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2006. Gustav Hellberg. PULSING PATH: AMBIGUOUS VISION (2005.11 / technical data)

NOVEMBER 2005

 

Light control unitAn automatic dimmer control unit is connected to the circuit of the chosen row / rows of lamp posts.

Eventual change of light sourcesIf almost are fitted with metal halogen lamps or similar the light sources need to be changed to light bulbs, emitting similar light strength and light temperature, as metal halogen lamps cant be dimmed in desired cyclic mode.

VERSION IPulsing the light of all lamp posts along a whole street's or lane's lengthChange all light sources to dimmable ones (light bulbs).

VERSION IIPulsing the light of lamp post sectionChange chosen light sources to dimmable ones (light bulbs). If light bulbs doesn't emit exact light strength and light temperature as original light source two lamp posts on either side of chosen segment should also be changed but not connected to dimmer unit, to make the lighttransition point less obvious.

Oscillating sequence (continuous cycle)Light - dark, dark - light, approximately 30 seconds

 

 

 

 

 

 

 

 

 

 

 

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2006. Theo Tegelaers. ART IN PUBLIC AREAS

 ART IN PUBLIC AREAS: UTOPIA, MULTI-FACETED MONSTER OR SOCIAL PROJECT?

The Art responsible for architecture and public spaces in the first half of the 20th century provided new forms of life and was very utopian in nature. It was connected to visionary forms of social life and it tried to serve people as best possible. For example, we have the Monument to the Third International by Tatlin, a man who was convinced that art should have a primarily social function and purpose. The artist Constant designed the utopian city of New Babylon, where man could live in a society without hunger, without exploitation, without work as well, a society, therefore, where every person could develop their creativity to the full. This was a place where man would no longer have to work. Instead, citizens would lead a nomadic existence following their leanings.

Situationism was based along those lines and it aimed to remove the barrier separating art from life. It heralded a community free of bureaucracy, in a city that would be formed by its inhabitants’ preferences and longings, a dynamic and changing city full of the poetry of sounds, aromas, tastes and colours.Two important models within the situationist trend are “psychogeography” and “détournement”. Psychogeography consists of rethinking or “mapping” districts, cities, intersections and networks based on certain previously determined desires or aspirations. They went for walks, letting themselves get carried away figuratively and sometimes literally by their sense of smell, doing what was called “dérive”, drifting. These aimless urban itineraries undertaken by people in tune with each other served as a basis for changing the map. Wilfried Hou Je Bek (see socialfiction.org) is currently exploiting these theories. The aspiration to discover what is hidden in a city, without any aims or prejudices, still exists. Routes whose purpose is to discover or rediscover the public area to uncover phenomena immersed in that space is what has led Social Fiction to start their Psychogeographical project.

By “détournement” (diverting) we understand the twisting of pre-existing texts, works of art and compositions. The distortion of texts, images and commercial and media messages produces confusion in culture and in society. This tactic also has its contemporary variant called culture jamming, the reordering of data and images. Those who design stickers use methods with the same starting point: they manipulate codes, slogans and logotypes to mislead ordinary people. That is why Wilfried Hou Je Bek says that culture jamming is a marketing strategy.

Choosing art for public spaces has been in the hands of experts and those in the know for many years (since the seventies). This prevented public opinion from having a decisive role in that choice. On the contrary, art served to instruct and enlighten the people. That policy has resulted in public art that often yields to the demands of its surroundings, where it gives the impression of impotence, as if it were shouting out that art is a medium incapable of changing reality. Furthermore, works of art that are closely linked with architecture or with specific social or cultural groups, and which, therefore, ignore all the rest, tend to favour the privatisation of the public domain.

At the moment we can observe many situations where the artist is invited to use his artistic skill without this meaning that any power will rub off onto him. The artist is expected to analyse the environment, submit his analysis and think in terms of solving problems: often plastic and visual capacity is confused with the artist’s conceptual and organisational skills. In those cases, social processes form part of the work and they are a way to satisfy the population’s desires and to bring about a common end. With this pretence of a co-decision-making process and taking advantage of the willingness to come to an agreement, the general public is made an accomplice in solving spatial and urban areas by means of artistic projects. The result is often timid interactions leading to very little art. We would need to ask ourselves if artists should take part in these decision-making processes or if they should abstain from them. Because the desire for art to be an integral part of society as a whole, and for works of art to be a creative result of certain social processes, strips Art of its appropriate independent and uncommitted nature. Art’s strength lies precisely in the unexpected and the irrational.

In other projects, they try to provoke “authentic” experiences. This often leads to adorning the environment, making it prettier, given that it is impossible to give every passer-by an “authentic” experience at any time of day. The developers’ desire is to give the environment some authenticity. Artists are asked to demonstrate originality in an environment that already lacks any naturalness. That is why asking for an “authentic experience” does not seem sincere. Within that reality there is no place for nature in the strict sense of the term, which is considered unmanageable in the feasible community we intend to attain. Consequently, we have actually dismissed faith in authenticity.

Should Art be part of what is real and should it therefore address authority and governors? Is it not precisely this pre-existing reality that disturbs plans for renewal and experiments with public spaces? And is not the reality we dream of the price we pay for that, does it not make us dispense with futurist visions? Or should the general public predominate? Because public space is the general public’s space. But a work of art made for “the general public” presupposes that there is a homogenous public, while what we call “the general public” is rather a very mixed conglomerate of social and ethnic groups with opposing interests and desires.

In the Anglo-Saxon tradition, “public art” derives its right to exist from the interaction between authorities and the general public. According to this social pattern, art does not try to achieve a consensus. Instead it exposes the general public to contradictions, conflicts and discussions. Different groups of people organise and finance “their” works of art, thus demonstrating “their” presence in the common area and making “their” cultural and social position visible.

This manner of thinking results in “community art” or projects in which self-organisation plays an important part. Factors are also combined here, such as urbanism, social movements and plastic arts, and the question of when the activity of some individuals starts to form part of the common area and the urban environment is not asked at an administrative level. Instead the interested parties turn it directly into specific events. Often they are marginalised social activities or phenomena that escape the limitations of regulations on public spaces. These projects arise from the need to get involved in the current and future aspect of one’s own metropolis. The desire to feel safe and protected, to tidy up degraded common areas and to increase a district’s or neighbourhood’s self-esteem. If art does not itself become responsible for social and economic issues, which often have a great deal of influence on the way in which the area is urbanised, the decisions on those issues will continue to be in the hands of the authorities in power at that time. In that case, and even if the authorities demonstrate good will, the interests created and short-term thinking can lead to a dreadful result.

Art was –and still is- something that authorities offer, but far too often without paying any attention to urban needs and completely ignoring the general public. Only art explicitly involved in the public space and with social groups forming the community together deserves to be called “public art”.

I would like to finish with the words of the Dutch artist Marc Bijl:“The rules in public space lie in your hands. Try to avoid any disturbance of public domain.” “Be good to other people in this area or get into fights with them. It’s up to you. It’s public space; a jungle of freedom. Be careful. Take care.”

Theo TegelaersCurator and adviser on artistic projects

ReferencesSiebe Thissen, Over openbare kunst; 2004Jeroen Boomgaard, Kunst gevangen tussen authenticiteit en constructie; Open 4, 2003

 

 

 

 

 

 

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2006. CALL FOR PROJECTS (rules and conditions)

 1. The aim of this call is to select a minimum of ten projects for temporary or short-term artistic projects to take part in Madrid Abierto along with other guest projects.

2. The projects will take place coinciding with ARCO in February 2006 in Madrid, along the axis of Madrid’s Paseo de la Castellana and Paseo del Prado boulevards’.

3. You may enter individual or group projects (for group projects you must name a representative). This call is open to artists of any nationality.

4. Each project must include: * Curriculum Vitae of no more than 2000 characters and a photocopy of the DNI (Spanish National I.D. card) or an equivalent document of the author or authors’ of the project.

* Description of the project of no more than 4000 characters.

* A maximum of six outlines and images of the project in jpg format with a resolution of 72 ppp.

* Description of the assembly system and technical requirements.

* Approximate and itemized budget, including details of the concepts which may be able to be self-financed.

* Maximum funding for each selected project is 12.000 euros, including all production, transport and assembly costs, the author or authors’ fees and all applicable taxes.

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 the 31st of May, 2005 (or by standard post to: Fundación Altadis-Madrid Abierto, calle Barquillo, nº 7, 28004 Madrid, Spain).

6. The institutes promoting Madrid Abierto shall assign a commission to select the project, presided by the programme director. The commission will select a minimum of ten projects, evaluating the quality and viability of the proposals, as well as the total reversibility of the projects. As we are dealing with projects that will occupy public areas, it will be essential to obtain the corresponding authorisation from the municipal authorities for their installation.

If the selected projects make any use of third party images, the artists must provide the express authorisation of the owners of these images for their use in the project.

7. Madrid Abierto reserves the right of publication and reproduction of the selected projects for all case relating to the promotion of the programme, and shall incorporate all generated documentation into its documentary resources and public archives. The projects and works selected shall be the property of the authors and the promoting institutions shall have a preferential right to their possible purchase.

8. Participation in this call implies total acceptance of the rules.

 

 

 

 

 

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2006. Jorge Díez. PRESENTATION

 MADRID ABIERTO is an international artistic programme which falls into the category usually referred to as public art, even though this is a somewhat controversial term and which has been rapidly evolving over the past few years. A clear example of this evolution and which is one of the most interesting initiatives taking place in Spain is the Calaf (Barcelona), which arose from a public sculpturing context. Similar to Madrid Abierto, it was initially based on the Open Spaces of the Altadis Foundation at ARCO. The director of Calaf, Mr. Ramon Parramon was an organiser for Madrid Abierto in 2005 and in the current edition, apart from participating the selection jury; he coordinated the debate tables which will take place for the first time at the same time as the artistic interventions. In the words of the director of FRAC Bourgogne, Ms.; Eva González-Sancho, head of the final selection for the third edition of Madrid Abierto, public art “could be that which either makes us question it or reflect on it, or simply decorates our urban surroundings. In my opinion, the interest of the artistic proposals carried out in that space which is in a constant state of transformation, which we refer to as public space, are artistic interventions which influence our comprehension of the same”.

Since its first edition, Madrid Abierto has been promoted by the Altadis Foundation, the Regional Madrid Ministry for Culture and Sports and the Department of Arts of the Town hall of Madrid, and this year it counts with the cooperation of the following entities: ARCO, Fundación Telefónica, the Radio 3 of RNE, Círculo de Bellas Artes, Casa de América, Canal Metro, La Casa Encendida and the Centro Cultural de la Villa de Madrid. This is a group of institutions which enable this attempt to help people comprehend the construction of the public area through different artistic interventions placed on the Paseo de Recoletos – Paseo del Prado axis in Madrid. The fact that we’ve selected such a specific are of city centre may condition the character of some of the proposals, especially those which are centred in social and community processes, or those which are distant from the most conventional projects. This has been one of the criticisms we have received from time to time, along with the lack of central theme to join the projects. But this is precisely, for better or for worse, one of the characteristics of Madrid Abierto, i.e. to be an open international show of artistic projects. In its third edition, which will take place between the 1st and 26th of February, a total of 595 projects have been received, more than doubling the 234 of the first edition. The distribution per country is as follows: Spain (136), USA (56), Argentina (51), Italy (37), Germany (36), France (31), Mexico (31), Columbia (23), UK (22), Canada (15), Cuba (11), Portugal (9), Austria (9), Chile (8), Holland (8), Finland (8), Brazil (7), Costa Rica (6), Russia (6), Nicaragua (5), Japan (5), Slovenia (7), Uruguay (5), Belgium (5), Norway (4), Australia (4), Sweden (4), Poland (4), Panama (3), Peru (3), Bulgaria (3), Switzerland (3), Turkey (3), Ecuador (3), Guatemala (3), Ghana (3), Singapore (2), Croatia (2), Denmark (2), Venezuela (2), Romania (1), Hungary (1), Santo Domingo (1), India (1), China (1), Indonesia (1), Israel (1), Thailand (1) Latvia (1), Lithuania (1) and El Salvador (1).

I feel that this open character of the proposals, and the growing interest in participating, are a value that should be maintained, even if it is to the detriment of a more articulated artistic approach, such as that which could be achieved with a prior definition of determined lines of investigation and with the direct selection of artists by one or various organisers. However, one should always be open to exploring options which will improve the possible faults pointed out and thus improve the overall results. Thus, on this occasion, we have established two phases for selecting the projects. In the first phase, the selection committee selected 27 of the 595 projects presented, based on the interest and quality of each project. In the second phase, we have tried to establish similarities and see how the proposals can compliment each other, and attempting to achieve a minimum articulation of all the projects, and for this, the definitive selection was left to Ms. Eva González-Sancho, who had also participated in the initial pre-selection with the aforementioned Ramon Parramon, Rosina Gómez-Baeza (Director of ARCO), Nicolas Bourriaud (Co-director of the Palais of Tokyo, Nicolas Bourriaud (co-director del Palais de Paris), Theo Tegelaers (director of De Appel, Amsterdam), and myself. The definitive selection comprises: Accidentes Urbanos by Virginia Corda (Buenos Aires, 1967) and Maria Paula Doberti (Buenos Aires, 1966); Speakhere¡ by Nicole Cousino (California, 1966) in cooperation with Chris Vecchio (Philadelphia, 1964); Post it by Chus García-Fraile (Madrid, 1965); Pulsing Path-ambiguous vision by Gustav Hellberg (Stockhom, 1967); Blend out de Lorma Marti (Karen Lohrmann, Hamburg-Germany, 1967 and Stefano de Martino, San Gallo-Italy, 1955); Ouroboros by Wilfredo Prieto (Sancti-Spíritus-Cuba, 1978); Remolino by Tere Recarens (Barcelona, 1967); Translucid view by Arnoud Schuurman (Leidschendam- Holland, 1976); Reality Soundtrack by Tao G. Vrhovec (Ljubljana-Slovenia, 1972); Locutorio Colón by Maki Portilla-Kawamura (Oviedo, 1982), Key Portilla-Kawamura (Oviedo, 1979), Tadanori Yamaguchi (Osaka, 1970) y Ali Ganjavian (Tehran, 1979). The preselection of the pury also included the project presented by: Armando Navarro and David TV; Ángel Borrego and Jana Leo; Anna Lise Skou; Hermelinde Hergenhahn; Alenka Belic; Peter Moertenboeck and Helge Mooshammer; Otto Karvonen; Helen Stratford and Diana Wesser; Ivonne Dröge-Wendel; Oliver Flexman and Steven Dickie; Santiago Reyes; María Regueiro; Dennis Adams, Catherine D'Ignazio and Savic Rasovic; Leonor Da Silva; Kristoffer Ardeña; Katrin Korfmann and María Linares.

It is interesting to note that this year the dates for presentation of the projects and selection took place much earlier than previous years, and this was in order to enable the second selection phase and the articulation of the projects so the artists would have more time to profile them and decide their localization.

Likewise, I would like to highlight that as in the previous two editions, the 451 team is still developing the graphic image and web site for Madrid Abierto. RMS La Asociación will continuo with the coordination of the programme. As an innovation, in this edition, the national public radio station Radio 3, will collaborate with the production and broadcast of Tao G. Vrhovec’s work.

In its third edition, Madrid Abierto continues trying to deepen the notion of an artistic activity understood as a practice of activation and interaction with other agents, trying to provide all citizens with other views and proposals of participation than those which are usually offered in a museum, art gallery, art centre of fair. Different biennial exhibitions and projects had successfully incorporated this type of event related to public art, but those who do it in a specific manner, through an open call for participation and supporting the production of projects, aimed mainly at upcoming artists and who are awarded a maximum of 12.000 euro per project, are less frequent. The characteristics of the programme, its reduced economic scale and the small team which organises it can be shock in such a large city as is Madrid and who have difficulty in placing themselves on the crowded stage of contemporary Spanish art. We are well aware of all this, but we aim to consolidate this public art project, despite it constantly being referred to as lacking continuity in the initiatives which have arisen from it. Along these lines, we feel it is absolutely necessary to reflect on the model of Madrid Abierto and contrast it with the very artists and the specialists, as well as with other similar national and international initiatives. For this reason we have organised a debate on the 2nd and 3rd of February in cooperation with the Casa Encendida. We will try to incorporate the results of these debates, together with the experience we have acquired, in future editions of Madrid Abierto.

Jorge Díez

 

 

 

 

 

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2006. DISCUSSION PANELS PROGRAMME

 Place: La Casa Encendida (Ronda de Valencia nº2)Dates: 2 y 3 de febreroHour: De 18.00 a 21.00 h.

EXCHANGES: ARTISTIC EXCHANGES AND STRATEGIES IN THE PUBLIC AREA

The aim of these sessions organised as project exchanges is to analyse and debate the different paths taken and ones to be taken regarding art which influences the public area through experiences that make certain programmes and specific strategies possible. The city and the land in general are today areas that attract growing interest and a desire to expand and experiment new forms through multiple projects which belong to and are considered as possible in the world of art. The complexity of influencing public areas shows the need to take to take a multidisciplinary approach that can incorporate new aspects of interaction with the public, that can incite a critical spirit, that can propose new meanings to the public area by using existing infrastructures, than wan open work processes that can be retaken by other people involved in the transformation of the social space, that can be turned into an active element of the construction and comprehension of its surrounding area.

The transient and fugacious nature with which most artistic practices are promoted show its two sides: on the one hand the fact that all interventions don’t have a permanent effect on he urban landscape and is thus a transitory experience, but on the other hand, it can be taken as yet another event in the urban landscape, or the city museum, a stage dominated by the incredibly high consumption rate of all that is new. Competition between cities foments the proliferation of cultural events which should be consumed in a short time. This leads to the need to continuously programme and often forget to reflect on the project or the design of the strategies in the long term. It is necessary to ensure that cultural policies promote proposals that foment production, diffusion and articulation of networks. A balanced mix if these ingredients may very well contribute to the progressive development of projects with attainable objectives and which could have a more consolidated effect.

Where possible, and where the artistic projects taking place in the public space can be moved between the “processing” and the “tuning” or a wide range of intermediary nuances, some times promoted by the artists themselves, and on other occasions by the existence or creation of programmes that promote them. In this sense in which art acquires a relevant role, and gives us enough room to suggest different subjects for debate, a series of questions which can be viewed or analysed based on the different experiences of the participants is proposed, and thus open the debate.

Consolidation of programmes: What factors influence continuity, growth or the disappearance of a public art programme?

Circuits and specialisation: Can projects be adapted to any context from which they are invited to participate in? Under what conditions do these practices require a level of implication and connection with the specific context? What strategies can be articulated to improve on the biennial model?

Networks: How can one foment network structures with enable feedback from experience?

Participation, art: New production formats, presentation and diffusion. Dissolution/Integration of cultural practices in community strategies. Can they be looked at from the tools and concepts of art to activate cultural participation and production?

Authorship: Does authorship become less strong or disappear when the work is based on cooperative projects?

Cooperative projects with people who work in other disciplines, or when the artists uses strategies of anthropologist, ethnographer, sociologist, journalist, documentary maker… is it necessary to define the differentiating role when certain practices are proposed in the institution of art? Is it relevant to cause these methodological confusions, this dissolution of the purest artistic practise? What roles do the organiser, artist, mediator, producer of projects acquire?

Art & city: What does public art give the city?

 

THURSDAY, FEBRUARY 2ND 6PM TO 9PM

Presentation of the Madrid Abierto 06 projectsSelection carried out by Eva González-Sancho, director of FRAC Bourgogne.

Accidentes Urbanos.Virginia Corda and Maria Paula Doberti

Speakhere¡ Nicole Cousino with the cooperation of Chris Vecchio

Post it. Chus García-Fraile

Pulsing Path-ambiguous vision. Gustav Hellberg

Blend out. Lorma Marti

Ouroboros. Wilfredo Prieto

Remolino. Tere Recarens

Translucid View. Arnoud Schuurman

Reality Soundtrack. Tao G.Vrhovec

Locutorio Colón. Maki Portilla-Kawamura, Key Portilla-Kawamura, Tadanori Yamaguchi and Ali Ganjavian

Talks and round tablesJorge Díez: Director of Madrid Abierto. From 2004 to 2005 he was General Secretary of Cultural Management and Promotion of Castilla-La Mancha (Secretario General de Dirección y Promoción Cultural de Castilla-La Mancha).

El Perro: Group of visual artists (Pablo España, Iván López y Ramón Mateos). From 1997 to 2002 they organised the public art exhibition, Capital Confort in Alcorcon. Took part in the organisation of MAD 03 - Arte público.

Theo Tegelaers: Art critic and organiser. He has organised numerous public art projects. Currently Artistic Director for De Appel, Amsterdam.

 

FRIDAY FEBRUARY 3RD 6PM TO 9PM

Talks and round tablesBartolomeo Pietromarchi: Art critic and exhibition organiser. General Secretary of the Fondazione Olivetti. Author of the investigation project Trans:it. Moving Culture trough Europe.

Cecilia Andersson: Critic and exhibition organiser. Director and founder of Werk, a curatorial agency and projects promoter, located in Liverpool and Stockholm. Coordinator of the project, Urban Workshop in Liverpool.

Guillaume Desanges: Critic and exhibition organiser. Art projects coordinator at Les Laboratories d’Aubervilliers. Ile-de-France.

Santiago Cirugeda: Architect. Carries out subversive art project in different areas of the urban environment. He is currently working on self-construction projects in various Spanish cities, in which groups of citizens decide to create their own urban public spaces.

Maribel Doménech / Emilio Martínez: Artists. Both are professors at the Sculpturing Department of the Universidad Politécnica de Valencia. Members of the Plataforma Salvem el Cabanyal and the management team of the public art project Portes Obertes taking place in the district of El Cabanyal in Valencia.

Javier Avila: Art critic and exhibition organiser. He has promoted and managed numerous editions of the Periferias project in the city of Gijón.

Coordination of the Madrid Abierto 05 programme of debates and exchanges: Ramon Parramon. Director of Idensitat and co-director of the Master’s course in Design and Public Space, Elisava-Universitat Pompeu Fabra.

 

 

 

 

 

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2006. CREDITS

2006. CREDITS

 

 SPONSORS

 

 COLLABORATORS

 

 THANKS TO

 

DIRECTOR: JORGE DÍEZPROJECT SELECTOR: EVA GONZÁLEZ-SANCHOSELECTION COMMITTE: JORGE DÍEZ, EVA GONZÁLEZ-SANCHO, RAMON PARRAMON, ROSINA GÓMEZ-BAEZA, NICOLÁS BOURRIAUD, THEO TEGELAERSDISCUSSION PANELS COORDINATOR: RAMON PARRAMONCOORDINATOR: RMS LA ASOCIACIÓNGRAPHIC DESIGN: 451

INFORMATION POINT: CENTRO CULTURAL DE LA VILLA. JARDINES DEL DESCUBRIMIENTO

© TEXTS: THE AUTHORS© IMAGES: THE AUTHORS

SPONSORS:FUNDACIÓN ALTADISAYUNTAMIENTO DE MADRID. ÁREA DE LAS ARTESCOMUNIDAD DE MADRID. CONSEJERÍA DE CULTURA Y DEPORTES

COLLABORATORS:FUNDACIÓN TELEFÓNICARN3ARCO 06. AUSTRALIACASA ENCENDIDA CÍRCULO DE BELLAS ARTESCASA DE AMÉRICAPOST-IT CENTRO CULTURAL DE LA VILLACANAL METRO MADRIDJESÚS MORENO & ASOCIADOSRENFE. CERCANÍAS

THANKS TO:UNIVERSIDAD EUROPEA DE MADRID

 

 

 

 

 

 

 

 

 

 

 

 

 

06pvid0780, 06pvie0782, 06pvif0783

2006. ARTISTS / INTERVENTIONS / LINKS

Arnoud SchuurmanTranslucid View        www.arnoud.is.dreaming.org

Chus García FrailePost it        www.chusgarciafraile.com

Virginia Corda + Maria Paula DobertiAccidentes urbanos        www.virginiacorda.com.ar www.mariapauladoberti.com.ar

Gustav HellbergPulsing Path: una visión ambigua        www.gustavhellberg.com

Lorma MartiBlend Out    Stefano de Martino+ Karen Lohrmann    www.lormamarti.com

Nicole Cousino + Chris VecchioSpeakhere!        www.ncousino.comwww.noisemantra.com

Tanadori Yamaguchi + Maki Portilla-Kawamura + Key Portilla-Kawamura + Ali Ganjavian    Locutorio Colón        www.tadanori.desorde.net/www.studio-kg.com/studio-kg.com

Tao G. Vrhovec    Reality Soundtrack    www.realitysoundtrack.org    www.taogvs.org

Tere Recarens    Remolino        www.tererecarens.com    Wilfredo Prieto    Ouroboros        www.wilfredo-prieto.com

 

 

 

 

 

06prta0818

2007. CALL FOR PROJECTS (rules and conditions)

1 The aim of this summon is to select a maximum of ten projects for temporary or short-term artistic projects or ephemeral character, included two specific projects for the buildings of the Casa de América and the Círculo de Bellas Artes (characteristics of both façade in www.madridabierto.com), which will join Madrid Abierto together with other invited projects and with sonorous and audio-visual works selected for its emission for Radio3 and for the circuit of the underground channel, Canal Metro.

2 The interventions will develop in Madrid, coinciding with ARCO, in February 2007 inside the axes of the Paseo de La Castellana - Paseo del Prado boulevard and Puerta de Alcalá - Gran Vía’s street.

