisation of the artistic object. However, the traditional circuit will clearly continue to exist because, as I said earlier, the Fair is and seeks to continue to be a window for illustrative options of contemporary aesthetics.

 

 

 

 

 

05pvtb0348

2005. Simon Greenan + Christopher Sperandio. THE BATTLE AND RYE OBSERVER

2005. Simon Greenan + Christopher Sperandio. THE BATTLE AND RYE OBSERVER

 

Sample from a recent Grennan and Sperandio collaboration with young people as published in the Battle and Rye Observer.For more information visit www.kartoonkings.com

 

 

 

 

 

 

05prmc0488

2005. Raimond Chaves. HANGUEANDO, 2002-03

2005. Raimond Chaves. HANGUEANDO, 2002-03

Support for the public reading L'UnitàModena, Italia 2003

Hangueando in Venecia neighborhood, Bogotá, Colombia, April - May 2003     Hangueando in Cerro, Naranjito, Puerto Rico, October 2002

 

 

       

Hangueando, "newspaper with legs" nº 1,2,3

 

 

 

 

 

 

05pric0474

2005. Nicolas Dumit Estevez + Linda Mary Montano. HOPE, 2011

2005. Nicolas Dumit Estevez + Linda Mary Montano. HOPE, 2011

 

    

       

HOPE, 2011A three-day performanceLinda Mary Montano and Nicolas Dumit Estevez made themselves available for three days as walking billboards on which individuals and groups from different Bronx neighborhoods wrote their hopes]

Photos: Alex Villaluz© 2011 Montano/Estevez

.................................................................................................................................................................................................................................................................................................Nicolas Dumit EstevezBRONX HOPES: FROM RIVERDALE TO HUNTS POINT

Linda Mary Montano has the gift of purging art of any of the unnecessary frills that might prevent it from overlapping with life. She strips her ideas to the bare bone, while my tendency is the opposite. Nonetheless, given our unique visions and particular approaches to art and life, several months ago we both found ways to agree to spend three days in my hometown, the Bronx, inviting people in the borough to share their hopes with us. Our day one of the performance: Riverdale. I am hesitant to travel from Longwood in the south, South Bronx to a fancy community closer to Manhattan than to my neighborhood. However, I feel responsible for faithfully following our pre-planned performance schedule. Linda and I ride with a taxi driver who does not have a clear picture of our exact destination. Riverdale seems so far removed from Longwood. In Riverdale, you have the impression of things being almost perfect, so there is not a single candy wrapper on the sidewalks. We spend an hour in this part of the Bronx in conversation with a thoughtful host who brings Arabs and Jews together for breaking bread. Linda and I leave the place with two brown bags containing falafels and with several hopes written on our backs. On the number 1 train we meet a group of teenagers and a handful of adults who inscribe their hopes on our clothes. At the Hub, a few blocks before reaching home, we encounter a passerby named Boobie. She writes on both of our hoodies. I vividly remember the woman in a wheelchair, not too far from where we meet Bobbie, who asks Linda to spell for her: “I hope to get my kids back.”  In St. Mary’s Park, Linda and I unpack our falafels and eat them as we talk about hope.

Our day two of the performance: Riverdale: West Farms Road and the Grand Concourse. Linda speaks with a group of students at an intermediate school about the subject of our quest: hope. The class is half-asleep, but eventually the children interject our questions with answers. A sick boy, who is comforted by a young teacher, regains his health surprisingly quickly. He smiles and joins the discussion. Children think twice before writing on our clothes, but soon enough they overcome their hesitation, as the adults in the room invite them to venture into art-life, to live a moment artfully, to break rules.  On the other hand, while extremely polite, the staff at the school looks at the twins in white, Linda and I, with suspicion. Linda’s orange wig disrupts their monotonous, clerical routine. Art flirts with productivity. Later that same day, seniors at a building not too far from the Zoo wait for us in a small room. As a result of some miscommunication, they expect us to give them t-shirts on which they can paint. Instead, they meet a middle-aged man and a woman of their own age who initiate a conversation on hope. The dialogue becomes heated as some of the seniors voice their thoughts about the lack of jobs for young people and the government’s interests in building jails instead of improving the economy. I promise one of them that I will spread the word about her request to get free tickets for the group to attend a play at a Bronx theater. I translate for six seniors called Las Comadres, the Godmothers. They write their hopes on our clothing in Spanish. Traveling from the seniors place in West Farms to Longwood, we watch a rowdy group of teens spill out onto the street outside the McDonald’s at the Prospect subway stop. We exit the scene swiftly. The police patrol the corner.

Our last visit that evening is to a Muslim Center on the Grand Concourse. Angelika Rinnhofer, one of my former students at the Transart Institute comes from upstate New York to watch the performance. Shoes off. Linda and I climb up the stairs to meet some of the members. Some of the hopes they write match those written by many others, like “peace,” or address common needs in the borough: “Keep the Bronx Clean and Safe.” I ask myself whether these should be a hope or a right. We live in one of the wealthiest cities in the world, the Bronx included. The chanting on the lower floor counteracts the weight we carry on our clothes: so many hopes.

Our day three of the performance: Hunts Point. A Community Development Corporation called The Point offers us a place where we are able to engage people at a women’s health festival. What a blissful ending. Linda and I meet inspiring teens, graffiti artists and a friendly chef. We eat arroz con gandules and drink lemonade. We step outdoors where a man in a van stops to write his hope on my sleeve. Linda gets several tags on her legs before leaving the scene, and the Bronx, for good. I cross the Bruckner full of hopes spelled on my legs, arms and hoodie. One of my shoes reads “courage.” The performance ends, yet people’s hopes outlive our three-day action. Linda, I hope that you come back to the Bronx. Thank your for your mentorship and for three unforgettable days where art and life met.

Nicolás Dumit

.................................................................................................................................................................................................................................................................................................Linda Mary MontanoWRITING HOPE IN THE BRONX What a great opportunity! A chance to be a transgressive twin again, this time not with a rope but with HOPE, binding me invisibly and happily to Nicolas Dumit Estevez for 3 days, 3 hours a day in his Bronx.

About 6 months ago, Nicolas invited me to help him celebrate his incorporation into Bronxdom and I suggested we perform a "HOPE/PIECE/PEACE". This is not the time or place to suggest the 563,000 reasons why hope is our most valuable personal, political, social commodity so I defer to conceptual art reasons to explain why my first idea referenced recycled plastic bags.... I said to Nicolas, "Let's stand on the streets, 3 hours a day, for 3 days and let folks write their hopes on plastic bags with markers. Then we hang the bags in the gallery." It seemed like a good concept coming from an ex-nun who had sworn herself to poverty and simplicity, right?

We agreed and then a few months later he contacted me, we talked and he said, "Do you want to scan the HOPES written on bags and show the scans instead of plastic bags?" Nicolas's sweet voice can convince me of anything and I let go of the simple, green, bag endurance and we agreed. Scan the bags. It seemed like an aesthetic and good fix and raised the level of plastic to fine art, even though it did involve technology, paper and a larger time commitment. And then a few months later we talked and Nicolas raised the bar! "Let's let them write their hopes on us," he said. "We can wear white clothes!!!!" So in the tradition of our art mentors: Manzoni, Klein, Yoko Ono, Shirin Neshat and a litany of others; in the tradition of the cave painting ritual of signage as symbol, we ventured into Bronx-land and endured while wearing our white art suits. And as walking, talking, transgressing, living sculptures we invited elders, African Muslims, 12 year old school children, folks on the streets, subways, taxis and buses to STOP! DREAM! SHARE LIFE AND HOPE outside the traumas of the daily news and our individual unimaginably complex everyday dramas. Nicolas, we play good art/life together,

TO ALL WHO ATTEND THE OPENING /OR READ THIS STATEMENT:  I am attending the opening invisibly and I invite you to collaborate with me by: WHISPERING YOUR HOPE TO THE AIR.

Linda Mary Montano

 

 

 

 

 

 

 

 

 

 

05aama3684

2005. Óscar Lloveras. ARTIUM, París, 2003

2005. Óscar Lloveras. ARTIUM, París, 2003

           

    

 

           

 

 

 

 

 

 

 

05prid0469, 05prvd0470

2005. Nicolás Dumit. BORN AGAIN, 2011

2005. Nicolás Dumit. BORN AGAIN, 2011

BORN AGAIN, 2011A Lebanese-Dominican Dominican York is born again as a Bronxite, 2011Bronx-wide social sculpture and public ceremony

Born Again is a Bronx-wide participatory, social sculpture dealing with the perceptions and misperceptions that attempt to define the Bronx’s identity at home and abroad.Emphasis is given to the South Bronx, the place I call home. In Born Again, I invite Bronx residents to use me as the canvas on which they can symbolically and physically construct, deconstruct and/or re-construct their own ideas of a Bronxite: whatever this means to them.

Eight artists were commissioned to develop interactive projects with specific communities in the South Bronx in mind, ranging from teenagers groups to senior citizens centers.

My Baptism with the Water of the Bronx River

On April 6th, 2011, I invited William Aguado and Susan Fleminger to baptize me as a Bronxite with the water of the Bronx River. The Ceremony was officiated by Martha Wilson. Flower girls Aisha Rose Howie and Aida Celeste García Howie.

This baptism was a rite of passage that marked my transition from Lebanese-Dominican to Dominican York (a Dominican who had settled permanently in New York City) and my birth/rebirth as a Bronxite.

Born Again: A Lebanese-Dominican Dominican York is born again as a Bronxite, was conceived by Nicolas Dumit Estevez for Longwood Art Gallery/ Bronx Council on the Arts and presented with collaborating organizations, including Bronx River Alliance, El Museo del Barrio, Banana Kelly High School, Lehman College Art Gallery, two programs from Phipps Community Development Corporation: Drew Gardens and La Casa de Felicidad, and THE POINT CDC, among others.

 

.................................................................................................................................................................................................................................................................................................BORN AGAIN, 2011A Lebanese-Dominican Dominican York is born again as a Bronxite, 2011Bronx-wide social sculpture and public ceremony

Photos: Alex Villaluz© 2011 Nicolas Dumit Estevez

Baptismal procession: William Aguado, padrino and Susan Fleminger, madrina. Ceremony officiated by Martha Wilson. Flower girls Aisha Rose Howie and Aida Celeste García Howie

 

Nicolas’ Baptism as a Bronxite

 

  

Baptism. Left to right: Susan Fleminger, madrina; Nicolas Dumit Estevez and William Aguado, padrino

 

Martha Wilson, presiding, undressing Nicolas

 

Reception

 

 

 

 

 

 

 

05aama3683

2005. Óscar Lloveras. JARDÍN VOBAN

2005. Óscar Lloveras. JARDÍN VOBAN

           

         

 

 

 

 

 

 

 

 

 

05prid0468

2005. Óscar Lloveras. KAMIYAMA, Japón, 1999

2005. Óscar Lloveras. KAMIYAMA, Japón, 1999

CHAMPS 

         

COLLINE

         

FOREST

       

KAMIYAMAla Montagne des DieuxIchinosaka, Japón, 1999Installations sur les chemins

 

 

 

 

 

 

 

 

 

05prid0465, 05prid0466, 05prid0467

2005. María Alos + Nicolás Dumit. MUSEO PEATONAL (press kit)

2005. María Alos + Nicolás Dumit. MUSEO PEATONAL (press kit)

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

    

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

05inme3680

2005. María Alos + Nicolás Dumit. MUSEO PEATONAL, LA RAMPA EN VEDADO, HABANA, CUBA, 2006

2005. María Alos + Nicolás Dumit. MUSEO PEATONAL, LA RAMPA EN VEDADO, HABANA, CUBA, 2006

 

       

       

      

        

        

        

LA RAMPA EN VEDADO, HABANA, CUBA, 2006Documentation of intervention in Habana as invited artists to the Novena Bienal de la HabanaWith the support of CONACULTA, SRE and Embajada de México en Cuba

 

 

 

 

 

 

 

05inme3679

2005. María Alos + Nicolás Dumit. MUSEO PEATONAL. EXPOSICIÓN MUCA-Roma, 2004

2005. María Alos + Nicolás Dumit. MUSEO PEATONAL. EXPOSICIÓN MUCA-Roma, 2004

 

      

      

         

        

EXHIBITION MUCA-Roma, 2004At the Museo Universitario de Ciencias y Arte (MUCA-Roma)(www.facebook.com/muca.roma)México City

 

 

 

 

 

 

 

05inme3678

2005. Óscar Lloveras. FAUBOUR BETUNE

2005. Óscar Lloveras. FAUBOUR BETUNE

 

         

         

FAUBOUR BETUNE

 

 

 

 

 

05prid0463

2005. María Alos + Nicolás Dumit. MUSEO PEATONAL, CLAREMONT, CALIFORNA, 2008

2005. María Alos + Nicolás Dumit. MUSEO PEATONAL, CLAREMONT, CALIFORNA, 2008

.........................................................................................................................................................................................................................................................EXHIBITION, CLAREMONT MUSEUM OF ART

     

     

 

.........................................................................................................................................................................................................................................................INTERVENTION

     

     

 

 

 

 

 

 

 

 

05inie3677

2005. María Alos + Nicolás Dumit. MUSEO PEATONAL, KITCHENER, CANADA, 2007

2005. María Alos + Nicolás Dumit. MUSEO PEATONAL, KITCHENER, CANADA, 2007

 

       

       

       

          

         

         

 

 

 

 

 

 

 

 

 

05inie3676

2005. María Alos + Nicolás Dumit. MUSEO PEATONAL, PLAZA VIEJA, HABANA, CUBA, 2006

2005. María Alos + Nicolás Dumit. MUSEO PEATONAL, PLAZA VIEJA, HABANA, CUBA, 2006

 

     

    

     

      

        

        

        

PLAZA VIEJA, HABANA, CUBA, 2006Documentation of intervention in Habana as invited artists to the Novena Bienal de La HabanaWith thre support of CONACULTA, SRE and Embajada de México en Cuba

 

 

 

 

 

 

 

05inme3675

2005. María Alos + Nicolás Dumit. MUSEO PEATONAL, EL ZÓCALO, PUEBLA, MÉXICO, 2006

EL ZÓCALO, PUEBLA, MÉXICO, 2006Documental intervention in Puebla as a part of Plataforma Puebla 

.........................................................................................................................................................................................................................................................EXHIBITION

       

       

          

          

 

.........................................................................................................................................................................................................................................................INTERVENTION

       

       

          

          

 

 

 

 

 

 

 

 

 

 

 

05inme3674

2005. María Alos + Nicolás Dumit. MUSEO PEATONAL,ENTRANCE OF SUBWAY, UNAM, 2004

2005. María Alos + Nicolás Dumit. MUSEO PEATONAL,ENTRANCE OF SUBWAY, UNAM, 2004

 

   

    

      

     

ENTRANCE OF SUBWAY (METRO UNIVERSIDAD) UNAM, 2004Documentation of intervention in Mexico City. Sponsored by MUCA Roma and  Dirección de Artes Visuales UNAM

 

 

 

 

 

 

 

 

05inme3672

2005. María Alos + Nicolás Dumit. MUSEO PEATONAL, SOUTH BRONX, NEW YORK, 2004

2005. María Alos + Nicolás Dumit. MUSEO PEATONAL, SOUTH BRONX, NEW YORK, 2004

  

SOUTH BRONX, NEW YORK, 2004Sponsored by the Bronx Council of the Arts, Hostos University and Longwood Art Gallery

 

 

 

 

 

 

 

 

 

 

 

05inme3671

2005. María Alos + Nicolás Dumit. MUSEO PEATONAL, TIMES SQUARE, 2002

2005. María Alos + Nicolás Dumit. MUSEO PEATONAL, TIMES SQUARE, 2002

 

    

       

           

     

     

   

TIMES SQUARE, 2002Documentation of intervention at a storefront window in Times Square, 129 West 42nd Street

 

 

 

 

 

 

 

 

 

05inme3670

2005. María Alos + Nicolás Dumit. EL MUSEO PEATONAL, LOWER MANHATTAN, 2002

2005. María Alos + Nicolás Dumit. EL MUSEO PEATONAL, LOWER MANHATTAN, 2002

 

  

LOWER MANHATTAN 2002Documentation of intervention in Lower Manhattan, NYC, 12 Church Street. Sponsored by LMCC.

 

    

   

    

   

    

       

       

 

 

 

 

 

 

 

 

05inme3669

2005. Rebekka Reich + Anne Lorenz. TAXI MADRID (2004.10 / fieldwork)

................................................................................................................................................................................... CALL FOR PARTICIPATION

 

DID YOU LEAVE MADRID MORE THAN TEN YEARS AGO?

YOUR MEMORIES OF THE CITY WILL BE PART OF A NEW ARTISTIC INTERVENTION THAT WILL TAKE PLACE IN MADRID IN FEBRUARY 2005

For further information check:  http://www.taximadrid.com

Or simply send an e-mail to: This email address is being protected from spambots. You need JavaScript enabled to view it.This email address is being protected from spambots. You need JavaScript enabled to view it.

                    WE EXPECT YOUR ANSWER WITH GREAT ANTICIPATION!

Anne Lorenz    &   Rebekka Reich               Artistas (Allemagne)

 

...................................................................................................................................................................................

QUESTIONNAIRE

Hello XXX (person’s name or nickname)

I am pleased to say that we have selected you to collaborate in our project titled TAXI MADRID. I need you to do a brief interview, which we are sending. Your opinion will be of great help, so we expect to receive it.

Please, think on each question before answering: 

1. Which is your most positive memory of Madrid?2. And the most negative?3. Did you experience anything in Madrid that you still talk about and remember every once in a while?4. Which was your favourite spot in Madrid? Why?5. Is there any place in Madrid that gave you good luck? And bad?6. In your opinion: Which is the most horrible area or place in the city?

You don’t have to give us a written answer. It’s ok if you just tell us your memories when we call you on the phone. Next I give you some possible dates to call you:

123

 

Hugs and kisses from Zürich and thanks for collaborating,

Anne & Rebakka

PS.: I’d like to confirm that once we call you, we will record the call. I hope you give us your approval because we will maybe use some of your sentences with your own voice for the TAXI MADRID installation, although most will be interpreted by hired actors.

 

(October 2004)

 

 

 

 

 

 

 

05intb3456, 05intb3455

2005. Raimond Chaves. EL RIO, LAS COSAS QUE PASAN (2005.05 / theoretical data)

 INTRODUCTION

Over the past few years I have been basing my work on the preparation of publications with varying levels of public participation in their elaboration and which aim to promote the circulation of those stories, images, ideas, etc. which due to their importance and at the same time the lack of public awareness of them deserve to be known and spread.

Thus, restoring the capacity of people to tell their own experiences to counter these stories to the domineering capacity of the media to create events and set out concrete action to be taken, all in all, to create reality.

A large part of these editorial proposals is the work of processing images, mainly found images, to have a bearing on the willingness to respond from other angles and with other views of that which “is happening”.

Thus, stories, news, echoes, new images, drawings and collage, edited in street newspapers, posters, templates, mural paintings and other supports propose new ways of understanding the world while putting the notions of objectivity, impartiality and the rôles of preparation and receipt of information in doubt.

BACKGROUND

Hangueando(*) –Periódico con Patas.

(*) Hanguear. Spanglish version of the English verb “To Hang Around” and which is used as synonym of to roam without a fixed destination or set aim in Puerto Rico.

Poster newspaper glued to street walls and shown at exhibitions as well as been sold at public presentations which end in a party, it is exchanged, given as a gift.

HANGUEANDO feeds on many different independent initiatives as is the independent and bright elaboration of images, the capacity to refer to its self-existence, the critical sense of the context and symbolic meaning of certain objects, either due to their usefulness or their symbolic power help us to know the world better. HANGUEANDO is a publication based on the recycling of images and senses, on the spreading of stories and points of view which usually get no coverage in other media and in celebrating the joy of life.

So far, the following posters have been published:

N0 0. October 2002, 59,4x84cm. 1500 copies. Four colours. Published and printed in Lima. Distributed in Lima, San Juan de Puerto Rico, Bucaramanga, Bogotá, Barcelona, Madrid, Rotterdam, Berlin and Ljubljana.N0 1. April 2003, 59,4x84cm. 1500 copies. Four colours. Published in Bogotá and printed in. Distributed in Lima, San Juan de Puerto Rico, Mayagüez, Bucaramanga, Bogotá, Barcelona and Módena.N0 2. November 2003, 100x140cm. 1500 copies. Digital printing. Published in Puerto Rico and the Dominican Republic. Printed in Barcelona with the backing of 22a. Distributed in Puerto Rico and Barcelona.N0 3. Spring-Summer 2004, 70x100cm. Published in Terrassa. Printed in Madrid with the backing of El Perro, Distributed in Spain. (Unpublished on October 20th 2004)

“Coca Crónica” (Rotterdam, 2002) See images at the following link: http://www.jstk.org/airport/raimond/index.html

“Veni, Sentate, Contame”(Lima, 2003) and “La Pura Oscura” (Bogotá, 2004) on screen processing of journalistic images of the Colombian conflict. –See attached images-

“Mural Candela" (Terrassa, 2004) Mural painting for street view at a place of meeting and political discussion. -See images attached and the following link: http://www.p-oberts.org/index1.html

PROPOSAL

“Hanguendo y Colgando” is organised around a double proposal for Madrid Abierto based on the mediums on which it will be shown on the streets of the capital and also on the condition of a travelling artist who lives and works travelling between South America, the Caribbean and Europe.

“Hangueando”The publication of a new poster to be placed on billboards on the streets of Madrid with texts, statements and images considered to be relevant regarding events and processes which are taking place in South America and are hardly known of or totally unknown in Europe. Events that are local or confined to certain areas of South America because of globalization have consequences in Spain.

“Colgando”The publication of between twenty and thirty different banderols based on my collection of images of South America with which I will elaborate a graphic story (no text) on a topic similar to the complimentary proposal but aimed at being read while moving (in vehicles driving along the Paseo de Recoletos). The sequence of images will work just like a flipbook, in which the animation works passing of the images. These images could illustrate an “event” during various moments, such as for example a bottle emptying or a volcano erupting (from banderol to banderol).

CONCLUSION

I would like to take advantage of my being a travelling artist who bases his work on gathering stories and the processing of images to offer versions and “news stories” which I believe to be relevant on local matters which have global implications. As a passer-by, citizen and artist, I offer these stories, on the streets of Madrid, to strengthen its public character and my desire to bring these stories closer to everyone.

 

(May 2005)

 

 

 

 

 

 

 

05intb0503

2005. Fernando Baena. FAMILIAS ENCONTRADAS (2005.1 / fieldwork / families)

 INVESTIGATIONS: FAMILIES

The General Education Act establishes different educational stages:Preschool, general basic education (EGB), unified and polyvalent high school (BUP) and college prep course (COU), technical school (FP), University and permanent education for adults (EPA).

**

Mayors are designated by the Provincial Administration. A third of the city councillors are designated by the Union’s Committees, a third by economic and social entities, and last, a third by family representatives, head of families and married women.

**

Freudo-Marxism and Anti-Psychiatry are critical with the institution of family. They intend to abolish family, substituting it by other more communitarian forms of reproduction and socialization for little children. They analyze mass psychology which explains the rise of Nazism and Fascism and denounce family and its repressive and authoritarian aspects which are shared with private companies, schools and other institutions. David Cooper attacks the bourgeois family (patriarchal and monogamist) in his book Death of the Family and associates it to the genesis of schizophrenia.

**

The 25/1971 Act, 19th of June, in protection of large families published in the n.º 150 del 24/06/1971 of the BOE, claims to complete and perfect both the protective assistance of Social Security and the special guarantees related to employment and labor relations, and to maintain the profits, established in terms of taxation. They are regulated, as much as the General Education Act reaches its full development, exemptions and bonuses of rights and education taxes, in all their levels and grades, and the preferential professional education related rights; special education subsidies are instituted, on the other hand, in favor of large families with handicapped or disabled children. In the same way, they have the preferential right to access subsidized housing, improvements in form of financing and awarding of credits to obtain unsubsidized housing. Finally, the reductions in the tariffs and on complements to public transport will remain.

The law considers a large family to be constituted by: The head of the family, the spouse and three or more children; the head of family, the spouse, if there were any, and two children, as long as, at least one of them, is disabled or handicapped for work; the head of family in a situation of widowhood, legal or factual matrimonial separation, and, in any of these assumptions, three children; the head of family, the spouse, if there is any, when one is totally disabled for work, having three children; the head of family and spouse, when both are totally disabled or handicapped for work, having two children; the head of family, the spouse, if there is any, and two children, if these are disabled or handicapped for work. The children can be legitimate, legitimated, naturally accepted, illegitimate with right to be fed, or adopted, each belonging to members of the marriage, or to one of them.

First Category families are those that have from three to six children. Of Second Category the ones that have from seven to nine children and Category of Honour those that have ten or more siblings.

The Law considers the father to be the head of family; or lack of that, the mother, and, in case of legal or of fact separation, the spouse who has their custody. In lack of those persons the head of family is the one who takes care of the under-aged or disabled members, as long as they live with him and at his expense. In the lack of these circumstances, the protection is limited to one of the siblings.

The head of a large family and the spouse have priority to be hired in any job position as long as they are apt, have the necessary knowledge and conditions required, are capable of performing their duties and these are positions subject to free contracting. From this priority are excepted directive jobs or those considered of confidence. In those cases in which there are dismissals, general hourly working day reductions or necessary transfers, they enjoy, in their category and specialty, protection to retain their working situation. In their benefit the legal designated deadlines are duplicated in time to leave a house that they live in for working reasons.

**

The law forces the wife to obey her husband. Without marital license, the wife can’t work, receive a salary, start a business, occupy any position, nor open bank accounts, have a passport, or driving licence, nor accept or reject inheritances, even if belonging to her parents, or ask for her share, nor be executrix, or defend herself in courts (except for a criminal trial), nor defend her own assets, nor sell or tom mortgage these assets, nor to have any money except to do the daily shopping even though it were her own salary. The woman is forced to follow her husband wherever he intends to live, she can’t exercise parental authority over the children until the father dies and in this case, she only has the right to receive half of what is left.

**

If any woman marries someone from another country, automatically she loses her nationality and is considered a foreigner; then she is given a green card and her studies lose efficacy, she can’t be a civil servant and needs a work permit.

**

Spanish family has as absolute values the indissolubility of marriage and procreation of as many children as possible, the predominant role of the father as head of family and the subordination of women to the reproductive function in a biological and domestic sense.

**

The matrimonial fertility period is of 7,5 years.The average age difference between husband and wife is of 1,9 years.The average age for a woman to marry is of 23,7 years.When born a woman has a life expectancy of 75,1 years.When born a man has a life expectancy of 69,6 years.The vital cycle until widowhood is of 45,1 years.The percentage of marital life in contrast with the average life of man is 64,8%.The percentage of marital life in contrast with the average life of woman is 60%.The average number of siblings is 2,5 per couple.The average number of family members is 3,84. The highest in Canary Islands (4,3), Navarra and Basque Country (4,1), Andalusia and Cantabria (4,0). The lowest in Baleares (3,5) followed by Castilla-La Mancha, Comunidad Valenciana, La Rioja and Aragon (3,6).From the establishment of the household to the first birth pass an average of 1,4 years.Between births lay an average 3 years.Empty household: 11,7 years.The fertile interval in contrast with the vital cycle until widowhood is of 16,6%.The duration of an empty household in contrast with the vital cycle until widowhood is of 25,9%.The average duration of widowhood in woman is 9 years.The average duration of widowhood in man is 2,2 years.The total duration of the masculine vital familiar cycle with widowhood is of 47.3 years.The total duration of the feminine vital familiar cycle with widowhood is of 54,1 years.The probability of men to die first (woman 1) is 2,7.

**

In its January issue, the Ama magazine shows a picture of the audience that the Princes of Spain held with Ana María Benito de Asencio, elected Housewife of the year 1970.The winner had to pass different tests: sewing, cooking, decoration and culture. The inside pages show Ana María Benito declaring herself against divorce, erotic cinema and violence. Ana is a social graduate and commercial expert, but doesn’t practice and, although she’s in favour of women’s labour, she has enough with her home duties. To her, a good housewife should have a will towards self-improvement, be dedicated to her husband and children, and constantly take care of the household problems, most of all children’s education. “Todo Madrid” attended de proclamation dinner.

**

Barcelona has a housing deficit that reaches 85,590 in its urban perimeter and of 18,120 in the rest of the metropolitan areas.

**

A reader of Telva criticizes the way in which the magazine idealizes the housewife. This, she claims, makes female workers feel guilty. Telva’s answer reads: “…the housewife-mother should dedicate her best time and abilities to hers… The best service to society is to create adapted individuals, and in this function, family plays a main role”. It also states that: “..above technical, industrial and material welfare, stands the spiritual and psychological wellbeing that an intelligent, educated and dedicated mother can greatly provide”.

**

Doctor José L. Navarro, in an article titled The Pill… Danger???, reminds us the danger that minimum dosages of oral contraceptives might produce micro-abortions. And exclaims: “Of course, in many countries the “escalation” of contraceptives has conduced to the legalization of abortion!”

**

In an article published by Telva, Jean Guitton says: “I approve of those rooted beings that can only live properly inside. The wife at home… The wife provides, to that which she gathers, a kind of curvature, friendly and protective, like a bird that curves its wings to create a nest.”

**

A reader of Telva asks: “Isn’t it true that these strict marital duties are obsolete and that these should be limited to those days in which both husband and wife agree?” Clara Fornet answers: “.. Being responsible, you have no reasons to refuse; you can only argue that you’re tired and ask for understanding and consideration on your husband’s part. But he can also ask for your consideration, referring to “something” that in man is much more imperative than in woman.”

**

The large group of Parliament attorneys request the creation of a housing credit Bank.

**

The Subcommittee that estimates the Housing Committee Demand believes that for the validity period of the Third Plan for Social and Economic Development 1,500,000 houses will be needed.

**

In the Hogar y Moda magazine, Enrica Catani writes an article titled Secrets of a successful marriage. In this article she writes: “… A man is not a moneymaking machine. Outside the household, he has to sometimes confront serious trouble and a woman can’t expect him to be forever cheerful. She must understand when she has to postpone an uncomfortable conversation. Postpone it only, if it’s important… I have used the word “important”, because a woman can’t intend to be listened when she afflicts her husband with gossip or unimportant problems that she must resolve on her own. It is fair to respect someone’s bad mood when it’s a consequence of serious worries…”

**

In an article called Tips to get along fine, published in the Hogar y Moda magazine, we can read: “His favourite pastime is painting, but his wife doesn’t know how to paint. This is one of the cases in which the wife must accept even that which she knows not how to do, and must do it with intelligence and enthusiasm, because, as we all know, visual arts involve noble sentiments, and are a spiritual education for sensitive beings. Therefore, although both personalities may be very dissimilar, an agreement is possible with the understanding that the wife must prove and practice.”

**

According to the magazine Hogar y Moda, women that work outside the household dedicate 8 hours to their jobs. To that we must add 5 more hours at home with the children, 2 hours transport, 2 hours for meals, and 1 hour to walk. Therefore, she would have 6 hours left of sleep a day. However, women who work at home, apart from dedicating 8 hours to that job, dedicate 2 other hours to help the children with their homework, 3 hours on meals, 2 hours on walks, 2 hours sewing, gardening and helping the husband. Thus, she has 7 hours left to sleep.

**

An ideal marriage, with two children in Madrid spends 45% of its budget in food. Having a budget of some 15,000 pesetas, they can spend 6,830 pesetas a month in food; which would be 227.60 pesetas a day. The average per person is of 56.90 pesetas. With such a budget, and according to prices of the Vallehermoso Market in Madrid, on the 16th of December 1970, the following menu could be elaborated: breakfast with white coffee, bread and butter, lunch of chicken soup, chicken mound, and apple dessert, snack with white coffee and dinner of cabbage with chips, hake (frozen) au gratin, and tangerine dessert. The above mentioned budget includes half litre of wine.

**

On the 14th of January, the wife of singer Andrés Do Barro bears a baby of 3 and a halve kilos.

**

Carmen Maria Guadalupe Dolores, daughter of Rocío Durcal and Junior, is christened. Lola Flores was the godmother.

**

Patricia, daughter of dancer Maria Cruz and Oscar Ortiz is christened.

**

Articles in the décor magazine Sábado Gráfico are about the houses of the Angulo, Ussia, Holmsen, Coca and Emilio Alduchi nicknamed “Pirro”.

**

In Barcelona judge number 8 announces a verdict in favour of social worker Misses Reyes Martorell in her dispute with Cáritas Barcelona which had fired her for having had a civil marriage.

**

Ana García Fernández and her husband, Manuel Rambla Encina, never got along. After a 15 year marriage, Manuel died on the 5th of January due to burns that his wife had caused on the 23rd of December when she threw a pot of boiling water on him in his sleep. She appeared to have added some corrosive product.

**

El Caso, in your article on “Lute”, published on the 23rd of January you say: “…these rumours assure that “el Lute” was madly in love with her and very worried about his children’s luck. And they say that he spent hours in contemplation on the sad nights of the Port, yearning for his family life, his children, “Chelo” (his wife)… No; the reader mustn’t be surprised. Love is this… “el Lute” decided to risk everything for his wife and children…”

**

In El Caso, an article titled “The denaturalized mother from Barcelona is in prison”, it says: “She had this child while single and then married another man, with whom she had another one. But her husband couldn’t put up with her, not being able to tame her and stop her constant infidelities, he left with his child. She went on with her life, going to bad reputed bars and having different friends for intermittent periods of time, among which there was a gypsy to whom she was unfaithful. He attacked her and almost killed her. In these adventures, her husband died in a car crash, without giving her the child’s custody, luckily for him. She had another daughter from an unknown father that a woman takes care of in exchange for money…”

**

On the 30th of January Nicanor Rodríguez, and educated, religious and polite man killed his wife, his four children and the maid, after which he left the house naked and shouting out sentences like “They want to destroy personality” and “I am justice”. His colleagues and friends noticed he had become obsessed with the Rogers system of education which he intensely rejected, and they think “… he probably decided to kill the children because he believed that if educated in such a way they would become automats” or that “… having the maid announced she was leaving on Sunday, Don Nicanor might have gotten upset. The girl was very young and attractive, and it’s not the first time a man is attracted by a maid that works at home…”

**

In Casteldefels (Barcelona), Laurencio Bicasanet killed his stepfather by stabbing him in the heart. The family was formed by 35 year old Ángel Domínguez Ríos, his wife Planes Armengol, 49 years old, and nine children, the first six from a previous marriage. With the couple lived seven of the children with ages from 18 to 5 years.

**

Commenting on a crime occurred in El Goloso (Madrid), Alfonso de Aricha, in El Caso, on the 6th of March, writes: “… this spreading of parricides is disturbing, with three cases in a few days, and a total of five people dead, and another, Tomás Ceferino Padín, who with absolute tranquillity, his arms full of blood, said: “There’s no problem… I have just killed my wife.”

**

In Villahoyosa (Alicante), more than a hundred people, all of them gypsies belonging to the “Granadine” and “Copito” clans, start a tremendous fight, which results in the death of one, another severely injured, ten arrested and several houses abandoned.

**

In the BOE of the 3rd of February appeared the labour bylaw for employees of urban buildings (superintendents): the measure affects a100.000 families.

**

On the 4th of February, the Messrs Otero asked the marquises of Torrealta (lords of Paramés Fernández de Córdoba) for their daughter’s hand (the lovely “Pepita”), so she can marry their son Felipe.

**

Seven brothers, all of them national teachers, born in Ysua (Lanzarote) offer a lunch in tribute of their father, Mr Juan Valenciano Curbelo, also national teacher. One of the siblings, Mayor of Haria, spoke and extolled Mr Valenciano’s merits, a man who was born in a poor family, and financed all of his sons’ studies.

**

The National Federation of House Arms sends a request to the Ministry of Commerce insisting on that, while the Code of Diet is not valid, traders in food cans should put the sell-by date and the price to prevent any type of adulteration. They also insist on an improvement of distribution channels to fight against the hold up of products and speculation. Another housewife bummer is the exceeding rise of the basic food products while salaries remain stable.

**

Between the 1st and the 5th of July the National Family Conference takes place, dedicated to the study of economic problems.

**

According to an opinion poll carried out by the Episcopal Commission for the Doctrine of Faith, birth rate is dwindling due to: “dominant hedonism, marginality of morals, anovulant methods, which are believed to be permitted, and contraceptives, which are thought of as immoral. You can perceive the great optimism related to premarital relationships. In contrast with previous times a 60% state that these types of relationships are more serious, while 16% believe the opposite. Only the 6% think that nothing has changed.”

