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2008. Alicia Framis + Michael Lin. PASSAGE GARDEN

In MNAC foundation (Cadiz) + Dinner Event in the Carmelitas restaurant (Barcelona)

In collaboration with Montemedio Contemporary Art Foundation (Cadiz), and Nogueras Blanchard Gallery (Barcelona) this project evolves from a permanent intervention in a renewed bunker’s architecture that today holds the Foundation’s offices.

Four panels were made to divide the reception the Foundation’s barrack hut in five spaces. Each panel has a round door and the back wall was substituted by glass to see the exterior garden. In this way, “Passage Garden” plays with the concept of reuse and transformation of space due to the recreation of a Chinese garden in the barrack hut. These gardens’ philosophy is centred on the relation between interior and exterior, the power to model the vision of a landscape at will, creating segments and frame the image in a play of perspectives between the different places inside the garden itself.

From the Montenmedio interventions we designed some painted wooden tables that were used as furniture for a dinner in the Carmelitas restaurant in Barcelona. In accordance with my artistic work these pieces were conceived for collective spaces and suggest a different ways of experimentation with space through painting and the view of art as a social event.

Space is used as a means where “the piece becomes part of space rather than an object in space”. Paintings invade and transform architectural space in an explosion of colour and create a transgression by inviting people to step on them or, as with the tables, to have dinner on them without any precaution at all.

The decorative patterns, that are the nucleus of the piece, are inspired by traditional Taiwanese fabric. The creation process reflects the industrial manufacture of the fabric and traditional decorative arts. Groups of assistants are hired and adjust to mass production methods, working in between classic tradition and modernity. These motives are used due to their familiarity and sensuality, rather than for traditional, iconographic or symbolic connotations. By them we suggest a self-interrogation on exhibition halls, the limit between private and public spheres and the relation between “noble arts” and “decorative arts”.

 

 

 

 

 

 

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2008. Alicia Framis + Michael Lin. 100 WAYS TO WEAR A FLAG (technical data)

DESCRIPTION OF ASSEMBLY SYSTEM AND TECHNICAL REQUIREMENTS

The architecture and decoration will be done in situ, creating a collapsible structure for travelling purposes.

It will be necessary to hire carpenters to build it.

Materials: wood and tools to work on it.

Acrylic paint DELUX and materials to paint.

 

 

 

 

 

 

 

 

 

 

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2008. Alicia Framis + Michael Lin. NOT FOR SALE (2007.10 / project rectification / theoretical data)

OCTOBER 2007

 

Alicia Framis presents her most recent work, the majority of which was prepared in Shanghai, where she currently lives and works. As in the case ofNot For Sale(2007) for Madrid Abierto, Framis' projects are always related to society and directly influenced by the reality that surrounds her and her immediate environment. Using elements of fashion design, popular culture and architecture,Not For Sale(2007) reflects that reality.

 

Not For Saleis awork in progressthat analyses the situation of children who are sold all over the world. The project began in the city of Bangkok, Thailand, where Framis produced a first   portrait of a naked chets child but a necklace that read "not for sale."

 

At first glance, the images are gentle and sweet. The children are smiling and appear healthy and happy. It is only on close inspection that what Framis seeks to emphasise comes to light: the reality of the fragile and dangerous situation that many children currently find themselves in. From the moment we are born, a price tag is placed on us, and many children face the real risk of becoming just another product of the global market.

 

Since living in China, Framis is interested in the idea of the portrait as a propaganda tool, such as the posters ofMao Sedongor Thailand's king,Bhumibol Adulyadej, both normally exhibited throughout the city.Not For Saleemploys the same methods of propaganda portraits, maintaining the same measurements but changing the subject of the leader for a more domestic version. These posters always come across as optimistic and encouraging and contain certain details and attributes that suggest the message, only shown discreetly at the bottom, otherwise through the flag or a multitude depicting the power of the leader. Framis shows a smiling child in an ideal scene just bearing a small attribute - the small necklace that reveals the child's possible destiny.

 

For Madrid Abierto 2008 the artist proposes a grandperformancenight:a cultural event.The initiative will consist of a production in which sixty children of different ages will wear necklaces or pendants bearing the message "Not For Sale",as in the above-mentioned portraits. However, this time with the peculiarity that each necklace will have a special and different design, as each will have been designed by different Spanish jewellers, gold and silversmiths and designers of accessories who have been invited to participate in the project, namely, Chus Burés, Marta Miguel, Alberto Leonardo, Carol Salazar, Uovo, Paz Sintes, Oscar León, Jorge Masanet, Nim Art Gallery, Alicia Framis and different jewellers from Thailandia and Shangai. The children will just be wearing trousers, with their naked chests revealing their necklaces as the main attraction piece.

 

Likewise, Framis presents this work together with the artist Michael Lin, who will be responsible for designing a special architectural structure or platform made from fabric, on which the performance will take place.

 

The striking prints that characterise Michael Lin's painting are taken from traditional Asian fabrics. The prints, the culture, the industrial manufacture of the fabrics and the traditional decorative art are extremely important concepts in his work. The fabric is thus transformed into architectural structures on which the children will parade, generating a mutually complementing dialogue between both projects.

 

 

Thus, the architectural structure with oriental fabric prints will become the perfect scene for the children's parade, wearing theNot For Salenecklaces.

 

On the other hand, we intend to close the fashion show with the intervention of some famous singer that might be interested in participating in an artistic proposal that involves great social criticism.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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2008. Jorge Díez. PRESENTATION

MADRID ABIERTO comes to its fifth edition after so far receiving more than 1,500 proposals from artists from all over the world in response to the consecutive public invitations. The fifty one projects produced in these last five years have entailed a difficult but satisfying task, coupled with the recurring feeling of certain frustration in the thorough selection task which every year inevitably leaves several interventions, which no doubt are as interesting as those that finally manage to be executed, along the path. Added to this is the certainty that neither the resources nor the time available are enough to develop the potential of many proposals to the full, without ignoring the deficiencies, for example, in the dissemination and the educational aspect of a programme of this nature. Nevertheless, what began as an arduous restructuring of the Open Spaces of the Altadis Foundation in ARCO, has now taken the shape of an on-going approach programme to interpreting and understanding how the public space is constructed from a point of view of contemporary artistic practice, which for the last five years has been held in the month of February in the junction Prado-Recoletos-Castellana.

This project has sometimes received criticism from the most institutional to the most alternative spheres. The latter because, despite being managed independently through a cultural association, the event has been labelled as excessively institutional, and the former precisely because, being not quite sure into which circle of power to place the event, they have taken the liberty to make certain hypercritical comments to compensate for their usual half measures with future or potential clients. The fact is that, on occasion of this fifth edition, both the weaknesses detected and the criticisms received have spurred us to make an in-depth review of MADRID ABIERTO. To do this, we decided to set up an advisory committee co-ordinated by Rocío Gracia and comprised of Cecilia Andersson (director of Werk), Democracia, Guillaume Désanges (art co-ordinator in Les Laboratoires D’Aubervilliers, Îlle de France), Jorge Díez (director of Madrid Abierto), Ramon Parramon (director of IDENSITAT), Fito Rodríguez (Rodríguez Foundation) and Mª Inés Rodríguez (independent organiser).  This advisory committee has discussed all the aspects relative to the format, type of public invitation, selection, regularity, location, organisers and objectives of the programme. In addition, all the members of the advisory committee will participate in the public-art debate tables which will be held on the 7th and 8th of February in La Casa Encendida, together with the selected artists and representatives of other international projects, such as Nelson Brissac and Vit Havranek.  

This 2008 edition will be held from the 7th of February to the 2nd of March and it is organised by the group Democracia, which has selected the projects of  LHFA, Alicia Framis/Michael Lin, Anno Dijkstra, Guillaume Ségur, Andreas Templin, Todo por la Praxis, Fernando Llanos, Fernando Prats (Casa de América) and Annamarie Ho/Inmi Lee (Círculo de Bellas Artes), with the guests Jota Castro, Santiago Cirugeda, Santiago Sierra and a group of urban artists from Madrid (Noaz, Dier).

In this edition, the generic concept which the organisers have worked with has been that of conceiving the public art interventions as an opportunity to transmit messages that are unusual to the public space, the latter understood as a communication channel dominated by the discourse generated from the commercial and institutional spheres, both in terms of the specifically urban and architectural as well as the complex network of the media. Based on this premise, and the prior open invitation to projects, the selected interventions seek to generate thought on our immediate political, social and cultural environment. The aim is to approach how the city is organised, the role of art in the public space and the new forms of culture associated with urban life. In this respect, the different interventions aim to confront and question the relationship of the citizen with his/her environment, generating both symbolic and practical proposals.

In addition, once again, this year we have integrated a specific sonorous art section in which the work of Petra Dubach/ Mario Van Horrik, Avelino Sala/ Dano, Gregory Büttner, Carola Cintrón Moscoso, Pedro Torres, Debashis Sinha, Josh Goldman, Miguel Gil, Patrick Courtney, Hong-Kai Wang, Edith Alonso and Leopoldo Amigo have been selected for broadcast on Radio 3 of Radio Nacional de España. In collaboration with the Centro Cultural Montehermoso de Vitoria-Gasteiz and the Rodríguez Foundation, the audiovisual work of Estibaliz Sadaba, Itziar Okariz, Mabi Revuelta, Mikel Arbiza, Vanesa Castro, Maya Watanabe, Raúl Bajo, Andrew Senior and Yolanda de los Bueis, selected in the 8th edition of Intervenciones TV, round off the programme.   

This fifth edition is organised by the Asociación Cultural MADRID ABIERTO, with the sponsoring of the Altadis Foundation, the Department of Culture and Tourism of the Community of Madrid and the Arts Department of the City Council of Madrid, with the collaboration of La Casa de América, Círculo de Bellas Artes, ARCO, the Telefónica Foundation, Casa Encendida, the Ministry of Culture, Radio 3 of RNE and Canal Metro. Continuing with the work of previous editions, RMS La Asociación has been responsible for the co-ordination, and the 451 team has developed the graphic image and the web page (www.madridabierto.com).

 

.....................................................................................................................................................................................................................................................................JORGE DÍEZDirector of Madrid Abierto and co-director of the MBA in Cultural Management, Santillana/Salamanca University. In 2007 he has co-curated with José Roca (Colombia) Cart[ajena] public art project promoted by SEACEX, developed within the IV Congress of Spanish at Cartagena de Indias, Colombia. He has lectured in the Spain-Japon Forum at Nagasaki, Actual experience in Public Art at the 16º Arts Symposium at Porto Alegre, Brasil and, Contexts and projects in Public Art. Ephemera models of intervention, at the MARCO.

 

 

 

 

 

 

 

 

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2008. José Luis Corazón Ardua. BLACK FLAG OF THE SPANISH REPUBLIC

 Let’s start with a compelling quotation: “Art must be directed against what it is conceived out of, and accordingly it becomes uncertain to the core.” This uncertainty highlighted by Adorno – this perplexity – brings us here to speak of a hypothetical death of the Spanish Republic. And we are to speak of a republic in a museum whose name is “Reina Sofía”. This contradiction has kept us away from the Ateneo, where this event had been due to take place. A traditionally republican venue that must have refused to take part, for reasons I am unaware of. These coincidences and polarities lead us to a strange paradox characteristic of death, poetics, symbolism and their destruction. We should not forget Blanchot’s reference, with Hegel, to the crusaders’ awareness that when they found the Sepulchre it would be empty. Moreover they knew that they could only release holiness from such emptiness. And this is also a question of ascertaining what crusade contemporary Spanish art is engaged in.

Considering the poetics expressed by contemporary art in terms of absence and presence is equivalent to acknowledging that artistic endeavour is not something that goes on habitually. Though artists are not mere executors of their work, we believe that, as creators of states, they belong increasingly in spheres linked to the reality of the artwork itself and to our valuation of the importance of its complex configuration. We may say that there is a dissonance between what is projected and what is achieved, between what is accomplished and what is forgotten. A distance similar to that occupied by a thought aware of its inherent impossibility. A flag as a symbol of an absence and as a focal point for a digression from the state into which Spanish art has evolved: a Spain not accustomed to elucidating the events that occurred during the Franco regime, busy wiping out the memory of those who did not share that single universal destiny and who experienced only indifference, silence, death and exile. So we find ourselves before the capacity of denial of a flag whose threads weave a poetic view of the very absence of the ruins of a political system cancelled out by haste and pardon. States of transition towards the return of a caramelized monarchy with subtly altered functions.

Adorno points to the importance of this destruction in art. Paul de Man propounds a definition of poetic thought in relation to its negative activity. This question concerns not only the flag’s intellectual and historical aspects but also – and importantly – its symbolic nature. Iconoclasm understood as one of the elements that establishes a poetics of forthcoming destruction, a contradictory presence: an anti-symbol. In a traditional sense, the iconoclasm shown by this flag is the prohibition of a still image linked to a form of fiction. Beyond is the very impossibility of representation, for what it seeks to show is prohibition itself and an inability to accomplish a work that begins and ends in itself. Iconoclasm is a matter of dissonance, mutation and polarity. And it is aimed at a negative, neutral and non-present space: a black flag of the Spanish Republic that seems to speak of the period from the end of the 2nd Republic to the advent of today’s democracy. This flag was not made in Munich by chance. Those speaking here are also younger than forty.

Like its very aesthetic and formal appearance, this blackness coincides in a metaphorical perplexity linked not only to the state of art but also to the political, economic and sociological situation in Spain. This denial vis-à-vis a certain situation leads to a revolt against emptiness which inevitably gives rise only to a linking of art and its negativity. It is a place of disaster, both for the possible presence of anything artistic in its materialization and in its formal aspect. In this respect the case of this sort of platonic conceptualism has to do with the expulsion of artists and poets from the city because their actions are regarded as false and fictitious, as not real. This is the traditional verdict meted out to negative art, wherever artists/poets are regarded as feigners or liars. But it is worth linking this work to the distinction between rebels and revolutionaries: ascertaining whether the aim is to accept the rules of the game albeit without conforming, or to seek a utopian change of order with a total transformation. What is plain to see is that melancholy and a manipulation of what is regarded as the norm in the world of art form the objective that leads to a disappearance akin to the dismantling of an artwork and the salvaging of a tradition that has been located in something called postminimalism.

It was precisely Baudrillard who pointed to the coexistence in art of a logic of disappearance and reconstruction, linking its effects to a consideration of art as a market and the market as art. A realistic aesthetic turnaround that is not capricious but that rather expresses an affinity: the art market is a work of art. It is in this interior capitalist process that Baudrillard points to the coexistence of two types of market. First, where valuation is traditional and items are bought and sold according to a real value. Second, a speculative market where a transaction is a gamble and valuation is uncontrollable. Where all is appearance. And it is not surprising that this same speculation applied to a symbol somehow destroys that market value, postulated as a limit. In any event, this flag was sewn in Munich.

The title has a background. España Negra is a book in which the painter Darío de Regoyos and the Belgian poet Emile Verhaeren asserted that the Spanish flag should contain black stripes or silver shields, referring to the state of a country plunged into illiteracy and famine. It is odd that they should have written this book on their way to the Prado while the disaster of 1898 was taking place. In the case of this flag, which is now a poster, there is also a denunciation of the state of Spanish democracy, heir to the Franco regime and its last death rattles, struggling in the utopian Spanish separation of the republic and the consolidation of a constitutional monarchy with the King as figurehead. So this banner offers not the promise of a longed-for Third Republic but rather an affirmation of its cancellation: Spain always black. Complicated designations are thereby established where we have to choose because it is no longer a matter of slogans such as “fatherland or death” or republic as against monarchy. It is a matter of raising the awareness of the demos, the people, against the kratia, the established authority – established in the Spanish case in a more or less civilized way, but continuing a Spanish tradition dependent on representation. In the case of this current monarchy, it is clear that its role corresponds, as a representative of a modern, changed, progressive and ideal Spain, to a reality that is satisfied with itself. It is the image of the events that have culminated with celebrations centred on the King and the birthday of the Prince, who has also reached the age of 40. And this black flag sewn in Munich is really an anti-symbol of all this: a symbol that reacts against it; that is why we say that this black flag is transformed into a symbolic object. Its impossible presence points towards a form of behaviour whose concerns shift between giving a good impression, imposing silence and mourning realistically, in the knowledge that the latest attacks on the King and Queen’s image are no more than an assault on their symbolic position in what may be called a patriarchal than a paternalist state. As is rightly said, with the Republic and Azaña, Spain ceased to be Catholic. What we want to show, staying with this black anti-symbol, is that conception cancelling the premises that existed under the auspices of a more or less democratic Republic. In this connection we should not forget the series of executions that took place throughout Spain from 18 July 1936, at the end of the 2nd Republic. A violence in which it has been shown that 16,000 people were killed just in the province of Madrid. This flag should also speak of mourning for them. A self-referential symbol that speaks of the confinement and terror that also took place in those countless lockups in Madrid, notably including, oddly enough, one set up at the Círculo de Bellas Artes.

Returning to the inherent darkness of this ensign, standard or pennant, it may be linked, as Slavoj Zizeck says, to a concealment. Because in the same way that pictures of Kenyans stabbing and killing their fellows are shown openly, highlighting the full brutality of that horror and violence, we can in fact barely imagine the fate of those who died at the World Trade Centre or here in the environs of Atocha: they are people who were killed but there is no trace of the 6,000 victims, no blood or dismembered bodies; there is no blood, only despair. This darkness is precisely the elevation of what is real: a confinement which, via a representation, in the sense of pictures in newspapers or on CNN, seeks to cancel out the reality of a fact such as the violence of states and the terror which springs, as Derrida says, from their very constitution. Derrida identified the attack on the community made on 11 September as something that takes place in democracy. If Stockhausen claimed that it was a total work of art, Derrida asserted that the attack was something that had been allowed: “Terrorists,” he says, “are sometimes American citizens, and those of 11 September may have been so for some; they were, in any event, helped by American citizens; they stole American planes, they flew in American planes, they took off from American airports.” It goes without saying that that same darkness was present at the attack in Atocha. So nihilists are no longer the old romantic terrorists, or today’s masked bombers. In today’s nihilist and destructive reality they are also states that vigilantly monitor public health, but what they conceal is the power of those who are strongest. And the closer we are to the strong, the more security we are offered.

Why should we be surprised by that unexceptional violence in the place that allowed the planes to take off with terrorists of US nationality, despite their origin? Why should we be simplistically surprised by that violence and not remember what has been going on in Spain since the early 20th century? Isn’t Spain dark enough for its non plus ultra thresholds to be still appreciable? In this impasse we find Spain’s black constancy, a darkness present as a place, as topos. Consider for example the exhibition next to this room called La noche española (The Spanish night), which continues to show an image that fails to correspond to the Spanish reality of illiteracy and famine, which continues to dig up the least appropriate clichés, based on the significance of gypsies or manual workers in popular imagery or on the effigy of a Spanish woman holding a gun. And whose title and subtitle coincide with this Spanish period, from 1865 to 1936.

For after nearly 40 years of democracy in Spain it worth looking at the influence that art has had on today’s society. An impossible undertaking and, indeed, finding one’s place in it is a never-ending task. If we consider the transition from the late Franco regime to democracy, we see that this influence really is important for various reasons, either because of the joy felt after Franco’s death or because that outdated political, economic and cultural system was collapsing. What has this to do with the dark state of Spain in those times? Though it is true that, politically, we were not in the situation of the post-war years, nor of the 50s or 60s, the Franco regime clearly sought to obstruct the expansion of what may be called the “cultural industry”. What were the main areas in which artists and intellectuals needed to act? What relationship was there between what was called “highbrow” and “lowbrow” culture and a Spanish society finally leaving behind 40 years of dictatorship so as to mature back into a democracy? Really it was a matter of showing commitment to a way of thinking that was to radically confront that power founded on censure and political repression and which, from a strongly ideological perspective, was to lead to what could be referred to as the modernization of a black country seeking to achieve democratic status.

What were the Spanish cultural industry’s main difficulties as from the 60s? They were simply determined by censure and the control of teaching and educational syllabuses, a highly restrictive and repressive policy that continued to show that the cultural fabric was largely dominated by politics – a process that is a historical constant in Spanish art. If there was some space for an apparent Spanish democratic openness it was because Franco and his subordinates had already addressed the problem directly in the 50s and 60s, as evidenced at the Alexandria, Sao Paulo and Venice biennials, where the work of some artists was displayed so as to put on a show of openness, including that of Antonio Saura, Manuel Millares, Rafael Canogar, Juan Genovés or Darío Villalba – regardless of their subsequent positions contrary to the regime – and even Antoni Tàpies, who in 1973 brought out an odd book called El arte contra la estética (Art against aesthetics), which moreover showed a considerable conceptual confusion, asserting that the ideas involved in social, political, conceptual or participatory art should show a practical ideology. What we mean to say is that in those times of transition, art’s political dependence was inescapable, either as a result of ideology confronting the Franco regime propounded by the exiled Spanish left or in culture manipulated by the official organs of power.

In this respect, a review of Spanish art in the 40 years of dictatorship should show, for example, that the more politicized new conceptual tendencies were sidelined by the success of a new realism, less concerned about the critical aspect of society and the appropriateness of aesthetic propositions emerging abroad – “en el extranjero”, that very Spanish term. We mean that there is a very direct link between the rise of a certain type of art as opposed to the incipient offerings of Isidoro Valcárcel Medina, the Zaj Group or the incursions into conceptual art made at the cultural events known as “Encuentros de Pamplona”. In reviews of recent history these circumstances have been constantly underrated by many critics who have rather devoted their efforts to attaching more importance to a pictorial or sculptural tradition than to the emergence of a conceptual art in opposition to such tendencies. We shall not repeat here that, to date, whenever Spanish conceptual art has been studied, what is shown is the clumsiness and systematic silence of certain artists who in those times were also struggling in their own way by denouncing the state of Spanish politics.

For example, an “enlightened” Francisco Calvo Serraller casts a cold eye over the Spanish conceptual reaction in relation to the art becoming established internationally. His view of the 70s in Spain tends to assert that it was a period of introspection and purging, though in definitely odd terms: a parenthesis. This is surprising because we do not believe that this period should be seen as a time of aesthetic uncertainty, especially given that the art gaining ground in those years came from artists who had already been active for a decade and in some cases for two, as in the case of Luis Gordillo. Victoria Combalía, for example, goes so far as to say that Spanish conceptual art come into existence in 1971 in Granollers. And after locating its field of action in Cataluña and asserting that its origin lies in Tàpies and not in the Zaj group, she dismisses conceptual exercises prior to that date as mere antecedents.

What was at stake was the continuance of an artistic practice that the conceptualists regarded as superseded, and the utopian option of breaking away from the commercialization of art. It is also true that Spanish artists were not sidelined all that much during the Franco regime, as may be seen from the influence of Dalí, Miró, Tápies, Chillida or Hispanic informalism in the 50s. A blackened Spain that allowed earnings that the regime approved of, but without contributing to the works’ aesthetic value or helping with state acquisitions or the organization of major exhibitions. As we know, foreign policy was different – witness the list of Spanish representatives at the successive biennials in which Spain took part during the Franco regime. The cynicism with which certain artists such as Tàpies now systemically shrug off their collaboration with that regime is insulting. This ambiguity of the political authorities, shifting between permissiveness and tolerance and the suspension and prohibition of certain initiatives directed at the public, characterized the intrusions of those who in those days saw communists on all sides; such is the case, for example, of Carrero Blanco and his differences with González Robles.

Another issue and a symptomatic factor, as Simón Marchán Fiz suggests, is the removal of Art History from high school education in 1975 by the Ministry of Education and Science, just when the art gallery market was starting to open up, leading to the emergence of the art centres and museums that exist today. If Calvo Serraller in the 80s considered that the early conceptual attempts were little less than vain attempts to escape from an irreversible situation, what is certainly true is that the advent of democracy was anything but a time of parenthesis or purging. The differences established between practices in Madrid and Barcelona – the aspiration to art that would not lose sight of the course followed outside Spain – may explain all of the economic, political and sociological movements both in society and, by extension, in the processes marking the country’s modernization going on in those initial times and which continued a commercialization of Spanish art that had been a constant since the Franco regime. Art and politics have always gone hand in hand, and artists, critics, gallery owners and politicians have taken advantage of this in equal measure.

Returning to our subject, we may say that this flag depicts an obstruction, pointing to the preclusion of a future political system. Under this flag both sides are neutralized, and the very death of a changing image is cancelled. A country where the flag has changed several times and which has an anthem with no words bespeaks of itself its capacity for negation. And also its baroque nature, for in that darkness an iconic treatment continues to be given to matters concerning not only the meaning of artworks but also their technical capacity. This is not a matter of considering this cloth as if it were a mere textile product, for the material depends on what it expresses: a black flag that underlines the darkness of flags. It is a matter of keeping sight of the idea of a flag as a textile and a text in which not only ideas but also contrasting opinions are woven. It is a device that helps us to remember and a work that belongs to our shared memory. As when the Republican flag was raised at Auschwitz, evoking those who disappeared there, now it is brought in its black version to a museum whose regal name corresponds to the protection of the arts and letters, a monarchy that cannot escape its light and dark sides and before which many art sympathizers will now kneel. A black flag of the Spanish Republic sewn in Munich.

Let us end briefly by summing up: a flag of the 2nd Republic in a museum called Reina Sofía. A symbol of an absence, a blackness that corresponds to the relationship of art and politics in contemporary Spain. A darkness that also appears in our monarchy: the reign of representation that must be laundered. A flag that speaks of an obstruction of conceptual art tendencies as opposed to a less politicized art, from the Franco regime and probably from Spain’s democracy. A confinement that should not be a final end.

At the start we quoted Adorno: “Art must be directed against what it is conceived out of, and accordingly it becomes uncertain to the core.” This uncertainty led him to say that after Auschwitz there could be no poetry, though subsequently he had to correct himself. Santiago Sierra claimed precisely that “after Auschwitz we can do little that is not poetry.” This poetic revenge over those who, setting out in Munich, built up the Nazi party, is what caused this flag to be sewn in that city. An endgame that has led us from the promise of a republican democracy to a democracy under a constitutional monarchy. And where, as María Teresa León said, “the history of democracy is written in white ink on blank paper.”

In an email Santiago Sierra says:

The pointers here are those that the flag brings into play in relation to the past and present of egalitarian ideals in Spain. Bringing together elements such as embroidery, the place of embroidery, Bavarian Marianas Pinedas, the connotations of colour, with respect to mourning and libertarianism, the origins of a monarchy installed by means of death and a 40-year dictatorship, the survival of those who disappeared and the ditches they died in. The survival of indifference. The state that speaks of memory with monarchical exaltation, streets, hospitals, museums, international awards, etc. The nearby reminders of what our new monarchy entailed at world level. The recent attempts to silence dissension. Well, this flag has a lot in it; it’s potent as an anti-symbol – I don’t know if the photo does it justice... Also it’s my finest work and it honours our dead grandparents.

Black Spain and its counterpart, blackened Spain.

I think that’s roughly what it’s about and tell me if I’m forgetting anything.

Good health and freedom to you.

 

 

 

 

 

 

 

 

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2008. CALL FOR PROJECTS (rules and conditions)

 1. The aim of this summon is to select artists to carry out temporary or brief interventions, including two specific projects for the builidings of Casa de América and Círculo de Bellas Artes, which will be included in Madrid Abierto with other invited projects and the sound and audiovisual works selected.

2. Interventions will take place at the same time as the ARCO fair, in February 2008, in Madrid, within the axes of Paseo de la Castellana - Paseo del Prado and Calle de Alcalá – Gran Vía.

The sound works will be broadcasting on Radio 3, of Radio Nacional de España, and audiovisual on the Canal Metro channel.

3. Artists from every country may participate (except for Casa de América, which is restricted to Latin American artists), whether individually or in groups. In which case, they must name a representative.

4.      A) Artistic interventions.- Each participant must include the following documents:

* Curriculum Vitae with a maximum of 2,000 characters and a photocopy of the Spanish ID card (or an equivalent form of identification) of the author or authors.

* Description of a completed project and a specific preliminary project for Madrid, which must not surpass 4,000 characters.

* A maximum of six drafts or images of the project and the preliminary project in jpg format, with a maximum resolution of 72 ppp. * Description of the assembly system and technical needs of the preliminary project.

* Estimated and detailed budget of the preliminary project, stating all the concepts that could be financed by their own means. * All archives must be compatible with a PC. The archives sent from a MACINTOSH must end in extensions (doc, xls, pdf, jpg, tif, ...).

* Should we not receive all the above mentioned information, the participation will be dismissed.

* The maximum amount awarded for each artist chosen totals 12,000 euros, including expenses derived from transports, accommodation, production, travel and assembly, the author or authors’ salary (up to a maximum of 2,000 euros) and current legal taxes.

B) Sound works.- Each participant must include the following documents:

* Curriculum Vitae with a maximum of 2,000 characters and a photocopy of the Spanish ID card (or an equivalent form of identification) of the author or authors. * Description of the part that must not surpass 4,000 characters.

* The works will be presented during a maximum 10 minutes and will be sent in a CD format.

* Those candidates selected will receive 500 euros and a direct master copy of their works will be included in the documentary fund and the public archive of Madrid Abierto, with a possible non-profit making addition to the web page www.madridabierto.com, subject to prior agreement with the authors.

C) Audiovisual works.

* Those audiovisual works chosen in the summons 2007 for TV Interventions (www.intervenciones.tv, www.fundacionrdz.com) will be included in the Madrid Abierto 2008 programme, in collaboration with Fundación Rodríguez and with Centro Cultural Montehermoso, and will be broadcasted on Canal Metro. Those candidates selected will receive 500 euros and a direct master copy of their works will be included in the documentary fund and the public archive of Madrid Abierto, with a possible non-profit making addition to the web page www.madridabierto.com, subject to prior agreement with the authors.

  

5. All proposals are to be sent via e-mail to This email address is being protected from spambots. You need JavaScript enabled to view it., before June 15th 2007 (or via the post to Fundación Altadis-Madrid Abierto. Calle Eloy Gonzalo nº 10, 28010 Madrid).

6. The advisory committee at Madrid Abierto, chaired by the director of the programme, Jorge Díez, and formed by Cecilia Andersson, Guillaume Dèsanges, Ramon Parramon, Mª Inés Rodríguez, Fito Rodríguez and the Democracia Group, will name the curator or curators of this edition. La Casa de América and the Círculo de Bellas Artes will select a representative for the selection of the intervention corresponding to each institution.

The curator will choose the participating artists by assessing the quality and feasibility of the proposal, as well as the complete reversibility of the interventions, and will complete the choice with other artists invited until reaching a maximum of 50% of the total number of artists chosen in the open summons. As we are dealing with projects that will be presented in public spaces, the local permits required must be obtained in order to carry out effective installation. The process will be managed by Madrid Abierto.

Should the artists selected use - in any way - images or elements belonging to third parties in their project, they must provide the corresponding permits issued by the owners.

7. Madrid Abierto reserves the rights to publish and represent the artistic interventions selected in all those cases related with the programme promotion, and will include all the documents generated into its documentary fund and public archive. The projects and works selected will belong to the authors, and the developing institutions will have the right to acquire them.

8. Participation in this summons means full acceptance of the rules established in this document.

 

 

 

 

 

 

 

 

08pvtc1717

2008. Democracia. MADRID ABIERTO 2008

The role of art in our societies as propaganda of the political system that sustains it, as well as its subsequent incorporation into the show business and entertainment industries, possibly becomes even more evident when it appears in events similar to the cultural one that concerns us here. In this respect, current public art has often been used by its promoters as a substitute of and alibi for a real social policy, whilst projecting a desirable modernness image. This approach is also influenced by a series of strongly held misconceptions, perhaps selfishly for their populist content, about its reception, such as the fallacy of the unsuspecting spectator (take art to the public) or the sine qua non requirement of citizen participation (when public participation hardly takes place in other situations or is even outright rejected by public authorities not readily willing to hand over their control of the public space) and the presumption of an ideological uniformity which is far removed from the reality of a plural society of a city where celebrations of the family sponsored by the Vatican “coexist” with the European Gay Pride March, the splendour of royal weddings with 14th of April tokens, demonstrations organised by the ultra right against “anti-Spanish racism” with brawls in response to the same fascist violence which (as usual) ends up in murder.

Let us therefore distance ourselves from preconceived concepts of what public art should be in order to get a better perspective.  Let us not conceive the urban environment as a space for consensus but for conflict, or at least a space for attempting to stage it. And in this situation we will have an appropriate view of what is attempted here: a tendentious, critical, ideologically biased and far from neutral discourse. With the aim of contextualising it in a scene that is not interchangeable – Madrid -  a scene from where to position ourselves in relation to a series of specific problems and reflections. It is true that the projects brought together here range from symbolic to practical approaches, from generic problems associated with the city and contemporary society to specific problems which (like it or not) closely affect the people of Madrid, from  a poetic secretiveness approach to a need to simplify complex discourses in order to act as propaganda against propaganda (conscious of the fact that we can no longer interpret propaganda in the “modern” manipulation sense of the word but as the all-embracing offer of life’s economistic reductionism). Let us consider the public art interventions brought together for this event as a double opportunity: on the one hand, to transmit messages unusual to the public space, taking for granted that, if we understand the public space as a communication channel, the dominating discourse (urban, architectural and media related) that we find is the one generated from within the commercial and institutional spheres, and, on the other, to create a temporary community of joint action gathered around a series of reflections on the city, made up of the participating artists and the audience that feels a responsibility towards it.

Within this general framework, a series of specific lines of action centred on the following points are established: the organisation of the city (with emphasis on the problems stemming from real estate speculation, currently a key issue for the inhabitants of Madrid), the role of art in the public space as a means through which to visualise discourses unusual to the public space and new cultural expressions associated with the urban environment.

With respect to the organisation of the city, we can refer to the projects of LaHostiaFineArts, Todo por la Praxis and Santiago Cirugeda. Following the system of organising the city from an economic perspective, LaHostiaFineArts proposes an approximation to the Usera district of Madrid, representative of the new changes that are taking place in the city of Madrid, as it is the district with the highest immigrant population (precisely where the above-mentioned “against anti-Spanish racism” demonstration took place, as well as the subsequent murder of a left-wing activist who was on his way to a demonstration against the authorisation of the previous event) and, at the same time, Usera is undergoing a gentrification process as a result of the opening of the Matadero cultural centre by the local council, which is the flagship of its cultural policy. Apart from opening Madrid Abierto to other areas and developing a collective creation project with the participation of 100 artists, the project entails an approximation based on psycho-geographical tactics, proposing an experimental cartography of the district removed from the normally offered media and institutional image. Todo por la Praxis presents a project of an “advertising” nature which addresses the figure of the real estate speculator in an ironical way.  Although the project starts off with a representation, it goes on to involve social processes of the city by organising the exhibition Empty World in the Liquidación Total alternative space, as well as a series of debates on occupation, empty houses and the problems generated by the speculation phenomenon in Madrid, in collaboration with architects, artists and social movements (i.e., La Fiambrera Obrera, C.S.O.A Patio Maravillas, V de Vivienda…). Santiago Cirugeda will create an office to offer advice on self-construction in the city, the creation of co-operatives and the legal formulas for building apartments in underused spaces like roof terraces. The public will be shown the self-construction process by witnessing how the above-mentioned office is built.

With Videoman, Fernando Llanos proposes a technology for transmitting messages in the public space where we will find a parallel with advertising strategies, although the aim of the messages that he works with is not to obtain financial gain but to raise awareness of the specific urban space where he acts. Focusing more explicitly on propagandistic material, we could mention the work of Anno Dijkstra, Immi Lee and Annamarie Ho as well as Alicia Framis and Michael Lin. Based on the idea of reviewing the public monument or sculpture and its role as a symbol (as well as decoration) towards which citizens should acknowledge a consensus, we could place the work of Anno Dijkstra, who proposes shifting a popular media image and transforming it into a monument. Whilst Immi Lee and Annamarie Ho propose their approach to propaganda by using the slogan, placing the message “La guerra es nuestra" in El Círculo de Bellas Artes, with the intention of questioning the citizen on the issues that concern him, no matter how far they have been removed from political life (both the issues and the citizens). In a hybrid project that uses a format associated with entertainment, Alicia Framis and Michael Lin stage a fashion show (which will be held in La Casa Encendida) to raise criticism of the role of children used as merchandise in advanced capitalism.

Also using advertising mechanisms, but based on different historical references (to talk about current problems), we can group the projects of Fernando Prats, who will reproduce the advertisement published on occasion of the search for volunteers for Schakleton’s expedition to the South Pole on the facade of La Casa de América, using this facade as a consciously chosen support to suggest a metaphor for migratory movements; Jota Castro, aiming to visualise the phenomena of (post)colonialism and transculturation; and  Santiago Sierra who will present the “Black Flag of the Republic” in an act that will offer the reflections of José Luis Corazón and Fabio Rodríguez de la Flor on this anti-symbol.  The project will be rounded off with putting up posters bearing the image of this flag throughout the centre of Madrid.

Lastly, the projects of Andreas Templin, Guillaume Ségur and the collective project of Noaz and Dier would be associated with forms of urban culture. The project of Andreas Templin, presented as an act of situationist inspiration, attempting to be a part of ordinary life, uses clothes (T-shirts and sweatshirts) as a dissemination channel, taking us to popular forms of expression associated with specific urban groups. The work of Guillaume Ségur consists of a minimalist sculpture, but the fact that it is placed in a place where skaters normally gather, with the aim of being used by the skaters, she takes it to an area where urban culture and the criticism of the traditional monument interact. Noaz and Dier work in the field labelled as “urban art”, and we considered that their presence was important here because they represent a large group of street artists who normally practice their art in Madrid.  Far from including their usual work in Madrid Abierto, the idea behind their collaboration is to present a project that goes beyond their normal spheres.  This intervention will be rounded off with one of their critical stencil, graffiti and stickers campaigns.

To conclude this introduction, also worth mentioning are some of the methodological issues that cross cut the initiative approaches addressed here:  how the selected projects move around, the appropriation and use possibilities that they offer and their involvement with other spheres beyond art (the work of Cirugeda as an “open source” tool, the will of Todo por la praxis to collaborate with social movements), the insertion of the work of Fernando Llanos in a genealogy of ways of intervening in the public space, something which, due to their post-situationist approach, we can also find in LHFA and Andreas Templin, the strategic coincidences between contemporary art and urban art practices (Noaz and Dier), the camouflage of certain interventions with other languages characteristic of the urban space, ranging from advertising (Lee and Ho, Sierra, Castro, Prats) to monumentality (Dikjstra, Ségur), and the hybridisations with other disciplines, such as in the case of Alicia Framis and Michael Lin, and not less important, the broadening of the physical sphere of action of Madrid Abierto (the junction Castellana-Recoletos) to Usera, the Centre of Madrid and to other points dictated by the dynamics of each project.

 

.....................................................................................................................................................................................................................................................................DEMOCRACIA www.democracia.com.esWork team formed in Madrid (Spain).

Pablo España (1970) and Iván López (1970) created the DEMOCRACIA group in 2006.

Since, they have showed their work at the Goteborg, Valencia and Istanbul Biennials an at different Centers and Museums such as Kumho Museum of Art at Seul, the Centro de Arte Santa Mónica in Barcelona, the Neue Gallerie in Graz and the Organización Nelson Garrido at Caracas. As former memebers of El Perro group they worked in projects at the Miasma of Helsinki, Cobra Museum in Ámsterdam and the Moscu, Taipei, Bucarest and Sevilla Biennials. They will shortly participate at Everstill at the Casa-Museo de Federico García Lorca in Granada.

Democracia group also Works in curatorial projects and directs the Nolens Volens magazine. Their are alos part, with Aitor Méndez, of the blog Contraindicaciones (www.contraindicaciones.net).

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08pvtb1706, 08mdtd1742

2008. DISCUSSION PANELS PROGRAMME

Place: La Casa Encendida (Ronda de Valencia No. 2, Madrid)Date: 7th and 8th FebruaryTime: From 17.00 to 21.00 h.

Continuing the practice established in the last editions, this year the debate tables are organised once again in collaboration with La Casa Encendida.  As in previous editions, on the one hand, the debate tables will present the projects produced for Madrid Abierto and, on the other, they will introduce different initiatives developed within the sphere of art in the public space.

The round tables will include the active participation of the commission set up last year to debate the model of Madrid Abierto.  The commission's co-ordinator, Rocío Gracia, and its members, Cecilia Anderson, Guillaume Désanges, Jorge Díez, Ramón Parramon, María Inés Rodríguez and Fito Rodríguez, together with this edition's organisers, the collective DEMOCRACIA.

For the artists’ presentations, the event's organisers have established three groups, although aware that the groups may be pervious and that one same project may meet several of the established premises. On the one hand, we will have the projects that make the contemporary class conflict visible, as well as a temporary suspension of the exclusions generated by this conflict, on another hand, those that employ elements or the propagandistic language of the urban scene, and lastly, those more closely associated with forms of urban culture.

The artistic experience developed in the public space faces the complex task of intervening in a saturated and hyper-aesthetized space with few fissures. The temporary and ephemeral nature of these artistic practices often places obstacles in the way of the dissemination and development possibilities of many interesting proposals that would require more time, with respect to the prior investigation and the subsequent production of the interventions as well as the desirable convergence with other projects and other social and cultural agents. In light of this, the opening of new spaces is needed to encourage other forms of production and dissemination, as well as the creation of networks of information and collaboration between this kind of artistic practices. For this reason, every year Madrid Abierto aims to give exposure to other similar experiences. In this edition, Nelson Brissac and Vit Havranek will be responsible for presenting invited projects, offering their experience in the debate on the strategies applied to the city and the territory from an artistic perspective, with more or less emphasis on experimentation, multi-discipline, the process and interaction with the public.

THURSDAY 7TH FEBRUARY

17:00-18:15 Presentation of Madrid Abierto projects

Hell is coming/World ends today. Andreas Templin

Not for sale/No se vende. Alicia Framis

Welcome On Board. Guillaume Ségur

Gran Sur. Fernando Prats

Chaired by: Cecilia Andersson; Democracia

18:15-19:30 Presentation of Madrid Abierto video projects

Arturo-Fito Rodríguez introduced by Rocío Gracia

20:00-21:00 Vít Havránek, introduced by Guillaume Désanges

 

FRIDAY 8TH FEBRUARY

17:00-18:15 Presentation Madrid Abierto projects

Speculator + Empty World. Todo por la praxis

Construye tu casa en una azotea. Santiago Cirugeda

Explorando Usera. La Hostia Fine Arts

Videointervenciones móviles en contextos urbanos específicos. Fernando Llanos

Moderan: María Inés Rodríguez y Democracia

18:30-19:30 Presentation Madrid Abierto projects

Estado de excepción. Noaz/Dier

Proposal Nr. 19 + Gift. Anno Dijkstra

No more no less + La hucha de los Incas. Jota Castro

La guerra es nuestra. Immi Lee/Annamarie Ho

Moderan: Ramon Parramon y Democracia

20:00-21:00 Nelsson Brissac, introduced by Jorge Díez

 

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

Cecilia Andersson is curator and director of Werk Ltd., a curatorial agency established in Stockholm. Werk collaborates internationally in the organisation, production, promotion and publication of contemporary art.