3 You may enter individual or group projects (for group projects you must name a representative). This call is open to artists of any nationality.

4a) Each project must include:· Curriculum Vitae of no more than 2.000 characters and a photocopy of passport or an equivalent document of the author or authors’ of the project.· Description of the project with an extension not superior to 4.000 characters.· A maximum of six outlines or images of the project in jpg format with a maximum resolution of 72 ppp.· Description of the assembly system and technical requirements.· Approximate and itemized budget, including details of the concepts which may be able to be self-financed.· Each file have to be compatible with PC. The files that are sent from a MACINTOSH have to have the corresponding extension (doc, xls, pdf, jpg, tif...).· In case of not receiving all the information previously detailed the project will be misestimated.· Maximum funding for each selected project is 12.000 euros, including the travel expenses, housing, production, transport and assembly, author or authors’ fees (maximum of 2.000 Euros) and all applicable taxes.

b) The sonorous and audio-visual works must include:· Curriculum Vitae of no more than 2.000 characters and a photocopy of passport or an equivalent document of the author or authors’ of the project.· Description of the project with an extension not superior to 4.000 characters.· The audio-visual works for the circuit of the underground channel (Canal Metro) will have a maximum of 2 minutes duration, will be able to be sent in any digital format (AVI, MOV, WMW, SWF) for the selection and in format DVD, miniDV, Betacam SP or VCPRO the selected ones by the jury. The sonorous works will be broadcast in Radio 3, will have a maximum of 10 minutes duration and will be able to be sent in CD format.The selected ones will receive 600 Euros and a copy of the master will be part of Madrid Abierto’s public file, with a web location in www.madridabierto.com, previous agreement with the authors.

Projects should be sent by e-mail to: abierto@madridabierto.com, before the 31st of May, 2006 (or by standard post to: Fundación Altadis-Madrid Abierto, calle Barquillo, nº 7, 28004 Madrid, Spain).

6The commission of selection, presided by the programme director Jorge Díez, it will be integrated by: Juan Antonio Álvarez Reyes (Madrid Abierto 2007 curator), Cecilia Andersson, Guillaume Désanges and Ramon Parramon. Casa de América and Círculo de Bellas Artes will designate a representative for the selection of the project that will shelter every institution.The commission will choose a maximum of ten projects, evaluating the quality and viability of the proposals, as well as the total reversibility of the projects. As we are dealing with projects that will occupy public areas, it will be essential to obtain the corresponding authorisation from the municipal authorities for their installation, that will be manage by Madrid Abierto.If the selected projects make any use of third party images, the artists must provide the express authorisation of the owners of these images for their use in the project.

7 Madrid Abierto reserves the right of publication and reproduction of the selected projects for all case relating to the promotion of the programme, and shall incorporate all generated documentation into its documentary resources and public archives. The projects and works selected shall be the property of the authors and the promoting institutions shall have a preferential right to their possible purchase.

8Participation in this call implies total acceptance of the rules.

 

 

 

 

 

 

07pvtc1137

2006. RADIOCAST (list)

2006. RADIOCAST (list)

** SEE THE ATTACHED PDF

 

 

 

 

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2006. DISCUSSION PANELS / 3 feb (video)

Friday February 3rd 6pm to 9pmTALKS AND ROUND TABLES

Coordination of the Madrid Abierto 05 programme of debates and exchanges: Ramon Parramon. Director of Idensitat and co-director of the Master’s course in Design and Public Space, Elisava-Universitat Pompeu Fabra.

1Ramon Parramon (presentation of the program and speakers)

Bartolomeo Pietromarchi: Art critic and exhibition organiser. General Secretary of the Fondazione Olivetti. Author of the investigation project Trans:it. Moving Culture trough Europe.

Cecilia Andersson: Critic and exhibition organiser. Director and founder of Werk, a curatorial agency and projects promoter, located in Liverpool and Stockholm. Coordinator of the project, Urban Workshop in Liverpool.

Maribel Doménech / Emilio Martínez: Artists. Both are professors at the Sculpturing Department of the Universidad Politécnica de Valencia. Members of the Plataforma Salvem el Cabanyal and the management team of the public art project Portes Obertes taking place in the district of El Cabanyal in Valencia.

 

2Maribel Doménech / Emilio Martínez: Artists. Both are professors at the Sculpturing Department of the Universidad Politécnica de Valencia. Members of the Plataforma Salvem el Cabanyal and the management team of the public art project Portes Obertes taking place in the district of El Cabanyal in Valencia.

Guillaume Desanges: Critic and exhibition organiser. Art projects coordinator at Les Laboratories d’Aubervilliers. Ile-de-France.

 

 

 

 

 

 

06mdvc0789, 06mdtb0812

2006. DISCUSSION PANELS / 2 feb (video)

 Thursday, February 2nd 6pm to 9pmPRESENTATION OF THE MADRID ABIERTO 06 PROJECTS

Place: La Casa Encendida (Ronda de Valencia nº2)Selection carried out by Eva González-Sancho, director of FRAC Bourgogne.Moderates: Ramon Parramon

1Ramon Paramon (presentation)00:00 – 03:00

Virginia Corda y Maria Paula Doberti. Accidentes Urbanos.03:00 – 19:00

Nicole Cousino en colaboración con Chris Vecchio. Speakhere¡ 19:00 – 29:50

Gustav Hellberg. Pulsing Path-ambiguous vision. 29:50 – 43:08

Colectivo Lorma Marti. Blend out. 43:08 – 53:30

Tere Recarens. Remolino. 53:30 – 56:06

Arnoud Schuurman. Translucid View56:06 – 1:01:02

    

 

2Arnoud Schuurman. Translucid View00.0    – 01:30

 

 

3Tao G.Vrhovec. Reality Soundtrack. 00:15 – 09:00

Maki Portilla-Kawamura, Key Portilla-Kawamura, Tadanori Yamaguchi y Ali Ganjavian. Locutorio Colón.09:00 – 26:36

Wilfredo Prieto. Ouroboros. 26: 36 – 29:28

TALKS AND ROUND TABLES

Ramon Paramon (presentation of the interventions by Jorge Díez, El Perro and Javier Avila)32:35 - 34:48

Jorge Díez: Director of Madrid Abierto. From 2004 to 2005 he was General Secretary of Cultural Management and Promotion of Castilla-La Mancha (Secretario General de Dirección y Promoción Cultural de Castilla-La Mancha).34:48 – 47:44

El Perro: Group of visual artists (Pablo España, Iván López y Ramón Mateos). From 1997 to 2002 they organised the public art exhibition, Capital Confort in Alcorcon. Took part in the organisation of MAD 03 - Arte público. 47:44 – 1:01:03

 

4El Perro: Group of visual artists (Pablo España, Iván López y Ramón Mateos). From 1997 to 2002 they organised the public art exhibition, Capital Confort in Alcorcon. Took part in the organisation of MAD 03 - Arte público. 00:00 - 01:39

 

5El Perro: Group of visual artists (Pablo España, Iván López y Ramón Mateos). From 1997 to 2002 they organised the public art exhibition, Capital Confort in Alcorcon. Took part in the organisation of MAD 03 - Arte público. 00:00 – 13:30

Javier Avila: Art critic and exhibition organiser. He has promoted and managed numerous editions of the Periferias project in the city of Gijón.d de Gijón.13:30 – 28:00

Round table28:00 – 48:36

 

 

 

 

 

 

 

06mdvc0788, 06mdtb0811

2007. Carolina Jonsson (Cv)

LIDKÖPING, SWEDEN, 1975 LIVES AND WORKS IN LIDKÖPING, SWEDEN WWW.CAROLINAJONSSON.COMWORK EXPOSED IN MADRID ABIERTO: REST

EDUCATION2006·    Master of Fine Arts. The Art Academy of Trondheim NTNU, Trondheim, Norway2004·    Art in common space. The Faculty of Art and Arcitecture NTNU,Trondheim, Norway2001·    Bachelor of Fine Arts. The Art Academy of Trondheim NTNU, Trondheim, Norway2000·    Gerlesborgskolan. Stockholm, Sweden1999·    Basis konstskola. Stockholm, Sweden1998·    Narratology. Skövde university college, Sweden·    Artscience. Skövde university college, Sweden1996·    Graphic design and illustration. RMI-Bergs Institute of Marketing Gothenburg, Sweden

GROUP EXHIBITIONS2006·    Liljevalchs vårsalong Konstrea. Liljevalchs Stockholm, Sweden·    Film9. Arbetets Museum Norrköping, Sweden

2005·    En siste utstilling. Et Stunt gallery, Trondheim, Norway·    Apropos. Bachelorexhibition, Kit-gallery,Trondheim, Norway·    Trøndelagsutstillingen. Trøndelag Senter før Samtidskunst  Trondheim, Norway

2004·    Fabrikken. Kit-gallery, Trondheim, Norway·    Galleri SG. Trondheim, Norway·    Trøndelagsutstillingen. Trøndelag Senter før Samtidskunst  Trondheim, Norway

2003·    Tre unga konstnärer. Ravlunda Bränneri Ravlunda, Sweden

FESTIVAL SCREENINGS2006·    ”Rest”, Femmina 2006 Film festival Verdal, Norway·    Minimalen. Kortfilmfestival, Nova kinosenter Trondheim, Norway

2005·    Impact festival 2005 Videodictionary,TheVideoArtFoundation Utrecht, Holland·    "Pineapple turns important” Members club, BIT Teatergarasjen  Bergen, Norway

2003·    Image Forum Festival. VideoDictionary Tokyo, Japan

PROJECTS2006·    ”Levanger sessions: recordings and remixes” The DJ-project 2006-07 Levart Levanger, Norway

1999·    Project in public space Toljö äldraboende. Lidköping, Sweden

GRANTS2003·    Cedergrenska Zetterbergska uppfostringsfonden. Sweden

 

 

 

 

 

 

 

 

07autd1530

2006. Tao G. Vrhovec. REALITY SOUNDTRAK, 2003-04

2006. Tao G. Vrhovec. REALITY SOUNDTRAK, 2003-04

REALITY SOUNDTRAK. Amsterdam, 2004

 

       

REALITY SOUNDTRAK. Ljubljana , 2003

 

       

REALITY SOUNDTRAK. Thessaloniki, 2004

 

 

 

 

 

06pric0893

2006. DISCUSSION PANELS / 03 feb (images)

2006. DISCUSSION PANELS / 03 feb (images)

 

         

         

Bartolomeu Pietromarchi    Bartolomeu Pietromarchi    Emilio Martínez    Guillaume Desanges

Maribel Doménech    Maribel Doménech    Ramon Parramon    Santiago Cirugeda

Cecilia Andersson    Cecilia Andersson     

Photographer: Enrique Escorza

 

 

 

 

06mdic0790

2007. Discoteca Flaming Star. FERNANDO (WE WERE YOUNG. FULL OF LIFE. NONE OF US PREPARED TO DIE) (technical data)

  TECHINCAL DETAILS OF THE READYMADE KIOSK

Sice: 2,6 x 4,2 x 2,6 (approximate size)

• Structure made of cold tubular and angular laminated profiles forming panels that are assembled to each other with zinc coated screws. All the elements are collapsible. • A segment made of open profiles that forma a Pratt type of lattice.• Tubular profile straps transversely fixed with screws.• Galvanized profile cover done with the Sendzimir de 275 grs/m2 process on each cover. Undulating of 0,06 mm thick.• Exterior locks 30/209 of 0,6 mm thick galvanized by the same process as the previous.• Metallic door made of a perfrisa type of profile of 0,9 m light x 1,96 m high. With a security lock of the Azbe brand with two bolts and a set of three keys, the opening, towards the exterior.• Kiosk foldaway made of carpentering frames prefisa type with 1,3 m. Opening in the foldaway done with an adjustable tubular telescopic guide. • Anchorage system, with screwed handrails in the kiosks basis.• Degreasing cleaner is applied to every component.• Foam rubber profile joints located on corners of foldaway doors. • It includes four frontal foldaway openings and door adjusted for passers-by.(INFORMATION PROVIDED BY THE PREDES COMPANY (BARCELONA)

INSTALLATION REQUIREMENTS

4 people x 1 dayThe assembly is basic: according to PREDES “it works like a meccano” and no crane is needed.Basic electric installation to supply the audio equipment.

FLAMING STAR DISCO TRANSFORMATION

PaintPaint with relief to write texts (to integrate – and maintain readability when graffiti has been done, etc)Audio installation.DFS x 1 day

 

 

 

 

 

07prtc3486

2006. Wilfredo Prieto. OUROBOROS (technical data)

 To carry out the project we need a mobile crane, the lorry-crane type, with stabilizers on each side with an average power of XXX. Likewise, we need appropriate staff to use it, and qualified staff to calculate the forces before its assembly.

 

 

 

 

06prtc3485

2006. Wilfredo Prieto. OUROBOROS (theoretical data)

 DESCRIPTION

It’s about building a crane that is attached to itself so that its forces are neutralized and it seems completely static.

PROCESS

A learning process is established to exactly define what type of material is necessary to do the project with the aid of specialized technicians. During that time the necessary material will be chosen and a plan of action will be designed so the piece can be made without harming anyone.

Just as important as the final result will be the whole elaboration process, that is, necessary permits, material adaptation, engineering calculations, etc. Logistic problems that may arouse are as important as the final work.

DISCOURSE

My piece intends to dwell on the same principal, to say a lot with very little, a formula that may be reversed to project a complex construction to achieve a meagre result. Using minimalism as a reference, the search of balance between forces is my goal for this event. The paradox that is created when the fish bites its own tongue, the yin and yang contradiction, the universal complement of good and bad, life and death, the vicious cycle.

Before the static machine, one can only be amazed by the visual brutality of its result. Anyhow, I want to explore the role of art in territories of coexistence, therefore as Cuban, I deal with everyday life without forgetting that life itself is a paradox that encourages us to live, to die and, sometimes, to create art.

 

 

 

 

06prtc3484

2006. Tere Recarens. REMOLINO (proposed location)

 Technically, “Remolino" should be in an indoor environment or protected from rain or acts of vandalism (due to the fragility of its materials). Anyway, in order to place the piece, I am willing to check different possibilities and adjust it to some suggestive location, like a hall or lobby of a building.

 

 

 

 

 

06prtc3483

2006. Tere Recarens. REMOLINO (technical data)

 ASSEMBLY SYSTEM AND TECHNICAL REQUIREMENTS

To build “Whirl” we will need a motor similar to the one used in revolving doors, which is activated when people walk through them. This motor would be embedded in the axis of the piece. I would need a technician to do it.

The four doors are united to the axis and the system is thought of as a collapsible piece. The structure of the doors is made of wood and drawings should be made of translucent materials. It is convenient that these stands will be as light as possible.

If “Whirl” should be a piece independent from space (in case we wouldn’t be able to make a hole in the floor or ceiling), in the lower part of the axis there should be a metal piece to provide balance.

The budget that I present has been studied in Barcelona with a specialist in works.

MEASURES

3, 60 m. diameter 2, 50 m. high

 

 

 

 

06prtc3482

2006. Tere Recarens. REMOLINO (theoretical data)

 "Remolino" is a turning door similar to those we find in airports or shopping centers, which moves with the help of a motor. Self-made, it uses the basic necessary (motor and metal base) materials and the glass has been exchanged for wooden frames and transparent plastic.

I will draw a series on different subjects; everyday experiences, comical and social situations.on each of the 8 sheets of the door: In such a way that the pedestrians will have to follow the pictures to see them, but there will also be other pictures following the pedestrians.

If the pedestrians want to see all the pictures, they will have to go around it at least 4 times.

In this installation, as in others I have already done, the audience is a major factor. We are used to stop in front of one or several drawings, but in this case the drawings will have their own rhythm.

“Remolino” is a project that completes a cycle of works that began when I started living in Berlin. Starting off with “He”, a video in which I invited the Germans to breath out of a helium balloon, “Besenrein” the highest jump I have ever done, cleaning clouds with a broom while skydiving, in “19th of March 2014” two containers will be opened in that same date as if they were the prints of a nose dive landing; then, the rebound, which would be “Shooting star”, a pole vault in an interior patio which is photographed from the top of the building, and last, “Whirl” gets back to the earthly, that is, physical movement more than mental.

One of the qualities that I like to include in my installations is the general public, and that is just what Madrid Abierto offers.

 

 

 

 

06prtc3481

2006. Tanadori Yamaguchi + Maki Portilla-Kawamura + Key Portilla-Kawamura + Ali Ganjavian. LOCUTORIO COLÓN (2006.01 / technical data)

 “Locutorio Colón” is an artistic project with a strong social message (5 booths free of charge to call latin america), but there’s no reason to expect anything that isn’t an order of basic functioning that guarantees citizen’s safety and a quiet use of its services.

The agreed terms with madrid abierto (organizer of the event) and the telefónica foundation (collaborator and provider of technology), is to open everyday between the 1st and the 26th of february 2006, with limited opening hours (from 9 pm to 12 pm). In this way the flux of users is under control.

Likewise, a waiting system of turns will be used by which each visitor will receive a numbered ticket on arrival to be able to use the booth. The duration of each call is limited to 5 minutes to avoid any abuse of the service. We expect users to respect this order.

During the first days its function and flux of users will be objectively evaluated. if problems occurred, measures should be taken. these would consist of, firstly: fence the area to create a stretch and thus control the turns, secondly, to monitor with some security agent, and, as last resort, to close the service.

The authors are aware that a social-artistic project should not involve any altercation or generate insecurity and are ready to assume the measures apointed above.

 

 

 

 

 

06intb3630

2006. Tao G. Vrhovec. REALITY SOUNDTRAK (technical data)

 DESCRIPTION OF THE INSTALLATION

Installation consists of a big – 5.5 m (length) x 4.5 m (height) Reality Soundtrack Instruction Score (see documentation) on a wall. In front of the wall, there is small radio transmitter with antenna that is transmitting RS. On the floor, there are 25 radio receivers scattered around, transmitting the sound in moderate loudness. Next to the wall there is a television with video documentation of the previous interventions, and a table with A4 photocopies of previous Intervention Maps.

WEBSITE (under construction)On the Website, there is all the documentation about Reality Soundtrack. It is possible to download sound in MP3 format, and to print out the Reality Soundtrack Instruction Score, which has all the information and instructions necessary for the intervention to be realised – it is some kind of score for the realisation of the intervention.

Website enables global realisation of the sound intervention, which means as well, that my presence as the author of the project is no longer absoloutley necessary for the realisation.

TECHNICAL REQUIREMENTS

For the intervention

- preparation time: 2 full days- 1 FM radio transmitter* with antenna* or collaboration with existing radio station- 25 or more participants that would carry radios- 25 portable FM radio receivers*- 96 batteries for the radios* I have this material

For the installation

- preparation time: 2 full days- white wall 5.5 m (length) x 4.5 m (height)- 20 m2 space in front of that wall- 2 tables 1m x 1m- 1 DVD player- 1 TV monitor

 

 

 

 

 

06prtc0896

2006. Tao G. Vrhovec. REALITY SOUNDTRAK (theoretical data)

 CONCEPT

The goal of the intervention is to transpose a real situation in public space onto a plane of fictionality. The sound intervention alters the mode of perception of a random passer-by listener. That which a listener sees becomes a fiction and support for that which he or she hears. The result of such alienation is that the listener no longer perceives reality as something that has any immediate effect on his or her own existence but, rather, accepts it as an aesthetic phenomenon; this, however, may present a direct threat to his or her own existence.

DESCRIPTION OF THE EVENT

RS (REALITY SOUNDTRACK) is sound intervention in public spaces as post offices, passages, shopping malls, streets, …

Sound carriers are people equipped with small radio receivers – 25 or more people, each one having 1 radio receiver.

All these radio receivers transmit the same electronic composition, which is transmitted from a mobile short range radio station, or even better, from an existing radio station.

All the participants – carriers are walking together through parts of a city following a given score of movement. The audible result of the action is a moving cloud of sound, which is traveling through a city.

The duration of the intervention is flexible, best around 2 hours in the afternoon time.

REALITY SOUNDTRACK HAS SO FAR BEEN PRESENTED AT

2003- BREAK 2.2 “Invisible Threat” - International Festival of Contemporary Art, Ljubljana, Slovenija –- INTERVENTION- 4th Triennal of Contemporary Slovene Art “U3” - Museum of Modern Art, Ljubljana, Slovenija – AUDIO PRESENTATION

2004- Gallery “Public Space With a Roof” and Radio Amsterdam FM, Amsterdam – Holland - INTERVENTION AND INSTALLATION- BREAKTROUGH – Perspectives on art from 10 new EU member states, The Hague – Holland – INTERVENTION AND INSTALLATION- EASA 2004 - European Architecture Students Assembly, Rubaix – France – 14 DAYS WORKSHOP WITH STUDENTS OF ARCHITECTURE, different interventions.- SOUNDING OUT 2 - International Symposium on Sound and Media –, University of Nottingham, United Kingdom – LECTURE WITH TITLE: “Reality Soundtrack – transforming the perception of reality by means of sound intervention”- CONTEMPORANEA 2004 - International Festival of Contemporary Music, Udine- Italy – INTERVENTION- INTERVENING URBAN VOID – research project on strategies of intervention in the city, gallery “Public Space With a Roof”, Amsterdam – Holland – LECTURE “... transforming the perception...”- COSMOPOLIS – microcosmosXmacrocosmos, Balkan Biennal of Contemporary Art, State Museum of Contemporary Art, Thessaloniki, Greece – INSTALLATION (intervention).- 7 SINS – LJUBLJANA – MOSCOW, ARTEAST EXHIBITION, Museum of Modern Art, Ljubljana, Slovenija – INSTALLATION (mini version)

2005- RADIODAYS – invsible exhibition, DE APPEL gallery, Amsterdam – RADIO TALK. (www.radiiodays.org go to: program --> day6 --> 18.40)

 

 

 

 

06prtc0895

2006. Tanadori Yamaguchi + Maki Portilla-Kawamura + Key Portilla-Kawamura + Ali Ganjavian. LOCUTORIO COLÓN (theoretical data)

 COLUMBUS, THE FIRST COMMUNICATOR

History says that Christopher Columbus discovered America but we prefer to express ourselves in less Eurocentric terms and believe that Columbus established the first communication channel between the Old and New World, the first string in a net that has grown exponentially along the centuries.

We think that the Square of Colón (Columbus Square) should have that communication element with which we identify the historic figure (ironically the neighbouring gardens are called Gardens of the Discovery). Now, more than five centuries after that first contact, we suggest the use of this downtown Agora as an exponent of the state of relationship between Europe and Latin America.

 

LOCAL NETWORKS, GLOBAL NETWORK

Michel Serres describes the hyper-communicative condition of contemporary life with his brilliant reflection on the hors là in his book Atlas. Hors-là is a state that connects the local context with the global context, community networks and international networks; the tiny and the huge.

Inside the social tangle of Madrid we find new emerging communities, mainly made of groups of immigrants. Among them, the ones corresponding to the Latin American countries are the most populated. In general, a catalyst element of cohesion to work is always necessary. In our society of communication, cyber cafés are used as catalysts among groups of immigrants that have just arrived. They’re physical vortexes of an imprecise and dense net of local relations and allow global relationships; In other words, an epitome of hors là.

 

 PHONE BOOTH COLÓN

The proposal is so simple and practical that it seems to enter the realm of the arguably non-artistic. We are aware of that, and even so we suggest the installation of a free of charge phone booth in the Colón Square for Madrid Abierto.

This project intends to move away from objectivity and cravings for eternity that are characteristic of modern art. However, the project wants to investigate the collateral aspects of a piece (phone booth) itself: on how the rumour about it spreads and how the turns to use it are organized, in the parallel activities that may appear unexpectedly around it, the schedule of its nocturnal use…

We like to think that the square will be the same once the phone booth is dismantled, however, it will have participated in creating a more complex social network between people in one and other side of the Atlantic.

 

 

 

06prtc3477

2006. Nicole Cousino + Chris Vecchio. SPEAKHERE! (technical data)

DE INSTALLATION INSTRUCTIONS FOR SPEAKHERE! THANK YOU!!!!

POINT A

1- unplug the main electric cable 

2- unscrew the black disk in the middle of the large metal disk 

3- carefully remove the large metal dish - attached with one more screw 

4- carefully open up the box - you can rest the plastic structure on the ground 

5- un hook all of the electrical cables, mic cable and antenna cable from the radio transmitter 

6- close the lid of the box so that the structure is back standing upright 

7- using a small screwdriver unscrew the various sections. The section with the microphone can keep the microphone attached inside, and just pull the cable up with it. The taller section has the antenna. Remove each section starting at the top and you should be able to pull the antenna up. If it does not come easily then you have to remove another section to disconnect two cables that maybe stuck in the curved section 

8- the final section that is attached to the base can be removed by opening the box and undoing the screws that hold a ring in place for one side. The other side is held in by bolts and can also be undone from inside the box 

9- all screws could be put in a bag and shipped inside of the plastic box 

10- you will need a wrench to remove the screws that secured the box to the sidewalk  

11- there are boxes for the ICOM radio and ASTRON power supply these can be wrapped in bubble wrap and shipped inside of the plastic box that forms the base - please make sure that everything is well packed in so that it does not rattle around in the box. 