**

According to the attorney of the Ecclesiastical Court of Malaga, “in the last five years, we have dealt 246 lawsuits, of which 214 were divorce, and 32 judgements of annulment. Of the 246 lawsuits, 10 were done for free due to the plaintiffs’ lack of resources. Of the 236 cases, a little more than half of the costs have been the following: 9 less than 3000 pesetas; 65 were from 3000 to 5000 pesetas; 24 from 5000 to 7000 pesetas; 16 from 7000 to 10000 pesetas; 5 from 15000 to 20000; 3 from 20000 to 30000 pesetas; and one case cost 40000 pesetas. Regarding delays, of the 70 sentences pronounced in the last two years by that Court, 18 took less than a year; 40 less than two; and only two took more than two years without reaching 4.

**

Seven hundred widows attend the II National Study Conference of the Christian Communities’ Widows: “Society isn’t interested in supporting female widows, that reaching a number of 2,000,000 in Spain, is a force to be reckoned and we believe with great possibilities…”

**

In the Conference of Studies on Emigration that will close on the 19t of February, Mr Ángel Alfonso Martínez, journalist and interpreter, dwells on the fact that in Germany where he’s been living as immigrant for the last eleven years “Regrouping is a serious matter, extremely serious. A hundred and eighteen marriages have broken up in the last six months. Also, we can’t find a solution to it because the Spanish Emigration Institution doesn’t insist on regrouping faster. The Spanish bricklayer arrives, at first, with good intentions; but, maybe meets another woman, and what begins as a game ends up as divorce. German authorities have given a one year deadline for people to take there families with them; but we have to reduce that period to three months by any means necessary.”

**

On the 20th of February the BOE announced a rise on pensions starting on the 1st of March: retirement pensions 300 pesetas and a rise of 150 monthly pesetas in some cases; 180 monthly pesetas rise for widowhood; 175 pesetas for orphans; 180 for relatives if there’s only one beneficiary, and 75 pesetas if there’s more than one.

**

On the 25th of February the new maternity and children’s hospitals open in Oviedo. The invested is of 179,420,715.66 pesetas. Consequently a bed’s cost was of 410,600 pesetas.

**

29,677 scholarships are given in Madrid for the current course, with a whole sum of 207.514.000 pesetas; 24.264.000 pesetas for starters and 4.231 scholarships; 183.250.000 pesetas used for 25.446 scholarships to continue with studies.

**

(January)

 

 

 

 

 

 

 

 

 

05intb3453

2005. Fernando Baena. FAMILIAS ENCONTRADAS (2005.1 / fieldwork / anniversaries)

 

INVESTIGATIONS: ANNIVERSARIES 

1st of January 1971 - Nationalization of private Banks in Chile.

- Eleuterio Sánchez “el Lute” escapes from Puerto de Santamaría Prison.

***

2nd of January1971 - Cesáreo García Rodicio is born http://www.cesareox. Married. Drivers licence. B1 (Year 1989) e-mail: This email address is being protected from spambots. You need JavaScript enabled to view it.This email address is being protected from spambots. You need JavaScript enabled to view it.. Telephone: 687 911121.

***

3rd of January 1971 – 66 people die in Glasgow due to crowd pressure when a handrail broke in the Celtic’s stadium.

- Dramatic train crash in Chamartin station. Fifty three people slightly injured.

***

4th of January 1971 - Irina Melitopol is born. Hight: 161 cm. Weight: 69 Kg. Hair colour: Gold. Eyes: Blue. Single. She dreams of having a strong, friendly and happy family. She is looking for her love, he should be between 25 and 50, cheerful, intelligent, good, stable and vigorous.

***

5th of January 1971 – Marilyn Manson in Canton, Ohio.

***

6th of January 1971 - Jesús Fernández Santos wins the Nadal award with “Book on the memory of things”.

***

7th of January 1971 – Eva María Martín Martínez, Guardia Civil, is born in Valladolid.

***

8th of January 1971 - Óscar Vives Martínez is born. He is programmer and graphic designer for Positive Soft.

- Geoffrey Jackson, English ambassador is kidnapped in Montevideo.

***

9th of January 1971 – The American Junior Chamber of Commerce presents Elvis as one of the 10 most extraordinary young Americans.

***

10th of January 1971 – The French designer Gabrielle “Cocó” Channel dies.

***

11th of January 1971 – The Aswan Dam opens in Egypt.

***

12th of January 1971 – The DIA reports that Guatemalan troops had “silently eliminated” hundreds of “terrorists and bandits” in the country.

***

13th of January 1971 – 70 Brazilian guerrilla fighters get on a plain in Río de Janeiro and head for Allende’s Chile.

***

14th of January 1971 – “Come to Germany, Pepe” opens, it was watched by 2.078.570 people.

***

15th of January 1971 - Public execution of Ernest Ouandié, leader of UPC (Cameroon).

***

16th of January 1971 – Tennis player Sergi Bruguera is born.

***

17th of January 1971 – ETA’s VI Assembly takes over, when a commando kidnaps a well known Basque industrialist who’s factory was on strike.

- Two people dead and thirty injured in the derailment of the Iberia Express near Campo de San Pedro, Segovia.

***

18th of January 1971 – Spanish football player Josep Guardiola is born.

***

19th of January 1971 – A group of dissidents of Venezuela’s Communist Party founds the socialist Movement (MAS)

***

20th of January 1971 – Spanish singer Julio Iglesias marries Isabel Preysler, a Philippine lady in Illescas (Toledo).

***

21st of January 1971 - Spanish matador José Ignacio Uceda Leal is born.

***

22nd of January 1971 - Haitian dictator Francois Duvalier appointed his son as his successor.

***

23rd of January 1971 – In Prospect Greek, Alaska, reach 80 degrees below zero, the lowest temperature ever registered in USA.

***

24th of January 1971 – Bill W, founder of Alcoholics Anonymous dies.

***

25th of January 1971 – Ida Amin, chief of the Armed Forces of Uganda, takes power after a bloody cup d’état.

***

26th of January 1971 - María del Mar Sánchez de la Sierra, from the Sánchez de Alarcón family, is born.

***

27th of January 1971 – A Ministry for the Protection of Nature and the Environment is created in France.

***

28th of January 1971 – As suggested by Vicente Aleixandre, Emilio García Gómez and Pedro Laín Entralgo, Buero Vallejo is elected member of Royal Academy of Language.

***

29th of January 1971 – Matador Manuel Caballero is born in Albacete.

***

30th of January 1971 – The United Nations enact international Convention to eliminate every form of racial discrimination.

***

31st of January 1971 – USA launches the Apollo XIV for a third moon landing experiment.

***

1st of February 1971 – Dadaist painter and writer, Raoul Hausmann dies in Limonges, France.

- One dead, 45 injured and 50 arrested in Los Angeles during a Chicano protest march against police brutality.

***

2nd of February 1971 – The World Wetland Convention is signed in Ramsar, Iran.

- The South Bus Station opens in Madrid, between Palos de Moguer and Canarias street.

***

3rd of February 1971 -.The OPEP unilaterally establishes the prices of Petrol.

- South Vietnamese troops invade Laos with the support of American helicopters.

***

4th of February 1971 – British car company Rolls Royce Ltd. Publicly announces its bankruptcy files in the Courts.

***

5th of February 1971 – American astronauts Alan Shepard and Edgar Mitchell land on the moon with the Antares module.

- State of exception is lifted in Gipuzcoa, although Article 18 of Spaniard’s privileges is still in suspension in the whole Spanish territory.

***

6th of February 1971 – Cyclist José María “Chaba” Jiménez is born in El Barraco (Ávila).

- Eight people dead and more than a 100 injured when a steam boiler exploded in Ensidesa.

***

7th of February 1971 -. A referendum in Switzerland sanctions by majority of two thirds, the concession of women’s vote.

***

8th of February 1971 – The first technological stock market opens in Nasdaq: it starts by quoting more than 2,500 shares in electronic products.

***

9th of February 1971 – The Apollo XIV returns to the earth.

- An earthquake in Los Angeles kills 57 people.

***

10th of February 1971 – French porn actress Béatrice Valle, and specialized in anal sex, is born in France.

- Gregori Fegin leaves for Israel to obtain an official permit from Soviet authorities. It’s one of the five permits provided of 80000 requested by Hebrews after the Leningrad trial.

***

11th of February 1971 – The new Soviet five year plan is oriented towards consumer goods.

***

12th of February 1971 – There’s a cold front case in the Canary Islands.

***

13th of February 1971 – Chilean president Salvador Allende decides to accept the constitutional reform that provides the State with power over all the mineral and combustible resources in the country.

***

14th of February 1971 – An agreement is isgned in Teherán between Western oil companies and oil exporting countries in the Persian Gulf.

- Bus line 60 opens, Plaza de la Cebada – Orcasitas.

***

15th of February 1971 - Decimal system has become effective in Great Britain.

***

16th of February 1971 - Alcibiades Betancourt disappears, victim of the Panamanian military dictatorship.

***

17th of February 1971 - Jacques Lacan gives the fourth session of the seminario D'un discours qui ne serait pas du semblant.

***

18th of February 1971 – French journalist and photographer Pierre Golendorf is arrested in Havana and is subject to different types of psychological torture while imprisoned.

***

19th of February 1971 - Paul McCartney’s new single is released containing Another Day and Oh Woman Oh Why.

***

20th of February 1971 - Idi Amin Dadá becomes Uganda’s new president.

- Spain beats Italy two to one in Cagliari. Gols by Pirri and Uriarte.

The Spanish team was: Iribar, Sol, Gallego, Tonono, Costas, Pirri, Claramunt, Uriarte, Amancio, Gárate and Churruca.

***

21st of February 1971 – The Vienna Agreement on Psychotropic Drugs takes places.

***

22nd of February 1971 - Hafez al-Assad becomes head of State of Siria.

***

23rd of February 1971 – A spectacular phenomenon is observed in many points of the country, falling later, some 24 miles North of San Sebastian. It was the Tibere rocket.

***

24th of February 1971 – Formula 1 pilot Pedro Martínez de la Rosa is born.

***

25th of February 1971 – Spain joins the Geneva Convention in Open Sea.

***

26th of February 1971 - Claudio Sánchez-Albornoz presents his resignation as President of the Republic’s Government.

***

27th of February 1971 – French comic actor Fernandel, dies.

***

28th of February 1971 - Real Madrid wins Atletico Madrid 1-0 in the twenty third match of the League. Pirri scores on minute 9.

***

1st of March 1971 – The pilot series for Colombo opens, called Ransom for a Dead. Man

***

2nd of March 1971 - Mujibur Rahman proclaims Bangladesh an independent Republic from Pakistan, which originates a civil war.

***

3rd of March 1971 – Art designer and architect Arne Jacobsen dies in Copenhagen.

***

4th of March 1971 – Luchino Visconti’s “Death In Venice” opens Italy.

***

5th of March 1971 - Led Zeppelin plays Stairway to Heaven live for the first time in Belfast. 

*** 

6th of March 1971 – American Formula 1 pilot Mario Andretti wins the South African Great Prize.

***

7th of March 1971 – The Dalí Museum opens in Cleveland (Beachwood).

***

8th of March 1971 – Cassius Clay is defeated by Joe Frazier by unanimous decision in the World Heavy Weight Championship.

***

9th of March 1971 – The General Bylaw on Safety and Hygiene at Work is sanctioned.

***

10th of March 1971 – Atletico de Madrid beats the Legia of Warsaw 1-0, gol by Adelardo, in the quarter finals of the European Cup.

***

11th of March 1971 – The Technical College of Madrid opens, at the same time asin Catalonia and Valencia.

***

12th of March 1971 – Fernando Baena turns 9 years old.

***

13th of March 1971 – Carme Chacón Piqueras is born in Espluges de Llobregat (Barcelona), Secretary of Culture.

***

14th of March 1971 – Archbishop Lefebvre talks about the Holy Mass in a conference at Granby, Canada.

***

15th of March 1971 – There’s an insurrection leaded by Viborazo in Argentina.

***

16th of March 1971 – Judas Priest plays in Essington, England, with their new members, Ian Hill and Kenneth Downing.

***

17th of March 1971 – Three workers die in the subway works between Avenida de América and Pueblo Nuevo.

***

(January 2005)

 

 

 

 

 

 

05intb3452  

2005. Fernando Baena. FAMILIAS ENCONTRADAS (2005.1 / fieldwork / culture)

 INVESTIGATIONS: CULTURE

On the 22nd of July the Lady of Baza was discovered in the necropolis of Cerro del Santuario in the ancient Basti (Baza), Granada. It is a statue of the 4th century B.C made of polychrome limestone. It was inside a funeral chamber of 2,60 m2 and 1,80 deep, where there also was a Punic Amphora that communicated with the surface through a funnel, which was used for libations as liquid offerings done from the outside. This shows that there was cult related to person there buried.

**

This year, Carlos Alcolea does his first individual exhibit in the Amadís gallery in Madrid, which is directed by Juan Antonio Aguirre. Along with other young painters, among them, Rafael Pérez Mínguez, Guillermo Pérez Villalta, Manolo Quejido and Carlos Franco, Alcolea stood out in Madrid’s art scene as an advocate of the return to painting.

**

Alexandre Cirici i Pellicer takes part in creating the Catalonia Assembly for which reason he is imprisoned for a week.

**

Barral publishing house releases Peter Hamm’s “Critic’s critic”. Martinez Roca publishing company edits “The Definition of Art” by Umberto Eco. Labor publishes “The theory of proportion in architecture” by Ph. Scholfield. Gredos publishes Gloria Videla’s “Ultraism”. Seix Barral releases “Art and its objects” by R. Wollheim. Fundamentos Publisher “Morphology of a story” by Vladimir Propp. Taurus publishes Theodor Adorno “Ideology as language”; “Cinema as art” by Rudolph Arnheim and “The art f lanscape” by K. Clark; Carlos Areán publishes his “Assesment of young Spanish art”; Gabriel Celaya releases his visual poetry book “Campos semánticos”; José Caballero prepares 14 lithographs for exclusive edition of Pablo Neruda’s poem Oceana de; Valeriano Bozal collaborates in the books Teoría, práctica teórica y Alienación e ideología.

**

Between March and April “The computer assisted art” exhibit takes place in Madrid’s Palacio de Congresos y Exposiciones, due to a European Simposium on graphic design organized by IBM. Relevant artists will take part, such as: Alexanco, Gerardo Delgado, Teresa Eguibar, Lorenzo Frechilla, García Asensio, Gómez Perales, Lugán, Abel Martín, Manuel Quejido, Enrique Salamanca, Javier Seguí de la Riva and Ana Buenaventura, Sempere, Soledad Sevilla and Yturralde. García Camarero Hill presents the catalogue. In May the Calculation Centre Hill organize the last of a series of exhibitions showing works by members of the Visual Forms seminar. The “Computed forms” exhibition takes place in the Ateneo’s main hall, and same artists participate except for Teresa Eguibar and Lorenzo Frechilla. Florentino Briones will present the catalogue.

**

The National Modern Art Museum’s collection will be divided. 19th century paintings will be given to El Prado Museum making use of the Casón de Buen Retiro. For paintings from the twentieth century a new Museum in the Complutense Campus, built from 1971 to 1973 and inaugurated in 1975 as the Spanish Modern Art Museum. Its author, the architect Jaime López de Asiaín, designed it according to specifications of the Museum Architecture Conference in 1968. He received the National Architecture Award in 1969.

**

In March, Moreno Galván goes to Santiago de Chile to participate in a conference of intellectuals called “Operation truth”. He suggests the creation of an international museum to support president Salvador Allende. A committee formed by historian and critic Mario Pedrosa, who lives in Chile, the Italian Carlo Levi and Moreno Galván himself will visit president Allende and propose the creation of the museum. The “International Committee of Artistic Solidarity with Chile” is created, then, with the participation of Moreno Galván, Carlo Levi, Dore Ashton, Jean Lemarie, de Wilde, R. Penrouse, Rafael Alberti and Mario Pedrosa, as chairman.

**

This year, Eduardo Arroyo, exhibits in the Palazzo de Gobernatore de Parma, in the Galleria People, Turín, in L'A.R.C., Musée d'Art Moderne de la Ville de Paris, in Frankfurter Kunstverein, in la Hedendaagse Kunst de Utrecht, in Münchener Kunstverein de Dusseldorf and in Kunstverein of Berlin; Manuel Rivera exhibits in the collective Erotism in art of Galería Vandrés of Madrid, in Gravuras Espanholas of Galeria São Francisco, Lisboa, in Astor Gallery of Atenas, in Pretoria Museum of Pretoria and in Goodman Gallery de Johannesburgo; Eduardo Chillida stays four months as guest teacher at the Carpenter Center for the Visual Art of Harvard University. He meets poet Jorge Guillén illustrates his book Más Allá. The Thyssen society entrusts him a steel sculpture for their headquarters in Düsseldorf. He begins to study the concrete method with engineer Fernández Ordóñez; Gerardo Rueda Hill be in Galería Juana Mordó of Madrid, and Galería Val y 30 of Valencia and in Galería Juana de Aizpuru of Sevilla.

**

Last edition of the Women’s Exhibition of Current Art.

**

The Sephardic museum of Toledo opens a new area next to the Transit Synagogue; the Palace of Espartero, a baroque building of the 18th century and paradigm of Logroño’s civil architecture, will host the Museum of La Rioja; the project for the Outdoor Sculpture Museum in La Castellana has been sanctioned this summer. The economic problem of having to buy the sculptures has been solved with a donation by artists and relatives, thanks to their friendship with Eusebio Sempere.

**

Rafael Canogar wins the Great Proze at the Sao Paolo Biennial.

**

Jesús Franco opens “A virgin among the living dead”.

**

The first Visual Arts Biennial of León starts off with a 100,000 pesetas prize and other rewards; San Sebastian’s City Hall calls for a second Sculpture Biennial. The piece that wins will be installed in Avenida del Generalísimo, in front of the sea. 14,000, 25,000 and 14,000 pesetas prizes; the Rodríguez Acosta Foundation calls the XII Exhibit-Contest on “woman” as subject.Several prizes from 100,000 to 25,000 pesetas.

**

The January-February issue of Bellas Artes magazine has articles on Calder, Medina Azahara’s art, Sargadelos’ ceramics, the Fine Arts Museum of Sevilla, the futurists, Permeke’s exhibition in MEAC, Barjola, Román Vallés, Estuardo Maldonado, María Victoria de la Fuente, José María de Labra, the exhibitions of Francisco Peinado, Isabel Pons and Fernando Delapuente in MEAC and on the Archaeological Museum of Sevilla.The March-April issue has articles on Gutiérrez Solana, Vázquez Díaz, el Museo del Prado, Eugenio D’Ors and his salones de los Once, Ortega Muñoz, Julio Antonio in MEAC, Paul Klee, Mignoni, Cirilo Martínez Novillo, Ionesco’s drawings, Dimitri, Cesar Manrique, Arte Generativo and Cardona Torrandell.In the January-February issue of Goya magazine there are articles about Goya by Xavière Desparmet, Xavier Salas, Juan Antonio Gaya Nuño, José Guerrero Lovillo, Federico Torralba, José Gudiol, María José Sáez Piñuela, Pierre Gassier, Julián Gállego, Enrique Pardo Canales and José Camón Aznar.

**

In the March-April issue they publish several articles: “The diocesan and cathedral museum in Valladolid” by J.J. Martín González, “The museum of modern and fine arts in Bilnao” by Alberto del Castillo, “José María Ucelay and Basque painting” by Antonio Bilbao Arístegui, and “Alberto Giacometti (1901-66) by Montano Mononi.

**

A collection of vases by Lladró appears. In the crystalline surface there’s life, most of all, oriental floral motifs and birds.

**

New symptoms of an illness that will end Juan Eduardo Cirlot’s life. At the end of the year he will be operated of a pancreatic cancer.

**

Teresa women magazine has a four page article on sculptor Joaquín Vaquero Turcios.

**

In Meridiano magazine Renato Manzoni reviews the “Masters of Italian Modern Art” exhibition, that took place in the Vicereine Palacae. It had works by Modigliani, De Chirico, Morandi, Bonichi, De Pissis, Mario Marini, Giacomo Manzoni, Arturo Martini and futurists Boccioni, Carrá, Russolo, Balla and Severini.

**

Coinciding with the Day of the stamp, a series is released commemorating Ignacio Zuloaga’s birth.

**

The Fine Arts’General Management acquires pieces by Rafael García Gómez, Eduardo Maldonado, Amadeo Gabino, Luis Feito and Amador Rodríguez, for more than two and a half million pesetas. These pieces are destined to be shown in the Spanish Museum of Modern Art.

**

Venancio Sánchez Marín in his “Chronicle of Madrid”, published in the January-February issue of Goya magazine states that: “.. what quantitatively characterizes the type of art that comes through Madrid is the diversity that’s hard to classify. Diversity based on the artist’s personality more than any tendentious affiliation. From a statistic point of view the information is relevant, because it indicates to what extent personal expression is valued above proposals of programmed art.”

**

Vázquez Díaz’s disciples offer a tribute to their master in the Tartessos gallery. Others will participate: Botí, Caballero, Canogar, Clavo, Díaz Caneja, Granado Valdés, Martano, Morales, Olasagasti, Pascual de Lara, Rives, Santos Viana, Vallejo de Urrutia, Vázquez Aggerholm, Vera and Zelaya.

**

The Urbis Club in Madrid organizes a collective tribute to D’Ors. They show works by Manolo Hugué, Federico Marés, José Planes, Llorens Artiga, Solana, Vázquez Díaz, Juan de Echevarría, Cossio, Palencia, Ortega, Muñoz, Zabaleta, Lozano, Villá, Vaquero, Álvaro Delgado, Martínez Novillo, Agustín Redondela, Perceval, Caballero, Baeza, Brotat, Tapies, Guinovart, Mampaso, Millares, Aguiar, Rafael Benet, Gómez Cano, Luis Cañadas, Pedro Pruna, Romero Escasi, Sunyer, Uranga, Eduardo Vicente.

**

The Hispanic Cultura Institute, with the Argentinian group Generative Art and with the title “Space and Vibration” show pieces by Ari Brizzi, Jorge Edgardo Lezama, Carlos Silva, Rogelio Polesello, Mario Martorell and Adolfo Estrada.

**

MEAC organizes a collective exhibit called “Testimony 70” with works by García Ramos, José María Iglresias, José Navarro, Enrique Salamanca, Eduardo Sanz, José María Iturralde, José Luis Fajardo, Martín de Vidales, Ceferino Moreno, Yraola, Vicente Vela, Anzo, Andrés Cillero, Cruz de Castro, Javier Morras, Orcajo, Jordi Pericot and Darío Villalba.

**

Opening of the Galería Serie with a collective show of serial art. Pieces by Le Parc, Sempere, Torner, Gerardo Rueda, Guinovart, Eduardo Sanz, Labra, Pablo Serrano, Amador, Soledad Sevilla and Feliciano.

**

Exhibitions in Madrid, in the first three months of the year: Club Urbis shows Agustín Hernández; in Galería Amadís, Arturo Heras; in Galería Biosca: they show: Juan Barjola, María Victoria de la Fuente, Martínez Novillo and Cristino de Vera; in Galería Cid is Tauler; in Galería Círculo 2: Francec Gali, Tatiana, Lencero and Brull Carreras; in Galería Cultart: Faik Husen; in Galería Daniel: Jorge Teixidor and Fernando Jesús; in Galería Edaf, José Luis García, Garcés, Sebastián Luca de Tena and Alberto Duce; in Galería Eureka: Juan Luis; in Galería Fauna´s: José Díaz, Onésimo Anciones, Cuyen, Jesús González de la Torre, Juan Haro, Ramiro Tapia; in Galería Frontera: Alberto Duce; in Galería Grosvenor: J.P. Broesset and Javier de Villota; Galería Hípola they have Spanish painting from Fortuny to Vázquez Díaz; in Galería Iolas-Velasco: Maccio, Carola Torres, Ionesco, Arcadio Blasco and a collective one with Leonor Fini, Gette, Juan Hufo, Lalannes and Rushka; in Galería Juana Mordó: Gerardo Rueda, Eugenio Barbieri and Fernando Zobel; in Galería Karma, Magdalena Lozano, Mark Noven Wadstrom, Amelia Jiménez and Jorge Castillo; in Galería Kreisler, Ramiro Ramos, Hidalgo de Caviedes, Álvaro Delgado and Cristina de Baviera; in Galería Macarrón: Elena Lucas; in Galería Seiquer: Elena Asins y Zachrisson; in Galería Sen: Porta Zusch, Yturralde and Isabel Villar; in Galería Skira: Francisco Cruz de Castro, José Dámaso, Cesar Manrique, Tapies, Subirachs, Leopoldo Novoa and a collective “Today’s art”: Amador, Gonzalez Herranz, Le Parc, Marcel Martí, Medina Schöffer, Sobrino and Soto; in Galería Ramón Durán: Vivancos and Gloria Alcahud; in Galería Richelieu, Julio Pérez Torres and Luis Cajal; in Galería Studio: Ina Berndtson; in Galería Tartessos:. Méndez Ruiz, Vazquez Díaz and a collective one with his disciples; in Galería Toison: Cardona Torrandell; in Galería Theo:Vazquez Díaz, Lago, Lara, Valdivieso, Mignoni and Guillermo Delgado; in Galería Vandrés Luis Gordillo, José María de Labra and a collective one: Andrés Cillero, Ortiz Vaccaro, Alexanco, Zachrisson, Miura, Moulia and Valdivieso; in MEAC there are exhibits by Alberto Durero, Julio Antonio, Francisco Peinado, Estuardo Maldonado, Fernando Delapuente, Álvaro Delgado, Agustín Celis and the collective “Testimonio 70”; in Sala Joven of the Ateneo: Rafael Armengol and Antoni Muntadas and in Sala Sta. Catalina: Ignacio Berriobeña; in Sala Repesa: José Sancha, María Antonia Dans and Emilio Prieto, winners of the 4th National Repesa Painting contest

**

Exhibitions in Barcelona, in the first three months of the year: In Atenéo Barcelonés: Antonio Aguiló and Xiberta; in Bibioteca Central: Rolf Schlegel; in Camarote Granados: Isabel Pons, Juan Granados and Rosemonde Krbec; in Colegio de Arquitectos de Barcelona: GATEPAC; in Estudio de Arte: Graciella Piccone and Tomás Meca; in Galería Adriá, Rafael Zabaleta and Gaston Chaissac; in Galería Aquitania, August Puig and Elena Parés, in Galería As, Joaquín Capdevilla, Evaristo Guerra, José María García-Llort and Oriol Muntané; in Galería Augusta: Armando Miravalls; in Galería Manila, José Frau, in Galerías Españolas, Neville Woodbury; in Galería Grifé y Escoda, Nuria Llimona, in Galería Mundi Art: 50 female nudes in the “I Salón del Desnudo”; In Galería René Metras: Lucio Fontana, Manuel Bea and the collective “Surrealism” with Works by Arp, Bellmer, Cocteau, Cuixart, Chagall, De Chirico, Dalí, Ernst, Magritte, Massanet, Miró, Picasso, Man Ray, Ponç, Tapies, Wols and Ferrán; in Galería Syra: Cesc, Eduardo Castells and Alberti; in Galería Ten: Paul Caranicas; in Hospital of Santa Cruz, elGrupo Tarot; in Instituto Francés: José Royo and a collective one with old members Guinovart, Rafols Casanmada, Tapies, Tharrats, Cristafol, Subirachs...; in Instituto Franciscano de Apostolado y Cultura: Roser Argell and Jaime Muxart; in La Pinacoteca: J. Garzolini and Luis Montané; in Real Círculo Artístico drawings by Castells, Casané, María Jesús de Sola, Ferré Ferré, Hurtuna, Modolell, Planasdurá and Olga Sánchez, a collective on Socios “Segunda Exposición de Escultura”, a selection of presented pieces II Bienal Nacional de Pintura “Bilbao” and the exhibit “El vino en la pintura catalana” with closet o 50 paintings; in Escuela de Artes y Oficios: LXIII Exposición anual de la Agrupación de Acuarelistas de Cataluña; in Sala de Arte Moderno: Mario Bedini, Guerrero Medina and Dorothy Malloy; in Sala Gaspar: Viladecans y Vilacasas and a collective exhibition by Adamí, Calder, Camacho, Cárdenas, César, Corneille, Erró, Horn, Kowalski, Lam, Miró, Pignon, Robeyrolle, Tapies and Vedova; in Sala Jaimes: Marcelle Herrmann; in Sala Parés: Joan Serra, Gabino, José Amat, a tribute to Mauricio Vilomara y and a collective sculpture exhibit; in Sala Rovira: Antoni Roca, J.Gual and Felipe Brugueras; in Sala Tinell: Alberto; in Sala Vayreda, Josefina Miró. Also in Barcelona Rafael Durán, Tárrega-Viladons, Alve Valdemi, Lola Bech, Stefano Córdova, Elías Garralda, Juan Cardellá, José Margalef, José Luis Turina, Julio Visquerra, José Pomés, Colet Beleys, Gayle...

 

(January 2005)

 

 

 

 

 

 

 

05intb3451

2005. Fernando Baena. FAMILIAS ENCONTRADAS (2004.11-12 / theoretical data)

 

TEXTS REVISION I (November 2004)

By chance I found a carton box labelled : January 1st 1971 to March 17th. The box contained nearly 100 black and white photo negatives which were apparently taken by an anonymous photographer. Amongst the images, there are photos of families in the typical pose used in those days for the official identity card of large families. That is how we used to pose in the final years of the dictatorship. Does it look like us?

Below the normal publicity posters of the Circle of Fine Arts another five will be placed, each one with an image of one of these unknown families. To give context to the images, five electronic signs will display texts referring to that period of time.

...................................................................................................................................................................................TEXTS REVISION II (December 2004)

ANECDOTE

By chance, I found a cardboard box labelled “1st Janu¬ary to 17th March 1971” containing around 100 black and white negatives supposedly taken by some com-mercial photographer. Among the images, some were of families in the typical pose required for the official large-family card.

DESCRIPTION

Underneath the usual advertising banners placed on the façade of Círculo de Bellas Artes five other ban¬ners are installed, each exhibiting the image of one of those unknown families. Underneath each of those photographs a luminous display shows texts referring to the year 1971, particularly the period 1st January to 17th March:

1. Anniversaries. 2. The family. 3. Art in Spain in 1971. 4. Círculo de Bellas Artes. 5. Updated daily news.

COMMEMORATIVE AND DOCUMENTARY IMAGE

The emergence of photography dealt a death blow to the paintings of history. The commemorative and documentary role of these paintings was replaced with the faster and more reliable photographic report.

History disappears as the subject of works of modern art - possibly El Guernica was the last. The portrait is another area which photography and new image-recording media practically stole from the “fine arts” and if it occasionally continues to be considered art, it is within these modern disciplines.

The subject of the family has been present through¬out the history of western art. We only have to refer to the busts of Roman ancestors, the Sagradas Familias, the royal families painted by Velázquez or Goya, the bourgeois families portrayed by the Dutch, the aris¬tocratic ones by Reynolds and the modern ones by Hockney. Although the images of Familias encontra¬das can be easily framed in this subject, the texts that appear in the five electronic signs that accompany them refer us to the society of the moment those pho¬tos were taken. The concept of the family is extended to encompass Spanish people and the rest of human¬ity. Obviously, what was happening in the world af¬ fected the protagonists of the photographs and all of us already here.

But in this case, the aim is not just to document or commemorate, or make an exhaustive sociological analysis of the situation of the family or Spanish art in the last years of Franco’s dictatorship, nor to nostalgically emphasise those decisive years of our own personal history. The aim is to place a common anchorage point in the collective memories – its election was accidental- from which to stretch our memory to the present. We will realise, if we have the patience to read the different texts, that in thirty-four years we have changed a lot and we haven’t changed at all. Seen from a distance, the red lines of the electronic signs move without advancing.

PUBLIC ART AND INTIMACY

If this piece is not cynic and impatient, if it doesn’t refer to political or citizens’ problems, and doesn’t intend to question customs or abuses, if it tends to be a drag, if it goes against the current and encloses most discredited values of today’s art: historicism, sociology, portrait and literature…, if this work seems inopportune for all these reasons, more so if it intends to deal with personal issues in public space.

In order to achieve objectivism, modern art seems to have left aside, apart from subjectivity, every connection to intimate life. It seems inconvenient, today, for any artistic work to deal with existential issues. As if each person’s inner life were something that others, society or art shouldn’t mind. That’s probably why we tend to think that we have seen it all. Therefore, History being trapped, the personal realm forbidden, and memory withdrawn, a void is created that someone will fill by selling us a cell phone through which we may spend our time talking for hours and hours about things that happen while we speak.

In contrast with the hustle and bustle of Gran Vía, and competing with marketing’s seductions, in a direction opposite to art’s current trends, it is, finally, a work that deals with the concept of time and people. About the passing of.. About the sense of suffocation, the fact that we uselessly agitate and expire, brief microscopic lives that emerge and evaporate while the final texture seems to remain the same. Not much, extremely subtle vibrations. To fix an image in the current of time is but to express the wish for something to have meaning.

 

 

 

 

 

 

05intb3449, 05intb3450

2005. Compañía de Caracas. ESPACIO MÓVIL (2005.02 / fieldwork)

 RESEARCHES

BUS TOUR THROUGH MONDAY UNTIL FRIDAY FEBRUARY 27

LINE 14From Plaza de Castilla to Atocha10.1811.5313.40From Atocha to Plaza de Castilla 10.3812.1314.00

LINE 459.4410.0410.4211.0211.2011.4112.1512.3512.5413.1413.4514.08

(February 2005)

 

 

 

 

 

 

05intb0494

2005. Compañía Caracas. ESPACIO MÓVIL (visual data)

2005. Compañía Caracas. ESPACIO MÓVIL (visual data)

 

          

                    

                   

                   

                    

 

 

 

 

 

 

 

05inib0493

2005. Colectivo Tercerunquinto. S/T (project rectification / 2004.12 / visual + technical data)

2005. Colectivo Tercerunquinto. S/T (project rectification / 2004.12 / visual + technical data)

 

          

Sin tìtulo"Concreto" and metalVariable dimensions

(December 2004)

 

 

 

 

 

 

 

05inib0491, 05intb0489

2005. Simon Greenan + Christopher Sperandio. SOY MADRID (theoretical data)

 Everyone has strong feelings about the place they live but what seems exotic to the tourist can be commonplace or even dull to a local. However, tourism can invigorate the local economy. New interest at home for the same old landmarks can be sparked when viewed through the eyes of a visitor. World events and political differences can pale when compared to an important local issue such as “Which restaurant in the Paseo del Prado is the best?”

From tips for tourists to diatribes on world politics, SOY MADRID, will be a formal platform for a collaboration between Madrid residents and tourist artists Grennan and Sperandio.

Through newspaper advertisements, word of mouth and a dedicated web site, soymadrid.com, artists Grennan and Sperandio will invite residents of to Madrid to tell their stories about Madrid. The artists will then present selected stories as bright and colorful comic strips written in Spanish and English.

Political or lighthearted, serious or frivolous, fun or just weird, these interventions, when encountered, will give natives and visitors alike the opportunity to reconsider the conflicting issues surrounding notions of local identity, nationalism, politics and tourism.

The resultant comics will be reproduced in a variety of media, including posters, comic strips in local papers and on-line. A main feature of SOY MADRID is a collaboration with a local paper. Stories for the project will be solicited via thispaper, and selections from the finalized comic strips will be printed in this paper as well.

 

TECHNICAL NARRATIVE

Grennan and Sperandio will establish an attractive and fast loading SoyMadrid.com web site, complete with a message board. Following the production of the web side, and with minimal assistance from the organizers, Sperandio will visit Madrid and solicit stories from people from all walks of life. Prior to, or during this visit, the support of a local newspaper will be secured. This paper will run solicitations, directing interested parties to the SoyMadrid.com site. From personal interviews and responses to the web site, Grennan and Sperandio will make twenty-one different comic strips. During the project launch, Grennan and Sperandio will oversee that seven of the strips produced as posters are legally fly-posted on the streets. Seven of the strips will be published serially over several weeks in the collaborating Madrid newspaper and the remaining seven strips will be viewable online at the SOY MADRID web site, along with an archive of the project as well as a public message board where visitors to the project may interact in an open forum.

 

.