Her recent projects include SuperSocial, social events set up in different cities; a series of conferences and seminars in collaboration with Francesco Jodice; On Cities, an exhibition organised in Stockholm’s Museum of Architecture and an itinerant programme of Chinese video.

Cecilia is an independent consultant for Disonancias, an interchange platform between artists and companies in San Sebastián and is part of the Madrid Abierto Commission.

 

Nelson Brissac is a philosopher whose works is related to art and urban-planning issues. Since 1994, he is organiser and curator of Arte/Cidade www.artecidade.org.br, an urban interventions project in São Paulo.

 

Guillaume Desange, is curator, art-critic and co-founder of Work Method, an agency based in Paris dedicated to the production of artistic projects. As member of the Trouble publishing committee, he regularly collaborates with the magazines Exit Express and Exit Book (Madrid). From 2001 to 2007 he co-ordinated the artistic projects of Laboratoires d'Aubervilliers. He organised the exhibitions Pick-Up en Public>, Paris 2004, Untouchable, The transparency Ideal in Villa Arson, Nice and the Patio Herreriano Museum, Valladolid, in 2006-2007, Jiri Kovanda Vs rest of the World in the agency gallery gb, Paris; De Appel, Asmterdam; Centre d'Art Santa Monica, Barcelona, and has worked with Thomas Hirschhorn in the projects The 24h Foucault project and Musée Précaire Albinet. In 2007-2008 he is an invited curator at Centre d'Art Contemporain La Tôlerie. He is a lecturer at Ecole des Beaux-Arts de Clermont-Ferrand and is part of the Madrid Abierto Commission.

 

Vit Havranek is a theorist and a producer established in Prague. Since 2002 he works as Project Manager for the contemporary art initiative tranzit /www.tranzit.org/ sponsored by the Erste Bank Group. He has worked as curator in Prague’s Municipal Gallery and National Gallery. He is a lecturer at the Prague College of Applied Arts. His most recent projects, some of which in collaboration with others, include A CDEFGHIJK MNOP  STUV   Z, part of Societe Anonyme, Le Plateau, Paris, 2007; tranzit – Auditorium, Stage Backstage, Frankfurter Kunstverein, Frankfurt 2006; I, series of exhibitions in three acts: Secession Vienna; Futura Prague; tranzit workshops Bratislava, 2006. He has written articles for several magazines, such as, among others, Springerin, Artist and Flash Art.

 

Ramon Parramon, directs and manages projects within the area of contemporary art and creation. Since 1998, he directs the art project IDENSITAT. In addition, he has organised several projects, such as Territorios Ocupados, 2000; Barcelonas, 1999 and Visiones Periféricas, 1994-97. He has given conferences and seminars at the Polytechnic University of Valencia, the Polytechnic of Milan, the University of Vigo, the University of Granada, the International University of Seville, the University of Barcelona and the Barcelona Higher College of Architecture. His work evolves with a marked interest towards interdisciplinary projects and the roles that art can play in specific socio-political contexts. He is part of the Madrid Abierto Commission.

 

María Inés Rodríguez is an exhibitions curator. She has organised exhibitions and research projects on the public space appropriation strategies in different contemporary art spaces which relate art, design, architecture and urban-planning. In 2004, she created Tropical paper editions to develop the editorial projects of artists. In 2007, she developed the projects Habitat/Variations, BAC Geneva, La Casa Encendida, Madrid, Bermuda Triangle, Êcole de Beaux Arts de París, and was co-curator of MDE 07 Encuentro de Medellín. She is part of the Madrid Abierto Commission.

 

Arturo-Fito Rodríguez,member of Fundación Rodríguez, an artistic production collective that organises and co-ordinates projects associated with contemporary culture and new media, such as Tester and Intervenciones TV. He is part of the Madrid Abierto Commission.

 

Rocío Gracia is an art historian, member of RMS La Asociación, an agency established in 1998 in Madrid dedicated to organising, producing, promoting and disseminating contemporary art projects, and which has recently developed such projects as MadridProcesosRedes and ON SITE TOUR/TALK. The agency will shortly present a preview of Archivo VEO within the project Old News of CGAC and is preparing the exhibition Sur le dandysme for the Centro Huarte de Arte Contemporáneo.

 

Jorge Díez, director of Madrid Abierto and co-director of the MBA in Cultural Management, Santillana/Salamanca University. In 2007 he has co-curated with José Roca (Colombia) Cart[ajena] public art project promoted by SEACEX, developed within the IV Congress of Spanish at Cartagena de Indias, Colombia. He has lectured in the Spain-Japon Forum at Nagasaki, Actual experience in Public Art at the 16º Arts Symposium at Porto Alegre, Brasil and, Contexts and projects in Public Art. Ephemera models of intervention, at the MARCO. 

 

 

 

 

 

 

 

 

08mdtb1765

Experiencias em Arte Pública (magazine)

Experiencias em Arte Pública (magazine)

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

Experiências em Arte Pública: Memória e Atualidade

Textos publicados como resultado do 16° Simpósio de Artes Plásticas: Experiências Atuais em Arte Pública (*)10 a 12 de julho de 2007, Santander Cultural, Porto Alegre-RSPromoção: Prefeitura Municipal de Porto AlegreSecretaria Municipal da CulturaCoordenação de Artes PlásticasAtelier Livre da PrefeituraApoio Cultural: Santander Cultural

Programação» 10 de julho de 2007 / Abertura• Javier Maderuelo (Madri, Espanha). “Arte Pública em Huesca, Espanha”• César Floriano (Florianópolis-SC). “Gestão de Arte Pública em Florianópolis”

» 11 de julho de 2007• Vera Chaves Barcellos (Porto Alegre). “Experiências Efêmeras”• Jorge Díez (Madri, Espanha). “O evento Madrid Abierto”• Aparecido José Cirillo (Vitória-ES). “Lei de incentivo à criação de um acervo semi-público em Vitória”

» 12 de julho de 2007• Fernando Pedro da Silva (Belo Horizonte-MG). “Arte Pública - diálogo nas comunidades”• José Resende (São Paulo-SP). “O que seria uma arte privada, não pública?”• Ana Luz Pettini (Porto Alegre). “Lei de Obras de Arte em edificações, em Porto Alegre”

» Mediação/Coordenação• José Francisco Alves (Atelier Livre da Prefeitura)

(*) evento integrante do 21° FESTIVAL DE ARTE CIDADE DE PORTO ALEGRE9 a 13 de julho de 2007Atelier Livre da Prefeitura , Porto Alegre

 

 

 

 

 

08damb2375

2009-2010. CALL FOR PROJECTS (brochure)

2009-2010. CALL FOR PROJECTS (brochure)

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

      

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10pvmc2402

2008. CREDITS

2008. CREDITS

 

 SPONSORS

 

 COLLABORATORS

 

 

 THANKS TO

DIRECTOR: JORGE DÍEZCURATORS: DEMOCRACIA (PABLO ESPAÑA E IVÁN LÓPEZ)ADVISORY COMMITTE: JORGE DÍEZ, DEMOCRACIA, RAMON PARRAMON, CECILIA ANDERSSON, GUILLAUME DÉSANGES, ARTURO-FITO RODRÍGUEZ, Mª INÉS RODRÍGUEZ Y ROCIO GRACIA IPIÑA (COORDINACIÓN/COORDINATOR)SOUNWORKS ADVISER: JOSÉ IGESORGANIZATION: ASOCIACIÓN CULTURAL MADRID ABIERTOCOORDINATOR: RMS LA ASOCIACIÓNGRAPHIC DESIGN: 451

POINTS OF INFORMATION:> INFOMAB: PASEO RECOLETOS-PLAZA COLÓN. DESIGN: ALI GANJAVIAN Y KEY PORTILLA-KAWAMURA> LA CASA ENCENDIDA: RONDA DE VALENCIA 2

© TEXTS: THE AUTHORS© IMAGES: THE AUTHORS

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

COLLABORATORS:ARCO 08.BRASILCASA AMÉRICALA CASA ENCENDIDAGOBIERNO DE ESPAÑA. MINISTERIO DE CULTURAAMBASSADE VAN HET KONONKRIJK DER NEDERLANDENFUNDACIÓN TELEFÓNICAGALERIA JOAN PRATSRÉPUBLIQUE FRANÇAISE. AMBASSADE DE FRANCE EN ESPAGNE. SERVICE CULTURELCENTRO CULTURAL DE LA VILLACÍRCULO DE BELLAS ARTESMONTEHERMOSO. AYUNTAMINETO DE VITORIA-GASTEIZ / VITORIA-GASTEIZ UDALA + FUNDACIÓN RODRÍGUEZRN3

THANKS TO:METRO DE MADRIDUNIVERSIDAD EUROPEA DE MADRID. LAUREATE INTERNATIONAL UNIVERSITIESFUNDACIÓN ATLÉTICO DE MADRIDMUROLIQUIDACIÓN TOTALATENEO DE MADRID

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08pvid1722, 08pvte1724, 08pvif1726

2008. ARTISTS / INTERVENTIONS / LINKS

Alicia Framis + Michael Lin    Not for sale/No se vende    www.aliciaframis.com Andreas Templin    Hell is coming/World ends today    www.andreas-templin.blogspot.com    www.worldendstoday.wordpress.com

Dier + Noaz    Estado de excepción    www.vdier.com www.noazmadrid.blogspot.comwww,flirck.com/photos/noazmadrid/

Anno Dijkstra    Proposal Nr. 19 + Gift    www.annodijkstra.nl

Fernando Llanos    Videointervenciones móviles en contextos urbanos específicos    www.fllanos.com

Guillaume Ségur    Welcome On Board

Fernando Prats    Gran Sur    www.fernandoprats.cl

Jota Castro No more no less + La hucha de los Incashttp://www.jotacastro.eu/

LaHostiaFineArts (LHFA)    Explorando Usera    www.lahostiafinearts.es

Santiago Cirugeda    Construye tu casa en una azotea    www.recetasurbanas.net

Todo por la Praxis    Speculator + Empty World    www.todoporlapraxis.com

Santiago Sierra    Bandera negra de la república españolawww.santiago-sierra.com

Annamarie Ho + Inmi Lee    La guerra es nuestra    www.annamariecho.comwww.inmilee.net

 

 

 

 

 

 

08prta1766

2008. TELECAST (list)

2008. TELECAST (list)

** SEE THE ATTACHED PDF

 

 

 

 

 

 

 

08ditc2250

2008. RADIOCAST (list)

2008. RADIOCAST (list)

** SEE THE ATTACHED PDF

 

 

 

 

 

 

 

 

 

 

08ditb2236

2008. Cecilia Andersson. CREATING PLACE – PUBLIC ART AS CATALYSER FOR PUBLIC LIFE

2008. Cecilia Andersson. CREATING PLACE – PUBLIC ART AS CATALYSER FOR PUBLIC LIFE

 

    

            

Meeting place in the garden (after Patrick Geddes) 2005 by Apolonija Šušteršic.Photos: Apolonija Šušteršic.

 

Garden Service by Apolonija Šušteršic and Meike Schalk. Photo: Apolonija Šušteršic     Ebenezer Howard and the three magnets

 

For cities to thrive, to be communicative and alive, and to function as catalysers of public life it is necessary to stimulate civic participation and community involvement. This at a time when denizens face increased social control, violence, alienation and privatisation of what was previously public. Simultaneously, cities are run as if they were corporate entities driven by profit and urban environments can become more about devising branding advantages to entice investors than about providing adequate conditions for its inhabitants. Manuel Castells, Bernard Tschumi, Paul Virilio, Richard Sennet and Edward Soja, among others, have all commented on the changing meaning of the city and on the fragmentation and dislocation of the urban environment. At times of conurbation, sprawl and megalopolis, even the word ‘city’ itself needs attention.

By temporarily intervening in the urban context, by reorganising memories and by temporarily taking on visionary and hybrid roles, for example as roles of designers and urban planners, artists participating in Madrid Abierto think about and relate to the city in innovative ways. As an annual platform, Madrid Abierto facilitate updated and situated accounts of what public art can be today. It challenges ways in which to plan and stimulate social interaction in Madrid. And for those who are curious definitions of public art, one attempt at describing it would be as an interdisciplinary practice involving, among others, artists, architects, designers, planners, writers, dancers and more. Or, as Jane Rendell characterise it “If there is such a practice as public art….then I argue that public art should be engaged in the production of restless objects and spaces, ones that provoke us, that refuse to give up their meanings easily but instead demand that we question the world around us” [1]. As it stands today, public art comes with massive agendas. Cultural theorist Malcolm Miles describes what he sees as the two main pitfalls of public art: First in its use as wallpaper to cover over social conflict and tensions, and second as a monument to promote the aspirations of corporate sponsors and dominant ideologies[2]. It is also worth noticing, as Jane Rendell eloquently points out, that traditionally the word ‘public’ stands for what is good; for democracy, accessibility, participation and egalitarianism. Set against an increasingly privatised world where ownership, exclusivity and elitist networks rule, it is quite possible the expression ‘public art’ need some attention as well.

Given the current framework, where society fails to negotiate the challenges of increased privatisation and where urban developments falls prey for dominating developers, how can art and artists work in order to present alternatives that looks at the situation differently? How can inertia and nostalgia be substituted by visionary and creative tools acting as catalysts for change? Madrid Abierto makes use of provocative and innovative ways to actively contribute to the debate. 

With the intention to assist as background information, and to feed a discussion about works that intervene in the city, what follows is a compiled and brief overview of historical initiatives and view points. Using mainly references stemming from city planning, my modest intention is to create a bridge between disciplines, hoping it may benefit art and artists and others involved.

In the beginning were the Viennese architect and planner Camillo Sitte (1843-1903). He is often cited as the founder of modern city planning, something he considered to be art[3]. In the mid 19th century Sitte toured Europe and tried to identify aspects that made towns welcoming and that succeeded in maintaining a friendly atmosphere. His conclusions, published under the title “City Planning According to Artistic Principles” (1889), marked the beginnings of a new era of city planning. Here, emphasis was on irregular structures and spacious plazas. “Squares and parks should be catalysers of public life, social condensers able to re-propose the way of life regarded as absent”[4]. Many of his ideas were similar to those of the British Garden City advocate Ebenezer Howard (1850-1928).

The Scotsman Patrick Geddes (1854 – 1932), geologist, botanist and later city planner, developed a classification scheme for planning around three components: Place, Work and Folk. In this he concluded that human society could be looked upon in similar ways as animal and plant societies. Geddes perceived of himself as a gardener who ordered the environment for the benefit of life. The difference between creating gardens as places for plant life, and cities as places for human life was, according to Geddes, only a matter of degree: “My ambition being … to write in reality – here with flower and tree, and elsewhere with house and city – it is all the same” [5]. For Geddes, the region was to become the visual expression of the order he detected in nature.

Geddes was not concerned with the training of experts. He was far more concerned that the ordinary citizen should have a vision and comprehension of the possibilities of their own cities and actively participate in city planning. His vision included a Civic Exhibition and a permanent centre for Civic Studies in every town. These centres would make efforts to reveal the correlations between thought and action, science and practice, sociology and morals. For this purpose, Geddes bought the Outlook Tower in Edinburgh 1892 and transformed it into a dynamic meeting place[6].

Following ideas outlined by Geddes, and now as part of Edinburgh Garden Festival 2007, artist Apolonija Šušteršič worked in collaboration with architect and theoretician Meike Schalk. Their project titled Garden Service was installed as a public art piece along the Royal Mile where Geddes himself lived and installed public gardens. Garden Service consists of benches and a table, flower pots and programmed sessions in the format of Sunday afternoon tea talks. In Geddes’ legacy, the discussions were open for all and focussed on architecture, urbanism, city planning, environmental activism and of course on Geddes himself.  This is the second project Šušteršič and Schalk produces about Geddes. In 2005 they mounted a glass house along the river in Dundee, the city where he held a position as professor in botany for 30 years. The project was an acknowledgement of Geddes’ idea of a meeting place set within a garden. The glass house was equipped with plants, books and other material in order to support meetings and talks held in the house. When the exhibition period was over, the house was donated to an activist group concerned with the future developments of the city.

In the 1960s, especially in the US wherepre- and post-war housing shortage and heavy-handed urban renewal strategies resulted in urban crisis, a revival took place in the discussions about city planning. People like Gordon Cullen, Jane Jacobs, Kevin Lynch and many more contributed ideas and developed methods that fed alternative ways to think about the city. Urban design professor Donald Appleyard, for instance, developed a special interest in the psychological effects of traffic that led him to device social network analysis methods which made room for people’s own perceptions and values. These techniques allowed Appleyard to bring the inhabitants of cities into the centre of the urban planning process. By devising his own tools, Appleyard took issue with the power conflicts inherent in mainstream urban planning processes.[7]

[1] J. Rendell, Art and Architecture. A place between. London, NY: I.B. Tauris, 2006

[2] M. Miles, Art, Space and the City. London: Routledge, 1997

[3] P. Rabinow, French Modern. Cambridge, Mass: MIT Press, 1989

[4] www.sciencenet.com.br/ingles_abril/news/06/03_about.hmt

[5] Boyd Whyte, Ian and Welter, Volker M. Biopolis: Patrick Geddes and the City of Life. Cambridge, Mass: MIT Press, 2002

[6] P. Geddes, Cities in Evolution. Oxford University Press, Oxford, 1950

[7]www.pps.org/info/placemakingtools/placemakers/dappleyard 

 

.....................................................................................................................................................................................................................................................................CECILIA ANDERSSON is curator and director of Werk Ltd., a curatorial agency established in Stockholm. Werk collaborates internationally in the organisation, production, promotion and publication of contemporary art. Her recent projects include SuperSocial, social events set up in different cities; On Cities, an exhibition organised in Stockholm’s Museum of architecture and an itinerant programme of Chinese video.

 

 

 

 

 

 

 

 

 

 

08pvib1710, 08pvtb1709, 08pvtb1707, 08mdtd1740

2008. Santiago Sierra (Cv)

MADRID, 1966 LIVES AND WORKS IN SITUWWW.SANTIAGO-SIERRA.COMWORK EXPOSED IN MADRID ABIERTO: BANDERA NEGRA DE LA REPÚBLICA ESPAÑOLA

SOLO EXHIBITIONS2007·    Centro Cultural Matucana, Santiago de Chile, Chile ·    Santiago Sierra, New Works, Lisson Gallery, London, UK. www.santiago-sierra.com 200709_1024.htm" 21 Anthropometric modules made from human faeces by the people of SULABH international, India. Nueva Delhi/Jaipur, India, 2005/2006 ·    1549 Crimenes de Estado. Antiguo Edificio de la Secretaría de Relaciones Exteriores de la Plaza de las Tres Culturas, Tlatelolco, Mexico City·    Himnos, Cabildo de Montevideo, Montevideo, Uruguay·    Proyecto Caracas. Santiago Sierra, Sala Mendoza, Caracas, Venezuela·    Concierto para Planta Eléctrica a Diésel, Salon Experimental de la Fundación Chacao, Caracas, Venezuela ·    Submission, "Proyecto Juárez", México City, México ·    Santiago Sierra, Prometeogallery, Milan, Italy

2006·    Illumination of the space between two plains, Contemporary Art Center of Malaga-CAC, Málaga, Spain·    The Punished. Landgericht Frankfurt, Gerichtsstrasse 2, Kleinmarkthalle, Hasengasse 5-7, U-Bahn Hauptwache, S-Bahnzugang Hbhf, Deutsche Bibliothek, Adickesallee 1, Stadtbücherei, Zeil 17, Senckenberg Museum, Senckenberganlage 25, J-W.- Goethe Universität, Hauptgebäude, Senckenberganlage 31, Fine Arte Fair, Messe Frankfurt Halle 9, Frankfurt, Germany·    114 Stommeln citizens & 245 m3, Synagoge Stommeln, Germany·    Jewels collection. Designed by Chus Bures, Madrid, Spain·    89 Huichols, San Andrés Jalisco, Jalisco, México

2005·    102 Beggears, Plaza del Estudiante, 20, Mexico D.F. ·    396 Women & The Corridor in the House of the People & Psychophony recordered in the house of the people, House of the People, Bucharest, Romania·    House in Mud, kestnergesellschaft, Hannover, Germany, Maschsee-Projekt·    One person, Galleria Civica di Arte Contemporanea, Trento, Italy·    The visit, Colonia Polanco, Mexico City, Mexico/Daimler Chrysler-Mercedes Benz factory, Bremen, Germany·    Position Exanche for two dinstict, 30 metre volumes of earth, Demilitarized Area Between North and South Korea·    Loudspeakers, Entrance to the Arsenale, Venice

2004·    Museum Dhondt-Dhaenens, Belgium·    100 Constructions with 10 Modules and 10 Workers, Peter Kilchmann Gallery, Zurich·    Kunsthaus Bregenz, Bregenz·    CAC Centre d'Art Contemporain de Brétigny, Paris

2003·    Outdoor project, Galerie Helga de Alvear, Madrid·    The Spanish Pavillion at the Bienale di Venezia Venice

2002·    Hiring and Arrangement of 30 Workers in Relation to their Skin Color, Kunsthalle Wien, Vienna·    Space closed by corrugated metal, Part 1: Sept. 10 - Oct. 10 and Group of people facing a wall, Person facing into a corner, Part 2: Lisson Gallery, London·    3000 digs of 180 x 70 x 70 cm each, Fundación NMAC, Montenmedio, Cádiz, Spain·    Nine forms of 100 x 100 x 600 cm each, constructed to be supported perpendicular to a wall, Deitch PROJECTS, New York, USA·    Spraying of Polyurethane over 18 People, Claudio Poleschi Arte Contemporanea, Lucca, Italy·    The History of the Foksal Gallery Taught to an Unemployed Ukrainian, FOKSAL Gallery Foundation, Warsaw·    11 People paid to learn a phrase, Project Room, ARCO'02, Madrid, Galerie Peter Kilchmann·    Person saying a Phrase, IKON Gallery, Birmingham·    Two Maraca Players, Enrique Guerrero Gallery, Mexico City

2001·    430 people paid 7 1/2 Soles ($ 1/2) per hour, Pancho Fierro Gallery, Lima, Peru·    Sit-In by twenty workers in the hold of a boat, Barcelona, Spain·    Banner held outside the entrance to an artfair, Art Unlimited Basel, Peter Kilchmann Gallery·    Object measuring 600 x 57 x 52 cm constructed to be held horizontally to a wall, Peter Kilchmann Gallery Zurich

2000·    Six People who cannot be remunerated for the Staying in the interior of Cardboard Boxes, Kunstwerke, Berlin·    Person Remunerated for a Period of 360 Consecutive Hours, P.S.1, Long Island City, New York, USA·    12 Remunerated Workers, Ace Gallery New York, USA·    Public transported between two points of Guatemala City, Bella de Vico Arte Contemporaneo

1999·    Line of 250 cm tattooed over six paid persons, Espacio Aglutinador, Havana, Cuba·    465 Remunerated People, Gallery Seven, Mexico City, Mexico·    24 Concrete Blocks moved continuously during one working period by ten remunerated workers, Ace Gallery Los Angeles, USA

GROUP EXHIBITIONS (SELECTED)2007·    Plataforma Puebla 2006. Curators: Príamo Lozada & Bárbara Perea

2005·    51st Venice Biennale

2004·    Arrangement of Twelve Prefabricated Parapets, Herzliya Museum of Art, Israel·    Sao Paulo Biennale, Sao Paulo, Brasile·    Liverpool Biennale, UK·    "Soziale Kreaturen", Wie Körper Kunst wird, Sprengel Museum Hannover, Hannover·    "El real viaje real", Museo Patio Herreriano, Valladolid, Spain

2003·    "El real viaje real", PS1, Long Island City, New York, USA·    "fast forward", Media Art/Sammlung götz, ZKM Zentrum für Kunst und Medientechnologie, Karlsruhe, Germany·    "Terror Chic", Monika Sprüth / Philomene Magers Gallery Munich, Germany·    "Stretch", Powerplant Contemporary Art Gallery, Toronto, Canada·    "Hardcore", Palais de Tokyo, Paris, France·    "Witness - Contemporary Artists document our Time", Barbican Art, Barbican Center, London, UK·    "Mexico Attacks", Associazione per L'Arte Contemporanea Prometeo, Lucca, Italy. Herzliy Museum of Art, Herzliya, Israel·    "M ARS - Art and War", Neue Galerie Graz am Landesmuseum Joanneum, Austria

2002·    "20 Million Mexicans Can't be Wrong", South London Gallery, London, UK "Centre of Attraction", The 8th Baltic Triennial of International Art, Contemporary Art Center Vilnius, Lithuania ·    "Mexico City: An Exhibition about the Exchange Rates of Bodies and Values", P.S.1, Long Island City, New York, USA·    "Protest! Respect! - Politik als ästhetische Kategorie", Kunsthalle St. Gallen, Swizerland·    "Trans Sexual Express", ATRIUM, A Coruña, Spain·    "The song of the pirate", Centro Cultural Andratx, Mallorca, Spain·    "Art & Economy", Deichtorhallen, Hamburg, Germany·    "Spanish Contemporary Art", Borusan Art Gallery, Istanbul, Turkey·    "Trans Sexual Express", Budapest, Hungary·    "Loop", P.S.1 Contemporary Art Center, Long Island City, New York

2001·    "Marking the Territory", Irish Museum of Modern Art, Dublin, Republic of Ireland·    "ARS 01 - Unfolding perspectives", KIASMA, Helsinki, Finland·    "Loop", Hypo Kunsthalle, Munich, Germany-travels to P.S.1, Brooklyn, New York ·    Person paid to remain tied down to a wooden block, "Transsexual Express", Santa Mónica Contemporary Art Center, Barcelona, Spain·    Kunsthalle Hanover, Germany·    49th Biennale di Venezia, Venice, Italy·    Trienal de Barcelona, Barcelona, Spain·    "Artistas Latinoamericanos", Salvador de Bahia, Brasil

2000·    "Latin America", Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain·    "PICAF Living the Islands", Pusan, Republic of South Korea·    "A shot in a head", Lisson Gallery, London, UK·    "EV. A 2000, Friends and Neighbours. The 4th Biennial invited ev. a.", Limerick, Ireland

1999·    Concentration of Illegal Workers, BF 15 Gallerys' Stand, FIAC, Paris, France·    "No Title",Guatemala·    "Representar/Intervenir", X-Teresa Arte Actual, Mexico City·    "Parada continua/Frequent Stops", Museo Carrillo Gil, Mexico City

1998·    "Made in Mexico made in Venezuela", Art Metropole Gallery, Toronto, Canada·    "Cambio II", Sandra Gehring Gallery, New York, USA·    "Despues del cuerpo", 127 Gallery, Mexico City

CATALOGUES·    Santiago Sierra, 7 Trabajos/7 Works, Lisson Gallery, London, UK, november, 2007. Texts by Pilar Villela, Mariana David, Javier San Martín, Taiyana Pimentel·    Santiago Sierra. Texts by Fabbio Cavallucci and Carlos Jiménez. Published for the occasion the special project Una Persona, Galleria Civica di Arte Contemporanea, Trento, Italia·    Santiago Sierra, Spanish Pavilion. 50th Venice Biennale, Venice, Italy·    Santiago Sierra, Kunsthalle Wien, Wien, Österreich, March, 2002. Interview by Gabriele Mackert·    Santiago Sierra. Espreado de poliuretano sobre 18 personas, Claudio Poleschi Arte Contemporanea. Lucca, Italy, March 2002. Text by Pier Luigi Tazzi·    Santiago Sierra. Works 2002-1990, IKON Gallery, Birmingham, UK, Februrary, 2002. Text by Katya García-Antón·    Santiago Sierra, Galerie Peter Kilchmann, Zürich, Switzerland, March 2001. Text by Taiyana Pimentel

SELECTED BIOGRAPHY2003·    Interviews, Kunsthalle Wien, Triton Verlag, Vienna, Austria. Interview by Gerald Matt·    Hardcore - Vers un nouvel activisme, Palais de Tokyo, Éditions Cercle D'Art, París, Francia. Interview by Jérôme Sans·    Witness, Barbican Art Center, London, UK·    Mexico Attacks!, Chiesa di San Matteo, Associazione Promoteo per l´Arte Contemporanea, Lucca, Italia ·    M_ARS. Art and War, Neue Galerie Graz, Graz, Austria

2002·    Zivot umjetnosti, Institut za povijest umjetnosti, Zagreb, Croatia. Interview by Ivana Keser·    Comer o no comer, Centro de Arte de Salamanca, Salamanca, Spain. Text by Carlos Jiménez ·    Otredad y mismidad, Espacio Anexo a la Galería de Arte Contemporáneo y Diseño, Puebla, Mexico. Text by Ana María Guasch. ·    20 Million Mexicans Can´t Be Wrong, South London Gallery. London, UK. Text by Cuauhtémoc Medina·    Mexico City: an Exhibition about the Exchange Rates of Bodies and Values, P.S.1 Contemporary Art Center, New York, USA·    Art & Economy, Deichtorhallen Hamburg. Hatje Cantz Verlag. Ostfildern, Germany. Text by Claudia Spinelli·    The Hall of Lost Steps, Borusan Kültur ve Sanat, Istanbul, Turkey. Text by Rosa Martínez

2001·    Angst, Kokerei Zollverein, Essen, Germany·    Santiago Sierra. 430 personas remuneradas por 7.5 soles la hora, Galería Pancho Fierro, Centro de Artes Visuales, Lima, Perú. Text by Juan Peralta·    Políticas de la diferencia. Arte Iberoamericano de fin de siglo, Valencia, Spain - Pernambuco, Recife (Brazil): Consell General del Consorci de Museus de la Comunitat Valenciana-Governo do Estado de Pernambuco. Centro de Convenciones de Pernambuco. Text by Cuauhtémoc Medina. ·    ARS 01-Unfolding Perspectives, Museum of Contemporary Art Kiasma, Helsinki, Finland·    Pay Attention Please, Museo d'Arte Provincia di Nuoro, Olbia, Italia·    Trans Sexual Express: A Classic for the Third Millennium, Centre d'Art Santa Mònica, Barcelona, España. Text by Taiyana Pimentel·    Comunicación entre las artes. I Bienal de Valencia, Generalitat Valenciana, Valencia, España·    Plateau of Humankind. 49 Biennale di Venezia, Venice, Italy. Text by Taiyana Pimentel ·    Neue Welt, Frankfurter Kunstverein, Frankfurt, Germany

2000·    No es sólo lo que ves: pervirtiendo el minimalismo, Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain. Text by Taiyana Pimentel·    Leaving the Island, Pusan International Contemporary Art Festival, Pusan, Korea·    Puerto Rico '00 [Paréntesis en la ciudad], M&M proyectos, San Juan de Puerto Rico, Puerto Rico

 

 

 

 

 

 

 

 

 

 

08PRTB1794

2008. Anno Dijstra. THE TROYAN HORSE PROJECT

2008. Anno Dijstra. THE TROYAN HORSE PROJECT

 

      

My practise is to study and discus ‘witnessing through the camera’, the second-hand experience, by opposing these media with sculpture, with a three dimensional, analogous confrontation.I am interested in possibility that sculpture gives to discuss mass media.

THE TROYAN HORSE PROJECTThe idea is to leave sculptures behind in the public space for the citizens to find. The sculptures are  reconstructions of images seen in newspapers or on television.

The sculptures are well made but unfinished, still in process, it looks as if someone works on it at home, a personal thing.  It is left, for example, on top of a car, a playground, bus stop, etc..

The hand-made sculpture shows patience, craftsmanship, and are tactile, has weight. They depict the same image as the camera, yet materially stand in stark contrast to their media images counterparts.

People will find these sculptures. Maybe they take it home, or bring them to the lost and found, vandalizes them, give it to someone, or a reaction  that’s beyond my imagination. This project breaks through the normal passive relation we have with media images and shows the emotional vacuum.

     

     

      

      

      

      

      

      

       

      

               

 

 

 

 

 

 

 

 

 

 

08aama3731

2008. Alicia Framis + Michael Lin. NOT FOR SALE (2007.10 / project rectification / technical data)

 DESCRIPTION ASSEMBLY SYSTEM AND PROJECT’S TECHNICAL BASICS

LOGISTIC AND TECHNICAL BASICS

1. As the location is already known (LA CASA ENCENDIDA) it’s necessary to obtain maps of the building’s patio.2. Assembly of a lighting and sound system.3. Video camera and big scale screen. To make the pendants visible there will be a camera that, at one point, shall focus on them and project them on the screen. 4. We intend to work with children (only boys) from 4 to 17. The ideal would be children that are used to perform and work in public. The artist suggests the Real Madrid children. As the performance is on Saturday they wouldn’t have classes the next day.5. We will need a room to use as Backstage or dressing room, for the children as for the artist that will probably close the show.6. Alicia Framis’ crew will take care of transporting the necklaces and dressing the kids up.

TECHNICAL ELEMENTS FOR ARCHITECTURAL STRUCTURE

1. The assembly system for the architectural structure is being designed by Michel, as soon as we have the technical details we will send them to Madrid Abierto.

 (OCTOBER 2007)

 

 

 

 

 

 

 

 

08intb3543

2008. Anno Dijstra. PERFORMANCE / the making off

2008. Anno Dijstra. PERFORMANCE / the making off

 

THE MAKING OFFPerformance / the making off 6 hours Plasticine, wooden box, potter’s wheelA performer in a small box without a door is working on a scale model of a media icon, (a photo taken in the Abu Ghraig jail)

 

     

     

     

  

 

 

 

 

 

 

 

 

 

 

 

08aama3730

2008. Todo por la praxis (Cv)

FUNDADO EN FOUNDED IN 1999 EN IN MADRID LIVES AND WORKS IN MADRIDWWW.TODOPORLAPRAXIS.COMWWW.SPECULATOR.ESWWW.EMPTYWORLD.ESWORK EXPOSED IN MADRID ABIERTO: SPECULATOR + EMPTY WORLD

PROJECTS2007·    Mausoleo. Stickers intervention. Museo Nacional Centro de Arte Reina Sofía, Madrid.·    Geto Sur. Stickers design. Intervention in Madrid's metro.·    Atentado Semiótico. Road signs. Intervention in the public space with the introduction of new signage. Centro de Nuevos Creadores de la Comunidad de Madrid

2005·    Los 5 puntos. Intervention involving putting up posters. District of Chueca, Madrid·    Atentado Semiótico. Set design for the Cibeles fashion show for the designer Antonio Alvarado, Madrid

2004·    Moskea. Design of advertising posters and brochures. Intervention involving putting up posters. District of Lavapiés, Madrid·    El Mundo es Azul. Posters design. Intervention in telephone boxes. Plaza de España, Madrid.·    Calle Espíritu Santo. Intervention with templates in Calle Espíritu Santo, Madrid

2003···· Zona de Estacionamiento Privado y Controlado. Signage intervention. Madrid···· Propiedad Privada Prohibido el Paso. Intervention in the parking demarcation of a regulated parking area. District of Malasaña, Madrid···· Parking Privado en Espacio Público. Stickers. Intervention in parking meters of· a regulated parking area. District of Malasaña, Madrid···· Iconos Des-estructurados. Intervention involving placing balaclavas on existing sculptures. District of Malasaña, Madrid···· PornoStars. Advertising billboard. Madrid···· Restaurant. Stickers-Intervention in rubbish containers. District of Lavapiés, Madrid···· Matar puede Matar. Portable semiotics. T-shirt design.···· ¿Cuánto Cuestas? Rubber stamp. Stamping bank notes in circulation.···· Atentado Semiótico. Road signs. Intervention in the public space with introduction of a new signage. District of Malasaña, Plaza de Colón and Conde Duque, Madrid

COMPETITIONS AND PRIZES2004.······ Prize in the 15th Edition of Circuitos de artes plásticas y fotografía de la Comunidad de Madrid (Plastic Art and Photography Circuits of the Community of Madrid). Exhibition: Centro de Arte Joven de la Comunidad de Madrid, Centro Cultural la Asunción. Albacete, Centro Cultural Alcalá de Henares, Madrid

DESIGN AND CO-ORDINATION OF CULTURAL ACTIVITIES·    Jornadas sobre trabajo y Cultura 2 (Work and Culture Workshops 2), Universitat Politécnica de Catalunya. Participants: among others, Joseph Ferrer I Llop (Vice-chancellor), Miguel Riera (Editor and writer), Xavier Marce (Director of l´Institut d´inducstries Culturals de la Generalitat), José Maria Ripalda (Political Philosopher and writer), Iván de la Nuez (Planning Director of La Virreina and writer), November 2004·    Jornadas sobre trabajo y cultura 1 (Work and Culture Workshops 1), Universidad Complutense de Madrid. Participants: among others, Belén Gopegui (writer), Juan Ramón Capella (Political Philosopher and writer), Higinio Polo (writer), Juan Carlos Rodríguez (Philosopher and writer) Carlos Prieto del Campo (Director of Akal Antagonismos), Vicente Romano (writer), June 2004·    WorkShop. Espacio Público 1 (Public Space 1); Opposition artistic practices and political praxis. Gallery El ojo Atómico, Madrid. Participants: Diego Peris Sánchez (Architect), Francisco  Martínez (Philosopher), Teresa Arenillas (Town planner), La fiambrera obrera (Collective of artists)·    Jornadas Modelos de Ciudad (Workshops on city models): Urbanismo y práctica política transformadora (Town-planning and transformational political practice). Colegio de Arquitectos de Bilbao (Association of Architects of Bilbao). Participants: Javier Navascués, Iñaki Uriarte, Jordi Borja and Fernando Urrikoetxea

 

 

 

 

 

08prtb1796

2008. Anno Dijstra. PROPOSTAL 23/ Atomic cloud, 2011

2008. Anno Dijstra. PROPOSTAL 23/ Atomic cloud, 2011

 

        

     

PROPOSAL 23 / Atomic cloudBuilding a scale model/reconstruction of a atomic cloud of 7000 metres high, a model of 1:350 m

With the installation/site specific work I want to turn the recollection in to a physical experience.

The audience can visit the scale model. But the scale model is 20 meters high, a model you have to climb in to see it completely. The real cloud is 350 time higher.

The sculpture will stay in the scaffolding, to make it able for the audience to see the scale model from all sides.

The scenery will have the feel of a film set, building site,  still in process, a attempt to reconstruct the event.

June 2011Anno Dijkstra

 

 

 

 

 

 

 

 

 

 

 

08aama3729

2008. Santiago Sierra. BANDERA NEGRA DE LA REPÚBLICA ESPAÑOLA (location)

Poster distribution at the center zone and LavapiésPresentation in Museo Nacional Centro de Arte Reina SofíaSabatini building

 

 

 

 

 

 

 

 

 

 

08intd2067

2008. Jota Castro. DOSSIER

2008. Jota Castro. DOSSIER

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

 

08aama3726

2008. Santiago Cirugeda (Cv)

SEVILLA, 1971 LIVES AND WORKS IN SEVILLAWWW.RECETASURBANAS.NETWORK IN MADRID ABIERTO: CONSTRUYE TU CASA EN UNA AZOTEA

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 

EDUCATION·    Architecture degree from the Escuela Técnica Superior de Arquitectura de Sevilla (Higher Technical College of Architecture, Seville).

SITUATIONAL PROJECTS. URBAN PROSTHESES2007·    Creation and installation of alegal furniture. Vigo-Madrid·    Reusing and tuning up 45 housing containers for social collectives·    Restoration of shantytown settlement of As Rañas. La Coruña·    Ci-Arte Co-operative. Sevilla·    Roadblock. Project in the territory. El Cotillo, Fuerteventura·    Alegal housing contracted on roofs of co-proprietor housing communities

2006·    Studios for rent on roof of Escuela Arte 4.Vivero de Empresas. Madrid·    Housing estate of 5000 m2 on non-trafficable roof. Mixart-Myrys.  Toulouse, France.·    Casa del Tilo. Lacorzana, Álava·    35 rental apartments for young people. Social management project. Basauri, Vizcaya·    Memorial victims of the Civil War Málaga 1937 together with Rogelio López Cuenca

2006–2005·    Disassembly and Assembly. Aula Abierta. Granada

2005·    Self-constructed lecture room building trench. Faculty of Fine Arts, Málaga·    Stiff sheets. Camouflaged housing·    Demountable building. One-person housing. Occupation of a land site in Barcelona.·    Institutional Prosthesis. Extension of the Contemporary Art Centre of Castellón, ESPAI

2004·    Opening of land sites with public equipment. Sevilla

2003·    Centre of visual arts project. Automaton architecture. Sevilla

2002·    Occupation of land sites with movable architecture. Sevilla-Madrid

2001·    Refuge for excursionists under the Osborne Bulls project·    Occupation of trees. Insect-house, the strategy of the tick.

2000·    Poster-house with tunnels. Plaza de la Mina, Cádiz·    Illegal house in the historical centre (witnesses protection system)·    Five-storey house inserted in seven-storey building. Degenerated horizontal proposal.

1999·    Projector-house. Urban bus station. El Puerto de Santa María, Cádiz·    Cápsula 1.S.C. Finland Pavilion. Expo'92. Sevilla

1998-2001·    Tiendas 13. (habitable cells). Sevilla; Cádiz; Granada; Córdoba

1997·    Calle San Luis (Installation of container  S.C.). Sevilla·    Plaza de San Marcos (Occupation of scaffolding).Sevilla·    Calle Divina Pastora (Room on scaffolding).Sevilla

1996·    Barrio de San Bernardo (Projecting with lights. Neighbourhood energy transfer). Sevilla

EXHIBITIONS AND INSTALLATIONS2007·    Sueño de Casa Propia.Geneva, Switzerland·    Rotterdam Architecture Biennale, the Netherlands·    Illegal house project. Fundación Borgovico 33, Como, Italy·    Urban Reanimations and the minimal intervention. Swiss Arch Museum, Basel, Switzerland·    Civil Disobedience: the work of Santiago Cirugeda. NYIT, New York, USA.