12- Each of the plastic parts and the metal dish can be wrapped in bubble and should be able to fit in the boxes that they came in

POINT B

1- unplug the main electric cable and pull it up from the ground and perhaps stash it in the bushes so that later Pedro or someone else can disconnect it from the main green box 

2- unlock the box and disconnect all of the wiring from the radio receiver 

3- inside the box you should be able to unscrew the nuts from the gray plastic grommets that attach the speaker hoses to the box and pull out the speaker wires from inside the box 

4- you will need a ladder and heavy duty screw driver to disconnect the wire holding the speakers on the post. Disconnect each speaker 

5- each speaker has a green hose with the speaker wire. The speaker wire will need to be disconnected from the speaker itself before the hose can be removed 

6- the 2 larger speakers have multiple sections. Unscrew the section first where the speaker is and undo the speaker wires from the speaker 

7- the speaker wires in the green hoses can then be disconnected from the speakers by unscrewing the grey connector 

8- the speaker wires in the green hoses get coiled up 

9- the speakers can then be unscrewed and broken down in to separate sections 

10- the smallest speaker that looks like a flower pot – don’t bother trying to disconnect the hose from the speaker – it can stay as one piece 

11- there are boxes for the ICOM radio, ASTRON power supply, and SONY audio amplifier. This equipment can be wrapped in bubble, packed well inside the green box and shipped that way 

12- the speaker parts should be wrapped in bubble and should fit in the boxes or you may need one additional box to fit everything in 

13- the wooden post or “tree” can be removed or lit on fire at the site and the ashes can be taken sprinkled under the shrubs

 

 

 

 

06prtc0889

2006. Tere Recarens. REMOLINO (location)

Recoletos Renfe´s train station, central hall

 

 

 

 

 

 

06intd1000

2006. Lorma Marti. BLEND OUT (proposed location)

 Situated in the center of Madrid and along its busiest boulevards, in the midst of representative historical ensembles and public green, the installations would remove sections of public space from the public, making them inaccessible or invisible.

 

 

 

 

06prtc0886

2006. Tao G. Vrhovec. REALITY SOUNDTRAK (location)

Paseo de Recoletos, Tienda Telefónica (near museo de cera)

 

 

 

 

 

 

06intd0999

2006. Lorma Marti. BLEND OUT (theoretical data)

 Our project aims to highlight the erosion and occupation of public space, something happening both at a private level (mostly tolerated illegal construction) and at an institutional level (mostly imposed and invasive measures).

For Abierto we propose to install a series of “construction sites” consisting of full-size scaffolding or safety-fences wrapped in the usual fabrics, plastics and dustsheets.

Situated in the center of Madrid and along its busiest boulevards, in the midst of representative historical ensembles and public green, the installations would remove sections of public space from the public, making them inaccessible or invisible.

The enclosures would hint at something happening from which we are excluded, they could apply to open spaces, public green or existing buildings. They would modify our perception of the context they are inserted into, and our use of it. They would create temporary heterotopias, islands out of bounds, places that could only be regained through transgression. Over the duration of the installation, they would gather that urban driftwood of information: posters, ads, notices, wrappers and flyers - and become an interface, a record or laminate of all other possible cities and spaces.

 

 

 

 

 

06prtc0884

2006. Nicole Cousino + Chris Vecchio. SPEAKHERE! (location)

Transmitter: C/ Alcalá. Reciving end: Parque del Retiro, entrada Plaza de la Independencia

 

 

 

 

 

06intd0997

2007. Anikka Ström (Cv)

HELSINGBORG, SWEDEN, 1964VIVE Y TRABAJA EN LONDONWWW.ANNIKASTROM.NETOBRA EN MADRID ABIERTO: THE MISSED CONCERT

SOLO EXHIBITIONS2006·    Call for Demonstration, curated by Monica Ross, Meta.gallery Hove, UK·    Sneaklaunch, Stockholm Citywide Billboard project commissioned by Bonniers Konsthall curated by Sara Arrhenius, Stockholm·    The kindest artist in the world, Random gallery, (Project space by Praz Delavallade & Air dParis), Paris

2005·    Jag vill kunna se vad det är, Galleri Charlotte Lund, Stockholm·    The missed concert and the kindest artist in the world, c/o - Atle Gerhardsen, Berlin

2004·    Mary Goldman, Los Angeles, USA·    Det bästa , Galleri Box, Göteborg, Sweden·    I am in love/ all my dreams...Galleria Sonia Rosso, Turin, Italy

2003·    16 minutes  Galerie Drantmann, Brussels·    Everything in this show can be used against me, Casey Kaplan, New York,·    Galleri Charlotte Lund, Stockholm

2001·    Six Songs for a Time Like This, c/o - Atle Gerhardsen, Berlin·    Six Songs for a Time Like This, IASPIS Galleriet, Stockholm·    Six Songs for a Time Like This, Statement Art 32 Basel at c/o - Atle Gerhardsen, Basel

2000·    Grant for revolutionary  Goldman Tevis, Los Angeles, USA·    Ten New Love Songs, Videodrome, Copenhagen·    Annika Ström, c/o Atle Gerhardsen, Oslo

1999·    Manuscript Song, Galleria Sonia Rosso, Pordenone, I (cat.)·    Annika Ström - Ten New Love Songs, Wiener Secession, Vienna, A (cat.)·    Annika Ström at Transmission, Transmission, Glasgow·    Seven Songs, Akershus Kunstnersenter, Akershus·    Fem Skäl, c/o - Atle Gerhardsen, Oslo

1998·    Seven Songs, Casey Kaplan Gallery, New York, USA·    The First Song of Seven, Art Space 1%, Copenhagen, DK

1997·    Windowpillow, Casey Kaplan Gallery, New York, USA·    Videoportrait screening No. X, Rooseum Museum for·    Contemporary Art, Malmö, S·    The Pineapple Project, Malmö, S

1996·    Annika Ström, Rupert Goldsworthy Gallery, Berlin

1995·    Anna Ström & Annika Ström (3 days performance), Rupert·    Goldsworthy Gallery, Berlin (cat.)·    Windowpillow, Gallery Saga Basement with J. Schou, Copenhag

GROUP EXHIBITIONS / SCREENINGS2006·    The Clinic. Berliner Hebbel Am Ufer-Theater curated by Anselm Franke and Hila Peleg·    In a Magical World curated by Juan Antonia Alvarez Reyes, Cala San Vicente, Pollensa, Majorca  Island·    Bastards, curated by Sinasa Mitrovic, White Chapel, London·    I am a victim of this song… and other sung videos, curated by Montse  Badia Centre d´Art Santa Mònica, Barcelona·    Too much love, curated by Amy Adler, Angles Gallery, Santa Monica, USA·    Innenausstattung. Privates Handeln curated by Janneke de Vries and Kerstin Stakemeier,·    Franz West without Franz West, curated by Veit Loers, Centre d'art Santa Mònica, Barcelona and Centro Atlantico de Arte Moderno, Las Palmas de Gran Canaria·    Janssons frestelse/Jansson´s Temptation, curated by Niels Bonde, Overgaden·    Institute of Contemporary Art, Copenhagen·    Franz West without Franz West, curated by Veit Loers, Centre d'art Santa Mònica, Barcelona·    Mobile Screening in La Vidéotheque mobile by Fabrice Gygi, Landowski,Boulogne.·    The Peninsula art and film Anthology, Curated by Heman Chong Singapore History museum,Singapore

2005·    Edstrandska stiftelsen exhibition, Malmö Konstmuseum, Malmö·    Situated Self curated by Branko Dimitrijevic & Mika Hannula, Belgrade Museum of Contemporary Art, Belgrad, Serbia·    Situated Self , Helsinki City Museum, Finland·    Tourist Class, curated by Lars O Ericsson & M von Hausswolff, Malmö Konstmuseum, Malmö·    The 15 min show, curated by Christina Ricupero & Alexis Vaillant at Stedeljik Bureau, Amsterdam·    Lak-ka-pid-lak-ka-perd Invisible landscapes, curated by Miya Yoshida, Chula University, Bangkok, Thailand·    Moderna by night, release of Artist book with ONESTARPRESS, Moderna Museet, Stockholm, Sweden·    The failure, curated by Fanny Gonella & Sabine Schmidt, Korridor, Berlin·    Kyss Frosken, Nasjonalmuseet for Kunst, Oslo, Norway·    Electric Ladyland, Video und Weiblichkeit, curated by Katjy Albers, Neuer Berliner Kunstverein, Berlin·    Funky Lessons, Bawag Foundation, Vienna·    Media in F, from feminist to feminists,Young Kee Kim,Ewha Art center, Seoul

2004·    Made in Berlin . curated by Zdenek Felix, Artforum, Berlin, Germany·    Funky Lessons, Büreau Friedrich curated by Jörg Heiser, Berlin, Germany·    SansPalais de Tokyo, Paris·    Hotel Hollywood, Künstlerhaus Palais Thurn und Taxis, cur. by Svetlana Heger, Bregenz, Österreich·    Density  ±O, curated by Caroline Ferreira & Marainne Lavanere, Ecole Nationale des Beaux-Arts de Paris, F·    Die kleine Biennale, curated by Mark Kremer, De Jaarbeurs, Utrecht, NL·    Video-Film-Documentary Programme , NIFCA, Helsinki, Finland·    ideo Hits, Queensland Art Gallery, South Brisbane, Australia·    Density  ±O, Freiburger Kunstverein e.V., Freiburg, Swiss·    Criss-Cross, Kino, Lunds Konsthall, Lund, Andorra Cinema, Helsinki, followed by an international tour (2004-2006)

2003·    Narcissus , curated by Hilde Teerlink, Crac Alsace, Altkirch, France·    Contingent Living (cur. by Michelle Grabner), Bodybuilder & Sportsman Gallery, Chicago·    Invisible Landscape, curated by Miya Yoshida at Rooseum Center for Contemporary Art Malmö, Sweden·    Paradigm of love, curated by Judith Reichart, Vorarlberger Kunstverein, Bregenz, Österreich·    Inside Outliners, a probable anthology (cur. by Roland Patteeum), Kunsthalle  Lophem Belgium, Belgium·    5 Projects: Contemporary Art from Sweden, Yerba Buena Center for the ArtsSan Francisco, USA·    Piacenza, Milano, Italy, curated  by Paolo Zani·    Annika Ström, Catrin Otto, (Senatsstipendiaten der Stadt Berlin 2003) Kunstbank, Berlin

2002·    Cine y cas cine, Museo Nacional Centro de Arte Reine Sofia, Madrid, E·    Gossip, Konstmuseet Malmö, Malmö, S·    Art costs more than sausages, Moderna Museet, Stockholm, S·    The music in me 1 Gesellschaft für Aktuelle Kunst, Bremen, D·    Gallery Group Show, Goldman Tevis, Los Angeles, USA·    Openvideospace (cur. by Marina Sorbello), Openspace, Milan, I·    Video Lounge (cur. by Maria Rosa Sossai), Fondazione Olivietti, Roma, I·    Documents, Documentaries and Documentation: Artists’ Film and Video Programme, Arnolfini, Bristol, GB·    “Je t’aime……moi non plus”, Kunstmuseum Thun, CH (touring exhibition)·    Göteborg Filmfestival “Artfilm”, Cinema Atalante, Göteborg, S

2001·    Experimental Film Festival BEFF, Project 304, Bangkok·    One Night Stand, (presented by Make), The Lethaby Gallery, London, GB·    Silence of the City, Gwangju City Art Museum, Gwangju, Korea·    WonderWorld, Kleines Helmhaus, Zürich, CH·    The Wedding Show, Casey Kaplan, New York, USA·    Summer Group Show, Galleria S.A.L.E.S., Roma, I·    The Artist’s World, curated by  Ralph Rugoff, CCAC Institute, San Francisco,USA (cat.)·    Monitor Vol. I, Gagosian Gallery, New York, USA·    Berlin_London_2001, ICA London, London, GB·    Pandas and bamboo a new song by Annika Ström I am the Panda, Robin Pruitt at Gavin Brown’s Enterprise, New York, USA·    Bra mot melankoli – Remedy for Melancholy (cur. Anders Kreuger & Evaldas Stankevicius), Edsvik konst och kultur, Sollentuna, S / Baltic Art Center, Visby, S (cat.) / Contemporary Art Centre, Vilnius, LIT

2000·    Filles Modernes, École Superieure d´Art de Perpignan, Perpignan, F·    KS175.com, Kunstforeningen Gammelstrand, Copenhagen, DK·    Wonderful Copenhagen, Stadtgalerie Kiel, Kiel, D (cat.)·    Freeways and Garage, Sparwasser HQ, Berlin, D·    Attraction, Metrónom, Barcelona, ES·    WaterFront. International Art Exhibition in Helsingborg-Helsingør, Kulturhuset Toldkammeret, Helsingør / Helsingborg Museum, DK·    Escape_Space, Ursula Blicke Stiftung, Kraichtal-Unteröwisheim, D (cat.)·    Flakk, or that extraordinary sensation of being abroad, even when at home, The Nordic House, Reykjavik, IS (cat.)·    Artists of the Gallery, Casey Kaplan, New York, USA·    Amateur/ Eldsjäl. Variable Research Initiatives 1900-2000, Konstmuseum, Göteborg, S (cat.)·    Shoot! International Video Festival, Malmö, S

1999·    Exit, Chisenhale, London, GB·    Close-ups, Nikolaj – Copenhagen Contemporary Art Center, Copenhagen, DK (cat.)·    Identität, Halle für Kunst, Lüneburg, D·    Rosa für Jungs/Hellblau für Mädchen, NGBK, Berlin, D (cat.)·    NGBK, Berlin, D (leaflet)·    Level Cinema, W139, Amsterdam, NL·    Nasubi Gallery / Cities On The Move, Louisiana Museum of Modern Art, Humlebæk, DK

1998·    Nordic Nomads, White Columns, New York, USA·    Beige & Sneakers, Concert – Performance – Event, Büro Friedrich, Berlin, D·    Out of the North, Württembergischer Kunstverein, Stuttgart, D (cat.)·    Wrapped, Vestsjællands Kunstmuseum Sorø, DK (cat.)·    Art Club Berlin, Mies van der Rohe Pavillion, Barcelona, ES·    Bicycle Thieves, Beret International Contemporary Art From Copenhagen, Chicago, USA (cat.)·    Pakkhus, Momentum, Nordic Festival of Contemporary Art, Moss, NO (cat.)·    Videorama, Video Screenings, Vienna, A·    Domesticity, Gallery Mehdi Chouakri, Berlin, D·    After the Orgy, Smart Project Space, Amsterdam, NL·    Nuit Blanche - My Room, (Video programme DK), Musée d'Art Moderne de la Ville de Paris, Paris, F (cat.)·    Jubileum Exhibition, Stalke Gallery, Copenhagen, DK·    Undergrund, Gallery Asbæck, Copenhagen, DK·    The Louisiana Exhibition, Louisiana Museum of Modern Art, Humlebæk, DK (cat.)·    Art Calls, Telephone Project, Denmark (cat.)·    Do It, Nikolaj. Copenhagen Contemporary Art Center, Copenhagen, DK (cat.)·    Sitting Up Erect or Reclining, Home Show (cur. M. Goldman), Berlin, D

1997·    Art Club Berlin, Art Forum Berlin, Berlin, D·    What Is A... Do On A Deserted Island?, Middlegrundsfortet, DK·    One Band Stand, concert performance with stand-in, Rockefeller Center, Oslo, NO·    Gallery Stalke, with Recke & Bechmann, Copenhagen, DK (cat.)·    The Museum of Contemporary Art, Roskilde, DK (cat.)·    Shift Kunstverein, Berlin, D·    Splendid Isolation, Osmos Gardenshow, Berlin, D·    Double Bind, Gallery Enkehuset, Stockholm, S (cat.)

1996·    Tidsanda III - Nordisk Konst, Malmö Art Museum, Malmö, S·    When Shit Hits The Fan, (text by Tone O. Nielsen) Overgaden. The Danish Ministry of Culture’s Exhibition Hall for Contemporary Art Copenhagen, DK (cat.)·    Vardagslivets Psykopatologi!, Galleri Struts, Oslo, NO·    Electronic Undercurrent - Video in Europe, The Royal Museum of Fine Arts Copenhagen, DK (cat.)·    Compartments, Video programme: Escape attempts, arranged by Globe, Copenhagen, DK (cat.)

1995·    5 Artists, Galleri Struts, Oslo, NO·    Trans.form.identity, Overgaden, Copenhagen, DK·    Time Slice, Media Art School, The Royal Museum of Fine Arts, CPH, DK

BIBLIOGRAPHY·    Monographs / Booklets, Catalogues on solo exhibitions·    onestar press, France (2005)·    Galleria Sonia Rosso, Pordenone, I (2000)·    Secession, Vienna, A (1999)·    IASPIS GALLERIET, Stockholm, Sweden (2001)·    Metagallery, Hove (2006)

CATALOGUES ON GROUP EXHIBITIONS / BOOKS2006·    Janssons Frestelse, Overgaden, Copenhagen

2005·    Edstrandska stiftelsen art award, Malmö Konstmuseum, Malmö·    VERSION, Coloring Book, edited by Gabriela Vanga, Mircea Cantor, Ciprian Muresan, Version Magazine 0.6, Romania·    Tourist Class, Malmö Konstmuseum, Malmö·    nd International Video-Art Biennial in Israel, Center for Contemporary Art, Tel Aviv, p. 50·    Lakka pid-lakka ped, Invisible Landscapes, Bangkok·    Situated Self, Confused, Compassionate and Conflictual, Museum of Contemporary Art, Belgrade·    Funky Lessons, ( cur. by Jörg Heiser), Revolver, Frankfurt am Main

2004·    Jahresbericht 2004, Künstlerhaus Palais Thurn und Taxis, Bregenz·    Live, Palais de tokyo, Paris·    Video Hits, Queensland Art Gallery, South Brisbane, Australia·    Density  ±O, Ecole Nationale des Beaux-Arts de , Paris·    Die kleine Biennale, De Jaarbeurs, Utrecht, NL·    Criss-Cross Video-Film-Documentary Programme, NIFCA, Helsinki, Finland (Booklet)

2003·    densité ±O, (cur. by curated by Caroline Ferreira), Ecole Nationale Supérieure des Beaux-Arts de  Paris, F·    Vorarlberger Kunstverein, (cur. by Judith Reichart and Wolfgang Fetz),  Bregenz, Österreich Thun, CH·    Christoph Merian Verlag and Helmhaus, Zürich, CH·    Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain·    Büro Friedrich, Berlin·    Kleines Helmhaus, Zürich, CH·    CCAC Institute, San Francisco, USA·    Edsvik konst och kultur, Sollentuna, S / Baltic Art Center, Visby, S·    ed. by Landeshauptstadt Kiel / Stadtgalerie, Kiel·    NIFCA and The Nordic House, Reykjavik, IS·    Danish Filminstitute, Filmhuset Copenhagen, DK·    Göteborgs Konstmuseum, Gothenburg, S·    Ursula Blicke Stiftung (ed. by Ursula Frohne and Christian Katti), Kraichtal, D·    Waterfront International Art Exhibition, Helsingør Museum/Denmark and Helsingborgs Museum/Sweden·    NGBK, Berlin, D·    Nikolaj – Copenhagen Contemporary Art Center, Copenhagen, DK·    NGBK, Berlin, D·    NGBK, Berlin, D·    Nordic Nomads (cur. by Andrea Kroksnes), White Columns, New York·    Beret International Contemporary Art From Copenhagen, Chicago, USA·    Musée d'Art Moderne de la Ville de Paris, Paris, F·    Württembergischer Kunstverein, Stuttgart, D·    Vestsjællands Kunstmuseum, Sorø, DK·    Momentum: Nordic Festival of Contemporary Art, Moss, NO·    Louisiana Museum for Moderne Kunst, Humlebæk, DK·    Stalke Galleri, Copenhagen, DK·    Copenhagen Contemporary Art Center, Copenhagen, DK·    Gallery Enkehuset, Stockholm, S·    The Royal Museum of Fine Arts Copenhagen, DK·    The Danish Ministry of Culture’s Exhibition Hall for Contemporary Art, Copenhagen, DK·    Landspeed Records, London, GB·    Rupert Goldsworthy Gallery, Berlin, D

SELECTED ARTICLES·    Artforum,   anuary 2006, 9. 237·    Higgie, Jennifer Call for demonstration, Events, Frieze, September 2006·    Frenker, Clarence: Kolla in stans konstigaste kåk, Aftonbladet, Stockholm, April 3·    Steen, Paul: Bäst just nu Konst, Nojesguiden, May·    Annika Ström: Für manche Platten bin ich zu sentimental, Monopol, February, p. 28

2005·    Edlinger, Andrea:c/o – Atle Gerhardsen, Erfundene Konzerte und Freunde,·    taz, tazplan, Mi. 16. Nov. 2005, p. 28·    Tate Online, Issue 4·    spike, Art Quarterly, Winter 2005, pp. 109-110·    frieze, issue 78, October 2003, pp. 102-105·    Artforum, Summer 2003, p. 189·    Flash Art, Milan, no. 229, March-April, pp. 76-79·    Tema Celeste, Milan, Jan./Feb.·    Kunst-Bulletin, Zürich, No. 6/2002, pp. 40-43·    Konsten.net, Stockholm, October 22·    Svenska Dagbladet, Stockholm, November 9, p. 7·    NU: The Nordic Art Review, vol. III No.6/01, 2001·    Artforum.com, Oct. 2001·    NU: The Nordic Art Review,vol. III, no. 2, February 2001·    Der Tagesspiegel, 27. Oct. 2001·    Zitty. Illustrierte Stadtzeitung Berlin, no. 22 / 2001, 18.-31. Oct., p. 55·    Flash Art, No. 221, April - May·    Tema Celeste, Milano, no. 78, March – April 2000, p. 111·    New Art Examiner, March 2000, pp. 20-24·    Flash Art, May-June, 2000, p. 74·    LeTravailleur Catalan, 24/30 November 2000·    Danish Filminstitute, no. 8, 2000·    NU: The Nordic Art Review, vol. II, no. 5, 2000, pp. 85-86 ·    La Semaine du Roussillon, 16/22 November 2000·    Flash Art (Italian Edition), Milano, No. 221, April – May 2000, pp. 117-118·    MessaggeroVeneto, 18. January 2000, p. 10·    Arte Tendenze, Milano,  no. 317, February 2000, p. 162·    L’Independant, 6. Nov. 2000·    L’Independant, 12. November 2000·    NU: The Nordic Art Review, vol. I, no. 1, 1999, p. 90·    Art Monthly, no. 225, April 1999·    BilledKunst, no.1, 1999·    Art Papers, March/April 1999·    BillyLiar, no. 2, 1998·    Der Tagesspiegel, Berlin, 2. May 1998·    Out of the North  (catalogue text)·    Kunstmagasinet 1%, Preview Issue, Copenhagen, December 1997 – January 1998, pp. 8-10·    Art/Text, no. 60, February – April 1998·    Øjeblikket, no. 35, 1998·    Flash Art, no. 201, 1998·    AKTUELT, 3. October 1997·    TAZ, 27/4, 1996·    Zitty, October 1996·    Paletten, no. 4/95, 1995

 

 

 

 

 

07prtb1204

2006. Chus García Fraile. POST IT (proposed locations)

 I’ve thought of two possible locations:

- in Alcalá street, covering Puerta de Alcalá, Bank of Spain, the Metrópoli building (bifurcation Alcalá and Gran Vía)

- or the Recoletos artery, Colón Towers and Colón Square.

The organization should decide, depending on permits and other facts, the appropriate location.

 

 

 

 

 

06prtc3469

2006. Chus García Fraile. POST IT (technical data)

 ASSEMBLY AND TECHNICAL REQUIREMENTS FOR THE “POST IT” PROJECT

1. This project would consist of producing and printing 10 polyester outdoor canvases of 400 x 300 cm. The digital prints of contents would be made with special fluorescent ink, so that they could be read also at night without the need of extra light.

2. The assembly system would be integrated in the poster. These great canvases would only need plastic bridles hooked to the canvas with holes on its upper corners.

3. Technically it would need two staff members and a crane operator. In case that the posters were placed from windows we could do this, in case that the internal access to the façade were impossible or difficult, we would place them directly with a crane.

4. Transport would be in need of a van with 4 metres of pilling space, and two people to load, unload and assembly.

PLANNING

Expected time to do everything: 3 working days.

 

 

 

 

06prtc3467-06prtc3468

2006. Lorma Marti. BLEND OUT (location)

Pº del Prado, central boulevard between Plaza de Cánovas del Castillo and Plaza Platería Martínez

 

 

 

 

 

06intd0996

2006. Chus García Fraile. POST IT (theoretical data)

 This project intends to reflect, as all my recent work, on consumer society of today’s Western culture.

10 posters would be shown along specific buildings (named in the assembly note). They are reproductions of the typical POST Its, that we use everyday as a means to remember things, but larger than usual. Made in a large scale and taken out of their normal context, they intend to offer another interpretation while they shock citizens.

They’re notes referring to everyday worries, a way to fix behaviours in our memory that involve a change of attitude, based on the nature of our daily habits.

There are lots of spaces where we could contemplate these post its in our daily habitat (offices, bedrooms, kitchens, bathrooms, etc), places where we spend large amounts of time and would remind us of those everyday sentences.

Go to the gym, follow the diet, choose a product, smoke less, etc, would have added meanings. Often we see how a car, a perfume, etc, assure us more confidence, security or social success. They are signs and symbols that involve social level or distinction. An author said that a citizen in the street would feel safer with a good suit on, than with a good religious conscience. These are consumer habits that make no sense, taking up a lot of time and money that could be used in more important ways.