 

 

 

 

 

05prt0485

2005. Rebekka Reich + Anne Lorenz. TAXI MADRID (technical data)

 PROCEDURE

1. Find 10 former inhabitants of Madrid in Europe.2. Interview them via telephone or email with the same set of questions.3. Analyse the answers and construct one episode for each of the 10 taxis in collaboration witha writer and a sound designer4. Transform and edit the found material with our artistic viewpoint into 10 mini-installations5. Produce the installations by the means of sound, language, music, smell, objects andinteraction with the taxi drivers.6. Prepare the taxis7. Rehearsals with the taxi-drivers

WHEN

Sep-Nov 2004: interviews, first trip to Madrid: contacts to taxi operators, contraction of: actors for sound-recordings, writer, translator and sound-designerDec 2004: design of episodesJan 2005: sound-recordings / post-productionJan/Feb 2005: second trip to Madrid. Installation and rehearsals two weeks prior to the opening

 

 

 

 

 

05prtc0479

2005. Óscar Lloveras. S/T (theoretical data / Gilbert Lascault text)

 LES STRUCTURES SOUPLES D’OSCAR LLOVERASLES ENERGIES, LES TENSIONS

Les vides, les espacements

Les sculptures, les peintures, les installations de l’artiste constituent , souvent, des structures souples, extensibles, apparemment frêles, presque instables. Elle trouvent leur place dans un terrain qu’elles transforment. Elles s’imposent avec discrétion et force. Elles jouent avec les vides, avec les écarts, avec les lacunes, avec les espacements, avec les intervalles.

Alors, les vides ne sont pas oubliés, ni inertes. Ils sont parcourus par des souffles. Sans les vides, l’espace vibrerait, chanterait. En 1944, dans un texte cour, le poète Paul Valéry met en relation la sensation d’être libre, notre respiration et la respiration de l’univers: «la liberté est une sensation. Cela se respire (…) par une simple, fraîche, profonde prise de souffle à la source universelle où nous puisons de quoi vivre un instant de plus, tout l’être délivré est envahi d’une renaissance délicieuse de ses volontés authentiques».

L’artiste est proche du peintre Henri Matisse qui, en 1908, parle de «la manière de situer les objets: l’air, les vides qui circulent autour d’eux». Dans un tableau, ce sont «la place qu’occupent les corps, les vides qui sont autour d’eux, les proportions»; car Matisse précise: «Je ne peins pas les choses, je ne peins que les différences entre les choses». Ainsi, les installations d’Oscar Lloveras soulignent les vides, les proportions, les différences entre les choses. Elles évitent l’encombrement des choses. Elles les séparent, les écartent. Elles produisent et opèrent les intervalles, l’entre-deux, puisque Marcel Duchamp note «L’écart est une opération».

L’artiste utilise les vides. Il lit peut-être des phrases du Tao-Tö-King de Lao-Tseu (VIe siècle avant J.-C): «Trente rayons se joignent en un moyeu unique; ce vide dans le char en permet l’usage. D’une motte de glaise, on façonne un vase; ce vide dans le vase en permet l’usage. On ménage portes et fenêtres pour une pièce; ce vide dans la pièce en permet l’usage. L’avoir fait l’avantage, mais le non-avoir fait l’usage.» Selon Lao-Tseu, le nœud, l’énergie sont liés aux vides: «Le creux du Ciel-Terre recueille la vie ; c’est le nœud vital, le centre vivant, le lieu de la formation des influx, des échanges» (1).

Alors, les œuvres de l’artiste tressent le monumental et l’intime, les matériaux et l’immatériel, les structures et le mythique, le géométrique et le sensuel. Centaines œuvres s’intitulent La montée des esprits, Colonnes… Les constructions donnent à voir des légendes, des récits, des rites, des cérémonies souvent discrètes, des célébrations souvent modestes, des rêves choisis. Alors l’art devient parfois proche de certains exercices chamaniques, de certains savoirs énigmatiques.

Ces constructions célèbrent la Nature, le cosmos. Le monde (comme l’exprime le philosophe grec, Héraclite d’Ephèse) est une «harmonie de tensions tour à tour tendues et détendues, comme les cordes tendues et détendues de l’arc et de la lyre». Dans le monde, les forces contraires se fondent en unité. Et, selon Héraclite, «l’harmonie cachée surpasse l’harmonie visible».

Cinq éléments

Dans un carnet de l’artiste, il dessine schématiquement un gorin-tô, un pagode «pagode à cinq cercles», qui représente les cinq «éléments». C’est une structure verticale composite, formée par un cube (représentant la terre), une sphère (l’eau), une pyramide (le feu), une demi-sphère (l’air) et une flamme (l’éther). Les gorin-tô sont introduits au Japon vers le IXe siècle et le bouddhisme les adopterait comme le symbole de l’univers. En pierre, ils ornent des mausolées et des petits tumulus (des Kyôzuka); parfois, ils sont en bois et décorent le sommet de poteaux placés entre les cimetières. Selon d’autres interprétations, les cinq éléments du cosmos seraient (dans des textes chinois) la terre, l’eau, le métal, le bois (ou le vent), le feu…Même si les classifications sont différentes, l’artiste privilégie toujours une dizaine d’éléments de l’univers et il tisse les matières et les souffles. Il mêle les toiles et les voiles. Il choisit les bois différents et coupés de diverses formes; les branches nouées; les métaux (des tiges, de fils de fer…); les pierres (parfois noires); les cordes végétales et les nattes «de bonheur»; les papiers; les tissus; le verre; les gaz rares (le néon, l’argon…) qui modifient les lumières ;un coquillage en forme d’une spirale; le feu…

Créer des arbres aériens

Le Philosophe Gaston Bachelard (L’air et les songes, Corti,1943) réfléchit sur l’ «arbre aérien». Il cite le poète André Suarès (1868-1948): «Sans cesse, l’arbre prend son élan et frémit les feuilles, ses innombrables ailes». Jack London évoque, sur un immense arbre, un «nid des hautes cimes». Dans une légende, l’ «arbre d’Adam» atteint l’enfer par ses racines et le ciel par ses branches. Parfois un arbre parle avec les vents et porte les étoiles. Et l’artiste crée des «arbres aériens», pour penser à l’arbre cosmique.

D’ailleurs, le mythologue Mircea Eliade(2) estime que , dans diverses civilisations,« tous les arbres rituels ou les poteaux, que l’on consacre avant ou pendant une cérémonie religieuse quelconque, sont comme projetés magiquement au Centre du Monde». Un texte de l’Inde védique décrit l’arbre comme le pilier cosmique: «De ton sommet tu supportes le Ciel; de ta partie médiane tu emplis les aires; de ton pied tu affermis la Terre.» Ou bien, dans le chamanisme, l’escalade d’un tel arbre par le chaman tatar symbolise son ascension au ciel. Ou encore, certains chamans obtiennent l’extase à l’aide de leurs tambours et « le tambour serait fait du bois même de l’Arbre du Monde». L’artiste suggère des végétaux dressés vers le ciel.

Les feuilles d’érable et les pièges des souffles

L’artiste conserve des feuilles d’érable de divers pays. Il les laisse sécher entre les feuilles de papier journal et les transporte. Il invente des installations dans lesquelles interviennent les feuilles d’érable: à Paris (dans son atelier), à Osaka, à Clamart (au Centre Albert Chanot), à Paris aussi ( dans la galerie Akié Arichi)…La feuille flamboyante d’érable est l’un des emblèmes de l’artiste. Il utilise les feuilles et les fils qui constituent les filets étranges, des nasses énigmatiques, des sortes de pièges pour attraper les souffles, les esprits puissants, les vents, les pensées venues d’on ne sait où. En particulier, dans un village d’une Ile de la Mer de Chine, dans un hangar de pêcheurs, il invente ces premiers filets.Au Japon, dans le Kansaï, en automne, les familles partent en week-end pour «capturer les feuilles et les images», pour contempler le rouge varié des érables.En Australie, dans une forêt, l’artiste, un matin, voit les feuillages encore plus rouges que jamais. C’est le feu dans une splendeur terrifiante, dangereuse.

L’éloge du papier

Les œuvres de l’artiste constituent un éloge du papier. Dans les villes, il trouve des papiers divers, occidentaux ou orientaux, fins ou épais, fragiles ou solides. Il le recueille, les conserve. Il les découpe. Il les modifie. Il les froisse et le repasse. Parfois, il utilise certains papiers insolites: par exemple, des fax de la guerre du Golfe. Souvent, il se sert du papier journal, du papier de soie, du papier qui enveloppe les pizzas. Il les colore avec des pigments naturels.

Au Japon, il fabrique personnellement son papier. Le papier japonais se nomme le Washi. Il le fabrique avec les fibres de l’écorce de trois arbustes. Le papier de mûrier est le plus robuste et rugueux; un autre papier est plus lisse. Le Washi est fort, doux.

Les papier de l’artiste sont des surfaces, des plans, des supports, des subjectiles. Ils interviennent dans les peintures et les installations de l’artiste. Ils sont suspendus.Ainsi, les gohei sont des symboles shintô faits de bandes de papier blanc pliées en zigzag, fixées soit sur un pilier, soit sur un support quelconque ou encore suspendues sur une corde sacrée tendue en travers d’un portique(Torii) de sanctuaire shintô. Les gohei indiqueraient la présence des divinités(les Kami). L’artiste pense souvent aux gohei et aux kami.

Les noeuds, les cordes

Dans les installations de l’artiste, les cordes( sacrées et profanes), les ligatures, les lianes, les noeuds, les tensions, les structures en cordage, les «nattes de bonheur» interviennent. Ancien marin, il manipule les grelins, les élingues.Au Japon, selon les régions, on fabrique des cordes végétales de formes variées. Par exemple, on y suspend de petits oranges amères qui sont autant des offrandes que des décorations. Ici, on note l’existence d’énormes cordes nouées. Ailleurs, les cordes de paille sont souvent remplacées par des nattes de la même paille. Par exemple, les cordes(ou les nattes) délimitent «l’abri du dieu de l’an» et le signalent; elles constituent aussi une barrière, interdisant les accès des aires sacrées aux forces du mal; on y suspend parfois des plaquettes de bois(4)… Vrilles végétales, paille, étoffe et papier sont les matériaux d’élection d’une longue tradition de nouage. Utilitaire, décoratif ou symbolique, le noeud japonais et soumis à des règles strictes; la couleur, la forme et l’emplacement du nœud du vêtement correspondant à des critères d’âge, de sexe, de classe; le nœud qui enserre le rouleau peint témoigne du degré artistique de celui qui l’a noué; les cordelettes de papier coloré sur le paquet-cadeau signifient rigoureusement la raison du présent et la valeur qu’on lui attache. Nouer n’est pas un acte innocent, mais signifiant, voire créateur. Le nœud relie(musubi) et il lie(yui); me est l’œil, la maille, le point de couture qui considère, du noeud, le centre surtout, le vide qu’il enlace et façonne entre les brins; shime est employé en composition et dénote l’idée de fermeture. Des cordes en paille ceignent les enceintes sacrées, balises proposées aux divinités, remparts opposés aux souillures. Le nœud central, suspendu au portique du sanctuaire proclame le sacré et barre la route au mal. Dans certaines cérémonies bouddhiques, le nœud qui lie la corde a perdu son support matériel: c’est une mudrâ, que l’on noue de ses doigts. De ses doigts, l’artiste peut parfois nouer des cordages invisibles et des cordes réelles…Pour assurer la clôture du monde rituel, encerclé de fines cordelettes nouées, le maître des rites ésotériques noue autour de l’autel les sceaux de la terre, des quatre directions.D’autre part, certaines divinités(musubi no kami) peuvent créer toutes choses en liant, susciter la vie en alliant deux matières inertes.Nouer est qu’une des premières techniques de l’industrie humaine: ce fut aussi l’une des premières techniques de création divine. En nouant, les dieux suscitèrent l’énergie de l’univers. Et aussi, nouer serait un acte qui permet d’attacher une parcelle d’esprit à un corps. Le nœud est un principe de vie.

Dans des poèmes japonais du VIIIe siècle, les nœuds symbolisent les liens amoureux, la fidélité et le retour de l’être aimé. Le nœud est l’un des symboles du mariage. Car les divinités du mariage sont noueuses de liens.

Explorer les territoires

L’artiste explore des territoires proches et lointains. Il les examine. Il les inspecte, les visite.Il apprécie et analyse leurs coordonnées, leurs orientation. Ses œuvres les métamorphosent.Les ateliers de l’artiste ( actuellement l’un a Paris et l’autre dans l’île de Shikoku au Japon, ne sont pas seulement des lieux de travail; ils se manifestent comme des espaces modifiés dans lesquels des plantes poussent parmi des pierres, parmi des livres. Sur un mure des structures sont accrochées. Une autre, giganteste, est d’abord couchée sur un plancher; puis l’artiste la dresse, l’érige. Des néons modifient la lumière de l’atelier. Dans un coin, discret, un petit autel est modeste: une pierre trouvée, des graines, une calligraphie, la formule d’une prière bouddhique.Dans le Nord de la France, les installations de l’artiste nous donnent à voir des images neuves de la Mer du Nord, de la lumière des peintres flamands, des villages mélancoliques, des usines désaffectées, des terrils de mines, des amoncellements, des scories. Elles révèlent une règion forte et grave, les traces tragiques des guerres recommencées, et les brouillards. L’artiste collecte les matériaux destinées à ses œuvres: les pierres noires, les tissus blancs des usines, les cordages, les métaux parfois rouillés. Une ferme abandonnée devient son atelier provisoire. Les installations de l’artiste unissent la présent et la mémoire, la nature et les travaux des hommes. Près de la mer, l’artiste dessine sur le sable.Ou bien, dans la ville, au cœur du vieux Lille, l’artiste découvre une église du XVIII ème siècle: La Grande Madeleine. La coupole est haute de 35 mètres. Entre les larges colonnades de marbre noir belge, on distingue trois autels, deux espaces qui servaient aux baptêmes et à l’accueil des moines. Alors, l’artiste présente une vingtaine de peintures de 5 mètres, des installations qui utilisent, entre autres, cordages et papier. Il crée des lumières artificielles dans l’ensemble bleuâtre, dû aux vitraux, sur le marbre noir. Par des tubes de verre, par l’argon, le néon, le mercure, il invente des lumières-couleurs qui donnent la sensation de l’unité de l’espace transfiguré. Il pense s’etre d’abord inspiré, pendant l’adolescence, de l’Arte Povera et du Land Art; puis il crée, dit il, «un objet sans forme» , dans son esprit, comme le «fruit du désir» . La nature y règne dans les lumières et les ombres, au cœur de la cité.Ou aussi, l’artiste inscrit des événements dans le paysage. Vous pouvez alors lire un poème de Charles Baudelaire: «La Nature est un temple ou les vivants piliers/ Laissent parfois sortir des confuses paroles/ L’homme y passe à travers des forêts et des symboles/ Qui l’observent avec des regards familiers.» Comme le précise le mythologue Mircea Eliade, l’installation dans un territoire équivaut à la fondation d’un monde. Pour lui, le temple (templum) et le temps (tempus) se correspondent.

 Pélérinages

A travers cinq continents, en particulier en Argentine, en Australie où il rencontre les Aborigènes, en France ( près de la Mer du Nord et près des mines), en Italie (à Carrare), en Indonésie, dans divers Îles du Japon, l’artiste est un pèlerin permanent, un voyageur voyant. Il ne cherche jamais l’exotisme. Il refuse tout pittoresque bariolé. Si Lanza del Vasto publie, en 1943, Le pèlerinage aux sources, l’artiste cherche à découvrir les sources des rivières, des fleuves et celles invisibles, secrètes, comme des sages, des chamans, des poètes, des rêveurs captent les principes de la vie, cherchent le chiffre des choses. Il erre et il contemple. Il découvre des terres privilégiées, des espaces inespérés, des lieux inattendues. Il écoute le chant des vents, des vagues de la mer, les êtres et des choses. Il découvre des mythes et des rites variés.

Le pèlerinage interminable de l’artiste est une initiation spirituelle. Il choisit ses périples. Souvent il garde des objets témoins (des feuilles d’érable, des pierres, des branches, des pots, des graines…), des traces conservées, des vestiges, des signes de la mémoire. Il cherche la quête de l’âme et de l’art dans un parcourt permanent, par la marche, par la recherche des chemins. Ses structures définissent les sites spirituels d’une géographie. L’artiste se métamorphose tout en modifiant l’espace.

Dans le «temps du rêve» dont parlent les aborigènes, dans le temps primordial des mythes, dans les voyages imaginés des divinités ou des ancêtres, l’artiste trouve son nomadisme spirituel, réglé.

Au cœur de l’Australie, sur les terres rouges et sèches, parsemées des buissons maigres, des centaines de pistes invisibles s’entremêlent. Pour les Aborigènes, pour ces rêveurs du désert, une piste parcourt mille kilomètres, balisée par des collines, des rochers, des arbres isolés, des sources : les sites sacrés d’un itinéraire. Les Aborigènes évoquent alors le voyage d’un peuple ancestral qui, dans l’espace-temps du Rêve, traversa le désert, avant de se transformer en étoiles. Ils peuvent chanter, danser, peindre les Rêves: le Rêve Emeu, le Rêve Perruche Verte, le Rêve Etoiles, le Rêve Bâton à Fouir, le Rêve Varan…Dans le temps du Rêve( «the dream time»), chaque évènement des ancêtres est marqué par une trace dans le paysage(5).

Au Japon, deux types de pèlerinages se pratiquent (6) : l’un, venu de Chine, est à rattacher au bouddhisme; l’autre, plus spécifiquement au Shintô. La pratique est un cheminement, un circuit de dévotions. Les circuits les plus populaires sont celui des «quatre-vingt-huit sanctuaires de Shikoku», le plus ancien et le plus fréquenté, et celui des «trente-trois sanctuaires des Provinces occidentales» (au Shikoku).

Le pèlerin parcourt les quatre-vingt-huit sanctuaires du Shikoku : 1240 kilomètres, au moins une quarantaine de jours. Il porte des cartes entre deux planchettes qu’il dépose à chaque station de son périple, pour attester son passage. Le pèlerinage constitue une géographie spirituelle, la reprise du parcours de Kôbo-Taishi (né en 774), un saint du bouddhisme japonais.

D’une autre façon, l’artiste invente, dans tel territoire qu’il a choisi, un cheminement spirituel. Il crée un pèlerinage modeste, discret, un parcours. Dans l’île de Shikoku, dans la forêt, il conçoit cinq installations en l’honneur de cinq villages, en rapport avec l’eau, le feu, la terre, le bois et le métal. Ces sites sont destinés aux villageois, aux adolescents qui sont des élèves de l’artiste, aux voyageurs. Devant les installations, certains se réunissent, boivent du saké et d’autres se reposent ou méditent.

Dans un paysage, chaque installation de l’artiste est une grande forme qui évoque parfois un immense oiseau; parfois la voile d’un navire ; ou bien une échelle qui se dresse de la terre au ciel ; ou aussi un rideau flottant ; ou encore une maison schématique ; ou peut-être un papillon ; ou aussi une croix ; parfois la silhouette épuisée d’un humain ou d’une divinité… La grande forme est le signal qui indique un terrain élu, un lieu de tension et de recueillement, un pôle d’énergies.

Les divinités de la montagne

Dans la région de la Montagne des divinités (Kami-yama), l’artiste sculpte, en 2000, une construction dressée, proche d’une architecture japonaise, un arbre qui serait l’axe du monde. La région serait bleue ; le ciel, les rochers, les arbres sembleraient bleus. L’artiste rencontre alors des pèlerins habillés de blanc, des prêtres, des sages.

L’artiste célèbre, glorifie les kami, les esprits divin. D’après la tradition, les Kami seraient au nombre de 88 millions. Ils sont vénérés, en particulier, dans des sanctuaires et ils peuvent habiter des sites naturels ; ils protègent les montagnes (yama no kami), les champs (ta no Kami), les chemins (sae no Kami)Dans la conscience japonaise, la terme yama (montagne) ne désigne pas tant les élévations de terrain, montagnes et collines, que les zones non défrichées par opposition aux terres cultivées, soit l’ensemble des zones forestières, souvent montagneuses, où on pratique la chasse et le bûcheronnage (7). Un rite inaugural consiste à aller couper solennellement en montagne pour la première fois de l’année. C’est l’accueil du dieu de la montagne descendant dans la rizière à la veille du début des travaux agraires. Les paysans choisissent un arbre convenable comme support symbolique du dieu de la montagne et ils font des offrandes d’alcool de riz et de gâteau , avant de couper les petites branches de l’arbre ; ils y accrochent un symbole de papier ou de bois.

Et, au début du bûcheronnage, les bûcherons «déterminent le bon arbre», récitent une formule pour s’attirer les bonnes grâces du dieu de la montagne. Sans doute, pour sculpter, l’artiste «détermine le bon arbre».

La montagne est le territoire de la divinité. Elle se loge souvent dans les arbres fourchus ou dans les pierres de forme bizarre. Les arbres et le gibier lui appartiennent. La divinité peut être une femme, un homme, un couple, un loup, un serpent, un renard, unvieillard borgne et unijambiste. Son culte est aussi multiforme que son aspect.

Traces sur le sable

Sable… Au Japon, pour la fête du dieu du sol. La pureté, l’absence de toute souillure est une condition du bon déroulement des rites et le sable ramassé sur la plage est dispersé devant et dans la maison, afin de purifier les lieux et leurs habitants…Parfois, un autel pour certains défunts consiste en un terre-plein parallélépipédique, rectangulaire, en sable de rivière aux quatre coins duquel on place des bambous décorés de feuilles de badiane de Chine. Le sable est maintenu par des bambous placés horizontalement et fixés aux piliers d’angle.

Le jardin du monastère Ryoan-Ji à Kyoto est un «jardin sec», recouvert de sable, meublé de quinze pierres, clos de murs. Les myriades de grains de sable symbolisent le vide entre les quinze rochers. Le sable est proprement balayé peut-être par les moines et les archipels des pierres sont, en quelque sorte, auréolés.

En 1948, dans le Sahara, Jean Dubuffet est fasciné par le sable du désert. Restent les empreintes des pieds nus dans le sable; elles font trace ; puis rien ; elles sont effacées par le vent.

 

Gilbert Lascault(octobre 2001)

(1) Cf. François Cheng, Vide et plein (le langage pictural chinois), Seuil, 1979.(2)Mircea Eliade, Images et symboles (essais sur le symbolisme magico-religieux), Gallimard, 1952(4) Laurence Berthier-Caillet et coll., Fêtes et rites des quatre saisons au Japon, PDF, 1981(5) Cf. Barbara Gowczewski, Les rêveurs du désert, Plon1989(6) Les pélerinages, Sources orientales, Seuil,1960(7) Laurence Berthier-Caillet et coll., Fêtes et rites des quatre saisons au Japon, P.O.F., 1981

 

 

 

 

 

05prtc0473

2005. Raimond Chaves. EL RIO, LAS COSAS QUE PASAN (location)

Urban furnitures and Canal Metro projections   

 

 

 

 

 

05intd0588

2005. María Alos + Nicolás Dumit. MUSEO PEATONAL (technical data)

 DESCRIPTION OF THE ASSEMBLY SYSTEM AND TECHNICAL REQUIREMENTS

The Pedestrian Museum requires a showcase type of space with access to the street, located in a busy public or commercial area. The showcases’ size could be flexible (preferably the size of a shop window) for part of our philosophy is to adjust to any given space and integrate it in an already existent context. The showcases’ interior will be structured as a “white box”, emulating the typical white gallery.

In the external part of the showcase a logo will be installed, with the museum’s philosophy, made in adherent vinyl, easily removable. The audio (with the same text) will be amplified towards the exterior through two computer horns connected to a CD player, located inside the space. For security reasons, these horns will be removed during the closing hours.

PRODUCTION AND ASSEMBLY

Numbered donation sheets (2000 sheets)1000 plastic baggies (ziplock) sandwich size1000 cork studs1000 small labels for laser printingCD PlayerHornsVinyl posters2 UniformsDry cleaner’s for uniformsPaint and other materialsElectric wiresWork assistantsInstallationSpecific space

 

 

 

 

05prtc3445

2005. Óscar Lloveras. S/T (location)

Pº del Prado, facing Prado museum

 

 

 

 

 

05intd0587

2005. Óscar Lloveras. S/T (theoretical data / Óscar Lloveras text)

 Je travaille dans l’intimité de mon atelier, où je conçois mon œuvre et l’ensemble de mes projets, ce qui me donne une vision des choses.

C’est à partir du dessin que je découvre mon écriture. Elle se traduit en espace, en couleur, en volume.Les matériaux m’inspirent par leur force, un langage plastique. J’ai pu faire émerger par exemple par le papier, une image qui est propre à sa constitution. J’ai pu mettre en situation des compositions spatiales avec le matériel , lui donnant d’autres possibilités à l’égard de la lumière.C’est finalement dans une composition que j’ai installée dans la forêt de Meudon que j’ai vu l’orientation de mon travail. Mes structures en papier et cordes se sont adaptées très positivement dans un environnement naturel.

L’utilisation du papier dans mon travail a toujours été présent. J’ai expérimenté différentes façons d’utiliser la couleur et la matière sur toutes qualités de papier. J’ai éprouvé un amour pour chercher des papiers sur mon chemin et les collectionner, les découper, ou les acheter : le papier journal, le papier dont on se sert pour envelopper le pain, les pizzas, le papier de soie. Des papiers divers, des plus pauvres au plus riches.

Par la façon d’utiliser les matériaux, on peint déjà par le choix, on parle déjà (Toroni).Par exemple, durant la guerre du Golfe, j’ai pu obtenir des fax de guerre contenant les nouvelles provenant de là-bas. J’ai construit une série de formes très aériennes entre des voilages ou des essais aéronautiques, ou des blasons.

Par l’assemblage d’autres matières, tels que le bois, la pierre, le métal, j’ai pu aller vers une évolution constante, qui me pousse à faire intervenir aussi des matériaux manufacturés, toujours à l’état brut.Par une vision sur la mer du Nord, en rapport avec les volumes produits par la lumière sur les terres, je me suis déplacé pour travailler sur les régions du Nord de la France et la Belgique.

Le contraste entre la ville et la nature m’a toujours touché. Il génère en moi la douleur et la joie de me sentir entre ces deux mondes.Dans le passé, j’ai eu cette sensation dans le Nord de l’Italie où j’ai travaillé la pierre. La force de la terre, le paysage, la lumière se transforment subitement dans l’urbanisation. Je me rappelle de jours de travail sur les collines en regardant la mer au fond du paysage, à droite, en contre jour, les usines, au pied d’une rivière splendide et polluée. Je faisais la taille de pierre, tout simplement.

La sensation était similaire dans le Nord de la France alors que le paysage était autre. Les terrils (faites par les déchets des mines), les villages abandonnés des ouvriers et plus loin, le champ, pur d’une lumière éclatante comme chez les peintres flamands. Et tout en tombant par la Belgique sur la mer, la lumière se diffuse sur les épaisseurs d’un brouillard latent.

Un passé fort, une terre forte où les guerres ont laissé des traces.Mon atelier dans une ferme abandonnée était un quartier anglais. Au loin les mines, les immigrés polonais, la richesse, la pauvreté.Dans mes reconnaissances de terrains, j’ai collecté aussi des objets et des matériaux qui ont fait mon oeuvre : les pierres noires, les tissus blancs des usines, les cordage, les métaux, se sont intégrés dans mes compositions .

J’ai conçu des installations avec des pierres noires. J’ai aussi assemblé des pierres avec du fil de fer en constituant de grandes installations spatiales suspendues.

Comme dans le déplacement du regard, le champ visuel se prolonge dans la mémoire, la nature dans un parallèle de vie infinie se transforme dans les structures du mouvement. Il est gravé dans chaque millimètre d’existence, le passage d’une trace sur une autre. Comme dans la croissance d’une plante, on retrouve sa structure évolutive, « le tout » est l’évidence d’un ensemble géométrique divin qui se déplace dans l’illusion du temps. Les nervures d’une feuille, un coquillage, le zénith céleste ; on pourrait dire que l’art représente dans le fond abstrait de son essence, les structures parfaites de la pensée par la pureté de l’inattendu, comme les traces que le temps accumule dans tout.

Dans l’introspection des années d’analyse des structures de la nature, dans le travail constant pour faire renaître au plus profond des sens ce qui est en moi et qui par la force de la pensée se traduit en langage, je trouve la vie qui commence.

J’ai travaillé pour la première fois en conscience sur le sable, sur les champs. Je suis retourné pour constater l’action du temps sur ce qui devenait autre chose. Le travail partagé entre ce qui réveille par mon action sur la matière en confluence avec les phénomènes naturels.

Sur mes installations spatiales avec les pierres noires, j’ai pu rendre intemporelle cette action car elle a été exposée plus tard dans le Centre d’Art Contemporain « Frontières » dans la région du Nord.

Le contact que j’éprouve avec l’espace, l’action de ma pensée sur les objets ainsi qu’un partage sensible, actif avec les phénomènes de la nature tels que le vent, la pluie ou les marées, m’ont lié plus tard à d’autres expériences plus poussées encore sur ce langage.

Depuis mes premières expériences en Italie avec les grandes pierres que je trouais et que je suspendais ensuite dans la forêt, j’ai du passer au plus rationnel dans mon atelier en cherchant des solutions pratiques.

Comment faire pour trouver dans la ville une symbolique visuelle qui représente ma pensée ?Mon atelier au troisième étage m’empêchait de travailler avec des matières lourdes, (les portes et couloirs me limitent à des réalisations d’un mètre soixante de diamètre). J’ai pensé à des structures très grandes qu’on puisse regarder de loin comme des signes situés dans des lieux publics qui nous attirent, pour penser, discuter autour.Alors, j’ai découvert un système de cordage qui me permettait d’accéder à de grandes dimensions. J’ai utilisé du papier qui, renforcé par des structures en cordage, devenait très solide. Finalement, avec des structures légères je pouvais trouver la densité visuelle de la pierre et sur des dimensions inimaginables.

J’ai appliqué le principe des « structures évolutives » de la nature. Ce qui permet de constituer une composition sur le point de fuite en forme de croix. De cette façon, on constitue une structure qui tend vers un macrocosme avec un noyau de tension qui génère le mouvement. C’est ainsi que j’ai conçu ma première installation dans le Parc de la Maison Blanche à Clamart, par hasard, mais en pur conscience des faits.

Oscar Lloveras

 

 

 

 

 

05prtc0472

2005. Henry Eric Hernández García. ZONA VIGILADA (visual data)

2005. Henry Eric Hernández García. ZONA VIGILADA  (visual data)

 

REFERENCES

Archive photos. Frank Hernandez. Images of a military parade in La Havana. 70s.

      

          

Archive photos. Frank Hernandez. Images of a military parade in La Havana. 70s.

 

 

 

 

 

 

 

05intb0501, 05inib0502

2005. María Alos + Nicolás Dumit. MUSEO PEATONAL (location)

Pº de Recoletos, uneven sidewalk, Telefónica´s shop, near Colon square

 

 

 

 

 

05intd0586

2005. Óscar Lloveras. S/T (theoretical data / Duchène Gérard text)

 What surprises me about Oscar Lloveras´ work is his relation with society, and also with nature. He attempts to erase the duality... a duality which exists between some and the others, or between some and the totality of their own surroundings.

His works are tangible headlamps permanently open to all that is monumental, but also towards the infinitely smallness of a trace, of a small branch found in a notebook of memoirs… memories of a journey written from a glance. The insistence on transmitting all that is produced in the field of vision. A curiosity (openness) which is going to move around within this field.

We can imagine a gesture which moves around a space limited by invisible signs. Later, the gesture is translated into a workshop.

The “ everything goes” idea spells the accident, the surprise; the body frees itself from its support. The metal point stresses and translates that which is grasped through plastic writing. An osmotic relation between the presence of the memory and the reality of the gesture. It is all based on adapting this sum of memories to reality.

It is the reason of Oscar Lloveras´ activity, which penetrates in the places and proposes an observation. The gesture takes place in negligible or monumental way. The physical work, which is so important, participates in that which is physical of the environment and he questions it again. The meeting of a direct relation between that which is observed and what is done: that which is lived in the same place. We could say that the place is adapted to an intruder, which is the work.

The terrain is an obligatory step to erasing the absence, or more clearly, to occupy it. Llovera develops other areas, eliminating the voids left in spatial structures, and terraces this with traces, doing a vertical journey.

Oscar Lloveras is a space adventurer. And his successive journeys happen due to a need to grasp an everything without completing it. The act of creating or making is always linked to pleasure. Pleasure is always present, even though its gesture is monastic. Rays of light cross silence. The standing body leaves a place for the body folded in the workshop.

The diversity of techniques and materials are witnesses to this sensitivity which is produced from the grain of sand to the tree, from the arcade of a church to the stone on the path. The journey of the arcade links the ground with the sky.

Lloveras attempts to relate his experience in plastic with the others. “The shape approaches the being and the being approaches the shape”. His work is in no way innocent, but it produces as are the pages of a book. Communication is crucial in his work... language is predominant. In its permanent movement, it moves towards the infinity of us.

Duchène Gérard

 

 

 

05intc0538

2005. Raimond Chaves. EL RÍO. (2005.01 / visual data)

2005. Raimond Chaves. EL RÍO. (2005.01 / visual data)

 

 

             

There are two versions. But I´d prefer for the head El Rio.The sheets would be:

"El Río, las cosas que pasan"Newspaper poster for urban forniture -sketch-Raimond Chaves, Lima 2005

"El Río, las cosas que pasan"Head of the newspaper poster for urban forniture Raimond Chaves, Lima 2005

Victor Jara's happy"El Río las cosas que pasan"Broadcast for Metro ChannelVideo mosaic imagesRaimond Chaves, Lima 2005

Finally the url is:www.lascosasquepasan.netIn a couple of days it will be active, even it will be only with a wellcome pageThe official launch will be on day 3

(January 2005)

 

 

 

 

 

 

 

 

 

05inib0504, 05intb0505

2005. José Dávila. MIRADOR NÓMADA (location)

Casa de América façade, Linares palace

 

 

 

 

 

 

05intd0585

2005. María Alos + Nicolás Dumit. MUSEO PEATONAL (theoretical data)

PHILOSOPHY OF A NOMAD ORGANIZATION

The Pedestrian Museum is an itinerant institution dedicated to present temporary exhibitions in different areas of New York City and in other urban environments in and out of USA. The museum’s collection comes from the donations that visitors, workers or neighbours give.

FORMAT 

Interactive intervention/installation located in the urban environment:

This institution works like an intervention/installation of a specific type that uses busy pedestrian areas; ideally, spaces in buildings that have access to the street, located in public and/or commercial areas of the city. The institution’s interest is to preserve the presence of pedestrians in a specific location due to a collection that is formed once the donators provide the most varied of personal objects, souvenirs and relics. The museum itself materializes together with the objective of the project, during the assembly of the received articles. The donation process is free of charge and the objects are collected, classified, packed and then exhibited. The transactions take place in the street where the museum is installed, taking advantage of the constant flux of people that go from one place to another. This institution’s staff is made up of artists themselves, that are presented to the public (wearing dark blue suits and white shirts) pretending to be curators, guardians of the museum, museologists and installers. In this way, the working hierarchy in cultural organizations is examined.

AUDIO/TEXT TRANSCRIPTION

“The Pedestrian Museum is an itinerant institution dedicated to present temporary exhibitions in different areas of New York City and in other urban environments in and out of USA. The museum’s collection comes from the donations that visitors, workers or neighbours give. The Pedestrian Museum is a physical expression that reflects, through donations, the spirit of the place in which it is located.

The museum is currently accepting donations for this space. Therefore, we invite you to jointly support us, providing an object owned by you. If you wish to remain anonymous as donator, please ask so at the moment of the contribution. For any further information please contact the staff. Every object, from that moment on, will belong to the Pedestrian Museum. Thank you for your cooperation”.

OPEN ROUTE TO THE PEDESTRIAN MUSEUM

In 2001 the Pedestrian Museum opens its doors to the busy 42nd street of New York, in the heart of Times Square, invited by the Chashama organization. That same year, the institution is transferred for three months to the zero zone, where the World Trade Centre used to be, as a part of Looking In, an exhibition organized by the Lower Manhattan Cultural Council. In early 2004, with the support of the Longwood Art Gallery and the Bronx Council of the Arts, the Pedestrian Museum establishes itself in the Bronx district. Currently the institution is transferring to Mexico City. Invited by MUCA Rome, the Pedestrian Museum will install itself in the University Campus (UNAM) for a month.

We hope to have the opportunity of continuing with our itinerary in other cities, including Madrid, with Madrid Abierto, taking advantage of the flux of visitors that go to ARCO 2005.

 

 

 

 

 

05prtc3444

2005. Henry Eric Hernández García. ZONA VIGILADA (ubicación)

Museo de escultura al aire libre, Pº de la Castellana, Eduardo Dato

 

 

 

 

 

05intd0584

2005. José Dávila. MIRADOR NÓMADA (theoretical data)

The idea of this proposal is that participation at the Casa de América is not a piece of work to be mainly observed, but to invest that relation and use the piece of work so that the city of Madrid can be observed from it and the events of its urban daily life can be contemplated.

The aim is that of recognising and using the façade of the Casa de América as a strategic place of great qualities to observe one of the most emblematic urban points of Madrid, as is the Plaza de Cibeles, the paseo de Recoletos and Alcalá street; from a height and visual points which are not usually very easily accessible.