2006·    Sector Sur. Instituto Aberroes, Córdoba·    Galería AD-Hoc, Vigo·    SPAM city. Contemporary Art Museum, Santiago de Chile·    5th Leandro Cristòfol Art Biennale, Lleida·    Confusión Project. Project 133. London·    Memorial Málaga 1937. ARCO'06, Madrid

2005·    Galería ADN, Barcelona·    1st Contemporary Art Biennale Moscow, Russia

2004·    Intrusiones. Andalusian Contemporary Art Centre, Sevilla

2003·    MAD.03. Experimental Art Meetings, Madrid·    Crossroads of n°11 creation, Design and habitats. George Pompidou Centre, Paris, France·    Urban Drift. Transformers. Berlin, Germany·    UTOPIA STATION. 50ª Mostra di Arte. Venice Biennale, Italy·    The TENT. Architecture Biennale Rotterdam, the Netherlands

2002·    Legal-Space-Public. Établissement d´en face. Brussels, Belgium·    CAPITAL CONFORT. Alcorcón, Madrid·    MANIFIESTA 4. Research Room. Frankfurt, Germany·    Colectivos y Asociados. Casa de América, INJUVE, Madrid·    Generación 2002. Caja Madrid, Madrid; Barcelona; Sevilla·    Cambio Climático. 1.1. Ministry of Development. D.G.V.A.U. Madrid·    Living in Motion. Vitra Design Museum. Berlin, Germany; Milan, Italy; Lisbon·    Portugal ; London, England

2001·    ESPAÑA 1:1. Order of Lisbon Architects, Portugal·    METAPOLIS  Nº3,  Barcelona, October·    Second Architectural Market EME-3. Centre of Contemporary Culture, Barcelona·    IDENSITAT. Calaf art public. Centre of Contemporary Culture, Barcelona·    UTOPIA NOW. California College of the Arts, San Francisco and Sonoma County Museum. Los Angeles. USA.·    ARCHILAB .3.  Orleáns, France·    Exhibition "MRGNC". Caja de San Fernando, Sevilla; Badajoz; Cádiz

2000·    METAPOLIS 2.0. Barcelona, June·    Expo "Industrial Design Andalucía".D.G.A.V. Regional Government of Andalusia. Sevilla·    1st Invitation; Vínculos al tiempo. Ministry of Development, D.G.V.A.U. Madrid·    1999. First Architectural Market. EME-3.  Barcelona·    Acción nº4 La Casita. Cycle of Initiatives. Ministry of Development. D.G.V.A.U. Madrid·    Equilibrios, Casitas. Exhibition. Galería Antoni Pinyol, Reus, Tarragona

1999-1995·    Instalación habitable .Finland Pavilion. FIDAS \ COAAO. Sevilla

1998·    Video-work for Arts on the edge. Academy of performing Arts, Perth, Australia·    The City, Space + Globalization Exhibition. University of Michigan. College of Architecture and Urban Planning. Slusser Gallery. Ann Arbor, Michigan, USA.

1998-1997·    Museo S.C. Puente del Alamillo, Sevilla (rejected)

1997·    Urban-Planning Conferences in the District of San Bernardo. Provincial Government of Sevilla

1996·    Instancias. Civic Centre, Casa de las Columnas, Sevilla

1995·    Das Letzte Haus. The last house. Haus der Architektur. Graz, Austria

1993·    Contaminación. Family house. Sevilla

ARTICLES AND PUBLICATIONS·    "Superuse", Recyclicity Foundation. Rotterdam, February, 2007·    Virus. Lisbon·    Mark Magazine, Amsterdam, January, 2007·    "Situaciones Urbanas", Edit. Tenor, January, 2007·    "Arquitectura del Siglo XXI, más allá de Kioto", Madrid, January, 2007·    "APTM.30m2", Actar, Barcelona, 2006·    SPAM arqu, nº 2. Santiago de Chile. October 2006·    IMPASE, Lleida, nº 6, March, 2006·    Architecture in Spain, Taschen, November, 2006·    Progettare, Milan, September, 2005·    A10, Amsterdam, Nº5, July, 2005·    Magazine Archis, Amsterdam, Nº2, July, 2005·    Rooftop Architecture, NAI publishers·    Pasajes de Arquitectura y Crítica, Nº 86, April 2005·    CASABASIC, Valencia, June, 2005·    EXIT, April, 2005·    "Arquitectura Portátil", Structure, 2005·    "TREE HOUSES", Pageone, 2005·    "VIA Construcción", Barcelona, July, 2004·    "MOVE HOUSE", Prestel, London, 2004·    OVIZINE. 3, Bilbao, 2004·    ZEHAR, Arteleku, San Sebastián, Nº52, January, 2004·    Pasajes de Arquitectura y Crítica, Nº 53 and Nº 54, January/February, 2004·    Blank, Madrid, October, 2003·    PAPERS D´ART, Gerona, Nº 85, 2003·    Clone, Sevilla, Nº 05, November, 2003·    EIS, Madrid, October, 2003 ·    SUBLIME, Gijón, Nº 10, October, 2003·    LAPIZ, Madrid, Nº 184, June, 2002·    LAPIZ, Madrid, Nº 194, September, 2003·    NEUTRA. 09-10 .COAS, Sevilla, September, 2003·    SCALAE, Barcelona, Nº 2, September, 2003·    IDENSITAT 2, Calaf-Barcelona, CCCB, Barcelona, 2003·    Generación 2002, Caja Madrid, Madrid, January, 2003·    B-guided, Barcelona, December, 2002·    Living in Motion, Vitra Design Museum, Berlin, 2002·    Pasajes de Arquitectura y crítica, Madrid, Nº 53, Nº54 and Nº 66·    ABITARE, Italy, December, 2002·    El interior de la arquitectura, Chile, 2002·    ¿Qué hago yo aquí?, Madrid, Nº 2, 2002·    PISO. Architecture Magazine, Mexico, 2002·    Colectivos y Asociados, INJUVE, Madrid, 2002·    TRANSVERSAL, Barcelona, September, 2002·    Diseño interior, Madrid, September, 2002·    AGGLUTINATIONS, New York, Nº 1, June, 2002·    "Cambio Climático. 1.1". Ministry of Development, D.G.V.A.U., Madrid, 2002·    ARCH +, Berlin·    NADAES, Art magazine, Cádiz, November, 2001·    VERB,. Actar, Barcelona, Nº 1, November, 2001·    ROJO, Barcelona, Nº 2, October, 2001·    "International Ateliers of Alsace and Lorraine", ACTE, Phalbourg, November 2001·    "UTOPIA NOW", CCAC: California College of Arts and Crafts, San Francisco, 2001·    ARCHITECTUR AKTUELL, Austria, Nº7, Nº8, July/August, 2001·    Diccionario de Arquitectura Avanzada, Actar, September, 2001·    WERK, BAU+WOHNEN, Switzerland, May, 2001·    ARCHILAB 3, Orleans, France, May, 2001·    NEO2, Nº 17, May, 2001·    MRGNC. Caja de San Fernando, Sevilla, March, 2001·    Pasajes de crítica y arquitectura, Nº 26, Nº 30·    INSITU, Oporto, Nº 1, March, 2001·    CONSTRUCTIVA, Barcelona,  Nº 4, Nº 6, December, 2000·    FIDAS del COAAOC, Sevilla, February/September/October, 2000·    "CONVOCATORIA", Ministry of Development, D.G.V.A.U., Madrid, November, 2000·    METÁPOLIS  2.0, Actar, Barcelona, July, 2000·    Piezas de Autor. 1920-1999, Industrial Design of Andalucía, Government of  Andalucía, May, 2000·    Fisuras de la cultura contemporánea, February, N° 8, 2000·    QUADERNS, N° 244, February, 2000·    SUBURBAN, Sevilla, Nº2, 1999·    Acciones, Ministry of Development, N° 4, May, 1999·    FIDAS del COAAOc, January, 1999·    Pasajes de crítica y arquitectura, Nº 2, Nº 3, Nº 4, Nº 6, Nº 12, Nº 26, Nº 30, December 1998, January/February/April/December 1999, April/October 2001·    Mi-5, Nº 1, December, 1997·    "La última casa", Austria, Steirisher Herbst, 1995

CONFERENCES (SELECTION)·    "On Contemporary Culture", Summer workshop, Almería, July 2007·    "Other ways of creating the city: alternatives to globalisation", UIMP, Santander, July 2007·    Encuentro de Arte Contemporáneo MED07, Medellín, May 2007·    "Intramuros" Lecture series and Workshop, PBSA-FH, Dusseldorf, November 2006·    "Affordable housing" Seminar, CCCB Barcelona, November 2006·    "21st Century Housing", UPM summer competitions, La Granja de San Ildefonso, July 2006·    "Youth and Housing". FORO CIVITAS NOVA 2006, Guadalajara, March 2006·    "21st Century Housing, beyond Kyoto", 2nd Seminar on Sustainability, Madrid, February 2006·    HOUSING IS BACK. Symposium, Munich, January 2006·    "Cities in (re)construction" Course, Local Government of Barcelona, December 2005·    "Dance and Architecture". UPC, Barcelona, May 2005·    COAM, Madrid, April 2005·    ARCHITAXI, Granada, February 2005·    Association of Architects of Castellón, March 2005·    Fundacione Querini Stampalia, Venice, September 2004·    "Public Art in Spain", Fondazione Adriano Olivetti, Rome, 2004·    "Citizen Participation", C.O.A., Ciudad Real, 2004·    Conferences on heritage, C.O.A., Toledo, 2004·    PERIFERIAK, Bilbao, 2004·    Architecture in Migration, Cologne, 2004·    "LABITACIONES", Arteleku, San Sebastián, 2003·    "Urban Drift", Transformers, Berlin, 2003·    Estudios Superiores Foundation, Olot, Gerona, 2003·    "The Tent", Rotterdam, the Netherlands, 2003·    Architecture College of Oporto, Portugal, 2003·    Barraca Barcelona, FAD, Barcelona, 2002·    College of Architecture, Universidad Javeriana, Bogotá, 2002·    Higher College of Architecture of Sevilla, 2002·    Elisava Design College, Barcelona, 2002·    "Legal-Space-Public", Établissement d´en face, Brussels, 2002·    Alicante College of Architecture May 2002·    ESDI. Sabadell, November 2001·    Faculty of Architecture, Technical University of Lisbon, 2001·    "A space for art", Andanza, Sevilla, 2001·    ARCHILAB .3, Orleans, France, 2001·    Master "Habitat: contemporary housing and environment", ESARQ, Barcelona, 2001·    ETSA Granada, University of Granada, 2000·    Master "Metrópolis 8", Barcelona Centre of Contemporary Culture, UPC, 2000·    Faculty of Architecture, Technical University of Lisbon, 2000·    First Architectural Market, Eme -3, Barcelona, 1999·    Forum "No Homologado" ESARQ, Barcelona, 1999·    ETSAV, University of San Cugat del Vallés, Barcelona, 1999·    New teaching tendencies, Fidas.COAAOc, Sevilla, 1998·    Seminar "Intervene The City" The Theatre Institute, Sevilla, 1998·    Arts on the edge Conference", Academy of performing Arts, Perth, Australia, 1997

TEACHING·    Workshop Arpafil, FIL de Guadalajara, Mexico, November 2006·    Architecture Week. Habitares; Chapultepec. Mexico City, October 2006·    EUTOPÍA. Meeting of young creators, Córdoba, September 2006·    Art and Architecture workshop. International Spanish Co-operation, Panama, August 2006·    International workshop Intersekzi, Bilbaoarte, Bilbao, July 2006·    Workshop "Aerial Sevilla, fleeing from speculation", CACC, June 2006·    Dance and Architecture workshop. "Catedrales", ENDANZA, Sevilla, March 2006·    Research workshop, Foro BARRIADAS, Sevilla, 2006·    International workshop "Cartagena de Indias", University of the Andes, Colombia, July 2005·    Director of workshop AULA ABIERTA, Faculty of Fine Arts, Granada, March 2005·    Master "Architecture and Ephemeral Spaces", UPC, Barcelona, 2004-2005·    Workshop "The subversión of public space", CAAC, Sevilla 2004·    Workshop "Urban situations", Spanish Cultural Centre, Montevideo, Uruguay, 2003·    Seminar "The contemporary metropolis", Círculo de Bellas Artes, Madrid, 2003·    Treating Historical Centres, C.O.A., Castilla la Mancha, Toledo, 2003·    "Labitaciones", Arteleku workshop, San Sebastián, 2003·    Workshop "Dripping shit. Urban Strategies", PERIFERIADOS, Gijón, 2003·    "BARRACA BCN", Workshop Barcelona, 2003·    Director of workshop "Constructing on the Constructed 2", Escuela LAI, Barcelona, 2003·    Director of workshop, "Mastery of urban planning", Bogotá, 2002·    Director of workshop "Constructing on the Constructed", ESARQ. UIC., Barcelona, 2002·    Master "Design and Public Space", ELISAVA, Barcelona, 2002, 2004, 2005 and 2006·    Co-director of course "Vertical Dancing-Architecture Dancing" with Geneviéve Mazin, ENDANZA, Sevilla 1999·    FIDAS, COAAOc, Andalusian Theatre Institute, College of Set Design, Sevilla, 1999·    Director of course "Urban Interventions. A place from the institution"·    Director of course "Dripping shit. Public Art", Andalusian Theatre Institute, Sevilla, 1998·    College of Set Design, Sevilla, 1997·    Director of course "Urban situations. Public Art", Andalusian Theatre Institute

 

 

 

 

 

08prtb1792

2008. LaHostiaFineArts (LHFA). EXPLORANDO USERA (technical data)

 THE PROJECT IS MADE OF THREE STAGES

1. Exploration. September 2007Contact and coexistence in the participants’ area. For a weekend they will reside in a hotel in the area. Intensive exploration by the LHFA group, made up of about 40 artists.

2. Elaboration. September 2007 to February 2008Collective and individual work on the collected material. Confection of various artistic materials from texts, drawings or photographs to audiovisual and audio material, and a website of Exploring Usera.

3. Information. February 2008Opening of a “tourism office” of Usera Madrid with two possible locations demanded by Madrid Abierto to exhibit and give away cd’s, dvd’s, guides, maps, postcards, posters, stickers, pins, triptychs… Staff: Two assistants.

Guided visits during Madrid Abierto: dinner in a Colombian restaurant with guitar players, tea houses, Chinese video clubs, Andalusian tavern, razor-shells in the Galician, visit to a bullfighting circle…

Travel bag LHFA/MADRID ABIERTO.

 

 

 

 

 

 

 

 

 

08prtc3529

2008. Todo por la praxis. SPECULATOR + EMPTY WORLD (ubicación)

Speculator. PPº de Recoletos, central boulevard, next to Plaza de ColónEmpty World. Liquidación Total, C/ San Vicente Ferrer Nº 23 From 7th February to 3th March

 

 

 

 

 

 

 

 

 

 

08intd2066

2008. DISCUSSION PANELS / 07 y 08 feb (images)

2008. DISCUSSION PANELS / 07 y 08 feb (images)

 

       

Fito Rodríguez, Rocío Gracia     Rafael Tunes, Diego Peris   María inés Rodríguez, Pablo España, Rafael Burillo    Diez, Noaz

Fito Rodríguez, Rocío Gracia    Fernando Llanos    Annamarie Ho, Inmi Lee    Dier, Noaz

           

Fernando Baena    Jota Castro    Dier     Anno Dijkstra   

Annamarie Ho    Inmi Lee  

 

 

 

 

 

 

 

 

08mdic1736

2008. Guillaume Ségur. WELCOME ON BOARD (theoretical data)

The installation has a double function: it is at once a public sculpture and a module for skateboarders to practice their sport. A gigantic Möbius strip (approximately 7 metres in diameter) is made of plywood and metal in the manner of skate park architecture. The materials from which the form is constructed suggest a ramp either for usage or as a recognisable object associated with skateboarding.

The sculpture would ideally be installed on the Plaza Colon, a site already well known for skateboarding. However, it is important for this work to encourage diverse types of usage.

WELCOME ON BOARD is a ‘space prototype’ derived from the consideration of skateboarders in an urban environment. From this important relationship between an environment and a practice, the aim is to rework the effects of this confrontation to produce a new form. I consider the work a ‘space prototype’ in the sense that it materialises the effects of sliding people on an urban environment. The challenge of this project is to produce a very specific object rather than a cultural “ready made” or a simple contextual displacement. The proposed object would have the multi function of public sculpture, visual tool and play space. The aim is to shift the idea of public sculpture from ‘monument’ to ‘motor’. The proposed architectural form becomes a vehicle for re appropriation, for a movement, for an action of the people on their surroundings. It aims to encourage the urban space to be interacted with in a new way: by turning it into a loop, by flipping it upside down, by deforming it in order to better grasp it.

It is impossible to interpret the town in its entirety, to imagine it as a whole. Because the town spreads, slips out of control each time one attempts to imagine it, it is necessary to consider the binding elements in order to grasp it as a single block. In public spaces, skaters start with a selection process. As Ian Borden states: “Skateboarders analyze architecture not for historical, symbolic or authorial content but for how surfaces present themselves as skateable surfaces”1. They fragment the architectural space into useful parts and produce continuity between the elements. It is the study of this decomposed urban space that this project focuses on. Through the sculpture I aim to give a form to the afore mentioned ‘binding elements’.

When I consider skateboarding in terms of the production of forms or spaces, it is the Möbius strip that comes to mind. Looping, twisting, inversion and continuous motion are all figures performed by the skater in the space surrounding him. The form is also of particular interest because it has often been utilised in public sculpture projects. It is one of the stereotypes of 1970s public sculpture. In this particular context, the work acts as a pattern, code, a recognisable symbol.

Similar to urban structures and architecture, public sculpture can be considered on a similar level to the elements in public spaces appropriated by the skateboarding genre. It offers new forms, spaces and surfaces to the skateboarders which in turn encourages the creation of new skateboarding figures. A series of superb examples can be seen in the work «Riding modern art” by Raphael Zarka which classifies the utilisation of public sculpture in skater videos

Skateboard Monument by Dan Graham or Skate Park by Peter Kogler are both works that re-utilise existing forms while celebrating the art of skateboarding. In Welcome on board the proposed module is conceived from skateboarding practice rather than with the intention of practice. The remaining challenge is whether it is in fact skateable.

1 A Performative Critique of the American City: the Urban Practice of Skateboarding, 1958-1998, Iain Borden

 

 

 

 

 

 

 

 

08prmc1891

2008. Santiago Cirugeda. CONSTRUYE TU CASA EN UNA AZOTEA (location)

Pº de Recoletos, central boulevard, next to Plaza de la Cibeles. 

 

 

 

 

 

 

 

 

 

 

 

08intd2065

2008. LaHostiaFineArts (Cv)

FUNDADO EN FOUNDED IN 2001 EN IN MADRID LIVES AND WORKS IN MADRIDARTISTIC COLLABORATION PROJECT WITH NO DEFINED MARGIN OR COLOUR.ON EACH OCCASION, IT CAN COMPRISE DIFFERENT PERSONS.WWW.LAHOSTIAFINEARTS.ESWORK EXPOSED IN MADRID ABIERTO: EXPLORANDO USERA

PERFORMANCES2007·    Una performance con futuro. Performas. Centro de Arte Moderno. Madrid·    Drawing Gibraltar. Off Limits. Madrid·    Events: Videoperformances e intervenciones de videoperformances. Presented in EDITA 07, Punta Umbría and MAD 07 ACCIÓN, Círculo de Bellas Artes, Madrid·    Benidorm. Entresijos y Gallinejas. Centre d'Art Santa Mònica. Barcelona

2006·    Incidencia... Performas. Centro de Arte Moderno. Madrid·    Benidorm. De Fijo a Móvil Madrid; EFTI. Galería Tercer Espacio. Madrid

2005·    Picnic. The Art Palace. Madrid·    Desfile. Ven y Vino. Madrid·    Historias de Madrid. Madrid Abierto. Mention

2002·    Spitting Image. El Papel del Papel. Galería Moriarty. Madrid·    Passport. COSLART. Coslada. Madrid

2001·    El baile de mi Tani. Érase una vez... Lavapiés. Madrid

1999·    Venta El Tigre. Espacios Cruzados. Universidad Autónoma. Madrid·    Venta El Tigre. La Ciudad y la Tierra. Cruce. Madrid

 

 

 

 

 

 

08prtb1790

2008. Fernando Prats. GRAN SUR (theoretical data)

 

The project Gran Sur uses the advertisement of the Imperial Trans-Antarctic Expedition led by Ernest Shackleton in 1914. The advertisement was published in a newspaper of that period with the aim of recruiting men to embark on the expedition to Antarctica. According to the legend, with time, the advertisement became famous.

"Men wanted for hazardous journey. Small wages, bitter cold, long months of complete darkness, constant danger, safe return doubtful. Honour and recognition in case of success" 

The aim of the expedition was to cross the Antarctic continent via the South Pole. However, the expedition ship Endurance was beset and hit by pack ice before the crew was even able to disembark. All the members of the expedition managed to survive after an epic ordeal on Elephant Island. Shackleton and five other men crossed the Antarctic Ocean to South Georgia in an open boat called James Caird to sound the alarm at the Grytviken whaling station. After several rescue attempts, all the men on Elephant Island were finally rescued on the small Chilean boat Yelcho captained by Luis Pardo Villalón from Punta Arenas.

Shackleton did not lose a single man during the three-year length of the expedition. Shackleton's adventure is possibly the most outstanding of all expeditions to the Poles, and although it failed to offer any material benefit or scientific finding, the personal experience of the protagonists and the survival of the participants are in themselves an enormous triumph, the victory of man against the elements founded on two fundamental principles, solidarity and a fighting spirit.

This advertisement is the driving force and central motivation of the installation. It is comparable with an artistic manifesto or thought. It is a synthesis through the written word that narrates the work. The drawing that traces and synthesises a story.

The compiled documents of the expedition, photographs, films and travel logbooks, reveal an experiential survival journey. The essence of artistic creation also involves an unexplored journey and directs the senses towards objectives that help us understand our own perception of the world around us.

Our own limits highlight the borders that we must cross. Sir Ernest Shackleton's decision to embark on the journey is similar to any artistic idea whose end is to discover and reveal the unprecedented. He had an idea which no one else believed in.

The installation exhibits hidden images behind each illuminated word: a story, a time, a continent; in short, a rereading after 93 years of its first and only appearance in the press.

How many brief stories could be published in the form of an advertisement about the millions of Latin American immigrants who have also travelled and will eternally continue to cross the Atlantic with the aim of fulfilling a dream? We no longer have to look to the South Pole as the destination. The new region is the world. "The great strength of Ernest Shackleton as Explorer resides in that, in the Gran Sur, all mundane worries completely disappear".

 

 

 

 

 

 

 

 

 

 

08prtc3522

2008. LaHostiaFineArts (LHFA). EXPLORANDO USERA (location)

 

Guided tours: February 7th at 13.30pm. and 17.00 h. and from 11th to 18th February at 12.00pm. and 17.00 pmDeparture: Plaza de Neptuno. Parking area.

 

 

 

 

 

 

 

 

 

 

 

 

 

08intd2064

2008 / 2008.02.11. DOSDOCE.COM. Bandera republicana (Santiago Sierra)

2008 / 2008.02.11. DOSDOCE.COM. Bandera republicana (Santiago Sierra)

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

 

 

 

05dimd2344

2008. Fernando Llanos. [VI VÍDEO] (theoretical data)

[ vi video ]Videointervenciones móviles en contextos urbanos específicos

Videoman is the element that combines residues of urban media supports with the technological world. It is made from fragments and, at the same time, it generates fragmentation.

The project creates new ways (or extrapolated ways) of creating narratives. It ceases to be something where, when at all, mobility takes place on the screen in front of us, to become something that flows with us. The movement lies with the motion of the people, cars and city life.Influenza [Raquel Rennó and Rafael Marchetti]

IT HAS BEEN PRESENTED AT

- 5th Mercosul Biennal, Porto Alegre, Brazil, 2005.- Festival of electronic arts and video TRANSITIO_MX, Centro Nacional de las Artes, Mexico, 2005.- 35th Cervantino International Festival, Guanajuato, 2006.

A project of urban videointerventions carried out by making the most of the artist’s body gear to highlight the dynamics referred to by the author as “urban acupuncture”, generating momentary reflections in parts of the city where he appears as VIDEOMAN. A different harness is generated for each edition to experiment other ways of projecting in the streets of the cities.

Everything is recorded in photographs and videos, and everything is subsequently mounted in the shape of an installation.

On the one hand, this project seeks to bring the specialised public closer to non familiar spaces not specifically reserved for art, and, on the other, to get the people who live and pass through those spaces to question aspects of their everyday life, reassessing its history and/or open the way for interaction between artist and public.

INTRODUCTION

We cannot go on expecting people to visit museums on their own initiative. We must take our reflections to their spaces and gain ground in a decisive way, like graffiti that yells out in the streets, “we are here, and this is what we think!”, like pirate radio stations that don’t wait around to disseminate their ideas, share their findings or spread their beliefs, like some metro and street musicians, poets and performers.

DESCRIPTION

A series of videointerventions will be performed in the junctions of Paseo de la Castellana and Paseo del Prado with Calle de Alcalá and Gran Vía, linking the history or the characteristics of the space to the content of the videos. Afterwards, we propose presenting the results of the videointerventions performed in Madrid, México and Brazil, in La Casa de América.

For more information on the nature of urban videointerventions and how the piece can be mounted, we attach a number of images, but you can see videos in:www.lanos.com/vi_video

VIDEOINTERVENTIONS

These initiatives captivate the public in a direct and surprising way. Their mobile nature makes them ephemeral, and they are mobile because of a harness that I design to enable me to move around and use all the equipment.

The content of the projections may be related to the history of the place, recent events associated with the place and/or local reflections of popular interest. Passers-by can be involved as part of the act and the piece through a “closed circuit” system.

PORTABILITY OF THE EQUIPMENT

Taking advantage of the technological advantages of our era, where equipment is increasingly smaller and more portable, I will wear a harness to hold the camera, two miniDVs decks, a video mixer, the projector and the batteries, in order to subsequently make a tour in which I perform the action.

MOBILITY

The kit mounted in the harness allows me to move and establish different relations with the space and with the people present. On the one hand, this enables me to generate participative dynamics with projections in motion, causing reactions whilst following a specific action, changing trajectory, measuring the interest, etc. On the other hand, for each video shot or sequence, to search for a changing plane in accordance with the specific discourse of the projected video.

CONTENT OF THE PROJECTIONS

1. The previously produced content related to the area.2. The content generated in situ with the provoking camera (closed circuit) which projects and manipulates the participation of passers-by.

THE PROCESS

Investigate the locations, part of the history and its contemporary problem issues, analyse the best times and places for carrying out the videointervention based on the flow of people and the significant aspects that may arise from working in that space. I record the images and I start to work on the video to be projected. On the day of the intervention, the material is projected in the previously selected space. The act, the reaction of the people and their relationship with the pieces, if they get involved, is recorded.

 

 

 

 

 

 

 

08prtc1866

2008. Jota Castro. NO MORE NO LESS + LA HUCHA DE LOS INCAS (location)

No more no less. Poster distribution at the center zone and Lavapiés.La hucha de los Incas. Work Withdrawed by the artist.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08intd2063

2008. Todo por la praxis. ACTION ART

2008. Todo por la praxis. ACTION ART

TODO POR LA PRAXIS (TPP) was created as a “laboratory for Projects” which produces a variety of aesthetic and cultural projects. TPP is formalized in an area of design and testing of the most efficient cultural resistance techniques, focusing on testing non conventional tools, forms of organization and action, around specific action projects. Their two basic themes are activist artistic practices or opposition practices as a means to represent social conflict in an effective aesthetic manner and artistic practices in/on public space and its repercussions on the social context in which they inscribe themselves. Those basic themes are themselves divided in three research lines that are represented through their alter egos: establishing a symbolic game which defines each of their working areas.

 

 

ACTION ART: Alter ego of the “Todo por la Praxis” project is created as a form of agitation in the cultural realm. The use of a Mexican wrestler character as a superhero is conceived as an ironic use of the fetishes that appear in the formal iconography of the “world of art”. Both designers and artists have used these masks and, in some way, an everyday element has been institutionalized into the category of a fetish, becoming just another element in the incomprehensible universe which is present in the codes of contemporary art.

The de-fetishization of artistic processes and the globalization of discursive tools is the main task to which this antihero is committed. Against the art of representation, we find the practice of confrontational cultural and artistic activism projecting itself in works of propaganda and agitation. Interventions in the public realm, etc… all of them with a basic assumption: the anti-hegemonic construction of discourse.

** SEE THE ATTACHED PDF

 

 

 

 

 

 

 

 

 

 

 

08aama3538, 08prmc3533

2008 / 2008.02.09. CIUDADNOE. Madrid Abierto (Jota Castro)

2008 / 2008.02.09. CIUDADNOE. Madrid Abierto (Jota Castro)

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

 

 

 

 

 

08dimd2328

2008. Jota Castro (Cv)

PERÚ LIVES AND WORKS IN: BRUXELLESWWW.JOTACASTRO.EU/WORK EXPOSED IN MADRID ABIERTO: NO MORE NO LESS + LA HUCHA DE LOS INCAS

He uses photography, scuulpture, video and installations to talk about social issues.He is Consulting Editor for Janus Magazine in Belgium and Nolens Volens in Spain. His work has been extensively shown around the world. He has participated in the Venice, Tirana, Prague and Kwangju Biennales. He won the Gwandju Biennale Prize in 2004 in Korea.

RECENT SOLO EXHIBITIONS2008·    Sleep tight, Elaine Levy Project, Brussels, Belgium

2007·    Enjoy your travel, Gallery Umberto Di Marino, Napoli, Italy

2006·    No More No less, Gallery Oliva Arauna, Madrid, Spain·    Row window, Kiasma Museum, Helsinki, Finland·    Born to be alive, Elaine Levy Project, Brussels, Belgium

2005·    Exposition universelle 1, Palais de Tokio, Paris, France  ·    Taking part, Sterdelijk Museum's - Hertegenosch, Netherlands ·    Introduction to Jota Castro, Uplands Gallery, Melbourne, Australia

RECENT GROUPS EXHIBITIONS2008·    Art in the life World, Dublin, Ireland·    Arte e Omosessualità, Firenze, Italy ·    Fate Presto, Salerno, Italy

2008–2007·    Informacion Contra Informacion, CGAC, Spain

2007·    We are your future, Moscow Biennale·    Construyendo el mundo, Marco Museo de arte contemporaneo de ·    Monterrey, Mexico·    Confine, MAN - Museo di arte di Nuoro, Sardeigna, Italy

2006·    Ars06, Kiasma, Helsinki, Finland·    Tirana Biennale, Albania

2004·    Kwangju Biennale, Korea

2003·    50th Venice Biennale

AWARDS·    Gwandju Biennale Prize, Korea, 2004·    Young Peruvian Poet Prize, 1983

 

 

 

 

 

 

08prtb1788

2008. Anno Dijstra. MISPLACING (theoretical data)

 MISPLACING. OBLIGED SEEING

I was a witness of the famine in Ethiopia in 1984, i was 14 years of age and was watching television at home.

What is a memory of a scene I have seen on television.  A image where I am not  direct related too, immaterial, elusive, with out a location, floating through air. I cant go back too the place where the drama happened. The television in my living room is the location where I was witness of the scene, but the television shows already other images and in my living room is nothing that refers to the drama.

Media turns me in too a passive observer. There is no possibility to make a direct reaction to what I have see on the screen. How free is observing without engagement, in other words can a witness becomes guilty when he sees but remains passive.

The reconstructions- proposals, are a attempt to break trough the passive position of the viewer. With  plasticine, a industrial clay invented to make prototypes for industrial products like cars, I am modeling images that had a great impact on me in my puberty, a moment in my live I became aware of my mortality.

The process of reconstructing process makes it able to have a direct and physical relation to a body or object from the tv image.

MISPLACEMENT

For the Madrid Abierto I want to research a new angle of the reconstruction/proposal  by investigating misplacement. The misplacing media caused .  In this concept a well know media icon is placed outside the original context, that is television/internet in our living room in to the public space. From the flat public space (tv) in our private place into the three dimensional public space, the place where national history is gathered through time . By the conflict erasing from the misplacing, ( I know this image but what has it got to do with this place) the new situation reveals the absurd position of the viewer, the absurd situation of being witness in the globalized media age.

In the public space a monument is placed. The monument is a reconstruction of for example the photo of a Vietnamese monk who set himself on fire or a photo taken by a soldier in Abu Ghraib on witch a prisoner is standing on a box his face covert and is connected to electricity wires.

PREPARATION

To find the perfect spot for the misplacement and make sure the media icon has no relation with Madrid it is important to make a good observation of the city, its history, the design of the public space and other monuments. From the information of these observations I want to make the decision witch media icon I should reconstruct and where it should be placed.

I will visit Madrid for 3 days and I would like to ask the organization if it is possible to contact me with a historian and a city planner who knows a lot about Madrid and are interested to walk with me trough the neighborhoods of Madrid where the exhibition is held.

I did enclose images of my last works because I never make sketches or Marquette’s of my work, the work itself is a plan a sketch, reconstruction or proposal. And its important for me to keep that kind of discovering energy.   

The project is a new step in my work, but also coming from the reconstruction concept, former works are made from that principal, the new work is connected to these works.

 

 

 

 

 

 

08prtc1844

2008. Fernando Prats. GRAN SUR (location)

Casa de América façade

 

 

 

 

 

 

 

 

 

 

 

08intd2062

2008 / 2008.02.09. ESTRELLADIGITAL.ES. Arrancan una escultura de un artista (Jota Castro)

2008 / 2008.02.09. ESTRELLADIGITAL.ES. Arrancan una escultura de un artista (Jota Castro)

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

 

 

08ditd2324

2008. Annamarie Ho + Inmi Lee. LA GUERRA ES NUESTRA (theoretical data)

 We propose to create a large sign with the statement “La guerra es nuestra” spelled out in black, back-lit lettering and attach it to the façade of the Círculo de Bellas Artes.  The sign will utilize a format that is most often seen on storefronts and is also common in advertising—the viewer may initially overlook the sign, as we are often indifferent to new information and media constantly being introduced to us, but a second glance may procure a very different reaction.  Moreover, the placement of such a sign on a well-known cultural building leads to a juxtaposition of the political onto the beautiful.

We are particularly concerned how to bring the political back to art.  For almost two decades, art has often steered away from some of the controversial topics it had previously investigated, such as feminism in the 1970s and AIDS activism in the 1980s, in favor of an exploration of aesthetics; however, in the past couple years politics has returned to art.  This return is closely tied to the political climate we are currently experiencing, namely the war in Iraq, and most of this new work is a reaction against the policies of many nations, particularly that of the United States.

Political art does effect change and it can do so in many ways—it can effect change in everything from governmental policy to a shift in perception in a viewer’s mind.  For example, Act Up’s campaign to make the AIDS crisis more visible in 1987, which culminated in posters bearing pink triangles labeled with the bold statement SILENCE=DEATH, had massive effects.  The six men who collaborated in the campaign were artists and designers, and their talents contributed to the success of the campaign.  They worked through every detail from the phrase (their initial choice was “gay silence is deafening”) to the color choice to the font.  

One would be naïve to think that aesthetics are not relevant—everything is perceived from an aesthetic point-of-view as well as other points-of-view.  In choosing to propose a political artwork, we had work out what phrase to use (we wanted something that was as simple as possible for the maximum effect), what format to showcase our sign (we considered options like a billboard, an LED sign, and neon lettering but, in the end, we decided the type of sign we picked—what is called “channel lettering”—would be most efficacious for the cost), what font to use (our choice is Times New Roman because it is well-recognized and it references the font used in many texts), what color to use (we decided black because of the seriousness and the gravity of our message), and where to place the sign (the Círculo de Bellas Artes is a public building on a well-traveled street, which has a large and diverse public audience).

The initial reference in the statement “La guerra es nuestra.” is, of course, the war in Iraq.  But the statement is also open-ended; the “war” or the “guerra” can refer to anything that incites passion and concern in the viewer.  In Madrid, this might be the activities of the Basque group Euskadi Ta Askatasuna or the need for more affordable housing within the city.   Our goal is to show that everyone is a voluntary participant in the political.  Indifference is a statement, as much as waging a war or being involved in activism.

 

 

 

 

 

 

08prtc1830

2008. Guillaume Ségur. WELCOME ON BOARD (location)

Pº de la Castellana corner C / Goya, opposite Plaza de Colón

 

 

 

 

 

 

 

 

 

 

08intd2061

2008. Avelino Sala + Dano. REFLEXIÓN ESTÉTICA

YEAR: 2007

Name Play Size Duration
˜
5 MB 3:39 min

 Reflexión Estética is a joint project between the hip hop artist Dano and the plastic artist Avelino Sala. It is a reflection on the world of contemporary art in the shape of a hip hop song – an association of two realities that coexist in the city-. The discourse is based on certain truths about the art establishment. The lyrics were written by both artists and Dano subsequently added the music. The structure of the song follows a classic hip hop theme. The lyrics are: Reflexión Estética¿Qué es el arte? ¿Alma e inspiración fluyendo por un río……en el jardín de un rico que parte y reparte?¿Y para el artista “(h)el-arte” es morirse de frío……y a veces de hambre?Pero espera, ¿qué es “artista”? ¿Lo sabes? Por supuesto…Cualquiera crea un “-ismo” de sí mismo y ya te ha expuesto,y se esconde tras su puesto para obviar lo pre-supuesto,dime qué queda de tu arte si le quito el presupuesto…Nada… No dispara tu Minolta,concepto negativo, sin luz, “gris” como Travolta…A la cola como miles de patéticos serviles,de esos mercenarios viles seudo-artistas son escoltas…Su alma por un precio módico;“revelación” por felación a crítico en periódico,y dime ¿duermes tranquilo? ¿Es puro el aire que respiras?Si eres reo de un museo que comercia con mentiras…

“Menos es más”, lo dijo Van Der Rohey no vemos la paz, el oro les corroey yo vengo de atrás a mantener la guardia;ricos neo-rebeldes no equivalen a vanguardias…Citas innecesarias, aluden a lo sacropara hacer de la nada un macro, es un simulacrode un mundo en tonos ocres: ¿”político de turnoe intelectual mediocre”? No me trago ese teatro…Fotos, fiestas y cócteles, ¿y tú crees que el importe lesimporta lo más mínimo si mínimo caen dos de tres?Vamos, haz las cuentas, socio,y dime si montar una bienal no es un negocio…Vampiros del sentido, actúan en sinestesia;al bolsillo por el ojo solo con “arte-anestesia”y la galería es su iglesia... Preguntas ¿por qué siguen?Si las putas que ahí exponen lloran, tragan y sonríen…

Dano… Avelino Sala… ¿Esto es Arte o no es Arte?

 

 

 

 

 

 

 

 

 

 

08sotb2069, 08sotc2081, 08sose2129

2008 / 2008.02.12. PRESS RELEASE. Removal of the Inca’s moneybox

2008 / 2008.02.12. PRESS RELEASE. Removal of the Inca’s moneybox

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

MADRID ABIERTO INFORMATIVE NOTE ON THE REMOVAL OF THE INCA’S MONEYBOX, BY ITS AUTHOR, Jota Castro.

Madrid Abierto is an international programme of temporary and ephemeral artistic interventions in Madrid’s public areas. Public art uses different means and strategies to activate public space, reflecting on our political, social and cultural background. Public art does not consist of previously elaborated works of art as if the street was a gallery or museum.

In the five editions, Madrid Abierto has produced a total of 55 interventions , some of which have been subject to graffiti, have suffered deterioration due to weather conditions or to people’s actions, removed by mistake or simply have disappeared. Every artist dedicated to public art is aware of this and even expect this level of irresolution and interaction with their interventions.

On the 6th of February the Incas’ moneybox, by Jota Castro was installed under the bridge of Juan Bravo. The next morning at10am authors of State of Exception project, located just across the street, alerted on its disappearance. The organizers (Cultural Association Madrid Abierto) started looking for it and alerted local services that found it, pulled out from its basis and thrown away. It had been recovered and was being kept in a municipal deposit without relevant damages.

Minutes before the press conference, in Cultural Centre de la Villa at 12am, to present Madrid Abierto, we personally told about the recovery with the satisfaction of its author who, obviously upset by the situation had also talked to those responsible for City Hall’s cultural projects and the general management of archives, museums and libraries of Comunidad de Madrid, as well as with Altadis Foundation, main sponsors of the event.

During the programme presentation and when one of the curators mentioned the incident and the immediate reinstallation, Jota Castro asked for permission to speak. In his intervention he read a text written for his piece and announced that due to lack of respect to his art he was to remove his piece, saying that he would do a performance, which consisted basically of establishing a comparison between what he thought about the incident and the explanations that had been given to him: he wrote on the presentation’s promotional poster, he stepped on it and dragged it around the floor, repeating that he would remove his piece. Madrid Abierto’s management publicly accepted the removal. This artist’s intervention, No more no less, has been carried out as expected and with Jota Castro’s conformity, which he has expressed to the curators.

 * Photograph: Manuel San Frutos

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08dimf2384, 08dimf3559

2008. Fernando Prats (Cv)

SANTIAGO DE CHILE, 1967 LIVES AND WORKS IN BARCELONA WWW.FERNANDOPRATS.CLWORK EXPOSED IN MADRID ABIERTO: GRAN SUR

EDUCATION1997-2000·    Post-graduate studies at the University of Barcelona. Master’s degree.1996·    B.A. degree in Art, University of Chile, Santiago de Chile1990- 1993·    Secondary school specialisation in painting, Escola Massana, Barcelona

INDIVIDUAL EXHIBITIONS2007·    Peregrinatio, Tríptico en dinamismo, Sagunto, Valencia·    Natura Naturans, Galería Álvaro Alcázar, Madrid

2006·    Basho: la región salvaje. Workshops Alois M. Hass 2006, Mística y pensamiento contemporáneo (Mysticism and Contemporary Thought), Pompeu y Fabre University, Barcelona

2005·    Affatus, Galería Joan Prats Artgrafic, Barcelona

2004·    Del Cardener a la Antártica, Installation Hall Central and Sala Matta, Museo Nacional de Bellas Artes, Santiago de Chile

2003·    Pou de Llum, Centre Cultural El Casino, Manresa, Barcelona·    Hacia el Polo Sur, Kunst-Station Sankt Peter Köln, Germany

2002·    Desahogo, Galería Joan Prats Artgrafic, Barcelona·    Congelación, art initiative carried out in the Chilean Antarctic continent.  From the work Del Cardener a la Antártica, Chile

2001·    Pathografías, Galería Animal, Santiago de Chile

2000·    New Art Barcelona, Galería Joan Prats, Barcelona·    Deambulatoris, intervention in the cathedral Catedral de Vic, Barcelona

1999·    Synaisthesis Substantiae, Galería Joan Prats Artgráfic, Barcelona

1997·    Anástasis, Intervention Espacio Eclesial at the Church of the Divine Providence, Santiago de Chile

1996·    Recent work, Galería Antonio de Bartola, Barcelona

1995·    Cripta, Cicle Pandemónium. Espai 13, Fundaciò Joan Miró, Centre d´estudis d`art Contemporani, Barcelona

1994·    Serie Exordio y crucifixión, Galería Antonio de Bartola, Barcelona

1993·    Serie Exordio y crucifixión, Centre Civic Sant Andreu, Barcelona

COLLECTIVE EXHIBITIONS2007·    ARCO’07, Galería Joan Prats, Barcelona

2006·    ARCO’06, Galería Joan Prats, Barcelona

2002·    Transfiguració, Galería Joan Prats Artgráfic, Barcelona.    Tempus Fugit, Galería LLucia Homs, Barcelona

2001·    Mirada en Viaje, Centro de Arte Santa Mónica, Barcelona

2000·    Art i Religió. Iconografía cristiana contemporánea, Galería LLucia Homs, Barcelona·    Chile 100 años. Visual Arts. Third period. Transferencia y Densidad en el campo plástico Chileno (1973 - 2000). Museo Nacional de Bellas Artes, Santiago de Chile·    Art Cologne´00, Galería Joan Prats, Cologne, Germany 1999·    Art Cologne´99, Galería Joan Prats, Galería Metropolitana de Barcelona, Cologne, Germany

1998·    Pasaje de ida, Galería Antonio de Barnola, Barcelona·    ARCO’98, Galería Metropolitana de Barcelona

1997·    Art Forum’97, Galería Antonio Bartola, Berlin, Germany

1996·    Puente Aéreo tres, Museo Moderno, Buenos Aires, Argentina·    ARCO’96, Galería Antonio Bartola, Barcelona ·    Colecció testimoni, Fundació La Caixa, Barcelona·    Expanded Collage, Galería Antonio Bartola, Barcelona

1995·    ARCO’95, Galería Antonio Barnola, Barcelona·    Desplacaments D`Impermanència, Espais D`Arts Contemporani, Girona, Spain·    Biennal D`Art Ciutat D`Amposta, Barcelona

1994·    XI Biennal Internacional de Arte Iberoamericana, Valparaíso, Chile

1993·    Excursus any Miró, Galería Salvador Riera and Associacio Art  Barcelona·    Es quan tanquem que mostrem el nostre homenatge, any Miró, Galería Berini and Associacio Art Barcelona

1992·    Petit Museo Provicional, Universitat Autónoma de Barcelona, Spain·    VII premi de pintura Miquel Casablanca, Ayuntamiento de Sant Andreu, Barcelona

PERFORMANCES 2007·    Acción Natura naturans, The artist’s studio, Barcelona

2006·    Agitación. Geiser del Tatio, Machuca, Chile; Salar de Atacama, Chile; Mina Rajo abierto, Chuquicamata, Chile

2005·    Ideografía, The artist’s studio, Barcelona

2003·    Pou de Llum, Acción y perforación geológica, La balconada, Manresa Barcelona·    Agua a presión abriendo un hoyo en la carne para luego desaparecer. Kunst -Sation Sankt Peter Köln, Germany

2002·    Congelación, Continente Antártico chileno. From the work Del Cardener a la Antártica.