We go to beauty parlours or walk down shopping malls seeming free and using that which we seem to need, but reality is that we are victims of a great pressure that the mass media places on us, the power of marketing. The “POST IT” project is similar to everyday scenes, such as promotion posters, etc. The invasion of adverts takes up more physical and mental space each time, using strategies that are more aggressive everyday.

The frantic, excessive and irrational forms of consuming only provide ephemeral satisfactions and are rooted in deep dissatisfaction.

Apparently, these notes would refer to small decisions, but those are the most important ones, for they would also affect the people that live around us. They wish to reduce or neutralize some excesses, the myth of welfare. These notes would suggest a new economy and ecology of consumerism in our mental ecosystem.

Without any moral or critical intention, they would simply express some daily worries for current citizens.

 

 

 

 

 

06prtc3466

2006. Gustav Hellberg. PULSING PATH: AMBIGUOUS VISION (location)

Pº del Prado, central boulevard central between Plaza de Cánovas del Castillo and fuente de Apolo

 

 

 

 

 

 

06intd0995

2006. Arnoud Schuurman. STICKIES (theoretical data)

 

Public space as a given; demands for public comments on how to behave, where to have access to, how to organise a space, how to move through it and in what desired speed. For my project I would like to playfully add notes to the city that emphasise and question these aspects.

DEFINING ‘STICKIES’

Stickies were introduced quite a while ago. The invention was the result of a mistake in producing a paper glue mixture. It turned out to be a big hit and is nowadays widely used throughout the world by office clerks, housewo/man and those with a bad memory.

They function as some kind of message tag that can be put to stick on virtually any surface. The messages generally contained by these usually vary from small remarks as of lists of not to forget items/events/ideas on the personal level.

They won’t fail their task and keep being there in the face. For some they will work, for some a whole wood emerges and consumes little to zero extra attention. PROPOSAL I propose to make a series of oversized notes, or so called stickies, to ad comments and suggestions to public space and mount them at various places along the axis of Paseo de la Castellana.

My intent is to make philosophical remarks on public space, in order to confront the public with ideas/suggestions that sparkle routines and overcome barriers. To stimulate dialogue between people of different backgrounds will be the key issue.

These notes could contain content about matters, spaces, events, taboo’s and things people generally do or intent not to do. The notes will be about its direct surroundings, as well as local and global contemporary tendencies.

The matter of expression will have a slight sense, or suggestion of politics, advertisement and activism. It will be neither of them and all of them in the meantime.

The message could have a geopolitical sense, might sound like commercial and would like to be activist’ demand, but will remain the autonomous artistic realm of a philosophical message.

The content that will be on the notes will be clear beforehand and could be revised. ‘Smile to foreigners’ is a statement I like in particular, since it addresses such a contemporary social/politically issue.

PRESENTATION

The notes could be presented in various ways.

It will be a crucial thing of how they will be conducted to the spectator. It could be a huge sheet mounted on the 7th floor of a large building, a nagging sign in a badly functioning public spot, a square where people hang out but also a humble little note pasted on top of the stairs before entering the metro-tube. All a big difference of look and potential content.

 

 

 

 

06prtc0859

2006. Arnoud Schuurman. STICKIES (proposed location)

 The notes could be presented in various ways.

It will be a crucial thing of how they will be conducted to the spectator.

It could be a huge sheet mounted on the 7th floor of a large building, a nagging sign in a badly functioning public spot, a square where people hang out but also a humble little note pasted on top of the stairs before entering the metro-tube. All a big difference of look and potential content.

I have not been in the city of Madrid yet, so I wouldn't know what would be possible and 'asking' for a intervention. I think of Madrid as a rather big city with broad squares and large avenues.

According to this reference I am pretty much assured that there must be a potential social setting for some critical note, absurdistic statement or cheerful and positive messages.

 

 

 

 

06prtc0858

2006. Chus García Fraile. POST IT (location)

Several façades: Círculo de Bellas Artes, Casa de América y Palacio de comunicaciones

 

 

 

 

06intd0993

2006. Arnoud Schuurman. STICKIES (technical data)

 TECHNICAL REQUIREMENTS

The technical requirements depend strongly on the possibilities that the project offers such as location, amount of space available and conditions for implementing the stickies in a given area. Permission will be needed from municipality and owners of buildings to make this project possible. The project’s shape may vary in material use from a big sheet of cardboard glued onto a surface to hardboard sign mounted onto a construction to support it’s weight and surface onto a wall, signpost or given structure. I have years of experience in making constructions however for this project it might be wise to hire a local craftsman to materialise the stickies. The stickies should be mounted properly. It needs to be wind proof and it will have to be waterproof.

I will coordinate the montage of the stickies myself with the help of a local contractor.

I don’t know if vandalism is such an issue as it is in The Netherlands. As long as something looks good, people would respect it.

To be short I need: -A list of available locations that would like and be suitable for a mounted sticky-A local craftsman to make the signs.-A team of local contractor’s-A scaffold, If a location demands it

I could be no more specific than that this until locations would be clear .

If it will be selected I will make a more elaborate proposal for some specific location in the Madrid Abierto’s framework. It could be a good idea to visit Madrid to look for locations and think about comments/sugestions, depending on the available resources.

 

 

 

 

06prtc0855

2006. Arnoud Schuurman. TRANSLUCID VIEW (location)

Muppies at Paseo del Prado-Recoletos-Castellana. Canal Metro projections

 

 

 

 

 

06intd0992

2006. Wilfredo Prieto. OUROBOROS (published text)

 Cayendo hacia arriba

From objects, reality; from ideas of repositioning the object and the meanings generated by the space which subverts. Moreover, the gesture of re-contextualising doesn’t appear in the object – new context dialogue, but converts the functionalism and the logical utility into something banal which suggests a chaotic image, and even a lucid one of the structure, a victim of its own functional framework and a reflection on its incapacity to be something autonomous.

Ouroboros, in reference to the mythical image of the snake biting its tail, makes one think about power, the social structure of relationships, whether it be at institutional or personal levels, and the lack of sense shown in the application of these precepts in their own systems. Appealing to the wealth of the monument and visual impact as strategies for integrating the object, now called Ouroboros, and which requires a critical overview of the reverted processes, one is attempting to imply the form and to strengthen multiple meanings from the apparent ingenuity of choice and manipulation of the piece.

The effect of the object is neutralized with extreme subtlety by suggesting a means and aim in itself. The minimum self-intervention demystifies the artist as an object creator and profiles him or her as an archaeologist of present times, the daily events, of realities which blend in to the environment around them and thus easily escape other people’s eyes.

With doubt, the piece ponders a more explicit questioning of power and its most visible actions; this pays tribute to the weight and size of the piece, where formality introduces associations with power and its social crystallization. Nevertheless, the Ouroboros concept leans towards an understanding which privileges the understanding of power as a moral method, a self-consciousness and practical experience. It acts as an underlying state. It is actually close to the very dynamic of the art institution, despite the surreptitious of equally suggestive mechanisms. Not even the artist, nor the piece of art itself, with this aura of cognition can allude or remain distant from the conceptual fundamentals they activate.

Direlia Lazo January 2006

 

 

 

06intc0989

2006. Tere Recarens. REMOLINO (published text)

 Remolino is a turning door similar to those we find in airports. Self-made, it uses the basic necessary materials and the glass has been exchanged for wooden frames and transparent plastic. I will draw a series of drawings on each of the 8 sheets of the door:

3. I ALSO HAD A GOOD FRIEND: SERVULLO4. I BROKE ANOTHER OF CHIS’S SHIRT AGAIN!

In such a way that the pedestrians will have to follow the pictures to see them, but there will also be other pictures following the pedestrians.

5. HE LIKED MY HAM6. IN THE END I THREATENED HIM: EITHER FATHER OR NOTHING!

If the pedestrians want to see all the pictures, they will have to go around it at least 4 times.

7. CHIS GOT A SHOCK8. NINE MONTHS LATER I HAD A SORE BACK

In such a way that the pedestrians will have to follow the pictures to see them, but there will also be other pictures following the pedestrians. 1. IN SUMMER, I FELL IN LOVE WITH CHRIS2. I DESIRED HIM SO MUCH I BROKE HIS SHIRT

Remolino is a turning door similar to those we find in airports. Self-made, it uses the basic necessary materials and the glass has been exchanged for wooden frames and transparent plastic. I will draw a series of drawings on each of the 8 sheets of the door:

3. I ALSO HAD A GOOD FRIEND: SERVULLO4. I BROKE ANOTHER OF CHIS’S SHIRT AGAIN!

In such a way that the pedestrians will have to follow the pictures to see them, but there will also be other pictures following the pedestrians.

5. HE LIKED MY HAM6. IN THE END I THREATENED HIM: EITHER FATHER OR NOTHING!

If the pedestrians want to see all the pictures, they will have to go around it at least 4 times.

7. CHIS GOT A SHOCK8. NINE MONTHS LATER I HAD A SORE BACK

In such a way that the pedestrians will have to follow the pictures to see them, but there will also be other pictures following the pedestrians. 1. IN SUMMER, I FELL IN LOVE WITH CHRIS2. I DESIRED HIM SO MUCH I BROKE HIS SHIRT3. I ALSO HAD A GOOD FRIEND: SERVULLO

 

 

 

 

 

06intc0986

2006. Wilfredo Prieto. OUROBOROS (2005.12 / theoretical data)

 This project questions power, as an institution of order and control, from its own scaffolding. Conditioned on appearance, on overlapping camouflage, on correspondence between objects and reality, as an artistically “minimal” operation to detonate and underline its conceptual strategy.

Ouroboros, as the mythical image of a snake biting its tail, recontextualized to challenge today’s social structure from the philosophical order; thereby causing an estrangement, to season interaction from its own symbolic charge; seeking to compact interpretative possibilities, concealing itself in a visual impact, starting from the formal scale itself, and its everyday condition.

(December 2005)

 

 

 

 

 

06intb0934

2006. Tanadori Yamaguchi + Maki Portilla-Kawamura + Key Portilla-Kawamura + Ali Ganjavian. LOCUTORIO COLÓN (published text)

 COLÓN, THE FIRST COMMUNICATOR

According to history, Cristóbal Colón discovered America. We prefer to speak in less Eurocentric terms and to say that Colón established the first channel of communication between the Old and New Worlds, the first thread of a network which over the centuries has grown exponentially.

We believe that Plaza de Colón should maintain the communicative character we attribute to the person it is named after (oddly the park by the square is called Jardines del Descubrimiento). Now, more than five centuries after that first contact, we suggest using this agora to highlight the contemporary state of relationships between Europe and Latin America.

LOCAL NETWORKS, GLOBAL NETWORKS

Michel Serres describes the hypercommunicative contemporary condition with his brilliant reflection on the hors là in his book Atlas. Hors-là is a state that links the local context and the global context, community networks and international networks, the tiny and the huge.

The social jungle of Madrid contains new emerging communities, consisting chiefly of immigrants. The most populous communities are those of Latin Americans. Generally speaking, it is always vital for there to be a catalyst to function as the collagen of social cohesion. In our communication society, this catalytic function in recently arrived communities is performed by call centres. They are the physical vortices of an indefinite but dense mesh of local relationships, and also a medium of global relationships. In other words, an epitome of hors-là.

LOCUTORIO COLÓN

The proposal is so simple and pragmatic that it verges on the debatably (and deliberately) non-artistic. We are aware of this, but even so we propose setting up a free call centre in Plaza de Colón for the duration of Madrid Abierto.

This project eschews the objectuality and aspiration to eternity that often weigh upon contemporary art. Rather it seeks to explore aspects collateral to the object (the call centre) itself: how news of its existence spreads, how its use is organized, parallel activities that may spring up around it, the opening hours it will have (probably nocturnal), and so on...

We like to think the square will be exactly as it was before once the phone booth is removed, though it will have helped build a more complex and intense social network between those who have benefited from it on either side of the Atlantic.

We will develop the above firstly by finding a specific site within the large urban space that is Plaza de Colón. An analysis of public behaviour shows two areas of traffic: the pedestrian stretches along Calle Serrano and Paseo de la Castellana (Jardines del Descubrimiento) and the territory where skateboarders do their tricks. We have chosen the site where these two spheres meet so that the installation may be used and even “appropriated” by the different types of people whose paths cross here and those who will be attracted by the call centre’s presence.

Our intention is to cultivate various types of communication: the invisible spreading of news of the call centre’s existence in the immigrant neighbourhoods of Madrid, the intercontinental communication provided by the telephonic interfaces, social interaction between those waiting their turn to call and those who have already called or even with skateboarders or passers-bay, and also the advertising/graphic communication (illicitly posted adverts, graffiti, etc.) that will surely emerge sooner or later on this new urban feature.

As we do not wish to concentrate all the activity around the feature of the telephone, and in order to facilitate all the forms of expression mentioned, we have proposed a range of possibilities for carrying out the project (such as modules each slightly different), offering a variety of mini-spaces.

We have decided to break up the project into easily erectable, removable and transportable modules. This facilitates construction and will allow the project to be used subsequently in other cities or squares. The structure will be made of wood or fibreboard panels with a wooden frame, which greatly reduces the project’s material cost.

At the times of day when it is advisable for the installation to be closed, it can be turned into a sealed and vandalproof “cabinet”.

 

 

 

 

06intc0973

2006. Nicole Cousino + Chris Vecchio. SPEAKHERE! (2005.12 / theoretical data)

 

BRIEF DESCRIPTION

SPEAKHERE! links bodies across space through sound. By setting up a speaker’s “hole” mounted on a busy intersection of Madrid and a speaker mounted in a park, plaza or alternate public space, personal songs, words, utterances or whispers will be transmitted in real-time to an unsuspecting audience.

 

LONGER EXPLANATION

SPEAKHERE! is an interactive sound installation with two main components. At one location, (on a street or busy public passage way) a small tube will be installed into a wall or free-standing object. Inside the tube will be a GMRS 3 watt radio transmitter and microphone set up to work as a sending device. A small sign will be mounted next to the tube, inviting visitors/passer-byers to speak into the tube/hole. The sound will then be transmitted, in real time, to a public address (PA) speaker that has been mounted on a tree or a post in a park or other suitable public space. Inside the PA speaker will be another GMRS 3 watt radio that will act as the receiver. The radio is attached to a small amplification unit, used to amplify the sound out the PA speaker. What ever is then spoken, uttered, sung, whispered will be amplified out into the public space that may be a location blocks or miles away from the speaker’s “hole”.

Based loosely on the concept of the Speaker’s Corner in Hyde Park, London, SPEAKHERE! differs in that it provides the speaker/participant with anonymity. Its about the liberation and empowerment of expressing one’s self in public without the neurosis of being on view before a listening audience.

Expressing one’s ideas or opinions in a public space can be seen to be a contentious or political act and is often shunned, especially in urban cities. Usually the only voice projected in the public space is that of the state or a religious entity. This project provides an opportunity for a diverse array of individuals of various cultures, languages, perspectives, attitudes and opinions to express themselves to a potential audience.

The receiving end…

The second difference between the Speaker’s Corner and SPEAKHERE! is that the one speaking into the “hole” will not know if there is a listener on the other end. Is one speaking to the wind, the trees, a crowd of elderly hard of hearing, police officers or children or…? But, if there is an audience listening, SPEAKHERE! aims to transform the public space by injecting it with a sense of the unanticipated and spontaneous. The installation also attempts to a link geographical spaces - from the location of the speaker’s “hole” to that of the public space/park where the PA speaker would be mounted.

 

ADDITIONAL OPTIONS

When the piece was installed in Chicago, IL, USA the signage surrounding the Speaker’s “hole” said

Speak freely, rant, rave, articulate, sing, sputter, vocalize your thoughts, ideas, poems, songs, utterances to an audience of pedestrians, commuters, wonderers, lingerers, loiterers, citizens, associates, comrades, friends, sisters, brothers, cats, birds, foliage, inanimate objects, unseen forces, the ether, bread crumbs…

For Madrid the text that invites one to participate could be specific to Madrid or it could also change each week asking passer-byers to speak out about particular topics, questions, etc.

 

(December 2005) 

 

 

 

 

 

 

06intb0920

2006. Nicole Cousino + Chris Vecchio. SPEAKHERE! (published text)

 

SPEAKHERE! links bodies across space through sound.  By setting up a speaker’s “hole” mounted on a busy intersection of Madrid and a sound system mounted in a park, personal songs, words, shouts, utterances and whispers will be transmitted in real-time to an unsuspecting audience.

Based loosely on the concept of the Speaker’s Corner in Hyde Park, London, SPEAKHERE! differs in that it provides the speaker/participant with anonymity. It offers the liberation and empowerment of expressing one’s self in public without the neurosis of being on view before a listening audience.

Expressing one’s ideas or opinions in a public space can be seen to be a contentious or political act and is often shunned, especially in urban cities. Usually the only voice projected in the public space is that of the state or a religious entity. This project provides an opportunity for a diverse array of individuals of various cultures, languages, perspectives, attitudes and opinions to express themselves to a potential audience.

The second difference between the Speaker’s Corner and SPEAKHERE! is that the one speaking into the “hole” will not know if there is a listener on the other end. Is one speaking to the wind, the trees, a crowd of elderly hard of hearing, police officers or children or…? But, if there is an audience listening, SPEAKHERE! aims to transform the public space by injecting it with a sense of the unanticipated and spontaneous.

 

 

 

 

 

 

06intc0969

2006. Wilfredo Prieto (Cv)

ZAZA DEL MEDIO, CUBA, 1978LIVES AND WORKS BETWEEN CIUDAD DE LA HABANA, BARCELONAWWW.WILFREDO-PRIETO.COMWORK EXPOSED IN MADRID ABIERTO: OUROBOROS

EDUCATION2004·    Postgraduate course in performance coordinated between San Francisco Art Institute and Instituto Superior de Arte, Cuba.·    Lecturer at Instituto Superior de Arte, Havana

2002·    Instituto Superior de Arte, Havana

1996·    Escuela Profesional de Artes Plásticas, Trinidad

1992·    Escuela Vocacional de Artes, Santa Clara

SOLO EXHIBITIONS2005·    S.t, Galería Nogueras Blanchard, Barcelona

2004·    Speech, Martín Van Zomerem Gallery, Amsterdam

2003·    Mucho ruido y pocas nueces, Galería Habana, Havana

2002·    Wilfredo Prieto en el Wifredo Lam, Centro de Arte Contemporáneo Wifredo Lam, Havana

2001·    Matriuska, Centro de Desarrollo de las Artes Visuales (CDAV), Havana

2000·    Pie de obra, Co-author James Bonachea, Centro Cultural ICAIC, Fundación Ludwig de  Cuba, Havana

1999·    Conceptualismo aditivo, Co-author James Bonachea, Galería Oscar Fernández Morera, Sancti-Spíritus

GROUP EXHIBITIONS2005·    The hours, Irish Museum of Modern Art, Dublin · FIAC, Paris

2004·    Cordial invitation, Bak and Central Museum, Utrecht·    Island nations, The RISD Museum of Art, Rhode Island·    Just on time, Galería Habana, Havana·    Arco International Art Fair, Madrid

2003·    8th Havana Biennial, Havana·    Stretch, The Power Plant Contemporary Art Gallery, Toronto·    Doble seducción, INJUVE, Madrid·    Sentido común,  Galería Habana, Havana

2002·    El prestamista y el deudor, (music ensemble), Instituto Superior de Arte, Havana·    Identidad, Convento de Santa Clara; Fundación Nicolás Guillén, Havana·    3rd International Banner Biennial, Centro Cultural Tijuana, Tijuana·    Exhibition parallel to the 26th Sao Paulo Biennial, Memorial América Latina, Sao Paulo

2001·    3rd National Contemporary Cuban Art Show, Centro de Desarrollo de las Artes Visuales (CDAV), Havana·    Museu de Arte Contemporânea de Goiás, DUPP, Brazil·    Comtemporary Cuban Art, The Mary Brogan Museum of Art and Science, DUPP, Florida·    ElbArt NN fair, Hamburg

2000·    7th Havana Biennial, DUPP, Havana·    Watamula International Artists’ Workshop, Curaçao·    Con un pensar abstraído, DUPP, Galería Habana, Havana

1999·    2nd Ana Mendieta Performance Festival, Pabellón Cuba, Havana·    El tiempo como espacio, Instituto Superior de Arte, Havana·    Con un mirar abstraído, (intervention), Calle la Rampa, DUPP, Havana·    La Época, (intervention), Época shopping centre, DUPP, Havana

1998·    1st Ana Mendieta Performance Festival, Unión Nacional de Escritores y Artistas de Cuba, DUPP, Havana·    1st National Contemporary Art Theory and Criticism Biennial, Galería Oscar Fernández Morera, Sancti-Spíritus

GRANTS AND AWARDS2005·    Artistic Residence, Kadist Foundation, Paris

2002·    Galería DUPP (Desde Una Pragmática Pedagógica – From A Pragmatic Pedagogy), Instituto Superior de Arte, Havana

2000·    The UNESCO prize for the promotion of the arts, 7th Havana Biennial, DUPP, Havana

1997·    Nubes Verdes Scholarship-Prize, Asociación Hermanos Saíz, Sancti-Spíritus

ARTICLES·    Peran, M. Wilfredo Prieto. Revista Exit Express, no. 9, February 2005·    Molina, Á. Biblioteques i camins que es bifurquen, El País, 20 January 2005·    Rattemayer, C. VIII Bienal de La Habana. Artforum, vol. XLII, no. 6, February 2004·    Salgado, G. 8th Havana Biennial: The Bittersweet Taste of Utopia, FlashArt, January-February 2004·    Noceda, J. M. Un texto infinito, AtlAntica, no. 37, 2004·    Herzberg, J. ArtNexus, no. 52, 2004·    Benítez Dueñas, I. Extracto de ARCO 2004, ArtNexus, no. 53·    Marx, G. Havana, Chicago, Tribune, 20 November 2003·    Gopnik, B. Havana, an Air of Possibility, Washington Post, 16 November 2003·    Mosquera, G. Del arte latinoamericano al arte desde América Latina, ArtNexus no. 48, April 2003

BIBLIOGRAPHY·    Tannenbaum, J. and Morales, R. Islas Naciones: Arte Nuevo de Cuba. La República Dominicana, Puerto Rico y la diáspora, Rhode Island School of Design Museum, Providence, Rhode Island, 2004·    Hlavajova, M. and Mosquera, G. Cordially Invited, BAK, basis voor actuele kunst, 2004·    Pera, R. Doble Seducción, INJUVE, Madrid, 2003.    Mosquera, G. and Francisco, R. Wilfredo Prieto, Centro Cultural Español, Havana, 2002

 

 

 

 

06prtb0838

2006. Lorma Marti. BLEND OUT (published texts)

 NEWSPAPER PUBLISHED TEXT

Our project aims to highlight the erosion and occupation of public space, something happening both at a private level (mostly tolerated illegal construction) and at an institutional level (mostly imposed and invasive measures).

Blend-out is a series of construction sites consisting of scaffolding and safety-fences wrapped in the usual fabrics, meshes, plastics and dustsheets. Situated in the center of Madrid and along its busiest boulevards, in the midst of representative historical ensembles and public green, the installations modify our perception of the context they are inserted into and our use of it.

The enclosures hint at something happening from which we are excluded, they apply to open spaces, public green and existing buildings. They remove sections of public space from the public, making them inaccessible or invisible and conversely give over-exposed sites a break from the incessant expectations of visitors. They alter patterns of movement and approaches, creating obstacles but also shifting attention to other, less practiced places. They create temporary heterotopias, islands out of bounds, places that could only be regained through transgression.

Over the duration of Abierto, Blend-out will gather that urban driftwood of information: posters, ads, notices, wrappers and flyers - and become an interface, a record or laminate of all other possible cities and spaces.

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

BOOK + WEB PUBLISHED TEXT

Our project aims to highlight the erosion and occupation of public space, something happening both at a private level (mostly tolerated illegal construction) and at an institutional level (mostly imposed and invasive measures).

For Madrid Abierto we propose to install a series of “construction sites” consisting of full-size scaffolding or safety-fences wrapped in the usual fabrics, plastics and dustsheets.

Situated in the center of Madrid and along its busiest boulevards, in the midst of representative historical ensembles and public green, the installations would remove sections of public space from the public, making them inaccessible or invisible.

The enclosures would hint at something happening from which we are excluded, they could apply to open spaces, public green or existing buildings. They would modify our perception of the context they are inserted into, and our use of it. They would create temporary heterotopias, islands out of bounds, places that could only be regained through transgression. Over the duration of the installation, they would gather that urban driftwood of information: posters, ads, notices, wrappers and flyers - and become an interface, a record or laminate of all other possible cities and spaces.