It proposes the temporary construction of (accessible and safe) scaffolding for use by the public in general who will be able to explore the different levels and areas of the structure.

The project is a piece of work which will bring the façade of the Casa de América and surrounding to life through its function and use, modifying the pre-existent relations of the citizens with the place.It offers and proposes a different way of seeing the city and its architecture, a possibility to enter a more active dialogue with the urban landscape of Madrid.The scaffolding covers up and signifies cycles of activity and change. They are sub-used, temporary urban spaces, nomadic viewpoint ( miradores nómadas ) which for a determined period of time offer specific views of the city which could not be seen in any other way, and usually go totally unnoticed.An unnoticed general characteristic of Europe´s large cities is the large amount of scaffolding which stand out on their streets, areas in which they cover a large number of buildings and very frequently, the most emblematic of most historic buildings of the city).Those who go by these areas of scaffolding can only appreciate something similar to the back of a mirror, converting them into places without a place. A building surrounded by scaffolding is usually a visual non-event of which the daily eye usually notices hardly anything.

The production strategy of this piece relates to the character of this programme and its exhibition; it’s made out of materials that can be “rented”, it’s an art work only due to its function and the experiences that it arouses. It’s the result of recycling consumer products. Once Madrid Abierto finishes there won’t be any wasted material, the scaffolding will be dismantled and will continue serving its regular purposes. I consider this piece as an event that provides certain visual, audio and phenomenological experiences, rather than a sculpture of defined, permanent and material characteristics.

Formally the aesthetic of the piece will obey standard construction principles to build and assemble scaffoldings in general.Formed by a group of volumes on different levels and covered by meshes of different colours.

 

 

 

 

05prmc3443

2005. Fernando Baena. FAMILIAS ENCONTRADAS (location)

Círculo de Bellas Artes, Alcalá street façade

 

 

 

 

 

 

 

 

05intd0583

2005. José Dávila. MIRADOR NÓMADA (technical data)

Technically the structure will be built with a metallic tubular scaffolding system, (that offers great speed for its assembly and disassembly) made of frames, diagonals, poles, handrails and baseboards, held by anchorages, cramp irons and cantilevers. The stairs to access the scaffolding and to move around can be made of metal or wood and the platforms would be made of aluminium or steel, probably covered with pinewood.

The volumes would be covered by plastic mesh with holes in it that are commercially used in scaffolding.

 

 

 

 

 

05prtc3442

2005. Henry Eric Hernández García. ZONA VIGILADA ( theoretical data)

 AuthorHenry Eric. 2004/05.

With the collaboration ofDull Janiell, film editor Laura Orizaola, photographer

DESCRIPTIONIn this proposed project, Henry Eric Hernández safeguards one of the fundamental premises of the poetic art of his work regarding creating art interventions in places that he has named as cultural ghettos: individual or group stages (spaces) built on a determined ideology, at a particular time and later transformed until they are forgotten or are overtaken by cultural decadence... to be understood as ideological, economical and social.

This piece of work involves placing two video cameras with different angle movements, which will be handled by three different photographers who will constantly move it around the areas of the museum and record some situations (B/W), previously edited, transmited on one side of the screen, thus reconstructing the place´s environment. Simultaneously, at fixed times, the documentary filmed in La Havana will be screened on the other side of the screen, thus showing the time counterpoint between both security (vigilance) systems.

The project also includes the design and publishing of a poster that will be distributed throughout the city with the following text: El Museo de las Esculturas al Aire Libre/presents /ZONA VIGILADA/a film by henry eric.

 

 

 

 

05prtc3439

2005. Colectivo Tercerunquinto. S/T (location)

 Pº de la Castellana - Eduardo Dato, uneven sidewalk boulevard

 

 

 

 

 

 

05intd0581

2005. Compañía de Caracas. ESPACIO MÓVIL (technical data)

 Our project is based on current photographic images of Caracas in bus stops that are in the axis of the edition and also buses that follow this route. The material to be used is adherent transparent vinyl. Budget:

BUS STOPSDimensionsDepends, around 10 square metres per stop.Usable glass: around 2,20 m high and between 3 – 5 metres long.Publicity window: 1,70 x 1,15 m approx.

MaterialsTransparent vinyl for glass.Day aŠaµ–ight material for the bus stop window. This material is perfectly visible at night without any special lighting.

BUSESDimensionsVariable, around 20 square metres per bus (one side).

MaterialExterior transparent vinyl (called windows), which is a specific material for windows. From inside you can see the outside.

MOUNTING COSTSInstalling vinyl on buses and at bus stops by specialist operators.

 

 

 

 

05prtc3436

2005. Colectivo Tercerunquinto. S/T (theoretical data)

Each of the three projects here proposed seeks to modify urban experience. We have based this case on traffic systems and places that coexist between these systems, such as gardens and green areas. These projects consider analytical arguments that underline the order and approach of the urban system and design. We integrate our projects in this realm, by showing the true nature of a city that is under the constant pressure of social practices that permeate and undermine space, and by trying to modify the urban plan.

 

 

 

 

 

 

05prtc3435

2005. Colectivo Tercerunquinto. S/T (visual data)

2005. Colectivo Tercerunquinto. S/T (visual data)

DRAFTS

AMPLIACIÓN DE UN ÁREA VERDE

 

CONEXIÓN DE DOS JARDINERAS

 

CONEXIÓN DE DOS BANQUETAS

 

RELATED WORKS

PHOTO SELECTION

   

 

 

 

 

 

 

 

 

 

05pric0390, 05prid0428

2005. Simon Greenan + Christopher Sperandio. SOY MADRID (published text)

 Everyone has strong feelings about the place they live but what seems exotic to the tourist can be commonplace or even dull to a local. However, tourism can invigorate the local economy. New interest at home for the same old landmarks can be sparked when viewed through the eyes of a visitor. World events and political differences can pale when compared to an important local issue such as “Which restaurant in the Paseo del Prado is the best?”

From tips for tourists to diatribes on politics, SOY MADRID, will be a formal platform for a collaboration between Madrid residents and tourist artists Grennan and Sperandio.

Through newspaper advertisements, word of mouth and a dedicated web site, SOYMADRID.COM, artists Grennan and Sperandio will invite residents of to Madrid to tell their stories about Madrid. The artists will then present selected stories as bright and colorful comic strips written in Spanish and English.

Political or lighthearted, serious or frivolous, fun or just weird, these interventions, when encountered, will give natives and visitors alike the opportunity to reconsider the conflicting issues surrounding notions of local identity, nationalism, politics and tourism.

The resultant comics will be reproduced in a variety of media, including posters, comic strips in local papers and on-line. A main feature of SOY MADRID is a collaboration with a local paper. Stories for the project will be solicited via this paper, and selections from the finalized comic strips will be printed in this paper as well.

 

 

 

 

 

05intc0580

2005. María Alos + Nicolás Dumit. MUSEO PEATONAL, FACULTY OF PHILOSOPHY AND LITERATURE, 2004

2005. María Alos + Nicolás Dumit. MUSEO PEATONAL, FACULTY OF PHILOSOPHY AND LITERATURE, 2004

 

    

    

       

       

FACULTY OF PHILOSOPHY AND LITERATURE UNAM, 2004Documentation of intervention in Mexico CitySponsored by MUCA Roma and Dirección de Artes Visuales UNAM

 

 

 

 

 

 

 

 

05inme3673

2005. Raimond Chaves. EL RIO, LAS COSAS QUE PASAN (published text)

 Introduction

Over the past few years I have been basing my work on the preparation of publications with varying levels of public participation in their elaboration and which aim to promote the circulation of those stories, images, ideas, etc. which due to their importance and at the same time the lack of public awareness of them deserve to be known and spread.

Thus, restoring the capacity of people to tell their own experiences to counter these stories to the domineering capacity of the media to create events and set out concrete action to be taken, all in all, to create reality.

A large part of these editorial proposals is the work of processing images, mainly found images, to have a bearing on the willingness to respond from other angles and with other views of that which “is happening”.

Thus, stories, news, echoes, new images, drawings and collage, edited in street newspapers, posters, templates, mural paintings and other supports propose new ways of understanding the world while putting the notions of objectivity, impartiality and the rôles of preparation and receipt of information in doubt.

Why “El Río”?

Apart from the affectionate allusion to the famous sentence of Hercules, there is a dialectic intention in the image of a river to speak of that which we see as inevitable. Reality, that which happens, the event, and this and its recreation and / or construction i.e. that, which we understand as news, are usually presented as inexorable flows.

This is why this project wants to be an invitation to find another way to confront events and the process of reconstruction that takes place when we read them. One can easily be led but if one wants or knows how, one can actually get somewhere.

Description

“El Río, las cosas que pasan” is a project based on the guidelines set out in previous projects (see Background Information at the end of this document) intends on going even further and to be a handmade “newsworthy group” of low intensity divided into three spheres of Madrid´s public life.

“El Río” initially intends to disconcert with an atypical name for a means of communication. Beyond Hangueando –the project it comes from-, El Río wants to respond to the rôle of the media in our society, distancing us from compiling miscellaneous news and questioning it so as to construct a reality through the news.

“El Río” , constituted as a multimedia corporation shall confront the matter from different angles. Firstly considering as news that which a priori is not considered as such, secondly, the news we receive from the traditional means of communications shall be turned inside out and thirdly, great importance will be given to drawing and manipulating images. All ideas of objectivity and a consensus in story telling are forgotten. El Río will convert texts and images into poetic/political tools. El Río is positioned on the thin line between inventing news and analysis events, an unmistakable space which may also be contrary, i.e. that of creating events and that of analysing news. “El Río” will build tables that will always be missing a leg, as while it doesn´t want to be objective nor does it want to tell any “truths”.

Thus each prop in which “El Río” had decided to use, it will attempt to widen the margins of the conventions of use of these. Let´s take a look at the props:

A poster for MUPI “El Río, las cosas que pasan” dispalys a large collage with different texts, testimonies, quotations and images considered relevant regarding events and processes taking place in South America and are hardly covered in Europe. Events which whether local or relevant to certain areas of South America and have consequences for Spain due to globalisation. In this way, MUPI will become a wall “street” newspaper, inviting pedestrians to stop for a moment and read. The poster also publicises the presence of El Río on the Metro channel and the web.

On the programmes of the Metro channel, “El Río, las cosas que pasan” presents simple animations based on drawings and images with the inclusion of short lines of text and a very restrained use of sound. The contents of the animations will have a similar register to that of the posters but will emphasise the most absurd by presenting news that one would not really consider as news. “El Río, las cosas que pasan” poses a third space of presence on the web. A web site created for this will act as a source for broadcasting the project for Madrid Abierto at the same time as containing and showing the contents of the poster and the animations on video. It is planned to work on this more intensely later on

www.lascosasquepasan.net

Conclusion

I would like to take advantage of my being a travelling artist who bases his work on gathering stories and the processing of images to offer versions and “news stories” which I believe to be relevant on local matters which have global implications. As a passer-by, citizen and artist, I offer these stories, on the streets of Madrid, to strengthen its public character and my desire to bring these stories closer to everyone.

Links

www.puiqui.com

 

NOTES

“El Río, las cosas que pasan” - slogans

The newspaper of that which is not considered news. Analysis if events through quotations, testimonies, drawings and images.

El Río of things that happen to attempt to understand a world that is going to change forever.

With the arbitrated story telling of certain things which deserve to be heard about South America, the Caribbean and other places...

“El Río” on this occasion is a unipersonal project, but may later be worked on as a group.

Why the change from Hangueando to El Río? There are numerous reasons. Firstly, what I consider to be the difficulty to explain Hangueando –the very meaning of the word- to an urban public that needs to be approached with less preparation. El Río is understood, and it is disconcerting, and once said that it is a street newspaper, no further explanations need to be given.

Secondly, that which is mentioned above regarding will, above all, in the case of the posters, which is more newspaper and less miscellaneous. To continue attempting to understand the world and at the same time not declining to intervene in it.

Thirdly, the possibility of creating what I have called the press conglomerate “of the three to the quarter” and to better confront the capacity of the media to construct events and set out what is important... to construct reality.

Background

Hangueando(*) –Periódico con Patas.

(*) Hanguear. Spanglish version of the English verb “To Hang Around” and which is used as synonym of to roam without a fixed destination or set aim in Puerto Rico.

Poster newspaper glued to street walls and shown at exhibitions as well as been sold at public presentations which end in a party, it is exchanged, given as a gift.

HANGUEANDO feeds on many different independent initiatives as is the independent and bright elaboration of images, the capacity to refer to its self-existence, the critical sense of the context and symbolic meaning of certain objects, either due to their usefulness or their symbolic power help us to know the world better. HANGUEANDO is a publication based on the recycling of images and senses, on the spreading of stories and points of view which usually get no coverage in other media and in celebrating the joy of life.

So far, the following posters have been published:

N0 0. October 2002, 59,4x84cm. 1500 copies. Four colours. Published and printed in Lima. Distributed in Lima, San Juan de Puerto Rico, Bucaramanga, Bogotá, Barcelona, Madrid, Rotterdam, Berlin and Ljubljana.

N0 1. April 2003, 59,4x84cm. 1500 copies. Four colours. Published in Bogotá and printed in. Distributed in Lima, San Juan de Puerto Rico, Mayagüez, Bucaramanga, Bogotá, Barcelona and Módena.

N0 2. November 2003, 100x140cm. 1500 copies. Digital printing. Published in Puerto Rico and the Dominican Republic. Printed in Barcelona with the backing of 22a. Distributed in Puerto Rico and Barcelona.

N0 3. Spring-Summer 2004, 70x100cm. Published in Terrassa. Printed in Madrid with the backing of El Perro, Distributed in Spain. (Unpublished on October 20th 2004)

“Coca Crónica” (Rotterdam, 2002) See images at the following link: http://www.jstk.org/airport/raimond/index.html

“Veni, Sentate, Contame”(Lima, 2003) and “La Pura Oscura” (Bogotá, 2004) on screen processing of journalistic images of the Colombian conflict. –See attached images-

“Mural Candela" (Terrassa, 2004) Mural painting for street view at a place of meeting and political discussion. -See images attached and the following link: http://www.p-oberts.org/index1.html

Links

http://www.puiqui.com/

http://www.jstk.org/airport/raimond/index.html#

http://www.p-oberts.org/index1.html

 

 

 

 

 

05intc0541

2005. Óscar Lloveras. S/T (published text)

 What surprises me about Oscar Lloveras´ work is his relation with society, and also with nature. He attempts to erase the duality... a duality which exists between some and the others, or between some and the totality of their own surroundings.

His works are tangible headlamps permanently open to all that is monumental, but also towards the infinitely smallness of a trace, of a small branch found in a notebook of memoirs… memories of a journey written from a glance. The insistence on transmitting all that is produced in the field of vision. A curiosity (openness) which is going to move around within this field.

We can imagine a gesture which moves around a space limited by invisible signs. Later, the gesture is translated into a workshop.

The “ everything goes” idea spells the accident, the surprise; the body frees itself from its support. The metal point stresses and translates that which is grasped through plastic writing. An osmotic relation between the presence of the memory and the reality of the gesture. It is all based on adapting this sum of memories to reality.

It is the reason of Oscar Lloveras´ activity, which penetrates in the places and proposes an observation. The gesture takes place in negligible or monumental way. The physical work, which is so important, participates in that which is physical of the environment and he questions it again. The meeting of a direct relation between that which is observed and what is done: that which is lived in the same place. We could say that the place is adapted to an intruder, which is the work.

The terrain is an obligatory step to erasing the absence, or more clearly, to occupy it. Llovera develops other areas, eliminating the voids left in spatial structures, and terraces this with traces, doing a vertical journey.

Oscar Lloveras is a space adventurer. And his successive journeys happen due to a need to grasp an everything without completing it. The act of creating or making is always linked to pleasure. Pleasure is always present, even though its gesture is monastic. Rays of light cross silence. The standing body leaves a place for the body folded in the workshop.

The diversity of techniques and materials are witnesses to this sensitivity which is produced from the grain of sand to the tree, from the arcade of a church to the stone on the path. The journey of the arcade links the ground with the sky.

Lloveras attempts to relate his experience in plastic with the others. “The shape approaches the being and the being approaches the shape”. His work is in no way innocent, but it produces as are the pages of a book. Communication is crucial in his work... language is predominant. In its permanent movement, it moves towards the infinity of us.

Duchène Gérard

 

 

 

 

 

05intc0538

2005. María Alos + Nicolás Dumit. MUSEO PEATONAL (published text)

 The Passer-by Museum is a travelling institution which organises temporary exhibitions in built up urban areas. The museum´s collection comprises objects donated by those who visit it, or by people who work or live in the area in which the museum is set up at any particular time.

The aim of the institution is to preserve the physical presence of the pedestrians in a certain location through a collection which constantly comes together and grows as the donators bring a personal belonging to add to it. The museum, as such, materialises into a museum during the assembly of the acquired objects. It is free to donate objects, and the donated articles are collected, listed on an inventory, packed and then put on exhibition. These transactions (donations) take place on the street where the museum is situated, thus taking advantage of the constant traffic of pedestrians who are going from one part of the city to another. The personnel of this institution is made up of artists who present themselves to the public, dressed in navy blue suits and white shirts, acting out the rôles of curators, museum guards, museologists and technicians. Thus, the actual labour hierarchy of cultural organisations is on show.

To highlight its institutional image, The Passer-by Museum uses a didactic text and cassette to inform the potential donators of its philosophy and how it offers its services.

THE MUSEUM´S MISSION

“The Passer-by Museum is a travelling institution which organises temporary exhibitions in different areas of a city. The museum´s collections come from donations from people just like you, those who visit it, work or live near the museum´s location at a particular time. Through the donations collected, The Passer-by Museum is the physical expression of the spirit of the district it´s located in. The museum is currently accepting donations for this space. This is why we ask you to join our effort and contribute by donating any personal object you own. If you prefer to remain anonymous in your donation, please state this when giving your contribution. For any further information, please don´t hesitate to contact the institution´s personnel. All objects donated to the Passer-by Museum shall become the full property of the same. Thank you for your cooperation”.

HISTORY OF THE PASSER-BY MUSEUM

The Passer-by Museum, founded in 2002, opened its doors on 42nd Street in New York in the heart of Times Square. That same year, the institution moved to the zone of the disappeared World Trade Center for three months as a part of “Looking In”, an exhibition organised by the Lower Manhattan Cultural Council. In early 2004, with the backing of the Longwood Art Gallery and the Bronx Council of the Arts, it set up in the Bronx for two months. During August and September 2004, The Passer-by Museum/El Museo Peatonal, moved to Mexico City where it set up in various different locations of the UNAM University Campus(Universidad Nacional Autónoma de México), sponsored by the UNAM Visual Arts Department and the MUCA Rome.

 

 

 

 

 

 

 

05intc0535

2005. Henry Eric Hernández García. ZONA VIGILADA (published text)

 With the collaboration of: Dull Janiell, film editor / Laura Orizaola, photographer

In this proposed project, Henry Eric Hernández safeguards one of the fundamental premises of the poetic art of his work regarding creating art interventions in places that he has named as cultural ghettos: individual or group stages (spaces) built on a determined ideology, at a particular time and later transformed until they are forgotten or are overtaken by cultural decadence... to be understood as ideological, economical and social.

Zona Vigilada reconsiders the counterpoint between two specific cultural spaces with the relentless view as a controlling event in our acts, be they private or public. The first chosen stage is the Museo de las Esculturas…; the second is a documentary filmed for this project in Cuba. It questions vigilance (through personal testimonies, archived images and images taken with cameras in this place) as a means of support and persuasion for maintaining power. Hence, in the first stage chosen, we see his interest in recontextualizing this strategy of survival of status as a “museum piece”.

This piece of work involves placing two video cameras with different angle movements, which will be handled by three different photographers who will constantly move it around the areas of the museum and record some situations (B/W), previously edited, transmited on one side of the screen, thus reconstructing the place’s environment. Simultaneously, at fixed times, the documentary filmed in La Havana will be screened on the other side of the screen, thus showing the time counterpoint between both security (vigilance) systems.

The project also includes the design and publishing of a poster that will be distributed throughout the city with the following text: El Museo de las Esculturas al Aire Libre/presents /ZONA VIGILADA/a film by henry eric.

 

 

 

 

 

 

05intc0525

2005. Compañía de Caracas. ESPACIO MÓVIL (theoretical data)

 

PRESENTATION

Project Mobile space

Project’s Authorship La compañía Caracas (founded in April 2004) formed by Ángela Bonadies and Maggy Navarro)Manager We will intervene in the artery of Paseo de la Castellana and Paseo del Prado with photographic images placed in bus stops and buses that follow that route.

Subject of the interventionUrban photographs of Caracas

MaterialsAdherent vinyl for stops and buses. If possible: durantrans Day and night for spaces where adverts are usually stuck

“…cuando pienso en algo, de hecho, pienso en otra cosa. No se puede pensar en algo más que pensando en otra cosa. Por ejemplo, usted ve un paisaje que es nuevo para usted, pero es nuevo para usted porque lo compara en el pensamiento con otro paisaje antiguo, que ya conoce.” Jean-Luc Godard

Referring to Godard´s quote that opens this project, its aim is to create a link between the city involved, Madrid, and the South American city of Caracas through a series of colour photos placed at bus stops and on buses covering the routes on the Madrid Abierto axis.

Espacio móvil plays with the meanings of “circulation” and “mobility” in an urban sense, i.e. transport, and a media orientated meaning, i.e. the circulation of information, to create a visual paradox, a disguise, and to think about “the city” through the movement and presence of both.

A modern South American city par excellence, Caracas was a promise for the “future” based on large urban projects and building in the 50´s which reflected times of economic boom. Fifty years later, today, Caracas is a city which is permanently on the move, suffering daily losses, both in its spatial memory and in its urban and technical concepts which sustain its habitability.

The opening of Madrid enables a visual spatial exploration through photographs of the centre of Caracas (current images of its streets, buildings and transport systems) and at the same time to take a more in-depth look at the public character and the critical possibilities of its urban objects (in this case, bus stops and buses), away from the official institutions and the conventional mediums of art. Likewise, it uses the pictorial intervention on buses by the Venezuelan artist, Carlos Cruz-Diez, during the Visual Arts Biennial in Porto Alegre in 1997 as a conceptual precedent.

La Compañía de Caracas was born from the interest in all that is urban and the need to record old and new phenomena which define “the city”, and from a special interest in our city of origin which is suffering an essential contradiction and is defined between archaisms and the new, between that which is traditional and that which is technological, between a state of permanent mutation and unchanging characteristics.

In the images we show different examples – not definitive – of our intervention, whose spirit is defined between “Venezuela how nice it is” and “Ocaso retirement”, sentences that can be read on the buses that work as alibis.

 

 

 

 

 

05prtc3437

2005. José Dávila. MIRADOR NÓMADA (visual data)

2005. José Dávila. MIRADOR NÓMADA (visual data)

 

 PRELIMINARY STUDY. Sketches for the scaffolding proposal.

     

PROPOSAL. Volumetric view of scaffolding in which the public will be able to walk around and observe the city.

RELATED WORKS. Interior and exterior view of a similar project done in the past for the Camden Arts Centre in London, 2001

 

 

 

 

 

 

 

 

05pric0449, 05pric0453

2005. Henry Eric Hernández García. ZONA VIGILADA (proposed location)

2005. Henry Eric Hernández García. ZONA VIGILADA (proposed location)

 

 SPACE TO INTERVENE IN

Outdoor Sculpture Museum in Castellana (pedestrian way under bridge).

    

Zona Vigilada reconsiders the counterpoint between two specific cultural spaces with the relentless view as a controlling event in our acts, be they private or public. The first chosen stage is the Museo de las Esculturas…; the second is a documentary filmed for this project in Cuba. It questions vigilance (through personal testimonies, archived images and images taken with cameras in this place) as a means of support and persuasion for maintaining power. Hence, in the first stage chosen, we see his interest in recontextualizing this strategy of survival of status as a “museum piece”.

 

 

 

 

 

 

05prtc3441-05prmc3440

2005. Henry Eric Hernández García. ZONA VIGILADA (technical + visual data)

2005. Henry Eric Hernández García. ZONA VIGILADA (technical + visual data)

 

ASSEMBLY DESCRIPTION

Build a screen with a sound outlet between the two columns that are located in the centre of the sidewalks –just under the bridge –, route of major pedestrian traffic.

The size of the screen will be of 200cm x 450cm. I am interested in installing a screen made of strong synthetic material, attached to the columns with tubes (like scaffolding tubes).

Install two video-projectors, one in front of each side of the screen. One will project the images of the first space (B/W) and the other, the images of the second space (full colour).

The cameras will move on different angles of the Sculpture Museum and over the bridge, connected to a computer (placed also around the museum) and one of the video-projectors.

 

TECHNICAL REQUIREMENTS

- Install a screen with different sizes according to the space and the sound outlet:- Install 2 video-projectors with accessories, one of which has to be connected to a DVD player; the other to be connected to the computer.

 

 

 

 

 

 

 

 

05prmc3440

2005. Fernando Baena. FAMILIAS ENCONTRADAS (published text: book)

 Anecdote

By chance, I found a cardboard box labelled “1ST JANUARY TO 17TH MARCH 1971” containing around 100 black and white negatives supposedly taken by some commercial photographer.  Among the images, some were of families in the typical pose required for the official large-family card.

  

Description

Underneath the usual advertising banners placed on the façade of Círculo de Bellas Artes five other banners are installed, each exhibiting the image of one of those unknown families.  Underneath each of those photographs a luminous display shows texts referring to the year 1971, particularly the period 1st January to 17th March: 

Anniversaries. The family. Art in Spain in 1971. Círculo de Bellas Artes. Updated daily news.

 

Commemorative and documentary image

The emergence of photography dealt a death blow to the paintings of history. The commemorative and documentary role of these paintings was replaced with the faster and more reliable photographic report. History disappears as the subject of works of modern art - possibly El Guernica was the last. The portrait is another area which photography and new image-recording media practically stole from the “fine arts” and if it occasionally continues to be considered art, it is within these modern disciplines.

The subject of the family has been present throughout the history of western art. We only have to refer to the busts of Roman ancestors, the Sagradas Familias, the royal families painted by Velázquez or Goya, the bourgeois families portrayed by the Dutch, the aristocratic ones by Reynolds and the modern ones by Hockney. Although the images of Familias encontradas can be easily framed in this subject, the texts that appear in the five electronic signs that accompany them refer us to the society of the moment those photos were taken. The concept of the family is extended to encompass Spanish people and the rest of humanity. Obviously, what was happening in the world affected the protagonists of the photographs and all of us already here.

But in this case, the aim is not just to document or commemorate, or make an exhaustive sociological analysis of the situation of the family or Spanish art in the last years of Franco’s dictatorship, nor to nostalgically emphasise those decisive years of our own personal history. The aim is to place a common anchorage point in the collective memories – its election was accidental- from which to stretch our memory to the present. We will realise, if we have the patience to read the different texts, that in thirty-four years we have changed a lot and we haven’t changed at all. Seen from a distance, the red lines of the electronic signs move without advancing.

 

Fragments of the texts that are projected in the luminous signs.

ANNIVERSARIES [1st of January – 17th of March 1971]

9th January– The American Junior Chamber of Commerce presents Elvis as one of the ten most extraordinary young North Americans.10th January– The French designer Gabrielle "Cocó" Chanel dies. 11th January– The Assuan Dam in Egypt is inaugurated. 12th January– The DIA informs that Guatemalan forces have “silently eliminated” hundreds of “terrorists and bandits” in the country side.13th January– 70 Brazilian guerrillas board a plane in Río de Janeiro bound for Allende’s Chile.14th January– Vente a Alemania, Pepe is premiered and seen by 2,078,570 spectators.15th January– Public execution of Ernest Ouandié, leader of the UPC (Cameroon).16th January– The Spanish tennis player, Sergi Bruguera, is born. 17th January– The vision of ETA VI Asamblea prevails, when a commando group kidnaps a well-known industrialist in the Basque Country whose factory was on strike.

 ART IN SPAIN IN 1971

Alexandre Cirici i Pellicer takes part in establishing the Asamblea de Catalunya, and is jailed for one week.Rafael Canogar wins the Grand Prix in the Biennial of Sao Paulo.The Rodríguez Acosta Foundation announces the XII Exhibition-Contest on the subject of “Women”. The prizes range from 100,000 to 25.000 pesetas.The first symptoms appear of the illness that would end the life of Juan Eduardo Cirlot. Later that year he would undergo a pancreas cancer operation.The art collection of the Museo Nacional de Arte Moderno is divided up. The 19th century paintings went to the Museo del Prado. The 20th century paintings went to the newly opened Museo Español de Arte Contemporáneo, in a building designed by the architect, Jaime López de Asiaín, located in Ciudad Universitaria.Last edition of the Salón Femenino de Arte Actual. The project for the Museo de Escultura al Aire Libre de Madrid is approved. The close relationship between Eusebio Sempere and the authors of the works or their families means that all the works are donated to the museum.THE SPANISH FAMILY IN 1971The first baby born in Madrid in 1971 was a girl. She weighed four kilos and was born to Amparo Paloma Ortiz and Francisco Barrado Mateo. When marrying a foreigner, Spanish women automatically lost the Spanish nationality and were considered foreigners. They were given a residence card, their academic qualifications were not longer valid, they could not join the civil service and needed a work permit to be employed in any other job. The Council of Ministers approves a Decree on 8th of January to introduce improvements to family protection by raising the monthly family benefits by 25%: a man receives 375 pesetas for having a wife; 250 pesetas for each child; 6,000 pesetas for getting married; and 3,000 pesetas for each newborn child. After 15 years of marriage, Manuel dies on the 5th January 1971 due to the burns inflicted by his wife when she threw a pan of boiling hot water, to which she had added a corrosive substance, over him whilst he was asleep. The absolute values of Spanish families are the indissolubility of marriage, the procreation of the highest possible number of children, the predominant role of the father as head of the family and the subordinate role of women of biological reproduction and household chores.

CIRCULO DE BELLAS ARTES IN 1971

Extraordinary act in the Teatro de Bellas Artes to present the gold medals and the Silver Minerva, which are awarded since 1965. In total, thirty eight medals were awarded. The act includes the premiered monologue by the President of Círculo de Bellas Artes, Joaquín Calvo Sotelo, with the title Pis. The 1971 Francisco Alcántara award was handed to the sculptor Luis Montoya for his work Cabeza. The Best Poster of the Year Award, with a prize of 100,000 pesetas, was not awarded to anyone. The Gold Medal of Círculo de Bellas Artes was awarded to the billiard player, Avelino Rodríguez Rico. In March 1971 an exhibition was held on La marioneta, together with children and adults’ sessions performed by the group Peralta and Alcaráz. June 1971 Círculo de Bellas Artes organises a Corrida Goyesca fully dedicated to bullfighting on horseback.From 12/04/1971 to 14/04/1971 Círculo de Bellas Artes holds the Spanish Three-cushion Interclub Billiard Championship. 

 

 

 

 

 

 

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2005. Compañía de Caracas (Cv)

ÁNGELA BONADIESCARACAS, 1970 LIVES AND WORKS BETWEEN CARACAS Y MADRID WWW.ANGELABONADIES.COM

MAGGY NAVARROCARACAS, 1961 LIVES AND WORKS IN CARACASWWW.MAGGYNAVARRO.COM

WORK EXPOSED IN MADRID ABIERTO:ESPACIO MÓVIL 

ÁNGELA BONADIESEDUCATION2003·    Seminars in Arteleku, Donostia-San Sebastian.1996·    Photography workshop. Manoa Arte, Caracas.·    1988-93 Architecture and urbanism. Universidad Central de Venezuela, Caracas

SOLO EXHIBITIONS  2002·    La gran congelación. Galería 491 Art i Recerca, Barcelona.

GROUP EXHIBITIONS2003·    Contra/sentido. Nueva fotografía venezolana. Sala Mendoza. Caracas.

2002·    Desde lo femenino. PhotoEspaña2002. La Fábrica fotogalería, Madrid; B-Guided magazine, Barcelona.

2001·    Desde fuera. Cuatro fotógrafas. Galería Art al Rec, Barcelona.

2000·    Un oasis en el desierto azul. Espai 13 of the Joan Miró Foundation, Barcelona·    III Salón CANTV   Jóvenes con FIA. Caracas Athenaeum.

1998·    Señales de tránsito . Sala de Arte PDVSA, Puerto La Cruz·    Josune Dorronsoro Latin American Photography Award . Museo de Bellas Artes, Caracas·    V National Art Biennial of Guayana, una selección . Museo Alejandro Otero, Caracas·    Banco de Imágenes award . Centro Nacional de Fotografía, Caracas.

1997·    V Natioanl Art Biennial of Guayana . Museo de Arte Moderno Jesús Soto, Ciudad Bolívar·    Abierto . Espacio alternativo León, Caracas.

GRANTS AND AWARDS2004·    Latin American award for photography “Josune Dorronsoro” 2004 for the series of photos “Inventarios”-Spain.

2003·    Grant for the development of artistic projects 2003 for the series “Inventarios” Caracas. National Council on Culture, Venezuela.

1997·    Honorary mention at the V National Art Biennial of Guayana 1997 for the series “Sur Oriente Medio”. Venezuela.·    Honorary mention. Latin American Award for Photography of Josune Dorronsoro 1997 for the series “Doc.Alzh.II”.

1996·    Banco de Imágenes 1996 award for the series “Los Chinos: la mirada del otro al otro”. National Library – National Council on Culture, Venezuela.

BIBLIOGRAPHY·    Published in María Teresa Boulton's book “ 21 fotógrafas venezolanas” . Caracas, Venezuela, 2003.·    He has cooperated with Spanish, French and Venezuelan magazines such as B-Guided , Eseté , Enser, Lieu-dit, ExtraCámara , Estilo, Exceso and Verbigracia .·    Columnist for the magazine “ Athenea Digital” published by the Universidad Autónoma de Barcelona and collaborator for the daily newspaper in Venezuela “ El Nacional de Venezuela”.

MAGGY NAVARROEDUCATION1994·    Photography workshop. Manoa Arte, Caracas.

1985·    Photography, cinema and video. American University, Washington D.C.

1984·    Degree in International Relations, Latin American Issues. George Washington University,    Washington D.C.

SOLO EXHIBITIONS 1999·    El Miedo . Sala Mendoza, Caracas.

1997·    Serie en Yo. Sala Alternativa, Caracas.

GROUP EXHIBITIONS2004·    Arte contemporáneo venezolano en la Colección Cisneros (Contemporary Venezueal Art in the Cisneros Collection) (1990-2004). Museo Jesús Soto. Ciudad Bolívar, Venezuela

2003·    Retrospectiva Arte Venezolano siglo XX. Década de los 90 . (Retrospective of Venezuelan Art of the XX Century. Decade of the 90's) Museo de Arte Contemporáneo de Caracas

2002·    Políticas de la diferencia. Arte iberoamericano fin de siglo , Recife,·    Brasil. Museo de Arte Latinoamericano de Buenos Aires

2001·    Utópolis . Galeria de Arte Nacional, Caracas·    13 Horas. Sala Mendoza, Caracas

2000·    International Photography Biennial . Museo Alejandro Otero, Caracas·    En el filo. Museo de Arte Moderno Juan Astorga Anta, Mérida, Venezuela·    Frontera, Museo de Arte Contemporáneo, Monterrey, Museo de la Fotografía, Oaxaca

1999·    Frontera. International Photography Biennial, Centro de la Imagen, México D.F·    International festival of Contemporary Art , Brussels. Fifty One Fine Art Photography Gallery.

1998·    Premio Mendoza , Sala Mendoza, Caracas  ·    La Resurrección del Cadáver Exquisito , Sala Mendoza, Caracas·    Una Selección: National Art Biennial of Guayana . Museo Alejandro Otero, Caracas·    Cabaret Digital , Sala Mendoza, Caracas.

1997·    V National Art Biennial of Guayana , Museo de Arte Jesús Soto, Bolívar·    Siete mujeres fotógrafas . Centro de Fotografía, CONAC, Caracas.

1994·    Jóvenes fotógrafos venezolanos . Alianza Francesa, Caracas.

BIBLIOGRAPHY·    Published in María Teresa Boulton's book “ 21 fotógrafas venezolanas” . Caracas, Venezuela, 2003

 

 

 

 

 

05prtb0368

2005. Fernando Baena. FAMILIAS ENCONTRADAS (published text: web)

 By chance I found a carton box labelled : January 1st 1971 to March 17th. The box contained nearly 100 black and white photo negatives which were apparently taken by an anonymous photographer. Amongst the images, there are photos of families in the typical pose used in those days for the official identity card of large families. That is how we used to pose in the final years of the dictatorship. Are there any similarities with us today?

Below the normal publicity posters of the Circle of Fine Arts another five will be placed, each one with an image of one of these unknown families. To give context to the images, five electronic signs will display texts referring to that period of time.