2001·    Ir, Altum, initiative performed in the artist’s studio in Barcelona (From the work Del Cardener a la Antártica)

2000·    Cardener, initiative performed on the river Cardener, From the work Del Cardener a la Antártica. Inside the Manresa cave, Barcelona

1999·    K2-Kenôsis. Documentary initiative performed in the artist’s studio, Barcelona 1998·    Project Teología del cuerpo. Fundación América, Chile

GRANTS AND AWARDS2006·    Scholarship John Simon Guggenheim Memorial Foundation

2003·    Prize FONDART 2003, Santiago de Chile·    Resident artist at Kunst Station Sank Peter Köln, Germany

1998·    Scholarship President of the Republic of Santiago de Chile

1995·    Finalist Biennal d´Art, ciutat d´Amposta

1994·    Mention of honour Special prize Pilar Juncosa and Sothebey’s. Fundació Pilar y Joan Miró. Palma de Mallorca

1992·    First prize. VII Painting Prize Miquel Casablanca, Barcelona

WORK IN COLLECTIONS·    Die-Museum, der Diözese, Würzburg, Germany ·    Museo Nacional de Bellas Artes, Santiago de Chile·    Collection Testimoni Fundació la Caixa, Barcelona·    Collection Testimoni Fundació la Caixa, Barcelona·    Cistercian Monastery Poblet, Tarragona

BIBLIOGRAPHY·    Fernando Castro López, Peregrinatio La mirada interior, “Arte en las ermitas de Sagunto”, Edited and published by la Generalitat Valenciana, 2007·    Fernando Castro López, Natura naturans, Madrid, 2007·    Gerardo Mosquera, Copiar el edén: Arte reciente en Chile, Santiago de Chile, 2007·    Amador Vega, Affatus, Barcelona, 2006·    Friedhelm Mennekes, Amador Vega and Javier Melloni, Del Cardener a la Antártica, Edited and published by the city council of Manresa, Barcelona, 2003·    Teresa Blanch, Desahogo, Barcelona, 2002·    Juan Noemí, Teología del Cuerpo, Edited and published by Talleres Experimental Cuerpos Pintados, Santiago de Chile ·    Luis Francisco Pérez, Pathografias, Annual catalogue, Galería Animal, Santiago de Chile, 2001 ·    Eva Vilaró, “Deambulatorios de Fernando Prats – Intervention in the cathedral  ‘Catedral de Vic’- L`alberguería”, ARS SACRA, Nª 17, Madrid, 2001·    Pilar Parcerisas, Joan Torras and Friedhelm Mennekes, Deambulatoris. Fernando Prats, Ediciones Polígrafa y Ediciones Diac, Barcelona, 2000·    Friedhelm Mennekes, Substàncies, Barcelona, Spain, 1999·    Juan Noemí, “El arte de Fernando Prats. Una aproximación Teológica”, AISTHESIS de Investigaciones Estéticas, Nº 32, Arte Sagrado, Pontificia Universidad Católica de Chile·    María Elvira Iriarte, “Fernando Prats. Church of the Divine Providence, Santiago de Chile”, Art Nexus, 1998·    Juan Noemi and Justo Pastor Mellados. Fernando Prats, Anastasis. Iglesia de la Divina Providencia, Santiago de Chile, 1997·    Mónica Regas, Cripta, Espais 13, Fundació Joan Miró, Barcelona, 1996·    Marta Pol, Desplacaments d’impermanència, Espais Centre d’Art Contemporani, Barcelona, 1995·    Luis Francisco Pérez, Fernando Prats, Galería Antonio Barnola, Barcelona, 1995·    Catálogo Colecció Testimoni, Caixa de Pensions

 

 

 

 

 

 

08prtb1784

2008. Andreas Templin. HELL IS COMING / WORLD ENDS TODAY (technical data)

 TREATMENT

The project lasts for one week. 151 people (male & female) from different society backgrounds (all living in the inner city of Madrid) get selected by a casting. They´re contracted to wear the specific cloths for seven days and receive a small compensation fee. The main condition for them to take part in the work is:-    they move around in the City of Madrid (in their daily routine)-    they fit the demanded profiles

THE REQUIRED PROFILES ARE

-50 joggers/sporty/young/healthy type  red „Paulo Virilio“- sporting dress/ longsleeveT-Shirt

-50 punk/“street level“ „Michel Foucault“- military camouflage jacket with pink „Michel Focault“ -print

-50 hardrocker/tattoo/goth- „Giorgio Agamben“- hooded black sweater

- one doppelganger of Fred Phelps with body sign „Hell is Coming/World Ends Today“ (front/back) and black suit/hat  It is important, that all the characters lead there every day life all in a high visibility. Next to that, the Phelps-doppelganger will be standing around for one week in daytime (six hours daily, in the rush hours) on street corners/public places. The activity of the „Fred Phelps“-doppelganger“ is applied differently than the other elements remaining as a symbolic endpoint to contemporary discourse as a whole (fundamentalism).

DISPLAY

The whole activity will be documented in video and photography. Photos are being taken of the selected participants in there daily routine. The whole project will then be published (photographic prints, the cloths and the video on display) on a special website for the project.

In order to make this ephemere piece of visual art more visible to the interested public, the philosopher Dr. Andreas L. Hofbauer offered to accompany the project with a „lecture on the run“. Here is a small text he wrote to accompany this application:

As accompaniment to Andreas Templin’s “Hell is Coming/World Ends Today”. I shall offer video reports, a lecture with discussion panel, as well as escorting, on a case-to-case basis, some of the „mannequins“. The focus of this enterprise is not meant only as a partial documentary of the ongoing events but mainly as a casual mapping of the travels of those badly equipped and uninformed walking warheads/Sprengkörper, which are not at all without aim. With the presentation of fashion-like logos of the names of some important (and also fashionable) thinkers of our days (Virilo, Agamben and Foucault), some fundamental questions of today’s politics present arms: speed, (concentration) camp and power. In confrontation with down to earth fundamentalist statements, this shows nothing less than the weak impact and desperate struggle of some theoretical positions against the takeover of consumer ideology.

If one is most readily able to learn about society by watching its reactions across the spectrum, taking as an example those who would (unknowingly) challenge it by mirroring its own state of the art, one should be ready to accept a not very happy vision. Forms of alienation issuing from the commodity fetishism of modern market relations, i.e. global consumerist capitalism (in disguise of values, brand names, political correctness, religion, success et al.) can only be shown as they come across. This means in no way kritische Aufklärung, but offers resistance by double-crossing bare intellectual second-hand statements and ideological backlash.

Art sets in motion the aspect of Plasticity (or even better workability), instead of representing (or doubling) a commercial and ideologic/politically forced flexibility, which has been the mainstay in all forms of counter-cultural tactics.

Still: We should not forget that plasticity shapes form (form-giving and form-building) but also destroy all form (plastic explosive).

Asked how they’ll destroy dominant culture the Situationists answer: „In two ways: gradually at first, then suddenly“! Let’s start over again – first steps first.

TIME

The duration of the project is set for one week. In order to prepare it will be necessary to be there at least two weeks in advance.

I will come to Madrid 14 days in advance before the launch of the project in order to prepare it properly.

Timeline for the realisation of the project: The project needs five weeks to be fully realized

- Week one: preparation of cloths, printing - Week two: Arriving in Madrid, preparation week- Week three: casting- Week four: execution of the project- Week five: postproduction, website-production

The used cloths will be offered in the edition of each 50 via the Internet and through the website of the project. Of each cloth sold, 50 percent of the winst will be returned to Madrid Abierto.

 

 

 

 

 

 

08prtc1823, 08prtc1825

2008. Fernando Llanos. [VI VÍDEO] (location)

Video-interventions different points of the city Exhibition Casa de Muñecas, Casa de Américawww.fllanos.com/vi_video

 

 

 

 

 

 

 

 

 

 

 

 

08intd2060

2008. Anno Dijstra. COUNTING, 2003

2008. Anno Dijstra. COUNTING, 2003

 

COUNTING, 20031:30 u The engine of th e van is running. Out of the van sounds a loude beat, a drummer plays the snare and thebassdrum like the tikking of a clock.

 

 

 

 

 

 

 

 

 

 

 

 

 

08aama1852

2008 / 2007.04.18. PRESS RELEASE. Call for projects 2008

2008 / 2007.04.18. PRESS RELEASE. Call for projects 2008

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

 

 

 

08ditf2383

2008. Andreas Templin. HELL IS COMING / WORLD ENDS TODAY (theoretical data)

 "When the going gets weird, the weird turn pro“Contemporary saying, source unknown

GENERAL INTRODUCTION

As decribed in my work statement, the main drive of my artistic production is characterized by an impulsive use of a wide range of styles and gestures. The last public artworks I was able to realize („stormscene“, comissioned by the City Council of Nuremberg/Germany, „Monument for Donatella Versace“ Chicago/Berlin 2005, „crashed satellite“ 2006, several locations), which were dealing with „second hand experience“ as well as „unwished co-branding“ remain as critical and divers interventions of a distinguished art practice, which intends to be „post-productive“. In the work „Hell is Coming/World Ends Today“ I would like to show reference to the situationist movement, its strong impact and continuous flow and, in relation to that, point to some of the common problems any movement seems to be afflicted by: The moment of its pure realisation by an individual´s mind vs. the competitiveness of styles, attitudes and trendiness of specific concepts in society.   

In this case, the philosophical thesises with, in my opinion, the strongest and most direct impact on the individual in the Western societies -    speed and devastation/ Paul Virilio-    „the camp/ the concentration camp“/Agamben-    „power“/ Foucault-    „hatred/fundamentalism“/ represented by Fred Phelps, right-wing preacher

These are the elements of this ephemere intervention to the public.

I would like to transfer these philosophers into „labels“ by asking inhabitants of selected districts of Madrid to wear urban fashion items with label-prints for one week in their daily routine. While  simply following their daily routine, the artwork itself sinks into the urban space, the philosophical concepts compete face-to-face with the other label concepts in the public domain.

The question this work is raising: Are these names already „labelized“ (or people would simply acclaim them as bing labels) or do they transport meaning? Can such an ephemere intervention survive as an artwork in the eyes of the public?

 

 

 

 

 

 

 

 

08prtc1822

2008. Anno Dijstra. PROPORSAL NR 19 + GIFT (location)

Pº de Recoletos, central boulevardProposal Nr. 19. From 7th february to 2nd MarchGift. (performance) 12:00 H. 7th of Febrauary. 12:00 H

 

 

 

 

 

 

 

 

 

 

 

 

08intd2059

2008. Carola Cintrón Moscoso. MICRO SONIDOS

FORMAT: AIFFYEAR: 2007

 

Name Play Size Duration
MicroSoundsAll
5.5 MB 4:01 min

 Using the city as the generation source of noises, I use contact microphones to record and document different sonorous surfaces and objects in the city. The sounds presented are recordings of different, ordinary urban objects – water fountains, pipes, sand, water and glass windows – where specific frequencies have been eliminated or intensified, emphasising those that would otherwise be hardly detectable.

This work offers the listener a different experience of the city and its everyday noises, as an auditory chaotic space, creating sounds that generate a space for greater contemplation.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08sotb2070, 08sotc2083, 08sose2130

2008 / 2008.02.08. PRESS RELEASE. Santiago Sierra conference

2008 / 2008.02.08. PRESS RELEASE. Santiago Sierra conference

** SEE THE ATTACHED PDF

SPANISH REPUBLIC’S BLACK FLAG PRESENTATION CEREMONY. PROJECT BY SANTIAGO SIERRA FOR MADRID ABIERTO 2008

Date:      Martes, 12 de Febrero de 2008

Time:   19:30 h.

    Location: Auditorium of the Reina Sofia Museum of Modern Art

    (Sabatini Building, entrance C/ Santa Isabel, nº 52).

 In the V edition of MADRID ABIERTO 2008, next Tuesday 12th of February Santiago Sierra’s project Spanish Republic’s black flag will be presented.

In the event, which will take place in the Reina Sofia Museum of Modern Art, will participate Jose Luis Corazon, philosopher and critic, Fabio Rodriguez de la Flor, art critic and essayist, along with Pablo España, curator of Madrid Abierto 2008 and member of Democracia.

These experts will present a Spanish republican flag embroidered in black string and cloth by artisans from Munich, project by Spanish artist Santiago Sierra, who has been selected among the 13 public interventions that are part of Madrid Abierto’s fifth edition.

The event will start off with the black flag as “anti-symbol” to create a discussion on the consequences that the II Spanish Republic’s failure has had in our contemporary historical context. These consequences will be analyzed on many levels: historical, political, philosophical and aesthetical.

Free admission. Capacity: 144 people.

For further information:Marta de la TorrienteTel: 91 524 02 19This email address is being protected from spambots. You need JavaScript enabled to view it.www.madridabierto.com

 

 

 

 

 

 

 

 

 

 

 

 

 

08ditf2382, 08ditf3558

2008. Guillaume Ségur (Cv)

CASTRES, FRANCE, 1978 LIVES AND WORKS IN PARISWORK EXPOSED IN MADRID ABIERTO: WELCOME ON BOARD

STUDIES2006·    Student in Le Fresnoy - national studio for contemporary arts2004·    DNSEP in the national fine arts school of Lyon2003·    Exchange in Concordia University Montreal, fine arts department: interdisciplinary studies and electronic arts2002·    DNAP in the national fine arts school of Lyon

GROUP EXHIBITIONS2007·    RDV07, Les subsistances, Lyon, France·    Enlarge your pratice, Friche belle de mai, Marseille, France·    Platform for Urban Investigation, Island 6 art center, Shanghai, China

2006·    Notre meilleur monde (Panorama 7), Le Fresnoy, Studio national, Tourcoing, France·    Multipolaire, Halle 14, Baumwollspinnerei, Leipzig, Germany·    Royal Wedding Expanded, Console, Paris, France

2005·    Rendez-vous 2005 : la jeune création contemporaine (en résonance avec la Biennale d'art contemporain), Galerie des terreaux, Lyon, France·    Opus, Nouvelle présentation des collections permanentes, Musée d'art moderne Lille Métropole, Villeneuve d'Ascq, Fance·    Casting Stories (Panorama 6), Le Fresnoy, Studio national, Tourcoing, France·    Les enfants du Sabbat 6, le creux de l'enfer, centre d'art contemporain de Thiers, France

2004·    European Gemine Muse, Ivan Mestrovic gallery, Split, Croatia·    Installation, ENS-LSH, Lyon, France

2003·    Machin-Machine, Université Claude Bernard, Lyon, France·    Elsewhere 2, VAV gallery, Montréal, Canada

2001·    Sichere freiheit, Lothringer13, Munich, Germany

FESTIVALS2006·    XIIeme Gan Canarias Mediafest, Palma de Gran Canaria, Spain·    Viper festival, Kunsthalle, Bassel, Switzerland

2004·    Marathon vidéo des écoles d'art de la région Rhône Alpes, CRAC, Valence, France

2000·    Marathon vidéo des écoles d'art de la région Rhône Alpes, Le Magasin, Grenoble, France

AWARDS2006·    Winner of the «Villa Médicis Hors les murs» CULTUREFRANCE 2007 program's, for the Shaolin Park project co-written with Emmanuel Vantillard.

2005·    Winner of the Pézieux prize, awarded by a jury composed of: Marie Claude Jeune, arts representative of the DRAC Rhone Alpes, Anne Giffon-Selle, director of  "l'espace arts plastiques de Vénissieux", Dean Inkster, writter and teacher in the Valence fine art school and Yves Robert, Lyon fine arts school director's.

PUBLICATIONS2007·    Panorama 7: Notre meilleur monde, édition Le Fresnoy, 2006·    Panorama 6: Casting stories, édition Le Fresnoy, 2005·    Les enfants du Sabbat 6, exposition au Creux de l'enfer, édition le creux de l'enfer, 2005·    Gemine Muse: young artists in European museums, 2005

 

 

 

 

 

 

 

 

08prtb1786

2008. Alicia Framis + Michael Lin. 100 WAYS TO WEAR A FLAG (theoretical data)

 Alicia has been living for 3 months in Shanghai preparing the project, which consists of the creation of a collection of dresses made out of the Chinese flag, which will be used for a great parade-performance in Madrid. The dresses will be made by a group of Spanish and Chinese designers. Bearing in mind the woman’s situation in China, each designer will give his vision on the subject through the dress.

For this performance I plan to create a special architectonic platform to be used as catwalk in the fashion show. We plan the event to be itinerant and travel to different cities, so the platform will be collapsible.

My collaboration with Alicia on this project has to do with our common interest in the subject, as well as the complementary nature of both proposals. The architectonic structures are a fundamental part of my work. My installations are architectonic processes where I suggest a different way of experimentation with painting in space. I use space (public or private) as an element where “the piece becomes part of space rather than an object in space”. The painting of its installations surrounds and transforms an environment with a clearly aesthetic intention, but, at the same time, with the suggestion of stepping on it, for people to manipulate it, defying the autonomy of art forms and starting work processes on location, with the direct participation of the audience. My work fits the realm of relational practices that define aesthetic values as social relations where communication, interaction and vital experience of the audience within the space conforms the basis of the artistic project. It is important to de-contextualize the piece and integrate it in the sphere of immediate reality, design interiors, furniture, coffee-cups, a tennis court, or, in this case, a catwalk for a fashion show.

The striking patterns that distinguish my paintings are inspired by traditional Asian textiles. These patterns, as well as their industrial fabrication and traditional decorative arts are of major importance in my work; fabric turns into architectonic structures, and dresses are shown on these structures, creating a dialogue between both projects which complement each other. Thus, the architectonic structure with oriental patterns will be the perfect frame for the Chinese flag fashion show.

 

 

 

 

08prtc3509

2008. Santiago Sierra. BANDERA NEGRA DE LA REPÚBLICA ESPAÑOLA (published text)

 The artist Santiago Sierra has created a Spanish Republic flag in black fabrics and threads, embroidered by craftsmen from Munich. By creating what could be described as an anti-symbol, his intention is to raise historical, political, philosophical and aesthetic thought on the possible effects of the failure of the II Spanish Republic within the context of our contemporary history.

This reflection is engaged by means of two initiatives: the distribution of posters bearing the image of this flag throughout the streets of Madrid and a presentation of the flag in the arts and science association of Madrid. On the artist’s decision, the presentation will be made by two speakers, both under forty years of age and from aesthetics and philosophy academic backgrounds. This choice responds to the artist’s intention to open a debate on the role of the memory of the Republic to the younger generations. The speakers will be the art critics and essayists, José Luis Corazón (who has recently published the book "La escalera da a la nada" on the thoughts of Cirlot) and Fabio Rodríguez de la Flor.

On the one hand, by intervening in the street and raising questions in passers-by using the image of the black flag, the initiative seeks to engage mass communication and, on the other, the presentation act in the arts and science association of Madrid seeks to go much deeper. The choice of this venue for staging the presentation is not arbitrary. The intention of the artist is to highlight the symbolic value of this space as an environment dedicated to fostering free thought, discussion and dialogue.

The thoughts raised by the speakers will attempt to explore the different points which, in a symbolic manner, converge in this initiative, drawing comparisons between the historical and present aspects of egalitarian ideals in Spain, and bring in such elements as the embroidery, the place of the embroidery, the connotations of the colour, with respect to mourning and libertarianism, the origins of the democratic regime, the survival of those who disappeared and the attempts to silence dissension.

 

 

 

 

 

 

 

 

 

 

08intc2052

2008. Dier + Noaz. ESTADO DE EXCEPCIÓN (location)

Pº de la Castellana. Central Boulevard. Next to Juan Bravo Bridge

 

 

 

 

 

 

 

 

 

 

08intd2058

2008 / 2008.02.06. PRESS RELEASE. Locations

2008 / 2008.02.06. PRESS RELEASE. Locations

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

08ditf2381

2008. Todo por la praxis. SPECULATOR + EMPTY WORLD (schedule)

 

Empty World

www.emptyworld.es

Workshops on Urban resistances,

gentrification and property speculation.

FEBRUARY-2008

Thursday 21, Friday 22 and Saturday 23.

Liquidación Total.

C/San Vicente Ferrer 23 Local 2

Metro Tribunal. Madrid.

 

Thursday 21.18:00 h-21:00 h.

Presentation Empty World (Association of Neighbours of Malasaña-ACIBU. Presentation of project)emerge.es Collective. (Sustainable unity)Andrés Jaque. (Architect. Project Lecturer at ETS AM)Friday 22.18:00 h-21:00 h.Fernando Roch.  (Head of Urban Planning Dep. of ETSAM )Francisco Gil. (Praxis Co-operative)Democracia.

Saturday 23.18:00 h-21:00 h.

V de Vivienda. (Popular Assembly for the right to housing) Jordi Claramonte - Fiambrera Obrera. (Okupasa)Santiago Cirugeda. (Architect)

Saturday 30.18:00 h-21:00 h.

Workshop Empty World. (Patio Maravillas) 

 

 

 

 

 

 

 

 

 

 

08intc2046

2008. Debashis Sinha. THE 16 OFFERINGS ARE MADE

FORMAT: MONO LENGTH: 7:25 MIN

 

Name Play Size Duration
MIX FINAL 16offerings
debashis sinha

10.2 MB 7:25 min

 Exploring the myth of the Goddess Durga and the festival of Durga Puja, the most important Hindu festival for Bengalis, the 16 offerings are made makes use of the structure of the myth as recorded in the Hindu scriptures and the Hindu puja (prayer) ceremony to explore the nature of my heritage as a Bengali Canadian.

This piece was created while artist in residence at Toronto's Deep Wireless Festival of Radio Art (http://naisa.ca).  It was co-commissioned by and premiered on CBC Radio's documentary radio program Outfront (http://cbc.ca/outfront) and produced by Laurence Stevenson.  The artist would like to thank these institutions and individuals for making the creation of this piece possible.

 

 

 

 

 

 

 

 

 

 

 

 

 

08sotc2085, 08sotb2071, 08soe2131

2008. Hong-Kai Wang (Cv)

YUNLIN, TAIWAN, 1971 LIVES AND WORKS IN NEW YORK WWW.W-H-K.NETWORK EXPOSED IN MADRID ABIERTO: THE BROKEN ORCHESTRA

EDUCATION2001 ·    Master of Arts, Media Studies, The New School University, New York, USA1994 ·    Bachelor of Arts, Political Science. National Taiwan University, Taipei, Taiwan

PROJECTS & EXHIBITIONS2008·    Sound installation, Taiwanese opera Phoenix Pavilion composed by Kuo Chih-Yuan and directed by Keng Yi-Wei·    A-Ma’s Tape Recorder, sound project commissioned by Taipei’s Women Rescue Foundation, Taiwan·    Sound installation, Roaring Park, Freebird Bookstore, Brooklyn, New York, USA

2007·    Sun Day Project, Sound installation in collaboration with Jungsung Kim, Sumi Jang and So Young Yang, Berlin, Germany·    Pleasure Garden, La Noche en Blanco, Madrid, Spain·    The Broken Orchestra, Volume, The 3rd Ward, New York; Art Is Not Mute, Stockholm, Sweden·    On Air, Institute of Contemporary Art- Dunaújváros, Hungary. Commissioned sound installation for Qi Min Organic Restaurant, Taipei, Taiwan·    Commissioned sound installation for Qi Min Organic Restaurant, Shanghai, China

2006·    Duet in the Courtyard, 2006 Taipei Biennial: Dirty Yoga curated by Dan Cameron and Jun-jieh Wang, Taipei, Taiwan·    Symphony, VIII Salon International De Arte Digital, Havana, Cuba, Dusk, DiVA Miami Beach, Miami·    Elevator Music, the:artist:networknew york, New York, USA·    Feedback: Classroom I, Columbia University, New York, USA

2005·    Water Meditation. Sound installation. Collaboration with Yuko Umezu and Mayumi Fujita, International Triennial of Contemporary Art Yokohama 2005, Yokohama, Japan·    Listening with Dumplings. Art in Odd Places, HOWL! Festival, New York, USA·    Built to Spill, WBAI, New York, USA

2004·    Correspondence. Audio visual. Collaboration with Kristin Worrall, Parakeet Film Salon 2005, New York, USA·    Sound design, 16mm film H.T.C. by Tung Wang Wu, Cinematexas 9, Austin, EEUU

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08sotd2116

2008 / 2008.02.04. PRESS KIT. Madrid Abierto 2008

2008 / 2008.02.04. PRESS KIT. Madrid Abierto 2008

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

 

 

08ditf2380

2008. Fernando Llanos (Cv)

URBANOS ESPECÍFICOSCIUDAD SATÉLITE, MÉXICO DF, 1974 LIVES AND WORKS IN MÉXICO DF WWW.FLLANOS.COMWORK EXPOSED IN MADRID ABIERTO: [VI VIDEO] VIDEOINTERVENCIONES MÓVILES EN CONTEXTOS

“Fernando Llanos is one of the connection nodes between art and video in Mexico, whilst producer and catalyst”. Cuauhtemoc Medina, Curator.

“Fernando Llanos is one of the most interesting experimental artists of contemporary Mexico. His work shifts in several territories and disciplines, including video, robotics, ciberart and performance”. Guillermo Gomez-Peña, Artist.

“He is fantastic”. Guillermo Arriaga, Writer.

“This 29 year-old Mexican is a solid reference of Latin America’s net.art". The newspaper Periódico La Nación, Buenos Aires.

“Fernando Llanos, one of Latin America’s references in the field of video art and net.art”. Centro Cultural de España, Cordoba, Argentina.

Recognised as one of the most distinguished young Mexican artists in the use of  video, Fernando Llanos Jiménez has presented his work in more than twenty countries, including New York’s Guggenheim, Montreal’s Festival of New Cinema and New Means, Amsterdam’s World Wide Video Festival, Berlin’s Transmediale, France’s Interference, Marseille’s Videochroniques, Brazil’s Bienal do Mercosul, etc.

His productions on video range from formal experimentation, non-orthodox documentaries, non-linear interactive projects, live manipulation and mix, to webcinema.

He recently published a book with TRILCE which was presented in Mexico (SITAC), Madrid (Medialab), Valencia (CAM) and Barcelona (Espai Ras). His has worked in cinema in the films Amores Perros and Dancer in the Dark.

He currently teaches “appreciation of digital art” and “video and new technologies”.

EDUCATION1995-2000 ·    B.A. degree in Plastic Arts from the Escuela Nacional de Pintura, Escultura y Grabado La Esmeralda. Specialisation in video. Degree with honourable mention.2000 ·    Maya Transition - 3 D animation, D.E.G.E.S.C.A., U.N.A.M., Mexico 1999 ·    History of Experimental Cinema in Mexico, Centro de la Imagen, Mexico1998 ·    Cinema script workshop, Universidad Andrés Bello, Venezuela, and·    Experimental cinema workshop, Centro de Capacitación Cinematográfica1996 ·    Digital photography: self-portrait, imparted by Gerardo Suter, and Interactive installation and robotics art, imparted by Simon Penny, Centro Multimedia, Centro Nacional de las Artes, Mexico City.

VIDEO PROJECTIONS2007·    Transito_MX 2.0 Electronic Arts and Video Festival, Centro de la Imagen y Centro Nacional de las Artes, Mexico City.·    Close up. Strobe Video Production Festival, Amposta, Tarragona, Spain, Pasagüero, Mexico City and Laboratorio de Arte Alameda, Mexico City·    A viaxe Dislocada, videoviajes y turismo, Museo de Arte Contemporáneo de Vigo, Spain·    Glorieta, exhibition of city videos, X-Teresa, Mexico City.·    La Cooperativa de Arte en Video, Mediateca de Caixa Forum, Barcelona·    El regreso de la Cooperativa de Arte en Video, Videomuros, Centro Cultural Muros, Cuernavaca, Morelos, Mexico, and International Contemporary Cinema Festival of Mexico City, Cinemex Insurgentes, Mexico City.·    Ruido, Mostravideo, Instituto Itaú Cultural, Palácio das artes en Belo Horizonte and Instituto de artes do pará en Belém, Brazil

2006·    Sreenings Honouring Mexican Independent Cinema, Zonema, Chelsea Center for the Arts, New York, USA.·    vídeo_dumbo. 10th annual Art Under the Bridge Festival. D.U.M.B.O. Arts Center, Brooklyn, New York, USA.·    ida y vuelta. Escuela Nacional de Pintura, Escultura y Grabado La Esmeralda, Centro Nacional de las Artes, Mexico·    2nd On The Road. Video Festival Celebrating Jack Kerouac, 119 Gallery, Washington DC, USA.·    35th Cervantino International Festival, Arte Urbe, Guanajuato, Mexico·    Arte.mov. International Art in Mobile Media Festival. Conservatorio de Música de UFMG. Horizonte, Brazil·    Videomix. Dibujos en vídeo. La Casa Encendida, Madrid·    Digital Setting. Week 01. Fundación de Arte Contemporáneo, Montevideo, Uruguay·    Bolivar 36, una reflexión sobre vibujo y dideo, Bolivar 36, Historical Centre, Mexico City.·    arteBA2006, 15th Contemporary Art Fair, La Rural, Buenos Aires, Argentina·    Pabellón dd. versión final. Centro de Arte Juan Ismael, Fuerteventura, Gran Canaria, Spain·    Videobonus para curiosos. CINEMEX, 3rd International Contemporary Cinema Festival of Mexico City, Mexico

2005·    Transitio_MX Electronic Art and Video Festival, Centro Nacional de las Artes, Mexico City.·    Videomix - Videojournal.1, La Casa Encendida, Madrid·    The KO First Video Art Festival, Ekhaya Media Centre in Kwa-Mashu, Durban, South Africa·    5th Mercosul Biennale, Porto Alegre, Brazil·    Fotografest, Alberca Artes A. C., Cuernavaca, Mexico·    Videomails, MADC Video library, Museo de Arte y Diseño Contemporáneo, San José, Costa Rica·    Ciclo de Audio Visuales Iberoamericanos, Centro Cultural de España, Córdoba, Argentina·    Derive mental, Video Collective within the programme Panorámica, Museo Tamayo Arte Contemporáneo, Mexico City.·    DIGITAL STORYTELLERS (net art), Piamonte Share Festival, Torino, Italy·    México 70, disciplinas varias/estrategias múltiples, Casa del Lago, Chapultepec, Mexico City.·    ¡ARRÁNCAME EL CORAZÓN!, 14 Mexican audiovisual pieces on love, La Casa Encendida, Madrid·    In the Air, Projections of Mexico, Guggenheim Museum, New York, USA.

2004·    Unzipping codes, Art Centre Nabi, Seoul, South Korea·    De Chile, de mole y de dulce (three Mexican contemporary videoart programmes), Doshisha University, Kyoto, Japan·    VideoFest24K, Video and Contemporary Cinema Biennale, Centro Estatal de las Artes, Mexicali, Mexico·    Festival Off Loop’04, FNAC L’Illa, Barcelona·    Áreas verdes. Sala del deseo, Centro de la Imagen, Mexico City.·    Transmitiendo Trazos. Festival Todos o Nadie, Museo Taller Erasto Cortés, Puebla, Mexico·    Esmeralda X. Galería Central, Centro Nacional de las Artes, Mexico City.·    TOP TEN, Restrospective Monochannel Video Exhibition, Galería Animal, Santiago de Chile; Centro Cultural España, Montevideo, Uruguay; Auditorio Un perro Andaluz del Centro Cultural España, Argentina·    VideoVIAJES. Monochannel Video Exhibition, Centro Cultural Parque de España/AECI de Rosario, Argentina·    Un, dos, tres por mí y por todos mis compañeros, Espacio Fundación Telefónica, Buenos Aires, Argentina·    D_video_urbano, within the exhibition “centro + media”, Centro de Diseño cine y televisión, Mexico City.·    Videomails y Transmitiendo Trazos, El Ojo Atómico, Madrid·    Videoviajes. Mexican video-creation projections, Vitoria Territorio Visual, Centro Cultural Montehermoso, Vitoria·    Contra el Silencio Todas las Voces. III Latin American Festival of Independent Documentary Videos. Competition “Carlos Velo”, Casa Jaime Sabines, Mexico City.·    ...esto es tech-mex, within the programme “Áreas Verdes”, Instituto de México, Paris, France·    FFWD Video Art Festival, Cholula, Puebla·    Handmade (hecho a mano), Galería Laboratorio Arte Binaria, Centro Nacional de las Artes, Mexico City.·    Just a Kiss, Art Addict, McCallen, Texas, USA.·    Un, dos, tres por mí y por todos mis compañeros. Centro Cultural España, Mexico City.

2003·    Festival Ruido Digital, Belo Horizonte, Brazil·    Tequila con Charanda, Videos with denomination of origin, Private Gallery, Mexico City.·    Project room of the Paris Photo 2003 Fair, Paris, France·    8th National Video Festival Imagem em 5 minutos, Salvador de Bahía, Brazil·    4th Valencia International Artistic Research Festival: Observatori 2003, inside the Valencia pavilion, Spain·    Museo de Arte Moderno de Buenos Aires, Argentina·    Museo Nacional de Artes Visuales, Montevideo, Uruguay·    Escuela de Cine de la Cinemateca Uruguaya / ECU, Montevideo Uruguay·    Justicia. Documentary. Within the project “Este corto si se ve”, Projection of videos in the open air in the district of Condesa, Mexico City·    Electronic Art Festival “Interactiva'03”, Mérida, Yucatán, Mexico·    Cooperativa Arte en Video. Mexican video marathon, Museo Tamayo de Arte Contemporáneo·    >wartime<. Collective net.art anti-war exhibition, Galería del Centro Multimedia and parking area of the Centro Nacional de las Artes, Mexico

2002·    Creation in Motion. Generation 2000-2001, Galería Central del Centro Nacional de las Artes, Mexico City.·    Open_digi_party (latino venue), Bradys, Brixton, London·    MEXARTFEST, Kyoto, Japan·    Moov2002, White Box, New York, USA.·    Dis + Art + Tec 4 (Diseño + Arte + Tecnología); International Videoart Exhibition “Contaminados. (Ex)Tensiones de lo audiovisual”, Museo de Arte y Diseño Contemporáneo, Costa Rica·    Audiovisual Festival Zemos98, Viso del Alcor, Sevilla

2001·    World Wide Video Festival, 19th edition, Amsterdam, the Netherlands·    Arte 01, Videoinstallation Teatro Julio Castillo and, within the videoart programme, the magazine, Glicerina, Mexico City.·    Assemblée, De chrysanthèmes en chrysanthèmes…, Centre Culturel du Mexique, Paris·    Panorama, III Videoart Section, International Festival of Buenos Aires, Argentina·    Video-mails. Sala del Cielo, Centro de la Imagen, Mexico City.·    Cuatro, California Photography Museum, USA.·    Interactiva' 01, Museo de Arte Contemporáneo Ateneo, Mérida, Yucatán, Mexico·    Video Lounge B3, New York, USA.·    INPUT. Panamá

2000·    Video do Minuto, Sao Paulo, Brazil·    VIDEOCRHONIQUES, Marseille, France·    Viper Festival, on-line competition, Switzerland·    INTERFERENCE, France·    Festival Mediterra 2000, Athens, Greece·    International Festival of Short Films, Santiago de Chile·    Museo de Bellas Artes de Caracas, Venezuela·    TRANSMEDIALE Festival, Berlin, Germany·    II Cinema Video Festival Sociedad, Mérida, Mexico·    VIART, Caracas, Venezuela

1999·    International Performance Exhibition (utopía/distopía), Museo de Historia Natural, Mexico City.·    Me and my circumstance, Montreal Fine Arts Museum, Canada·    Dematerialisation in rations; Cineteca-Fototeca Nuevo León, Mexico ·    Vidarte, Video and Electronic Arts Festival. Documentary category. Centro Nacional de las Artes, Mexico City.

1998·    VI VIART University Video Festival. Caracas, Venezuela

1997·    IV Independent Video Exhibition of Leon, Guanajuato, Mexico

PRIZES AND GRANTS2005·    Honourable mention, Transitio mx Electronic Arts and Video Festival, Mexico2003·    Winner of the artist-in-residence interchange programme between Mexico and Canada. Centro Banff para las Artes2000-2001 ·    Young artists’ grant from the National Culture and Video Arts Fund (FONCA)2000·    Education support grant, Support programme for education, research and dissemination of the arts, Mexico1998·    Best experimental video prize. Competition “VIART”, Caracas, Venezuela

CURATORSHIPS AND DISSEMINATION PROJECTS2008-2007·    General Co-ordinator and designer of the Contemporary Animation Forum "Animasivo", Mexico Festival held in the Historical Centre, Mexico

2007·    Manchuria- visión periférica. Retrospective exhibition on Felipe Ehrenberg, Centro Cultura Universitario de la Universidad Autónoma de Nuevo León, Mexico·    La Cooperativa de Arte en Video, Mediateca de Caixa Forum, Barcelona·    Madrid, Madrid, Madrid. Reflexiones urbanas en video. Espacio Menosuno, Madrid·    El regreso de la Cooperativa de Arte en Video. International Festival of Contemporary Cinema of Mexico City, Cinemex Insurgentes, Mexico City; Videomuros, Centro Cultural Muros, Cuernavaca, Morelos, Mexico

2006·    Bolívar 36, una reflexión sobre vibujo y dideo, Bolivar 36, Historical Centre, Mexico City.·    Curator of the programme "videobonus para curiosos", 3rd International Festival of Contemporary Cinema of Mexico City, CINEMEX·    In the Air. La Máquina. Monterrey, Mexico

2005·    General Co-ordinator of “Conciencia Concéntrica”, 1st Video Competition of the Historical Centre, Laboratorio Arte Alameda, Mexico City; Centro Cultural de España, Córdoba; Museo de Arte Moderno de Buenos Aires, Argentina·    In the Air, Guggenheim Museum, New York, USA; Museo Nacional De Antropología y Auditorio Torres Bodet, Mexico City.

2004·    Pinche Malinche (o 7 historias de amor videográfico, HUESCA Imagen 04, Mexico. Tendencias, Museo de Huesca, Sala del Matadero, Madrid. 2 de Galería Animal, Santiago de Chile

2003·    Tequila con Charanda, Videos with denomination of origin. Private Gallery, Mexico City.·    Hecho en México. Escuela de Cine de la Cinemateca Uruguaya, Montevideo, Uruguay, Museo de Arte Moderno de Buenos Aires, Argentina; VIII National Video Festival, Salvador Bahía, Brazil; Festival Ruido Digital, Belo Horizonte, Brazil; Mexican Video-Creation Projections, Vitoria Territorio Visual, Centro Cultural Montehermoso, Vitoria.·    Cooperativa Arte en Video, Mexican video marathon, Museo Tamayo de Arte Contemporáneo·    Wartime. Collective net.art anti-war exhibition. Centro Nacional de las Artes, Madrid

2002·    Hecho en México. Contemporary Mexican videoart, Lunes de la Fabrica, Madrid; ·    Video curator of the 1st Latin American Video Art Festival in Bogota, Museo de Arte Moderno, Bogota, Colombia·    Martes de video, weekly projection in the bar REXO, Mexico City.·    Project México. Selection of 9 non-Mexican on-line video artists, Mexico·    Curator of a Mexican contemporary videoart programme for the Festival MexArtFest, Mexico

TEACHING2007·    Video para llevar. Mobile phone video workshop within the framework of Transitio_MX Electronic Arts and Video Festival, Centro de la Imagen and Centro Nacional de las Artes, Mexico City.·    Theory and practical videoart workshop, Museo de la Ciudad de México and Centro de la Imagen, Mexico·    Classes in basic drawing skills, CENTRO, Mexico City.·    Del grabar y listo. Mobile phone video workshop, Sala Parpalló - Nuevos Medios, Valencia·    Theory and practical videoart workshop, La Casa Encendida, Madrid

2006·    Lecturer of Multimedia techniques in Contemporary Art. Universidad del Claustro de Sor Juana, Mexico

2005·    Conciencia histórica Versión Montevideo. Intensive workshop to make videos of Montevideo’s city centre, Centro Cultural España, Montevideo, Uruguay·    Workshop-Competition Un día en la vida II, 24 horas para pensar, diseñar y producir un website, Espacio Fundación Telefónica, Buenos Aires, Argentina·    El arte en medios. Centro de Arte Mexicano, Mexico

2004·    Workshop-Competition Un día en la vida. In collaboration with Martín Groisman, Espacio Fundación Telefónica, Buenos Aires, Argentina·    Lecturer of Video and New Technologies in La Esmeralda, Centro Nacional de las Artes, Mexico City and Appreciation of Digital Art at the Universidad Iberoamericana, Department of Art History, Mexico·    Theory and practical workshop on videoart Videomeopatía within the framework of the VIII National Video Festival, Imagem em 5 minutos, Salvador Bahía, Brazil

2003·    Introduction to videoart course, INES espacio para la Reflexión, Mexico·    Summer workshop Del Satélite a la Uña. Museo Tamayo de Arte Contemporáneo, “Art and computing” section, Mexico·    Simultaneous audio and video construction course, in collaboration with  Enrique Greiner, Centro Multimedia, Centro Nacional de las Artes, Mexico

2002-2001·    Lecturer of Digital Art at the Universidad Iberoamericana, Communication department, Mexico

2001-2000·    Audiovisual media script and cinema production. Associate Lecturer of Guillermo Arriaga, Communication Sciences, Tecnológico de Monterrey, Campus Sur of Mexico City

2000-1997·    Technical assistant and non-linear editor of the video workshop E.N.P.E.G. La Esmeralda, Centro Nacional de las Artes, Mexico City.