 

 

 

 

 

 

06intc0966

2006. Tere Recarens (Cv)

BARCELONA, 1967LIVES AND WORKS IN BERLÍNWWW.TERERECARENS.COMWORK EXPOSED IN MADRID ABIERTO: REMOLINO

SOLO EXHIBITIONS (SELECTED)2005·    T’Team. Galería Toni Tàpies, Barcelona 

2004·    Shooting Star. Galleria Maze, Turin·    Blind Man’s Bluff. Invaliden I, Berlin·    19 mars 2014, Centre Art Santa Monica, Barcelona 

2003·    Finger Flip. Parker’s Box, New York 

2002·    ¿Cuándo vuelves? Galería Toni Tàpies, Barcelona 

2001·    The 8 mistakes. Galleria Maze, Turin 

2000·    I was ready to jump 1999. A/D Werf Festival, Utrecht·    In love. Collaboration with Elena del Rivero. Galería Javier López, Madrid 

1999·    Ethereal. Hal, Antwerpen 

1997·    Prisse de Terre, ART 3. Centre Contemporain d’art, Valencia 

1996·    Terremoto. Capella de l’Antic Hospital, Barcelona

GROUP EXHIBITIONS (SELECTED)2005·    Gravity, De Appel, Amsterdam ·    Sessió Contínua, CCCB, Barcelona·    I'm travellin' light... No, no, you don’t travel light. Tindersticks'95. Gallery Spacement, Melbourne·    La problemática de la producción iberoamericano, Centro Cultural de España, Montevideo·    3rd Biennial Art Show. Arte Lanzarote 2005, Centro Insular de Cultura El Almacén, Lanzarote·    Standards of Reality. Ben Maltz Gallery, Los Angeles·    X Anniversaire Triangle Artist. Friche Belle de Mai, Marseille·    Background II. Galería Horrach Moya, Palma de Majorca·    Throb. Parker’s Box, New York·    La insurrección invisible de un millón de mentes. Sala Rekalde, Bilbao 

2004·    Video-Zone2. 2nd International Video Biennial, Tel Aviv·    Plain Sight. Bloomberg Space, London·    Sur la bonne pente. Galerie Anne Barrault, Paris·    Summer Shorts (Fear of Flying). Parker’s Box, New York·    Looking Further, Thinking Through. Listasafni Reykjavíkur at the Reykjavik Art Museum, Reykjavik 

2003·    Old habits die hard. Sparwasser HQ, Berlin·    SMP. Betanien KunstHaus, Berlin·    Doble Seducción. Sala Amadís, Madrid·    Stand by. Centro de Arte Laboratorio Alameda, Mexico·    Monocanal. Museo Nacional Centro de Arte Reina Sofía, Madrid 

2002·    Projectes 7.2. Centre d’art Santa Mònica, Barcelona·    Open House. Casino Luxembourg, Luxembourg 

2001·    Ironia. Fundació Joan Miró, Barcelona; Koldo Mitxelena, San Sebastián·    ARCO. Caja Madrid, Madrid·    Puntos de encuentro 01. Cruce, Madrid·    BOOM! Play Makers, Manifactura Tabacchi, Florence·    Vostè està aquí. Trienal de Barcelona, Palau de la Virreina, Barcelona2000·    Triangle artists workshop. World Trade Center, New York·    El espacio como proyecto, el espacio como realidad. 26th Pontevedra Art Biennial 

1999·    Program Studio. PS1 & Clock Tower, New York·    Subway outside. Artists Space, Swiss Institute, New York

GRANTS AND AWARDS (SELECTED)2004·    Fundación Marcelino Botín scholarship, Santander 

2003·    Beques a l’estranger per artistas. Scholarship granted by Generalitat de Catalunya, Catalonia 

2002·    Studio Kaus Australis (Hangar), Rotterdam 

1999·    PS1 Contemporary Art Center. Program Studio, New York 

1997·    Art 3. Centre Contemporain d’art, Valencia 

1994·    3eme Cycle Ecole d’Art Luminy. Marseille 

1992·    École d’Art de Grenoble. Generalitat de Catalunya

 

 

 

 

 

06prtb0836

2006. Virginia Corda + Paula Doberti. ACCIDENTES URBANOS (published text)

 URBAN PERFORMANCE ACTIONAccident: Alteration or change that appears in a thing without it losing its essence or nature

The idea is to reflect upon accidents and various other instances so as to obtain records that salvage, symbolize and graphically represent change, overlay and/or urban accidents.

Any contemporary city requires a fleeting moment of attention. Setting out from movement, angst and constant change, we envisaged, by contrast, the aim of this urban action: to pause and cast a salvaging, poetic and distinct and openly resignifying gaze. The saturation of images, deafening noise, multiple icons and glut of sensory stimulation leave the passer-by in an overexposed torpor of brutalized surfeit, evasive introspection or sensory blockade. This overlay of chromatic codes, self-referential metalanguages, universalized symbols and inaccessible dimensions causes what Benjamin calls urban shock.

Memory is a component of time that records the vicissitudes of man’s passage through life.

The highlighted accident is memory, the history of an inhabited place, in whose peculiarities the passer-by participates.

METHODOLOGY

• Highlighting of urban accidents by means of zooming in on them

• Location: Paseo de la Castellana (or environs of the Madrid Abierto circuit)

• Legal discourse shall be used as a methodology

• The artistic work shall unfold in three (3) stages

1st. FIELDWORK

1-A. Observation of the stretch of the avenue most appropriate for performing the action and the highlighting.

1-B. Obtaining of photographic records of urban accidents.

2nd. PERFORMANCE ACTION

2-A. Once the site has been established and a due record taken, the highlightings shall take place with blown-up photographs at the site.

2-B. The action is designed to be executed with a performance, with a photographic record being left at each site.

2-C. Statements on our findings shall be taken from passers-by.

2-D. Minutes shall be drawn up and left at the site once the action is complete, together with the photographic reference, the highlighting. 

3rd. RECORD

As a dossier and due record of the event, an art-book of the action shall be produced containing photos, opinions, minutes, observations and actions.

 

 

 

 

 

06intc0954

2006. Chus García Fraile. POST IT (published text)

 This project sets out from a reflection on consumerism in western culture and our everyday habits, the limits of public and private, and the invasion of the personal sphere by the media pressure to which we are constantly subjected.

The project involves a reproduction of the post-it notes we use every day as reminders. They are notes of our concerns, reminding us to do or refrain from doing certain things as we fix them in our memory, bringing a change of perspective in such everyday phrases. Notes which, magnified and displayed in public, would become advertisements of the everyday, thus acquiring other meanings.

The little concerns of daily life – going to the gym, dieting, smoking less, etc. – would in this new context reflect not our own wishes but the continuous seductive action of commercial advertising.

Incessantly subjected to advertisements, we are free, but free above all to choose between the various products on the market. Often we see how a car, an eau-de-cologne or the like will give us greater confidence, security or social success: they are symbols associated with social status and distinction. If a person on the street can today feel more secure in a good suit than with a good conscience it is because advertising has acquired the importance of an ideology. Our society and culture have absorbed the discourse of advertising, and it is not at all a neutral discourse. People’s needs and demands are (except the basic ones) created at any one time and correspond to the interests of the economy.

According to Pérez Tornero, “it is not going too far to speak of the construction of a model consumer. Advertising discourse, through successive waves of messages, all essentially redundant, helps to model a person concerned about novelty, who longs to possess the object offered and recycles his or her values and habits according to the latest offerings on the market.” For Tornero, advertising, through its strategies of identification with the consumer and projection, makes “each advertisement a kind of journey inside us.”

If this is true, the little private post-its we use to organize our day will essentially coincide with the adverts posted on the streets of our cities, and might even replace them.

 

 

 

 

 

06intc0948

2006. Tao G. Vrhovec (Cv)

LJUBLJANA, ESLOVENIA, 1972LIVES AND WORKS BETWEEN LJUBLJANA Y ÁMSTERDAMWWW.TAOGVS.ORG | WWW.REALITYSOUNDTRACK.ORGWORK EXPOSED IN MADRID ABIERTO: REALITY SOUNDTRACK – MOVING SOUND INTERVENTION IN PUBLIC SPACES

EDUCATION·    Studies of clarinet, music composition and sonology at The Royal Conservatory in The Hague

SOLO EXHIBITIONS2000·    SCSI bar. The Hague, Holland

2002·    Kapelica Gallery, Ljubljana, Slovenija

2004·    Gallery Public Space With a Roof. Amsterdam, Holland

GROUP EXHIBITIONS2001·    Helium. City Gallery of Ljubljana·    SKUC Gallery, Ljubljana, Slovenija·    MANIFESTA 2002, Frankfurt·    WHAT? A tale in free images. Memlingmuseum, Brugge, Belgium

2003·    Nova Gallery, Zagreb, Croatia·    4th Triennal of Contemporary Slovene Art “U3”. Museum of Modern Art Ljubljana, Slovenija

2004·    Breaktrough. Grote Kerk, The Hague, Holland·    Cosmopolis. MicrocosmosXmacrocosmos. Biennal of Contemporary Art, State Museum of Contemporary Art, Thessaloniki, Greece·    7 Sins. ljubljana, Moscow, arteast exhibition. Museum of Modern Art, Ljubljana, Slovenija

2005·    Radiodays. DE APPEL Gallery, Amsterdam, Holland·    Concerts/Festivals

1993·    Festival The Tower of Bable, Helsinki, Finland

1994·    Festival NORDLYD 94 in Trondheim, Norway·    Biennial of Young Artists of Europe, Lisbon, Portugal

1996·    Performance Art Festival Fly by Wire, Ljubljana, Slovenija·    Festival Break 2.2, Ljubljana, Slovenija·    Festival MUSICA A METRONOM, Barcelona

2004·    Festival Forum neuer Musik 2004, Köln, Germany·    Festival EUROJAZZ, Tomar, Portugal·    Festival CONTEMPORANEA 2004, Udine, Italy

CURATORIAL WORK2001Founder and artistic director of BITSHIFT. International cycle of sound events, in Kapelica Gallery in Ljubljana

 

 

 

 

06prtb0834

2006. Arnoud Schuurman. TRANSLUCID VIEW (published text)

 The project Translucid view consists of photographic interventions in a series of so called ‘muppies’, where each individual muppi will be loaded with the image of the immediate environment behind it. The interventions will be located in the area of the Paseo de la Castellana, Paseo de Recoletos and Paseo del Prado.

The interventions will be framed views, with just a slight distinction from reality in a subtle way. They allow users of public space to engage as a participant giving them the possibility to observe the change of reality with the work in time.

People that frequent the environment of the interventions more than once will notice these changes. The conditions such as light and weather on the moment when the photo was taken will remain the same, while the surrounding will change with the time of the day and the given weather.

‘Public space is a given thing; we wander through it, we make it our own and witness it change with time. ’

The muppi (Mobilier Urbain pour Publicité et Information; advertisment stands in public space) as an object is originally there to confront the public with information and illusions of things that do not exist in street life.

The commercial use of these objects makes them a dominant factor over the rest of public space.

Because posters are changed frequently, we never get the chance to look at the posters long enough to get the notion “we’ve seen it.” So our eyes in public space keep on being eagerly pulled to what we have not seen before.

The notion that this intervention will not be an advertisement might sparkle people to get to know what it is, for it will not be easily identifiable as art at first sight.

 

 

 

 

06intc0939

2006. Tanadori Yamaguchi + Maki Portilla-Kawamura + Key Portilla-Kawamura + Ali Ganjavian (Cv)

TADANORI YAMAGUCHINAGOYA, OSAKA, JAPÓN, 1970LIVES AND WORKS IN ASTURIAS WWW.TADANORI.DESORDEN.NET

MAKI PORTILLA-KAWAMURAOVIEDO, ESPAÑA, 1982 LIVES AND WORKS IN BASEL

KEY PORTILLA-KAWAMURAOVIEDO, ESPAÑA, 1979 LIVES AND WORKS BETWEEN BASEL, MADRID WWW.STUDIO-KG.COM

ALI GANJAVIANTEHERÁN, 1979 LIVES AND WORKS IN MADRID WWW.STUDIO-KG.COM

WORK EXPOSED IN MADRID ABIERTO: LOCUTORIO COLÓN

TADANORI YAMAGUCHIEDUCATION1999 ·    Oviedo Art School

1996 . Kyoto University Creative Art Centre, Japan

EXHIBITIONS AND PRIZES2005·    Group exhibition at Galería Espacio Líquido, Gijón

2004·    Solo exhibition at Galería Amaga, Avilés

2003·    Racimo de Ecos, honourable mention in the 1st Madrid Abierto·    Selected in the Luarca Art Competition, Asturias·    Selected in the Caja España Art Competition, Zamora·    First Prize in the San Martín del Rey Aurelio Sculpture Biennial, Asturias·    Espejos Recipro-visores, winning project in the competition for artistic projects organized by the Culture Department of the Principality of Asturias·    Alfombra Mágica, winning project in the competition for chair design, organized by the a-mínima magazine (currently in production)

2002·    Mirador bajo la escombrera, winning project in the Espacio Mínimo Habitable competition, organised by Morés-25 Aniversario

1999·    Solo exhibition at Museo Barjola, Gijón

1998·    Scholarship and solo exhibition at Museo Antón, Candás, Asturias

1996·    Selected in the Kobe Stone Sculpture Symposium, Japan

1995·    Selected in the Kasama "Artists’ Camp" Stone Sculpture Symposium, Japan

1994·    Solo exhibition at the Chayamachi Gallery, Osaka, Japan

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MAKI PORTILLA-KAWAMURAEDUCATION2004 ·    Chelsea College of Art, London

2001 . Middlesex University School of Design, London

EXHIBITIONS AND PRIZES2004·    Design and production of public space in the Maya 9 community, Guatemala

2003·    Racimo de Ecos·    Alfombra Mágica·    Espejos Recipro-visores

2002·    Mirador bajo la escombrera

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KEY PORTILLA-KAWAMURAEDUCATION2003 ·    Architectural Association School of Architecture, London

2000 ·    University of East London, School of Architecture, London

EXHIBITIONS AND PRIZES2004·    AA in Slovenia exhibition in Ljubljana, Slovenia·    Summer Course Speaker at Universidad de Oviedo and Universität Kassel, Germany

2003·    Racimo de Ecos·    Espejos Recipro-visores

2002·    Critique is not Enough exhibition·    Speaker at Fondazione Pistolletto, Biella, Italy and Shedhalle, Zurich, Switzerland·    Special Mention in the Fondazione Pistolletto Minimum Prize

2002·    Mirador bajo la escombrera

2002·    Summer Course Speaker at Universidad Rey Juan Carlos, Aranjuez

2001·    Regular participant in the ARCO Art Experts Forum

2001·    Cajastur scholarship for young artists, Oviedo

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

ALI GANJAVIANEDUCATION2004 ·    Royal College of Art, School of Architecture, London

2002 ·    Cooper Union, School of Photography, New York, USA

2001 ·    University of East London, School of Architecture, London

2000 ·    TVB School of Habitat, New Delhi, India

EXHIBITIONS AND PRIZES2004·    Speaker at Universität Kassel, Germany·    Bio Land exhibition at the Henry Moore Gallery, London·    Fly Utopia exhibition and conference, Transmidiale, Berlin

2003·    Latent Utopias group exhibition, Gratz

2002·    Critique is not Enough exhibition·    Speaker at Fondazione Pistolletto, Biella, Italy and Shedhalle, Zurich, Switzerland·    Special Mention in the Fondazione Pistolletto Minimum Prize

2001·    Participant in the ARCO Art Experts Forum

2001·    Invited by the TVB School in New Delhi for an Indian rural village refurbishment project

 

 

 

 

06prtb0832

2006. Tao G. Vrhovec. REALITY SOUNDTRAK (2006.01-02 / technical data)

2006. Tao G. Vrhovec. REALITY SOUNDTRAK (2006.01-02 / technical data)

 

PERFORMANCE ROUTE PLANNING 

2nd FEBRUARY ITINERARY

 

2nd FEBRUARY ITINERARY(modification)

     

 9th FEBRUARY ITENERARY

  

16th FEBRUARY ITINERARY

 

 

 

 

 

 

06inib0926, 06inib0927, 06inib0928, 06inib0929

2006. Nicole Cousino + Chris Vecchio (Cv)

NICOLE COUSINOCHULA VISTA, CALIFORNIA, 1966LIVES AND WORKS IN CALIFORNIAWWW.NCOUSINO.COM

CHRIS VECCHIO PHILADELPHIA, USA, 1964LIVES AND WORKS IN PHILADELPHIAWWW.NOISEMANTRA.COM

WORK EXPOSED IN MADRID ABIERTO: SPEAKHERE!

Chris Vecchio is an electrical engineer who began creating sculptural devices and art installations in an effort to better understand the relationship between man and technology. His devices serve as props which precipitate interaction with, and dialog about, technology. He is particularly interested in the narrative potential of electronic circuitry and in the use of ambiguous but suggestive user interfaces to generate new modes of interaction.

Chris holds a PhD in Electrical Engineering and has over 20 years of analog, digital, and software design experience. Over the course of the past 10 years his work has been exhibited frequently in both the US and Europe. He is currently Chairman of the Board at Nexus, Foundation for Today’s Art and the Director of Research and Development for medical instrumentation company Spectrasonics Inc.

Drexel University, Philadelphia

NICOLE COUSINO EDUCATION1997·    MFA. Rutgers University, New Brunswick, New Jersey

1990·    BA. San Francisco State University, San Francisco, California

VISUAL ART 2005·    Detourism Bureau. Contemporary Artists Center, North Adams, MA

2005·    VERSION>05. Public Media Institute, Chicago, IL

2003·    Pretty Lies, Dirty Truths. BC Gallery, Laguna Beach, CA

2002·    Group Photo Show. RAID Projects, Los Angeles, CA·    Democracy When. Los Angeles Contemporary Exhibits, Los Angeles, CA·    Re-Public Relations. Parkhaus, Dusseldorf, Germany 

2001·    Border Hack 2.0. Playas de Tijuana, Tijuana, Mexico·    Violate Nature. Private land, Morongo Valley, CA 

1998·    The Female Gaze: Women Look At Men. Pyramid Art Center, Rochester, NY  

1996·    RUTGERS/YALE Graduate Sculpture Exhibition. Mason Gross School of the Arts Gallery, New Brunswick, NJ 

1994·    Home Base. New Langton Arts, San Francisco, CA 

1992·    Smashing Myths In The Information Age. Paper Tiger TV West collaborative show Walter McBean Gallery, San Francisco, CA 

1991·    Conservative Show. Show n' Tell Gallery, San Francisco, CA 

1990·    Pitstops On The Innerstate. Armpit Gallery, San Francisco, CA

VIDEO DOCUMENTARY2003·    Kalundborg. 12-minute experimental documentary video (2004) VI Cologuio Internacional Arte Digital: Poeticas y Lenguajes, Havana, Cuba; Restcycling Art Festival, Berlin, Germany; LAISLE Video Art Festival, Rio de Janeiro, Brazil

2002·    Concrete & Sunshine. 60-minute documentary (2004 Documental, Santa Monica, CA); 2003 Visualized Film Festival, Denver, CO. New College, San Francisco, CA. Appendix Gallery, Copenhagen, Denmark; 2002 International Film Festival of Documentary Film CRONOGRAF, Chisinau, Republic of Moldova. Ajijic Festival International de Cine, Ajijic, Mexico. Free Speech TV national cablecast

1998·    TALLER P.A.C.A. 15-minute documentary. Produced for CARE International Ecuador and Rutgers University

1995·    Fat Of The Land. 60-minute documentary. SELECTED SCREENINGS: 2001 MACBA, Barcelona, Spain; Selected PBS Stations via Free Speech TV- broadcast nationwide. 2000 Ontario Cinematheque, Ontario, Canada. 1999 Global Visions Festival, Edmonton, AB, Canada. 1998 Yerba Buena Center, San Francisco, CA. 1997 Museum of Modern Art, New York NY. 1996 Atlanta Film Festival, Atlanta, GA; Pacific Film Archives, Berkeley, CA; Melbourne International Film Festival, Melbourne, Australia; Images Film & Video Festival, Toronto, ON; National Educational Film & Video Festival, Oakland, CA; Charlotte Film & Video Festival, Charlotte, NC; Portland Art Museum, Portland, OR; 911, Seattle, WA; The Exploratorium, San Francisco, CA; 1st National Congress for Democratic Media, San Francisco, CA. 1995 Dallas Film Festival, Dallas, TX; Film Arts Foundation Festival, San Francisco, CA; Site, Santa Fe, NM. AWARDS: Bronze Apple National Educational Film & Video Festival, Oakland, CA; 1st Place USA Super 8mm Festival, New Brunswick, NJ; 1st Place-Documentary Sauguro Film and Video Festival, Sauguro, AZ; $200 Award Athens Film and Video Festival, Athens, OH; Honorable Mention Images Festival, Atlanta, GA

1993·    Feminist Trilogy For Paper Tiger TV·    Call It What It Is. 30-minute documentary. 1993 SFCameraworks, San Francisco, CA. “WAC is Watching!” Other Cinema, San Francisco, CA·    Sisterhood TM. 30-minute documentary. 1994 Free Video America, Yerba Buena Center, San Francisco, CA; Women's Resources Film Festival, New York, NY. 1993 SFCameraworks, San Francisco, CA; New Langton Arts, San Francisco, CA·    Wired For Action. 30-minute documentary. SFCameraworks, San Francisco, CA

1992·    Sanguis Semen Christorium. 60-minute documentary. 1992 Public Access TV, San Francisco, CA

SHORTS / EXPERIMENTAL / NARRATIVE2005·    here is neither the this nor the that. 10-minute experimental narrative video. 2005 ACCEA International Experimental Video Festival, Armenia

2002·    The Bird. 3-minute experimental video. 2003 Cinemania[c], Pula Film Festival, Zagreb, Croatia; 2002 Swamp Festival, Pomona, CA. LA Screens, 2012 Gallery, Los Angeles, CA·    2 A-CLIP VIDEOS for A-CLIP III. 2 90-second experimental videos. 2002 Los Angeles/Berlin/London public screenings

1998·    Lovestory. 5-minute experimental narrative video

1997·    6 Of 1. 15-minute experimental video. 1997 Rutgers University, New Brunswick, NJ

1996·    Asteriod. 10-minute experimental video·    Spirit Of A Nation. 5-minute experimental video. 1997 Other Cinema, San Francisco, CA; Images Film & Video Festival, Toronto, ON; College Arts Association MFA Exhibition, Hunter College, New York, NY; Locating Feminism, Pembroke Center, Brown University, Providence, RI. 1996 Fugitive Dyads, Knitting Factory, New York, NY

1990·    Repressed Transactions. 5-minute experimental video. Film Arts Foundation, San Francisco, CA. 1990 Other Cinema, San Francisco, CA

CURATORIAL PROJECTS2001·    Violate Nature. 15 Artists were invited to produce site-specific work, in a 5-acre area of desert, which aimed to disrupt “natural” sites and systems. Private land, Morongo Valley, CA

1997·    6 0f 1 Video Collaboration. 6 video artists created works based on an newspaper article about an action done by a female member of the Weathermen

1988·    Armpit Gallery. Co-Curator/Director of an independent artspace that produced monthly shows of local art, performance, theater, film, music and installation that emphasized the element of “interactivity”·    Irrigate The Media Wasteland. Survey of Independent Media including the Internet, Zines, Billboard Alteration, Pirate Radio and Public Access TV, Armpit Gallery, San Francisco, CA

1990·    Urban Scrawl. Showing of artwork addressing the AIDS Crisis. Armpit Gallery, San Francisco, CA

GRANTS AND AWARDS2005·    Leeway Foundation Art & Change Grant Recipient

2002·    Durfee Foundation Completion Grant Recipient

2000·    LA Freewaves Video Festival Board Member

1997·    USA Super 8 Film & Video Festival Finalist Judge

1996·    Dodge Foundation Grant Recipient for the Flaherty Film Seminar

1995·    MGSA Scholarship, Rutgers University, New Brunswick, NJ·    Member of Artist Committee, San Francisco Art Institute, San Francisco, CA·    San Francisco Independent Film Festival Judge·    National Educational Film & Video Festival Judge, Oakland, CA

1994·    Ben & Jerry's National Grant Recipient·    New Langston Arts Annual Award

1992·    California Council for Humanities Mini-Grant Recipient Panels

1996·    Images Film Festival Panel Discussion: Environment & Technology Toronto, ON, Canada

1995·    Boundaries in Question Conference, UCB, Berkeley, CA·    Diablo Valley College Environmental Technology Association, Diablo Valley, CA

BIBLIOGRAPHY·    Steve Montgomery, The 1st NYC Sierra Club Film & Video Festival, International Documentary, 1997, p. 19-20, Los Angeles, CA.·    Jane Farrow, Low Rent Media and Hi-Fat Message: Culture Jam Meltdown at the Images Festival, POV (Canadian Independent Film Caucus, Toronto), Fall 1996 Issue No. 30, P. 27-29·    John Foyston, Greasy Riders in Fat City, The Oregonian, March 28, 1996·    Roy Chung, Fat of the Land, Los Angeles Times, Sep. 29, 1995·    The Skinny on the Fatmobile, The New York Times Magazine, Feb. 5, 1995·    Kristy O'Rell, Greasy Riders: Cross Country on Fat, Boing Boing, San Francisco, CA, Number 13, 1995·    Kristy O'Rell, “Greasy Riders”, in The Happy Mutant Handbook, Ed. Carla Sinclair, New York: Riverhead Books, 1995, P. 154-57·    Karen Weiner, Greasing Down the Highway: The Making of Fat of the Land, Video Networks, BAVC: San Francisco, CA, Oct.-Nov. 1995·    Giles Whitell, Greasy Riders Finish 3000 Mile Odyssey, London Times, Sep. 3, 1994·    James O. Clifford, Lard Car Oozes into SF After Trek on French Fry Fuel, San Francisco Examiner, Aug. 29, 1994·    Fry Power, USA Today, Aug. 29, 1994·    Van in Fat City: French Fry Oil Fuels Unique Trip, San Jose Mercury News, Aug. 29, 1994·    6 0f 1 Video Collaboration. 6 video artists created works based on an newspaper article about an action done by a female member of the Weathermen