 

 

 

 

 

 

06intc0522

2005. Simon Greenan + Christopher Sperandio (Cv)

SIMON GRENNANLONDON, 1965 LIVES AND WORKS IN WREXHAM, WALES

CHRISTOPHER SPERANDIOKINGWOOD, WEST VIRGINIA, 1964LIVES AND WORKS IN HOUSTON, TEXAS

SINCE 1990 COOPERATE IN DIFFERENT PROJECTSWWW.KARTOONKINGS.COMWORK EXPOSED IN MADRID ABIERTO: SOY MADRID

SOLO EXHIBITIONS AND PUBLIC ART PROJECTS

2004·    The Hayward Gallery, Londres·    Spacewalk. Videoinstalación digital. The Hatton Gallery, Newcastle

2003·    De La Warr Pavilion, Reino Unido (catálogo)

2002·    Museum of Modern Art y PS1, Nueva York   (catálogo)·    Modern Masters. Proyecto iniciado con Robert Storr en el MoMA, y con Tom Finkelpearl en PS1·    Shifting Gear. Comisariada por Ruth Charity. Manchester Art Gallery e itinerante por ocho museos, Reino Unido (catálogo)·    What in the World?. Arts About Manchester. Canterbury City Council, Reino Unido·    Glazed Looks. Comisariada por Sam Wilkinson. Stafford Museum, Reino Unido ·    Young English. Comisariada por Sarah Black. Catalyst Arts, Belfast, Irlanda ·    Belfast Sky. Catalyst Arts. Hull Time Based Arts, Reino Unido ·    Tales of the River. Hull Time Based Arts. The Gallery, Stratford-upon-Avon, Reino Unido·    Talk of the Town. The Gallery. Itinerante

2001·    Aarhus Kuntsmuseum, Dinamarca·    Danish Pastries. Comisariada por Anders Koldt. Gallery of Modern Art, Glasgow, y Stratford, Reino Unido (catálogo)·    16/25. Comisariada por Victoria Hollows. Turnpike Gallery, Reino Unido ·    Don't Get Me Started. Comisariada por Kerrie Moogan.

2000·    Yerba Buena Center for the Arts, San Francisco·    Nearly There. Comisariada por Renny Pritikin. Art in Hospitals Trust, Reino Unido (catálogo)·    Nurses's Tale. Comisariada por Mary Hooper

1999·    Public Art Fund, Nueva York (catálogo)·    The Invisible City. Comisariada por Tom Eccles

1998·    Seattle Art Museum (catálogo)·    The Peasant and the Devil. Comisariada por Trevor Fairbrother·    American Fine Arts, Nueva York·    One Hundred. Photo '98 e Impressions Gallery, Reino Unido (catálogo)·    Buried Treasures. Comisariada por Andrew Cross. SMFA, Boston (catálogo)·    Art School Superstars. Comisariada por Lelia Amalfatano

1997·    British National Museum of Photography, Film and Television (catálogo)·    The Bradford 100. Comisariada por Greg Hobson

1996·    Museum of Fine Arts, Boston (catálogo)·    Dirt. Comisariada por Trevor Fairbrother. Institute of Contemporary Arts, Londres, Reino Unido (catálogo)·    Cartoon Hits. Comisariada por Katy Sender. Centre for Contemporary Arts, Glasgow·    All 'Round Awesome. Comisariada por Nicola White. American Fine Arts, Nueva York·    Fantastic Sh*t.

1995·    Cornerhouse, Manchester, Reino Unido (catálogo)·    Times like These. Comisariada por Stephen Snoddy. Salisbury Festival. Salisbury, Reino Unido

1994·    Center for the Arts, San Francisco (catálogo)·    Recollections. Comisariada por Renny Pritikin. College of DuPage, Chicago (catálogo)·    Maintenance. Telegraph Magazine, Reino Unido·    Anyone in Britain. Towner Gallery, Eastborne, Reino Unido (catálogo)·    6 Eastborne Dentists. Comisariada por Penny Johnson. James Hockey Gallery, Reino Unido (catálogo)·    Everyone in Farnham. Comisariada por Andrew Cross

1993·    Grey Art Gallery at Nueva York University, Nueva York (catálogo)·    Anyone in Nueva York. Comisariada por Tom Sokolowski

1992·    Lakeview Museum, Peoria (catálogo)·    At Home with the Collection.

1991·    Stadt Museum Fellbach, Stuttgart, Alemania·    Grennan and Sperandio. Astley Cheetham Collection, Reino Unido·    Manchester City Art Galleries, Manchester, Reino Unido

1990·    The Body, Chicago (catálogo)·    Esposiciones colectivas y proyectos

GROUP EXHIBITIONS2004·    Spacemakers. Lothringer Dreizen, Munich, Alemania·    Worthless Protégé. The Suburban, Chicago

2003·    Live Culture. Tate Modern, Londres·    Wild nights: Remembering Colin de Land . CBGB 313 Gallery·    Comic Release. Regina Gouger Miller Gallery, Carnegie Mellon University (catálogo)

2002·    Palais de Tokyo, Paris·    The Armory Show . American Fine Arts, Booth #8145·    Ordinary Icons . Gallery 312, Chicago·    Personal Views . Milton Keynes Council, Milton Keynes

2001·    Rhode Island International Film Festival, Screening·    Tele[Visions]. Kunsthalle Vienna (catálogo)·    24th International Biennial of Graphic Arts, Ljubljana (catálogo)·    Animations . PS1/MoMA, Nueva York·    Milton Keynes Council, Milton Keynes·    Ink Studs . Gallery 10 in 1, Nueva York·    Saints and Sinners. Girifalco Fortress, Cortona, Italia

2000·    Modern Times 3 . Hasselblad Centre, Gottenburg, Suecia·    Up In The Air . Liverpool, Reino Unido (catálogo)·    Moss Side and Hulme Partnership, Manchester

1999·    South London Gallery, Londres, Reino Unido·    Street Wise. Row House Project, Houston·    Conceptual Art, Thread Waxing Space, Nueva York·    Hypervision . Elizabeth Cherry Contemporary Art, Tucson

1998·    Superfreaks : Trash. Greene Naftali Gallery·    Photo98 , Londres / Edinburgo·    Art Transpennine '98. Tate Gallery con Henry Moore Institute (catálogo)

1998·    Revenge. IKON Gallery, Birmingham, Reino Unido (catálogo)·    High Art Hi-jinx. Museum of Fine Arts, Boston

1996·    a/drift. Center for Curatorial Studies, Annendale-on-Hudson (catálogo)·    Shopping. Deitch Projects, Nueva York (catálogo)·    25 Young Artists. John Weber Gallery, Nueva York·    Traffic. CAPC Musée D'Art Contemporain, Burdeos (catálogo)·    Recontes de la photographie. Arles Photography Festival·    Mutant. Galerie Philippe Rizzo, Paris

1995·    Prison Sentences. Philadelphia (catálogo)·    Chocolate. Swiss Institute, Nueva York

1994·    American Fine Arts Co., Nueva York

1993·    Culture in Action. Sculpture Chicago (catálogo)·    Lotus Club. Daniel Bucholz Gallery. Cologne, Alemania·    Vox Pop. Laure Genillard Gallery, Londres·    Contacts/Proof. Jersey City Museum·    Andrea Rosen Gallery, Nueva York

1992·    Comfort and Dissent. Artists Space, Nueva York (catálogo)

1991·    The Fountainhead. Abel Joseph Gallery Chicago & Ewing Gallery, Knoxville·    Profiles. New Work by Chicago Artists, Randolph Street Gallery, Chicago (catálogo)·    Belgrove Station. Glasgow, Escocia

1989·    Modern Love. ARC Gallery, Chicago·    Proyectos de televisión

2003·    Music Television (MTV), Nueva York·    Drop it. Programa de introducción de serie de televisión

2001·    Music Television (MTV), Nueva York·    bloid!. Programa de introducción de serie de televisión·    Channel Four, Reino Unido·    The Liquid Pavilion. BALTIC Centre for Contemporary Art, Reino Unido·    The Hand and the Word. Encargo de Sune Nordgren

2000·    Music Television (MTV), Nueva York·    Reanimate. Programa de introducción de serie de televisión basado en el trabajo de Grennan y Sperandio. Harris Museum, Reino Unido·    Preston. Película animada, encargada por James Green·    Publicaciones·    'Strange Cargo'. The Hatton Gallery, Newcastle, Reino Unido·    'What in the World?'. Arts About Manchester·    'Modern Masters'. DC Comics, Museum of Modern Art/PS1, Nueva York·    '16/25'. Gallery of Modern Art, Glasgow, Escocia·    'Nurse's Tale'. Distribuido por Fantagraphics Books·    'The Invisible City'. Public Art Fund. Distribuido por Fantagraphics Books·    'Art School Superstars'. SMFA, Boston. Distribuido por Fantagraphics Books·    'The Peasant and the Devil'. Seattle Art Museum. Distribuido por Fantagraphics Books·    'Buried Treasures'. Photo '98. Distribuido por Fantagraphics Books·    'Ghost on the Stair'. Tate Gallery Liverpool y Henry Moore Sculpture Trust·    'Revenge'. IKON Gallery. Distribuido por Fantagraphics Books·    '100'. National Museum of Photography. Distribuido por Fantagraphics Books·    'Dirt'. Museum of Fine Arts, Boston. Distribuido por Fantagraphics Books·    'Cartoon Hits'. ICA London. Fantagraphics Books, Printed Matter·    'Life in Prison'. Prison Sentences. Fantagraphics Books, Printed Matter·    'Times Like These...'. Distribuido por Cornerhouse·    'Recollections'. Center for the Arts, Cornerhouse·    'Six Eastborne Dentists'. Towner Gallery, Cornerhouse·    'Everyone in Farnham'. James Hockey Gallery, Cornerhouse·    'Maintenance'. College of DuPage·    'Anyone in Nueva York'. Grey Art Gallery, Distribuido por DAP·    'At Home with the Collection'. Lakeview Museum, Cornerhouse·    'The Body'. 2 CAAP Development Grants, Printed Matter

BIBLIOGRAPHY·    Tom Eccles, Plop: 'Recent Projects from the Public Art Fund', 2004·    Ben Johnston, 'Comics are no laughing matter', The Western Front , 2004.·    James Fuentes, "Colin De Land," Zing Magazine, Mayo 2004·    Rob Clarke, 'Grennan and Sperandio', Guardian , Septiembre 2003.·    Helen   Tither, 'Daisy, 73, is a frock star', Manchester Eve News , Febrero 2003.·    Krainak, Paul. 'Grennan and Sperandio', Art Papers, Oct/Nov. 2002·    Kwon, Miwon. 'One Place after Another', MIT Press, 2002·    Dawson, Mike. 'Young English/Kartoon Kings', Flux Magazine, Ago/Sept. 2002·    Searle, Adrian. 'Pick of the Week: Grennan & Sperandio', Guardian Unlimited, Agosto 2002·    Haynes, Rob. 'Don't get me started',   The Big Issue, Marzo 2002·    Bhaskaran, Lakshmi. 'State of Independents', Graphics International, Jul/Ago 2002·    Colstrup, Tine. 'Wienerbrød for you and for me', Aarhus Kunstmuseum Demo, Junio 2001·    Grabner, Michelle. 'Kartoonkings.com', Cakewalk Magazine#4, 2001·    Lattea, Charlene. 'The Kartoon King', West Virginia University Alumni Magazine, Primavera 2001·    Mahoney, Elizabeth, 'Glasgow 16/25', Three Star Rating, The Guardian , Abril 2001·    Jones, Penny. 'Tales from the Trust', AN, Enero 2001·    Goodman, Jonathan. 'G&S: Moralists in Paradise', Parachute#100, Octubre 2000·    Griffiths, Jane. 'Grennan & Sperandio', Flux, Septiembre 2000·    Hopkin, James. 'ManMoMA', Guardian, Agosto 2000·    Wilson, Anthony. 'Preston', Granada Television, Agosto 2000·    Griffiths, Jane. 'www.kartoonkings.com', Artists Newsletter, Julio 2000·    Joy, Bill. 'Why the future doesn't need us', Wired, Abril 2000·    Helen Guest. 'Street Life', Houston Chronical, Octubre 1999·    Dawson, Mike. 'The Divine Comic', Flux, Agosto 1999·    Kraig, Gene. 'Life in Prison', New Observations, Agosto 1999·    Decter, Joshua. 'Invisible City', NU, Agosto 1999·    Bakke, Erik. FYI. Nueva York Foundation for the Arts.·    Lane, Joe. 'Take it as Read', City Life Manchester, Julio 1999·    'The City Never Sleeps'. Art On Paper. Nueva York, Mayo-Junio 1999·    MacLeod, Chris. 'Caught in the Web', WestSide Resident, Mayo 1999·    Machin, Nick. 'Real Lives to be Cartoons', Cardiff Herald, Mayo 1999·    Wadler, Joyce. 'Graphic Vision: Arts for People...', New York Times, Mayo 1999·    Reese, Justine. 'The Invisible City', New York Times On The Web, Abril-Mayo 1999·    McAteer, Owen. 'Cartoon View of Town', Preston Reporter, Abril 1999·    Jones, Jonathan. 'Preston', Guardian, Abril 1999·    Emmanual, Greg. 'Finger on the Pulse', Time Out New York, Abril 1999·    Vogel, Carol. 'Cartoon Art in Subways',   New York Times, Abril 1999·    Burrows, Alan. 'Tales to sum up Preston', Preston Reporter, Abril 1999·    Metro. 'Route 12:36', The Times, Abril 1999·    Grennan, Simon. 'The Art of Publishing', Artists' Newletter, Febrero 1999·    Temin, Christine. 'Art School Superstars', Boston Globe, Diciembre 1998·    Comic of the Month. 'Ghost on the Stair', i-D Magazine, Agosto 1998·    Chambers, Eddie. 'Revenge', Artists' Newsletter, Julio 1998·    Hixson, Kathryn. 'Interventions in Chicago', Sculpture Magazine, Junio 1998·    Noon, Mike. 'Art or comic...', City Life, Junio 1998·    Lillington, David. 'Comic Art',   Art Monthly, Mayo 1998·    Grennan/Sperandio. 'Eastenders', Art Monthly, Marzo 1998·    Turnbull, Geoffrey. 'Simon Says', Nueva York Times, Enero 1998·    Danto, Arthur. 'After the end of Art', ibid. Diciembre 1997·    Dawes, Mark. 'Bradford 100', Artist's Newletter, Diciembre 1997·    Clarke, Robert. 'Bradford 100', The Guardian, Agosto 1997·    Brake, Jane. 'Everyone in the Gallery', Engage Magazine, Otoño 1997·    Grennan/Sperandio. 'Culture of accountability', Engage Magazine, Otoño 1997·    Decter, Joshua. 'Grennan & Sperandio', Flash Art, Verano 1997·    Pauline Neald. 'Dirt', Man. Evening News, Agosto 1997·    Grennan/Sperandio. 'Cornered', Artist's Newsletter, Junio 1997·    Grennan/Sperandio. 'Levi Flagstein', ArtForum, Junio 1997·    Princenthal, Nancy. 'Grennan & Sperandio', BookForum, Primavera 1997·    Grennan, Simon. 'Mark Dion', Untitled, Primavera 1997·    Bishop, Louise. 'No Place like Home', Creative Review. Febrero 1997·    Greenwood, Lynne. 'Comic Slice of Life', Telegraph, Enero 1997·    Decter, Joshua. 'Grennan and Sperandio', Artforum, Enero 1997·    Temin, Christine. "Dishing the Dirt on MFA's comic', Boston Globe, Noviembre 1996·    Grennan, Simon. 'Cornelia Hesse-Honeger', Untitled, Septiembre 1996·    Grennan, Simon. 'Social Exchange and...', Art and Design, Agosto 1996·    Brittain, David. 'Bradford Commission', Creative Camera, Agosto 1996·    Waldren, Chris. 'Life in Prison', Indy Comics No. 13, Julio 1996·    Grennan, Simon. 'Trojan', Untitled, Junio 1996·    Doran, Anne. 'Grennan and Sperandio', Time Out New York, Abril 1996·    Smith, Roberta. 'Grennan and Sperandio', New York Times, Abril 1996·    Cason, Jamie. 'it's art, stupid', Wired UK, Abril 1996·    Clarke, Robert. 'Ha!', Untitled, Primavera 1996·    Grennan, Simon. 'Mike Nelson', Untitled, Primavera 1996·    Williams, Val. 'X-Filomania', New Statesman, Marzo 1996·    Hotshots. 'International Art Thieves', Time Out London, Febrero 1996·    McDougal, Robert. 'Phenomenal', The Scotsman, Febrero 1996·    Marsh, Natasha. 'Artoon', Arena, Febrero 1996·    Bracewell, Michael. 'It's Good to Talk', Independent, Enero 1996·    Kastner, Jeffrey. 'Public Art', Art and Design No42, Enero 1996·    Seidel, Miriam. 'Art Behind Bars', Art in America, Diciembre 1995·    Seawright, Jane. 'Everday heros of the Comic Strip', Artists and Illustrators, Noviembre 1995·    Durden, Mark. 'Grennan & Sperandio', Art Monthly, Noviembre 1995·    Grennan, Simon. 'The Dead', Art Monthly, Noviembre 1995·    Dickinson, James. 'Go directly to Goal', New Art Examiner, Noviembre 1995·    Taylor, John. 'Times Like These...', Creative Camera, Noviembre 1995·    'Prison Sentences', Art in America, Octubre 1995·    Grennan, Simon. 'England's Glory', Untitled, Octubre 1995·    Ullrich, Polly. 'Common Cause', New Art Examiner, Octubre 1995·    Grennan, Simon. 'Derby's Day', B.J.P., Octubre 1995·    Wolsoncraft, Edwina. 'Times Like These...', Kaleidoscope, Octubre 1995·    Pugh, Rachel. 'Decade of memories', Man.Evening News, Octubre 1995·    Grennan, Simon. 'Olivier Richon', Untitled, Octubre 1995·    Haynes, Rob. 'Cornerhouse 10th Birthday', The Big Issue, Octubre 1995·    Krainak, Paul. 'Recollections', SECAC Review, Septiembre 1995·    Newsome, Rachel. 'Cyberpartners', iD Magazine, Agosto 1995·    Dorman, Michael. 'In Place of Prisoners, Reflections...', New York Times, Agosto 1995·    Princenthal, Nancy. 'Life in prison', Print Collector's Newsletter, Julio 1995·    Krainak, Paul. 'The Heart of San Francisco', New Art Examiner, Verano 1995·    Pugh, Rachel. 'Crab nebula...?', Man.Evening News, Junio 1995·    Hartney, Elaeanor. 'Public Art in Action', Art in America, Junio 1995·    'Prison Sentences: the prison...', Philadelphia City Paper, Junio 1995·    Sozanski, Edward. 'Eastern State: the prison...', Philadelphia Enquirer, Junio 1995·    Rawlinson, Ian. 'For an interactive art', Eari. Vol.1. No.2. Junio 1995·    Salisbury, Stephen. 'Cellblock Gallery', Philadelphia Enquirer, Mayo 1995·    Tisbury, Julia. 'Festival fame in a cartoon strip', Salisbury Journal, Mayo 1995·    Glueck, Grace. 'The Darker side of Chocolate...', New York Observer, Mayo 1995·    Karmel, Pepe. 'The contradictions of chocolate', New York Times, Abril 1995·    Yates, Robert. 'Every one a hero', Guardian, Abril 1995·    Grennan / Sperandio. 'Five Sentence Stories', Salisbury Journal, Marzo 1995·    Pugh, Rachel. 'Wierd Memories', Man.Evening News, Febrero 1995·    Reeder, Janet. 'Artist pair need movie memories', Metro News, Febrero 1995·    Roy, Anita. 'The Grennan and Sperandio Show', Versus Magazine, Otoño 1994·    Grennan, Simon. 'Shot up North', Image Magazine, Otoño 1994·    Williams, Val. 'Proper Subjects', Catálogo, Noviembre 1994·    Grennan / Sperandio. 'Recollections', Catálogo, Noviembre 1994·    'Six Eastbourne Dentists...', The Probe, Noviembre 1994·    Daly, Georgina. 'Dentists have their day', Eastbourne Herald, Octubre 1994·    '6 Eastbourne Dentists', Meridian TV, Octubre 1994·    'Filling the gallery', Brighton Argus, Octubre 1994·    Daly, Georgina. 'Towner Topic', Eastbourne Herald, Octubre 1994·    Larby, Corina. 'Farnham's day caught on camera', Farnham Herald, Septiembre 1994·    Daly, Georgina. 'Interaction with the exhibition...', Eastbourne Herald,   Septiembre 1994·    Hanks, Robert. 'Tooth Pics...', Independent, Septiembre 1994·    'Bridget meets a spellbinder', Cumberland News, Septiembre 1995·    'Meeting of a lifetime for Megan', Shropshire Star, Agosto 1995·    'Jenny wins a date with a star', Coventry Telegraph, Agosto 1994·    Beringer, Tom. 'Anyone in Britain', Greater London Radio, Agosto 1994·    Grennan / Sperandio. 'Anyone in Britain', Telegraph Magazine, Agosto 1994·    Cross, Andrew. 'Everyone in Farnham', Around Surrey, Julio 1994·    Larby, Corina. 'One moment in Life...', Farnham Herald, Junio 1994·    Ellison, Mike. 'Artists stop traffic...', Guardian, Junio 1994·    'Everyone in Farnham', Kaleidescope Radio 4, Junio 1994·    Krainak, Paul. 'Dream Date', Afterimage, Mayo 1994·    Drake, Nicholas. 'Making Art Happen', Public Art Review, Verano 1994·    Grennan/Sperandio. "Everyone in Farnham,"   Catálogo, Julio 1994·    Princenthal, Nancy. ' The New Realism', Catálogo, Julio 1994·    Larby, Corina. 'Everyone in Farnham', Farnham Herald, Junio 1994·    Tormollan, Carole. 'New Public Art in Chicago', High Performance, Primavera 1994·    Corin, Lisa. 'Mining the Museum', MCA. Baltimore, 1994·    Schleifer, Kristen. 'Trial by Fire', New Art Examiner, Mayo 1994·    Crompton, Sarah. 'A Huge response...', Telegraph Magazine, Abril 1994·    Riley, Corin. 'The Collaborative Art of...', Carnegie Mellon Focus, Primavera 1994·    Corrin/Sangster. 'Culture Is Action - Action in Chicago', Sculpture Magazine, Marzo 1994·    Bush, Kate. 'Vox Pop - Laure Genillard', Untitled Magazine, Primavera 1994·    Grennan/Sperandio. 'Anyone in Britain', Telegraph Magazine, Marzo 1994·    Speiser, Irene. 'Public Art:...', Neve Zurcher Zeitung, Febrero 1994·    Grennan/Sperandio. 'Anyone in Britain', Telegraph Magazine, Febrero 1994·    Miller, Sarah. 'Anyone in Britain', BBC Radio Newcastle, Febrero 1994·    Grennan/Sperandio. 'Anyone in Britain', Telegraph Magazine, Febrero 1994·    Paton, Phillip. 'Design Good Enough to Eat', International Design, Enero 1994·    Gamble, Allison. 'Reframing a Movement', New Art Examiner, Enero 1994·    Haines, Cailey. 'Lunch with a stranger', Soap Opera Weekly, Diciembre 1993·    Seidel, Mitchell. 'Exhibition goes deep into 'The City'', Jersey Star Ledger, Diciembre 1993·    Snodgrass, Susan. 'Culture in Action', Art Papers, Nov/Dic 1993·    Connors, Thomas. 'Culture in Action', Sculpture, Nov/Dic 1993·    Scanlan, Joseph. 'Culture in Action', Frieze, Nov/Dic 1993·    Cameron, Dan. 'Culture in Action', Flash Art, Noviembre 1993·    Cooke, Lynne. 'Arnheim and Chicago...', Burlington Magazine, Noviembre 1993·    Hartney, Eleanor. 'Culture in Action', Art in America, Noviembre 1993·    Grennan, Sperandio. 'Anyone in New York', Catálogo, Nueva York, Noviembre 1993·    Sokolowski, Thomas. 'The happiness thing', Catálogo, Nueva York, Noviembre 1993·    Cross, Andrew. 'Getting things fixed', Catálogo, Nueva York, Noviembre 1993·    Pat Kelly. 'Pat Kelly in the Morning', WNEW Nueva York, Noviembre 1993·    Brittain, David. 'Food for thought', Creative Camera, Oct/Nov 1993·    Sales, Nancy. 'Anyone in New York', New York Magazine, Octubre 1993·    Sokolowski, Thomas. 'Anyone in New York', NYU Today, Octubre 1993·    Stephen, Linnea. 'Artswatch', Ms Magazine, Sept/Oct 1993·    Schreurs, Brian. 'Candy man!', Daily Atheneum, Septiembre 1993·    Kimmelman, Michael. 'Of Candy Bars and Public Art', New York Times, Septiembre 1993·    Sozanski, Edward. 'A new spin on public art', Philadelphia Enquirer, Agosto 1993·    Head, Jethro. 'New candy bar unveiled', BC & T News, Jul/Ago 1993·    Echiandia, Lisbeth. 'We got it!', Confectioner, Jul/Ago 1993·    Williams, Gilda. 'Culture in Action', Flash Art, Verano 1993·    Bacon's. 'Workers To Have Own Candy Bar', Candy Wholesaler, Agosto 1993·    Cross, Andrew. 'Public Art Chicago Style', Art Monthly, Jul/Ago 1993·    Robinson, Walter. 'A Taste for Public Art', Art in America, Julio 1993·    Grennan/Sperandio. 'At Home with the Collection', Creative Camera, Jun/Jul 1993·    Anon. 'Newsmakers', AFL-CIO News, Junio 1993·    Van Maitre, Lynn. 'Carving a niche', Chicago Tribune, Junio 1993·    Radcliff, Mark. 'The Guest List', BBC Radio 1, Mayo 1993·    'Culture in Action', Chicago Reader, Mayo 1993·    Lazare, Lewis. 'Workers: We got it!...', Chicago Reader, Abril 1993·    Silas, Susan. 'The Art of Looking: Contacts/Proofs', The Print World, Primavera 1993·    Seidal, Mitchell. 'Jersey City exhibit...', Jersey City Times, Marzo 1993·    Yngvason, Hafthor. 'The New Public Art', Public Art Review, Primavera 1993·    Hartney, Eleanor. 'The Dematerialization of Public Art', Sculpture Magazine, Marzo 1993·    Lazare, Lewis. 'Workers step up...', Chicago Reader, Enero 1993·    Rowland, Kevin. 'Gallery Chief's focus on Chocolate', Manch.Ev.News, Enero 1993·    Delaney, Kevin. 'Simon Grennan', Manch.E v.News, Diciembre 1992·    Butler, Connie. 'On Moon Rocks and Elgin Marbles', Catálogo, Nueva York, Abril 1992·    Grennan/Sperandio. 'At Home with the Collection'.·    Uphoff, Lyne. 'Interactive art show at museum', Peoria Star, Febrero 1992·    Klein, Jerry. 'Meaning exclusive at Lakeview', Peoria Star. Febrero 1992·    Uphoff, Lyne. 'Museum features contemporary art', Peoria Star, Febrero 1992·    Vincent, Martin. 'Cheetham Collection', City Life No.194, Enero 1992·    Bulka, Michael. 'The Fountainhead', New Art Examiner, Enero 1992·    Middles, Michael. 'Picture this', Manch.Ev.News, Enero 1992·    Robert-Blunn, John. 'Victorian Culture', Manch.Ev.News, Enero 1992·    Howell, Sarah. 'Curation of the Cheetham Collection', World of Interiors, Diciembre 1991·    Butler, Connie. 'Dissent at Home', Catálogo, Nueva York, Noviembre 1991·    Eccles, Tom. 'Out of Necessity', Alba Vol.1 No.5, Noviembre 1991·    Dunn, Alan. 'Bellgrove Station Project', Catálogo, Agosto 1991·    Richardson, Craig. 'Billboard Project', Variant Magazine No.9, 1991·    Gert, Julia. 'Zum Anfassen and Aufessen', Nanhiemer Morgen, Septiembre 1991·    Gertz, Julia. 'Den alten Bauerschrank...', SWP Tubigen, Septiembre 1991.·    Deutsche P-A. 'Gar nicht brotlos...', StuttgNachrichten, Septiembre 1991·    A.K. 'Bootstrap Arts Group', Lift, Septiembre 1991·    BBC Radio 2. 'John Dunn Show', Agosto 1991·    Wittman, Regine. 'Verzucker Rausch...', Fellbacher Zeitung, Agosto 1991·    Junker, Andreas. 'Kunst mit...Beigeschmack', Stuttgarter Zeitung, Agosto 1991·    S.T.N. 'US-Kunstler Arbeiten in Fellbach', StuttgNachrichten, Agosto 1991·    Knubben, Thomas. 'Zuckerguss gegen Monumente', Fellbacher Zeitung, Agosto 1991·    Grennan/Sperandio. 'Cake City', UpTown, Agosto 1991·    Garfield, Simon. 'Sweet dreams in Manchester', The Independent, Agosto 1991·    Foster, Sarah. 'Notes', The Lady, Agosto 1991·    Turner, Richard. 'Sugar Exhibits are good...', Metro News, Agosto 1991·    Anon. 'Tonight', BBC 1 TV, Agosto 1991·    Wilson, Declan. 'Sugar Sweet', S.Manch.Reporter, Agosto 1991·    Robert-Blunn, John . 'Fame is Sweet', Manch.Ev.News. Julio 1991·    Harrison, David. 'Sugar Plums', Manch.Ev.News, Julio 1991·    Spinoza, Andy. 'The Diary', Manch.Ev.News, Junio 1991·    Grennan/Sperandio. 'Verisimilar', Whitewalls, Verano 1991·    Wilk, Deborah. 'Grennan, Sperandio', New Art Examiner, Mayo 1991·    McDonald, Murdo. 'Bellgrove Station Billboard Project', Artscribe No.87 Verano 1991·    Grabner, Michael. 'Chicago Roundup', Artmuscle, Marzo 1991·    Durant, Mark Alice. 'Conspired', New Art Examiner, Marzo 1991·    Slaughter, Martha. 'Confectionaries at Civic Sites', Concentrics Magazine, Invierno 1991·    Bonesteel, Michael. '..sweets and drink', Pioneer Press, Enero 1991·    McCracken, David. 'Evanston picks more winners', Chicago Tribune, Febrero 1991·    Bulka, Michael F. 'Confectionary at Civic Sites', Catálogo, Chicago 1991·    Bulka, Michael F. 'Conspired', Sculpture Magazine, Febrero 1991·    Bulka, Michael F. 'Grennan and Sperandio', New Art Examiner, Noviembre 1990·    Leonard, Michael. 'Nitely News', N.B.C.TV., Julio 1990·    Bulka, Michael F. 'Your Message Here', New Art Examiner Vol.17, 1990·    Lautman, Victoria. 'Artistic Licence', WBEZ 91.5FM, Ju nio 1990·    Barckert, Lynda. 'Sacred and sensual', Chicago Reader, Junio 1990·    Hennein, Mona. 'Artists alter altars in the name of art', Skyline, Junio 1990·    Lee, Nate. 'The Body', New City, Junio 1990·    Figliulo, Susan. 'The Body...beyond church issues', Chicago Sun-Times, Junio 1990·    Fanning, Paul. 'Dialogue: an encounter with the arts', WNIB 97.1FM, Junio 1990·    Krainak, Paul. 'Escorting The Body', Catálogo, Bootstrap Works 1990·    Holbert, Ginney. 'Art links Church and Neighborhood', Chicago Sun-Times, Junio 1990·    McCraken, David. 'Art Notes', Chicago Tribune, Junio 1990·    Porges, Timothy. 'Chicago', Contemporanea, Mayo 1990·    Stevens, Mitchell. 'Detail in the Cottage', New Art Examiner, Mayo 1990·    Tree, Phoebe. 'Gallery showing Grennan's Works', At Chicago, Febrero 1990·    McCraken, David. 'Gallery Scene', Chicago Tribune, Enero 1989.

 

 

 

 

 

05prtb0376

2005. Rebekka Reich + Anne Lorenz. TAXI MADRID (theoretical data)

2005. Rebekka Reich + Anne Lorenz. TAXI MADRID (theoretical data)

To return to a place where we stayed in the past is well possible, but to return to a moment, which we experienced in the past, unfortunately is not. Dr. P. J. Zwart “Het Mysterie Tijd”

WHATTaxi Madrid is a mobile public art intervention addressing issues of perception and the logic of memory. Equipped with stories, sounds, objects, smells and other memorabilia, 10 taxis will serve the main axis of Paseo de la Castellana, Paseo del Prado throughout the duration of Madrid abierto, transporting their passengers into someone else’s mind and view of Madrid from a different perspective: That of the ex-patriot.

WHYHaving lived in Madrid ourselves, respectively 10 and14 years ago, we were interested in how our memory of the place works. What stays vivid? Is it locations in relation to events, to smells or to certain colours or atmospheres?

A mixture of stories and descriptions came to mind and comparing them to the current state of the city a lapse between memory and reality arises.

AIMWe are interested in exploring how the outsiders view* of Madrid works in the current situation andhow a confrontation with someone else’s view can make us see the place we think we know so wellwith different eyes. The aim is to catch the inhabitants of Madrid off guard, unprepared and abductthem for a short amount of time from their everyday business.

TAXIA taxi is not just a means of transport but also an enclosed private space one enters for a certain amount of time:an ‘in-between-space’, a ‘time-out’. Much like in the cinema there is no way of escaping, other than stopping the car, and as such it serves as an interesting platform for a public art intervention. For Taxi Madrid we use this confined space and time to confront the passengers with a reality different to their own.

HOW*By interviewing 10 former inhabitants of Madrid, who now live in different locations all over Europe, we devise 10 taxis dedicated to these people’s memories of Madrid.

The passengers are not briefed that the taxi they are entering is part of an art project, but will notice once they are on their way, that things are slightly different to their normal taxi trip. Maybe a musky smell of cologne is in the air and a ticket to the opera from 1960 lies on the back seat. All of a sudden the music to that opera starts playing through the radio and from the head-rest comes the voice of a lady talking about what she was thinking about when she walked down Paseo de Recolletos one night, when an exhibitionist came running towards her…

When paying for the taxi trip the passenger will receive a receipt with the following information:- The name of the person, whose story he or she just witnessed- The place where he or she currently lives- The date when they left Madrid

PUBLICAs such Taxi Madrid hopes to become a talking point for the duration of Madrid Abierto for the artpublicand a broader public alike. The project works with a sense of mystery or mythology, as thelikelihood to enter one or more of the taxis is quite random, and for many members of the public, theexperience will be unexpected.

The memory of the ex-patriot becomes part of the lived presence of a taxi user from Madrid andtherefore part of his or her own memory.