JURY2007·    Jury in audiovisual media for the artist-in-residence interchange programme, FONCA, Mexico

2006·    Web page competition for the “Tlalocan” Water International Festival, as part of the IV World Water Summit, Mexico

2005·    Support for Artistic and Cultural Projects, IMJUVE, Mexico·    4th Central American Video Production and Digital Art Exhibition “Inquieta Imagen”, Museo de Arte y Diseño Contemporáneo, San José, Costa Rica

2005·    Competition “Conciencia Concéntrica”. 1st video competition on the Historical Centre, Mexico City.

2004·    KINOKI Short Film Festival, Universidad Latinoamericana, Mexico City.

2002·    Environment, City and Nature. International net.art Competition, Colombia

 

 

 

 

 

 

 

 

 

08prtb1782

2008. Todo por la praxis. EMPTY WORLD (2007.10 / theoretical data)

 EMPTY WORLD. Empty housing real state agency.

Empty World is a project developed by Todo por la Praxis, linked to the Madrid Abierto programme. The project will be appear in MA’s programme and the funding will depend also on MA.

Empty housing, gentrification and speculation

The rise of the housing prices keeps increasing each year. This year it seems to have had a smooth deceleration, about the 15% cheaper than last year, other years it grew about a 20 or 25%. However, the difficulties to own or rent an apartment are greater everyday and the efforts that a normal salary must undertake are increasing significantly, reaching almost unbearable levels on the long term. To purchase a house is the main investment that most Spaniards have to deal with in their lifetime. The excessive increase in the prices has augmented the effort until most of a person’s lifetime earnings are invested in it. An interesting piece of information can sum up the housing problem in Spain: the average price of a home has multiplied by five in salary terms in the period 1986-2006, while salaries in that same period have only duplicated. Home prices have grown thirteen and a half times more than salaries.

Regarding the problem a phenomenon takes place that reflects the recklessness of the real estate market in Spain. The struggle to find a home is in contrast with the gigantism of a market that is growing without control, with an already existent patrimony that is abandoned or is a part of speculation strategy. By discussing a single point we can graphically understand this phenomenon. In Madrid, the number of empty houses equals the number of new apartments being built in the three most important Urban Development Plans in the city (Sanchinarro, Las Tablas and Carabanchel). This questions the market imposed urban model, for, the abandonment of the already existing patrimony is a matter of speculation processes that are unsustainable. On an environmental level it involves an unjustified consumption of the territory and on an economic level it’s a waste of public investment to cover the services and needs of the residents in new houses.

It is within these central areas where the phenomenon seems to be more intense, linked to gentrification processes. The word “gentrification” evolves from the English word “gentry” and literally relates to the adoption of a bourgeois lifestyle. This concept defines the process by which a working class neighbourhood, that has been previously abandoned and degraded, increases its value due to the expulsion of its traditional dwellers and their substitution by middle upper-class residents. The process involves changes in the type of houses and commercial and production activities. This is done for the profits obtained from speculation, due to the increase on the area’s value. Malasaña is a clear example of these practices, thus the analyses of these processes in the neighbourhood will be the goal of the project.

Empty World

The proposed project is made up of several elements. Firstly, a real estate agency’s Online office: EW in Clearance Sale. In the shop window/showcase we will recreate the aesthetic and image of real estate agencies with a photographic catalogue of empty apartments in the neighbourhood. Therefore, as one of the agency’s tasks a record of empty apartments will be created. In order to do so, the neighbourhood’s cadastral data will be obtained and updated, inviting neighbours to participate in the elaboration of this record on a larger scale. They will be invited to carry out a signalling campaign with stickers on empty houses of the neighbourhood. Finally, there will be debate sessions on gentrification and real estate speculation. For the sessions we will invite:

- Santiago Cirugeda (Architect)- V de Vivienda- Neighbour Association of Malasaña- Mesa de la Vivienda de Lavapies.- Praxis cooperative.- Fernando Roch (Urbanism Profesor in ETSAM)

(October 2007)

 

 

 

 

 

 

 

 

 

 

08intb3549

2008. Todo por la praxis. SPECULATOR + EMPTY WORLD (published texts)

TODO POR LA PRAXIS.(TxP) is presented as a Laboratory where to test artistic-activist practice projects aimed at the aesthetic-effective amplification of social struggle cycles. TxP is generated from the inevitable convergence between artistic-activist practices, architectural praxis as an interconnection process between public space and multitude, and the ethnography of social communication aimed at creating opposition spaces of immaterial interchange. It is an epistemological materialisation of the socio-cultural capital which the different opposition social networks to hegemony have woven in the last quarter of the 20th century in post-industrial metropolises; a theoretical-methodological laboratory whose ultimate function is to investigate the ontological resistance processes of antagonistic subjectivities.

In TxP we present 2 axes of investigation to Madrid Abierto 08: Speculator- EmptyWorld.

 

Speculator.www.speculator.es

Using the imagery of comics, we have generated a type-Marvell superhero (or supervillain) who personifies the semi-conscious idea of the mass worker, of the existence of an artefact-subject, the positive/negative hero who embodies the ideology of the today’s speculator. Through a series of vignettes spread across the exhibition space and a visual projection in different points, we attempt to publish our social capitalism superhero. The caption of the Speculator; “Welcome to the desert of reality!” becomes the reading key that enables us to drift through Madrid, as a symbolic recreation of the immaterial power of property speculation.

 

 

Empty World.Empty Property State Agency. www.emptyworld.es

The housing problem experienced by large sectors of society is aggravated by an oversized property market that ignores the current wealth of property in a state of abandonment or part of the speculation process. The reason behind this phenomenon is the speculative profit generated by changes in the value of the floor from the time the property is abandoned to the subsequent appreciation of the neighbourhood. The aim of Empty World is to analyse these processes.

The residents of the neighbourhood are invited to participate in a signposting campaign by placing stickers with the Empty World (EW) logotype on the empty property found in their buildings/blocks.

An Empty World Empty Property State Agency is set up in the Liquidación Total (Full Clearance Sale) space. In the Liquidación Total shop window, the iconography of traditional state agencies is reproduced and empty apartments are offered to potential tenants through a visual Catalogue (a register of unoccupied apartments) of the empty apartments available in the neighbourhood.

 Organisation of workshops based on the gentrification and property speculation phenomena (see Empty World Workshops on www.emptyworld.es). 

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

WORKSHOPS ON URBAN RESISTANCES, GENTRIFICATION AND PROPERTY SPECULATION

Liquidación Total.C/San Vicente Ferrer Nº 23. Local 2.Metro Tribunal. Madrid.

Thursday 21· Presentation Empty World (Association of Neighbours of Malasaña-ACIBU).· Basurama (Urban action).· emerge.es Collective (Sustainable unity).· Andrés Jaque (Architect. Project Lecturer at ETSAM).

Friday 22· Fernando Roch (Head of Urban Planning Department of ETSAM).· Francisco Gil (Praxis Co-operative).· Democracia (Welfare State).

Saturday 23· V de Vivienda (Popular Assembly for the right to housing).· Jordi Claramonte - Fiambrera Obrera (Okupasa).· Santiago Cirugeda (Architect).

Saturday 30· Empty World. Todo por la Praxis or how to bring capitalism down from your home in 5 easy steps:

1.We are not what you think we should be or what we really are. We are a liquid resistance that permanently constitutes itself in relation to fluid, referential and self-managing contexts. We are a laboratory of projects that practices structural ethnography on opposition artistic activist practices as formalisations potentially capable of symbolising the social conflict in an aesthetically effective execution in the public space. We are the echo of the poverty of Philosophy, of its derivations on the social context marked by the withdrawal of the paradigm-models and post-post-modern tales. You don’t know it, but we are all a methodological axis, an epistemological variant among various others. First step to bringing capitalism down from your home: Break the silence, become visible as antagonistic subjectivity; become an anti-capitalism virus and spread. 

2.We are always the otherness. You will never recognise us. We are agit-pop elements, a political-pop reformulation stemming from the death rattles of the marginal, post-industrial public space of agitprop, a link, an extra-historical link, designed as a total and multi-polar resistance against the hegemony of post-material capitalism. We are an axis around which three investigation axes are articulated (the post-urban, the infra-urban and the supra-urban) which represent proletarian subjectivity in its axiomatic pre-power state, a potential transformation of a seemingly immutable reality. Second step to bringing capitalism down from your home: Make an effort, a small effort, and remember what you were, what you thought you were, and what you wanted to be before assuming what you are; insurrection begins with desire.

3. We are a consequence, the dark side imposed by the blind forces of capital, functioning in automatic pilot, operating impersonally without passion or emotion, with their seductive logic of sensitive social control over uncoordinated subjects in their multiple manageable desires. As such, we act as a projection of the de-concealment desire of a mute mass. Based on the class interest logic, the post-urban conceals more sensitive than reasonable issues, the infra-urban conceals more romantic than effective ideas and the supra-urban disguises a calmness so simulated, a well-being so weak and questionable that, because it is so convincing, it has engendered a suburban revolt which, as well as questioning the institutional methods, it delegitimises its spectacular idea. From there stems the social need for a de-concealment of the discourses and practices that address the structuring of the urban, focusing on the symbolic production systems, circulation of meaning and social meaning processes. All the practices aimed at inventing resistance spaces against the control mechanisms-devices are potential artistic projects. Third step to bringing capitalism down from your home: You are an activist artist; act like one and generate your own activist-artistic self-defence collective.

4. We are secular alchemists opposed to capitalism, that fictitious psycho-technical management space, the minimalist exhibitionism of those of us who can only trans-socialise outside the public-political space through the aesthetized potlach of the interchange of intense disappointment. It is a question of broadening artistic practices as means of social expression, as collective authors of our own experience, experiencing the construction of position spaces, as decisive authors rather than passive spectators. Fourth step to bringing capitalism down from your home:Become a non-negotiable antagonism; defend yourself against capitalism.

5. We are a process; our state is a derivative procedural text, a bad experience of identities disconnected from a virtually possible reality, a reality imagined as potential subjectivity, frozen in the project phase. We are explicit, evident, pre-political.   We all need controlled authenticity rituals and we will provide authenticity according to our existential demotivation. We are a post-situationist social laboratory generator of immaterial situations capable of altering the nausea, the systemic repetition. We are the subjects of intermittent precariousness, the objectors from the slums who gained access to their academies, the first to lead the urban withdrawal and the last to abandon the epistemological trench. We were the ones who shouted against the inevitable before sinking into a positional and declining silence. We refuse the means and the end and we now claim the streets as the operation centre of the new uprisings. We are a provocation. We burnt Paris in 2005 and we will do so again. We will be the first to join a revolution, a guerrilla in favour of self-managing the symbolic economy of the post-industrial proletariat. We were the ones who nobody ever saw in the right place at the right time. We are invisible! We have the fifth assumption in our hands. Fifth step to bringing capitalism down from your home: A new battle is about to begin; get ready for the global uprising.

www.todoporlapraxis.com

www.emptyworld.es

www.speculator.es

 

 

 

 

 

 

 

 

 

 

08intc2044, 08intc2042

2008. Andreas Templin. HELL IS COMING / WORLD ENDS TODAY (location)

Different spots of the city. From the 7th to 14th of February. 

 

 

 

 

 

 

 

 

 

08intd2056

2008 / 2008.02.21. PRESS RELEASE. Madrid Abierto 2008

2008 / 2008.02.21. PRESS RELEASE. Madrid Abierto 2008

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

 

08ditf2379

2008. Todo por la praxis. SPECULATOR + EMPTY WORLD (2008.01 / project review / theoretical data)

Todo por la Praxis: PROJECT LAB

When in 1999 “Todo por la Praxis” (www.todoporlapraxis.com) was created, its motivation was located in the disillusionment of a heterogeneous group of anti-system subjectivities with the existing practices in the realm of the public space critic. With individuals coming from heterogeneous theoretical and disciplinary backgrounds, the group was formed as a “collective intellect” and an active political individual: Like a Project Lab which’s main goal was to instruct a wide territory to practice – as a transforming agent- in the symbolic field of artistic practices.

A Lab that produces and amplifies aesthetic projects for cultural resistance, a Lab to design efficient visual communication tactics, to test tools, organizational models and unconventional artistic actions. A place to develop projects that intervene in/on urban public space; activist aesthetic practices or confrontational activities – as a means to represent the social conflict in an aesthetically effective way – and artistic actions in/on public space (and their repercussions on the social context in which they inscribe themselves).

One of our most recent themes is personified by Speculator, manifested thanks to the creation of an archetype-character. Speculator is a multiple identity that assumes different roles in the diverse contexts to which he belongs. It is focused on an urban question, the public sphere and the real estate market. In this sense, any action oriented against ruling structures will be absorbed by Speculator’s potential projects. Speculator’s specific goals are: a) Unveil the net of existing relations between real estate speculation and gentrification, b) Analyze which segregation mechanisms and social control devices used in today’s trans-symbolic gentrification processes.

EMPTY WORLD

In Madrid there are approximately 300.000 empty homes that create a posturban reality. The abandonment of real estate patrimony that is reflected by these empty houses indicates the role of the house-product as a speculative practice that increases its value. That is, in our current real estate market houses are mainly empty because more profits are obtained from the house-product without doing anything, than by putting the product in the market as rented house. Therefore, there is an unused patrimony because by its simple accumulation and speculative revaluation more profits are obtained than by using them socially. EW intends to show these activities, so abundant in our cities and, specially, in the neighbourhood of Malasaña.

The neighbourhood of Malasaña is in the centre of the city and has been subject to real estate pressures throughout history. First – in days of Franco – they tried to devastate the neighbourhood with a haussmanian strategy. This initiative wanted to create a great avenue to connect Bilbao with Gran Vía. The existence of an important real estate patrimony in the imaginary line to be constructed stopped the project. The disappearance of the neighbourhood’s University created some expectations but the hippies came along, and were later substituted by the movida’s extravagance, and slowed it down. The rehabilitation plan of 95 was a great challenge for the neighbourhood for it ended up with the expulsion of great part of its residents with the excuse of eliminating substandard housing. And the process has ended by introducing new tenants in “luxurious substandard housing”. Right now there is a model created by the administration and private companies that intends to turn the city into a theme park (Disneyfication), creating consumer oriented places. As it already happened to Chueca in the nineties, Malasaña is subject to a similar strategy in which fashion and leisure are the parameters that define its future scenery. A scenario of gentrification in the Madrid fashion that we have labelled post-urban.  The logic of this pos-turban plan consists of emptying in order to fill. To empty urban spaces of their symbolic landmarks and unproductive inhabitants, transforming them into post-urban spaces, initiate a trans-symbolic gentrification; to redefine new urban space that fits the productive/reproductive subjectivities of the global city-factory. These “ethnic-class cleaning” operations are camouflaged beneath the “rehabilitation” rhetoric, a concept that is functioning as nucleus of the new fiction capitalism. This social control model implies a complex alliance between different interests. On the one hand, public Institutions, pressured by the private sector and their own economic interests tend to favour private investment on areas that must be “recoverable”, while they have to deal with the social conflict that these agents of gentrification create. On the other hand, the residents of some specific area become divided and oppose each other, those who feel favoured by the gentrification process and those who become “victims”. The post-urban scenario manifests itself on all social levels; the neighbourhood networks of mutual support become fragmented, the symbolic elements of belonging are delocalized (work ties, family, etc), social communication channels are reduced due to the fragmentation of common interest among residents, and, last, the relationships between owners and tenants become polarized.

In this context the Empty World project, included in the Todo por la Praxis Project Lab, is created.

Empty world in four movements. (Programme)

 1. EW is a multi-centred and multidisciplinary artefact that works upon the symbolic and social field as a tactic to connect different dimensions in which gentrification agents operate.

2. We have defined EW as a re-appropriation strategy of inactive space that represents the three million empty homes that exist in the Spanish State. Our general objective is – from the artistic field – to provide theoretic-methodological tools for the antagonist group.

 3. EW as an effective social and aesthetic project emerges from the need to develop a series of social and visual communication mechanisms that served to achieve a double goal: to chart the new posturban scenarios – analyzing weak spots; empty houses in the area -, and also, evaluate the level of gentrification risk to which these zones are exposed – how the social fabric was structured in that specific area, which elements of self-defence could they count on and which was their weakest flank or potential for urban conflict. To answer these questions with certain methodological efficiency we carried out an ethnographic investigation of one of the areas that seemed to be at high risk of falling under gentrification; the neighbourhood of Malasaña.

 4. EW intends to provide resistance tools – tactics and strategies – to the people’s movement in the neighbourhood, and Physical Signs are a way to make oneself present in terms of gentrification. EW is an action programme. 

 (January 2008)

 

 

 

 

 

 

 

 

 

08intb3550

2008. Santiago Cirugeda. CONSTRUYE TU CASA EN UNA AZOTEA (published texts)

ALQUILER DE AZOTEAS (ROOF TERRACE RENTAL)Install reversible apartments on the roof terrace of your buildingOne way of generating rental apartments without land costsFree advice and construction services:• Drafting of rental agreement• Overloads and utility installations studies• Materials and assembling supervision.

INFORMATION BULLETIN

- Within the trend, with a marked historical tradition, of raising constructions on roof and ordinary terraces that are generally used to make extensions to existing apartments, consolidate a new one or build storage rooms, the installation of one such construction is proposed with the aim of providing a solution to the access to housing problem of Mr./Mrs.

- Faithful to the principle of mutual respect between neighbours, and in accordance with the Law on the Horizontal Property System contained in Civil Code, co-owners are called to approve the installation, provided that the provisions of the internal regime agreement signed by the different representatives of the community of neighbours are met.

- The construction concerned is of the light sort, built with non-masonry materials and reversible. It is constructed with wooden floor frames, a steel structure and light doors and windows, never using bricks. The entire system enables the apartment to be reversible and disassembled without causing any damage to the structure of the building, a fundamental point to bear in mind in meeting the requirements of the Civil Code on movable goods.

- Since 2000, the architect, Santiago Cirugeda, editor of the proposal, has been responsible for several self-constructions on roofs, which have given way to good relations between neighbours, injected money to finance repairs to the common elements of the buildings and enabled persons on low incomes to access housing.

* Note: see “alquiler de azoteas” in www.youtube.com

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

INTERNAL REGIME AGREEMENTCommunity of co-proprietors of the building located in No.

The community of co-proprietors of the building located in no. of the street, …………………………., hereby represented by: (provide list)Mr.Mr.Mr.Mr.Mrs.Mrs.

hereafter, the community, gathered with: Mr. ,hereafter, the new tenant, and Mr. Santiago Cirugeda, hereafter, the architect, sign this agreement.

FIRSTThe community will allow the new tenant to install a reversible apartment on the roof of the attic. The apartment will be built with non-masonry material and in accordance with the project of the architect, Santiago Cirugeda, who makes himself responsible for the stability of the apartment and of the roof terrace on which the apartment is to be installed.

The construction will be similar to the rest of the apartment extensions and storage rooms that can be seen in many neighbouring buildings. In this case, in accordance with municipal law, the construction shall not exceed 30% of the area where it is to be installed.

SECONDThe assembly costs will be met by the new tenant and, as far as possible, he shall avoid causing any inconvenience when carrying the material up on to the roof. The assembly, which does not require the use of noisy machinery, will be carried out during working hours and weekends.

THIRDFor the use of the roof, the new tenant shall pay a monthly rental of 200 euros for a period of 5 years, which shall be used in benefit of the community. Likewise, the new tenant shall pay the community charges in force during the period in which the apartment remains in place.

FOURTHThe electricity connection and hook-up to down pipes and the water supply will be carried out through the apartment located in the attic. The rental agreement to justify the payment of the community charges and the registration of the new tenant in the local council can be formalised with the proprietor of the attic apartment.

FIFTHThe apartment shall not be transferred through a sale contract. The use of the apartment is strictly reserved for the above-mentioned tenant and his partner. The coexistence regime shall be the same as the one applicable to the rest of the tenants, with special emphasis on respecting rest times and good coexistence practices between the neighbours.

SIXTHThe cost of any building work carried out to facilitate access to the roof terrace, as well as any possible damage caused to the roof terrace, will be met by the new tenant.

SEVENTHAny requirement from the public authorities for the purpose of formalising and establishing the legality of the apartment shall be met under the responsibility of the architect.

Madrid 2007

Signed: The representatives of the community

Mr. Mr.

Mr. Mr.

Mrs. Mrs.

 

Signed: New tenant.                                     Signed: Santiago Cirugeda. Architect

 

 

 

 

 

 

 

 

 

 

 

 

08intc2037, 08intc2035

2008. Alicia Framis + Michael Lin. NOT FOR SALE (location)

La Casa Encendida. Ronda de Valencia, 2. 28012 Madrid. 8th of February, 21:30 pm.

 

 

 

 

 

 

 

 

 

 

 

08intd2055

2008. Edith Alonso. PEOPLE WHO COME HERE

 FORMAT: STEREO

Name Play Size Duration
No items to display

 This piece is based on the situation of immigrants: how they feel when they arrive in a new country, their positive and/or negative experiences, their concerns, etc. There are references to emblematic places in Madrid where people of different nationalities coexist. The sound envelops different voices that appear and disappear, creating an atmosphere that reflects the rarefied atmosphere of cities, very often, mysterious and incomprehensible.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08sotb2072, 08sotc2087, 08sose2132

2008. Miguel Gil (Cv)

MADRID, 1964 LIVES AND WORKS IN: OVIEDO, ESPAÑAWWW.MIGUELGIL.COM.ESWORK EXPOSED IN MADRID ABIERTO: ELECTROSCHOTIS

EDUCATION2001 ·    Proven research experience Universidad Autónoma, Madrid·    Research work “The notation of Flamenco singing (applications of contemporary writing in its transcription)”

1999 ·    Doctorate courses. Universidad Autónoma, Madrid. Professors: E. Fubini. B. Lolo, E. Pujals, C. Colombatti, Martínez Veiga, A. Vicent, González Valle, García Llovera, Linaza Iglesias

1998 ·    Ministry of Education and Culture.  Bachelor’s degree in Harmony, Counterpoint and Instrumentation.·    Contemporary Music Dissemination Centre (CDMC). “Influence of Technology on Composition”. Professor: Luca Francesconi

1997 ·    Contemporary Music Dissemination Centre (CDMC). “Introduction to the Computer Tools of the CDMC”. Professor: Adolfo Núñez·    Contemporary Music Dissemination Centre (CDMC). “Musical Developments in Signal Analysis, Synthesis and Processing”. Professor: Emiliano del Cerro·    Conservatorium van Amsterdam “Electroacoustics music workshop”. Professor: Joss Zwaanenburg

1996-1997 ·    Conservatorium van Amsterdam. Post-graduate studies (two-year programme) on the following areas with maximum grade: Composition (Theo Loevendie and Daan Manneke)·    Theory of Classical Music of South India (Rafael Reina)·    International Contemporary Music Festival of Alicante. “Composition Course”. Professor: Tristan Murail·    Conservatorium van Amsterdam “Composition Seminar”. Professor: James Wood

1993 ·    Graduate of composition with Summa Cum Laude. Berklee College of Music (Boston, USA)·    Berklee College of Music “Composition Seminar”. Professor: Henke Alkema

1986 ·    Universidad Complutense, Madrid). Biology studies (4 years)

AWARDS AND GRANTS2007 ·    Villa de Madrid music prize for the project “De ida y vuelta”. City Council of Madrid

1997 ·    Research grant from the Regional Government of Andalusia

1996 ·    Grant for professional education abroad. Ministry of Education and Culture

1994 ·    Rome prize (full year). Ministry of Foreign Affairs

1993 ·    Honorary mention·    Composition competition for wind ensemble. Berklee College of Music·    Richard Levy Professional Writing Division Prize, Berklee College of Music·    Education grant for studying abroad. AIE (Association of interpreters and performers)

1992 ·    Education grant Berklee College of Music

1990 ·    Education grant for studying abroad AIE (Association of interpreters and performers)

PROFESSIONAL EXPERIENCE2007·    Mariano Marín/Meridional Theatre and others. Production and arrangements collaborations in the sound tracks of the theatre plays “Cantando bajo las·    balas” and “Mentiras, incienso y mirra” and the feature film “Mi amigo Jesús”·    Cast/ David Lind. Voice arrangements and brass arrangements, respectively in both CDs·    Juanjo Guillem. Next publication of the work “Agua Transfigurada” in the CD “Los Elementos”

2006·    DSR productions. Composition of the music for the short film “Atado” winner of awards in Acerbajan, Ciudat del Valls and San Agustin de Guadalix.·    “De ida y vuelta” Poliamyda Records. Production, composition and interpretation of the CD “Patricia” from the music project “De ida y vuelta”. Villa de Madrid 2008 Prize.

2005·    Various musical productions for the theatre play “Pequeños Crímenes Conyugales” and mixes for different sound tracks.·    Laura Torrado Music for the documentary “Otros hogares, otras realidades” and collaboration in the art videos “Ronhaldinha” and “Thriller”.·    “Signos de Aire” Poliamyda Records·    Production, composition and interpretation of the CD “Signos de aire”

2004·    Teatro Español. Production of the children’s musical “Romeo y Julieta”·    Company “Polyamida records”. Production and arrangements of the record “Nitt” from the Senegalese group “Dhiambutu”·    Various Music for the DVD of the plastic artist Paul Carvajal and confection of the orchestral suite of the film “Al Sur de Granada” (Music by Juan Bardem)

2003·    Production company “El Deseo”. Directed by F. Sabroso & D. Ayuso. Production, supervision and arrangements of the sound track for the film “Descongélate”·    “Avispa Records” orchestration of two themes of Medina Azahara’s record “Aixa” recorded by the Córdoba Orchestra·    Merida Theatre Festival. Director Juan Margallo·    Musical production for the theatre play “La Paz”

2002·    Oriental Dance Company Lenna Beauty. Original music of the show “Mabruk”·    Anthony Blake. Composition of sound track (together with Luis Ibars) of the show “Espíritu”

2001·    Music for FITUR video, Japanese Siatsu School.·    Various spatialisations for the short film “Ciclo”; mix for the theatre play “Vida sexual del español medio” of Las Veneno·    PPPG Kesenian Yogyakarta (Indonesia)·    Music for the theatre play “Don Juan” (Moliere)

2000·    PPPG Kesenian Yogyakarta (Indonesia)·    Music for the theatre play “Doña Rosita” (García Lorca)

1999·    Centro Dramático Nacional (CDN) Production, music arrangements and orchestration for the theatre play “La Visita de la Vieja Dama”·    Alcalá de Henares Film Festival and Experimental Film Festival of Madrid·    Music for the short film “Animal” of Miguel Díez·    Prizes in Alcalá and Experimental Film Festival and nomination for Goya award.·    Fuepalbar Cia. Brussels (Belgium)·    Music for the choreography “Mismorigen”.

1995·    Teatro dei Documenti (Rome) Debut of the work “Endimión y la Luna”·    Academia de España in Roma. Debut of the work “A legno”·    Willibroad Co. (the Netherlands) CD recording of “Re-verse” by José Vicente·    Troupe Castiza, Alfil Theatre, Madrid·    Composition of music for the theatre play “Akabaret con Todas las Purgas” by Eduardo Fuentes

1994·    Instituto Cervantes. Leeds University (UK)·    Debut of the work “Agua Transfigurada” by Juanjo Guillem·    Instituto Cervantes·    UMIST, Manchester (UK)·    Debut of “Between Whistles and Flutes” by Juana and Juanjo Guillem·    Círculo de Bellas Artes Madrid. Debut of ”Diario de un Seductor”, “Haiku” and “Música para un aterrizaje Forzoso”.·    Círculo de Bellas Artes Madrid. Music for the work “Ante el Retiro” (T. Bernhard)·    Directed by María Ruiz·    Offenburg (Germany) Debut of the work “Triste a su lado”·    Teatro del Sur. Granada. Music for the theatre play “El Ultimo Dios” (García Larrondo)

1993·    Madrid Autumn Festival. Music for the work “Muelle Oeste” (Koltes). Directed by Carmen Portacelli.·    Madrid Autumn Festival. Music for the work “La Habitación Escondida” (E.·    Múgica)

1992·    Teatro Rosaura. Music for the work “Retén” (E. Caballero)

1991·    Albéniz Theatre. Madrid. Music for the work “El Filo de unos Ojos” (I. Martínez dePisón)

1990·    Príncipe Theatre. Gran Vía, Madrid. Music for the work “Gracias Abuela”(S. Junyent)

1988·    Centro Cultural de la Villa, Madrid. Music for the work "Rinoceronte” (Ionesco).·    The Cuban National Ballet, La Habana. Music for the choreography. “Al Compás”. 50th anniversary of the company.·    Dido Theatre Company. Music for the opera “Dido y Aeneas”·    University of Hong Kong. Debut of the work “Cenit 1342”·    Ysbreker (Amsterdam) Debut of the quintet “B”

1997·    Elche Film Festival. Music for the short film “El Nacimiento de un Imperio”. First prize·    UNESCO. Paris. Spanish representative at the International Rostrum of Composers in Paris with the work “Endimión y la Luna”·    French Institute Madrid. String Quartet for the choreography “Compartir el·    tiempo” (Pablo Molero)·    Bachzaal (Amsterdam) Debut of the work “Decursos”

1996·    Aspen Music Festival (USA) Debut of the work “Selves”·    Bachzaal. (Amsterdam) Monographic Concert: Debut of the works “Two Open·    Piano Pieces”, “Sex Fluctuationis” and “Divertimento”

TEACHING AND WORKSHOPS2007-2008 ·    Higher Music College of Oviedo. Acquires the post of professor specialised in audiovisual composition techniques.

2007 ·    Reina Sofía Art Centre National Museum. CDMC Conference on Midi audiovisual/orchestration preproduction.·    Music College of El Escorial

2005 ·    Higher Music College of Atocha·    Music College of Ronda

2004 ·    Cefore, Avila

2003 ·    Xunta de Galicia CEFORES A Coruña, Vigo, Ferrol, Pontevedra, Lugo, Santiago and Orense·    University of Castilla la Mancha; Albacete and Ciudad Real·    Music College of Getafe, Madrid·    Training courses for teachers of music colleges and/or primary and secondary schools as well as students of music computing.

2002-05 ·    Polimúsica.  Imparts the forums: “DSP’s for Native systems”, “Emulation of Acoustic Instruments with Samplers and MIDI Techniques”, “Logic 5, Novelties”, “Sibelius as composition tool”

2001·    HDM el submarino Conference:”Analysis of the score of Debussy’s Pelleas et Melisande”

2000 ·    PPPG Kesenian (Teacher training centre, Yogyakarta,Indonesia)·    Elaboration of curriculum for music studies in Indonesia.·    Teacher training in the areas of modern harmony, music technology, improvisation and audiovisual music·    Design for equipping the recording studios and libraries of these centres

1999 ·    CPR García Noblejas Madrid·    Course teacher of “Music Computing” for music college teachers.·    Polimúsica Madrid. Course teacher of “20th Century Electroacoustics Music”. Centred on work using the programme Audiosculpt of IRCAM

1998 ·    5th International seminar on the Donosita accordion. Course teacher of “New Rhythmic Techniques”·    Development of the techniques of South Indian classical music.·    Estudio Tres Madrid. Imparts the course: “Rhythm and Movement”·    University of Extremadura. Imparts the course: “Form in composition”. Applied to choreographic composition techniques

1997 ·    Association of Dance Professionals. Madrid. Imparts the course: “Rhythm for Choreographers and Dancers”·    University of Extremadura. Imparts the course. “Advanced Rhythm and Movement Techniques”·    Joaquín Turina Music College. Madrid·    Teacher at the seminar: “Analysis of Spanish Contemporary Music”

1996 ·    3rd International Donosita Accordion Seminar. Imparts the course: “20th Century Music”

1994 ·    International Percussion Seminar of Altea. Presentation: “Notation in 20th Century Music”

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08sotd2128

2008 / 2008.02.05. PRESS RELEASE. Madrid Abierto 2008

2008 / 2008.02.05. PRESS RELEASE. Madrid Abierto 2008

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

 

 

 

08ditf2378

2008. Anno Dijstra (Cv)

S’ANNAPAROCHIE, NETHERLANDS, 1970 LIVES AND WORKS BETWEEN: AMSTERDAM; HAARLEM, NETHERLANDSWWW.ANNODIJKSTRA.NLWORK EXPOSED IN MADRID ABIERTO: PROPOSAL NR. 19 + GIFT

 EDUCATION1998· Gerrit Rietveld Academie, afdeling Autonoom Sculptuur diplomate Amsterdam2001-2003 · Toekenning Startstipendium door het Fonds BKVB 2004-2006 · Toekenning basisbeurs door het Fonds BKVB

EXPOSITIONS (SELECTION)2007· Lek in het zwijgen…noise, Watou (B)· Data, Haarlem· Trading places, Gdansk(P)Hoorn

2006· Moscow Bernadette (SMAK), Gent(B)· MENS locatie project SMAK, Leuven(B)

2005· Gorcums museum, Gorinchem· Artist inc., New York (US)· Witte zaal, Gent(B)· PAK////T, Amsterdam· Colonie 21 (SMAK in Bredene), Bredene (B)

2004· R1 hamburg, Hamburg(D)· Gallerie Kusseneers, Antwerpen(B)· NP3, Groningen

2003· Hedah, Maastricht· R2, Hamburg(D)· Kunstfort Vijfhuizen, Haarlem· Bubbel (NP3/platformGRAS), Groningen · Nieuwe Vide (solo), Haarlem

2002· Land, Amsterdam· Non members only( Arti), Amsterdam· Nieuwe vide centraal, Haarlem

2001· Niggendijker, Groningen· Rebus, Alkmaar

2000· De Vest, Alkmaar

1998· Desolaat’ lokatie project, Alkmaar

1996· Virtual Room, Hengelo· AIAS workshop, Linz (AUS)· De Fabriek ‘Booreiland’, Eindhoven

PERFORMANCES2007· GHB. van Abbemuseum, Eindhoven· Stad als podium, Haarlem

2006 · MENS, Leuven

2004 · Nieuwe Domeinen, Amsterdam

2003 · Vensters, Alkmaar· Save the flat (opening), Zwolle

2002 · Wake, Amsterdam· Theater Frascatie ‘250kuub’, Amsterdam· VIP in de Vide, Haarlem

2001 · Theater Frascatie ‘250 kuub’, Amsterdam· Theater Frascatie ‘250 kuub’, Amsterdam

2000 · Muiderpoort theatre, Amsterdam· G.Washington University, Washington (US)· Art Space, Richmond (US)

1999· Muiderpoort theater ‘Fetitia’, Amsterdam· Gasthuis theater, Amsterdam· Kunst Ruimte Kampen, Kampen· Gasthuis theater ‘Hero’s’, Amsterdam

1998· Provadja theater ‘Clone Control’, Alkmaar

PHURCHASES2005· Utopia aan particulieren

2002· ‘Kill your darlings’aan particulieren

2001· ‘Urnen’ aan particulier· ‘Kill your darlings’ aan particulieren

PUBLICATIONS· Catalogus ‘Lek in het zwijgen’ Watou, 2006· Catalogus MENS (SMAK), 2006· Catalogus Utopia gorcums museum, 2006· Parool ‘LAND’, 2002· Volkskrant ‘Land’, 2002· Parool ‘Wake’, 2002· Volkskrant ‘Wake’, 2002· Alkmaarse Courant ‘Desolaat’, 2000· Alkmaars Dagblad ‘Clone control’, 1998· Catalogus ‘Gewapend behang’, Uitgave Gerrit Rietveld Academie Amsterdam, 1998

ORGENIZER· ‘Edelwies’ location project in Haarlem, 2006· ‘LAND’ Location project on Ijburg/Amsterdam, 2002· ‘Desolaat’ location project in Alkmaar, 2000

EXTRA’S· Winner of contest St’leve de Bouwput, Price is the realization of an art work for the public space, Amsterdam, 2004· Workperiod EKWC, DenBosch, 2004

 

 

 

 

08prtb1778

2008. LaHostiaFineArts (LHFA). EXPLORANDO USERA (2008.01 / technical data)

 TECHNICAL REQUIREMENTS

1. 1000 posters 100x70 bus and Works advertisement.2. 1000 posters 70x50 Orcasur plants3. 1000 x12 postcards of Churches in Usera4. 1000x 15 calendars with small pictures of Usera5. Audio CD 6. DVD 7. 1000 A3 small stories.8. Other

(January 2008)

 

 

 

 

 

 

 

 

 

 

 

08intb3548

2008. LaHostiaFineArts (LHFA). EXPLORANDO USERA (published text)

 “A more open Madrid is possible”. LaHostiaFineArts (LHFA)

LaHostiaFineArts is defined as a collaboration artistic project without a defined margin or colour and, depending on the occasion, comprised of different persons. This time, about one hundred and fifteen persons explore the fragile reality of a space which, until now, only functioned conceptually as a brand. Impacting the strategies behind most cultural initiatives backed from the top as well as the convergence between municipal charm and international tourism, the poses of our leaders are unmasked.

We are currently witnessing the opening of Usera towards the centre: the building work to bury the M30, the cultural revitalisation of Legazpi, the extension of line 3 to Villaverde. In Explorando Usera we leave the shop window of Madrid’s Cultural Axis to go to the district of Usera, a border place and a social network of coexistence between three different cultures: Chinese, Spanish and Latin American, in a complex adaptation process.

A bus will act as a Usera tourism office in Madrid. Inside, visitors will be able to see the results of our exploration in all kinds of artistic material: texts, drawings, photographs and sonorous and audiovisual material. The bus makes guided tours to the district of Usera (see timetable in the Explorando Usera website).

On this occasion LHFA is composed by Fernando Baena, Rafael Burillo, Anna Gimein, Victor Sequí, Antonia Funes, Daniel Silvo, Mercedes Comendador, Alberto Cortés, Loreto Alonso, Joanna Speidel, Rafa Suárez, Marisa Marín, Beatriz Alegre, Marta Soul, Juan Alcón, Elisa Pérez-Cecilia, Jorge Portocarrero, Fernando Arrocha, Fernando Cubo, Miguel Lorente, Diego Ortiz, Sol Salcedo, Manolo Rufo, Luís Cobelo, Roberto Desiré, Iñaki Domingo, Agustín Martín Francés, Sebastián Navarro, Javier Esteban, Paula Anta, Carlos Sanva, Alejandra Duarte, Juan Santos, Campanilla, Cristina Busto, Alberto García, Pepe Murciego, Yolanda Pérez, Mercedes del Pico, Sylvie de Pauw, Pablo Romero, Rosa Poveda, Diego del Pozo, Susana Velasco, Roxana Popelka, Rafael Sánchez-Mateos, Raúl Alaejos, Lucía Alaejos, Susana García, Javier Lozano, Santiago Pardo, Pablo Fernández, Olga Fernández, Macarena Antolín, Lidia Sanz, Miren Doiz, Josemari Velasco Guinda, María Jesús Escudero, Alicia Wandelmer, Amanda Wandelmer, Mónica Gabriel y Galán, Javier González, David Ragcuter, Willy de Real, José Delgado, Fran Felipe, Miguel Cereceda, Rafa Lamata, Jaime Vallaure, Nieves Correa, Santiago Salvador, Max Salvador, Miguel Nava, Hilario Álvarez, Jesús Acevedo, Belén Cueto, Kamen Nedev, Julio Jara, Giusseppe Domínguez, Sebastián Navarro, Julián Vidal, Gonzalo Escarpa, Pacheco, Vritis, Javier Granado, Simon Hellmundt, Jesús Urceloy, Julio Reija, Nacho Fernández, Peru Saizprez, Javier Hernández, Vicente Botella, Carlos Aguirre, Malicia Cool

 

 

 

 

 

 

 

 

 

 

08intc2018

2008. Gregory Büttner. WALZE 1

 

Name Play Size Duration
Walze 1
gregory buettner

11.5 MB 5:01 min

El material que da origen a la composición son grabaciones históricas realizadas en cilindros de cera (en alemán, “Walze”) procedentes del archivo del Museo Etnológico de Berlín. La grabación original se realizó a principios del pasado siglo.

Procesé los sonidos y los ruidos del cilindro de cera utilizando un ordenador y combinándolos para formar una nueva composición. Me interesaba la interacción de la “memoria” grabada, la imaginación (¿quién cantaba/interpretaba el qué, dónde y por qué?) y la desintegración de la información a causa del material (ruido de fondo, fallos técnicos, descomposición), el desvanecimiento de los contextos semióticos, y, por último, mi proceso electrónico. Mi método consistía en contrastar e integrar el sonido de los cilindros de cera y el contenido de audio que soportaban.

La grabación y el almacenamiento de “información de audio” irrelevante me hizo sentir curiosidad y me inspiró para trabajar con el material. Al igual que la viejas fotografías que pierden claridad lentamente, la “información de audio” desaparece o cambia, bien por la descomposición del medio o, en el nivel semiótico, por la ignorancia del oyente que, cuanto más viejo se hace el material, sólo puede imaginar cómo pensó o vivió la persona cuya canción o música se interpretan póstumamente.

En su ensayo Die helle Kammer (título inglés: Camera Lucida) Roland Barthes describe la situación paradójica que se da en la coincidencia del pasado y el presente, y que tiene lugar cuando se contemplan fotos antiguas. Un efecto similar se consigue a través de la reproducción sonora renovada de voces grabadas procedentes del pasado. Naturalmente, esto es cierto de cualquier grabación, pero se intensifica por la antigüedad de las grabaciones realizadas en cilindros de cera. Después de todo, es probable que todas las personas que crearon la música estén muertas. La impresión de una época pasada se ve incrementada por rastros técnicos como crujidos, susurros, etc., comparables al cambio de colores, los pliegues, los arañazos y las manchas de las viejas fotografías.

Acerca de la colección del Museo Etnológico:A finales del siglo XIX, Thomas Alva Edison patentó el fonógrafo e hizo posible por primera vez la grabación y la reproducción de sonidos. Utilizando un embudo, las ondas sonoras se recogían y – como en los discos de vinilo – quedaban grabadas en un cilindro giratorio de cera por medio de una aguja que estaba fija en una membrana.La colección del Museo Etnológico de Berlín comprende treinta mil cilindros de cera que se almacenan en el sótano del museo. Aquí pueden hallarse de nuevo desde 1993 ya que permanecieron perdidos durante casi cincuenta años en la URSS y en la República Democrática Alemana.Muchos de los cilindros se rompieron durante el transcurso del tiempo o se deformaron o, por otros motivos, resultaron irreproducibles, y en su mayor parte el índice de contenidos brinda escasa información.El museo ha publicado – por desgracia sólo unos pocos – discos compactos que contienen las grabaciones fonográficas, en las que, sin embargo, el ruido de fondo de los ruidosos cilindros se redujo cuanto fue posible. En mi labor de proceso, sólo utilicé grabaciones directas con todos los ruidos técnicos, errores, susurros, etc.