1988·    Armpit Gallery. Co-Curator/Director of an independent artspace that produced monthly shows of local art, performance, theater, film, music and installation that emphasized the element of “interactivity”·    Irrigate The Media Wasteland. Survey of Independent Media including the Internet, Zines, Billboard Alteration, Pirate Radio and Public Access TV, Armpit Gallery, San Francisco, CA

1990·    Urban Scrawl. Showing of artwork addressing the AIDS Crisis. Armpit Gallery, San Francisco, CA

..........................................................................................................................................................CHRIS VECCHIOEDUCATION1992·    Ph.D. in Electrical Engineering

1987·    B.S. in Electrical Engineering

SOLO EXHIBITIONS (SELECTED)2005·    Susquehanna Museum of Art. Harrisburg·    Myers Gallery at the Tulsa Living Arts Center

2003·    Dzyga Institute of Contemporary Art. Lviv, Ukraine

2002·    Evidence of Toolmaking. Nexus, Foundation for Today’s Art, Philadelphia

1999·    Technology Fetish, An exhibition of handmade electronic objects. Nexus, Foundation for Today’s Art, Philadelphiagroup exhibitions (selected)

2004·    Subtle Nothings. Borowsky Gallery, Philadelphia

2002·    Hungarian Sculptural Exchange Exhibition. Janus Pannonius Museum, Pecs, Hungary·    Bio-Tech. DaVinci Art Alliance, Philadelphia·    Building Unique Works. Washington Square, Washington

2001·    Contemporary Philosophie. Bridgette Mayer Gallery, Philadelphia·    New Directions. Main Line Art Center, Haverford·    Future Imperfect. Sharadin Gallery, Kutztown University, Kutztown

2000·    Construction, works that challenge the categorical definitions of art. Painted Bride Art Center, Philadelphia·    Every day I think of you, installation, supported by the Philadelphia Fringe Festival·    Beginnings and Endings. Delaware Center for Contemporary Art, Wilmington·    Place of Memory: an archaeology of site specificity. Temple University Gallery, Philadelphia

1999·    Bridging the Gender Gap, Proximity, and Window to the Past. Visual Fringe Festival in conjunction with Dissentia Curatorial Services, Philadelphia

PUBLICATIONS2005·     "Dorkbot" Lecture·    NPR Radio Interview·    Tool Time. James D. Watts Jr. Tulsa World, 6 January 2005

2003·    ЕксГібіція прИлаДіВ Львівянам сподобалася. Yarena Koval, L’vivska Gazette, 15 August 2003·    мИ маемо про Це поГоВорИТИ..., Natalia Kosmolinska, L’viv Post, 16-17 August 2003

2002·    NPR Radio Interview, Listen. Aries Keck, WHYY FM, 20 June 2002·    Tools of the Trade, Edward Higgins, South Philadelphia Review, 20 June 2002, p. 23·    Bells and Bone Whistles, Roberta Fallon, Philadelphia Weekly, 3 July 2002·    Evidence of Toolmaking, Marisa Mariscotti, www.digitalcity.com/philadelphia, June 2002·    Pick of the Week, Evidence of Toolmaking at Nexus, Nikki Roszko, Philadelphia City Paper, 6 June 2002, p. 47·    Power to the People, Art in Science XVI: Electricity, Nikki Roszko, Philadelphia City Paper, 4 April 2002

2001·    Sharadin Enters the Future of Art, Monica Ortwein, The Kutztown Keystone, 15 February 2001, p. 7·    Exploring Technology’s Human Side, Ron Schira, Reading Eagle Times, 23 February 2001, p. W8·    Perfect Strangers, Roberta Fallon, Philadelphia Weekly, 28 February 2001

1999·    Robot Poetry Radio, Raj Thadani, Sound Collector Magazine, Vol. 4, 1999, pp. 37-40·    Local Color, Edward Higgins, South Philadelphia Review, 27 May 1999, p. 27·    Current Events, Gerard Brown, Philadelphia Weekly, 21 April 1999·    Rubber Soul, Robin Rice, Philadelphia City Paper, 16 April 1999·    Case For Art, Edward Sozanski, Philadelphia Inquirer, 16 April 1999

1998·    Bella Vista’s Poet of the Airwaves, Mark Davis, Philadelphia Inquirer, 3 November 1998, p. B1

 

 

 

 

06prtb0830

2006. Lorma Marti (Cv)

FOUNDED IN 2002IS FORMED BY STEFANO DE MARTINO (ST. GALLEN, SWEDEN, 1955) Y KAREN LOHRMANN (HAMBURG, 1967)LIVES AND WORKS IN: BERLINWWW.LORMAMARTI.COMWORK EXPOSED IN MADRID ABIERTO: BLEND OUT

Lorma Marti was formed by Karen Lohrmann and Stefano de Martino and are currently based between Berlin and Rome. Their work covers a range of scales and tools, from architecture to installation, photography, video and painting.

Their project Waiting Land observes the escalation of illegal construction that typifies the modern Italian landscape, a phenomenon that, exploited in equal parts by governments and enterprising citizens alike, skirts the edges of populism and anarchy. Waiting Land articulates the distance between ideal values, ambitions, aspirations, dreams, and their actual manifestation, as a series of photo-reportages, sculptures, installations and videos.

Site Surveys is an ongoing documentation in digital media of possible or impending conflicts arising out of the territorialization of landscapes by infrastructures, production processes, settlement policies and consumer patterns.

Other projects include the Dynamic Series, paintings and murals based on fluxes, commenting on means of representation by abstracting the subject/object relation, and CMYKs, a series of paintings on the issue of visualizing latent and implicit information through color separation.

Return to Occupation is an observation on the re-united city and new German capital of Berlin. Implications of international security laws and the ambitious urban densification plans, that locate most embassies within the city center, have made this city once again a place of blocked-off public space, large-scale traffic deviations and extensive surveillance of the individual citizen that the population of Berlin had only just overcome.

Recent exhibitions and publications include 2005/6 Waiting Land, Comune di Napoli (in preparation); 2005 One Minute Wonder, Lighthouse Brighton/UK;  Old Market Hall Film and Digital Media Centre, Shrewsbury/UK; 2004 SSFVF Bilgi’de Sinema, Istanbul; Bath Film Festival/UK; RACA Gallery, Copenhagen; SSFVF 3rd Floor Arts Centre, Portsmouth/UK + publ.; Limiti Chiostro di Santa Chiara, Cutro/I + publ.; Camp for Oppositional Architecture An Architektur, Berlin + publ.; 2003 Mobility Rotterdam Biennale; Waiting Land and Calabria Eden ‘Clear Skies with Patches of Grey’ Berlin, publ.

Projects by Lorma Marti have recently been supported by the Austrian Ministry for Education, Research and the Arts (Bundesministerium für Bildung, Wissenschaft und Kultur, BMBWK), the Istituto Italiano di Cultura, Copenhagen and the German Art Project Grant IFA.

 

 

 

 

 

06prtb0828

2006. Lorma Marti (Cv)

FUNDADO EN 2002ESTÁ FORMADO POR STEFANO DE MARTINO (ST. GALLEN, SWEDEN, 1955) Y KAREN LOHRMANN (HAMBURG, 1967) VIVEN Y TRABAJAN EN BERLIN WWW.LORMAMARTI.COMOBRA EN MADRID ABIERTO: BLEND OUT

Lorma Marti fue fundado por Karen Lohrmann y Stefano de Martino y actualmente reside a caballo entre Berlín y Roma. Su obra abarca una amplia variedad de escalas y herramientas, desde la arquitectura hasta la instalación, la fotografía, el vídeo y la pintura.

El proyecto Waiting Land observa la escalada de la construcción ilegal que caracteriza el moderno paisaje italiano; un fenómeno que, explotado a partes iguales por las Administraciones y los ciudadanos emprendedores, bordea los límites del populismo y la anarquía. Waiting Land mide la distancia entre los valores ideales, las ambiciones, las aspiraciones, los sueños, y su manifestación real, en una serie de reportajes fotográficos, esculturas, instalaciones y vídeos.

Site Surveys documenta de modo continuado en soporte digital los conflictos posibles o en ciernes que se derivan de la territorialización de los paisajes por las infraestructuras, los procesos de producción, las políticas de asentamiento y las pautas de consumo.

Otros proyectos son Dynamic Series, una serie de cuadros y murales basados en flujos que formulan un comentario sobre los de medios de representación abstrayendo la relación sujeto-objeto, y CMYKs, una serie de cuadros que se ocupan de la cuestión de la visualización de la información latente e implícita a través de la separación de los colores.

Return to Occupation es un comentario sobre Berlín, la ciudad reunificada y nueva capital alemana. Las consecuencias de la legislación internacional en materia de seguridad y los ambiciosos planes de densificación urbana, que sitúan la mayoría de las embajadas en el centro urbano, han hecho de nuevo de esta ciudad un lugar de espacios públicos bloqueados, desviaciones de tráfico a gran escala, y vigilancia omnipresente de los ciudadanos, algo que la población de Berlín apenas acaba de olvidar.

Entre sus exposiciones y publicaciones recientes se incluyen 2005/6 Waiting Land, Comune di Napoli (en preparación); 2005 One Minute Wonder, Lighthouse Brighton (Reino Unido); Old Market Hall Film and Digital Media Centre, Shrewsbury (Reino Unido); 2004 SSFVF Bilgi’de Sinema, Estanbul; Bath Film Festival (Reino Unido) RACA Gallery, Copenhague; SSFVF 3rd Floor Arts Centre, Portsmouth (Reino Unido) + publ.; Limiti Chiostro di Santa Chiara, Cutro (Italia) + publ.; Camp for Oppositional Architecture An Architektur, Berlín + publ.; 2003 Mobility Bienal de Rotterdam; Waiting Land y Calabria Eden ‘Clear Skies with Patches of Grey’ Berlín, publ.

Los proyectos de Lorma Marti han recibido recientemente el apoyo del Ministerio Austriaco de Educación, Investigación y Cultura (Bundesministerium für Bildung, Wissenschaft und Kultur, BMBWK), el Istituto Italiano di Cultura de Copenhague, y una subvención para proyectos artísticos del Instituto Alemán de Relaciones Exteriores (IFA).

 

 

 

 

06prtb0827

2006. Gustav Hellberg (Cv)

ESTOCOLMO, 1967LIVES AND WORKS IN BERLÍNWWW.GUSTAVHELLBERG.COMWORK EXPOSED IN MADRID ABIERTO: PULSING PATH / UNA VISIÓN AMBIGUA

EDUCATION2000 ·    Philosophical Aesthetics, University of Stockholm

1993-98 ·    Kungl. Konsthögskolan, Stockholm (MFA)

1995 ·    Hochschule der Künste, Berlin Prof. Lothar Baumgarten

SOLO EXHIBITIONS 2005 ·    Arnstedt & Kullgren, Båstad, Sweden2003 ·    Hood Gallery, Los Angeles, USA2002 ·    Blinka Malmö stadsbibliotek, Malmö, Sweden2000 ·    Mors Mössa, Gothenburg, Sweden1997 ·    Galleri Mejan, Stockholm, Sweden

GROUP EXHIBITIONS (selected) 2005 ·    Projekt 0047, Berlin, Germany·    Fused Space, Strom, The Hague, Netherlands·    Evolutionäre Zellen Archive NGBK, Berlin, Germany

2004 ·    Arnstedt & Kullgren, Båstad, Sweden·    Momentum 4, Moss, Netherlands·    Zwischen Wasser, Bad Aibling, Germany·    Armory Show, New York, USA

2003 ·    Contemporary Art Cultural Heritage, Antalya, Turkey·    Evolutionäre Zellen, Historisches Museum, Frankfurt, Germany·    LA-International, Raid Projects, Los Angeles, USA·    Arnstedt & Kullgren, Båstad, Sweden·    Evolutionäre Zellen, Freiraum / Transeuropa MQ, Wien, Austria·    Southbound, Leipzigerstrasse 54, Berlin, Germany

2002 ·    Evolutionäre Zellen, NGBK, Berlin, Germany·    Urban Drift, Berlin, Germany·    Reactions, The Library of Congress, Washington DC., USA·    Reactions, The Williamson Gallery,Pasadena               ·    Reactions, Exit Art, New York, USA

2001 ·    Midsummer Night Extravaganza, Kaffee-Burger, Berlin, Germany

2000·    Cave, Konstakuten, Stockholm, Sweden·    1 Maj 2000, Svenska Dagbladet’ Internet-Gallery, Sweden

1999 ·    San Francisco Pin Up Gallery, Stockholm, Sweden·    Galleri Bäckalyckan, Jönköping, Sweden

PUBLICATIONS2003 ·    SITE, Stockholm2002 ·    Publikation (70), Malmö2002 ·    Birthday Paper, New York2001 ·    Publikation (5), Malmö

COMMISSIONS2005·    Com.Öresundskraft, Helsingborg, Sweden

2004 ·    Repr. Region Skåne, Sweden

2002 ·    Repr. The Library of Congress, Washington DC

1999 ·    Repr. Jönköpings kommun, Sweden

1998 ·    Com. Akademiska sjukhuset Uppsala, Sweden·    Com. Studentpalatset, Stockholm, Sweden

1997 ·    Repr. Modern Museum, Cilje, Slovenia

GRANTS AND AWARDS (selection)2003 ·    IASPIS, international exhibition support

2002 ·    Swedish Art Grants Committée, 2 year working grant

2000 ·    Swedish Art Grants Committée

1999 ·    Royal Academy of Arts, Emil Bergh’s Grant

1998 ·    Helge Ax:son Johnson Foundation ·    Royal Academy of Arts, Gustaf Cederström’s Foundation ·    Royal Academy of Arts, Ragnar och Hilma Svensson’s Foundation

1997 ·    Helge Ax:son Johnson Foundation

 

 

 

 

 

06prtb0826

2006. Chus García Fraile. POST IT (2006.01 / visual-technical data)

2006. Chus García Fraile. POST IT (2006.01 / visual-technical data)

 

Círculo de Bellas Artes       Casa de América  

Instituto Cervantes   Círculo Bellas Artes    Palacio Comunicaciones    Casa de América

Casa de América    Palacio Comunicaciones    Instituto Cervantes

Círculo Bellas Artes   Palacio Comunicaciones    Círculo Bellas Artes    Palacio Comunicaciones

 

(January 2006)

 

 

 

 

 

06inib0911

2005. José Dávila. MIRADOR NÓMADA (published text)

 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.

 

 

 

 

 

 

05intc0529

2006. Virginia Corda + Paula Doberti (Cv)

VIRGINIA CORDA BUENOS AIRES, 1967LIVES AND WORKS IN BUENOS AIRES, ARGENTINAWWW.VIRGINIACORDA.COM.AR

MARÍA PAULA DOBERTIBUENOS AIRES, 1966.LIVES AND WORKS IN BUENOS AIRESWWW.MARIAPAULADOBERTI.COM.AR

WORK EXPOSED IN MADRID ABIERTO: ACCIDENTES URBANOS

VIRGINIA CORDA EDUCATION2005 * Seminar on Photography as Contemporary Art * Marcela Moguilesky Photographic Process Workshop

2004 * J. C. Romero’s Art Clinic * Postgraduate Seminar. Visual Poetry and Book Art

2002 * Critical Graphics Postgraduate Seminar I, II & III * Narratives, actions and highlightings

2001 * Oscar Smoje Workshop

1989 * Prilidiano Pueyrredón National School of Fine Arts * Teacher of Painting. Drawing method and technique at the National University * Institute of Art (IUNA), Buenos Aires, Argentina * Aníbal Carreño Workshop

1988 * Naum Goijman Workshop

1984 * Antonio Oliva Workshop

1980 * Domingo Onofrio Workshop

SOLO EXHIBITIONS2005 * SIART International Biennial, La Paz, Bolivia

2003 * Miami Daniel Azoulay Gallery, USA

2002 * Leslie Hotel, Miami

2001 * Museo de Arte Contemporáneo, Bolivia

1999 * Modern Art Café, Mexico City * El Deco, Mexico City

1998 * Centro Cultural General San Martín, Buenos Aires

1991 * Museo Casa de Yrurtia, Buenos Aires

GROUP EXHIBITIONS2005 * Nodofest. ABC Group Photography Festival

2004 * D.N.I. Caja de Arte 1/1, Buenos Aires * 24 horas en la vida de una mujer. Espacio Esmeralda * Unidos por el mismo vicio. Cátedra Fernícola Exhibition (IUNA). Centro Cultural Borges

2003 * 6th international workshop on visual poetry and book art. Centro Cultural Recoleta, Buenos Aires * Molinos dique 3 este. Grafica Crítica Espacio Esmeralda, Buenos Aires * Dibujo por tres. Escuela Superior de Bellas Artes Regina Pacis

2002 * Violencia. Gráfica crítica. Espacio Esmeralda, Buenos Aires * Russian and Latin American Art FL Private Contemporary Art, Miami, USA * Estandartes de Artistas. Public Art Group. Patio Cubierto. Centro Cultural General San Martín * Día del arte correo. Espacio Vórtice. Stamp Art

2001 * SIART. Museo Nacional de Arte. International Competition, La Paz, Bolivia

2000 * Encontrarte. Casa hispanoamericana, Milan, Italy * Plastic art exhibition for the fight against breast cancer, Mexico * Exhibition of Argentinean artists. Euroamerica Gallery, New York

GRANTS AND AWARDS2005 * La niñez en la Argentina. Selection in the photography competition organized by    Fundación Pedriática, Argentina

2004 * First prize in the PROUNI painting biennial. Universidad Nacional de Pilar * Salón Nacional 2004. New media. National Exhibition Halls, Palais de Glacé

2001 * Salón SIART. Museo de Arte de La Paz, Bolivia

1996 * 97 Salón Imagen Satelital

1993 * Salón Centenario. Argentinean Plastic Arts Society (SAAP) Autumn Drawing   Show

1991 * 93 Salón Gente de Avellaneda

1992 * SAAP Painting Show

1991 * Pre-biennial of Young Art. Drawing and painting section

1990 * SAAP Painting Show. Autumn Drawing Show

1989 * First prize for painting in the Art Week organised by the Ernesto de la Cárcova  University College of Fine Arts

PUBLIC ART PROJECTS * Huellas de la topografía Urbana. SIART * Accidentes Urbanos. Madrid Abierto 2006 * Río-Memoria. Highlightings, videos and slides on the collective memory of the River Plate. Photographic investigation and records * Foundation with Doberti, Kuperman and Zech of the street art group Periferia, with which she has produced urban actions since 2002. www.grupoperiferia.com.ar

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

MARÍA PAULA DOBERTIEDUCATION2004 * Juan Carlos Romero’s Art Clinic

2002 * Degree in Visual Arts from the National University Institute of Art (IUNA) * Thought Workshop with Remo Bianchedi

1990 * Naum Goijman Drawing Workshop

1989 * Prilidiano Pueyrredon National School of Fine Arts, Teacher of Painting * Aníbal Carreño Painting Workshop

1985* Luisa Reisner Painting Workshop

COURSES AND SEMINARS 2004 * Postgraduate Seminar: Visual Poetry and Book Art. Ernesto de la Cárcova Visual Arts Postgraduate Course. IUNA. Professor: Juan Carlos Romero

2002 * Postgraduate Seminar: Critical Graphics. Level I, II & III. Ernesto de la Cárcova Visual Arts Postgraduate Course. IUNA. Professor: Juan Carlos Romero * Narratives, actions and highlightings. Professor: Silvia Diehl * Sol LeWitt and Conceptual Art Seminar. FADU (UBA) and PROA Foundation. Professors: Alina Tortosa and Silvia Diehl * Encuentro en La Cumbre. Participation in workshops organised in Cordoba province in January, directed by Remo Bianchedi and Laura Batkis

2003 * Postgraduate Seminars. Colour and Form. Levels I, II & III. Ernesto de la Cárcova Visual Arts Postgraduate Course. IUNA. Professor: Juan Astica

SOLO EXHIBITIONS2000 * Asociación Cultural Pestalozzi

1999 * Alliance Française

1998 * Centro Cultural General San Martín. Sala 1

1996 * Centro Cultural General San Martín. Plaza Cubierta

1995 * Centro Cultural Parque Chacabuco

GROUP EXHIBITIONS2005 * Biblioteca: Libros de artista. Travelling exhibition: Galería 1 / 1 caja de arte, Museo Municipal de Rafaela, Santa Fe / La Caverna. Espacio de Investigación de Arte Contemporáneo. Rosario, Santa Fe / Pasourbano. Espacio de Arte, Bahía Blanca / Museo de Arte Contemporáneo Raúl Lozza, Alberdi * Participation in Arte Correo competitions: 5 international competitions * Nuevas geografías. Art on the net and new media. www.laberintos.org

2004 * Participation in Arte Correo competitions: 5 international competitions * Latinoamérica Arde 1st Experimental Independent Art Competition. Neuquén * Participation in the collective book 24 horas en la vida de una mujer. Espacio Esmeralda * Unidos por el mismo vicio. Cátedra Fernícola Exhibition (IUNA). Centro Cultural Borges * 7th International Visual Poetry Workshop. Centro Cultural Recoleta * Homenaje a Julio Cortázar. Escuela Municipal de Bellas Artes Manuel Belgrano * Proyecto Dominó organized by Rosa Audisio. Necochea Book and Art Fair * D. N. I. Galería 1 / 1 caja de arte * 20 años de Escuelas de Arte. Art Teachers’ Exhibition. Centro Cultural Recoleta * Exposición colectiva. Centro Cultural de la Cooperación

2003 * Bienal Venus. Tandil * Participation in Arte Correo competitions: 10 international shows * Dibujo por tres. Exhibition with Virginia Corda and Ana Fernícola. Escuela Superior de Bellas Artes Regina Pacis * 7th International Visual Poetry Workshop. Centro Cultural Recoleta * Gráfica Crítica. Intervenciones Urbanas. Espacio Esmeralda

2002 * Estandartes de Artistas, Group Public Art Exhibition. Patio Cubierto. Centro Cultural General San Martín * DAEA Teachers’ Exhibition. Centro Cultural General San Martín. Sala Madres de Plaza de Mayo * Homenaje a Olga Orozco. Escuela Municipal de Bellas Artes Manuel Belgrano * Contribution via Arte Correo to the Arenas para la construcción installation by Gabriela Alonso, at Espacio Esmeralda * Violencia. Critical Graphics. Espacio Esmeralda * Día del arte correo. Espacio Vórtice. Stamp Art

2001 * Encontrarte. Espacio Giesso

2000 * Encontrarte. Casa Hispanoamericana. Milan, Italy

GRUPO TRANSIT2004 * Tránsito. Travelling exhibition in Ecuador: Centro Cultural Ecuatoriano Alemán, Guayaquil. Museo Municipal de Arte Moderno, Cuenca. Centro Cultural Pontificia Universidad Católica de Ecuador, Quito. Museo de Arte, Bahía de Caráquez. Museo de Arte, Manta

2002 * Transit. Radolfzell, Germany

2001 * Transit II: Frank-Loebschen-Haus, Landau, Germany. Evangelisches Gemeindehaus. Schamberg, Germany. Artefaht, Tuttlingen, Germany. “In Comunicación”. Pabellón 4. Buenos Aires

2000 * Nietzsche. Museo Ex Casa de la Moneda. Buenos Aires. “1st Buenos Aires Art Biennial”. Museo Nacional de Bellas Artes

SELECTED ACTIONS 2005 * 4th National Street Art Festival. Mina Clavero, Córdoba

2003 * Autopartes / Autoservicio. Urban action as part of the Obra en Tránsito Project. Bahía Blanca

2002 * Urban actions. Inter-Neighbourhood Assemblies in Parque Centenario

2002 * Río-Memoria project. Multiple actions * Foundation with Corda, Kuperman and Zech of the street art group Periferia, with which she has produced urban actions since 2002. www.grupoperiferia.com.ar

WORKS IN COLLECTIONS* Museo Municipal de Arte Contemporáneo, Cuenca, Ecuador* Museo del Banco Central, Bahía de Caráquez, Ecuador

SELECTED PUBLICATIONS2005 * She is currently researching street art in Argentina at the request of the publishers Editorial Asunto Impreso, with Juan Carlos Romero as editor

2004 * Research at the Visual Ideas Department of Centro Cultural de la Cooperación into “New forms and mechanisms of legitimisation. Routes and parameters of artworks and artists” together with Andrea Trotta (ongoing) * Acerca de la noción de autoría y la idea del público en el Arte Callejero. www.grupoperiferia.com.ar * Transit Postal, una experiencia de Arte Correo. Pontificia Universidad Católica de Quito, Ecuador * El público – multitud www.grupoperiferia.com.ar

2003 * Viajes, territorios y otredades. El Arte Correo como ritornelo. Una práctica artística en los límites, los márgenes y los cruces de los cánones tradicionales. CAIA * Arte emergente en Argentina. Pontificia Universidad Católica de Chile * Arte Callejero. Internal university publication. IUNA * Estructura constructiva y conceptualización territorial del arte callejero. www.ardearte.com

2002 * El espacio opresivo. El poder de la mirada. Plastic resignification of concepts setting out from the dominator-dominated relationship: power, knowledge, enclosure, space, vacuum, oppression, control. www.arteuna.com   www.sepiensa.cl * ¿Qué es el Arte Correo y la Poesía Visual?  Internal university publication. IUNA

SELECTED CONFERENCES 2005 * 3rd International Congress on Art Theory and History – 11th Argentinean Art Researchers’ Centre (CAIA) Conference. Museo Nacional de Bellas Artes de Buenos Aires * Buch Objekt International Symposium. Kaiserslautern, Germany * 6th National Congress of the Argentinean Semiotics Association. Centro Cultural General San Martín