 

 

 

 

 

05prmc3446

2005. Rebekka Reich + Anne Lorenz (Cv)

REBEKKA REICH HAMBURGO, 1969LIVES AND WORKS IN: KÖLNWWW.REBEKKAREICH.DE

ANNE LORENZ WÜRZBURG, ALEMANIA, 1971LIVES AND WORKS IN: ZÜRICHWWW.ANNELORENZ.CH

WORK EXPOSED IN MADRID ABIERTO: TAXI MADRID

REBEKKA REICH EDUCATION1989·    Arquitectura. Universidad Politécnica de Braunschweig, Alemania

1995·    Arquitectura. Escuela Técnica Superior de Arquitectura Madrid

1999·    Danza moderna, improvisación y ‘tanztheater'. T.A.N.Z. Braunschweig

2000·    Master en escenografía. Hochschule für Gestaltung und Kunst Zürich

PROFESSIONAL EXPERIENCE1995·    Arquitecto·    Viktor Lopéz Cotelo, Madrid·    KSP Kraemer, Sieverts & Partner, Braunschweig and Berlin

2000·    Soung, danza-performance de S. Heyden, Burgplatz OpenAir, Braunschweig

2002·    Assistent stage design·    Odysee 2002, de Homer. Dirigido por Helena Waldmann, Luzerner Theater.·    Der Auftrag, de Heiner Müller. Dirigido por Stefan Nolte, Theater St. Gallen

TEACHING AND WORKSHOPS2003·    Workshop Scenography. IPP Performance and Media Studies Summerschool, Johannes Gutenberg Universität Mainz

2004·    Lectura Field Work , Scenographical Design, Hochschule für Gestaltung u. Kunst Zürich

GRANTS AND AWARDS2004·    Beca de Land Nordrhein-Westfalen and European Union

2002·    Beca para proyecto de Kulturstiftung Appenzell Ausserrhoden2001·    Beca de investigación de Stiftung Lis und Roman Clemens Zürich

2000·    Beca de estudios de Stiftung für Kunst und Kultur Nordrhein Westfalen·    Beca de estudios de Stiftung Lis und Roman Clemens Zürich

1995·    Beca de estudios de Deutscher Akademiascher Austauschdienst DAAD

SOLO PROJECTS2000·    Hotel Konrad. Instalación en Studiobühne HGKZ, Zürich

2001·    Nabokov und Schubert. Video. Studiobühne HGKZ, Zürich·    Chaplin-Ford-Trott, de K.A. Hartmann. Dirigida por Peter Rasky, Concepto, escenografía y vestuario (con Anne Lorenz). Theater an der Sihl, Zürich·    Rosen für Alice...Fr.9,80. Company Delux. Concepto, realización y coreografía (con Noël Fischer). Zürich

2002·    Der Zoobär, de Jost Meier, dirigida por Peter Rasky. Concepto, escenografía y vestuario (con Anne Lorenz). Theater an der Sihl, Zürich·    turntable. Tanzplattform 12 MinMax. Concepto, coreografía (con Christina Sutter) y sonido. Tanzhaus Wasserwerk, Zürich·    BUCHERREICH Scenography, St. Gallen (fundada en 2001 con Karin Bucher)

2001·    Das Zündholzmuseum. Concepto y diseño de exposición. Konrad-Nef-Stiftung, Teufen

2002·    Exposure. Pabellón Suizo. Diseño con Rüdiger Kreiselmayer. Expo 2004 St. Dénis-Paris, Präsenz Schweiz, Berna·    Grubenmannsammlung. Diseño de exposición. Kulturkommission, Teufen·    Zentrum für Bauen und Kultur. Proyecto de reutilización de fábrica. Kulturkommission, Teufen·    Bücherkubus. Instalación. Librería, Teufen·    Roter Pfeil. Intervención. Librería, Teufen

2003·    Brundibàr , de H. Kràsa y A. Hoffmeister, dirigido por Barbara Bucher·    Stadtspaziergang, prólogo de la obra ‘Die Stunde, da wir nichts von einander wussten' de Peter Handkes. Theater St. Gallen, Pico-Pello-Platz, St. Gallen·    Fortschritt. Realización, coreografía y dirección de video danza. Kulturstiftung Appenzell Ausserrhoden

2004·    Ein Hotel verwöhnt sich selbst. Hotel Hof Weissbad, Weissbad

 

ANNE LORENZEDUCATION1991·    Kunstakademie Münster. Wilhelms-Universität, Münster

1993·    Departamento de Escultura. Escuela Superior de Bellas Artes, Barcelona

1994·    Departamento de Escultura. Edinburgh College of Art

1997·    Hochschule für Künste, Bremen

1999·    Master en Escenografía. Central Saint Martin's College of Art & Design, Londres

SOLO, GROUP EXHIBITIONS AND PERFORMANCES2004·    Patterns of Behaviour. Theaterhaus Gessnerallee Zürich, Hope & Glory·    Festival. Escenografía y dirección de performance-instalación.·    Patterns of Behaviour. 5 ch version. Tanzhaus Wasserwerk, Zürich. Escenografía y dirección de performance-instalación.

2003·    Patterns of Behaviour. red + white version. Museum für Gestaltung, Zürich. Escenografía y dirección de performance.

2002·    Gilgamesch . Theater an der Sihl, Zürich. Escenografía para musical, en colaboración con Doug Geers, Maja Cerar·    Standpunkt . Theater Roxy, Basel & Tanzhaus Wasserwerk, Zürich. Video y escenografía para danza-performance de Eva Richterich.·    Der Zoobär. Theater an der Sihl, Zürich. Escenario y vestuario en colaboración con Rebekka Reich.

2000·    EuroSlide . Hoxton Hall, Londres. Escenario y video para performance en colaboración con Cathrine Kahn.·    17.55 . APT Gallery, Greenwich Film Festival, Londres. Video.·    Let's eat Sand. The Museum Of, Londres. Escenografía y dirección de performance.

1999·    Euro-Cowboys. What Everyone Wants Store, Newcastle. Sonido-instalación.·    Dream-Space. DFKU, Odense, Dinamarca. Instalación en colaboración con Marianne Bramsen.·    link-slip-link-slip. St. Nicholas Church, Londres, dentro del Deptford X Festival. Sonido-instalación.

1998·    Kronen für Bremen. KÖNIG/KÖNIG, Kunsthaus Bremen, Alemania.·    Packed Lunch. Santa Monica's Old School, Londres. Instalación.

1997·    summarie . Galerie Dechanatstraße, Bremen, Alemania. Audio-instalación.

1996·    A Spider's Tale. Demarco European Art Foundation, Edimburgo. Performance-Instalación.·    Fadenschein . Edinburgh Festival. Performance en colaboración con Mirella Weingarten.

 

 

 

 

05prtb0375

2005. Raimond Chaves. EL RIO, LAS COSAS QUE PASAN (visual data / related work)

2005. Raimond Chaves. EL RIO, LAS COSAS QUE PASAN (visual data / related work)

Support for the public reading L'UnitàModena, Italia 2003

Hangueando in Venecia neighborhood, Bogotá, Colombia, April - May 2003     Hangueando in Cerro, Naranjito, Puerto Rico, October 2002

 

 

       

Hangueando, "newspaper with legs" nº 1,2,3

 

 

 

 

 

 

05pric0474

2005. Compañía de Caracas. ESPACIO MÓVIL (published text)

 … When I think about something, I´m really thinking of something else. When I look at a landscape, I am not actually thinking about it. I am comparing it to other landscapes I have seen before.”Jean-Luc Godard

Referring to Godard´s quote that opens this project, its aim is to create a link between the city involved, Madrid, and the South American city of Caracas through a series of colour photos placed at bus stops and on buses covering the routes on the Madrid Abierto axis.

Espacio móvil plays with the meanings of “circulation” and “mobility” in an urban sense, i.e. transport, and a media orientated meaning, i.e. the circulation of information, to create a visual paradox, a disguise, and to think about “the city” through the movement and presence of both.

A modern South American city par excellence, Caracas was a promise for the “future” based on large urban projects and building in the 50´s which reflected times of economic boom. Fifty years later, today, Caracas is a city which is permanently on the move, suffering daily losses, both in its spatial memory and in its urban and technical concepts which sustain its habitability.

The opening of Madrid enables a visual spatial exploration through photographs of the centre of Caracas (current images of its streets, buildings and transport systems) and at the same time to take a more in-depth look at the public character and the critical possibilities of its urban objects (in this case, bus stops and buses), away from the official institutions and the conventional mediums of art. Likewise, it uses the pictorial intervention on buses by the Venezuelan artist, Carlos Cruz-Diez, during the Visual Arts Biennial in Porto Alegre in 1997 as a conceptual precedent.

La Compañía de Caracas was born from the interest in all that is urban and the need to record old and new phenomena which define “the city”, and from a special interest in our city of origin which is suffering an essential contradiction and is defined between archaisms and the new, between that which is traditional and that which is technological, between a state of permanent mutation and unchanging characteristics.

DEVELOPMENT

When we decided to intervene in Madrid at bus stops and buses our idea was to do so as a game that does not mean to compare both cities but allow one city to travel inside the other, make a symbolic reconquest of the space and subtly raise awareness on the idea of difference. Our intention was to disorient, not orient, to establish the bases of chaos: small bases as small as the intervention in Madrid. Austere, as the idea itself, illegitimate, roguish, an occupation that is dismantled in twenty days. A strategy that is not recognisable in publicity but on its reverse side; that does not mean to be just visual but to capture an image of otherness by transdressing mobile and fixed units of Madrid with photographs of Caracas.

In Venezuela, interest in the urban reality operates, on the one hand, as a way of seizing tradition, memory, before it disappears, transforms itself or dilutes in an urban organism that does not cease to recycle and change the biography of things. On the other hand, it is a symptom in search of a diagnosis that will enable us to assimilate a constantly changing urban territory.

In the interval between the first images we took for the project Espacio móvil, in April 2004, and the last, in December 2004, Caracas experienced big changes, not just in the visibility and mobility of part of the social fabric, such as the proliferation of buhoneros (street sellers) and soldiers, but also in its urban infrastructure, which is evident in the disappearance of public sculptures (for ideological, economic and maintenance reasons), the increase in popular-political mural paintings and the deterioration of architectural icons like the Centro Simón Bolívar or the towers of Parque Central.

In Caracas, the space mobilises itself: the private space to the public territory, the public space closes its doors to the stroller under the roofed corridors. Change and movement become a tradition: a tradition which forms the backdrop to a modernity that drifts between precociousness and premature ageing.

 

 

 

 

 

 

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2005. Raimond Chaves (Cv)

BOGOTÁ, 1963 LIVES AND WORKS AMONG LIMA, BARCELONA, BOGOTÁ WWW.PUIQUI.COMWORK EXPOSED IN MADRID ABIERTO: EL RÍO, LAS COSAS QUE PASAN

EDUCATION1989·    Licenciado en Bellas Artes por la Universidad de Barcelona, España.

SOLO EXHIBITIONS2004·    La Pura Oscura . Alianza Francesa, Bogotá, Colombia.·    Maestro Plantillero . Punctum, Lima, Perú.

2003·    Vení, Sentate, Contame . Valenzuela y Klenner Arte Contemporáneo, Bogotá, Colombia. 

2002·    Mobile Station . Fundación Kaus Australis, Rotterdam, Holanda. 

2001·    Balcony Panorama Lovers , con Carolina Caycedo.   Flat 37, Londres, Reino Unido. 

1997·    Esto fue lo que trajo el barco . Galería Ferran Cano, Barcelona, España.·    That's what the ship brought . Moderna Galerija, Rijeka, Croacia; Galerija Skuc, Ljubljana, Eslovenia. 

1996·    Tumba la casa . Universidad de Los Andes, Bogotá, Colombia. 

1995·    Guayabo. Espai 13, Fundació Joan Miró, Barcelona, España.

GROUP EXHIBITIONS 2004·    Trienal Poligráfica del Caribe, Instituto de Cultura Puertorriqueña, San Juan, Puerto Rico.·    Diaporama'04 . Primavera Fotográfica, Barcelona, España.·    PR 04 . M&M Proyectos, Rincón, Puerto Rico.·    ARCO, Galería Mirta Demare -Rotterdam- Madrid, España.·    P_O. Processos Oberts . Terrassa, Barcelona, España.·    Quórum . La Capella, Barcelona, España.·    Ambulantes-Cultura Portátil . Centro Andaluz de Arte Contemporáneo, Sevilla, España.·    Errancias: Viajes o virajes . Centro Cultural Comfandi, Cali, Colombia. 

2003·    Centro de Bellas Artes de Santurce, Instituto de Cultura Puertorriqueña, San Juan, Puerto Rico.·    MiamiArtBasel, M&M Proyectos -Puerto Rico- Miami·    Vª Bienal de Arte del Caribe, Santo Domingo, Republica Dominicana.·    Exploracions . La Capella, Barcelona, España.·    Un caballero no se sienta así . Planetario Distrital, Bogotá, Colombia.·    Errancias: Viajes o virajes . Valenzuela y Klenner Arte Contemporáneo, Bogotá, Colombia.·    Going Public. Politics, Subjects and Places . Museo d'Arte Sociale e Territoriale, an aMAZE project, Sassuolo, Modena, Italia.                     ·    Sommer Chou . Valenzuela y Klenner Arte Contemporáneo, Bogotá, Colombia.·    R. Revistes . La Capella, Barcelona, España.·    V Bienal Barrio Venecia, Salón Comunal, Barrio Venecia, Bogotá, Colombia.·    ARCO, Galería Mirta Demare -Rotterdam- Madrid, España.·    Doble Seducción . INJUVE, Madrid, España. 

2002·    Benjaminiana . Centro Cultural de España, AECI, Lima, Perú.·    Organisational Form . Galerija Skuc, Ljubljana, Eslovenia.·    La Guerra . Cruce, Arte y pensamiento contemporáneos, Madrid, España.·    ARCO, Galería Mirta Demare -Rotterdam- Madrid, España.·    Perspectives Creuades . Can Felipa, Barcelona, España.·    Arquitecturas para el Acontecimiento . EACC, Castelló, España.·    El Toque Criollo . Centro Cultural de España, AECI, Lima, Perú.·    Yes, en cualquier lugar puede suceder . Parte de Open Marks- PR'02. Naranjito, Puerto Rico. 

2001·    Oir: Aten al Planetario. Galería Santa Fe, Bogotá, Colombia.·    Istambul Biennal . Estambul, Turquía.·    Capital Confort- Arte Público en Alcorcón . Centro Municipal de las Artes, Alcorcón, España.·    Days of hope . Scoletta di San Zaccaria, off-Bienal de Venecia, Italia.  ·    Antroapologías . Galería Luis Adelantado, Valencia, España.·    Da Adversidade Vivemos . ARC-Museè d'Art Moderne de la Ville, Paris, Francia.·    Rope Walks Artists Residency . Hannover Gallery, Liverpool, Reino Unido.·    The Library Project . Temporary Services, Chicago, USA.·    El Objeto Paradójico . Museo de Arte de la Universidad Nacional, Bogotá, Colombia. 

2000·    Escenarios Domésticos. Koldo Mitxelena Kulturunea, San Sebastián, España.·    Public Inventions and Interventions Part 2-Public Phenomena . Temporary Services. Chicago, EE.UU.·    El Museo de la Calle . Museo de Arte de la Universidad Nacional, Bogotá, Colombia.·    PR OO . Paréntesis en la Ciudad - Intervenciones Urbanas, Fortaleza 302, Galería M. Marchaux. San Juan, Puerto Rico.·    Inter-Zona . Institut de Cultura, Palau de la Virreina, Barcelona, España.·    Lo del Telescopio . Idea y coordinación Nico Nubiola, Puerto de Barcelona, España. 

1999·    Expedición a El Dibujo . Fundación Gilberto Alzate Avendaño, Bogotá, Colombia. 

1998·    Pasaje de Ida . Galería Antonio de Barnola, Barcelona, España. 

1997·    Local Cultura. Parte del proyecto 'Almadraba', Museo Marítimo, Ceuta, España. 

1996·    Bog 25, Arte por para desde y contra Bogotá . Sótanos de la Jiménez, Bogotá, Colombia. 

1995·    Tu parles, J' écoute . Galerie Anne de Villepoix y Espace Société Jet Lag K, París, Francia.·    Bienal de la Europa Mediterránea, Rijeka, Croacia.

PROJECTS 2004·    Maestro Plantillero Revolú . Trienal Poligráfica del Caribe, Instituto·    de Cultura Puertorriqueña, San Juan, Puerto Rico.·    El Toque Criollo . Diaporama de imágenes y archivos hablados a partir de una colección de carátulas de discos comprados en los mercados de pulgas de América Latina y el Caribe. Primavera Fotográfica, Barcelona, España.·    Talleres Móviles , con Gilda Mantilla. Coordinación y producción de talleres destinados a   difundir y potenciar conocimientos y saberes locales. Taller de fabricación de Yola Aguadillana -embarcación local- dictado por Rafael Vargas y Taller de Injertos dictado por Roberto Rosado. M&M Proyectos PR-04 , Comisión del Instituto de Cultura Puertorriqueña, Puerto Rico.·    El Piernas , con Ramón David-Sala deStar, Sevilla. Periódico callejero de cordel en la Plaza del Altozano, Triana, Sevilla, España.·    Ramal , con Javid Mughal director de 'El Mirador-Informativo Independiente de los Emigrantes'. Colaboraciones gráficas y escritas para El Mirador; elaboración de Rawal-Expres, periódico callejero de cordel y edición del nº 0 de la revista familiar bilingüe: 'Aroma-Khushboo' destinada a la comunidad paquistaní de Barcelona.·    Estació Mòbil Egara , con el Col.lectiu Intercultural de Terrassa-Ateneu Candela. Asistencia a las reuniones, trabajo en las convocatorias, creación de un grupo de trabajo para la realización de la revista Multitud y elaboraciones gráficas varias para sus actividades. Además Biblioteca Callejera en colaboración con Love Pili- Associació Cultural Repensa. Para Procesos_Oberts, Hangar, Ajuntament de Terrassa, Barcelona, España. 

2003·    Maestro Plantillero Revolú . V Bienal de Arte del Caribe, Santo Domingo,   Republica Dominicana.·    ¡Fuera ROTC de RUM!, con Gilda Mantilla. Trabajo de apoyo gráfico   para el campamento colegial del Frente Universitario por la Desmilitarización y la Educación. Acción de desobediencia civil contra la presencia del ejército   de los EE.UU en el Recinto Universitario de Mayagüez, Puerto Rico.·    Pa'Guindarlo , con Gilda Mantilla. Periódico de cordel realizado durante la presentación del catálogo "PR 02- En Ruta". M&M Proyectos, Museo de Arte de Puerto Rico.·    Dove Vai-Giornale sul Binario , con Gilda Mantilla. Periódico callejero de cordel en la Estación Ferroviaria de Sassuolo, Modena, Italia.·    HANGUEANDO-Periódico con Patas , con Gilda Mantilla. Periódico callejero de cordel con los vecinos de las comunidades de Manantial, Villa del Río, El Cerro, Stella y La Perla. M&M Proyectos, Comisión del Instituto de Cultura Puertorriqueña, Puerto Rico.·    Estación Móvil Barrio Venecia , con Gilda Mantilla. 'Descarga' creativa   para difundir la actividad cultural local a la vez que poner a circular   información y conocimiento   latinoamericanos. Barrio   Venecia, Bogotá, Colombia. 

2002·    Para no olvidar - Casas de la Memoria , con Gilda Mantilla. Escenografía y Sesión de dj. Jornada de clausura   de las audiencias de la comisión de la    verdad. Centro Cultural de   la Universidad de San Marcos, Lima, Perú.·    Retratos al Paso . Grabación de descripciones en audio y dibujo en las calles de Castelló, España.·    Unfair Tale , con Alicia Herrero. Pancartas, documentación y acción contra la boda del príncipe Guillermo Alejandro de Holanda y Máxima Zorreguieta, Amsterdam. Holanda. 

2001·    Bruggen Slaan Tusen Talen (Construyendo puentes entre lenguas), con Gilda Mantilla. Día de puertas abiertas The Language Academy, Universidad de Amsterdam, Holanda.·    O Carrinho Brica, O Carrinho Braque , con Carolina Caycedo. En las calles de Venecia, Italia y Lisboa, Portugal.·    El Museo de la Calle . Colectivo Cambalache: con Carolina Caycedo, Adriana García y   Federico Guzmán. Paris, Francia; Alcorcón, España y Estambul, Turquía.·    Diversión , con Carolina Caycedo y residentes del barrio RopeWalks. Year of the Artist Performance Residency for Rope Walks, Liverpool. Reino Unido.·    RadioRetratos , con estudiantes de Bellas Artes y oyentes de la emisora local Radio 9. En colaboración con el Departamento de Escultura, Facultad de Bellas Artes, Universidad Politécnica de Valencia, Agustín Pérez Rubio y   Galería   Luís Adelantado, Valencia, España. 

2000·    El Dibujo 24hs . Las Ramblas, Barcelona, Plaza Arturo Somohano, en el Viejo San Juan, Puerto Rico, y en el Terminal de Autobuses de Bogotá, Colombia. Con voluntarios locales en cada ciudad.·    El Museo de la Calle . Colectivo Cambalache: Carolina Caycedo, Adriana García y Federico Guzmán, en el Viejo San Juan, Puerto Rico y en las calles de Bogotá, Colombia. 

1999·    Expedición a El Dibujo , con Federico Guzmán, Andrés Corredor y Manolo Jaramillo. Bogotá, Colombia,   El Dibujo -Venezuela-, Bogotá, Colombia. 

1997·    Tumba La Casa. Instalación itinerante exhibida en la Universidad de  ·    Los Andes, Bogotá, Colombia; Fundació "La Caixa" Vic, Barcelona, España; Museo Marítimo , Ceuta, España; Hangar-Talleres de Santa Isabel, Barcelona, España; y Galerija Skuc, Ljubljana, Eslovenia.

ARTISTICS RESIDENCIES AND GRANTS2003·    M&M Proyectos-Fortaleza 302, San Juan, Puerto Rico.2001·    Beca Hangar-KausAustralis, Rotterdam, Holanda.·    Year of The Artist /Arts Council Residency. Liverpool, Reino Unido.

TEACHING AND WORKSHOPS 2002·    El Toque Criollo . Centro Cultural de España, AECI, Lima, Perú. 

2001·    El Rayo X . Centro Cultural de España, Agencia Española de Cooperación Iberoamericana, Lima, Perú.·    RadioRetratos , con estudiantes de Bellas Artes y oyentes de la emisora local Radio 9. Departamento de Escultura, Facultad de Bellas Artes, Universidad Politécnica de Valencia. España. 

2000·    Aprendiendo de SuperBarrio y otros Héroes del Vecindario . Taller para artistas y vecinos del barrio Poblenou. Associació d'Artistes Visuals de Catalunya y Tallers Oberts, Barcelona, España. 

1999·    Profesor de Arte en las universidades de Los Andes y Jorge Tadeo·    Lozano, Bogotá·    Talleres para los Salones Departamentales de Arte en Cali y Bucaramanga, Colombia·    Escuela Primaria y Instituto de Bachillerato Agrícola de Paratebueno, Colombia 

1998·    Talleres para el Ministerio de Cultura, Colombia.·    Producción y montaje de la exposición Salón de Objetos para el programa CREA en Girardot, Cundinamarca, Colombia.

LECTURES AND PRESENTATIONS 2004·    El Toque Criollo . Antic Teatre, Diaporama'04, Primavera Fotográfica, Barcelona, España. Sala Aqualung, Madrid y SalaDestar, Barcelona, España. Departamento de Arte, Universidad de los Andes, Bogotá, Colombia.·    Ja arriba l'EME . Sala Muncunill, Terrassa, España.·    DOVE VAI-Giornale sul Binario . ARCO, Galería Mirta Demare, Madrid, España. 

2003·    Últimos Proyectos. Escuela de Artes Plásticas de Puerto Rico, San Juan, Puerto Rico.·    HANGUEANDO-Periódico con Patas . Instituto Universitario de Desarrollo Comunitario, Mayagüez, Universidad de Puerto Rico.·    R. Revistes . La Capella, Barcelona, España·    Últimos Proyectos . Academia Superior de Arte, Bogotá, Colombia.·    V Bienal Internacional de Venecia de Bogotá y Salón Comunal de Nuevo Muzú, Bogotá, Colombia. 

2002·    Hangueando-Periódico con Patas . Gira de presentación en Het Vilde Weten, Rotterdam, Holanda; Künstlerhaus Bethanien, Berlín, Alemania; Cruce, Madrid, España; Galerija Skuc, Ljubljana, Slovenia y espacio la culpable, Lima, Perú.·    Mobile Station . Presentación en la velada 'Nomads and Residents' De Appel, Amsterdam, Holanda.·    En el ciclo 'Las escrituras del Arte', MACBA-Museu d'Art Contemporáni de Barcelona, España.·    Escola Eina, Barcelona, España. 

2001·    Charlas en el Centro Cultural de España, Lima, Perú. Talleres de la·    Quam, Barcelona y Universidad Politécnica de Valencia, España;   John Moores University y Liverpool Institute of Performing Arts, Liverpool, Reino Unido. Universidad de Los Andes, Universidad Jorge Tadeo Lozano y Academia Superior de Arte, Bogotá, Colombia. Museo de Arte Contemporáneo, Sevilla; Facultad de Bellas Artes, Universidad de Barcelona y Cárcel Modelo de Barcelona, España.

PUBLICATIONS2004·    HANGUEANDO-Periódico con Patas   nº 3, Póster, Terrassa. Impreso por El Perro en Madrid, España.·    DOVE VAI- Giornale Sul Binario . Versión tabloide, edición Sassuolo, Módena. Editado por aMAZE Cultural Lab, Milan. Italia. 

2003·    HANGUEANDO-Periódico con Patas nº 2, Póster, Puerto Rico. Impreso   por 22a en Barcelona, España.·    HANGUEANDO-Periódico con Patas . Versión tabloide, edición Barrio Venecia, Bogotá, Colombia.·    HANGUEANDO-Periódico con Patas nº1, Póster, autoedición, Bogotá, Colombia y Lima, Perú. 

2002·    HANGUEANDO-Periódico con Patas nº0, Póster, autoedición, Lima, Perú. 

2000·    Los Ladrones de Dinamita. AR Publicaciones, Barcelona, España. 

1995·    AMÉRICA . Fuego en el 55 ed. Barcelona, España.

COLLABORATIONS2004·    Ciudad Hechiza, para la Revista Rebeca #1, Bogotá, Colombia.·    La Pura Oscura, para la revista Asterisco #7, Bogotá, Colombia.·    Maestro Plantillero, para Revista de Occidente # 273, Madrid, España.·    Los Vivos , para la revista Asterisco #6, Bogotá, Colombia.·    El Dibujante Dibujado, para D is for Drawing, Pilot Issue, Jan van Eyck Academie, Maastricht, Revolver, Frankfurt, June, 2004. 

2003·    Los Vivos , para la revista Casa Tomada #2, Palma de Mallorca, España. 

2002·    Cerros , para Revista Atlántica # 32, CAAM, Islas Canarias, España.·    Here, There and Elsewhere , proyecto editorial de David Blamey, Open Editions, Londres, Reino Unido.·    Liverpool , para la revista B-Guided #11 , Barcelona, España. 

2001·    Cheo, Richi y Bolas , para la revista Transversal, Lleida, España. 

2000·    Los 3 Suramericanos , para la revista gratuita Ginger coordinada por Audrey   Marhlens, Sabadell, Barcelona, España.·    Diktatura Ljubezni , con Carolina Caycedo para la revista Emzin nº 1-2 , Ljubljana, Slovenia.·    Las Ladronas de Dinamita , para la revista B-Guided # 3, Barcelona, España. 

1999·    SINDIOSNIPATRIANILEY , periódico gratuito. Coordinado por Angustias García e Isaías Griñolo Proyecto "Puerto de las Artes" , Muelle de las Carabelas, Forum Latinoamericano de La Rábida, Huelva, España.

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'Una Casita Roja en la Virreina', El Mundo de Catalunya, Barcelona, 15 de abril de 2000.·    Clot, Manel, 'Raimond Chaves', en el catálogo de la exposición Inter-Zona, Institut de Cultura, Barcelona, 2000.·    Clot, Manel, 'Un Sonido Tremendo y Bestial', en el catálogo de la exposición Pasaje de Ida, Instituto de Cooperación Iberomaericana-Galería Antonio de Barnola, Barcelona, 1998.·    Bardagil, Miquel. 'L'Ombra de l'Arquitecte', en el catálogo de la exposición del mismo nombre, Fundació La Caixa, Vic, 1997.·    Rodríguez, Víctor Manuel. 'La Metáfora del Artista Viajero', en el catálogo de la exposición Tumba La Casa, Universidad de los Andes, Bogotá 1996.·    Botero Thierez, Manuela. 'Viaje a Través de los Mundos de Bogotá', El Tiempo, Bogotá, 21 de noviembre de 1996.·    Pera, Rosa. 'A Jugar!', en el catálogo de la exposición L'Escola Invisible, Tallers de la QUAM, 1988-1994, Barcelona, 1995.·    Fragmento de 'Que Viva la Música de Andrés Caicedo' en el catálogo de la exposición Màquina Íntima, Balmes 21, Barcelona, 1995.·    Regàs, Mónica. 'Balcones', El Guía-Ars Mediterránea #5-6, Barcelona, 1995.·    Regàs, Mónica. 'Raimond Chaves', Paladín de la Vida Moderna, en el catálogo de la exposición Guayabo, Espai 13, Fundació Miró, Barcelona, 1995.·    Portell, Susana, 'Diversión Cruda', El Observador, 27 de julio de 1992·    Clot, Manel, 'Cec, Sord, Mut', en el catálogo de la exposición del mismo nombre, Galería Ferran Cano, Barcelona, 1991.

PUBLICATED ARTICLES ·    'Patraseando Imágenes', en el catálogo de la exposición Doble Seducción, INJUVE, Madrid, 2004.·    'Reivindicación de la Artesanía', en el catálogo de la exposición Going Public, Museo di Arte Sociale e Territoriale, Milano, 2003.·    'Maestro Plantillero Revolú, en ¿Las Ilusiones Perdidas?' catálogo de la selección de artistas colombianos participantes en la Vª Bienal de Arte del Caribe, Santo Domingo, República Dominicana. 2003·    'Vení, Sentate, Contame', editado como póster para la exposición del mismo nombre en el espacio Valenzuela y Klenner-Arte Contemporáneo, Bogotá, Colombia, 2003.·    'Hangueando En El Cerro', en el catálogo de Puerto Rico'02 [En Ruta], M&M Proyectos, San Juan, Puerto Rico, 2003.·    'Trabajando en Movimiento y Working While Moving', para las exposiciones Perspectives Creuades, Can Felipa, Barcelona y Mobile Station, Stichting Kaus Australis, Rótterdam, Beca Hangar, Barcelona, 2001-2002.·    'L'illusión', con Carolina Caycedo y Federico Guzmán en el catálogo de la exposición D'Adversidade Vivemos. Musée d'Art Moderne de la Ville de Paris, 2001.·    'Expedición a El Dibujo', con Federico Guzmán, Andrés Corredor y Manolo Jaramillo, en el catálogo de la exposición del mismo nombre, Fundación Gilberto Alzate Avendaño, Bogotá, 1999.·    'One year and three months later', en el catálogo de la exposición   That's what the ship brought, Galerija Skuc, Ljubljana, 1998.·    ' En el momento de lanzarse, uno ya lleva un tiempo cayendo', en el catálogo de la exposición Tumba La Casa, Universidad de los Andes, Bogotá, 1996.·    'El teléfono, un avión, el mar, dos ciudades, treinta y dos personas y un sotano...', en el catálogo de la exposición Bog25 Arte por para desde y contra Bogotá, Universidad de Los Andes, Bogotá, 1996.·    'Lo Importante... inédito', Barcelona, 1995.·    'Estamos perdiendo desde que empezamos...' en el catálogo de la exposición Guayabo, Espai 13, Fundació Miró, Barcelona, 1995.·    'Existen sólo tres cosas... (parafraseando a Borís Vian)', para la exposición Son las calles más largas de noche que de día, Galería Ferran Cano, Barcelona, 1994.·    ' La Vehemencia y El Relajo', para la exposición Diversión Cruda, Galería Ferran Cano, Barcelona, 1992.

 

 

 

 

 

05prtb0374

2005. Óscar Lloveras. S/T (visual data + videos / related works)

2005. Óscar Lloveras. S/T (visual data + videos / related works)

 RELATED WORKS 

      

BUILLION, PARÍS 2004

 

      

BRETONNEAU, PARÍS 2004 

 

         

         

FAUBOUR BETUNE

 

           

           

       

 

CHAMPS, COLLINE, FOREST

 

KAMIYAMAla Montagne des DieuxIchinosaka, Japón, 1999Installations sur les chemins 

 

 

        

         

JARDÍN VOBAN

 

        

    

ARTIUM 2003

                                                          

      

ATELLIER, LILLE

 

 

 

 

 

 05prid0465, 05prid0466, 05prid0467

2005. Colectivo Tercerunquinto. S/T (published text)

This project involves taking an urban element which in this case are the metal boxes placed in certain areas of the city and which are generally used by the telephone companies.

The intention is to take this element and create a series of them, comprising 15 of these objects on the same scale and following the same design. They are then placed next to where a pair of these boxes are generally located.

Invading the pedestrian system of the Paseo de la Castellana to enhance the presence of an anonymous element of urban furnishing, this project aims to measure the sculptural possibilities of these objects by placing them within the same design that contains them but provoking an interruption to the system of urban order.

 

 

 

 

 

 

 

 

05intc0514

2005. Oscar Lloveras (Cv)

BUENOS AIRES, 1960 LIVES AND WORKS IN PARISHTTP://OSCARLLOVERAS.COM/

EDUCATION 1986-1990    ·    Escuela Nacional Superior de Bellas Artes, París1994.    Escuela Práctica de Altos Estudios en Ciencias Religiosas (Sorbonne), París

EXHIBITIONS2004    ·    Galería Akié Arichi,Paris (exp.individual)·    Galeria Cité des Arts, Paris (exp.individual)·    Feria internacional Art Paris.·    Escultura pública, Hospital Bretonneau, Montmartre, Paris     ·    Escultura pública, Hospital Buillion, Ile de France  ·    Composición urbana, Lille, Capital europea de la cultura.·    Palacio Rihour, Lille (exp. Individual)·    Composición monumental, Shinrin Koen, Japon ·    Composición monumental, Observatorio de Medon.·    Feria Internacional Estampa, Madrid

2003    ·    Galería Storm, Lille (exp. individual)·    Instalación, Chapelle de la Salpétrière, París·    Homenage al Dalaï-Lama, instalación. Galería de Atrium, Chaville·    Bienal de Grabado, Ile de France, Versalles.·    Galería Pignon, Lille (exp.individual)·    Centro de Arte Faubourg de Betune, Lille (retrospectiva)

2002    ·    Galería Akié Arichi, Paris (exp. individual)·    Galería del Instituto Francés, Madrid (exp. individual)·    Feria Internacional Estampa, Tentaciones, Madrid·    Centro de Arte Contemporáneo Le Vivat, Armentières (exp. individual)·    Museo Nacional de Yokohama, Japón (exp. individual)·    2001    ·    Galería Akié Arichi, París (exp.individual)·    Centro de Arte Contemporáneo de Hanoura, Japón (exp. individual)·    Bienal de Issy-les-Moulineaux2000·    Centro de Arte Contemporáneo Albert Chanot, Paris (exp. individual)·    Centro de Arte Contemporáneo Zokey, Osaka (exp. individual) ·    1999    ·    Centro de Arte Contemporáneo St-Marie Madeleine, Lille (exp. individual)·    Museo Washi, Yamakawa (exp. individual)1998    ·    Centro de Artes gráficas, Hong Kong·    Museo de Locle, Suiza·    SAGA, París1997    ·    Galería Confluences, París·    1996     ·    Galería Bouscayrol, Biarritz·    Galería de Atrium, Chaville (exp. individual)1994    ·    Galería Théorème, Bruselas·    Fundación Charles Chaplin, Estonia1993·    Centro de Arte Contemporáneo La Ferme du Buisson, Marne-la-Vallée·    Galería Vittokiana, Bruselas1989·    Galería Godart, Sydney (exp. individual)·    Galería Horizons, Lille (exp.individual)

GRANTS AND AWARDS2000    ·    Premio de grabado de la Fundación J-One Art, Tokio·    1999    ·    Premio de la ciudad de Kamiyama (KAIR), Japón·    ·    Premio de la Comunidad Europea Strelli, Brusselas·    Premio Nacional de los Estudiantes en Artes, Buenos Aires

ARTISTICS RESIDENCIES KAIR, Japón, 1999. Museo Albert Chanot, Clamart, 2000. Centro de Arte Contemporáneo Le Vivat, Armentieres, 2001. Casa de Velázquez, Madrid, 2001. Lille Capital Europea, 2004.

PUBLIC COLLECTIONS Fundación Bristol, Buenos AiresFundación Miss & Lang, Buenos AiresCiudad de LilleSASEM, ParísMuseo Albert Chanot, ClamartEPSM, LilleKAIR, JapónCiudad de Kamiyama, JapónCiudad de Tokushima, JapónInstituto Francés de MadridFundación Nacional, Hospitales de FranciaBiblioteca Nacional, Paris

PUBLICATIONSOscar Lloveras, Obras recientes, Ciudad de Lille, 1999Artist in residence, Edicion anual del KAIR, Kamiyama, Japón,1999Revista para las Artes, Fundación de la Industria, Tokushima ,Japón, 2000

 

 

 

 

 

05prtb0373

2005. Simon Greenan + Christopher Sperandio. SOY MADRID (visual data / related works)

2005. Simon Greenan + Christopher Sperandio. SOY MADRID (visual data / related works)

 

 RELATED WORKS

Sample from a recent Grennan and Sperandio collaboration with young people as published in the Battle and Rye Observer.For more information visit www.kartoonkings.com

 

 

 

 

 

 

05prmc0488

2005. María Alos + Nicolás Dumit (Cv)

MARÍA ALÓSCAMBRIDGE, MASSACHUSETTS, USA, 1973LIVES AND WORKS IN MÉXICO D.F

NICOLÁS DUMIT ESTEVEZ SANTIAGO DE LOS TREINTA CABALLEROS, REPÚBLICA DOMINICANA, 1967LIVES AND WORKS IN NEW YORK WWW.IDENSITAT.NET

WORK EXPOSED IN MADRID ABIERTO: EL MUSEO PEATONAL

MARÍA ALÓSEDUCATION2000·    MFA, Art Photography. Art Media Studies Department, Universidad de Siracusa, Nueva York.