 

 

 

 

  

 

 

 

 

 

 

 

 

08sotb2073, 08sotc2088, 08sose2133

2008. Mikel Arbiza of Perros Callejeros Films (Cv)

DONOSTIA-SAN SEBASTIÁN, 1976 LIVES AND WORKS IN DONOSTIA-SAN SEBASTIÁNPERROS CALLEJEROS FILMS IS A PRODUCTION COMPANY FOUNDED IN 2003HTTP://PERROSCALLEJEROS.WORDPRESS.COM/STREET-ZINEMA-FESTIVAL/HTTP://PERROSCALLEJEROS.WORDPRESS.COM/WWW.PARAFERNALIA.INFOWORK EXPOSED IN MADRID ABIERTO: SKATEBOARDING DESDE EL CORAZÓNHolds a bachelor’s degree in Fine Arts and has completed the doctoral courses at the Higher College of Architecture, Donosti.

We are a small glocal production company (http://en.wikipedia.org/wiki/Glocalisation) which has already published more than 5 DVD’s in the purest “do-it-yourself” style and aspires to strengthen ties between the world of skateboarding, popular culture and different urban manifestations. With a firm will and an independent vision, we have spent half a decade working in the Basque Country with a cosmopolitan vision.

We are also responsible for organising the International Festival STREET ZiNEMA (www.street-zinema.net) in Donostia/San Sebastián.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08autd2172

2008 / 2008.01. PRESS RELEASE. Results

2008 / 2008.01. PRESS RELEASE. Results

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

 

08ditf2377

2008. Anno Dijstra (Cv)

S’ANNAPAROCHIE, NETHERLANDS, 1970 VIVE Y TRABAJA ENTRE AMSTERDAM; HAARLEM, NETHERLANDSWWW.ANNODIJKSTRA.NLOBRA EN MADRID ABIERTO: PROPOSAL NR. 19 + GIFT

FORMACIÓN ACADÉMICA·    Gerrit Rietveld Academie, afdeling Autonoom Sculptuur diploma 1998 te Amsterdam.·    2001-2003 Toekenning Startstipendium door het Fonds BKVB.·    2004-2006 Toekenning basisbeurs door het Fonds BKVB.

EXPOSICIONES (Selección)1996·    Virtual Room, Hengelo.·    AIAS workshop, Linz (Austria).·    De Fabriek ‘Booreiland’, Eindhoven.

1998·    Desolaat’ lokatie project, Alkmaar.

2000·    De Vest, Alkmaar.

2001·    Niggendijker, Groningen. ·    Rebus, Alkmaar.

2002·    Land, Ámsterdam. ·    Non members only( Arti), Ámsterdam. ·    Nieuwe vide centraal, Haarlem.

2003·    Hedah, Maastricht. ·    R2, Hamburgo (Alemania). ·    Kunstfort Vijfhuizen, Haarlem. ·    Bubbel (NP3/platformGRAS), Groninga. ·    Nieuwe Vide (en solitario), Haarlem.

2004·    R1 hamburg, Hamburgo (Alemania). ·    Gallerie Kusseneers, Amberes (Bélgica). ·    NP3, Groninga.

2005·    Gorcums museum, Gorinchem. ·    Artist inc., Nueva York (EE.UU.). ·    Witte zaal, Gante (Bélgica). ·    PAK////T, Ámsterdam.·    Colonie 21 (SMAK in Bredene), Bredene (Bélgica).

2006·    Moscow Bernadette (SMAK), Gante (Bélgica). ·    MENS locatie project SMAK, Lovaina (Bélgica).

2007·    Lek in het zwijgen…noise, Watou (Bélgica). ·    Data, Haarlem. ·    Trading places, Gdansk (Polonia) Hoorn.

INTERPRETACIONES 1998·    Provadja theater ‘Clone Control’, Alkmaar.

1999·    Muiderpoort theater ‘Fetitia’, Ámsterdam. ·    Gasthuis theater, Ámsterdam . ·    Kunst Ruimte Kampen, Kampen. ·    Gasthuis theater ‘Hero’s’, Ámsterdam.

2000·    Muiderpoort theatre, Ámsterdam. ·    G. Washington University, Washington (EE.UU.). ·    Art Space, Richmond (EE.UU.). ·    Niggendijker’Shopping around’, Groninga.

2001·    Theater Frascatie ‘250 kuub’, Ámsterdam. ·    Theater Frascatie ‘250 kuub’, Ámsterdam.

2002·    Wake, Ámsterdam. ·    Theater Frascatie ‘250kuub’, Ámsterdam. ·    VIP in de Vide, Haarlem.

2003·    Vensters, Alkmaar. ·    Save the flat (opening), Zwolle.

2004·    Nieuwe Domeinen, Ámsterdam.

2006·    MENS, Lovaina.

2007·    GHB van Abbemuseum, Eindhoven. ·    Stad als podium, Haarlem.

ADQUISICIONES 2001·    ‘Urnen’ aan particulier ·    ‘Kill your darlings’ aan particulieren

2002·    ‘Kill your darlings’ aan particulieren ·    2005·    Utopia aan particulieren

PUBLICACIONES ·    Catalogus ‘Gewapend behang’, Uitgave Gerrit Rietveld Academie Amsterdam, 1998.·    Alkmaars Dagblad ‘Clone control’, 1998.·    Alkmaarse Courant ‘Desolaat’, 2000. ·    Volkskrant ‘Wake’, 2002. ·    Parool ‘Wake’, 2002. ·    Volkskrant ‘Land’, 2002. ·    Parool ‘LAND’, 2002. ·    Catalogus Utopia gorcums museum, 2006.·    Catalogus MENS (SMAK), 2006.·    Catalogus ‘Lek in het zwijgen’ Watou, 2006.

ORGANIZADOR ·    ‘Desolaat’. Proyecto de ubicación en Alkmaar, 2000.·    ‘LAND’. Proyecto de ubicación en Ijburg/Amsterdam, 2002.·    ‘Edelwies’. Proyecto de ubicación en Haarlem, 2006.

EXTRAS·    Workperiod EKWC, DenBosch, 2004.·    Winner of contest St’leve de Bouwput. El premio consiste en la realización de una obra de arte para el espacio público en Ámsterdam, 2004

 

 

 

 

 

 

08prtb1777

2008. LaHostiaFineArts (LHFA). EXPLORANDO USERA (2007.10 / fieldwork)

 CALL: Guide for tapas in Usera

Your lucky. You have been chosen to participate in the creation of a guide for tapas in Usera. Next 27th of October at 12am we will meet in… to explore this aspect of Usera.

What you have to do is to take two or three friends and walk around an area that has been assigned to you. You are a team leader and LHFA will give you 50 euros to spend on tapas. In exchange, you and your group will give us information on at least two different bars for each participant. For example: if you are three, you will tell us of six bars. And also take two pictures: an external one of the bar and another of its interior (product, atmosphere or architecture).

To make your job easier we will give you a form to fill in on each case, a list of bars, a map of the area and a LHFA card (we need you to send us a picture to make it or you can bring it to the meeting spot).

Please, answer swiftly announcing your participation because if not maybe we will have to look for someone else.

(October 2007) 

 

 

 

 

 

 

 

 

 

 

 

 

 

08intb3547

2008. Jota Castro. NO MORE NO LESS + LA HUCHA DE LOS INCAS (published text)

 No more no less

This project arose during a conversation with my analyst. I was talking about the problems of being of mixed race and, in particular, of living in a place where everyone tries to make me believe that an individual’s race and social origin are not determining factors in a person’s social and affective life.

Most of my work emerges like this.

I came out of my appointment firmly decided to explain the phenomenon of transculturation in a blatant and visual manner. What does it mean to come from a place where one culture dominates another to the point that the dominating culture becomes the individual’s vehicular culture? How can we show that accepting this situation means being possessed, used and dominated? Of course, I live in the best of both worlds and this situation is supposedly enviable. A king once said that Paris is worth a mass and my mother used to say that sometimes one must close one's eyes and think of something else. So, what am I complaining about? Nothing basically, I am just feeling privileged and obliged to tell the truth.

The feeling of inferiority is something that takes a lot to get over and, well, whilst arguing with friends from different origins, living among other languages and cultures, being accustomed to raising professional and social curiosities and doubts, we came to the unanimous and perfectly visual decision to illustrate the phenomenon of transculturation with the image of a bottom penetrated by a phallic symbol from cultures that have dominated or currently dominate the world. This is how this visual way of talking about a subject as ancient as the world that we live in arose.

The moneybox of the Incas(or the initiation of returning the Inca treasure)

An enormous golden moneybox, symbol of childhood and savings, practically a pop object.

Right in the centre of a European city. What can it mean?

A personal problem, in fact.

I am French and Peruvian, a direct product of five centuries of the comings and goings of the history of two continents.

I am not sure whether in Spain the history of the conquest is taught in the same way as in Latin America. I remember that as a child I was very surprised by the story of the rescue ransom proposed by the Incas to recover Atahualpa. An enormous place was filled with gold and silver brought in from the entire empire to save our king. It was useless, the conquerors killed him anyway.

To my surprise, when I told this story to friends from some of the poorest countries in the world I discovered that they all had stories of paid ransoms, unkept promises and executed or, in the best cases, exiled kings.

To simplify the problem and visualise it better, all individuals from the third world who were raised in a colonised country are potential Incas; they have paid a ransom, their language, sometimes their religion, their guilt, their trauma, without being able to save their Inca.

Fill the moneybox to the brink and we will see later what to do with the depreciated money and with my complexes.

 

 

 

 

 

 

 

 

 

08intc2015

2008. Gregory Büttner. WALZE 1

 

Name Play Size Duration
Walze 1
gregory buettner

11.5 MB 5:01 min

 The source material of the composition are historical recordings made on wax cylinders (German: “Walze”) from the archive of the Ethnologic Museum in Berlin. The original recording was made at the beginning of the last century.

I processed the sounds and noises of the wax cylinder using a computer and combining them to a new composition. I was interested in the interplay of recorded “memory”, imagination (who sang/played what where and why?) and the disintegration of the information by the material (background noise, technical faults, decay), the fading of semiotic contexts and lastly in my electronic processing. My method was to contrast and integrate the sound of the wax cylinders and the transported audio content.

The recording and storing of immaterial “audio information” made me curious and inspired me to work with the material. Like old photographs that slowly fade, the “audio information” disappears or changes either by decay of the medium or on the semiotic level by the ignorance of the listener who, the older the material becomes, only can imagine how the person whose song or music is played posthumously, thought or lived.

In his essay Die helle Kammer (English title: Camera Lucida) Roland Barthes describes the paradox situation in the coincidence of past and present which takes place when looking at old photos. A similar effect is achieved through the renewed sounding of recorded voices from the past. Of course this holds true with any recording, but is intensified by the old age of the wax cylinder recordings, after all it is likely that all the people that created the music are dead. The impression of times past is increased bytechnical traces crackling, rustling, etc. comparable to the changing of colours, folds, scratches and spots on old photographs.

About Ethnological Museum‘s collection:At the end of the 19th century Thomas Alva Edison patented the phonograph and for the first time, made it possible to record sounds and replay them. Using a funnel the sound waves were recorded and – like with vinyl records – engraved in a turning wax cylinder by a needle fastened on a membrane.The collection of the Ethnological Museum in Berlin encompasses 30 000 wax cylinders which are stored in the museum‘s cellar. They can be found here again since 1993 as they were lost for almost 50 years in the USSR and the German Democratic Republic.Many of the cylinders cracked during the course of time, or molded or became otherwise unplayable, and the table of contents mostly gives but sparse information.The museum released – unfortunately only few – CDs contains the phonograph recordings, on which however the background noise on loud cylinders was reduced as far as possible. For my processing I only used direct recordings with all the technical noises, mistakes, rustling, etc.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08sotb2073, 08sotc2089, 08sose2133

2008. Petra Dubach + Mario Van Horrik (Cv)

PETRA DUBACH EINDHOVEN / NETHERLANDS, 1954MARIO VAN HORRIK / NETHERLANDS, 1956LIVES AND WORKS IN: EINDHOVEN, NETHERLANDS HTTP://HOME.TISCALI.NL/DUHOVOF/OBRA EN MADRID ABIERTO: UTRECHT CS

From 1993 we are working together as an artistic duo.

The starting point for our artistic work is the notion, that movement and sound are identical; without movement (vibration) nothing can be heard. This idea is worked out by us in every thinkable form: installations, works in progress on location, performances, concerts, etc.

Because of the temporary character of the media sound and movement, our works, up to now, have always been presented during a limited period of time. So there are no objects for sale.

Besides using the media movement, sound and image, we also have an interest in using new media and technology, that are often realized especially for our projects. Recently we are very interested in projects that deal with communication, formal translations, and (mis)understanding.

SELECTION OF PRESENTATIONS2007·    Performance, Jeroen Bosch-festival, Den Bosch·    Installation "Slow Motion", a-m-b-e-r festival, Istanbul·    Pecha Kucha-presentation, 400 seconds, Garajistanbul, Istanbul

2006·    De Overslag, Eindhoven; installation and masterclass·    AUX, Copenhagen; participation in festival Technical Breakdown in the public space·    Logos Foundation, Ghent; feedback-soundperformance with video

2005·    Cacaofabriek, Helmond; objects in groupexhibition·    Center for the arts "Belgie ", Hasselt. Festival ManGod; installation and 2 ·    soundperformances·    Open air concert, Inkijkmuseum, Eindhoven·    OT301, Amsterdam; concert·    Festival Musik und Bild, Gallus Zentrum, Frankfurt; concert+video

2004·    Project CU 29, Watertoren HK, Vlissingen·    Het Klein Multimediafestival, installation+performances, Eindhoven·    Bison Caravan, traveling group-exhibition, object, HK Watertoren, Vlissingen·    Vrijheidsfestival, concert, Carte Blanche, Eindhoven·    Release of double cd-rom CU 29 and Geluidskunst·    Release audio-cd "Live in Prague"·    Festival für experimentelle Musik, TU München

2003·    Organisation of a tour of 8 soundartists to Belgrade·    Concert at April Meeting Festival, SKC, Belgrade·    Concert at Ringring-festival, REX, Belgrade·    Concert at Interzone 2003 festival, Novi Sad·    Groupexhibition "Corporate Identity", NBKS, Breda·    Installation "Geluidskunst", Synagogue at Palmovka, Prague·    Concert, Synagogue at Palmovka, Prague·    Concert, Festival Sound-Movement-Image, House of Art, Opava, Czech Rep·    Concert, Sklenena Louka, Brno·    Lecture at FAVU, University of Brno·    Project "Cu 29", Watertoren HK, Vlissingen. Project consisting of a work in progress, ·    3 soundinstallations, and 3 performances

2002·    Concert, LOGOS Foundation, Ghent·    Concert, Exposition of New Music, Brno, Czech Republic·    Installation "Medeklinkers", de Witte Dame, Eindhoven·    Website "The Anonomous Serenade", Project 4x4x4, MAD Foundation, Eindhoven. ·    www.4x4x4.dse.nl

2001·    Installation "Interference", 2 concerts, IM Festival, Minebuilding, Waterschei,Belgium·    Performance "Jestem ruchem", Fest. Castle of Imagination, BWA, Zielona Gora, Poland·    Performance, i.c.w. Jirzi Kurovka, Sylvette Babin, Oskar Dawicki, Fumiko Takahashi; Castle of Imagination, BWA, Zielona Gora, Poland·    Performance "Jestem ruchem", first version,  gallery BWA, Ustka, Poland·    Performance,  "I am movement", performance festival, Piotrkow Trybunalski, Poland·    Installation and concert, SKC, Belgrade·    Installation and performance, REX, Belgrade

2000·    Installation, ‘Hladilnica", Pekarna, Maribor, Slovenia·    Installation "Shadow Play", 1may-festival, 2B, Eindhoven·    CD "The Adventures of Toon Scales", Bake Records, Staalplaat, Amsterdam·    Installation Ínterference', at the complex of NRE Powercompany, Eindhoven·    Installation, concert, and presentation at Gallery ‘de Overslag', Eindhoven

1999·    Participation in "Conjunction", CD/Internet-project, Triple-X-festival, Amsterdam·    Performance "The Boxing-ring", performance-festival, Cuba Cultur, Muenster, Germany·    Installation "The Gathering", Musikfestspiele Sanssouci, Potsdam, Germany·    Participation on a performance of Jens Brand, Galery de Overslag, Eindhoven

1998·    "Global Mix", live-radiomix through Internet from the Goethe Institute, Krakow, Poland·    Installation "Shadow Play", and concert; Bunkier Sztuki, Krakow, Poland·    Installation "DioN.Y.sus'Scales", and concert; Audio Art Festival, Ujazdowski. Castle, Warsaw·    Installation "The Gathering", festival Baitz mit Klang, Baitz, Germany·    Concert, Kunstfabrik, Darmstadt, Germany·    Performance "The Boxing-ring", Performance Art Festival, Cleveland,OH,USA·    Performance and installation ÏnSight", Spritzenhaus, Hamburg, Germany

1997·    Installation "DioN.Y.sus'Scales", HK Watertoren, Vlissingen·    Concert,  Kulturzentrum BOA, Lucerne, Switzerland·    Project ‘Het Vogelbekkenstuk", with Moniek Darge, Logos Fnd. Ghent, Belgium·    Concert, Kuenstlerhaus, Dortmund, Germany·    Project "Het Vogelbekkenstuk", with Jim Dvorak, Vrijhof Theatre, University of Enschede·    Project "Het Vogelbekkenstuk", with Cor Gout and Wilbert de Joode, Effenaar, Eindhoven

1996·    Installation Oorsmeer, de Singel, Antwerp, Belgium·    Installation Oorsmeer, Center for the Arts "Vooruit", Ghent, Belgium·    Concert, Untitled Festival, Willem II, Den Bosch·    Installation Oorsmeer, Theater a/d Parade, Den Bosch·    Installation "DioN.Y.sus'Scales", Triple X-festival, Westergasfabriek, Amsterdam·    Installation "The LocoMotives", Central Railway Station, Eindhoven·    "First Night Installation", with Dan Senn and David Means, 1048 Broadway, Tacoma,WA,USA

1995·    Concert, Festival Experimental Music, Polytechnic University, Munich·    Installation "The State of things", +concert, het Stroomhuis, Neerijnen, NL·    Concert, "Belgie", Hasselt, Belgium·    Groupexhibition "Rotterdam/Vladivostok, Railwaystation Schiedam and Gallery Artetage, Vladivostok·    Installation and performance "Shadows", Islip Art Museum, Islip, NY, USA·    Installation "FBI", de Unie, Rotterdam

1994·    The boxing-ring and concert, Experimental Intermedia, New York, NY, USA·    Artist-in-residency, Harvestworks, New York,NY,USA·    Installation "DioN.Y.sus'Scales", Gallery Art in General, New York,NY,USA·    Installation "Pegasus", Museum School of Fine Arts, Boston,MA,USA·    Installation "Donar's Chariot"and concert; Islip Art Museum, Islip, NY, USA·    Installation "Donar's Chariot"and concert; Vooruit, Gent

1993·    Concert, Videcultura, Haarlem·    Installation and concert; Hermit Festival, Plasy, Czech Republic·    Installation "Donar's Chariot"and concert, het Apollohuis, Eindhoven·    Concert, de Melkweg, Amsterdam·    Concert, Stedelijk Museum, Amsterdam/ VPRO-radio·    Performance "Black Box", Effenaar, Eindhoven·    Performance+concert; Center for New Dance Development, Arnhem

 

 

 

 

 

 

 

 

 

 

 

 

 

08sotd2126

2008. Dier + Noaz (Cv)

WORK EXPOSED IN MADRID ABIERTO: Estado de excepción

DIER Madrid, 1979 Lives and works in: Madrid www.vdier.com

NOAZMadrid, 1978 Lives and works between: Madrid and other cities around the world www.noazmadrid.blogspot.com/ www.flickr.com/photos/noazmadrid/

 

 

 

 

 

 

08prtb1780

2008. Fernando Prats. GRAN SUR (published text)

 The project Gran Sur uses the advertisement of the Imperial Trans-Antarctic Expedition led by Ernest Shackleton in 1914. The advertisement was published in a newspaper of that period with the aim of recruiting men to embark on the expedition to Antarctica. According to the legend, with time, the advertisement became famous.

“Men wanted for hazardous journey. Small wages, bitter cold, long months of complete darkness, constant danger, safe return doubtful. Honour and recognition in case of success”

The aim of the expedition was to cross the Antarctic continent via the South Pole. However, the expedition ship Endurance was beset and hit by pack ice before the crew was even able to disembark. All the members of the expedition managed to survive after an epic ordeal on Elephant Island. Shackleton and five other men crossed the Antarctic Ocean to South Georgia in an open boat called James Caird to sound the alarm at the Grytviken whaling station. After several rescue attempts, all the men on Elephant Island were finally rescued on the small Chilean boat Yelcho captained by Luis Pardo Villalón from Punta Arenas.

Shackleton did not lose a single man during the three-year length of the expedition. Shackleton’s adventure is possibly the most outstanding of all expeditions to the Poles, and although it failed to offer any material benefit or scientific finding, the personal experience of the protagonists and the survival of the participants are in themselves an enormous triumph, the victory of man against the elements founded on two fundamental principles, solidarity and a fighting spirit.

This advertisement is the driving force and central motivation of the installation. It is comparable with an artistic manifesto or thought. It is a synthesis through the written word that narrates the work. The drawing that traces and synthesises a story.

The compiled documents of the expedition, photographs, films and travel logbooks, reveal an experiential survival journey. The essence of artistic creation also involves an unexplored journey and directs the senses towards objectives that help us understand our own perception of the world around us. Our own limits highlight the borders that we must cross.

Sir Ernest Shackleton’s decision to embark on the journey is similar to any artistic idea whose end is to discover and reveal the unprecedented. He had an idea which no one else believed in.

The installation exhibits hidden images behind each illuminated word: a story, a time, a continent; in short, a rereading after 93 years of its first and only appearance in the press.

How many brief stories could be published in the form of an advertisement about the millions of Latin American immigrants who have also travelled and will eternally continue to cross the Atlantic with the aim of fulfilling a dream? We no longer have to look to the South Pole as the destination. The new region is the world. “The great strength of Ernest Shackleton as Explorer resides in that, in the Gran Sur, all mundane worries completely disappear”.

Fernando PratsBarcelona, 2007

................................................................................................................................................................................................................................................The work of Fernando Prats is a literary “objet-trouvé”, recovered and reedited to transform the façade of a building into a discursive support. To begin with, an institution is clearly a sedentary discourse that engraves in the public imagery what one can expect from the use of the words “casa” and “américa”. The institution is covered by a text that comes from another culture, which operates as a collective expression of desire aimed at mobilising multitudes.

The 28 exhibited words represent the terms of a migratory manifesto that authorises forms of notional movement between different areas of the social consciousness. Expressed, conceived to exist in their spaces of origin, these 28 words are deported to intervene in spaces that they were not conceived for, producing effects of meaning that will change the ways of reproducing their existence. “La Casa de America” is transformed into the referential “house of art”, from where, in a parodical way, it is possible to define the “away from home” spaces where an artistic energy that seeks to remove itself from the social control models of vulnerable populations is invested. The luminous body of the letters condenses the ominous burden of their own shadows.

Justo Pastor MelladoArt critic, Santiago de ChileNovember of 2007.

 

 

 

 

 

 

 

 

 

 

08intc2009

2008. Yolanda de los Bueis (Cv)

BILBAO, 1967 LIVES AND WORKS IN: LONDON DIGITAL MOVING IMAGE ARTIST AND DESIGNERWWW.SPYOY.COMWORK EXPOSED IN MADRID ABIERTO: HIS ITV

EDUCATION2004·    MA in Digital Moving Image, London Metropolitan University. ·    Distinction. London, United Kingdom1992·    Postgraduate Diploma in Painting, St. Martins College of Art & Design, London, United Kingdom1990·    BA in Fine Arts, University of the Basque Country. UPV/EHU. Bilbao, Spain

AWARDS AND GRANTS2004·    Plastic Arts Subsidy from the Government of the Basque Country for the production and distribution of the short film “6 or 7 wot is its”. Spain

2002·    Subsidy from the Arts and Humanities Research Board of the United Kingdom and Plastic Arts Grant from the Regional Government of Vizcaya to study for an MA in  Digital Moving Image at the London Metropolitan University. United Kingdom

VIDEO FESTIVALS AND EXHIBITIONS2006·    Eggs side dish. Girona Film Festival, Spain and Halloween Shorts Film Festival in the ICA, London·    Los 60. Experimental animation short film (selection): Girona Film Festival and L'Alternativa Independent Film Festival of Barcelona, Spain; Encounters Short Film Festival. Bristol, Destricted Film Festival at the ICA, London, Portobello Film Festival, London, United Kingdom·    Launch of the book and DVD animate! at the Curzon cinema, London, United Kingdom, Curtas Vila do Conde Film Festival, Portugal, MadCat Women’s International Film Festival. San Francisco, USA and Videoformes, France

2004·    6 or 7 wot is its. Experimental animation short film (selection). Raindance East Film Festival, London, Halloween Shorts Film Festival at the ICA, London, United Kingdom, Edinburgh International Film Festival, Scotland·    Part of the specific installation in the Sala Rekalde, Bilbao, Rencontres Internationales Sciences et Cinémas. Marseille, France, ZEMOS’98, Sevilla, Spain, Curtocircuito, Santiago de Compostela, Spain, prog:ME Festival of Electronic Media, Rio de Janeiro, Brazil, Videolisboa International Festival, Portugal, Visionaria. Sienna, Italy, International Festival of Short Films (FIB). Benicassim, Valencia, Spain, Independents’ Film Festival, Florida, USA

FILM AWARDS2007·    LOS 60. Award Winner for Digital Effects at the Sidney Underground Film Festival, Australia·    Eggs side dish. Award Winner in the Independent Category of Experimental Film. Independents' Film Festival. Florida, USA·    His iTV. D 4 awarded. Montehermoso Cultural Centre, Vitoria, Spain

2004·    6 or 7 wot is its. Top 50 in the International Media Art Award 2004: invisible \\ art_science. Center for Art and Media in Karlsruhe (ZKM). Germany in collaboration with SWR, Swiss Television SF DRS and the Art Channel·    From 2000 to date she has executed different freelance design contracts for printing, web and DVD, 3D graphic art, digital moving image design and video editing, for corporate clients and design agencies.

1999 - 2000 ·    Sponsored by SONY Europe to produce baxka.com, a web travelog project with video features created the year I travelled round the world.

1996 - 1999 ·    Web designer in Dennis Publishing, Consumer magazines publishing house – the period I performed the project “Webcam en la oficina”. London.·    1995 - 2000 co-founder of the artistic association Reacción/Erreakzioa which I collaborated with in different Media and Art activities, including “fanzines y video–zines.”

1990 - 1995 ·    Painting exhibitions in different galleries, such as Alternative Art Galleries and The Mall Galleries in London.

1995 ·    Digital art exhibition and commission of CD Rom catalogue of the exhibition "Digital Art'95" in The Mall Galleries, London.

 

 

 

 

 

 

 

 

 

 

 

 

 

08autd2174

2008. Guillaume Ségur. WELCOME ON BOARD (published text)

 The installation has a double function: it is at once a public sculpture and a module for skateboarders to practice their sport. A gigantic Möbius strip (approximately 7 metres in diameter) is made of plywood and metal in the manner of skate park architecture. The materials from which the form is constructed suggest a ramp either for usage or as a recognisable object associated with skateboarding.

Welcome On Board is a ‘space prototype’ derived from the consideration of skateboarders in an urban environment. From this important relationship between an environment and a practice, the aim is to rework the effects of this confrontation to produce a new form. I consider the work a ‘space prototype’ in the sense that it materialises the effects of sliding people on an urban environment.

The challenge of this project is to produce a very specific object rather than a cultural “ready made” or a simple contextual displacement. The proposed object would have the multi function of public sculpture, visual tool and play space. The aim is to shift the idea of public sculpture from ‘monument’ to ‘motor’. The proposed architectural form becomes a vehicle for re appropriation, for a movement, for an action of the people on their surroundings. It aims to encourage the urban space to be interacted with in a new way: by turning it into a loop, by flipping it upside down, by deforming it in order to better grasp it.

It is impossible to interpret the town in its entirety, to imagine it as a whole. Because the town spreads, slips out of control each time one attempts to imagine it, it is necessary to consider the binding elements in order to grasp it as a single block. In public spaces, skaters start with a selection process. As Ian Borden states: “Skateboarders analyze architecture not for historical, symbolic or authorial content but for how surfaces present themselves as skateable surfaces”1. They fragment the architectural space into useful parts and produce continuity between the elements. It is the study of this decomposed urban space that this project focuses on. Through the sculpture I aim to give a form to the afore mentioned ‘binding elements’.

When I consider skateboarding in terms of the production of forms or spaces, it is the Möbius strip that comes to mind. Looping, twisting, inversion and continuous motion are all figures performed by the skater in the space surrounding him. The form is also of particular interest because it has often been utilised in public sculpture projects. It is one of the stereotypes of 1970s public sculpture. In this particular context, the work acts as a pattern, code, a recognisable symbol.

Similar to urban structures and architecture, public sculpture can be considered on a similar level to the elements in public spaces appropriated by the skateboarding genre. It offers new forms, spaces and surfaces to the skateboarders which in turn encourages the creation of new skateboarding figures. A series of superb examples can be seen in the work «Riding modern art” by Raphael Zarka which classifies the utilisation of public sculpture in skater videos

Skateboard Monument by Dan Graham or Skate Park by Peter Kogler are both works that re-utilise existing forms while celebrating the art of skateboarding. In Welcome on board the proposed module is conceived from skateboarding practice rather than with the intention of practice. The remaining challenge is whether it is in fact skateable.

1 A Performative Critique of the American City: the Urban Practice of Skateboarding, 1958-1998, Iain Borden

 

 

 

 

 

 

 

 

08intc2005

2008. Hong-Kai Wang. THE BROKEN ORCHESTRA

FORMAT: : MULTI-CHANNEL SOUND INSTALLATION / NEW YORK (USA) YEAR: 2007 PARTICIPATING MUSICIANS: JOSHUA CAMP- ACCORDION, ANDY COTTON- UPRIGHT BASS KATHLEEN EDWARDS- VIOLIN BEN GERSTEIN- TROMBONE MICHAEL HEARST- THEREMIN, KURT HOFFMAN- CLARINET BEN HOLMES- TRUMPET, MEG REICHARDT- BANJO PEI-YAO WANG- PIANO

 

Name Play Size Duration
Jungon
Yossi Banai

9.6 MB 8:53 min

 Arnold Schoenberg famously quipped, "My music is not really modern, just badly played." My piece, The Broken Orchestra, metamorphoses his complaint into a guiding principle, imposing a musical procedure designed to reduce the proficiency of professional musicians to a primitive state, in the interests of effecting musical discoveries.

A group of musicians on various instruments are asked individually to recreate the sounds found on an old cassette recording of Bach's Ave Maria as performed by my brother on violin and me on piano when we were youngsters living in Taiwan.

The original recording is characterized by its youthful performers' wobbliness, and a significant about of extra-musical ambience: my 3 year-old sister's giggling, my scolding of her, and so on. The participating musicians' personal memories might be summoned by having to imitate the childish quality and recall the times where they were still fumbling the instruments and learning what music could possibly mean to them. Their musical sensibilities might be challenged by having to respond to this universally known tune in this imperfect and distorted form.  As each re-creation is made, the musical qualities translate through each participant's memories and their own interpretation of a form of musical simplicity.

The result of the experimentation was originally a multi-channel sound installation consisting of the original recording layered with each re-recreation in separate speakers played back in loop. For Madrid Abierto, I made a stereo mix from the original format.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08sotb2074,  08sotc2091, 08sose2134

2008. Pedro Torres (Cv)

GLÓRIA DE DOURADOS, BRASIL, 1982 LIVES AND WORKS IN BARCELONAWWW.PEDROTORRES.NETWORK EXPOSED IN MADRID ABIERTO: RETHE

GRANTS2008 ·    Artists-in-residence. Culturia, Berlin, Germany2007 ·    Plastic arts grant for artistic production. Marcelino Botín Foundation, Santander, Spain2006 ·    Education grant for Specialisation Course on Preserving the Artistic Heritage and Use of New Technologies. Media Centre d’Art i Disseny (MECAD), Barcelona, Spain2005 ·    Education grant to participate in QUAM (Quinzena de Arte de Montesquiu), Vic, Barcelona, Spain

INDIVIDUAL EXHIBITIONS2007·    Yellow for waiting. Noó. Barcelona, Spain·    Still missing. Noó, Barcelona, Spain

COLLECTIVE EXHIBITIONS2007·    FIAV.07_Artistic Video Images Festival. Mihaud, France·    Optica: International VideoArt Festival of Gijón, Spain·    1st Índice VideoArt  Exhibition. Recife, Brazil·    SIART International Biennale. La Paz, Bolivia·    International VideoArt Festival 2007. Zona 9. Chile·    Os. Noó, Barcelona·    DIBA_Digital Barcelona Film Festival. Diba Express, Barcelona·    Festival Loop_Videoart. Barcelona

2006·    Sonorous intervention in installation Atelier 397. Sao Paulo, Brazil·    5th Sonorous and Visual Exhibition. Centre Cívic Convent de Sant Agustí, Barcelona, Spain·    La ilusión del pirata. Miquel Casablancas Prize. C.C. Sant Andreu, Barcelona, Spain

2005·    Centre Cívic Barceloneta, work installed on the roof (site-especific), Barcelona, Spain·    BAC VI! CCCB. International Contemporary Art Festival, Barcelona, Spain·    El temps: de la imatge a la paraula. Centre Cívic Can Baste, Barcelona, Spain·    El que sembla: la vista i la intuició. Centre Cívic Barceloneta, Barcelona, Spain·    Stripart. 10th Del Guinardó Young Art Exhibition. C.Cívic del Guinardó, Barcelona, Spain

2004·    I Salão Aberto – parallel to the 26th Sao Paulo International Biennale, Brazil

2003·    6th Photography Exhibition: Amantes da Fotografia. FAU-USP. Sao Paulo, Brazil·    1st. Salão de Arte de Itapecerica da Serra. Sao Paulo, Brazil

PUBLICATIONS·    Magazine ROJO. Publications Rita y Elen . Photographs of Barcelona, March/September, 2004·    Catalogue. BAC!05 La Violencia. La Santa, Barcelona, 2005

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08sotd2124

2008 / 2008.02.22. RN3. La Ciudad Invisible (Debashis Sinha)

Name Play Size Duration
La Ciudad Invisible, RN3. THE 16 OFFERINGS ARE MADE - Debashis Sinha
9.9 MB 10:51 min

 

 

 

 

 

 

 

08disb2248

2008. Anno Dijstra. RECOSNTRUCTION - PROPOSAL NR 7, 2005

2008. Anno Dijstra. RECOSNTRUCTION - PROPOSAL NR 7, 2005

  

    

RECOSNTRUCTION - PROPOSAL NR 7, 2005 Trinity site , Where the worlds first nuclear divice was exploded on july 16 1945 380 x 90 x 90 _plaster and wood.The work was made on the location, the citzens could see me work.

DISLOCATIONSTrinity Site, the American monument for the first ever atomic bomb tests has been carefully rebuilt in plaster and placed in a suburb of Ghent. A starving child from Ethiopia is cast in bronze and shows up in down town Madrid. Tourists like to have their picture taken in front of the touching sculpture with a compassionate look in their eyes. A polyester copy of the Vietnamese girl Kim Phuk stands for a while in a suburb of Hoorn before moving on to various locations throughout Gdansk. Another scale model of an atomic explosion cast in bronze is placed on a green in front of a block of 70’s flats in Haarlem.

The reactions by people living in the area and coincidental passers by to the dislocations are strikingly diverse. Some take pity on the naked Vietnamese girl by dressing her in cloths for the cold winter nights. Others just wonder; where have I seen this before? Some people are incensed by the sculpture, in others it summons up anger, why now? Why here? What gives the artist the right to confront me with this on my own doorstep? Exactly the same images that are haphazardly thrust into our living rooms (the personal domain) through the television set seem to be experienced as less invasive.

 

 

 

 

 

 

 

 

 

 

 

08inme1854

2008. Alicia Framis. ANTI_DOG, 2002-03

 

Como una táctica para la protesta innovadora, Anti_dog es una etiqueta de moda iniciada por Alicia Framis para levantar la conciencia en cuanto a la seguridad, la vulnerabilidad, la violencia y el racismo hacia las mujeres. Framis muestra a través de este proyecto artístico su preocupación por la seguridad personal en un mundo globalizado y se supone siempre vigilado. La artista describe su propia experiencia individual como la inspiración para dirigir cuestiones universales en una serie de funcionamiento comprendido a través de Europa.

Viviendo en Berlín, como una mujer inmigrante, Framis fue advertida contra el paseo por un área particular de la ciudad ocupada por cuadrillas racistas con perros agresivos. Anti_dog es una declaración contra la violencia hacia mujeres y un medio para dirigir cuestiones personales en un foro público.

Luego de una larga investigación ella y su equipo encontraron un nuevo tejido, adecuado para la realización de vestidos con los que ella quería vestir a diferentes mujeres: el Twaron: dorado, ignifugo, antibalas, y muy importante a prueba de mordidas de perro; una defensa contra las agresiones que padecen las mujeres maltratadas y las minoras.

En la colección Anti-dog, que formaba parte de un proyecto llamado La belleza vence a la Violencia, en el que participaron modistos de prestigio como Jean Paul Gaultier, Hussein Chalayan o el español David Delfín, así como escuelas de diseñadores de moda de diversas ciudades del continente europeo.

Anti_dog  ha sucedido como exposición, como una performance, como exposición y como un vídeo. Ha involucrado mujeres de cada ciudad que ha visitado como: Helsinsborg (2002), Ámsterdam, Madrid, Paris, Barcelona, Birmingham, Venecia (2003). En cada una de estas ciudades las mujeres exponían sus preocupaciones, y según éstas se iban diseñando nuevos vestidos con características que se adaptaban a la situación en cada contexto. Por ejemplo,  en Helsinsborg las mujeres demandaban mejor iluminación en ciertas zonas de la ciudad en las que le daba miedo transitar, dada la oscuridad y el nivel de peligrosidad, razón por la cual se diseñaron vestidos iluminados con neones  y bombillas; era la mujer la que iluminaba su propio camino. En Birmingham, las mujeres llevaron inmensos vestidos, que cubrían toda una plaza, y en los cuales llevaban bordadas frases registradas como “This is not your country” (este no es tu país), oraciones que estas mujeres detestaban escuchar y no deseaban seguir haciendolo. En Paris, la colección principalmente inspirada en los diseñadores famosos como Dior y Chanel, fue mostrada, siempre con un guiño irónico, en una pasarela dentro de la semana de la moda parisina.

Anti_dog  analiza ante todo la inutilidad de las medidas de seguridad  que hemos tomado para protegernos a nosotros mismos a nivel social. La incómoda vigilancia en espacios públicos que va en contra de  la libertad individual, y la auto encarcelación que nos confina encerrarnos en grandes edificios protegidos.

“Su trabajo nos hace conscientes del hecho que el camino por el cual protestamos contra la violencia y el racismo carecen de originalidad. La estética de manifestación parece no haber cambiado desde la primera vez que un grupo de la gente marchó a las calles para expresar su desacuerdo. Con su contribución, Framis hace el acto de protestar atractivo y poderoso al mismo tiempo”Lilet Breddel

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08intb3658

2008. Annamarie Ho + Inmi Lee (Cv)

ANNAMARIE HOSAN DIEGO, CALIFORNIA, USA, 1980LIVES AND WORKS IN NEW YORK WWW.ANNAMARIEHO.COM

INMI LEESEOUL, KOREA, 1979 LIVES AND WORKS IN KUTZTOWN, PENNSYLVANIA, USA; NEW YORK WWW.INMILEE.NET

WORK EXPOSED IN MADRID ABIERTO: LA GUERRA ES NUESTRA

ANNAMARIE HOEDUCATION2005·    MFA, Digital Media. Rhode Island School of Design, Providence, RI·    Sheridan Center for Teaching and Learning, Collegiate Teaching Certificate I. Brown University, Providence, RI2003·    BA, Interdisciplinary Studies. University of California at Berkeley, Berkeley, CA·    Minor, Industrial Engineering and Operations Research

EXHIBITIONS2007·    The Armory Show (under the auspices of Socrates Sculpture Park), Pier 94, New York, NY·    Festival of Women's Film and Media Arts, National Museum of Women in the Arts, Washington, DC·    ColLABorations, The Lab, New York, NY (curated by Peter Dudek)

2006·    Emerging Artist Fellowship Exhibition, Socrates Sculpture Park, Long Island City, NY·    Entrapment, Amelie A. Wallace Gallery, SUNY College at Old Westbury, Old Westbury, NY (curated by Hyewon Yi)

2005·    MFA Thesis Show, Rhode Island School of Design Museum, Providence, RI·    Other Nature, Boston Cyberarts Festival, Boston, MA·    Selected Graduate Works, Sol Koffler Gallery, Rhode Island School of Design, Providence, RI·    Concepts Translated, Sol Koffler Gallery, Rhode Island School of Design, Providence, RI

2004·    Visual AIDS: Postcards from the Edge, Brent Sikkema Gallery, New York, NY·    For Pleasure, Priska Juschka Fine Art, Brooklyn, NY (curated by Daniele Balice and Ryan Schneider)·    A La Carte, Pond Gallery, San Francisco, CA·    Under Construction, The Space at Alice, Providence, RI·    Digital Media Graduate Exhibition, Sol Koffler Gallery, Rhode Island School of Design, Providence, RI

2003·    Id/Entity: Portraiture in the 21st Century, SF Cameraworks, San Francisco, CA·    (curated by Christine Yang and Marisa S. Olson). Collaborative project with lead artist Ken Goldberg·    Rock the Projects, Pacific Film Archive, University of California at Berkeley, Berkeley, CA

2002·    Teleopolis, Exploratorium, San Francisco, CA. Collaborative project with lead artist Ken Goldberg

·    <http://www.boingboing.net/2006/09/19/annamarie_hos_beteln.html>, 19 September 2006

CURRENT EMPLOYMENT·    Studio Manager, Amann + Estabrook Conservation Associates, New York, NY·    Contributor, Mousse Magazine, Milan, Italy

 

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INMI LEEEDUCATION·    2005 MFA in Digital Media,  Rhode Island School of Design, Providence, RI·    2001 BFA in Visual Communication, The School of the Art Institute of Chicago, Chicago, IL

EXHIBITION2006·    Dual Realities, The 4th Seoul International Media Art Biennale (Media_City Seoul, 2006) Seoul Museum of Art, Seoul, Korea (curated by Yuko Hasegawa, Lev Manovich, Iris Mayr, Pi Li)·    Fragmented Show, ViaFiarini, Milan, Italy (curated by Anna Daneri, Roberto Pinto)·    Corso Aperto, ex Ticosa, Fondazione Antonio Ratti, Como (curated by Cesare Pietroiusti)·    Entrapment, Amelle Wallace Gallery, NY (curated by Hyewon Yi) 2005·    Pixilations V.2 (Firstworksprov Festival), a showcase of digital media and interactive·    performance, Providence, RI·    M.F.A. Thesis Show, RISD Museum, RI·    Other Nature, CyberArts Festival, Boston, MA·    d i s p l a c e, RISD Museum Site-specific Installation, Providence, RI (curated by Lisa Tung)

2004·    Sabara Sutra Sanja, Graduate Digital Media Show, Sol Koffler Gallery, Providence, RI

1998·    Conflict, KOFA( Korean Organization of Fine Arts in University of New South Wales),·    Sydney, Australia

AWARDS/GRANTS/RESIDENCIES2007·    Making a Difference Recognition, Kutztown University, PA 2006·    Fondazione Antonio Ratti, Como, Italy, Advanced Course in Visual Arts

2005·    Professional Development Grant, Kutztown University, PA·    RISD Museum, Rhode Island School of Design·    Grant Awarded in Juried Competition, Sitings·    d i s p l a c e, Selected for Installation Exhibition at the RISD Museum·    Installation Proposal "Exercise in Futility- Interactive Wallpaper" Selected as Finalist

2004·    Presidential Scholarship, Rhode Island School of Design, RI

2001·    Recognition of Leadership and Effort Award, Art Institute of Chicago, IL

BIBLIOGRAPHY·    "Dual Realities: The 4th Seoul International Media Art Biennale", Seoul Museum of Art, Seoul, Korea, 2006·    Chang-yong Yim, "When Technology Meets Art," Korea Daily, Seoul, Korea, October 26, 2006·    Aileen Jacobson, "Film hits high note in the Hamptons," Newsday, New York, October 15, 2006·    "Fragmented Book," Advanced Course in Visual Arts, Fondazione Antonio Ratti, Como, Italy, 2006·    Stewart Dearing, "'displace' takes innovative approach to study of immigrant identity,"·    The Brown Daily Herald, Providence, Rhode Island, April 8, 2005·    Chloe Malle, "Tune Falls Flat for Audio Poetry," The College Hill Independent, Providence, Rhode Island, April 7th, 2005

TEACHING EXPERIENCE·    2005, Assistant Professor in Art Education and Crafts Department, Kutztown University, PA

CONTRIBUTIONS·    2007, Mousse magazine, Milan, Italy. Contributor

 

 

 

 

 

 

 

 

08prtb1774, 08prtb1776

2008. Fernando Llanos. [VI VÍDEO] (published text)

[vi video] Mobile Videointerventions in specific urban contexts.