2004 * 6th Research Conference of the Argentinean and Latin American Art History Institute. Universidad de Buenos Aires (UBA)

2003 * 2nd International Congress on Art Theory and History – 10th CAIA Conference. Museo Nacional de Bellas Artes de Buenos Aires * National Symposium of the Argentinean Art Critics’ Association. “Argentinean art and critical thought”. Fundación Federico Klemm

TEACHING ACTIVITY (selection) * Lecturer in Audiovisual Media and Culture and Contemporary Aesthetics at the San Miguel Municipal Theatre School * Lecturer in Drawing at the Manuel Belgrano National School of Fine Arts

 

 

 

06prtb0824

2006. Chus García Fraile (Cv)

MADRID, 1965LIVES AND WORKS IN MADRIDWWW.CHUSGARCIAFRAILE.COMWORK EXPOSED IN MADRID ABIERTO: POST IT

SOLO EXHIBITIONS2005·    Galería Fernando Pradilla, Madrid

2004·    Casas Riegner Gallery, Miami·    Galería ADN, Barcelona

2003·    2X1. Centro Municipal de las Artes de Alcorcón, Madrid·    For Sale. Galería Bacelos, Vigo·    Museo Municipal de Valdepeñas, Ciudad Real

2001·    Galería Antonio de Bartola, Barcelona

2000·    Galería Garaje Regium, Madrid

1998·    Galería Pilar Barrio, Madrid

1993·    Galería Fernando Silió, Santander·    Galerie Pierre Birtschansky, Paris

GROUP EXHIBITIONS2005·    Shopped to death. Tuteurhaus, Berlin·    Plotart. Galería Massimo Lupoli, Rome·    Parafraseando al diablo. Harto-Espacio, Montevideo, Uruguay·    The other Europe. Gallerie Se, Bergen, Norway·    PHOTOESPAÑA. Fundación Aena, Barajas Airport, Madrid·    PHOTOESPAÑA. Galería Fernando Pradilla, Madrid·    Subliminal. Art Proyects, Gijón·    D foto. Galería ADN, San Sebastián·    PHOCO Internacional Photography Competition. Centro Cultural Cecilio Muñoz Fillol, Valdepeñas·    ARCO 05. Galería Fernando Pradilla, Madrid·    Unplugged. Gallerie Se, Bergen, Norway·    Antirrealismos. Govett-Brewster Art Gallery, New Zealand·    Antirrealismos. Experimental Art Foundation, Adelaide, Australia

2004·    Solo para las masas. Galería Blanca Soto, Madrid·    Antirrealismos. Fremantle Art Centre, Perth·    Antirrealismos. Institute for Modern Arts (IMA), Brisbane, Australia·    Antirrealismos. Plimsoll Gallery Centre for the Arts, Hobart, Tasmania·    Fiberfib. Public Art, beach intervention, Benicasim·    ADN 1. Galería ADN, Barcelona·    3rd Biennial of Contemporary Representational Art. Galería Clave, Murcia·    ARCO. Galería Bacelos, Madrid

2003·    Arte Lisboa. Bacelos, Vigo·    Antirrealismos. Sydney, Australia·    Art Chicago 03. Casas Riegner Gallery, USA·    Museo Municipal de Orense. Purificación García Photography Collection·    Purificación García Collection. Museo Municipal de Orense·    Salón de Otoño de Madrid. Casa de Vacas·    Galería Arcaute. Monterrey, Mexico  ·    Indisciplinados. Marco, Vigo·    ARCO. Galería Antonio de Bartola, Madrid·    ARCO. Galería Fernando Pradilla, Madrid·    Art Miami Beach. Casas Riegner, Miami, USA·    Deluxe. Monasterio de Nuestra Señora del Prado, Valladolid

GRANTS AND AWARDS2005·    3rd prize in PHOCO. Valdepeñas, Ciudad Real

2004·    Honourable Mention, Focus Abengoa Foundation, Seville·    Fibart. Beach Art Project in Benicasim, Castellón

2003·    Acquisition Prize in the 6th Brocense Plastic Arts Competition. Cáceres Provincial Council·    Reina Sofía Extraordinary Prize. Salón de Otoño, Madrid·    Purificación García Acquisition Prize, Madrid·    Scholarship for Visual Creation. VEGAP, Madrid

2002·    Basketball Fine Arts Biennial, 2nd Prize. Pedro Ferrándiz Foundation, Madrid·    Honourable mention in 3rd Royal Premier Hoteles International Painting Competition, Malaga

WORK IN COLLECTIONS·    Faculty of Fine Arts, Madrid·    Alcorcón Town Hall, Madrid·    Fregenal de la Sierra Town Hall, Badajoz·    Caja de Ahorros de Segovia·    UNED Collection, Madrid·    Alicante Provincial Council·    Regional Government of Extremadura·    Comisiones Obreras Collection. Valdemoro, Madrid·    Brunete Town Hall·    Caja de Ahorros de Ávila·    Postal and Telegraphic Museum, Madrid·    Iberdrola Collection. UCLM, Toledo·    Cáceres Provincial Council·    Municipal Museum of Contemporary Art, Madrid·    Valdepeñas Provincial Council Collection·    Caja Castilla La Mancha Collection, Cuenca·    Hoteles Royal Premier, Malaga·    Lóreal Collection·    Purificación García Collection·    El Brocense Cultural Institute. Cáceres Provincial Council·    Ministery of Culture, Madrid·    Fibart Collection·    Focus-Abengoa Foundation, Seville·    Valdepeñas Town Hall Collection·    AENA Foundation

 

 

 

 

06prtb0822

2006. Arnoud Schuurman (Cv)

LEIDSCHENDAM, NETHERLANDS, 1976LIVES AND WORKS IN: ROTTERDAM WWW.ARNOUD.IS.DREAMING.ORGWORK EXPOSED IN MADRID ABIERTO: TRANSLUCID VIEW

Arnoud Schuurman’s attempt to incorporate art in public space drives him to seek boundaries of experimental possibilities.

"I look constantly to renew a synergy of media and techniques. By this I get ideas that evolves into something refreshing. To visualize something immaterial such as time and space, light and darkness in an object or entity on itself, is for me the ultimate goal".

Mostly I look to plan my ideas for an application in public space. I find this aspect of our surrounding environment exciting, there evolves  for a public art project the possibility to come in touch with a public that is not necessarily out for being confronted with an artwork. I would like my installations to spin off a dialogue with the surrounding environment and architecture. Herein the work generates in its presence with existing surroundings a confronting imaginative force and is contact with public spontaneously and inevitable.’

He lives and works in Rotterdam, The Netherlands. He has exhibited and worked on various public art projects in The Netherlands and various other countries. Amongst them are: Canada, Mexico, Portugal, Cyprus, Belgium, Serbia and Montenegro.

EDUCATION2000 * Master class: How unique is a city?  By Architect R. Yamamoto / Nai

1999 * Student exchange with Vancouver at Emily Carr Institute, Canada

1996–2000 * Willem De Kooning Academy, R’dam - Visual Art department

Solo exhibitions2005 * Urban Vitrine. Waterloostraat, Rotterdam

2002 * Structures of Interferente. Casa de la cultura  Morelia, Mexico

2001 * Urban Field. Project space Morgen, Rotterdam

1995 * Found Objects. Gallery Keller, The Hague

SOLO EXHIBITIONS 2005 * Composites.Patterns.Outcomes. Voorburgstraat Studios, Rotterdam

2004 * Noise-incident. Noise of Coincidence. Yuart Biënale Vrsac, Serbia&Montenegro * Accidentes Coordinados. Observatorio Morelia, Mexico

2003 * Out of Line. UN-bufferzone between Rep. Cyprus - TKKC * Endless sequence no. 5. Trans_Hábitos from Rotterdam/ MORGEN. Interdisciplinair festival in Porto * Descubrir de Europa. NOC project 5.0 Morelia, Mexico * Noiseobsession’  presentation 3.3.  Noise of Coincidence in Nicoisia, CY

2002 * Send Documents. STROOM, The Hague * Whats happening. CuCoSa, Rotterdam

2001 * Doormat of the Law. Art tour Rotterdam, City Hall

2000 * Perpetuem Mobile. Kunsthal Rotterdam * A hot Welcome. Entrance academy, Rotterdam

1999 * Endless Sequence no. 2. Port Coquitlam City Hall, Canada * Commissions and public art

2005–2006 * Port in the Picture. Katendrecht  - Rotterdam * 2005-2006 * Shadow Monument. Vosmaerstraat, Rotterdam

2003 * Shadow monument. Polderweg, Amsterdam * Noisecrossings. Block area-green line-Nicosia, Cyprus

2001 * Spy mirror Monitoring. Witte de Withstraat, Part of the Art Express route in Rotterdam * Sketch proposal for a work in the new Luxor theatre, Rotterdam

2000 * Confrontation Mirror. A semi-permanent work in Metro station Blaak.  Commissioned by RET, Rotterdam

1999 * Tidal Bed. Public space-project, Vancouver

1997 * Metro-Shelter. Surbröt, Belgium

GRANTS2005 * Robert Wilson's Watermill Center International Summer Arts * Program,Long Island, NY - UNESCO Aschberg bursary and The Netherlands Foundation for Visual Arts, Design and Architecture.

2004 * Internship Edad de Bronce. Morelia, Mexico. CBK Rotterdam bursary

 

 

 

 

 

06prtb0820, 06prtc0840

2006. Lorma Marti. BLEND OUT (visual - technical data)

2006. Lorma Marti. BLEND OUT (visual - technical data)

 

SKETCHES

    

        

 

 

REFERENCES

 

ANALYSIS OF THE LOCATION

    

   

 

PROCEDURE FOR INSTALLATION

With the progress of the project, and in collaboration with the organizers and the city, suitable locations would be clearly identified. Any of the following actions may apply to an optimal location: the fencing-in of trees, vegetation and possibly monuments, the deviation or reduction of highly frequented pedestrian crossings and the limitation of prominent views.

The size and materialization of each intervention would then be decided in detail according to setting, degree of interference and space available.

Installations would consist of building scaffolding and fabrics, security fences and screens. These are all easily installed with the minimum effort. For nighttime illumination with construction site-specific equipment (safety lights) we would need access to electricity supplies.

Most important of all, the sites would need to be set up over night without any previous indication, nor information of what will happen and under whose responsibility.

 

 

 

 

 

 

06pric0882, 06pric0881, 06prtc0885

2005. Fernando Baena (Cv)

CÓRDOBA, 1962LIVES AND WORKS IN MADRIDHTTP://WWW.FERNANDOBAENA.COM/WORK EXPOSED IN MADRID ABIERTO: FAMILIAS ENCONTRADAS

SOLO EXHIBITIONS

2004    Ligero de equipaje. O Castelinho, Río de Janeiro, Brasil.2003    Caminos de Fernán-Núñez. Galería Magda Bellotti, Madrid.2001   Spanish executives. Bamboo Curtain Studio, Taipei, Taiwan.1999    De la economía. Sala de Arte del Ayuntamiento de Málaga. 606 m. de cuerda deshecha a mano II. Galería Valle Quintana, Tránsito, Toledo.1998    606 m. de cuerda deshecha a mano. Galería Valle Quintana, Madrid.            Desaprovechamiento de 128048580 cm3. de espacio expositivo de ZAT, Madrid.             Escenario. Cruce, Madrid.1997    Trile. Cruce, Madrid.    1996    Estoy aquí. Cruce, Madrid.             No-separados y no-unidos. Palacio de la Merced, Córdoba.1994    Pasillo. El Ojo Atómico, Madrid.1993    Sobre Mallarmé. Museo Municipal de Palma del Río, Córdoba.1992    Haz y envés. Galería Dziekanka, Varsovia,Polonia.1991    Centro de Recursos Culturales, Madrid.1990    Galería Carmen Romero. Marbella, Málaga.1988    Ayuntamiento de Fernán-Núñez, Córdoba.1987    Centro Cultural Huerta de la Salud, Madrid.1986    Colegio de Arquitectos de Córdoba.            Librería-Galería El Alef, Córdoba.1985    Palacio Ducal de Fernán-Núñez, Córdoba.1984    Ayuntamiento de Fernán-Núñez, Córdoba.

GROUP EXHIBITIONS

2004    Caminos de Fernán-Núñez. CO.04: Sala Puerta Nueva, Córdoba; Fundación Vázquez Díaz, Nerva, Huelva;    Museo de Adra, Almería.            In Memoriam. Loop´04, Barcelona. Galería Magda Bellotti, Madrid.            [R] [R] [F] 2004--->XP: Basics Festival, Salzburgo, Austria; Electronic Art Meeting, Pescara, Italia; VI Salon   y Coloquio International de Arte Digital, La Havana, Cuba; The International Festival of New Film/New Media, Split,  Croacia; Public Space_Festival Yerewan, Armenia; West Coast Nomusic & Electronic Arts Festival Stavanger, Noruega; Biennale of Electronic Art Perth, Australia; 1er International Digital Art Exhibition - Orilla'04. Museo de Arte Contemporáneo Art/Foro Universitario Santa Fe, Argentina; FILE - Electronic Language Festival. Sao Paulo,  Brasil; 404 - Electronic Art Festival. Juan B. Castagnino Art Museum, Rosario, Argentina Karaoke. Festival 143 delicias, L'Antic Teatre. Barcelona; Presentación de SOS Emergin Sumergin Art. Doméstico, Madrid; Control Remoto, MUCA-Roma, México D.F.

2003    Inclassificados 0. Espaço Bananeiras. Río de Janeiro, Brasil.            Inclassificados 1. Espacios SESC. Itinerante, Brasil.            Vídeo del deseo III. Barrios creando barrios, Madrid; MAD.03 Alterno, Madrid.            Infra-Lavapiés 03. Barrios creando barrios, Madrid; MAD.03 Alterno, Madrid.            Tres cuadros de corrala. Barrios creando barrios, Madrid; MAD.03 Alterno, Madrid.             36 caídas en Cerro Muriano. MAD.03 Digit, Madrid            Karaoke. Mínima 2003, Gandía             III Festival de Vídeo143 Delicias. Madrid.             Un ejecutivo español, aprox. Art Palace, Madrid            Deshaciendo el camino. Mirador, Berzosa del Lozoya, Madrid2002    Estoy aquí. Desesculturas. Castillo de Santa Bárbara, Alicante; Círculo de BBAA, Madrid.            Negro. A Caixa. Brasilia, Brasil.            Spitting image (con L.H.F.A.). El Papel del Papel. Galería Moriarti, Madrid.            La Ira. Ardearganda, Arganda del Rey, Madrid.            Karaoke. XXXII Festival de Cine de Alcalá de Henares. Madrid; I Festival de Vídeo de Ibi, Alicante.            La fuga. Per amor a l´art, Palma de Mallorca.           Sustitución de doce objetos. Casas y Calles, Madrid.           Passport (con L.H.F.A). Coslart, Coslada, Madrid.           Prácticas de invisibilidad V. Ven y Vino, Galería Chofereta, Madrid.2001   Coma. Sala de Exposiciones de Plaza de España de la Comunidad de Madrid.           El baile de mi Tani (con L.H.F.A.). Érase una vez... Lavapiés, Madrid.           Un ejecutivo español, aprox. III Bienal de Artes Plásticas, Córdoba            Vídeo del Deseo. Festival de Sesenta Piedras, Hualien, Taiwán.2000   Coma. Overgaden, Copenhague, Dinamarca.           19.973.196 cm2 de la Galería Valle Quintana. Galería Valle Quintana, Madrid.           Balones. Llocs Lliures, Xavea.            25 artistas, aproximadamente. Revista caminada nº 8. Ventas, Madrid.           Performance torera VI. Homenaje a José Ángel Valente. Torrelodones, Madrid.1999   Venta El Tigre (con L.H.F.A.). Espacios Cruzados, Univ. Autónoma, Madrid.            Venta El Tigre (con L.H.F.A). La ciudad y la tierra. Cruce, Madrid.           Hogar. Window 99, Madrid.           Monumento a la propiedad privada V. Rehabi(li)tar Lavapiés, Madrid.1998    Línea de azufre. Ex. Facultad de Bellas Artes de Madrid.            Spanish executives, 30 m2, approximately. Overgaden, Copenhague.            Ropa Vieja. Abierto. Cruce, Madrid.            Prácticas de invisibilidad III. Revista caminada nº4. La Latina, Madrid.            Prácticas de invisibilidad IV. IV Encuentro de performance. Pola de Lena, Asturias.            Pídola. Revista caminada nº6. Lavapiés, Madrid.1997    Residuos. Purgatori, Valencia.            Cesta de Navidad. Zona de Acción Temporal, Madrid.            Performances en Fotomatón. De viva veu. ARCO 97, Madrid.            Performance torera IV. Revista Aire. ARCO 97, Madrid.            Espectador. Revista caminada nº1.Tetuán, Madrid.            Muerte violenta (seis versiones). Vélez de Benaudalla, Granada.            Performance torera V. Revista caminada nº2. Atocha, Madrid.            Prácticas de invisibilidad. Per amor a l´art, Palma de Mallorca.            Prácticas de invisibilidad II. Revista caminada nº especial. Palma de Mallorca.            Bucle. Revista caminada nº3. Lavapiés, Madrid.1996      Programa. Sin Número. Arte de Acción. Círculo de BBAA. Madrid.           Movimiento e Inercia. Universidad de Valencia.           Araña. Calefacción y agua caliente en todos los pisos. Círculo de BBAA. Madrid.           Escarabajo pelotero. Arte Algo. Navalagamella, Madrid.           Performance torera I. De Viva Voz. Revista hablada nº2. Gal. Gayo Arte, Madrid.           Performance torera II. Revista caminada nº0. Lavapiés, Madrid.            Performance torera III. Teoría y Práctica de la Acción. Cruce, Madrid.1995    Improvisación. Encrucijadas. Alcázar de los Reyes Cristianos, Córdoba. 1994    Cubo. Islam y Arte Contemporáneo. Palacio de Congresos y Exposiciones, Córdoba.               Vigas. El artista es una abstracción. Cruce, Madrid.            Nichos. Pintar el museo. Museo Provincial de Bellas Artes, Córdoba.1993    II Encuentro y Nuevas formas de creación. Granada.                    Círculo. Estable-cimiento, Madrid.            III Festival Internacional de Arte Raro y Performances. Madrid.            I Beca de Artes Plásticas. Diputación de Córdoba.1992    En el abismo del milenio. Palau de la Música, Valencia.            Córdoba Arte Contemporáneo 1957 - 1990. Córdoba.            Minuesa. II Festival Internacional de Arte Raro y Performance. Madrid.1991    Galería Válgamedios, Madrid.1990    Circuitos de la Comunidad de Madrid. Centro de Recursos Culturales, Madrid.             Galería Carmen Romero. Marbella, Málaga.1989    22 sub 35. Sala de Capitulares. Córdoba.            Galería Carmen Romero. Marbella, Málaga. 1988    7 pintores 7. Diputación de Córdoba y CajaSur, Madrid.            4 Angular. Casa de Cultura de Fuengirola, Málaga.1987    Libros de Cabecera. Librería-Galería El Alef, Córdoba.1986    Colegio de Arquitectos de Sevilla.            Galería Villalar, Madrid.1985    Espacio P, Madrid.            Boulev’art 85. Nîmes.            Pintores de Emergencia. Posada del Potro, Córdoba.1984    Jaima Cultural. Córdoba. Itinerante.            La Carbonería. Sevilla.

SELECTED PUBLICATIONS AND BIBLIOGRAPHY

Álvarez Enjuto, J. M. ‘En el curso del margen’, Catálogo C. R. C. Madrid, 1991 Álvarez Enjuto, J. M. ‘Fernando Baena’,  Revista LÁPIZ  nº 149 -150, 1999 Álvarez Reyes, J. A. ‘La clausura de l'espai d'exposicio’, Papers d´Art nº68, 1996 Álvarez Reyes, J. A. ‘En proceso’, Catálogo CoMa. Comunidad de Madrid, 2001 Castaño A. ‘Fernando Baena’, ABC Cultural nº255, 1996 Castro, Fdo. ‘Un lugar crítico’, Catálogo Ojo Atómico, 1996 Castro, Fdo. ‘Un lugar crítico’, Revista CIMAL nº50, 1998 Castro, Fdo. ‘La épica escultórica de Fernando Baena’, ABC Cultural. nº369, 1998 Castro, Fdo. ‘Chapuzas a domicilio’. Catálogo De la Economía, Sala de Arte del Ayto. de Málaga. 1999 Castro, I. ‘Residencia’. Catálogo Estoy aquí, A. C. Cruce, 1996 Castro de , Mª A. Catálogo Galería Dziekanka, 1992 Cereceda, M. ‘De los diversos modos de desperdiciar la vida’. Catálogo De la Economía, Sala de Arte del Ayto. de Málaga. 1999 Cereceda, M. ‘Desesculturas’. Cat. Desesculturas, Fundación Eduardo Capa, 2002 Clot, M. ‘Extensiones de experiencia’. Catálogo No-separados y no-unidos, 1995 Gabilondo, A. ‘Por los detalles’. Catálogo Escenarios, A. C. Cruce, 1998 García Yelo, M. ‘Koch/Baena’. ABC Cultural nº617. 2003 Herrera. I. ‘¿Hay alguien ahí?’. Catálogo Estoy aquí, A. C. Cruce, 1996 Jurado, M. Catálogo Especulación, A.C.Cruce,1993 Kendzulak, S. ‘A reminder to us all’, Taipei Times, 9 septiembre, 2001 Llorca, P. ‘La escultura desarticulada’. Cat. Desesculturas. Fund. Eduardo Capa, 2002 Olmo, S. ‘Escenarios para una disolución’. Cat. Desesculturas. Fund. Eduardo Capa, 2002 Pérez Villén, A.L. ‘F.B. Proceso artístico y naturaleza’. Revista El Guía nº6, 1990 Pérez Villén, A.L. ‘Sólo pintura’. Catálogo Especulación, 1993 Pérez Villén, A.L. ‘La restauración de la pintura y F.B’. Cuadernos del Sur, 1993 Pérez Villén, A.L. Catálogo Pintar el museo, 1994 Pérez Villén, A.L. ‘Fernando Baena’. Revista Lápiz nº111, 1995 Pérez Villén, A.L. ‘Otra escultura andaluza’. Revista Lápiz nº116, 1995 Pérez Villén, A.L. Catálogo Encrucijadas, 1995 Pérez Villén, A.L. ‘Una mirada retrospectiva’. Cat. No-separados y no-unidos, 1995 Pozuelo, A.H. ‘Eva Koch y Fernando Baena’. El Cultural El Mundo, 27-11-2003. Navarro, M. ‘Escenarios de Mayo y Baena’. ABC Cultural nº335, 1998 Navarro, M. ‘Fernando Baena’. El Cultural La Razón nº7, 1998 VV.AA. Catálogo Córdoba arte contemporáneo, 1990

 

 

 

 

 

05prtb0369

2006. Gustav Hellberg. PULSING PATH: AMBIGUOUS VISION (technical data)

 TECHNICAL FACTS

- A chosen segment of street lamps is altered so that the light pulses in a slow cycle.

- If halogen bulbs are used in existing street lamps they have to be changed to normal light bulbs. Lamp bulb effect (watts) depends on effect on existing lamps. Light bulbs need a higher effect number, around 300-400 W to create the same light effect.

- Dimmer control unit connected to the street lamps circuit series.

INSTALLATION

- Connect dimmer control unit to the selected row of lamps, needs to be done with official electrician. The dimmer unit is a common unit with European safety standards, has its on fuses to eliminate all safety risks.

- Change of light bulbs.

 

 

 

 

06prtc0877

2006. Gustav Hellberg. PULSING PATH: AMBIGUOUS VISION (proposed location)

 

 A chosen segment of street lamps is altered so that the light pulses in a slow cycle. As both Paseo de la Castellana and Paseo del Prado boulevards are lined with trees on some locations a stretch of these streets with trees can be chosen. It is important that chosen location is normally occupied with pedestrians in the evenings, when it is dark. A stretch dislocated from areas where people move is not suitable as the interaction between artwork and people is crucial.

One also has to consider that the chosen area is not only lit by 'pulsing street lights' as that might create an unsafe feeling with some pedestrians. The main goal with the installation is to create a strange happening rather than to create a scary situation. However, both boulevards street lights for the car traffic will leak light into chosen area.

Lights from nearby shops, cafes and other lit paths surrounding chosen area/stretch of lamps also helps up when the light is in its dark phase.

Just to disconnect a row of six lamp post and make them pulse will create the strangeness that is the foundation for this project and complete darkness is not the main goal.

Version I:A stretch of between six and ten lamp posts is given the pulsing effect.

Version II:Lamp posts surrounding a smaller space, a statue or a fountain will be used.

Version III:If possible, a long stretch of lamp posts (between two crossing streets) is given thepulsing effect.

 

 

 

06prtc0876

2006. Gustav Hellberg. PULSING PATH: AMBIGUOUS VISION (theoretical data)

 Controlling the street lamps along a path to make its light into a pulsing effect.

A chosen segment of street lamps is altered so that the light pulses in a slow cycle. The normal light is slowly dimmed until the lamps don’t light up the path. After a short while the light rises back to full light effect, thus creating an unexpected situation for passers by, altering the normal function of street lamps.

The oscillating light of the street lamps in Pulsing Path activates the lane and gives it a behaviour separating it from ‘normal’ streets; its expression is transformed and becomes displaced. This raises questions about states of normality and the uncertainty surrounding human existence, even if we have always tried to master the world by structuring it.