1998·    Public Art and Urban Identities. Instituto Americano de Fotografía. Tisch School of the Arts. Universidad de Nueva York.

1995·    Computer Graphics. Diploma Program. Unidad de Posgrado de la Escuela de Diseño del Instituto Nacional de Bellas Artes, Ciudad de Méjico.

1994·    Fotografía. Escuela Activa de Fotografía , Ciudad de Méjico.

1993·    Fotografía. Escuela de Artes Visuales. Nueva York.

SOLO EXHIBITIONS2004·    Incognito: D.F. Collection. nm projects . Galería Nina Menocal, Ciudad de Méjico·    The Passerby Museum . Proyecto de arte público en UNAM. Ciudad de Méjico·    FYI: The Passerby Museum . Window Project. La Lunchonette, Nueva York

2001·    Incognito . Artists Space. Nueva York

2000·    Come Play . Spark Gallery. Syracuse, Nueva York

1999·    In Bloom . Gallery 120. Syracuse, Nueva York·    Open . Gallery 120. Syracuse, Nueva York

1998·    Alter Ego y Ot ros Cuerpos . Centro Médico Nacional Siglo XXI. Fotoseptiembre 98', Ciudad de Méjico·    The Giantess. Gallery 120. Syracuse, Nueva York

1997·    El Ojo . Gallery 120. Syracuse, Nueva York

GROUP EXHIBITIONS 2004·    El Secreto esta en la masa . Cold Creations, Barcelona·    El Museo Peatonal e Indagaciones sobre la Colección MUCA CU . MUCA Roma, Ciudad de Méjico·    ASAP . Daimler Chrysler Building. Bordermates, Ciudad de Méjico·    Resistencia III SITAC . Teatro de los Insurgentes, Ciudad de Méjico·    Rehearsed . Longwood Arts Gallery, Bronx, Nueva York·    Collect/Recollect . ObjectNotFound Project Room. San Pedro, Nuevo Leon, Méjico·    Sunday Anxieties . Local Project, Nueva York

2003·    MHN.02   Modificaciones . Museo de Historia Natural, Ciudad de Méjico.·    La participación fue suspendida se desinstaló la obra tres horas antes de la inauguración. Ver documentación en www.origina.com.mx/mhn·    GO! Liquidación Total, Madrid·    Sexta Bienal de Video y Nuevos Medios, Santiago, Chile·    PrettyThingsPretty . Canzine Festival Programme, Toronto·    The Trespassers . Lyonswier Gallery, Nueva York·    Crossings : Artistic and Curatorial Practice. CAA 2003 Conference, Hilton Hotel, Nueva York·    Vertical Video . The Folsom Library Gallery, Rensselaer Polytechnic Institute, Troy, Nueva York·    Egeszsegedre . BPM Performance Space. Nueva York·    The Love a Commuter Project 2003 . Performance en estación de metro. El Museo del Barrio, Nueva York

·    Windows @ 42nd Street . Performance. Chashama, Nueva York

·    Circles and Squares . Jaraf Video @45 Below, Bleeker Theater, Nueva York

2000·    2000 Everson Biennial . Everson Museum of Art, Syracuse, Nueva York·    Master of Fine Arts Exhibition . Joe and Emily Lowe Gallery, Syracuse University, Nueva York·    The Fruit Show . Gallery 120, Syracuse, Nueva York·    Re-opening Show . Spark gallery, Syracuse, Nueva York·    Second Year Graduates Exhibition. Coyne Gallery, Syracuse University, Nueva York·    Women Art & Change . Wescott Community Center, Syracuse, Nueva York·    Media Blitz . Joe and Emily Lowe Gallery, Syracuse University, Nueva York·    Show-Show. Good Earth Café, Syracuse, Nueva York

1998·    Summer Show . Joe and Emily Lowe Gallery, Syracuse University, Nueva York·    National Graduate Seminar. Gulf & Western Gallery. Tisch School of the Arts, New York University

1997·    Art Photography Graduate Exhibition . Shaffer Art Building, Syracuse University, Nueva York

GRANTS AND AWARDS2002·    Beca Proyecto Independiente. Artists Space.

2001·    Premio ‘Best of Show' de eMotion Pictures: An Exhibition of Orthopaedics in Art. American Academy of Orthopedic Surgeons.

2000·    Programa ‘Artists in the Marketplace'. The Bronx Museum of the Arts.

1999–00·    Beca 3er curso. Universidad de Siracusa.·    Beca de verano. Universidad de Siracusa.·    Beca Investigación/Proyecto Creativo. Universidad de Siracusa.

1998·    American Photography Institute-National Graduate Seminar Fellowship. Tisch School of the Arts, New York University·    Syracuse University Teaching Assistantship and Scholarship

1997·    Syracuse University Scholarship

BIBLIOGRAPHY·    Perea, Barbara. ‘ASAP'. Arte Contexto, Madrid·    Mallet, Ana Elena. ‘nmprojects: María Alós'. DF Magazine nº27. Ciudad de Méjico·    Oriard, Andres. ‘El Museo peatonal'. Exit Express, Madrid·    Mayer, Mónica. ‘El Museo Peatonal'. El Universal newspaper, Ciudad de Méjico·    Camil, Pia. ‘El Museo Peatonal'. Chilango Magazine, Ciudad de Méjico·    Pacho. “Museo Peatonal.” Ruidos de la Calle in the Culture Section. Reforma newspaper. Ciudad de Méjico·    López, Pancho. “Notas desde El Museo Peatonal”. La Crónica newspaper. Ciudad de Méjico Leñero, Isabel. “Artes Visuales—MUCA Roma.” Proceso Magazine. Ciudad de Méjico·    Ceballos, Miguel Angel. “Museo Peatonal”. Culture Section. El Universal newspaper. Ciudad de Méjico·    Núñez, Erika. “Crean museo de peatones”. Culture Section. Milenio newspaper. Ciudad de Méjico·    Blanco, Sergio R. “Toman ‘arte' de la calle”. Culture Section. Reforma newspaper. Ciudad de Méjico·    Terrazas, Kyzza. “El guiño como memorándum. Acercamientos a la obra de María Alos” . Revista Origina. Número Agosto. Ciudad de Méjico.·    Cotter, Holland. Art in Review. The New York Times, Nueva York·    Schmelz, Itala. ‘Acciones Propicias'. Arte Al Día News Mex. Ciudad de Méjico·    Villasmil, Alejandra. ‘ Exposiciones de arte en el Bronx exploran la identidad Latina'. El Híspano Newspaper, Nueva York·    Terrazas, Kyzza. ‘MHN: Recorrido Evaluativo; María Alós'. Catalog. Publicado por Origina. Ciudad de Méjico

2003·    Hernandez, Edgar Alejandro. ‘Denuncia Artista Censura de su Obra'. Reforma, Ciudad de Méjico·    Cotter, Holland. ‘The S Files'. Art in Review. The New York Times, Nueva York·    Helguera, Pablo. NYC Reviews. Art Nexus Magazine.·    Giovanotti, Micaela. ‘The S Files'. Tema Celeste No. 95

2002·    Cullen, Deborah and Noorthoorn, Victoria. ‘The (S) Files'. Catalogue. El Museo del Barrio, Nueva York·    ‘El Museo Peatonal Reabre en Enero'. El Caribe Newspaper. Santo Domingo·    Baptista, Greyza. ‘Bienal de Arte Joven en el Museo del Barrio'. Hoy Newspaper, Nueva York·    ‘El Museo del Barrio's Biennal' . El Caribe Newspaper. Santo Domingo·    Kalita, S. Mitra. ‘ With Touch of Color, Artists Help revive Downtown Block'. Newsday .·    ‘180: Maria Alos' Image Registry Intervention'. Lab 71: International Art Content. Issue 2. www.lab71.org, Nueva York·    Pictures of You Exhibition. El Norte Newspaper. Monterrey, México.·    Hernandez, Sofia. ‘Pictures of You'. Catálogo. The Americas Society. Nueva York·    Laster, Paul. ‘b.kyn 2.0, an online journal of the arts'. www.bkyn.com·    ‘AIM 21'. Catálogo. The Bronx Museum of the Arts. Bronx, Nueva York·    "Bleu&Blanc" Magazine. p. 96, number VIII. Fall issue. Ciudad de Méjico

2000·    Mellor, Carl. ‘Offbeat Art. Everson Biennial's focus on unconventional pieces should entice audiences'. Syracuse New Times.·    Friday, Matthew. ‘The Everson Biennial 2000, Postmodern Sublime'.   Nueva York Art Guide.

PUBLICATED ARTICLES·    Analysis on Panel Discussion. ‘The role of the Audience': Esther Shalev-Gerz, Leslie King Hammond y Krzysztof Wodiczko.·    Analysis on Panel Discussion. ‘New Strategies: Education of Public Artists': Judy Baca, Amalia Mesa-Bains y Susan Lacy.·    Synopsis on Miwon Kwon's lecture: ‘Public Art and Urban Identities'.  ·    ‘Eighth National Graduate Seminar Proceedings Journal: Public Strategies, Public Art and Public Spaces' . Publicado por American Photography Institute. Tisch School of the Arts, Nueva York University. Nueva York

2003·    ‘Morality and the Maker: Conscience as a consideration when creating contemporary art'. Mesa redonda moderada por Amy Goldrich en Mixed Greens, Nueva York·    ‘Visiting Artist. A Contemporary Cadavre Exquis'. Conferencia en SHiNE y Rush Philantropic Arts Foundation, Nueva York

2002·    Mesa redonda para Set in Motion. Apex Art. Nueva York·    Conferencia en The Americas Society for children para el proyecto B.R.A.C.E. (Bronx Region Access to Culture and English), Nueva York·    Conferencia en Thomas Erben Gallery, presentada por Louky Keijsers

2001·    Conferencia en Artists Space, presentada por Barbara Hunt·    ‘On Point: AIM21': conferencia en The Bronx Museum of the Arts, moderada por Edwin Ramoran

WORKS IN COLLECTIONS·    Miriam and Ira D. Wallach Division of Art·    Prints and Photographs·    The Nueva York Public Library·    Astor·    Lenox and Tilden Foundations, Nueva York·    The Everson Museum of Art, Syracuse·    The New Museum of Contemporary Art, Nueva York

NICOLÁS DUMIT ESTEVEZEDUCATION2000·    Master en Bellas Artes. Tyler School of Art, Temple University, Philadelphia

1996·    Licenciatura en Artes cum laude (Studio Art), The City College of the City University of New York

SOLO EXHIBITIONS

2004·    The Passerby Museum . Universidad Autónoma de Mexico (UNAM), Ciudad de Méjico. H ostos Community College, Longwood Art Project/The Bronx Council on the Arts, Bronx, Nueva York.

2001·    Cavum Gloriosum . Dixon Place, Nueva York

GROUP EXHIBITIONS 2004·    Good Enough to Eat . Performance presentada en Rita McBride's Arena at Sculpture Center, Long Island City·    S.O.S (Straight Off the Street): Moment , en colaboración con Mel Chin. Longwood Art Gallery/Project Room, Hostos Community College, Bronx, Nueva York.·    A.S.A.P. Daimler Chrysler Building, Ciudad de Méjico·    Re:source . Performance, Art In General, Nueva York·    Cabaret del Barrio . Heckster Theatre, Museo del Barrio, Nueva York·    CultureFest: Amigo Express , intervención presentada en LMCC's booth, Nueva York·    Freedom Salon, en colaboración con Mel Chin . Deitch Projects, Nueva York.·    The Passerby Museum . Museo de Ciencias y Arte (MUCA/Roma), Ciudad de Méjico·    No Lo Llames Performance/Don't Call It Performance . Museo del Barrio, Nueva York·    Jamaica Flux . Jamaica Center for Arts and Lea rning, Queens, Nueva York·    EA50 . Here Arts Center, Nueva York·    Super Salon . Samson Projects, Boston·    e-Bay-Buy or Sell or Buy . Pace Digital Galley, Pace University, Nueva York

2003·    Immigration and Expectations. Paul Robeson Gallery, Rutgers University, Newark, Nueva Jersey·    Insert . Cuchifritos, Nueva York·    In Practice . The Sculpture Center, Long Island City, Nueva York.·    Recuento de mis 15 . Bronx River Art Center, Bronx, Nueva York·    CultureFest: Not For Sale , intervención presentada en LMCC's booth, Nueva York·    The Caribbean Abroad . Newark Museum, Newark, Nueva Jersey·    Recession 2003, $99 Show , Cynthia Broan Gallery, Nueva York·    Orden Del Día . Museo de Arte Moderno, República Dominicana·    Espacios a la Experimentación II, Museo de Arte y Diseño Contemporáneo, Costa Rica                  ·    Video-Performance, Remote Lounge, Nueva York

2002·    White Box Annual Benefit Auction. White Box Gallery, Nueva York·    Trienal del Tile Cerámico, Museo de Arte Moderno, Santo Domingo·    Press . Southwest School of Arts and Crafts, San Antonio, Texas·    One Fine Day . Block Gallery, Sydney·    The S-Files . Museo del Barrio, Nueva York·    Looking In . Lower Manhattan Cultural Council, Nueva York·    Live from Downtown/Live Performance . Downtown Community Television (DCTV), Nueva York·    Hot Festival . Dixon Place, Nueva York·    The Love a Commuter Project 2002. Estaciones de metro 149th Street y Grand Concourse, Bronx, Nueva York·    Cultural Collaborations: Observations in Time and Space . Henry Street Settlent/Abrons Art Center, Nueva York·    PerfoPuerto/Festival Lationoamericano de Arte de Performance, Valparaiso, Chile

2001·    Peppermint . Smack Mellon Gallery, Brooklyn, Nueva York·    Mini Prints Portfolio . Lower East Side Printshop, Nueva York·    IV Caribbean Bienal. Museo de Arte Moderno, Santo Domingo·    Días Hábiles . Museo del Hombre Dominicano, Santo Domingo·    Spunky . Exit Art, Nueva York·    AIM 21 . The Bronx Mu seum of the Arts, Bronx, Nueva York·    Crossing the Line . The Queens Museum of Art, Queens, Nueva York·    Lecture Lounge Vol. I and II. P.S1/The Clocktower Gallery, Nueva York·    Recuerdos de Mis 15 . P.S.1/The Clocktower Gallery, Nueva York·    The Land Columbus Loved Best . Dixon Place, Nueva York·    The Love a Commuter Project 1999 . Times Square Subway Station, Nueva York

2000·    Super Merengue . Dixon Place, Nueva York·    Donors' Performance Night . Dixon Place, Nueva York·    B.U.M.F. Expo . Jersey City Art Tour 2000, Nueva Jersey·    Avant-Garde-Arama-Thon . P.S.122 Performance Space, Nueva York

1999·    The Y2K Solutions, Maryland Institute College of Art, Baltimore, Maryland and Mason Gross School of the Arts Gallery, Rutgers University, New Brunswick, Nueva Jersey

1995·    AccessZone 02, The Bronx Museum of the Arts, Bronx, NY

GRANTS AND AWARDS1997–02·    Franklin Furnace Fund para Performance Art, Nueva York

2004·    Programa de estudio de Lower Manhattan Cultural Council, New York·    Beca Puffin Foundation, Nueva Jersey·    Longwood Arts Project Cyber Residency, Longwood Arts Project/The Bronx Council on the Arts, Bronx, Nueva York

2003–06·    Lambent Fellowship in the Arts, Tides Foundation, Nueva York

2003·    Beca residencia de Artist Alliance Inc.'s Lower East Side Rotating·    Artists Alliance INC, Nueva York

2002·    Beca proyecto independiente, Artists Space, Nueva York·    Artist in Residence Fellowship, The Vermont Studio Center, Johnson·    2001–02 ·    The National Studio Program, P.S.1/MoMA, Long Island City, Nueva York   ·    Proyecto de colaboración cultural internacional, Snug Harbor, Trace·    Foundation y Henry Street Settlement/Abrons Art Center, Nueva York·    Special Editions Fellowship, The Lower East Side Printshop, Nueva York·    Artist in the Marketplace, The Bronx Museum of the Arts, Bronx, Nueva York·    1998–00 ·    Future Faculty Fellowship, Tyler School of Art, Temple University, Philadelphia, PA

1997·    Programa de residencia, Henry Street Settlement/Abrons Arts Center, Nueva York·    Rita Margrath Scholarship, Potters for Peace, Managua, Nicaragua·    Albert P. D'Andrea Award for Excellence in Art & Scholarship, The City College of the City University of New York

1995·    Connors Award, The City College of the City University of New York

PRESENTATIONS2004·    Hartwick College, Oneonta, Nueva York·    Queens Council on the Arts, Queens, Nueva York·    La Esmeralda, Mexico City·    Here Arts Center, Nueva York·    Educational Alliance, Nueva York·    Pace University, Nueva York ·    Sculpture Center, Nueva York·    Longwood Art Gallery, Bronx, Nueva York

2003·    Rutgers University, Newark NJ·    Aljira A Center for Contemporary Art, Newark, NJ

2002·    Johnson State College, Johnson, Vermont

2001·    The Bronx Museum of the Arts, Bronx, Nueva York·    Instituto de Arte y Cultura (ICA), Santiago, República Dominicana·    Museo de Arte Moderno, República Dominicana·    Universidad Tecnológica de Santiago, Santiago, República Dominicana

PUBLICATED ARTICLES AND BIBLIOGRAPHY (selection)·    ‘Code Red', Tart, Canada 2004·    ‘Fefita al Oleo', Listín Diario, República Dominicana 2000·    ‘A Fuetazo Limpio', El Listín Diario, República Dominicana 2000·    ‘San Expedito se Muda a Manhattan', El Listín Diario, República Dominicana 2000·    ‘Open Wounds', Ceramics Technical, Australia 1999·    ‘Wedging Politics: Traveling the Nicaraguan Pottery Road', The Studio Potter, 1999·    ‘Post-Sandino, Pre-Columbian Pottery', Ceramics Technical, Australia 1999·    ‘The Matriarchal Hand', Contact, Canada 1998·    Mayer, Mónica, ‘El Museo Peatonal', Visual Arts Section, El Universal, Ciudad de Méjico 2004·    Camil, Pia, ‘El Museo Peatonal'. Chilango. Ciudad de Méjico 2004·    Pacho, ‘Museo Peatonal'. Ruidos de la Calle, La Reforma, Ciudad de Méjico 2004·    López, Pancho. ‘Notas desde El Museo Peatonal', La Crónica, Ciudad de Méjico 2004·    Leñero, Isabel. ‘Artes Visuales—MUCA Roma', Proceso, Ciudad de Méjico 2004·    Ceballos, Miguel Angel. ‘Museo Peatonal', El Universal, Méjico 2004·    Núñez, Erika, ‘Crean museo de peatones', El Milenio, Ciudad de Méjico 2004·    Blanco, Sergio R. ‘Toman ‘arte' de la calle', La Reforma, Ciudad de Méjico 2004·    Mandell, Meredith, ‘Artist Cooks Up Hot Performance', The Bronx Beat 2004·    Vega, María, ‘Las Travesuras Artísticas de Dumit Estévez', El Diario 2004·    Cotter, Holand, ‘Art in Review', The New York Times 2004·    Gennocchio, Benjamin, ‘Images of Tropical Lands, Issues of Caribbean Identities', The New York Times 2003·    Martínez, Arturo, ‘Caribbean artists show their visions of America',·    The Star Ledger 2003·    Walter, Robinson, Artnet 2003·    Amado, María del Carmen, ‘Nueva Bienal en el Museo de El Barrio', Hoy 2002·    Vega, María, ‘Abre Bienal del Museo del Barrio', El Diario 2002·    ‘The S-Files', El Museo del Barrio, Nueva York 2002·    ‘Latin American Biennial In New York', Artnet News 2002·    ‘El Museo Peatonal Reabre en Enero', El Caribe, Santo Domingo, República Dominicana 2002·    Baptísta, Greyza, ‘Bienal de Arte Joven en el Museo del Barrio', Hoy,·    Nueva York 2002·    Mitra , Kalita S. ‘With Touch of Color, Artists Help Revive Downtown Block', Newsday, Nueva York 2002·    Laster, Paul ‘bkyn 2.0, An Online Journal of the Arts', wwww.bkyn.com·    P.S.1/MoMA National and International Studio Program, Nueva York 2002·    Available in Large Print, The Lower East Side Printshop, Nueva York 2002·    Zayas, Antonio, ‘The 4th Caribbean Bienial in Santo Domingo', Artnexus no.44/volume 2·    Martínez, Labares, Vivian, ‘Viaje al centro de La Quisqueya: festival de Santo Domingo', Conjunto: Revista de Teatro Latinoamericano # 123, Habana, Cuba 2001·    Decena, Noris, ‘Arte por Doquier', El Listín Diario, República Dominicana 2001·    ‘El Museo del Hombre Exhíbe Días Hábiles', El Listín Diario, República Dominicana 2001·    ‘AIM 21, The Bronx Museum of the Arts', Bronx, Nueva York 2001·    Medína, Grisbel, ‘La Fundación Guaguarey Busca Unidad de los Artesanos del Higüerito',   El Listín Diario, República Dominicana 2000·    Medína, Grisbel, ‘Dumit Estévez', El Listín Diario, República Dominicana 2000

 

 

 

 

 

05prtb0372

2005. José Dávila (Cv)

GUADALAJARA, MÉJICO, 1974LIVES AND WORKS IN GUADALAJARA, MÉJICO D.F.WORK EXPOSED IN MADRID ABIERTO:MIRADOR NÓMADA

EDUCATION1993·    Licenciatura en Arquitectura, Instituto Tecnológico y de Estudios·    Superiores de Occidente ITESO, Guadalajara, Jal., México

1997·    Taller de teoría "Nuevos medios/desaparición del objeto"

1994·    Cursos de fotografía y escultura, Academia de Bellas Artes, San Miguel Allende, Gto., México

1993·    Cursos de Arte y Arquitectuta del renacimiento, Academia ARS - Grammatica, Florencia, Italia

SOLO EXHIBITIONS2004·    Jose Dávila. Galería Enrique Guerrero, México D.F.

2003·    Untitled Elevation No 2. Les halles, Valais, Suiza·    ARCO'03. Project Room. Galería Enrique Guerrero, Madrid·    Erasing Memory. Galería Enrique Guerrero, México D.F.

2001·    Temporality is a question of survival. Camden Arts Center, Londres·    Monocromo. Project Room, México D.F.·    45 minute Project. Televicentro, Guadalajara, Jal. México

1998·    Watch your step. Galería 3.90 x 2.40 NAP, Guadalajara, Jal., México

GROUP EXHIBITIONS 2004·    Deconstruction for a construction. Galerie Valerie Cueto, París·    Light and atmosphere. Miami Art Museum, Miami·    Piel Fría /Peau Froide. Museo Carrillo Gil, México D.F.; Instituto de México en Paris

2003·    Cambio de valores. Colección ARCO/Espai de Art contemporani, Castellón·    In the absence of recombination. Bronx River Art Center, Nueva York·    IX Salón de Arte Bancomer. Museo de Arte Moderno, México D.F.; Museo de Arte Contemporáneo Alfredo Zalce, Morelia, Mich., México·    Mexico Iluminado. Freedman Gallery, Albright College, Philadelphia·    Mexico Attacks!. Associazione Prometeo per L'arte Contemporanea, Chiesa di San Matteo, Lucca, Italia·    Jetset. Museum of Installation, Londres·    The translator notes. Café Gallery Projects, Londres

2002·    Fatamorgana. Zero artecontemporanea, Piacenza, Italia·    INTER.PLAY. The Moore Building, Miami; MAPR San Juan, Puerto Rico·    Anonimous. Centro de arte Santa Mónica, Barcelona·    Panorama Emergente. III Iberoamerican Architecture Biennal, Santiago, Chile·    Mexico City: An Exhibition about the Exchange Rates of Bodies and Value. P.S.1 Contemporary, Nueva York; Art Center at Museum of Modern Art, Long Island City, Nueva York; Kunstwerke, Berlín·    Doble Interior. Visite la Casa Muestra, Galería ARTE3, Guanajuato, Gto., México·    Puerto Rico PR02. San Juan, Puerto Rico·    Casa, vestido, sustento. Plaza Carlos Pacheco, México D.F.·    Sauvage. La Panadería, México D.F.·    Teoría del Ocio. La Colección Jumex, Edo. de México

2001·    Asamblaire. Centre Culturel du Mexique, París·    The vanishing city. Programa Art Center, México D.F.; Centro de las Artes, Monterrey·    Recreo: Cuatro Artistas de Guadalajara. Galería Enrique Guerrero Open Studio, International Video Screenings, 291 Gallery, Londres·    Ventanas. Centro de Arte.com, Madrid

2000·    Cuarto de Demostraciones/La casa ideal. Museo Alejandro Otero, Caracas; Apex Art, New York; Gallery 400, Chicago; NICC, Antwerp, Bélgica.·    Artists Workshop, Oxford, R.U.·    Open Studio. Braziers Intl. Oxford, Inglaterra·    Fraccionamiento del terreno/a piece of the action. Galería Emma Molina, Monterrey·    Segundo Festival Internacional de Arte Sonoro, Museo Estudio Diego Rivera, México D.F.·    Propulsión a chorro. Museo de las Artes, Guadalajara, México

1999·    Ciencias In-naturales. Ex Teresa Arte Actual, México D.F.·    Look-Look, 1.Insideout ó Por qué ponerle dos rebanadas de jamón al sandwich cuando se le puede dar una mordida al puerco vivo? 2. Los secretos de victoria 3. Expose, Espacio 16/16, Guadalajara, México·    Yo y mis circunstancias / movilidad en el arte contemporáneo de México. Muestra de Video, Museo de Bellas Artes, Montreal, Canadá·    VIII Muestra Internacional de Performance (utopía/distopía). Ex Teresa Arte Actual, México D.F.·    Desmaterialización en raciones/Objeto de morfología. León, Gto.; Cineteca de Nuevo León, Monterrey, México·    El Arte Ataca. FIAC '99, León, Guanajuato, México·    Televisión Incidental. Grupo Incidental, Televicentro, Guadalajara, México·    En Busca De Un Lugar No Conquistado. Ex Teresa Arte Actual, México D.F.

1998·    Fotografía Incidental. Grupo Incidental, Guadalajara, México·    Doméstica. Grupo Incidental, Guadalajara, México

1997·    Obra al piso. Galería de Arte Contemporáneo, Guadalajara, México

1996·    Cien años de Cine. Universidad de Guadalajara, Guadalajara, México

GRANTS AND AWARDS 2004·    Residencia en Kunswerke, Berlín

2002·    Seleccionado para la III Bienal Iberoamericana de Arquitectura en Santiago de Chile

2001·    Residencia en Camden Arts Centre. Premio de The Andy Warhol Foundation.·    Seleccionado para la Bienal de Monterrey, member of Ediciones el chino·    Premio Jóvenes Creadores, FONCA, México

2000·    Residencia en Braziers Intl. Workshop, Oxford, Inglaterra

1998·    Beca para participar en el seminario 'Estudios de Arte Contemporáneo', FARCO A.C., Guadalajara, México

1996·    Mención Honorífica. Concurso de Arquitectura: 'Vivienda Estudiantil', Semana de Arquitectura,   ITESO, Guadalajara, México·    Mención Honorífica, Semana Cultural ITESO, ITESO, Guadalajara, México

BIBLIOGRAPHY·    Gallo, Ruben, 'Cream 3', Phaidon Press 2003.·    Beith, Malcolm. 'Mexico's New Wave'. Newsweek International, Nueva York 2003·    'Cambio de Valores'. Catálogo de la exhibición. EACC, Castellón, 2003·    Macri, Teresa. 'Mexico Attacks'. Catálogo de la exhibición. Associazione Prometeo per l'Arte Contemporanea, Lucca, 2003.·    Capata, Paola. 'Assael, Caretto, Courbout, Davila'. Arte e Critica No. 33, Roma 2003·    Rivero Lake, Francisca. 'Jose Davila'. Art Nexus Magazine No.46, 2002·    'Interplay'. Catálogo de la exhibición. Moore Space, Miami 2002.·    Biesenbach, Klaus and Martín. 'Mexico City: An Exhibiton about the Exchange Rates of Bodies and Values'. Catálogo de la exhibición. P.S.1-Kunstwerke. Long Island City, Nueva York 2002.·    García, Omar. Periódico Reforma, Sección de Cultura, Méjico D.F. 2002.·    'Jose Davila'. Revista Celeste No. 3, 2001 - 2002·    Gallo, Ruben and Craddock, Sacha. 'Jose Dávila, Temporality is a question of survival'. Catálogo de la exhibición. Camden Arts Centre. Londres 2001.·    Currah, Mark. 'Jose Davila'. Time Out Magazine No. 1626, Londres 2001·    Smith, Dan. 'Jose Davila'. Art Monthly Magazine No. 251, Londres 2001.

 

 

 

 

05prtb0371

2005. Henry Eric Hernández García (Cv)

CAMAGÜEY, 1971LIVES AND WORKS BETWEEN MADRID, CIUDAD DE LA HABANAWORK EXPOSED IN MADRID ABIERTO: ZONA VIGILADA

EDUCATION1993·    Instituto Superior de Arte, La Habana.

1996·    Taller de escultura impartido por Richard Deacon. ISA, La Habana.·    Taller de escultura impartido por Dean Knox. ISA, La Habana.

1995·    Taller de arte contemporáneo. Centro Wifredo Lam, La Habana.

1986·    Escuela Profesional de Arte, Camagüey.

1983·    Escuela Vocacional de Arte, Luis Casas Romero, Camagüey.

SOLO EXHIBITIONS2003·    Vídeo-show. Casa de las Américas. VIII Bienal de La Habana.

2002·    Out to the pagoda. Neutral Ground Gallery. Regina, SK. Canadá.

2001·    Sala transitoria. Fundación Ludwig de Cuba-C.D.A.V. La Habana.

2000·    Vídeo-show. Fundación Ludwig de Cuba, VII Bienal de La Habana.·    Unplugged. Centro de arte 23 y 12. La Habana.·    Vídeo-show. Controversia con el ghetto. C. C. Cinema. ICAIC. La Habana.

1998·    Sin celosías la encomienda va mejor. Centro Wifredo Lam. La Habana.1997·    Leyendas Caseras. Centro Cultural cubano-árabe. La Habana.·    1996 Virilidad Underground. Taller de serigrafía René Portocarrero.   La Habana.

1993·    Edictos. Galería Juan David. La Habana.

1992·    Rumbo al oasis. Galería Alejo Carpentier. Camagüey.

1991·    En pie famélica legión. Museo Ignacio Agramonte. Camagüey.

1990·    Guerrilleros vs Longobardos. Centro de Arte. Camagüey.·    Servidor afilado. Casona del F.C.B.C. Camagüey.

GROUP EXHIBITIONS 2004·    Sin Embargo. Fluid Image. Grenoble, Francia.·    Muestra de Video Creación Iberoamericana. Madrid, España.·    II Muestra Internacional de Documental. Cádiz, España.·    Etats Generaux Du Film Documentaire. Lussas, Francia.

2003·    II Bienal de Cerámica en el Arte Contemporáneo. Albissola Mare, Italia.·    Al final del pasillo. C.6 # 218 Vedado. Censurada durante la VIII Bienal de La Habana.·    Doble Seducción. Sala Amadis. Madrid, España.·    Los Angeles Latino Film Festival. LA, U.S.A.·    Realización de arte y still en el cortometraje Molina´s solarix. Betacam.

2002·    Publicación NERTER no. 3-4. Tenerife, Islas Canarias.·    Arte Contemporáneo de Cuba. Colateral Bienal de Sao Pablo, Galería Martha Traba. Brasil.·    COPYRIGHT. Centro Cultural de España en La Habana.·    OVNI 2002, Muestra de Vídeo Independiente. C.C. Contemporánea de Barcelona.·    Dirección de Arte. Cortometraje The Friedman Castle. 35mm.

2001·    Políticas de la Diferencia, Arte Iberoamericano de Fin de Siglo.·    Internacional itinerante. Museo de Malba Buenos Aires, Museo de Sofia Imber Caracas, Centro Cultural de Sao Paulo, Museo de Arte Contemporáneo de P.R.·    Two Nations, work on paper. White Water Gallery, Canada / CDAV, La Habana.

2001·    III Salón de Arte Contemporáneo. Fototeca de Cuba. La Habana.·    XXI en el 21. GalerÌa Biblioteca Nacional. La Habana.·    Festival Cine Plaza de La Habana.·    Realización de Arte. Cortometraje Molina´s Test. 35mm.

2000·    H.E./V./A. M. Casa de Chile, VII Bienal de La Habana.·    IV Certamen de arte para Jóvenes. Castellón, España.·    Sin fin, sin contén, sin medida.. C.D.A.V. La Habana.·    A la vuelta del transvida. Intervención en la calle D'CLOUET, Cienfuegos.·    22 Festival Internacional del Nuevo Cine Latinoamericano de La Habana.

1999·    While Cuba waits. Art from the nineties. Track 16 Gallery, L.A. USA.·    Llocs Lliures. Séptima Edición, Xabia. España.

1998·    De una isla a otra isla. Habana-París, Fundación Ludwig de Cuba.·    II Salón de arte contemporáneo. C. Wifredo Lam. La Habana.·    Nuevos y Sinceros. C.D.A.V. La Habana.·    V Bienal de cerámica Amelia Peláez. Castillo de la Real Fuerza. La Habana.

1997·    A punto de cosido. C.D.A.V. La Habana.·    Antes de la lluvia. I.S.A. VI Bienal de La Habana.

1996·    Y la nave va. XX años del I.S.A. C.D.A.V. La Habana.

1995·    I Salón de arte contemporáneo. Museo Nacional de Bellas Artes. La Habana.·    El oficio del arte. C.D.A.V. La Habana.·    El rápido. Salón del I.S.A. La Habana.·    Algoritmos. C.D.A.V. La Habana.

1994·    No valen guayabas verdes. V Bienal de La Habana. I.S.A.·    Expo de premiados. Museo Provincial Ignacio Agramonte. Camagüey.

1990·    Salón Fidelio Ponce de León. Camagüey.

1991·    Salón de la Ciudad. Camagüey.

INTERVENTIONS2002·    A la víctima desconocida. Intervención en el patio de una casa de familia (antiguas fosas comunes de las víctimas de la Reconcentración de Weyler 1896-97). San José de las Lajas.

2001·    Kermesse al desengaño. Intervención en el patio de la escuela Manuel Ascunce Domenech, (cementerio de la parroquia, 1788-1841). San José de las Lajas, La Habana.

2000·    Lampo sobre la runa. Intervención en el Cementerio Judío (1906-1910). Guanabacoa. VII Bienal de La Habana.·    ¡A quitarse el antifaz! Intervención en el círculo infantil Conchita Mas Mederos (antigua casa de vivienda de familias pudientes). Ciudad de Cienfuegos.

1999·    Los que cavan su pirámide. Intervención en la Necrópolis Cristóbal·    Colón (1871-1888). Vedado, La Habana.

1999·    Controversia con el ghetto. Intervención en Ciudad Escolar Libertad (antiguo ·    Campamento Militar Columbia). Marianao, La Habana.

GRANTS AND AWARDS2004·    Artist in Residence. Agencia Española de Cooperación Internacional, España. Fluid Image, Francia.

2002·    Beca en John Simon Guggenheim Memorial Foundation, Nueva York.

2002·    Artist in Residence. Neutral Ground Run-Centre for Artist. Regina, California.

2000·    Premio ‘Raúl Martínez'. Fundación Himann, U.S.A. Instituto Superior de Arte, La Habana.·    Premio. Asociación Cultural Saloni. Castellón, España.

1999·    Beca C.O.S.U.D.E. Suiza - La Habana.

1994·    Premio. Salón Fidelio Ponce. Camagüey.

1993·    Premio. UNEAC, Salón de la Ciudad. Camagüey.

1992·    Premio. Salón Fidelio Ponce. Camagüey.·    Beca. Fondo Cubano de Bienes Culturales. Camagüey.

1991·    Premio. A.H.S. Salón de la Ciudad. Camagüey.

LECTURES2004·    Centro de Arte Museo Reina Sofía. Madrid, España.·    Colegio Mayor Sra. de Guadalupe. Madrid, España.

2003·    Stanford University. California, U.S.A.·    University South of Florida. Tampa, U.S.A.

2002·    University of Regina. SK. Canadá.·    Profesor Asesor de Dirección de Arte. Escuela Internacional de Cine y Televisión, La Habana.·    Miembro de la Sociedad General de Autores y Editores de España. SGAE·    Miembro de la Unión Nacional de Escritores y Artistas de Cuba. UNEAC·    Integrante de Producciones Doboch.

FILMOGRAPHY 2004·    Sucedió en la habana (capítulo IV). 73min. Vídeo.·    Sucedió en la habana (capítulo I). 10min. Vídeo.