“Fernando Llanos is one of the most interesting experimental artists in contemporary Mexico. His work shifts between several territories and disciplines, including video, robotics, ciberart and performance.” Guillermo Goméz-Peña. Artist.

Videoman captures the collective subconscious precisely where culture and counterculture meet. The stage is the street, a laboratory where people make their way without noticing how they transform their environment and create new models of coexistence.

The artist makes us reflect on the type of conscious which can be generated by a society where the masses obstruct, uniform and ignore but nevertheless create certain voids where the human being can flow individually - voids employed by Llanos to change both our routine and our spaces.

His reflections are projected in video format in different, previously analysed points of the city. The ephemeral and mobile nature of the project involves the public through a closed-circuit system that records the reactions to this participative action defined by its creator as “urban acupuncture”.

The new intervention is projected in the junction of Paseo de la Castellana, Calle de Alcalá and Gran Vía and it is presented together with those presented in Casa de América in Brazil and Mexico.

www.fllanos.com/vi_video

 

 

 

 

 

 

 

 

 

 

 

 

08intc2000

2008. Mabi Revuelta (Cv)

BILBAO, 1967 LIVES AND WORKS IN BILBAO WWW.MABIREVUELTA.COMWORK EXPOSED IN MADRID ABIERTO: 4 HORAS Y 56 MINUTOS

Her work has recently been seen in different group exhibitions, in places like the Tallinn Art Hall in Estonia, the Museum Akureyri in Iceland and the Museum of Sex in New York. Her last two solo exhibitions took place in 2007 in the Montehermoso Cultural Centre, Vitoria-Gasteiz, and in the Museum Euskal Herria, Gernika, respectively. Since 2005, her work can be seen in the Internet site www.mabirevuelta.com

The work of Mabi Revuelta can be found in the following Museums and Collections: International Museum of Women, San Francisco, California; Foundation Marcelino Botín; ARTIUM, Basque Contemporary Art Centre-Museum; Museum of Navarra; Spanish Youth Institute; Regional Government of Vizcaya; Local Council of Muskiz; Regional Government of Segovia; Faculty of Fine Arts of the University of the Basque Country; Municipal Arts and Science Association of Balmaseda, and more recently, the Foundation BilbaoArte.

EDUCATION2006·    Workshop of Gil Shachar. Bilbaoarte2003·    International Studio & Curatorial Programme. New York, USA1996·    Sculpture workshop of Maria Luisa Fernandez. Arteleku, San Sebastián, Spain1994·    Painting workshop of Mitsuo Miura. Arteleku, San Sebastián, Spain1992-1990·    Third Cycle at the University of the Basque Country,1990.·    B.A. degree in Fine Arts from the University of the Basque Country

AWARDS AND GRANTS2008·    KREA Artistic Creation Grant. Caja Vital Kutxa. Vitoria, Spain

2005·    Artistic Creation Support Grant. Montehermoso Cultural Centre, Vitoria, Spain

2004·    Artists in residence Grant. Foundation Bilbaoarte, Bilbao, Spain

2002·    Plastic Arts Grant. Foundation Marcelino Botín. Artists-in-residence in the International Studio & Curatorial Programme. New York, USA

2001·    Audiovisual Creation Support Grant. Montehermoso Cultural Centre, Vitoria, Spain

1999·    Acquisition of work in the 2nd Navarra Sculpture Award. Museum of Navarra, Pamplona, Spain

1998·    Creation Grant. Foundation BBK, Vizcaya, Spain

1997·    Acquisition of work in the 1st Navarra Sculpture Award. Museum of Navarra, Pamplona, Spain

1996·    Young Art Fair. Youth Institute. Madrid, Spain

1994·    Ertibil-Bizkaia Plastic Arts Award. Acquisition of work by the Regional Government of Vizcaya, Spain

1993·    Plastic Arts Grant. Regional Government of Vizcaya, Spain

1992·    Artistic Creation Support Grant. Regional Government of Vizcaya, Spain·    First Prize at the 10th Painting Competition of the Local Council of Muskiz

1991·    Ertibil-Bizkaia Plastic Arts Award

1990·    El Paular Grant. Regional Government of Segovia and Faculty of Fine Arts of Bilbao, Spain·    Ertibil-Vizcaya Plastic Arts Award. Vizcaya, Spain

LATEST SOLO EXHIBITIONSExhibitions with available catalogue or publication2007·    Diamantes en bruto. Montehermoso Cultural Centre, Vitoria, Spain·    Los amantes ilusorios. Museum Euskal Herria, Guernica, Vizcaya, Spain

2005·    Los amantes ilusorios. UPV-EHU, BBK Etxea, Bilbao, Spain·    My Favorite Dress of Nothing. Bastero, Andoain, Vizcaya, Spain·    Bilbao 37, Valencia 633. Gallery Valle Ortí, Valencia. Exhibition with Txuspo Poyo. Valencia, Spain

2004·    The Unlikely Butterflies. PhotoEspaña. Gallery Raquel Ponce. Madrid, Spain

2002·    Pearls. Sala Juana Francés, Zaragoza, Spain·    Cream. Gallery Vanguardia, Bilbao, Spain

GROUP EXHIBITIONS (SELECTION)2007·    49th edition Zinebi International Film Festival, EBA Video Cycle. Museum of Fine Arts, Bilbao, Spain·    Extraños en el Paraíso. Contemporary Photography in the Basque Country. Cervantes Institute in Pekin, China·    Objeto de Réplica. ARTIUM, Basque Contemporary Art Centre-Museum, Vitoria, Spain·       TV Jam. Intervenciones TV. Montehermoso Cultural Centre, Vitoria, Spain·       ARCO 07. Gallery Raquel Ponce and Gallery Valle Ortí Madrid, Spain

2006    ·    Art Salamanca Fair. Gallery Raquel Ponce·    ¡Preparados!, ¡Listos! ¡Clic! Posturas, pose y disposición en la fotografía contemporánea. Santa Bárbara Castle, Alicante, Spain·    Circa Puerto Rico Art Fair. Gallery Espacio Líquido. Puerto Rico·    Dancing, Videomix programme, curated by Susana Blas. La Casa Encendida, Madrid, Spain·    ARCO 06. Gallery Raquel Ponce and Gallery Valle Ortí. Madrid, Spain

2005·    Sense in Place. Site-ations International, Europe 2005. Model & Niland Gallery, Sligo, Ireland·    Women of the World: a global collection of art. Contemporary Art Centre, New Orleans, USA·    Art Cologne. Gallery Vanguardia·    Art Forum Berlin. Gallery Vanguardia, Belin, Germany·    X Pamplona Plastic Arts Biennale. Sala Conde de Rodezno, Pamplona, Spain·    Valencia Art. Gallery Valle Ortí, Valencia, Spain·    ARCO 05. Gallery Vanguardia and Gallery Raquel Ponce Madrid, Spain·    Naturaleza muerta en el tiempo. Palacio de las Cigüeñas, Cáceres, Spain

2004·    Residentes. Bilbaoarte, Bilbao, Spain·    Itinerarios. Foundation Marcelino Botín, Santander, Spain·    Women of the World: a global collection of art. Tallinn Art Hall, Estonia; Akureyri Museum, Iceland; Gerdenburg Cultural Centre, Reykjavik; Cultural Centre, City of Athens, Greece·    Get off: Exploring the Pleasure Principle. Museum of Sex, New York, USA·    Rumbos. La colección III. ARTIUM, Basque Contemporary Art Centre-Museum, Vitoria, Spain·    ARCO 04, Madrid. Gallery Vanguardia

2003·    Open Studio Exhibition at ISCP, New York, USA·    Women of the World: a global collection of art. International Museum of Women, San Francisco; Mobile Museum, Alabama; Brenau University, Georgia. USA·    ARCO 03. Gallery Vanguardia. Madrid, Spain·    Adquisiciones recientes. ARTIUM, Basque Contemporary Art Centre-Museum, Vitoria, Spain·    Generación 2003. La Casa Encendida, Madrid·    La colección. ARTIUM, Basque Contemporary Art Centre-Museum, Vitoria, Spain

2002·    Proyecto espacios. Spanish Cultural Centre. San José, Costa Rica·    5+2. Spanish Cultural Centre. Havana, Cuba·    Women of the World. Women´s Art Gallery, Ohio; Museum of the Southwest, Texas. USA·    Placeres distintos. Los lunes de La Fábrica. Madrid, Spain·    VIDEOS XX: Femeninos, feminismos. PhotoEspaña. Casa de América, Madrid, Spain·    NewArt. llery Vanguardia Barcelona, Spain·    Navarra International Audiovisual Creation Festival, Pamplona, Spain·    ARCO 02. Gallery Vanguardia.Madrid, Spain·    II Contemporary Pottery Competition. Museum of Teruel, Spain

2001·    North by North, Contemporary videos. 4 floor gallery Islington Mill, Salford, United Kingdom·    Women of the World: a global collection of art. Volvo Gallery, Stockholm, Sweden·    University of Maryland; University of New England, Maine; Tucson Museum, Arizona, EEUU·    Leda vuela. Sala Rekalde, Bilbao; Montehermoso Cultural Centre, Vitoria, Spain·    Pornografía conceptual. Culture Centre of Abanto and Zierbena, Vizcayta, Spain

2000·    La Torre Herida por el Rayo. Guggenheim Museum. Bilbao, Spain

MISCELLANEOUS2007.·    Acquisition of the video A Day at the Races for the Consultation Collection of the Media Library of the Spanish Cultural Centre in Sao Paulo. Spanish International Co-operation Agency, AECI·    Collection of pins and safety pins for the designer Ion Fiz. Fashion show held at the Real Fábrica de Tapices. Pasarela Cibeles 07-Collection Spring-Summer 2008, Madrid·    Member of the jury in the project Intervenciones TV, of the Foundation Rodríguez

2006·    Co-imparted the videocreation workshop Amor y destino en el Puente Colgante, with Patricia Krug and Begoña Zubero. Foundation Troconiz-Santacoloma, Portugalete, Vizcaya, Spain·    Editing the video and Making off the videocreation workshop·    Editing the video Entrevistas: 50 segundos en vertical, of Txuspo Poyo·    Wardrobe and image for the campaign Gaztempresa. Caja Laboral. Bilbao, Spain·    Member of jury at the ArteZubiarte Installations Contest. Bilbao, Spain

2004·    Production design of the video 50 segundos en vertical, of Txuspo Poyo. Bilbao, Spain

2003·    Second camera unit in the video Stalker, Crossing Bridges of Txuspo Poyo. New York, USA

2001·    Collaboration in the short film 5 ganador of Aurea Martínez Fresno. 35 mm. Artistic Direction Team. Madrid, Spain

1998·    Collaboration in the dance piece Mejor haberla palmado. II New Basque Choreographers Show.  Teatro Victoria Eugenia in Donostia, Teatro Principal in Vitoria and Teatro Barakaldo

1995·    Co-ordination of Talleres Abiertos in Bilbao, with Pilar Fonseca and Sonia Rueda·    Project Lágrimas de sangre. Interventions of the artist in: Mexico City, Coyoacán, Puebla, San Miguel, Guanajuato, Pátzcuaro, Taxco, Oaxaca and San Juan Chamula. Mexico

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08autd2176

2008 / 2008.02.21. RN3. La Ciudad Invisible (Leopoldo Amigo)

Name Play Size Duration
La Ciudad Invisible, RN3. LA MADRE - Leopoldo Amigo
5.8 MB 6:17 min

 

 

 

 

 

 

 

 

 

 

 

 

08disb2247

2008. Anno Dijstra. FRESH FRUIT FOR THE PEOPLE, 2006

2008. Anno Dijstra. FRESH FRUIT FOR THE PEOPLE, 2006

 

FRESH FRUIT FOR THE PEOPLE, 2006Streched limousine _ fruit 2 hours

 

 

 

 

 

 

 

 

 

 

08inme1853

2008. Anno Dijstra. PROPOSAL NR. 19 + GIFT (published text)

 Obliged seeing

A witness of the famine in Ethiopia in 1984, 14 years old, I was watching television at home.

A memory of a scene seen on television. An image with which I am not directly related to, immaterial, elusive, without a location, floating through the air. I can’t go back to the place where the drama happened. The television in my living room is the location where it happened, but the television shows already other images and there is nothing in my living room that refers to the drama.

How free is watching without engaging? In other words, can a witness become guilty because of what he sees?

Dislocating

For Madrid Abierto I want to research a new angle of the reconstruction/proposal by investigating misplacement. The misplacement caused by the media. In this context, a well known media icon is moved outside his original context, from the television/internet of our living room to the public space. From the flat public space (tv) to the three-dimensional public space. By the conflict erasing from the misplacement, (I know this image, but what has it to do with this place?) the new situation reveals the viewer’s absurd position, the absurd situation of being witness in the global media age.

 

 

 

 

 

 

 

08intc1983

2008. Josh Goldman. LANGUAGE

FORMAT: CD / AIFFYEAR: 2003

 

Name Play Size Duration
Josh Goldman. LANGUAGE
8.9 MB 6:27 min

Language is a stereophonic sound structure composed for seven vocalists (none of whom are using their vocal cords).

Josh Goldman is a composer / improviser / guitarist / educator who resides in the United States. He composes / improvises / performs music, using acoustic and electronic sources, for various ensembles and settings. Much of his music combines sound and visual elements (film / video / various installation spaces).

His compositions and performances have been heard and awarded internationally. Mr. Goldman holds degrees from New England Conservatory of Music (BM in music performance) and Brooklyn College, CUNY (MM in music composition). Currently, he is pursuing a doctoral degree in music composition at the University of Cincinnati College-Conservatory of Music (CCM).

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08sotb2075, 08sotc2093, 08sose2136

2008. Patrick Courtney (Cv)

NORTH FERRIBY, EAST YORKSHIRE, UNITED KINGDOM, 1969LIVES AND WORKS IN LONDONWORK EXPOSED IN MADRID ABIERTO: HAIR+SPIT V1.0Patrick Courtney is currently based in Hackney, London, after recently returning to the UK after several years living in Lisbon, Portugal. He has since worked on various freelance projects including; The Big Chill House in Kings Cross, London, for Department of Design, a commission for a permanent LED work, ’60 Murders’ for the boardroom of Lisbon law firm Sternberg, Galamba & Portugal, installed in September 2006 and the exhibition of his sound piece, ‘The Choking Pot’, at Sociedade Guilherme Cossoul, Lisbon, in October-November 2006. In July 2007 he first presented ‘hair+spit.v1.0’ at the Bregenzer Kunstverein, Bregenz, Austria in the exhibition 4’33” after John Cage.

In Lisbon, Courtney was a lecturer and tutor in video at ETIC (Escola Técnica de Imagem e Communicação) 2003-06 developing Laboratorio experimental. He was commissioned in 2003 to create an interactive video & sound piece at the Igreja Santa Luzia, Lisbon, ‘Holy Trinitron (Voice of God)’, which after some controversy with the church authorities was subsequently cancelled in June 2004.

Previously Artist Project Coordinator for Vivid (Birmingham Centre for Media Art) in Birmingham, UK, 2000-02, developing the ‘hothaus’ media lab project for emerging artists, including co-curating Metapod 01 where he commissioned and presented Herwig Weiser’s electro-magnetic piece, zGodlocator, at IKON Gallery in 2001. He also taught Technology in Art & Design at UCE, Birmingham as an Invited Lecturer 2001-02.

From 1996 until 2000 Courtney was the Touring & Production Manager at Hull Time Based Arts, Kingston upon Hull, UK, and also between 1997-2000 was assistant & producer for Perry Hoberman, the New York based media artist, producing & presenting several of his works at European events such as DEAF, V2 Rotterdam, Mucsarnok, Budapest and Techni, Spazio Oberdan, Milan. These included Faraday’s Garden and System Maintenance, which won the interactive award at Ars Elecronica in 1999.

Courtney has also exhibited his own work, which usually although not exclusively focuses on his personal life; family, friends & lovers, including Galleria Ze de Bois, Lisbon – 2000 – Aston Villa (film); Stuttgart filmwinter, Stuttgart – 2002 – My Grandad; Perugia video festival, Perugia – 2002 – My Grandad. He has worked and collaborated with many artists and producers over the years including, Darryl Georgiou, Brian Duffy/Modified Toy Orchestra, Mike Stubbs, Sadie Plant, Evelyn Wilson, Harry Palmer…

He has recently being working for Birmingham Rep Theatre, Birmingham producing sets for several productions and developing the next phase of the hair+spit project: hair+spit (HOME HOM HOM HOW DO U LIKIT) with the curator Helen Sloan.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08sotd2122

2008 / 2008.02.20. RN3. La Ciudad Invisible (Avelino Sala + Dano)

Name Play Size Duration
La Ciudad Invisible, RN3. REFLEXION ESTETICA - Avelino Sala, Dano
5.1 MB 5:36 min

 

 

 

 

 

 

 

 

 

08disb2246

2008. Andreas Templin (Cv)

GUNZENHAUSEN, DEUTSCHLAND, 1975 LIVES AND WORKS IN BERLIN WWW.ANDREAS-TEMPLIN.BLOGSPOT.COMWEBSITE PROJECT MADRID ABIERTO: WW.WORLDENDSTODAY.WORDPRESS.COMWORK EXPOSED IN MADRID ABIERTO: HELL IS COMING/WORLD ENDS TODAY

WORK STATEMENTMy work is often built around mainstream idioms- formally, visually and contextually. It is acting from a post-productive atmosphere of art-production and attempts on impulsive use of wide ranging styles and gestures. Taking a creative-direction approach which implements all media and ways of expression (by principle) and is rather guided by a critical idea-based process with a rhetorical ending embedded in the finished artwork/ exhibition seems to me very interesting. It is, from a formal point of view in some tradition with conceptual art, but is also nurtured from “the idea of the perfect surface” as well as irony and humor becoming weapons in the artistic process. I am trying in my work to grasp into the domains of schizoidity, doubleness and irrationality, the shuffles and interplays these domains are able to stage, accompanied by a doubtfulness about methods and approaches that attempt to be very canonical by means of formal or contextual issues. In traditional means, the rhetorical issues have come to a dissociative end as we all know and experience. That, for instance there is always the possibility to swap sides by means of interpreting and re-interpreting facts in a discourse is a strange development. This is of course influencing the discourse happening in the visual arts as well. As I do not see the necessity for a work of art to take sides I “treat the content democrati-cally: there is a matter of interpretation, but the implemented domains are not being directed to a certain outcome - to reformulate issues from and out of an artistic viewpoint in the sense of a democratic blueprint is my foremost intention.

EDUCATION1997-99  ·    Study of Visual Art, Department of Free Direction, Gerrit Rietveld Academy  Amsterdam, The Netherlands 2006-8 ·    Sandberg Institute, Amsterdam, The Netherlands

EXHIBITIONS (selection)2008·    Evolution de l‘Art, groupshow, on immaterial art. Het Blauwe Huis, Amsterdam, The Netherlands·    Olympic OneMinutes, Today Art Museum, Bejijn, China·    Viewing CLub Nice, compiled by Andreas Templin, organized in cooperation with Heike Kelter and Axel Huber·    A couple of texts and critical wrinting (details on request)

2007·    Don't cry- Work!, Dublin, Republic of Ireland. Curated by Padraic Moore www.padraicmoore.4t.com ·    One & the other painting, W129/basement, Amsterdam, The Netherlands. Curated by Tim Chen Chuanxi·    De Ontdekking van de Traagheid, KW 14‘s Hertogenbosch, The Netherlands·    Rotterdam Architecture Biennale, Rotterdam, The Netherlands·    EGOART-prize, BASTART gallery, Bratislava, Slovakia·    Synch-Festival Athens, Greece www.synch.rg    ·    Mobile Institute, Brussels, Belgium·    Dertien Hectare Weiland, Heeswijk, The Netherlands www.dertienhectare.nl for details new text of Andreas Templin titled “Embedded Art” will be published with TEXT-REVUE, Berlin, Germany·    Group exhibition at Chinese- European artcenter Xiamen, China·    Preview Berlin, represented by Curators without borders Berlin, Germany·    “C.A.R.L. Center for the Advancement of Recreation and Leisure“, Eric van Robertson‘s soloshow,  W139 Amsterdam, guest-artist: Andreas Templin

2006 ·    VC “Viewing Club”, London, GB·    Schwarzwaldinstitut, an interdisciplinary project night curated by Martin G. Schmid, Ballhaus Ost theatre, Berlin, Germany·    Andreas Templin plays Bach presented by maksverlag/München, evenings held in Stuttgart and Tübingen·    Luminale 06, Frankfurt, Main Germany, in cooperation with LIC Hamburg and Heinrich Fiedeler Wiesbaden·    Andreas Templin, selected videoworks, 00130gallery, Helsinki Video Library, Helsinki, Finland 00130gallery-video-art.blogs.fi·    PixelDance Festival, Thessaloniki, Greece www.pixeldance.gr·    crashed satellite,  winner of Concours Belluard Bollwerk International, ·    Fribourg CH, with the kind support of the Fondation Nestlé pour l’Art and Canton Fribourg www.belluard.ch·    Viewing Club 6 Berlin, Lovelite, Berlin, Germany www.viewingclub.org·    Festival Summertime, Lyon, France www.asso-summertime.com·    PARKGEWUSEL, Machfeld, International Arts and Culture Society, Venna, Austria www.machfeld.net/studio/parkgewusel·    European Biennale of Contemporary Art, Nimes, France, www.lemanif.org·    Fair play video-price. Play gallery for still and motion pictures, Berlin, Germany www.pushthebuttonplay.com·    Crashed satellite, Kunsthalle Interazioni, Locarno, CH, on the occasion of the International Film Festival www.interazioni.ch·    Impakt Festival Utrecht, Centraal Museum Utrecht, NL www.impakt.nl·    solo-presentation on the occasion of Artforum, Berlin, Germany www.victoriabar.de·    VC 8, in cooperation with Kunstverein Bonn, Germany, details www.bonner-kunstverein.de·    Andreas Templin wins international competition for the realisation of a land-art piece combined with a residency at Paradise International Art Center Iran, In cooperation with Museum of Contemporary Art Teheran www.wwwebart.com/riverart/paradise (on hold)·    Dogville, Helsinki City Town Hall Gallery, Helsinki, Fi. Curated by 00130 gallery·    Fringe Shanghai www.fringeshanghai.com·    Andreas Templin in residence at Pilotprojekt Gropiusstadt, Berlin, Germany www.pilotprojekt-gropiusstadt.de·    TheOneMinutes Festival, Ketelhuis Amsterdam, The Netherlands www.theoneminutes.org·    “Viewing Club 9”, Secession Wichtelgasse, Vienna, Austria·    Benfit-auction for Ballhaus-Ost, Kunsthaus Lempertz Berlin, preview exhibition ·    at Lempertz Berlin www.ballhaus-ost.de, www.lempertz.com

2005·    Jianghu Mobile Video, Kumming, Yunnan Province, China www.lijiangstudio.org ·    Monument for Donatella Versace and the 20th Century on visit in the 21st on show at ·    Version >05 "Invincible Desire" and in conjunction with "Art in the Park/Art Chicago", Chicago, USA www.versionfest.com·    Screening of videoworks, Artists Television Access, San Fransisco, USA www.atasite.org·    Stormscene, an installative work for the public space comissioned by the City Council of Nuremberg, Germany·    ASSO Summertime, Lyon, France www.asso-summertime.com·    Rencontres Internationales de la Photographie, Arles, France ·    Bayennale, Bay Area International  Exhibition, San Fransisco, USA www.bayennale.com·    MAGISTRALE, Berlin, Germany www.magistrale-kulturnacht.de·    Safia Dickersbach (pr-director artfacts.net) presents Andreas Templins Monument for Donatella Versace, Berlin, Germany·    FIELD OF VISION: EXTREMES, Institute for New Media, Frankfurt, Main, Germany·    Artists at Viewing Club, an international groupshow with emerging and established ·    artists, London, GB www.viewingclub.org·    RE-ESCAPE, an international groupshow with emerging and established ·    artists, Hamburg, Germany www.re-escape.com

2004·    Peace team, Atelier asphyxia/ juliettes literatursalon Berlin (single)

2003·    Junge Kunst, Kunstverein Trier (group/website)

2002·    Rush, Wiensowski&Harbord, Berlin (single)·    A Haunted House of Art, Outline-Institute Amsterdam, on invitation of Gabriel Lester (group/ website)·    Junge Kunst 2002, Wilhelm-Hack Museum Ludwigshafen (group/catalogue)·    Kunstraum Günter Braunsberg, Fürth, curated by Günter Braunsberg, Neues Museum Nürnberg (single/ website)

2001·    Prix Nouvelles Images, Galerie Nouvelle Images, Den Haag, (group, on invitation of Jonas Ohlson)·    Reich und berühmt -festival, Podewil Berlin, former Staatsbank of GDR (group/catalogue)·    Visions on the day of German Reunion, participation in competition·    Landesverband Berliner Galerien e.V/ Partner für Berlin (group/ auction Ketterer)

2000·    Exhibition-project M.A.I.S. (www.mais-de.de) Cologne (group/website)

1999·    Swimming tapes, videoart- broadcast PARK4DTV (www.park.nl) Amsterdam, Ber-lin, Rotterdam

1998·    Gruesse aus dem Fernsehland, gallery berlintokyo Berlin (single)

GRANTS, PRICES AND RESIDENTS2007 ·    Winner EGOART-prize 2006, Bratislava/SLO

2006 ·    Winner Concours Belluard Bollwerk International, Fribourg, CH·    Winner international competition for the realisation of a land-art piece combined with a residency at Paradise International Art Center Iran, In cooperation with Museum of Contemporary Art Teheran ·    Residency at Pilotprojekt Gropiusstadt, Berlin, Germany

2005·    Travel-grant, Version Festival Chicago/USA, Senate of the City Berlin

ACTIVITIES/ PUBLICATIONS/ RECENSIONS2007 ·    Guest-docent at Post-St.Joost Academie, s‘Hertogensbosch·    Exhibition catalogue “Don‘t Cry- Work!“ with an essay by Padraic Moore yearbook Pilotprojekt Gropiusstadt, with a text by Andreas Templin·    Catalogue synch festival Athens, with a text by Alexandra Landre·    Docent for OneMinutes Foundation at European Youth Meeting Berlin·    “Andreas Templin wins EGOART-prize“, Slovak Spectator, June

2006·    Docent for UNICEF, workshop in Ruhr-area of Germany·    Berlin Art Info, magazine for contemporaray art Berlin November, “Heißer Herbst“ by Christian Anslinger·    “crashed satellite“, La Liberté, CH, Freiburger Nachrichten, “Der Bund“, June·    “If you die in your dreams your life will be free of worries“, Adnoten zu Arbeiten Andreas Templins, published on the occasion of Kunsthalle Interazioni Locarno·    European Biennale of Contemporary Art (catalogue+ CD-ROM)

2005·    “second – hand experience”, Dr. Andreas L. Hofbauer, complementary publication to stormscene, Cultural Council of the City of Nuremberg·    “Monument for Donatella Versace”, Chicago Reader, Chicago USA, Lumpen, Chicago·    “stormscene”, Nürnberger Nachrichten, May;  Bild, May; Woman, July; Sergej, May; Plärrer, May

2004·    “Endless downloads into the wooden lab“ Andrew Cannon, curator Mr Cannon Pro-jekts Berlin

2003·    Andreas Templins digitales Werk, Dr. Paolo Sanvito, art-historian and curator Rome; Berlin, Virtual Library www.vl-museen.de·    Featured artworks, magazine ph, issue 2, Russian National Center of Contemporary Art, Kaliningrad, Russian Federation

2002·    “Tagestipp”, cultural pages, Der Tagesspiegel, Berlin, February ·    Rheinpfalz; Saarbrücker Zeitung; Leo; September·    Brigitte Werneburg for die Tageszeitung, Berlin, February ·    Günter Braunsberg, art-historian MA, Neues Museum Nürnberg ·    Catalogue Junge Kunst 2002, Wilhelm-Hack Museum Ludwigshafen

1999-2000·    Lectures on contemporary culture, free docent, Filosofisch Fakultaeit in collaboration with Robin Brouwer, University of Amsterdam

1998-99·    Development and realisation of contemporary art- and exhibition project  bUG·    (www.dds.nl/bugsite) in cooperation with Sonja Beijering und Sebastiaan Duong

1998·    Development and realisation of nomadic dialogues (serie of interdisciplinary dialogues on contemporary culture) in cooperation with HTV de Yjsberg, University of Amsterdam and S. Beijering, Amsterdam

 

 

 

 

 

 

 

08prtb1772

2008. Dier + Noaz. ESTADO DE EXCEPCIÓN (published text)

 Throughout Europe and the rest of the world, the most conservative political tendencies are re-emerging as part of an attempt to provide answers to a complex world through increasingly simple solutions.

According to the European Forum For Urban Safety, Spain is the European country with more police officers per inhabitant, with 486 for every 100.000 inhabitants. Spain also has the highest rate of prison inmates in Europe, 140 for every 100.000 inhabitants, according to the General Directorate for Penitentiary Institutions (June 2006).

Although the crime figures have not experienced a relevant increase, we are constantly faced with news of local authorities demanding tougher sanctions and more police officers. This request is a constant factor in Madrid, no doubt, to respond to an increasingly frightened society.

To what extent can security and fear be transmitted at the same time? The Paseo de Recoletos is a perfect place to reflect on this, given that, as a result of tourism, it is one of the safest places in Madrid.

We seek to generate a sensation of a maximum security response against an unknown threat by installing a (fake) military check point with signs warning people to be on the alert.

We hope that this initiative will encourage the public, regardless of their political ideology, to reflect on the deterioration that our environment may suffer as a result of an escalation of violence and security.

 

 

 

 

 

 

 

 

08intc1979

2008. Patrick Courtney (Cv)

NORTH FERRIBY, EAST YORKSHIRE, UNITED KINGDOM, 1969VIVE Y TRABAJA EN LONDONHAIR+SPIT V1.0OBRA EN MADRID ABIERTO: HAIR+SPIT V1.0Patrick Courtney reside actualmente en Hackney, Londres, después de haber regresado recientemente al Reino Unido tras varios años viviendo en Lisboa, Portugal. Desde entonces ha trabajado en varios proyectos por cuenta propia, incluyendo The Big Chill House en Kings Cross, Londres, para el Department of Design, un encargo para un trabajo LED permanente, ’60 Murders’ para la sala de juntas del gabinete jurídico ,Sternberg, Galamba & Portugal, instalado en Septiembre 2006 y la exposición de su obra de sonido, ‘The Choking Pot’, en la Sociedade Guilherme Cossoul, Lisboa, en Octubre-Noviembre de 2006. En Julio de 2007 presentó por primera vez ‘hair+spit.v1.0’ en el Bregenzer Kunstverein, Bregenz, Austria en la exposición 4’33” después de John Cage.

En Lisboa, Courtney fue profesor y tutor de video en ETIC (Escola Técnica de Imagem e Communicação) 2003-06 creando el Laboratorio experimental. En 2003 recibió el encargo de crear una obra interactiva de sonido y video en Igreja Santa Luzia, Lisboa, ‘Holy Trinitron (Voice of God)’, que después de cierta controversia con las autoridades eclesiásticas fue posteriormente cancelada en Junio de 2004.

Previamente, fue Coordinador de Proyecto de Artista para Vivid (Birmingham Centre for Media Art) en Birmingham, UK, 2000-02, elaborando el ‘hothaus’, proyecto de laboratorio de medios para artistas emergentes, incluyendo su colaboración en Metapod 01 donde dirigió y presentó la obra electromagnética de Herwig Weiser, zGodlocator, en la IKON Gallery en 2001. También enseñó Tecnología en el Arte y el Diseño en UCE, Birmingham como profesor invitado en 2001-02.

Desde 1996 hasta el 2000, Courtney fue el Director de Gira y Producción en Hull Time Based Arts, Kingston upon Hull, UK, y también entre 1997-2000 fue asistente y productor de Perry Hoberman, el artista de medios afincado en Nueva York, produciendo y presentando algunos de sus trabajos en eventos europeos como DEAF, V2 Rotterdam, Mucsarnok, Budapest y Techni, Spazio Oberdan, Milán. Éstos incluyen Faraday’s Garden y System Maintenance, los cuales ganaron el premio interactivo en el Ars Elecronica en 1999.

Courtney también ha expuesto su propio trabajo, que normalmente aunque no de forma exclusiva, se enfoca en su vida personal: familia, amigos y amantes, incluyendo la Galleria Ze de Bois, Lisboa – 2000 – Aston Villa (film); Stuttgart filmwinter, Stuttgart – 2002 – My Grandad; festival de video de Perugia, Perugia – 2002 – My Grandad. Ha trabajado y colaborado con muchos artistas y productores durante muchos años, incluyendo a Darryl Georgiou, Brian Duffy/Modified Toy Orchestra, Mike Stubbs, Sadie Plant, Evelyn Wilson, Harry Palmer…

Recientemente ha trabajado para el Birmingham Rep Theatre, Birmingham, creando decorados para varias producciones y desarrollando la siguiente fase del proyecto hair+spit (HOME HOM HOM HOW DO U LIKIT) con la directora Helen Sloan.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08sotd2121

2008. Andrew Senior (Cv)

STOKE-ON-TRENT, UNITED KINGDOM, 1968 LIVES AND WORKS IN NEW YORK A NEW YORK BASEDF, BRITISH VISUAL ARTIST WORKING IN NEW MEDIA, LANDSCAPE ART AND WELDED STEELWWW.ANDREWSENIOR.COMWORK EXPOSED IN MADRID ABIERTO: PUBLIC INANITY + PRIVATE INSANITY-24 HOURS

EDUCATION2002·    Visiting Artist, sculpture, SUNY Purchase, NY, USA·    Drawing, Art Students', League, NY, USA2001·    Direct Metal Sculpture, Satate University of New York, Purchase, USA1999·    Sculpture, Educational Alliance, NY, USA1998·    Sculpture Silvermine Guild Arts Center, CT, USA1994·    MA, PhD, Trinity Hall, Cambridge University, UK1987·    Apprenticeship in metalwork, Ferranti Ltd. Manchester, England

RECENT AND FORTHCOMING EXHIBITIONS2008·    Solo Show. Peekskill, Multimedia category, Madrid, Spain

2007·    Intervenciones tv. Fundación Rodríguez. Vitoria, Spain·    Touching Art Touching You. Boundless Festival. London, UK·    Selección III Muestra Monográfica de Media Art. Manizales, Colombia

2006·    Sense & Sensuality. Blind Art Exhibition Bankside Gallery. London, UK·    New Impresions. MT. Pleasant Library. Pleasentville, NY, USA·    56th Art of the North East. Silvermine Guild Arts Center, CT·    Westchester Biennial, The Castle Gallery. College of New Rochelle, NY, USA·    Intervenciones tv (on-line). Fundación Rodríguez, Vitoria, Spain

2005·    Original Elements. Installation Winter solstice exhibition. Exchange Gallery. White Plains, NY, USA

2004·    ACM Multimedia Interactive Art Exhibition, Macy Gallery, Columbia University, NY, USA·    Stay tuned: Hypnotic Videos by contemporary artists. The Studio Gallery. Arkmond, NY, USA·    55th Art of the North East. Silvermine Guilde Arts Center, CT·    Outsize/in. Artist-Curator. Landscape installation White Plains. NY, USA·    Westchester Biennial. The Castle Gallery. The College of New Rochelle. Westchester, NY, USA·    New Impressions. MT. Pleasant Library. Pleasantville, NY, USA

2003·    The Science of Art. IBM Research Center. Westchester, NY, USA·    Expace Projects Video Screening at the Knitting Factory, New York, NY, USA·    Sense of Place. F-Stop Magazine (on-line)·    Loop 3Jay group show. Said Business School, Oxford, UK

2002·    The Human Presence: Interpretations. The Arts Exchange, White Plains, NY, USA·    Multimedia works, 3Jay invited show. Exchange Gallery. Oxford, UK

2001·    New Impressions. MT Pleasant Library. Pleasentville, NY, USA

2000·    Oxford Arts Weeks Christchurch Art Room. Oxford, Uk·    "Even 20: STAGE by Emerging Artists" at SoHa. Manhattan, NY, USA

1999·    Williamsburg Art & Historical Center, Fall Show. Brooklyn, NY, USA·    Brooklyn waterfront Artist Coalition Pier Show 7, Brooklyn, NY, USA·    Oxford Art Weeks. Christchurch Art Room. Oxford, UK·    Mixed Media Show. MT Pleasant Library, Pleasentville, NY, USA

1998·    Electric Showroom. Abingdon, UK

AWARDS, SHOWS CRATED, SELECTED PUBLICATIONS, PRESENTATIONS2008·    Presentation Artificial Life Projects, dorkbot, NYC

2007·    Invited speaker, Art Education for the Blind teleconference, NY, USA·    Technical program committee member ACM multimedia Interactive Art Program

2006·    Purchase Prize, Blind Art Foundation permanent collection. London, UK·    Presenter: "Computer Vision for Artists" Workshop at ISEA/ZeroOne San José·    Presence/Absence: The 2005 ACM Multimedia Interactive Art Exhibition Andrew Senior, Alejandro Jaimes, Wolfgang Muench. IEE Multimedia pp. 9-1. vol.13, nº1·    Technical Program committee member ACM multimedia interactive Art Program

2005·    Special mention "Vida8.0" art/artificial life international competition. Spain·    Co-curator "Presence/Absence" exhibition. LaSalle SIA college. Singapore·    Co-chair 2005 Association for Computing Machinery Multimedia Art Program·    ACM Multimedia Interactive Art Program: An introduction to the Presence/Absence exhibition. In proceedings ACM Multimedia 2005

2004·    Artist-curator "Outsize/In" landscape exhibition. The arts exchange, White Plains, NY·    Analogue to digital via digital analogues and digital digital images. Presentation at dorkbot new media group, NYC·    Shibboleth: Exploring cultural boundaries in speech. In proceedings ACM Multimedia 2004·    Technical program committee member ACM Multimedia Interactive Program

2003·    Reviewer, SIGGRAPH

2002·    Shamasism, Shinto and Buddhism: travel syncretistic Japan. The Sierra Club, NY, USA

2001·    The Karakoram Highway/Man & Rock in the Shimshal Valley. The Sierra Club. NY, USA

2000·    Virtual Garden. A vision-based multimedia technologist, in proc. ACM MM workshop LA, USA

REVIEWS·    Gary O'Donohue. "In Touch". BBC Radio 4. 2006·    Kate Agnew and Jim Merret "Critic's Choice". 2006·    Georgette Gouveia, "The Journal New York times". 11th June 2006·    Education Guardia, UK. 24th January 2006·    Benjamin Genocchio. "The New York Times". 1st January 2006·    Vida 8.0. Fundación Telefónica. DVD, Spain, 2005·    William Zimmer. "The New York Times" 23th May 2004·    Alejandro Jaimes and Pamela Jennings in proc. Introduction to the digital Boundaries Exhibition. "ACM Multimedia Interactive Art Program". 2004·    ACM Multimedia. Ocober 2004·    Georgette Gouveia. "The Journal News", NY, Usa. 24th April 2004

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08autd2178

2008. Anno Dijstra. BEGGARS, 2001

2008. Anno Dijstra. BEGGARS, 2001

 

BEGGARS, 2001Three identical beggars are begging Performance

 

 

 

 

 

 

 

 

 

 

 

 

 

08aama1851

2008 / 2008.02.19. RN3. La Ciudad Invisible (Gregory Büttner)

Name Play Size Duration
La Ciudad Invisible, RN3. WALZE - Gregory Buttner
5.7 MB 6:10 min

 

 

 

 

 

 

 

 

 

 

08disb2245

2008. Anno Dijstra. DISLOCATIONS

2008. Anno Dijstra. DISLOCATIONS

 Trinity Site, the American monument for the first ever atomic bomb tests has been carefully rebuilt in plaster and placed in a suburb of Ghent. A starving child from Ethiopia is cast in bronze and shows up in down town Madrid. Tourists like to have their picture taken in front of the touching sculpture with a compassionate look in their eyes. A polyester copy of the Vietnamese girl Kim Phuk stands for a while in a suburb of Hoorn before moving on to various locations throughout Gdansk. Another scale model of an atomic explosion cast in bronze is placed on a green in front of a block of 70’s flats in Haarlem.