The inertia of change, the aging of humans and changes in society, makes it difficult to discover its course or even to be aware of it. Pulsing Path is playing with the awareness of the surroundings, the perception of it and the memory of its appearance. A street and its lighting might not be what you think. Are we always sure where a path is leading? Is seeing an object an evidence of its existence?

Verison I:A stretch of between six and ten lamp posts is given the pulsing effect.

Version II:Lamp posts surrounding a smaller space, a statue or a fountain will be used.

Version III:If possible, a long stretch of lamp posts (between two crossing streets) is given thepulsing effect.

 

ELEMENTES OF THE PROJETS

Light - The light makes things visible in the darkLight can be bright, dim or totally absent. In our contemporary world we are used to artificial light reducing darkness. We somewhat rely on it to always be there. What if it suddenly disappears or if it instead of illuminating creates a visual effect fooling your mind, only creating an image?

Path - A path leads somewhere, it stretches from point A to point BThe path can suddenly become vague and hard to find and it can split into two or more forking paths leaving you to choose which route to take.

 

 

 

 

 

 

06prtc0874

2006. Gustav Hellberg. PULSING PATH: AMBIGUOUS VISION (visual data)

2006. Gustav Hellberg. PULSING PATH: AMBIGUOUS VISION (visual data)

 

Oscillating sequence (continuous cycle)Light - dark, dark - light, approximately 30 seconds

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

06pric0875, 06prvc0880

2006. Nicole Cousino + Chris Vecchio. SPEAKHERE! (visual data)

2006. Nicole Cousino + Chris Vecchio. SPEAKHERE!  (visual data)

 

  

   

SPEAKHERE!, 2006

PSWAR GalleryAmsterdam, Netherlands

 

 

 

 

 

06pric0887

2006. Tao G. Vrhovec. REALITY SOUNDTRAK (visual data)

2006. Tao G. Vrhovec. REALITY SOUNDTRAK (visual data)

 RELATED WORKS

REALITY SOUNDTRAK. Amsterdam, 2004

 

       

REALITY SOUNDTRAK. Ljubljana , 2003

 

       

REALITY SOUNDTRAK. Thessaloniki, 2004

 

 

 

 

 

06pric0893

2006. Tanadori Yamaguchi + Maki Portilla-Kawamura + Key Portilla-Kawamura + Ali Ganjavian. LOCUTORIO COLÓN (technical data)

2006. Tanadori Yamaguchi + Maki Portilla-Kawamura + Key Portilla-Kawamura + Ali Ganjavian. LOCUTORIO COLÓN (technical data)

 

   

The intervention “phone booth Colón” is very simple and would require the sponsorship of some company, preferably a telecommunication company that would provide us with the equipment, technical assistance and assembly.

Different elements will be open to discussion (how much time, limited/unlimited) as well as the exact terms of use. The knowledge of the booth’s existence among people would be transmitted by spreading a rumour in different cyber cafés around the city.

All these things are open to discussion and negotiation with team o curators as well as possible sponsors.

 

 

 

 

 

 

06prmc3478

2006. Tere Recarens. REMOLINO (visual data)

2006. Tere Recarens. REMOLINO (visual data)

    

     

 

 

 

 

 

 

 

06pric0898

2006. Wilfredo Prieto. OUROBOROS (visual data)

2006. Wilfredo Prieto. OUROBOROS (visual data)

SKECHT

 

REFERENCES

 

 

 

 

 

06pric0904, 06pric0905

2006 / 2006.02. ARTE FOTOGRÁFICO. Madrid Abierto 2006

2006 / 2006.02. ARTE FOTOGRÁFICO. Madrid Abierto 2006

** SEE THE ATTACHED PDF

 

 

 

 

 

 

 

 

 

 

06dima1043

2006 / 2006.02. ABCD ARCO. Arte en espacios públicos

2006 / 2006.02. ABCD ARCO. Arte en espacios públicos

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

 

 

 

06dima1042

2006 / 2006.02. EL EMBRUJO. Exposiciones: Madrid Abierto 2006

2006 / 2006.02. EL EMBRUJO. Exposiciones: Madrid Abierto 2006

** SEE THE ATTACHED PDF

 

 

 

 

 

 

 

 

 

 

06dita1041

2006 / 2006.02. TÚ ELIGES. Madrid Abierto 2006

2006 / 2006.02. TÚ ELIGES. Madrid Abierto 2006

** SEE THE ATTACHED PDF

 

 

 

 

 

 

 

 

 

06dima1040

2006 / 2006.02.20. NUEVA ALCARRIA. Public ¿arte?

2006 / 2006.02.20. NUEVA ALCARRIA. Public ¿arte?

** SEE THE ATTACHED PDF

 

 

 

 

 

 

06dima1036

2006 / 2006.02.13. SHANGAY EXPRESS. Madrid Abierto

2006 / 2006.02.13. SHANGAY EXPRESS. Madrid Abierto

** SEE THE ATTACHED PDF

 

 

 

 

06dima1034

2006 / 2006.02.11. DIARIO DEL MUNDO. El "ex Mecano" artista

2006 / 2006.02.11. DIARIO DEL MUNDO. El "ex Mecano" artista

** SEE THE ATTACHED PDF

 

 

 

 

 

 

 

 

 

06dita1030

2006 / 2006.02.11. ABCD LAS ARTES Y LAS LETRAS. Competir con ruidos, obras y atascos

2006 / 2006.02.11. ABCD LAS ARTES Y LAS LETRAS. Competir con ruidos, obras y atascos

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

06dima1029

2006. Arnoud Schuurman. TRANSLUCID VIEW (images)

2006. Arnoud Schuurman. TRANSLUCID VIEW (images)

 

           

          

           

 

AUDIOVISUAL SCREENING ON METRO TV CHANNEL

    

   

 

 

 

 

 

 

06inic0935

2006. Chus García Fraile. POST IT (images)

2006. Chus García Fraile. POST IT (images)

 

            

          

            

        

            

     

 

 

 

 

 

 

06inic0946

2006. Arnoud Schuurman. TRANSLUCID VIEW - METRO CHANNEL (video)

 

AUDIOVISUAL SCREENING ON METRO MADRID TV CHANNEL

 

 

 

 

 

 

06invc0941

2006. Arnoud Schuurman. TRANSLUCID VIEW (documentary video)

2006. Arnoud Schuurman. TRANSLUCID VIEW (documentary video)

 

             

Documentary about the production and inauguration of "Translucid View" by Arnoud Shuurman

          

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

06invc0943-06inic0944

2006 / 2006.02.09. EL CULTURAL. Madrid se abre al arte

2006 / 2006.02.09. EL CULTURAL. Madrid se abre al arte

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

06dima1024

2006. Virginia Corda + Paula Doberti. ACCIDENTES URBANOS (images)

2006. Virginia Corda + Paula Doberti. ACCIDENTES URBANOS (images)

 

     

           

Photos: Alfonso Herranz

 

            

Photos: Gabriel Andrés

 

 

 

 

 

06inic0949, 06inic0950

2006 / 2006.02.09. EL CULTURAL. 23,000 metros (Arco)

2006 / 2006.02.09. EL CULTURAL. 23,000 metros (Arco)

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

06dima1023

2006 / 2006.02.07. QUE! MADRID. Madrid Abierto

2006 / 2006.02.07. QUE! MADRID. Madrid Abierto

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

06dima1022

2006. Gustav Hellberg. PULSING PATH: AMBIGUOUS VISION (published text: newspaper)

 

Controlling the street-lamps along a street or lane means the light takes on a pulsing effect. The light is dimmed in a slow sequence, slowly disappearing and reappearing in an ongoing cycle.

The oscillating light of the lamp-posts in Pulsing Path – ambiguous vision activates a park lane and gives it a behaviour separating it from ‘normal’ lanes. Its expression is transformed and becomes displaced, thus raising questions about states of normality, and the uncertainty surrounding human existence.

 Man tries to master the world by structuring it. Societies are created through various power structures, which are never, however, either complete or solid. Because the characteristics of every individual creating a society differ, imperfection becomes the (disregarded) nature of these imposed social structures. The inertia of change, combined with ongoing human life-cycles and developments in society, makes it difficult to trace its course or even to be aware of it. Pulsing Path – ambiguous vision deals with awareness of our environment, our perception of this environment, and the memory of its appearance. A lighted street may not be what you perceive it to be on first sight. Are we always sure where a path is leading? Is seeing an object evidence of its existence?

 

 CREATING AN UNUSUAL SITUATION - CONTRADICTING "NORMALITY"

 The project Pulsing Path - ambiguous vision operates by changing an everyday situation, with a focus on vision. It plays with reality as we are accustomed to seeing it. Vision can be defined simply as what we take in with our eyes: the physical phenomenon that occurs when light is transformed, through seeing, into comprehensible mental images. But vision can also be what is ‘seen’ with our imagination: that is, an immaterial and completely abstract occurrence. And this can lead to new ways of thinking and planning for the future; in this way vision becomes a lingual element.

Once clear thoughts blur and assumed descriptions are thrown into doubt, our already complex world becomes more so. Yet because this is the world in which we must function day-to-day, we must necessarily simplify it in order to make sense of it. We are able to choose which fraction of our ‘world factors’ to use and which to leave out; many are left out because they have not been registered by our minds, or have simply been forgotten. Most of this reality is abstract and locked in our minds as thoughts or images. Some of these become realised as societal constructions or  political agendas, deriving from the diffuse images in our minds – or the ambiguous visions.

The images we have of our surroundings are an intricate mixture of images we see directly and those stored in our memory.  It is not a matter of course that the two correspond: some of our mental images are able to be modified, perhaps being built up into a picture of how we would prefer our surroundings to look, or alternatively distorted images of how we don’t want them to be. Different people see different things; depending on what is registered by the individual, the same thing can be seen in a multitude of ways. Thus following a path, and seeing a clear direction, can become something uncertain. Manipulated by the Pulsing Path - ambiguous vision project, a path normally lit by street lamps slides out of visual focus and then returns as brightly as ever, just like the Cheshire Cat in Lewis Carroll’s Alice’s Adventures in Wonderland. Your mind begins to query what it knows as ‘normality’: what if light assumed to be there suddenly disappears, or if that light, instead of illuminating, creates a visual effect that tricks your mind and conjures up different visions?

In this way, the Pulsing Path project radically alters an ordinary situation. As the light dims and temporarily disappears, our usual apprehension of an environment also slides away. One question is raised: does the lack of light create doubt and fear, or does it free our dulled perceptions by changing a norm or an assumed condition?

 

 

 

 

 

06intc0962

2006. Gustav Hellberg. PULSING PATH: AMBIGUOUS VISION (images)

2006. Gustav Hellberg. PULSING PATH: AMBIGUOUS VISION (images)

 

     

              

          

 

                                                        

 

 

 

 

 

06inic0958

2006. Gustav Hellberg. PULSING PATH: AMBIGUOUS VISION (texto publicado)

 Controlling the street lamps along a street to make its light into a pulsing effect.

The oscillating light of the street lamps in Pulsing Path activates the lane and gives it a behaviour separating it from ‘normal’ lanes; its expression is transformed and becomes displaced. This raises questions about states of normality and the uncertainty surrounding human existence, even if we have always tried to master the world by structuring it.

The inertia of change, the aging of humans and changes in society, makes it difficult to discover its course or even to be aware of it. Pulsing Path is playing with the awareness of the surroundings, the perception of it and the memory of its appearance. A street and its lighting might not be what you think. Are we always sure where a path is leading? Is seeing an object an evidence of its existence?

LIGHT MAKES THINGS VISIBLE IN THE DARK

Light can be bright, dim or totally absent. In our contemporary world we are used to artificial light reducing darkness. We somewhat rely on it to always be there. What if it suddenly disappears or if it instead of illuminating creates a visual effect fooling your mind, creating different visions?

VISION

Following the path and seeing a clear direction can become uncertain. Like the Cheshire Cat from Lewis Carroll’s novel Alice’s Adventures in Wonderland the path normaly lit up by street lamps slides out of visual focus just to get back as bright as ever. “`In THAT direction,- the Cat said, waving its right paw round- lives a Hatter: and in THAT direction- waving the other paw- lives a March Hare. Visit either you like: they're both mad.”

 

 

 

 

 

06intc0960

2006. Tao G. Vrhovec. REALITY SOUNDTRAK (images)

2006. Tao G. Vrhovec. REALITY SOUNDTRAK (images)

 

VINILO

 

INSTALACIÓN

         

 

PERFORMANCE

   

      

         

Photos: Alfonso Herranz

 

        

         

           

          

Photos: Gabriel Andrés

 

 

 

 

 

 

 

 

 

06inic0977, 06inic0980, 06inic0978

  

2006 / 2006.02.01. ABC. Madrid se abre al arte

2006 / 2006.02.01. ABC. Madrid se abre al arte

 ** SEE THE ATTACHED PDF

 

 

 

 

 

 

 

 

06dima1013

2006 / 2006.02.01. EL MUNDO. Entre el museo y la calle

2006 / 2006.02.01. EL MUNDO. Entre el museo y la calle

 ** SEE THE ATTACHED PDF

 

 

 

 

 

 

06dima1012

2006. Gustav Hellberg. PULSING PATH: AMBIGUOUS VISION (2005.12 / proposed locations)

2006. Gustav Hellberg. PULSING PATH: AMBIGUOUS VISION (2005.12 / proposed locations)

DECEMBER 2005

 

Site for Pulsing Path - ambiguous vision (Madrid 2006) Gustav Hellberg

I would like to use the path that runs in the park like area in the middle of Paseo del Prado between Plaza de Canovas del Castillo and Plaza de Cibeles. I am giving two alternatives as I am not sure about how the lampposts are connected.

I've chosen this area because its park like feeling, where the idea of the path is in focus, also suggested by the title. This area's lampposts' old fashion design make them suitable as generic lamp posts. This is also the type of lamp posts I had in mind during the development of the work.

The area is interesting as it is not only a passage way for pedestrians but also a recreational area with benches for people to rest and playgrounds for children. It is an urban site with activity and stillness always surrounded by heavy traffic. In that surrounding the effect of a strange behaving set of lampposts will get its best impact.

I would suggest A before B if no technical or other problem favours B.

Version A:

Using the nine first lampposts along the middle path, counting from Pza. de Canovas del Castillo towards Fuenta de Apolo, for pulsing. The following lampposts, continuing northwards, need to be fitted with the same light bulbs as the pulsing ones if the light is not the same.

The northern part of this path gets to much light from the street which make me want that part to be 'normal', lights always on.

This part of the path is the darkest and the best effect will be able to reach here. It is also the most 'path like' stretch. The quieter part of this area could make it less visible.

Version B:

Using the 8 northern lampposts along the east path north of Fuente de Apolo .The 5 lights on the east side (play ground side) need to be fitted with the same light bulbs as the pulsing ones.

The playground area south of Fuente de Apolo is more used by children, also has more play equipment and should be left as it is. It is probably no use to change light bulbs.

This part is closer to the busier part of the street and the work might be seen by more people, even by people that are not waling down the Paseo del Prado. I am a little bit concerned that the 'playgroundarea' will disturb the path feeling.

 

Note, concerning both version A and B:If there's a too obvious difference in light strength and light temperature from the original lamps to the pulsing ones, it might be necessary to considering changing the closest ones.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

06inmb0918, 06intb3821

2006. Tere Recarens. REMOLINO (images)

2006. Tere Recarens. REMOLINO (images)

 

       

       

Photos: Alfonso Herranz

 

          

          

Photos: Gabriel Andrés

 

 

 

 

 

 

06inic0983, 06inic0984

2006. Wilfredo Prieto. OUROBOROS (images)

2006. Wilfredo Prieto. OUROBOROS (images)

 

        

         

          

 

 

 

 

 

06inic0987

2006 / 2006.02.01. NEO2. Decorando paseos urbanos

2006 / 2006.02.01. NEO2. Decorando paseos urbanos

** SEE THE ATTACHED PDF

 

 

 

 

 

06dima1008

2006 / 2006.01.26. LA RAZÓN. MADRID. Madrid Abierto

2006 / 2006.01.26. LA RAZÓN. MADRID. Madrid Abierto

** SEE THE ATTACHED PDF

 

 

 

 

 

06dita1005

2006 / 2005.09-12. D (X) I. Madrid Abierto 2006

2006 / 2005.09-12. D (X) I. Madrid Abierto 2006

** SEE THE ATTACHED PDF

 

 

 

 

 

 

 

 

06dima1002

2006 / 2006.02.24. CASAMERICA.ES. Nota de prensa. Madrid Abierto

2006 / 2006.02.24. CASAMERICA.ES. Nota de prensa. Madrid Abierto

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

06ditd1114

2006 / 2006.02.09. NOTODO.COM. Galería fotos Madrid Abierto 06

2006 / 2006.02.09. NOTODO.COM. Galería fotos Madrid Abierto 06

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

06dimd1111

2006 / 200.602.09 . NOTODO.COM. ¿Qué exposiones visitar? Madrid Abierto

2006 / 200.602.09 . NOTODO.COM. ¿Qué exposiones visitar? Madrid Abierto

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

06dimd1110

2006 / 2006.02.04. 20MINUTOS.ES. Más exposiciones. Madrid Abierto 2006

2006 / 2006.02.04. 20MINUTOS.ES. Más exposiciones. Madrid Abierto 2006

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

06dimd1109

2006 / 2006.02.04. ELPAIS.ES/ BABELIA. El Madrid de los Austrias

2006 / 2006.02.04. ELPAIS.ES/ BABELIA. El Madrid de los Austrias

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

06dimd1108

2006 / 2006.02.02. MARTINPULIDO.COM. Madrid Abierto 06

2006 / 2006.02.02. MARTINPULIDO.COM. Madrid Abierto 06

** SEE THE ATTACHED PDF

 

 

 

 

 

 

 

 

 

06ditd1107

2006 / 2006.02.07. TERRA.ES. El arte contemporáneo sale a la calle con Madrid Abierto

2006 / 2006.02.07. TERRA.ES. El arte contemporáneo sale a la calle con Madrid Abierto

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

06ditd1104

2006 / 2005.12.27. REVISTAMALABIA.COM. Madrid Abierto 2006

2006 / 2005.12.27. REVISTAMALABIA.COM. Madrid Abierto 2006

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

06dimd1093

2006 / 2005.10.31. MODAGAY.COM. Madrid Abierto 2006

2006 / 2005.10.31. MODAGAY.COM. Madrid Abierto 2006

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

06ditd1092

2006 / 2005.10.31. IFEMA.ES. Madrid Abierto 2006

2006 / 2005.10.31. IFEMA.ES. Madrid Abierto 2006

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

06ditd1091

2006 / 2005.10.31. LICEUS.COM. Madrid Abierto 2006

2006 / 2005.10.31. LICEUS.COM. Madrid Abierto 2006

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

06dimd1090

2006 / 2005.10.01. ARCO.IFEMA.ES. Madrid Abierto 2006

2006 / 2005.10.01. ARCO.IFEMA.ES. Madrid Abierto 2006

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

06ditd1089

2006 / 2005.05.12. IDEAMAGAZINE.NET. Competitions and awards

2006 / 2005.05.12. IDEAMAGAZINE.NET. Competitions and awards

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

06ditd1084

2006 / 2005.05.12. E-FLUX.COM. ARCO, International Contemporary Art Fair

2006 / 2005.05.12. E-FLUX.COM. ARCO, International Contemporary Art Fair

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

06ditd1083

2006 / 2005.05.10. AIESM.COM. Madrid Abierto 2006: call for artists

2006 / 2005.05.10. AIESM.COM. Madrid Abierto 2006: call for artists

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

06ditd1082

2006 / 2005.05.08. LAPRENSA.COM. Madrid Abierto a punto de cerrar

2006 / 2005.05.08. LAPRENSA.COM. Madrid Abierto a punto de cerrar

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

06ditd1081

2006 / 2005.05.05. LOVEDIFFERENCE.ORG. Call for proporsals: Madrid Abierto

2006 / 2005.05.05. LOVEDIFFERENCE.ORG. Call for proporsals: Madrid Abierto

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

06ditd1080

2006 / 2005.05.04. LATERAL-ED.ES. Premios: Madrid Abierto 2006

2006 / 2005.05.04. LATERAL-ED.ES. Premios: Madrid Abierto 2006

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

06ditd1079

2006 / 2005.05.04. PORTALDELARTE.CL. Madrid Abierto 2006. Convocatoria de proyectos

2006 / 2005.05.04. PORTALDELARTE.CL. Madrid Abierto 2006. Convocatoria de proyectos

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

06ditd1078

2006 / 2005.04.30. PROYECTOVENUS.ORG Madrid Abierto 2006. Convocatoria de proyectos

2006 / 2005.04.30. PROYECTOVENUS.ORG    Madrid Abierto 2006. Convocatoria de proyectos

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

06ditd1077

2006 / 2005.04.25. AXISARTIS.ORG. Madrid Abierto. Public Art Project Competition

2006 / 2005.04.25. AXISARTIS.ORG. Madrid Abierto. Public Art Project Competition

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

06ditd1075

2006 / 2005.04.25. ARTNEWS. Madrid Abierto. Public Art Project Competition

2006 / 2005.04.25. ARTNEWS. Madrid Abierto. Public Art Project Competition

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

06ditd1073

2006 / 2005.04.25. ON-THE-MOVE.ORG. Madrid Abierto 2006, call for projects proporsals

2006 / 2005.04.25. ON-THE-MOVE.ORG. Madrid Abierto 2006, call for projects proporsals

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

06ditd1074

2006 / 2005.04.25. LICEUS.COM. Convocatoria de proyectos Madrid Abierto 2006

2006 / 2005.04.25. LICEUS.COM. Convocatoria de proyectos Madrid Abierto 2006

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

06ditd1072

2006 / 2006.04.20. PUNTOSDEVISTA.NET. Concursos /internacionais/ Madrid Abierto 2006

2006 / 2006.04.20. PUNTOSDEVISTA.NET. Concursos /internacionais/ Madrid Abierto 2006

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06ditd1070

2006 / 2005.04.20. UNIVERSES-IN-UNIVERSE.DE. Convocatorias: España: Madrid Abierto

2006 / 2005.04.20. UNIVERSES-IN-UNIVERSE.DE. Convocatorias: España: Madrid Abierto

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06ditd1069

2006 / 2005.04.20. ARTESERVIS.ORG. Public art project competition 2006

2006 / 2005.04.20. ARTESERVIS.ORG. Public art project competition 2006

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06ditd1068

2006/ 2005.04.18. ARTEENMADRID.COM. Madrid Abierto

2006/ 2005.04.18. ARTEENMADRID.COM. Madrid Abierto

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06ditd1067

2006 / 2005.04.18. HISPANART.COM. Madrid Abierto 2006: convocatoria de proyectos

2006 / 2005.04.18. HISPANART.COM. Madrid Abierto 2006: convocatoria de proyectos

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06dimd1066

2006 / 2005.04.17. ANALITICA.COM. Madrid Abierto: convocatoria de proyectos

2006 / 2005.04.17. ANALITICA.COM. Madrid Abierto: convocatoria de proyectos

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06ditd1065

2006 / 2005.04.17. ARTEVEN.COM. Madrid Abierto 2006: convocatoria de proyectos

2006 / 2005.04.17. ARTEVEN.COM. Madrid Abierto 2006: convocatoria de proyectos

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06ditd1064

2006 / 2005.04.14. DSCHUNGELBUCH-NRW.DE. Internationaler Projekwettbewerb

2006 / 2005.04.14. DSCHUNGELBUCH-NRW.DE. Internationaler Projekwettbewerb

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06ditd1063

2006 / 2005.04.07. IRIE.MAN.FREE.FR. Appel à candidatura: Madrid Abierto

2006 / 2005.04.07. IRIE.MAN.FREE.FR. Appel à candidatura: Madrid Abierto

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06ditd1062

2006 / 2005.04.04. NETWOK_PEFORMANCE.COM. Call for interventions: Madrid Abierto

2006 / 2005.04.04. NETWOK_PEFORMANCE.COM. Call for interventions: Madrid Abierto

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06ditd1061

2006 / 2005.04.04. TURBULENCE.ORG. Call for interventions: Madrid Abierto

2006 / 2005.04.04. TURBULENCE.ORG. Call for interventions: Madrid Abierto

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06ditd1060

2006 / 2005.04. MOVIESTAR.ES. Arte en la calle

2006 / 2005.04. MOVIESTAR.ES. Arte en la calle

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06dimd1058

2006 / 2005.04. GUIAGAY.COM. Madrid Abierto. Convocatoria de proyectos

2006 / 2005.04. GUIAGAY.COM. Madrid Abierto. Convocatoria de proyectos

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06ditd1057

2006 / 2005.03.23. LITERNET.BG. Madrid Abierto

2006 / 2005.03.23. LITERNET.BG. Madrid Abierto

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06ditd1053

2006 / 2005.03.18. E-FLUX.COM. Madrid Abierto. Public Art Project Competition

2006 / 2005.03.18. E-FLUX.COM. Madrid Abierto. Public Art Project Competition

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06dimd1050

2006 / 2005.03.05. EMBCOLFRANCIA.COM. Convocatorias 2005

2006 / 2005.03.05. EMBCOLFRANCIA.COM. Convocatorias 2005

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06ditd1048

2006. E451.NET. Imagen gráfica Madrid Abierto 2006

2006. E451.NET. Imagen gráfica Madrid Abierto 2006

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06dimd1047