2003·    Sucedió en la habana (capítulo II). 50min. Vídeo.·    Triduto a Columbia . 5.56min. Vídeo.·    In memoriam . 2.30min. Vídeo.·    Reseña biográfica . 4.47min. Video.

2002·    Match con Indiana Jones . (reduce) 8.38min. Vídeo.

2001·    Sucedió en la habana . 13.20 min. Vídeo.·    Epitafios . 8.00 min. Vídeo.·    Match con Indiana Jones . 14.39 min. Vídeo.·    Almacén . 19.42 min. Vídeo.

2000·    Bocarrosa . 28,51 min. Vídeo.·    Controversia con el ghetto . 21min. Vídeo.

WORKS IN MUSEUMS AND COLLECTIONS·    Colección Tom Pattchet. Los Angeles. USA.·    Neutral Ground Run Centre and Gallery. Regina, SK. Canadá.·    Colección Asociación Cultural Saloni. Castellón. España.·    Museo Provincial Ignacio Agramonte. Camagüey.·    Museo Municipal de San José de las Lajas. La Habana.·    Videoteca Escuela Internacional de Cine. La Habana.·    Videoteca INJUVE. Madrid, España.

 

 

 

 

05prtb0370

2005. Colectivo Tercerunquinto (Cv)

FOUNDED IN 1998JULIO CASTRO MONTERREY, NUEVO LEÓN, MÉXICO, 1976GABRIEL CÁZARES, MONTERREY, NUEVO LEÓN, MÉXICO, 1978ROLANDO FLORES TOVAR, MONTERREY, NUEVO LEÓN, MÉXICO, 1975LIVE AND WORK IN MÉXICO D.F. WWW.TERCERUNQUINTO.ORG

SOLO EXHIBITIONS 2003Proyecto para la Unidad Belén de la Universidad de Guanajuato, Festival Internacional Cervantino, Unidad Belén (Facultad de Arquitectura y Facultad de Ingeniería), Guanajuato, México.

2000Dibujos, registro de obra y textos del Colectivo 3er 1/5. Ciclo de artistas emergentes, Alianza Francesa de Monterrey, Monterrey, México.

1999La Bf15+Pared. Galería Bf15, Monterrey, México.

1998Pared. Primera Muestra de Creación Contemporánea, Espacio Cultural Voladero, Monterrey, México.

GROUP EXHIBITIONS2004White Noise, REDCAT, Los Angeles, USA.BlueOrange Prize, Martin Gropius Bau, Berlin, Deutschland.Solo los personajes cambian, Museo de Arte Contemporáneo de Monterrey, Monterrey, México.Radicales Libres, Central de arte, Guadalajara, México.Proyectos para MUCA-Roma, Museo Universitario de Ciencias y Arte-Roma, Ciudad de México, México.

20034ª. Bienal do Mercosul, Arqueologías Contemporáneas, Pabellón de México, Porto Alegre, Brasil.In the Abscense of Recombination, Bronx River Art Center and Instituto de México, New York, USA.Instant City, Centre Culturel du Mexique, París, France.Espectacular, Centro Cultural de España, Ciudad de México, México.

2002México: Sensitive Negotiations, Instituto Cultural de México y Consulado General de México en Miami, Miami, USA.Zebra Crossing, Haus der Kulturen der Welt, Berlin, Deutschland.Intangible, Exposición Homenaje a Luis Barragán, Casa ITESO- Clavijero, Guadalajara, México.Architectures Consanguines, Galerie Roger Tator, Lyon, France.Ici Alleurs, Centre Culturel du Mexique, Paris, France.Sala de Recuperación, Museo de Arte Carrillo Gil, Ciudad de México, México.

2001Metropoli Mexique, Musée de Picardie, Amiens, France.Cómo es que los autos no vuelan aún, Centro de las Artes de Nuevo León, Monterrey, México.XXI Reseña de la Plástica Neoleonesa, Casa de la Cultura de Nuevo León, Monterrey, México.

20001er Festival de Arte Público, Festival Cultural Barrio Antiguo, Monterrey, México.Transiciones, Centro de las Artes de Nuevo León, Monterrey, México.XX Reseña de la Plástica Neoleonesa, Casa de la Cultura de Nuevo León, Monterrey, México.

1999Desplazamiento, X Teresa Arte Actual, Ciudad de México, México. Intervenciones-Instalaciones en sitio, Casona Blanca, Montemorelos, México.

19983era Bienal Regional de la Plástica Joven, Casa de la Cultura de Nuevo León, Monterrey, México.2do campamento por la diversidad, la tolerancia y la no violencia, Tepoztlan, México.Homeless, casa particular, Monterrey, México.

 

 

 

 

 

05prtb0367

2005. Simon Greenan + Christopher Sperandio. SOY MADRID (images + physical documents)

2005. Simon Greenan + Christopher Sperandio. SOY MADRID (images + physical documents)

PUBLICATIONS IN THE "EL MUNDO" NEWSPAPER

 * EJEMPLARES FÍSICOS DISPONIBLES PARA CONSULTA * VER DIFUSIÓN / IMPRESA

       

       

       

 

................................................................................................................................................................................................................MUPPIS

* PHYSICAL COPIES AVAILABLEMATERIAL: paperUNITS: 2 copies by imageMEASURES: 173'5 x 120 cm

    

       

 

................................................................................................................................................................................................................PICTURES OF SOME LOCATIONS

    

              

 

 

 

 

 

 

 

 

05inic0578, f05inic0511

2005. Compañía Caracas. ESPACIO MÓVIL (images)

2005. Compañía Caracas. ESPACIO MÓVIL (images)

                

                

                

 

 

 

 

 

 

 

05inic0515

2005. Fernando Baena. FAMILIAS ENCONTRADAS (images)

2005. Fernando Baena. FAMILIAS ENCONTRADAS (images)

 

         

         

                  

 

 

 

 

 

 

 

05inic0518

2005. José Dávila. MIRADOR NÓMADA (images)

2005. José Dávila. MIRADOR NÓMADA (images)

 

                 

                 

 

 

 

 

 

 

 

 

05inic0527

2005. Henry Eric Hernández García. ZONA VIGILADA (video)

 

  

FEATURE PROJECTION VIDEO FILMED IN HAVANA

This piece of work involves placing two video cameras with different angle movements, which will be handled by three different photographers who will constantly move it around the areas of the museum and record some situations (B/W), previously edited, transmited on one side of the screen, thus reconstructing the place´s environment. Simultaneously, at fixed times, the documentary filmed in La Havana will be screened on the other side of the screen, thus showing the time counterpoint between both security (vigilance) systems

 

 

 

 

 

 

 

 

 

 

05invc0526

2005. José Dávila. MIRADOR NÓMADA (register visits)

 

5.325 people accessed the scaffold

 

 

 

 

 

 

 

08intc0530

2005. María Alos + Nicolás Dumit. EL MUSEO PEATONAL (images)

2005. María Alos + Nicolás Dumit. EL MUSEO PEATONAL (images)

 

       

       

Photos: Alfonso Herranz

 

     

      

     

      

      

          

          

          

Photos: courtesy of the artists

 

 

 

 

 

 

 

 

 

 

05inic0531, 05inic3668

2005. Óscar Lloveras. S/T (images)

2005. Óscar Lloveras. S/T (images)

 

                  

          

          

 

 

 

 

 

 

 

05inic0536

2005. Colectivo Tercerunquinto. CALADO DE TERRENO, 1998

2005. Colectivo Tercerunquinto. CALADO DE TERRENO, 1998

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

 

 

 

 

05aama0396

2005. Rebekka Reich + Anne Lorenz. TAXI MADRID (images)

2005. Rebekka Reich + Anne Lorenz. TAXI MADRID (images)

 

         

         

          

         

 

 

 

 

 

 

05inic0555

2005. Raimond Chaves. EL RIO, LAS COSAS QUE PASAN (videos Metro Channel)

 On the programmes of the Metro channel, “El Río, las cosas que pasan” presents simple animations based on drawings and images with the inclusion of short lines of text and a very restrained use of sound. The contents of the animations will have a similar register to that of the posters but will emphasise the most absurd by presenting news that one would not really consider as news.

                        

                       

                        

                        

                        

                        

 

 

 

 

 

05invc0543 / 05invc0544 / 05invc0545 / 05invc0546 / 05invc0547 / 05invc0548 / 05invc0549 / 05invc0550 / 05invc0551  / 05invc0552 / 05invc0553 / 05invc0554

2005. Rebekka Reich + Anne Lorenz. TAXI MADRID (Dagmar / transcription - audio - postcard)

2005. Rebekka Reich + Anne Lorenz. TAXI MADRID (Dagmar / transcription - audio - postcard)

 

   

Name Play Size Duration
Pista 6
8 MB 8:43 min

Once, when I returned from… returned from Germany.. with… I got a cab in the airport with my then boyfriend, from Germany, we talked German all the time and the taxi driver thought we were foreigners and he took us on a tour around Madrid…

2 people speaking in German – man and woman (very low, in the backseat)

so, instead of taking us directly to the address that I had given in a direct manner, he drove around making outrages circles, no, because he thought that we were foreigners and couldn’t tell…

Taxi driver tells me the price of the trip in pesetas, very loud

When I return to Madrid I always… get goose bumps… (positive, thoughtful)

Most of all when I’m the area of Puerta del Sol.

Sound when entering the sol subway station – air vent? – lottery sellers

Puerta del Sol has a lot to do with me, most of all the subway station… each time, each time I come back to Madrid, the smell of the subway, which is something, that I think only exists in Madrid… that smell of paper… it’s a bit like the newspaper smell, the newspaper in Spain, El País, smells a lot like the subway (she laughs)

Rustle the newspaper – opening a page

(using a newsreader’s tone)…. the most horrible place in the world is Puerta del Sol or downtown Madrid, the old Madrid in Christmas…

The heat that comes out of the subway in winter when you’re walking around, or when you’re in font of the Mallorquina cake shop… And the smell of the subway comes out and I say, oh great, this is Madrid! (laughter)

Spanish music – song about Madrid (for example: caminando por la calle – ojos de brujo)

On Sunday mornings, in the morning, alter breakfast I went for a walk with my grandfather, I went to by the newspaper, sunbathe in the winter, so that the sun hit our faces, and he took me to the Café Central… in Bilbao… to have chocolate and strips of fried dough… and I remember these… it’s like a beautiful thing of mine, it’s something that remains in my heart.

Something that I also loved about Madrid that I buy every time I go, are Madrid’s violet flowers. In Sevilla there’s a shop, it’s called the violetera, I think, they sell violet flowers that are like pills, like sweets, with violet flavour…

Sound inside the shop, slowly crossfades into the post office in Cibeles

… I sent a package, no wait I take.. how was it, I don’t remember very well… I had a problem with a package and started to fight with a lady that was behind the counter… there was trouble, I shouted at her and she shouted at me

two dogs or two roosters fighting

in the end I went home without my package.. without paper.. with nothing – completely enraged.. but I remember, that the building is beautiful inside, but the customer service was terrible, awful, then, in the eighties, no

Love song 80’

Oh, yes, the botanic garden (laughs) I had a German friend, a German boyfriend, and he gave me a beautiful kiss (she laughs) under a palm tree.

Sound of garden, sitting on a bench, saying the following to someone

….it made me very envious that Mr Thyssen had that private collection in his home.. in his favourite villa in Switzerland… What a luck to be so rich and have those fabulous paintings..

(the park sound continues)

yes, had a lot, ähm ‘guter geschmack’,… how do you say it in Spanish? Good taste?

Well I left Madrid, because I fell in love with a man from Hamburg

Sound of a street at night, without much traffic, undistinguishable voices, maybe a dog barking (lavapies)

Maybe this is my city.

You never feel alone.. there are always voices.. you hear voices

Voices from afar, the garbage collectors approaching

…there’s something strange … the neighbours hear sounds, and… really, it was in the newspapers, they said there was a ghost inside.. and there’s something very strange, I must have heard about it somewhere, what’s happening with, I think it has to do with Casa de America… they say there are ghosts or zombies living inside..

sound of garbage collectors at night – leaving with their truck. 

...................................................................................Objects:DIE ZEIT: German newspaper (the taxi driver has to buy it every Thursday)Violets: the taxi driver offers it to the client when getting off the taxi

 Photo: Reading the newspaper – newspaper, jeans, Jesus type sandals

 

 

 

 

 

05intc3462, 05insc0570, 05inmc0577

2005. Rebekka Reich + Anne Lorenz. TAXI MADRID (Marta / transcription - audio - postcard)

2005. Rebekka Reich + Anne Lorenz. TAXI MADRID (Marta / transcription - audio - postcard)

  

   

Name Play Size Duration
Pista 5
7.5 MB 8:14 min

Play the horn, caravan, paseo de la castellana

You see, I remember once, there was a lot of traffic, no.. like always… I was with… I always remember my brother with a mini… he had a tiny mini… and where there… they never respected him, because the car was so small, then the buses always got in front of him… or they through him out of the road for being so small.

We were close to the Corte Inglés of Castellana and a bomb exploded in one of the Ministries, I don’t remember which one, but…

I think one year they took off a lion’s head or something like that! And Cibeles.. was..

Silence

I would always want to go… with a tank around Madrid (laughter) to climb over all those cars that don’t respect me..

I don’t know, I escaped a bit from myself, maybe because I was half tormented due to my age.

Musical trip to the past – as if I were looking for something in the radio. First, back to the 60’s and later to – I think I finished in 81 with the song?

Annnnndddd… ah, I have something… now I’m in another time, sorry (she laughs)… I am in a previous era.

It happened in 81 or 82? Well, I do remember this, because they sent us to school, to our house… or, I don’t know if it was the same day, but my feeling was that there was a lot of police when I was getting out of school and beside the school in a little corner a military man must have lived or someone important… I remember having crossed the corner to get the bus and there were… policemen with machineguns, no… then, it was like passing over the corner and finding a machinegun pointing at your face.

School playground – Girls that laugh

…we waited… with some friends… I don’t know for what reason, but we have never been very… practicing, no – but it was like a great event, then we to watch how the pope passed by… ahh, the memory I have of an interminable wait, and we were three or four friends… hmmm… really waiting… and talking… and laughing and then the pope went by and it was a question of two seconds.. he passed by on a car with a, in its umit? And then (she laughs). That was all.

Fast sound of a car that goes from left to right…zzzzoooooommmmm

…I didn’t know what to do… with my life. I didn’t know, I didn’t plan to go to University, didn’t know what.. I was going to do.

(Then, to gain some time)… I left Madrid to study English in USA for six months, six months… and I stayed for seventeen years… (laughter)

The image is of… I don’t know if it’s an image that I have now more than anything, you know, like very dry… very hot and dry…

Crickets at night

Aannnnddd like dusty… I think that’s the image I now have, no, because where I now live is very green, very wet,

Crossfade to Castellana, to I was talking about in the beginning

 Then, my impression of Madrid is like.. there aren’t enough trees….

 

..........................................................................................................................................................................Objects:American Magazine with a psychologic test, Military style bag

 Photo:Filling the test (magazine – pen – my waterseablue sweater)

 

 

 

 

 

 

05intc3461, 05insc0569, 05inmc0576

2005. Rebekka Reich + Anne Lorenz. TAXI MADRID (Emily / transcription - audio - postcard)

2005. Rebekka Reich + Anne Lorenz. TAXI MADRID (Emily /  transcription - audio - postcard)

 

   

 

Name Play Size Duration
Pista 3
9.5 MB 10:22 min
 

 The studio was behind sepu (¿), in Desengaño street, and I saw the Telefonica building from, from the balcony because it was on the sixth floor.

Everyone thought, i would just stay there for ever.

< jazz music

When I was alone I put jazz.In the sculpture department, which was very small and pretty old teachers and with conservative ideas, they told me, that sculpture was not for women and that they didn’t recommend it, to study that, and that well, they didn’t help a lot and also, they, ah, encouraged me to leave the Faculty and working on sculpture on my own.

I always went up Gran Vía and… (?)… there, behind the Telefónica building to get to the studio. And as the surrounding buildings are very high (??), the street was always in the shade. Then I left the sun in Gran Vía to enter in this narrow and dark street, I went up the six floor on a very old lift, when it was working, if not I walked, to the studio, which was pretty sunny. This, I clearly remember. Apart from probably being my favourite spot in Madrid.

Twenty years already, you know. Then, what remains is like pictures, pictures engraved in my mind…

You hear a lift coming down, the door to the lift opens, street sounds, steps, stop

…cibeles, how the water splashed and the sun shined,

steps continue, stop

… and the post office and (?) covering the façade with smoke from the cars

steps continue, stop

the smell, of, of, of circulo de bellas artes, a very old building.

Sounds in the street >

… sidewalks are tough, and streets, …, I walked a lot, and…(?).. due to so much walking.I didn’t have many clothes, (…) I had a, like a vest, not a vest, like a coat, half coat, light, black, cotton made. Ahh that I put on a lot until it turned grey like chocolate in the sun. I had a grey skirt with little pink and yellow flowers and they same, I put it on until, I, I, I couldn’t put it on any more.

She laughs x people that laugh in a caféIt was in winter with one of those white suns that you see in winter and we went to the crystal palace, I don’t know if it’s still called that way, and it had the Cy Twombly exhibition and everything was white. That, with the sun, the glass, Cy Twombly’s white, that was, a dream (?). Ah later we went to have some Martinis in a square, there is, a café in (?) the retiro with friends and that day stayed with me. With the taste of Martini and, ah, crystal light. No. (lachen)

In the café, a toast with glasses, laughterTo someone else: So many memories, but most of all the literary circles with people, no. And the places, were people gathered. And as time seemed, the days were so long, and there was always time for everything. Ah, you didn’t need something to amuse oneself, the conversation, with conversation it was enough.I also speak English, yes, when ever you want.Ah, Ehm, i was really glad that you called, because, ehm, im still having trouble putting it away. Really. And, ehm and let him go. Because for me it was also,was also, when i was starting finding myself. And sometimes its hard to say, to let that go. You know you cant go back again. You cant go back to being 19 or 22. Or free like that. Ehm. (...) And i was very, very involved with the people (...) Putting it all away has been very difficult for me. And yea, i need to.

Silence

The subway arrives at the station, people come in and the subway leaves. Silence in the subway station.

Once I, I arrived at night, ah, I lived in the rastro, but then I was working for a lady as interpreter, and her hotel was around Recoletos (…) Then I returned to get in the subway, and ah, a youngster mugged me, a type of gypsy youth, ah, he had a knife and wanted to take my wallet. And I don’t quiet remember because the first that (?) it was a physical aggression, direct. And my reaction was to fight, not to run, but to defend myself. And he wasn’t expecting that. And I remember thinking, I’m friendly of (?) kid, no, and sure he’s my neighbour in the rastro and how ridiculous it was, that, for being, in a rich neighbourhood I become a victim, but when Im at home close to where he lives, he doesn’t even look at me.All of that crossed my mind while he was in front of me with the knife, and I fought with him, and in the end the wallet broke and things fell on the floor and he took the wallet (porse?) and he left, but I had nothing in my wallet, I had everything in my pockets, no, no I didn’t lose much (lachen) but yes, I laugh because I can (?) the things, that crossed my mind, iat, at that moment.

The next subway comes around, she gets on:In the subway (driving)

And the conversation with the taxi driver ah when, we were on way, and of course always when I speak in Spanish and was a foreigner and they spoke with me, yes, everybody talks to you, tell you things and tried to, and jabber (lachen) and all that stuff. Those conversations while going to the airport mixed will sadness, no, to, to, leave behind, my life, my world, no, for a while. And the coming back, when I returned to Madrid, got a taxi and, and, returned to the centre. The happiness of returning and finding those places. And I spoke happily to the taxi driver, very happy because I was coming back, no, returned. To a place where I felt very good.

Jazz music

And now if one returns twenty years later, ah, your not going to find what you’re looking for.

..........................................................................................................................................................................Objects: gallery guide, card of the retiro café

 

 

 

 

 

 

 

 

 

 

05intc3459, 05inmc0574, 05insc0567

2005. Rebekka Reich + Anne Lorenz. TAXI MADRID (Bárbara / transcription - audio - postcard)

2005. Rebekka Reich + Anne Lorenz. TAXI MADRID (Bárbara / transcription - audio - postcard)

 

   

 

Name Play Size Duration
Pista 1
7.2 MB 7:52 min

  

Look for the station in the Radio, The Cure, Killing an Arab”, Liedansage – fade out

Just before turning eighteen I always wore black. And so, a bit punk. So I had a period – like in painting – a black period.

I don’t remember anything. I remember a lot of traffic jams. I remember lots of cars.

It’s funny. I’m attract/attracted to seeing it again, because I remember it like gloomy, sinister. Like they were on a dark place without windows… a room full of black paintings, and therefore, like, I remember them dark, but probably not.

Voice of a guide in El Prado (man), talking about the black paintings. In the background you can hear birds and traffic, as if the windows were open. 

I think of green in trees and, space.There was a place in Madrid, that before they finished the Almudena, the Cathedral, ah, it was half finished, it unfinished for a long time. It was like some ruins, and next to it there was a, nice square, and you could see all the, the, the, what is in front, the casa de campo and so a lot of green, very far away, and I don’t know, a place with a lot of, a lot of charm. The other day I went and there was no charm (laughs). Because the cathedral is finished and they have put some lines and they have closed it (?), but it’s a place I remember well, I don’t, nice. 

Birds - crossfade – crowd – saying demonstration slogans (of the 80’s) 

I lived around (?), Ciudad Lineal, my father was a diplomat. 

It’s funny.Oh god!I remember the demonstrations, but not in specific places. 

I remember when the Guernica was in the Casón de buen retiro…I know the Guernica was taken away, but I remember seeing it in a place, that was around, that only had the Guernica, which impressed a lot, because it was there alone. 

Notice in the airport for Barbara Sela

I was two years in, in, in Rome, and I returned, three years in England and then I returned, then I studied in Holland, from, well, from eighteen to twenty one, twenty two. 

Skid, brake, a car door opens, you can hear The Cure inside, voice of a taxi driver: to the airport? Inside a taxi with The Cure 

I remember one, that was very fast, that happens a lot, but I specially remember one, I was scared, no, with taxi drivers, for how fast they go. Once, when, when one was with a television on, running a lot (?). I was very scared. He, he came speeding and, I don’t know, he saw me and stopped. And, and when I got in, I saw he was watching TV and I thought to myself, we’re going to get killed. 

Sweet flute – baroque music of the black period 

Well, I left to study and then, when I came here, because I found work as flautist here in Sevilla. I am from Madrid. All my family is from Madrid. They’re all there, but I don’t have the feeling of being from Madrid. 

Sevillanas (ojos de brujo – no 9)

 

..........................................................................................................................................................................Objects:Ticket to el prado with a picture of a black paintingMusic sheets for sweet flute in the baroque, used

Photo: headphones – black sweater – punk style black scarf – music sheets for sweet flute in the baroque, used

 

 

 

 

 

 

05intc3457, 05inmc0572, 05insc0565

2005. Rebekka Reich + Anne Lorenz. TAXI MADRID (postcards)

2005. Rebekka Reich + Anne Lorenz. TAXI MADRID (postcards)

 

    

Yolanda

 

              

Bárbara

 

    

Emily

 

    

Ana

 

    

Marta

 

    

Dagmar

** PHYSICAL DOCUMENTS AVAILABLE FOR CONSULTATION

 

 

 

 

 

f05inmc0571, f05inmc0572, f05inmc0574, f05inmc0575, f05inmc0576, f05inmc0577

2005. Compañía de Caracas. ESPACIO MÓVIL (location)

Intervention on public buses, Castellana-Recoletos-Prado

 

 

 

 

 

 

 

05intd0582

2005. Henry Eric Hernández García. ZONA VIGILADA (texto publicado)

 Colaboración: Dull Janiell, editor de cine / Laura Orizaola, fotógrafa

Propone este proyecto, resguardando una de las premisas fundamentales de la poética de su obra, en cuanto a realizar art interventions en recintos que ha llamado ghettos culturales: espacios individuales o colectivos construidos por una ideología determinada, en una época determinada y luego transformados hasta quedar en el olvido o sumergidos en la decadencia cultural —entiéndase ideológica, económica, social—.

Zona Vigilada replantea el contrapunto entre dos espacios culturales específicos, desde la visión del acoso como evento controlador de nuestros actos sean privados o públicos. El primer espacio seleccionado, es el Museo de las Esculturas; el segundo espacio es un reportaje filmado en Cuba, para este proyecto. Que cuestione la vigilancia —desde testimonios personales, imágenes de archivo e imágenes grabadas in situ— como medio de soporte y persuasión para mantener el poder. De ahí su interés por recontextualizar dentro del primer espacio, esta estrategia de sobre vivencia del status como una “pieza museable”.

La obra funciona al situar dos videocámaras con diferentes movimientos de ángulos, manipuladas por tres fotógrafos que se moverán constantemente, en las áreas abiertas del museo grabando una serie de situaciones (B/W) que luego se retransmitirán sobre una de las caras de una pantalla, previamente editadas, para reconstruir el environment del sitio. Simultáneamente sobre la otra cara de la misma pantalla, se proyectará -sólo en horas puntuales- el reportaje filmado en La Habana, logrando el contrapunto temporal entre ambos sistemas de vigilancia.

El proyecto incluye además el diseño y la edición de un Cartel que será distribuido por toda la ciudad anunciando la intervención: El Museo de las Esculturas al Aire Libre/presenta /ZONA VIGILADA/a film by henry eric.

 

 

 

 

 

 

05intc0524

2005 / 2005.02-03. NEO2. Instrucciones para crear tu programa de mano de Madrid Abierto

2005 / 2005.02-03. NEO2. Instrucciones para crear tu programa de mano de Madrid Abierto

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

 

 

 

 

 

 

 

05dima3331

2005 / 2005.04. HOJAS. Madrid Abierto al arte contemporáneo

2005 / 2005.04. HOJAS. Madrid Abierto al arte contemporáneo

 ** SEE THE ATTACHED PDF

 

 

 

 

 

 

 

05dima0669

2005 / 2005.02.02. NEO2. Madrid Abierto 05

2005 / 2005.02.02. NEO2. Madrid Abierto 05

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

05dima0668

2005 / 2005.02.28. CUT. Arte por y para el público

2005 / 2005.02.28. CUT. Arte por y para el público

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

05dima0667

2005 / 2005.02.14. EL SIGLO DE EUROPA. Madrid Abierto sorprende en su segunda edición

2005 / 2005.02.14. EL SIGLO DE EUROPA. Madrid Abierto sorprende en su segunda edición

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

 

05dima0651

2005 / 2005.02.14. ABC. Metrópolis

2005 / 2005.02.14. ABC. Metrópolis

** SEE THE ATTACHED PDF

 

05dima0648

2005 / 2005.02.12. ABC CULTURAL. Madrid me mata

2005 / 2005.02.12. ABC CULTURAL. Madrid me mata

** SEE THE ATTACHED PDF

 

 

 

 

 

 

05dima0645

2005 / 2005.02.11. DIARIO MÁLAGA. Arco, el espectáculo de lo plástico

2005 / 2005.02.11. DIARIO MÁLAGA. Arco, el espectáculo de lo plástico

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

 

 

05dima0641

2005 / 2005.02.10. ABC DE ARCO. Entrevista a Ramon Parramon (Ramon Parramon)

2005 / 2005.02.10. ABC DE ARCO. Entrevista a Ramon Parramon (Ramon Parramon)

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

05dima0640

2005 / 2005.02. EXIT EXPRESS. México en Madrid

2005 / 2005.02. EXIT EXPRESS. México en Madrid

** SEE THE ATTACHED PDF

 

 

 

 

 

 

05dima0638

2005 / 2005.02.10. EL CULTURAL. Madrid Abierto: escaparate acotado

2005 / 2005.02.10. EL CULTURAL. Madrid Abierto: escaparate acotado

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05dima0635

2005 / 2005.02. III FORO INTERNACIONAL DE EXPERTOS EN ARTE CONTEMPORÁNEO. Madrid Abierto 2005

2005 / 2005.02. III FORO INTERNACIONAL DE EXPERTOS EN ARTE CONTEMPORÁNEO. Madrid Abierto 2005

** OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

05dima0634

2005 / 2005.02.06. DIARIO DE NOTICIAS. PAMPLONA. Navarra estará en Arco con una galería

2005 / 2005.02.06. DIARIO DE NOTICIAS. PAMPLONA. Navarra estará en Arco con una galería

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

05dima0627

2005. 2005.02.04. LA VOZ DE GALICIA. Dos mil artistas participarán en el "mejor Arco de todos los tiempos"

2005. 2005.02.04. LA VOZ DE GALICIA. Dos mil artistas participarán en el "mejor Arco de todos los tiempos"

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

 

 

 

 

05dima0621

2005 / 2005.02.04. SUR. Lo más nuevo

2005 / 2005.02.04. SUR. Lo más nuevo

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05dima0620

2005 / 2005.02.04. EL PAÍS DE LAS TENTACIONES. Arco para mirones

2005 / 2005.02.04. EL PAÍS DE LAS TENTACIONES. Arco para mirones

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT 

 

 

 

 

 

 

 

 

05dima0619

2005 / 2005.02.04. METRÓPOLI. Arco descubre México

2005 / 2005.02.04. METRÓPOLI. Arco descubre México

 ** SEE THE ATTACHED PDF

 

 

 

 

 

 

 

 

05dima0617

2005 / 2005.02.04. ABC GUIA DE MADRID. Mercados fictícios

2005 / 2005.02.04. ABC GUIA DE MADRID. Mercados fictícios

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f05dima0613

2005 / 2005.02.01. VOGUE. Arte latino

2005 / 2005.02.01. VOGUE. Arte latino

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05dima0609

2005 / 2005.02.01. VANIDAD. Abre los ojos

2005 / 2005.02.01. VANIDAD. Abre los ojos

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05dima0608

2005 / 2005.02.01. NUEVO ESTILO. Madrid Abierto

2005 / 2005.02.01. NUEVO ESTILO. Madrid Abierto

** SEE THE ATTACHED PDF

 

 

 

 

05dima0606

2005 / 2005.02.01. NEO2. Madrid Abierto 05. Editorial

2005 / 2005.02.01. NEO2. Madrid Abierto 05. Editorial

 ** SEE THE ATTACHED PDF

 

 

 

 

 

 

 

 

 

05dima0605

2005 / 2005.02.01. ELLE. El arte se pasea

2005 / 2005.02.01. ELLE. El arte se pasea

** SEE THE ATTACHED PDF

 

 

 

 

 

 

 

05dima0603

2005 / 2005.02. EN LÍNEA (GRUPO RESA). El andamio como obra de arte (José Dávila)

2005 / 2005.02. EN LÍNEA (GRUPO RESA). El andamio como obra de arte (José Dávila)

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

05dima0602

2005 / 2005.02. MEXICO EN ARCO 08. Madrid Abierto

2005 / 2005.02. MEXICO EN ARCO 08. Madrid Abierto

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05dima0601

2005 / 2005.01.31. SHANGAY EXPRESS. Madid Abierto

2005 / 2005.01.31. SHANGAY EXPRESS. Madid Abierto

** SEE THE ATTACHED PDF

 

 

05dita0600

2005 / 2005.01.31. SHANGAY EXPRESS. Arco´05

2005 / 2005.01.31. SHANGAY EXPRESS. Arco´05

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

05dima0599

2005 / 2005.01.31. NUEVO LUNES. Diversidad e innovación en Arco 05

2005 / 2005.01.31. NUEVO LUNES. Diversidad e innovación en Arco 05

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05dima0598

2005 / 2005.01.31. GALA. Madrid Abierto

2005 / 2005.01.31. GALA. Madrid Abierto

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05dima0597

2005 / 2005.01.29. DIARIO DE TARRAGONA. El arte contemporáneo invade la capital (Arco)

2005 / 2005.01.29. DIARIO DE TARRAGONA. El arte contemporáneo invade la capital (Arco)

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05dima0596

2005 / 2005.01.25. NYARTS. MADRID ABIERTO, 2005: Transforming Madrid

2005 / 2005.01.25. NYARTS. MADRID ABIERTO, 2005: Transforming Madrid

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05dima0595

2005 / 2005.01. NYARTS. Madrid Abierto

2005 / 2005.01. NYARTS. Madrid Abierto

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05dita0594

2006 / 2005.03. IFEMA.COM. Convocatoria Madrid Abierto 2006

2006 / 2005.03. IFEMA.COM. Convocatoria Madrid Abierto 2006

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06ditd1055

2005 / 2005.02. LICEUS.COM. Madrid Abierto 2005

2005 / 2005.02. LICEUS.COM. Madrid Abierto 2005

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05dimd0740

2005 / 2005.02.14. CINCO DÍAS.COM. La creación mexicana se adueña de Madrid

2005 / 2005.02.14. CINCO DÍAS.COM. La creación mexicana se adueña de Madrid

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05ditd0732

2005 / 2005.02.13. ELPAIS.ES. El arte se echa a la calle

2005 / 2005.02.13. ELPAIS.ES. El arte se echa a la calle

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05ditd0731

2005 / 2005.01. UBICARTE.COM. Madrid Abierto. Intervenciones artísticas 2005

2005 / 2005.01. UBICARTE.COM. Madrid Abierto. Intervenciones artísticas 2005

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05dimd0730

2005 / 2005.01. DIARIOMÁLAGA. Arco, el espectáculo de lo plástico

2005 / 2005.01. DIARIOMÁLAGA. Arco, el espectáculo de lo plástico

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05ditd0728

2005 / 2005.02.09. ELMUNDO.ES. El Cultural descubre los secretos de Arco 2005

2005 / 2005.02.09. ELMUNDO.ES. El Cultural descubre los secretos de Arco 2005

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05ditd0723

2005 / 2005.02.09. EL MUNDO DEL MOTOR. La cultura mexicana conquista Madrid

2005 / 2005.02.09. EL MUNDO DEL MOTOR. La cultura mexicana conquista Madrid

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05ditd0722

2005 / 2005. GUIARTE.COM. Noticias: Arco 2005

2005 / 2005. GUIARTE.COM. Noticias: Arco 2005

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05dimd0719

2005 / 2005.02.04. DIARIOSUR.ES. Cultura y espectáculos: Expositores

2005 / 2005.02.04. DIARIOSUR.ES. Cultura y espectáculos: Expositores

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05ditd0717

2005 / 2005.02.05. ABC.COM. Madrid, espacio abierto al arte

2005 / 2005.02.05. ABC.COM. Madrid, espacio abierto al arte

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05ditd0714

2005 / 2005.02.05. EL PAIS. ES / BABELIA. El desembarco azteca

2005 / 2005.02.05. EL PAIS. ES / BABELIA. El desembarco azteca

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05dimd0712

2005 / 2005.02.04. GARA. Siete galerías de Euskal Herria irán a Arco

2005 / 2005.02.04. GARA. Siete galerías de Euskal Herria irán a Arco

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05dimd0710

2005 / 2005.02. UNDO.NET. Madrid Abierto

2005 / 2005.02. UNDO.NET. Madrid Abierto

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05ditd0707

2005 / 2005.02.02. EL MUNDO.ES. Arte de cara el público

2005 / 2005.02.02. EL MUNDO.ES. Arte de cara el público

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05ditd0706

2005 / 2005. UBICARTE.COM. Madrid Abierto

2005 / 2005. UBICARTE.COM. Madrid Abierto

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05ditd0703

2005 / 2004.12. R&R. Madrid Abierto 2005

2005 / 2004.12. R&R. Madrid Abierto 2005

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05dimd0702

2005 / 2004.11.06. GUIARTE.COM. Arco 2005

2005 / 2004.11.06. GUIARTE.COM. Arco 2005

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05dimd0701

2005 / 2004.10.26. LA VOZ DE GALICIA.ES. La familia Valdés en concierto

2005 / 2004.10.26. LA VOZ DE GALICIA.ES. La familia Valdés en concierto

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05dimd0697

2005 / 2004.06.15. LICEUS.COM. Madrid Abierto 2005 (Call)

2005 / 2004.06.15. LICEUS.COM. Madrid Abierto 2005 (Call)

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05dimd0689

2005 / 2004.06. MARC3ART.COM. Convocatoria

2005 / 2004.06. MARC3ART.COM. Convocatoria

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05ditd0685

2005 / 2004.05.28. ARTSERVIS.ORG. Convocatoria

2005 / 2004.05.28. ARTSERVIS.ORG. Convocatoria

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05ditd0683

2005 / 2004.05.24. ARGA.COM. Madrid Abierto 2005. Convocatoria

2005 / 2004.05.24. ARGA.COM. Madrid Abierto 2005. Convocatoria

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05dimd0680

2005 / 2004.05. PLANOAZUL.COM. Convocatoria internacional. Madrid Abierto

2005 / 2004.05. PLANOAZUL.COM. Convocatoria internacional. Madrid Abierto

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05ditd0677