The reactions by people living in the area and coincidental passers by to the dislocations are strikingly diverse. Some take pity on the naked Vietnamese girl by dressing her in cloths for the cold winter nights. Others just wonder; where have I seen this before? Some people are incensed by the sculpture, in others it summons up anger, why now? Why here? What gives the artist the right to confront me with this on my own doorstep? Exactly the same images that are haphazardly thrust into our living rooms (the personal domain) through the television set seem to be experienced as less invasive.

 

PROPOSAL Nr 17, 2007Site specific160x110x60cm _ polyester/cement

 

 

VOORSTEL 22, 2009Locatie projectSite Specific 130 x 80 cm _brons

 

RECONSTRUCTION – PROPOSAL NR 7, 2005Trinity site, Where the worlds first nuclear divice was exploded on july 16 1945 380 x 90 x 90 _ plaster and woodThe work was made on the location, the citzens could see me work

 

 

 

 

 

 

 

08inme1850

2008. Leopoldo Amigo. LA MADRE

FORMAT: WAV 44.100 HZ. / 16 BITS

 

Name Play Size Duration
01. Track 01
7.2 MB 5:14 min

The timbre of the voice, its breaking, fragmentation, hidden melodies, internal life and, once again, the voice.

 Constructed using a recorded text, subsequently processed with proliferation and granular synthesis systems to obtain timbre textures and polyphonies.

All the sounds that intervene in the work have been obtained from processing the voice recording which, in turn, appears in the work as a linear discourse.

The tensions between the recited text and the manipulated text establish an agonising and direct relationship between the literary image, the verbal message and the timbre play that engulfs it. From a sonorous point of view, it is all destroyed and reconstructed, just as it happens in the textual message.

 

 

 

 

 

 

 

 

 

 

 

08sotb2076, 08sotc2095,  08sose2137

2008. Leopoldo Amigo (Cv)

CUENCA, ESPAÑA, 1956 LIVES AND WORKS IN: VALENCIA, ESPAÑAWWW.MARIANTONIETA.COMWORK EXPOSED IN MADRID ABIERTO: LA MADRE

Sound workshops lecturer at the Department of Fine Arts of the Polytechnic University of Valencia, the Polytechnic University of Cartagena, the University of Castilla la Mancha and the Valencia General Society of Authors. Lecturer at the Electroacoustics Laboratory of the Higher Music College of Valencia.

Guest researcher at the Northwestern University of Chicago, Illinois. Technical Director and founder of the Gabinete de Música Electroacústica de Cuenca.

He has composed music for the exhibitions and installations of many plastic artists, namely, Miguel Molina, Emilio Martínez, Vicente Ortiz, Mau Monleon, Monique Bastiaan, Amparo Carbonell, etc.He has been technical assistant of numerous composers at the Electroacoustics Music Laboratory of Cueca, namely, Horacio Vaggione, Luis de Plablo, Jose Manuel Berenguer, José Manuel López, Eduardo Polonio, Lejaren Hiller, etc.

As a composer, he has composed more than 100 pieces for different instrumental set ups and groups, always with the intervention of electronic and electroacoustics generation processes and sounds.

Ciber@rt. (Espacio Cultural El Tanque, Santa Cruz de Tenerife, 20-03-1999)

Selected in 1998 as Spanish representative at UNESCO’s International Rostrum of Composers.Selected in 2006 by Radio Nacional de España, radio Clásica, as Spanish representative for the event Cumpleaños del Arte

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08sotd2120

2008 / 2008.02.18. RN3. La Ciudad Invisible (Hong-Kai Wang)

Name Play Size Duration
La Ciudad Invisible, RN3. THE BROKEN ORCHESTRA - Hong-Kai Wang
9.3 MB 10:08 min

 

 

 

 

 

08disb2244

2008. Alicia Framis + Michael Lin (Cv)

ALICIA FRAMIS MATARÓ, BARCELONA, 1967 LIVES AND WORKS IN SHANGHAI WWW.ALICIAFRAMIS.COM

MICHAEL LIN TOKYO, JAPAN, 1964 LIVES AND WORKS AMONG BRUXELLES, SHANGHAI, TAIPEI

WORK EXPOSED IN MADRID ABIERTO: NOT FOR SALE/NO SE VENDE

 

ALICIA FRAMIS MATARÓEDUCATION·    Fine Arts degree from the Faculty of Sant Jordi, Universidad de Barcelona and Ecole de Beaux Arts, Paris·    Post-graduate course at Institut d'Hautes Etudes, Paris.·    Post-graduate course at Rijksakademie van beelde Kunstende, Amsterdam·    Currently works as Concept Director at MOCA (Museum of Contemporary Art)  Shanghai, under the management of Samuel Kung.

INDIVIDUAL EXHIBITIONS2007·    Desde China con amor, Galería Horach Moya, Palma de Mallorca·    From China with Love, Annet Gelink Gallery, Amsterdam, The Netherlands·    Alicia Framis, PYO Gallery, Seoul, Korea·    Alicia Framis, PYO Gallery, Beijing, China·    CHINA *****, Zendai Museum, Shanghai, China

2006·    Shanghai Duolun Museum of Modern Art, Shanghai, China·    Acciones secretas, Galería Helga de Alvear, Madrid, Spain·    Alicia Framis. Secret Strike, Mireille Mosler, Ltd, New York, USA·    Secret Strike. Archivo momentos, Centro Galego de Arte Contemporáneo·    CGAC, Santiago de Compostela, Spain·    Partages, Musée d'Art Contemporain de Bordeaux CACP, Bordeaux, France

COLLECTIVE EXHIBITIONS2007·    Rightfully Yours, Justina M. Barnicke Gallery University of Toronto, Canada ·    Wouldn't it be nice... wishful thinking in art and design, Centre d'Art Contemporain de Genève, Geneva·    Pensa-Piensa-Think, Centro de Arte Santa Mónica, Barcelona·    Artist Pension Trust, Today Art Museum, Beijing, China, organiser: Dan Cameron·    Montevideo program: Acciona, Observatori-festival, Valencia, Spain·    After the News, BankART1929, Yokohama, Japan·    MOCA Museum, Shanghai, China·    Entreprise du lieu, Pommery, Reims, France, organiser: Daniel Buren

2006·    Big City Lab, Art Forum Berlin, Berlin, organiser: Friederike Nymphius·    On Mobility, CAC, Vilnius, Lithuania·    59º Festival Internazionale del Film Locarno, Locarno, Switzerland ·    Dresscode, Historisches und Voelkerkundemuseum (Borrower), St. Gallen, Switzerland·    Femmes d'Europe, Saint Tropez, France·    Alicia Framis. 8 de junio, las modelos libran. A Life in a Bag, Loewe 160 Years Anniversary, Círculo de Bellas Artes, Madrid, Spain·    Fusión: Aspectos de la Cultura Asiática en la Colección MUSAC, MUSAC, León·    INVIDEO, Milan, Italy·    Victime de la mode-Fashion Victim, CRAC, Alsace, France·    FASHIONS, Center of Contemporary Art in Leipzig, Germany·    Secret Strike Tate Modern, Art Unlimited, Art 38 Basel, Basel, Switzerland

PROJECTS 2008·    Not  For Sale, Rio de Janeiro, Brazil ·    Nenes Amb Sort, Barcelona, Spain·    Secret Strikes Rockeffeler Center, New York, USA·    Woman Solo Shop, London, England

 

..................................................................................................................................................................................................................................................MICHAEL LIN TOKYOEDUCATION1993·    MFA College of Design, Pasadena, USA.1990·    BFA Parsons School of Design, Los Angeles, USA.

SOLO EXHIBITIONS2007·    Nogueras Blanchard, Barcelona, Spain

2006·    Eslite Gallery-Taipei, Taiwan

2005·    Nogueras Blanchard, Barcelona, Spain·    Kunsthalle Wien, Vienna, Austria·    O2 ART 2, The Contemporary Museum, Honolulu, Hawai, USA.

2004·    Eslite Gallery-Taipei, Taiwan·    Asian Art Museum, San Francisco, USA.·    Contemporary Art Museum St. Louis, USA.·    PS1 Contemporary Art Center-Long Island City, USA.

2003·    Palais de Tokyo, Site de Creation Contemporaine, Paris·    Moroso Showroom, Milan·    Galerie Urs Meile, Lucerne, Switzerland

2002·    Galerie Tanit, Munich, Germany·    Den Hagg, City Hall, Stroom, The Hague, The Netherlands·    Galerie Ghislaine Hussenot, Paris·    Palais de Tokyo, Site de Creation Contemporaine, Paris, Contemporaine

2000·    Private Collection, Arstyl.com, Paris

1999·    Here, It Park Gallery, Taipei, Taiwan

1998·    Complimentary, Dimension Endowment of Art, Taipei, Taiwan

1996·    Interior, It Park Gallery, Taipei, Taiwan

1994·    Huh (Meander), It Park Gallery, Taipei, Taiwan

1993·    After, Art Center College of Design, Pasadena, USA.

GRUOP EXHIBITIONS2007·    Through the painting, Special Projects, 2nd Moscow Biennale, Russia·    Schaurausch, O.K.Centrum, Linz, Austria

2006·    Collettiva, Galleria Cesare Manzo, Rome, Italy·    Notre histoire..., Palais de Tokyo, Site de Creation Contemporaine, Paris, France, organisers: Nicolas Bourriaud and Jérôme Sans·    Parcours de Saint Germain-Café de Flore, Paris, France·    Surplus Value, Tang Contemporary Art Center, Beijing, China·    New Space, Pinchuk Art Centre, Kiev, Ukraine·    Once Upon a Time..., Contemporary Fairytale-ARCOS Museum, Benevento, Italy

2005·    8th Lyon Biennale, France, organisers: Nicolas Bourriaud and Jérôme Sans·    About Beauty, Haus der Kulturen der Welt, Berlin, Germany·    The Elegance of Silence, Mori Art Museum, Tokyo, Japan

2004·    The 21st Century Museum of Contemporary Art, Kanazawa, Japan·    Floral Habitat, Bury St. Edmunds Art Gallery, Suffolk, England·    Odyssey, Shanghai Gallery of Art, Shanghai, China

2003·    Flower Power, Lille 2004, Palais des Beaux Art, Lille, France·    The Fifth System, Shenzhen, China·    Tiger´s Eye, Proud Gallery, London·    Painting4, The Rose Art Museum, Waltham, MA, USA.·    Cruzados, CCCB, Barcelona, Spain·    Fundación NMAC, Cádiz, Spain·    Chinese Contemporary Art/Subversion and Poetry, Culturgest, Lisbon, Portugal·    Bibliotherapy (con Remy Markowitsch), Kuntsmuseum, Lucerne, Switzerland

2002·    Urgent Painting, ARC Musée d'Art Moderne de la Ville de París, France·    Synthetic, Gallery Zurcher, Paris, France·    How Big Is The World?, OK Center for Contemporary Art, Linz, Austria·    Gwangju Biennale 2002: Project 1: Pause, Conception, Korea·    Asian Art Triennial, Queensland Art Gallery, Brisbane, Australia·    International 2002, Liverpool Biennial, Liverpool·    The Gravity of the Immaterial, Total Museum, Seoul, Korea·    Asian Vibe, Espai d'Art Contemporani de Castelló, Spain

2001·    Bibliotherapy (with Remy Markowitsch), Villa Merkel, Esslingen, Germany·    Casino 2001, 1st Quadrennial of Contemporary Art, Stedelijk Museum voor·    Actuele Kunst, Gent, Belgium·    ARS 01: Unfolding Perspectives, Museum of Contemporary Art Kiasma, Helsinki, Finland·    Egofugal: Fugue from Ego for the Next Emergence, 7th International Istanbul·    Biennale, Turkey·    49th Biennale di Venezia, Italy·    The Gravity of the Immaterial, Institute of Contemporary Art, Taipei, Taiwan·    Festival of Vision: Berlin in Hong Kong, Tamar Site, Hong Kong·    Sister Space Project, Southern Exposure, San Francisco, USA.·    Very Fun Park: Contemporary Art From Taiwan, It Park Gallery, Taipei, Taiwan·    The Sky is the Limit, 2000 Taipei Biennial, Taipei Fine Arts Museum, Taipei, Taiwan

1999·    Visions of Pluralism: Contemporary Art in Taiwan 1988-1999, China Art Museum, Beijing, China·    Magnet Writing/Marching Ideas, It Park Gallery, Taipei, Taiwan·    1st Fukuoka Asian Art Triennial 1999, Fukuoka Asian Art Museum, Japan·    KHOJ '99: International Artists' Workshop', The British Council Gallery, New Delhi, India

1998·    Tu Parles/J'Ecoute, La Ferme de Buisson Art Centre, Paris; Taiwan·    Back from Home, Bamboo Curtain Studio, Taipei, Taiwan

1997·    It Park Group Exhibition, Taipei Fine Arts Museum, Taiwan·    Allegory and Simulacra, Gallery Pierre, Taichung, Taipei

1996·    Perimeter 4, Gallery 456, New York, USA.

1995·    Transitional Site, It Park Gallery, Taipei, Taiwan

1994·    Conceptual Art Action Under Post-Martial Law, Gate Gallery, Taipei, Taiwan·    Art and Text, National Normal College, Taipei, Taiwan·    The Undescribable Unknown, It Park Gallery, Taipei, Taiwan

1993·    Zuzuglich, Merz Akademie, Stuttgart, Germany·    The 8th Annual Manifesto Night, Baroque Literary Arts Centre, Venice, USA.

1992·    Sharon Lockhart/Michael Lin, Art Center, College of Design, Pasadena, USA.

1991·    Earth, Scott Hanson Gallery, Los Angeles, USA.

1990·    Law of Desire, Future Perfect Gallery, Los Angeles, USA.·    Provisional Proof, Opus Gallery, Los Angeles, USA.·    Oltre il Muro, Accademia di Belle Arti de Brera, Milan, Italy

BIBLIOGRAPHY·    Eugene Tang and Jason Wong, Island Life, Eslite Gallery, Taipei, Taiwan, 2007 ·    Mino Yutaka, Encounters in the 21st Century: Polyphony - Emerging Resonances, 21st, Century Museum of Contemporary Art, Kanazawa, 2005·    Sabine Folie and Matt Gerald, Michael Lin, Kunsthalle Wien, Vienna, Austria, 2005·    Lin Hong-John, Michael Lin, Eslite Gallery, Taipei, Taiwan, 2004·    Shannon Fitzgerald and Frances Stark, Michael Lin, Contemporary Art Museum, St. Louis, USA, 2004·    Pauline J. Yao, Spaces Within, Installations by Michael Lin and Wu Mali, Asian Art·    Museum, San Francisco, USA.·    Jérôme Sans and Vivian Rehberg, Michael Lin's, Palais de Tokyo, Site de Creation Contemporaine, Paris, France, 2003·    Rhana Davenport, Asia Pacific Triennial, Queensland Art Gallery, Brisbane, Australia, 2002, p.70-73·    Hou Hanru, Asian Vibe, Espai d'Art Contemporani de Castelló, Spain, 2002·    Manray Hsu, Urgent Painting, Musée d'Art Moderne de la Ville de París, p.86-89, 2002·    Hou Hanru, ARS 01, Museum of Contemporary Art Kiasma, Helsinki, Finland, p.142-143, 2001·    Mahoney Bronwyn, Egofugal, Istanbul Biennial, Turkey, p.128-129, 2001·    Kao Cien-huí, Living CEI, Venice Biennale, Pabellón de Taiwán, 2001·    Frances Stark, Complimentary, Dimension Endowment of Art, Taipei, Taiwan, 1998

ARTICLES (SELECTION)·    Kanae Hasegawa, "Couleur Locale", Frame, Nº 52, September/October, 2006, p.70·    Christophe Maout, "Lyon Grand Angle", Le Monde 2, Nº 84, September, 2005, p.58·    Hanru Hou, Yishu_Journal of Contemporary Chinese Art, spring, 2005, p.55-62·    James Westcott, Nyartsmagazine, 22 December, 2004·    David Spalding, FlashArt, October, 2004, p.126·    "Michael Lin", Art Asia Pacific, nº 41, summer, 2004·    Annette Tietenberg," Wallflowers", Form,197, July/August, 2004, p.36-43·    Hughes, Jeffrey, Contemporary, Nº65, 2004, p.67·    Lily Van Ginneken, "Made in Taiwan", Bloom, nº11, 2004, p.20-23·    "L'image du mois", Beaux Arts Magazine, November, 2003·    Judicael Lavrador, "Les Artistes s'etalent", Beaux Arts Magazine, 231, August 2003, p.82-89·    Marie-Claire Maison, August, 2003·    Bronwyn Mahoney, "Patterns of Thought: The Installation of Michael Lin", Yishu_Journal Of Contemporary Chinese Art, spring, 2003, p.82-85·    Eugene Tan, "Liverpool Biennial, Pleasant Street Board School", Contemporary, nº 10, October, 2002, p.94·    Sarah S. King, Art in America, June, 2002·    ML, "The art of deco", Art Review, Vol.LIII, February, 2002, pp.50-51·    Rhana Devenport, "The sky is the limit: Taipei Biennale 2000", Art AsiaPacific, nº 30, 2001, p.20-22·    Barbara Casavecchia, "Taipei Biennale", Flash Art, vol. 33, nº 215, November/December, 2000, p.103·    Ann Wilson Lloyd, "Reorienting: Japan rediscovers Asia", Art in America, vol.87, nº 10, October, 1999, p.104-111·    Cecile Bourne, "Reviews: Taipei (Taiwan), Michael Lin", IT Park, Flash Art, vol.30, nº 194, May/June, 1997, p.124·    Sophie McIntyre and Chia Chi Jason Wang, "Taipei in entropy", Flash Art, vol.29, nº 187, March/April, 1996, p.57-60

 

 

 

 

 

 

08prtb1768, 08prtb1770

2008. Annamarie Ho + Inmi Lee. LA GUERRA ES NUESTRA (published text)

 Our piece is a large sign with the statement “La guerra es nuestra.” spelled out in black, back-lit lettering, which is attached to the façade of the Círculo de Bellas Artes.

The sign utilizes a format that is most often seen on storefronts—the viewer may initially overlook the sign, as we are often indifferent to new information and media that is constantly being introduced to us, but a second glance may procure a different reaction. Moreover, the placement of such a sign on a well-known cultural building leads to a juxtaposition of the political onto the beautiful and the historical.

The initial reference in the statement “La guerra es nuestra.” is, of course, the war in Iraq. But the statement is also open-ended; the “war” or the “guerra” can refer to anything that incites concern in the viewer. In Madrid, this might be the activities of the Basque group Euskadi Ta Askatasuna or the need for more affordable housing within the city. Our goal is to show that everyone is a voluntary participant in the political. Indifference is a statement, as much as waging a war or being involved in political activism.

 

 

 

 

 

 

 

 

 

 

08intc1976

2008. Maya Watanabe (Cv)

LIMA, 1983 LIVES AND WORKS IN MADRID WWW.MWATANABE.NET WWW.MWATANABE.NET/BLOGWORK EXPOSED IN MADRID ABIERTO: AUTORRES

EDUCATION2006·    Bachelor's degree from the College of Fine Arts and Architecture, European University of Madrid, ESAYA, Spain2003·    Faculty of Art of the Pontifical Catholic University of Peru

WORKSHOPS2006·    Workshop imparted by Jota Castro in Madrid, Spain

2005·    Workshop imparted by Sergio Prego in Madrid, Spain·    Crítica del Arte Contemporáneo by Uta María Reindl in Madrid, Spain

2003·    Crítica Visual del Arte Contemporáneo by Max Hernández Calvo. Lima, Perú

2002·    Introducción al Arte Electrónico by Angie Bonino. Lima, Peru

GRANTS AND AWARDS2006·    Award Study of the Image Seminars from the Autonomous Community of Madrid·    Education Grant. ARCO 06 Art Experts Forum. Madrid, Spain 2005·    Education Grant. European University of Madrid. Spain

EXHIBITIONS2007·    Play. Gallery Rojo Máquina. Madrid, Spain·    Bezdomny, New apartments for art & life. Gothenburg, Sweden·    Intervenciones TV. Montehermoso Cultural Centre. Vitoria, Spain.    Espace 29. Cultural Centre Espace29. Bordeaux, France·    Product Festival. Festival of Contemporary Art Varna. Varna, Bulgaria·    Ladinamo. Ladinamo Cultural Centre. Madrid, Spain

2006·    VideoNet 06. Second International Video and Net-Art Exhibition. Madrid, Spain·    Blog 06. Young Art Centre of the Autonomous Community of Madrid. Madrid. Spain·    Canal Abierto 06. Study of the Image Seminars of the Autonomous Community of Madrid. Canal de Isabel II Exhibition Centre. Madrid, Spain

2005·    Proyecto Cena . Solo. Event. Gallery espaciomenos1. Madrid, Spain·    1st Video and Net-Art Exhibition. European University of Madrid, Spain

2004·    Quince. Contemporary Art Gallery Drama. Lima, Peru

2003·    Contemporary Art Festival (FAC). Public interventions. Lima, Peru

OTHER PROJECTS2005·    Trouble in Tahiti. Set design assistance. Opera directed by Tomás Muñóz.  Gayarre Theatre, Pamplona and Royal Theatre. Madrid, Spain

2003·    Le Muñequé. Set design assistance. Puppet show directed by Martín ·    Guerra. Cultural Centre of the Catholic University. Lima, Peru

 

 

 

 

 

 

 

 

 

 

 

 

 

08autd2180

2008. Anno Dijstra. PROPOSAL NR 17, 2007

2008. Anno Dijstra. PROPOSAL NR 17, 2007

 

      

      

PROPOSAL Nr 17, 2007Site specific160x110x60cm _ polyester/cement

DISLOCATIONSTrinity Site, the American monument for the first ever atomic bomb tests has been carefully rebuilt in plaster and placed in a suburb of Ghent. A starving child from Ethiopia is cast in bronze and shows up in down town Madrid. Tourists like to have their picture taken in front of the touching sculpture with a compassionate look in their eyes. A polyester copy of the Vietnamese girl Kim Phuk stands for a while in a suburb of Hoorn before moving on to various locations throughout Gdansk. Another scale model of an atomic explosion cast in bronze is placed on a green in front of a block of 70’s flats in Haarlem.

The reactions by people living in the area and coincidental passers by to the dislocations are strikingly diverse. Some take pity on the naked Vietnamese girl by dressing her in cloths for the cold winter nights. Others just wonder; where have I seen this before? Some people are incensed by the sculpture, in others it summons up anger, why now? Why here? What gives the artist the right to confront me with this on my own doorstep? Exactly the same images that are haphazardly thrust into our living rooms (the personal domain) through the television set seem to be experienced as less invasive.

 

 

 

 

 

 

 

 

 

08aaia1849

2008 / 2008.02.15. RN3. La Ciudad Invisible (Patrick Courtney)

Name Play Size Duration
La Ciudad Invisible, RN3. LANGUAGE - Josh Goldman
7.8 MB 8:34 min

 

 

 

 

 

 

 

 

 

08disb2243

2008. Fernando Llanos. [VI VÍDEO] ORGULLO LOCAL (video)

 

Option 8ORGULLO LOCALProyección de iconografía y material histórico de Ciudad Satélite sobre las Torres Satélite

 

 

 

 

 

 

 

 

 

 

 

 

 

08inve1876

2008. Andreas Templin. HELL IS COMING / WORLD ENDS TODAY (published text)

Hell Is Coming / World Ends Today, a situationist play for the inner city of Madrid, is a temporary intervention staged in Madrid. It has a duration of one week and will include a total of 151 participants.

In the work Hell is Coming/World Ends Today, Andreas Templin is showing reference to the Situationist movement, its strong impact and continuous flow and, in relation to that, points at some of the common problems that movements seem to be afflicted by: The moment of its pure realisation by an individuals mind vs. the competitiveness of styles, attitudes and trends of specific concepts in society.

In this artwork, a few of the key philosophical thesis which sum up, from Templin‘s viewpoint, the strongest and most direct impact on the individual in contemporary Western societies culminate in an ephemeral play.

This happens by transferring these philosophers‘ names into daily life by asking 150 inhabitants of Madrid to wear urban fashion items with label-prints for one week in their daily routine. While simply following their daily routine, the artwork itself sinks into the urban space, the philosophical concepts compete face-to-face with the other label concepts and brandings in the public domain.

These concepts and their visual appearance are:

- speed and devastation. Paul Virilio

- the camp / the concentration camp. Giorgio Agamben

- power / Michel Foucault

- hatred / fundamentalism / represented by an re-enactment of fanatic right-wing demonstrations. This will be staged by a doppelganger of a preacher standing around at various street-corners of Madrid

The question this work is raising: Are these names already „labels“ (or do people simply acclaim them as big labels) or do they transport meaning? Can such an ephemeral intervention survive as an artwork in the eyes of the public?“. Andreas Templin

There will be a live-published website available with special contributions by Dr. Andreas L. Hofbauer and Dennis De La Haye.

 

 

 

 

 

 

 

 

08intc1973

2008. Pedro Torres. RETHE

YEAR: 2007

 

Name Play Size Duration
Rethe
Pedro Torres

2.9 MB 3:13 min

Those who fail to re-read are obliged to read the same story everywhere. Roland Barthes, S/Z.

Rethe is a sonorous piece based on re-reading (in English and Portuguese) different poems by Vito Acconci giving shape to an interlacing of sounds. The base of the structure of the work is the poem RE: a poem that causes the spacialisation of the words on the page as well as the location of different verbal positions. Between the parentheses of this poem, inserted in the spaces, sections of other poems come into play in the composition, changing the intensity and deconstruction of the original linearity of the poems in the position of the audio output. These sections have been removed from the poems Contented, Four pages, Twelve minutes and two untitled others. The name rethe already reveals the game of the work: rethe can be read as read and it is also the inversion of the re. Rethe is a litany that envelops the listener and, without being able to clearly distinguish all the words and numbers, moments of overlap are created through which the sonorous space becomes quite dense.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08sotb2077-08sotc2099-08sose2140

2008. Josh Goldman (Cv)

BOSTON, MASSACHUSETTS, 1971 LIVES AND WORKS IN CINCINNATI, OHIOWWW.NMARTPROJECT.NET/ARTISTS/?P=329WORK EXPOSED IN MADRID ABIERTO: LANGUAGE

EDUCATION 2007 ·    Doctor of Musical Arts (composition), University of Cincinnati, College-Conservatory of Music (CCM), Cincinnati, Ohio, 2010 (anticipated)2005 ·    Master of Music (composition), Brooklyn College, Conservatory of Music, The City University of New York (CUNY), Brooklyn, New York1996 ·    Bachelor of Music (performance), New England Conservatory of Music, Boston, Massachusetts

AWARDS/HONORS2008-2007·    University Graduate Scholarship, University of Cincinnati, College-Conservatory of Music (CCM)

2007-2006.·    ASCAPLUS Award

2005·    5th “Pierre Schaeffer” International Competition of Electronic Music Composition, Accademia Musicale Pescarese, nomination·    32nd International Competition of Electroacoustic Music and Sonic Art, International Institute of Electroacoustic Music of Bourges (IMEB), selection

2004-2003·    Musica Viva 2004, Miso Music Portugal, International Society for Contemporary Music (ISCM), first prize·    The John Cage Award, Brooklyn College

1992-1996·    Scholarship, New England Conservatory of Music

TEACHING AND WORKSHOPS2006·    Public School Teacher Certificate in Music (Permanent), New York, New York

2005-2006 ·    Pratt Institute, Guest Lecturer, Brooklyn, New York

2004·    Brooklyn Philharmonic Teaching Artist, Brooklyn, New York

2003-2004·    Brooklyn College, Teaching Assistant, Music Theory, Brooklyn, New York

2002-2006·    New York City Public Schools, Music Instructor, (CS 6, Bronx, 2001; PS 223

2004-2005·    Queens, 2001; PS 176, Brooklyn, 2002-2003; PS 163, Brooklyn, 2002-2006; PS/IS 308, Brooklyn, 2004; PS 222, Brooklyn

1999-2002·    Mercy College (Bronx House Campus), Guitar Instructor (private), Bronx, New York·    Bronx House Music School, Guitar Instructor (private), 60 students, Bronx, New York

1997-1998·    Hawaii Yamaha Music School Incorporated, Music Center of Hawaii, Guitar Instructor (private), 40 students, Honolulu, Hawaii

1996-1997·    Gordon Keller Music, Vienna, Virginia; Music Outlet, Manassas, Virginia, Guitar Instructor (private), 45 students·    New England Conservatory of Music, Teaching Assistant, Aural Training, Boston, Massachusetts

RESIDENCIES2007·    Prairie Center of the Arts, Peoria, Illinois·    Montana Artists Refuge, Basin, Montana·    Kimmel Harding Nelson Center for the Arts, Nebraska City, Nebraska

COMPOSITIONS2007·    Hexagonal (Facets 1-6), composition for compact disc

2005·    By Rote, multimedia composition for electric guitar, electric bass, percussion, electroacoustic soundscape and planetarium

2004·    Color of a Doubt: an urban fable, film soundtrack·    Angel of Death, film soundtrack·    Consume, multimedia composition for compact disc and video (large screen projection)

2003·    Language, multimedia composition for voice, compact disc and video (large screen projection)

2002·    Fragment, composition for 60 guitars and 6 multicolored balloons

2001·    The Chosen Letters #5, #12, #12, #9, #19, composition for guitar·    The Chosen Letters #19, #25, #2, #9, #12, composition for guitar·    Women Who Eat Meat, film soundtrack

2000·    Paola, composition for electric guitar, electric bass, percussion, organ and string quartet

1998·    H1, composition for piano

1997·    The Chosen Letters #5, #20, #8, #1, #14, composition for piano·    Trialogue, composition for treble clef instrument, bass clef instrument and percussion

1996·    Descend, composition for guitar·    Walk, multimedia composition for electric guitar, electric bass, percussion, voice, audio tape, performance art and video (large screen projection)

1995·    To Sleep, composition for audio tape

·    ://selfportrait – a show for Bethlehem – a show for Peace, SoundLAB, Performance Intermedia Festival, OFFicyna Art Space, Szczecin, Poland

·    DEGEM WebRadio @ ZKM, German Association for Electroacoustic Music (DEGEM) and the Center for Art and Media (ZKM), Karlsruhe, Germany

·    art@radio, WMBC, Baltimore, Maryland

2004·    Musica Viva, Miso Music Portugal, International Society for Contemporary Music (ISCM), Lisbon, Portugal·    International Electro-Acoustic Festival at Brooklyn College, Brooklyn, New York·    Continental, New York, USA·    Lot 61, New York, USA·    ABC No Rio, New York, USA·    Living Room, New York, USA·    Two Boots Pioneer Theatre, New York, USA·    CBGB’s Gallery, New York, USA·    Glenn Branca: Symphony #13 "Hallucination City" (world premiere), World Trade Center Plaza, New York, USA·    CMJ Music Festival, New York, USA·    Knitting Factory, New York, USA·    Galapagos Art Space, Brooklyn, New York, USA·    Collective Unconscious, New York, New York, USA·    Anna Bannana’s, Honolulu, Hawaii, USA·    Art of the States, WGBH, Public Radio International, Boston, Massachusetts, USA·    Zeitgeist Gallery, Cambridge, Massachusetts, USA·    Jordan Hall, Boston, Massachusetts, USA·    Berklee Performance Center, Boston, Massachusetts, USA·    Millard Auditorium, Hartford, Connecticut, USA·    Reston Festival, Reston,Virginia

DISCOGRAPHY2007·    Electronic Music Vol. III, Musica Viva Competition Prize Winners 2004-2005-2006, Miso Records

2004·    BC Sound Serum, Brooklyn College Center for Computer Music (BCCCM)

PRIMARY MENTORS·    Mara Helmuth, Amnon Wolman, Paul Bley, Ran Blake, Hankus Netsky, Joseph Maneri, Scott Sandvik, Masashi Harada, Jackie McLean, Randy Johnston, Michael Fath, Bill Biesecke

 

 

 

 

 

 

 

 

 

 

 

 

 

08sotd2118

2008 / 2008.02.14. RN3. La Ciudad Invisible (Josh Goldman)

Name Play Size Duration
La Ciudad Invisible, RN3. LANGUAGE - Josh Goldman
7.8 MB 8:34 min

 

 

 

 

 

 

 

 

08disb2242

2008. Anno Dijstra. VORSCHALG, 2006 (publication)

2008. Anno Dijstra. VORSCHALG, 2006 (publication)

** SEE THE ATTACHED PDF

    

   

Reconstruction - proposal nr 14 // 2006 // childe 45 x 26 x 22, vulture 60 x 53 x 40, podium 730 x 900 cm // plastiline, pufoam, wood, metalstuds (max 7 people on the stage)

 

Reconstruction - proposal nr 14 // detail of the installation

 

 

 

 

 

 

 

 

 

 

 

 

 

f08inme1848

2008. Fernando Llanos. [VI VÍDEO] POTENCIANDO CONTENIDOS (video)

 

 

Option 11POTENCIANDO CONTENIDOS

 

 

 

 

 

 

 

 

 

 

 

 

 

08inve1875

2008. Itziar Okariz (Cv)

DONOSITA-SAN SEBASTIÁN, 1965 LIVES AND WORKS BETWEEN NEW YORK, BILBAOWORK EXPOSED IN MADRID ABIERTO: MCCARREN + PULASKY

EDUCATION2000-2001·    Whitney Independent Studio Program. New York, USA1985-1990·    Licenciada en Bellas Artes. Universidad del País Vasco, Spain

SOLO EXHIBITIONS2007·    Curating the campus 2007: To pee in public and private spaces de Singel International Kunstcentrum. Antwerp, Belgium·    Talent. Vita Kuben, Umea, Sweden·    Trepar edificios. De Neude, Utrecht. Adhoc gallery, Vigo. Spain

2006·    Progets Rooms, ARCO. Galeria Moisés Perez de Albéniz. Madrid, Spain

2005·    Made with USA standard. Galeria Moisés Perez de Albeniz, Pamplona, Spain

2003·    Trepar edificios: estacion Abando RENFE, Bilbao. Fundacion Bilbaoarte. Bilbao, Spain·    Lloc de pas. Centre Social y Cultural de la Fundacion “la Caixa”, Lérida, Spain

1999·    Sweetest. Casa de Cultura Jareño, San Sebastián, Spain

1998·    El jo divers. Sala Montcada, Barcelona, Spain. (Catalogue)

1996·    Galería Espai Lucas.Valencia, Spain·    The art of falling apart. Galería Antonio de Barnola, Barcelona, Spain

1995·    Recalde Area Dos (junto a M.Guilleminot), Bilbao, Spain (Catalogue)

GROUP EXHIBITIONS2007·    Chacun a son gout. Guggenheim Bilbao Museum. Bilbao, Spain·    Existencias. MUSAC, Leon, Spain·    Intervenciones TV, Programa de vídeo Web, Spain·    Kiss Kiss Bang Bang. Museo de Bellas Artes de Bilbao, Spain.(Catalogue)·    Disparos eléctricos, Centro de Arte Montehermoso, Vitoria, Spain·    Climbing buildings. If I can’t dance … festival. Utrech. Holland·    Moisés Pérez de Albéniz 10 Años. Galeria Moisés Pérez de Albéniz, Pamplona, Spain.(Catalogue)·    III Encuentros de Arte y Género. Centro Andaluz de Arte Contemporáneo. Sevilla, Spain

2006·    En Primera Persona. Video program. CGAC, Santiago de Compostela, Spain·    Attitude. c/o Atle Gerhardsen Gallery, Berlin, Germany·    Contragolpe: Reenacting a Failed Operation. Karl Marx Allee 87. Berlin, Germany·    Dancing, La casa encendida. Madrid, Spain·    Making off. Una exposición Falada. Liquidación Total. Madrid, Spain·    Para todos los Publicos. Sala Rekalde. Bilbao, Spain·    Las Fronteras del Genero. Centro de Historia de Zaragoza, Spain (Catalogue)·    OUTFEST, The Dead, Absent, and Fictitious, LTTR curated video program. Los Angeles, California, USA·    MIX, The Dead, Absent, and Fictitious, LTTR curated video program. New York, USA

2005·    Fugues subversives. Sala Thesaurus, La Nao. Valencia, Spain.(Catalogue)·    Encuentro Internacional de Espacios de Arte Independientes. (Invitada por Galeria Chilena). Valparaíso, Chile.

2004·    Premio altadis de artes plasticas, Palais de Tokio, Paris, France·    Thanks 4’05. Presentation of the videoclip made for Begoña. Produced by Consonni. Badulake, Bilbao, Spain·    GO!.  Liquidación Total, Madrid, Spain

2003·    “The Spaces in Between”, video program at FACT, Liverpool, United Kingdom·    “Monocanal”. Museo de Arte Contemporaneo Reina Sofia, Madrid. Centro Galego de Arte Contemporànea Santiago de Compostela. Museo Patio Herreriano de Valladolid. Casa Díaz Cassou Murcia, Spain (Catalogue)

2002·    Videos XXX. Casa de América, Madrid, Spain·    Placeres distintos, La Fábrica, Madrid, Spain·    Gure Artea 2000. Centre d’Art Santa Mònica, Barcelona. Auditorio de Galicia, Santiago de Compostela, Spain (Catalogue)

2001·    Fundación Marcelino Botín, Santander, Spain (Catalogue)·    Whitney ISP. New York, USA·    Ofelias y Ulises. En torno al Arte Español Contemporáneo. Pabellón de Antichi Granei. Giudecca, Bienal de Venecia, Italy (Catalogue)·    Gaur, Hemen,Orain. BBAA Museum, Bilbao, Spain (Catalogue)·    “North by North” 4th Floor Gallery, Manchester, USA·    Galería Moisés Pérez de Albéniz, Pamplona, Spain·    Indomésticos. Imatra, Bilbao, Spain (Catalogue)·    Transfer. Santiago de Compostela, Gijón, Bilbao, Leverkusen, Duisburg, Mönchengladbach, Essen. (Catalogue)

2000·    Construcciones de mujeres. Sala Amadies, Madrid, Spain·    Indomésticos. Imatra, Bilbao, Spain (Catalogue)·    Trasvases. Lima, Buenos Aires, México D.F. (Catalogue)·    Gure Artea 2000. Koldo Mitxelena. San Sebastián, Spain (Catalogue)

1999·    Blind Point. Arte español de los 90. Kunstraum, Innsbruck, Austria. (Catalogue)·    Skin Dive. Kyoto Arts Festival. Former Tatsuike Elementary School, Tokyo, Japan·    Verbindingen Jonctions. Cinema and Video Festival, Bruselas, Belgium (Catalogue)·    Move. The Roger Smith Gallery, New York, USA·    Trans Sexual Express. Bilbao Arte, Spain(Catalogue)·    Vídeo Program, D.O.T., Barcelona, Spain·    Faillure. W139, Amsterdam, Holland

 

 

 

 

 

 

 

 

 

 

 

 

 

 

07autd2183

2008 / 2008.02.13. RN3. La Ciudad Invisible (Petra Dubach + Mario Van Horrik)

Name Play Size Duration
La Ciudad Invisible, RN3. UTRECHT CS - Petra Dubach + Mario Van Horrik
5.1 MB 5:32 min

 

 

 

 

 

 

 

 

 

 

 

 

08disb2241

2008. Fernando Llanos. [VI VÍDEO] COMPARTIENDO ESCENARIO (video)

 

Option 12COMPARTIENDO ESCENARIO

 

 

 

 

 

 

 

 

 

 

 

 

08inve1874

2008. Edith Alonso (Cv)

MADRID, 1974 LIVES AND WORKS BETWEEN MADRID, NICEWWW.CAMPO-DE-INTERFERENCIAS.ORGWORK EXPOSED IN MADRID ABIERTO: LA GENTE QUE VIENENative of Madrid, this composer managed to combine her advanced piano studies with a B.A. degree in philosophy from the Universidad Autónoma de Madrid. She studied composition in several Parisian institutions (GRM, IRCAM, ENMD D’Evry) and with different teachers: Jose Manuel López López, Philippe Leroux, Nicolas Vèrin and François Bayle.

She is currently working on her doctorate thesis on Aesthetics of Electroacoustic Music at the Université Paris VIII and Madrid’s Universidad Complutense. She has been awarded grants by the French Ministry of Research and the Spanish Ministry of Foreign Affairs.

Her activity field includes composition of electroacoustic, mixed, instrumental and short film pieces.  At the same time, she practices improvisation, creates sonorous installations and modifies electronic toys. Her music has been disseminated at various international festivals: Synthèse (Bourges), SMC (Lefkada), JIEM (Madrid), Foliephonies (Marseille), Punto de Encuentro (Valencia, Tenerife) and radio stations (RNE, Radio Libertaire, Czech Republic Radio).

Founding member of Campo de Interferencias, association dedicated to the dissemination and promotion of electro-acoustic and contemporary music.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08sotd2112

2008 / 2008.02.12. RN3. La Ciudad Invisible (Carola Cintrón)

Name Play Size Duration
La Ciudad Invisible, RN3. MICRO SONIDOS - Carola Cintrón Moscoso
4.7 MB 5:08 min

 

 

 

 

 

08disb2240

2008. Fernando Llanos. [VI VÍDEO] Options 13 to 15 (videos)

 

Optionn 13CERVEZANTES

Option 14 NATURALEZA MUERTATomas acuáticas (agua) sobre las paredes de los túneles

Option 15PROYECTAS Y TE VASProyección sin contenido, realizada simultáneamente a la inuaguración del Festival por el presidente Fox

 

 

 

 

 

 

 

 

 

 

08inve1873

2008. Petra Dubach + Mario Van Horrik. ULTRECHT CS

 

Name Play Size Duration
Petra Dubach, Mario Van Horrik. UTRECHT CS
6.1 MB 3:50 min

The railway station of the city of Utrecht, Netherland, is the most busy and central in the Netherlands.  

The railwaystation has 20 platforms, from 16 of these, passengertrains stop and leave at fixed times.

We have set out these 16 platforms on a card, used for composing for music boxes. (The instrument is played by turning a wheel, that pulls through the card. Holes cut in the card make the instrument play corresponding pitched notes). So every platform has its own fixed note. Then we punched the departure times for each platform out of the paper; one bar representing one hour. So 24 bars for one day.

The mp3-file attached is the result played by hand on the music box. Surprisingly, the squeeky sound of the instrument itself, and the resulting score, have very much the resemblance of a train leaving, accellerating, and stopping again.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08sotb2078, 08sotc2101, 08sose2141

2008. Furallefalle-FAF (Vanesa Castro + Iñaki López) (Cv)

VANESA CASTRO / A CORUÑA, 1979IÑAKI LÓPEZ / VALENCIA, 1977LIVES AND WORKS BETWEEN CIUDAD REAL, A CORUÑAWWW.NOFALLES.BLOGSPOT.COMWORK EXPOSED IN MADRID ABIERTO: CUÑAS TV

EDUCATION2004·    Post-graduate course "University Specialist in Visual Arts and Intermedia. U.P.V. Valencia·    Third cycle. Doctorate in Visual Arts and Intermedia. Valencia.2002·    Bachelor’s degree in Fine Arts. U.P.V. Valencia

COURSES2003·    Pedagogical Adaptation Course (CAP)·    “Estudis de cultura contemporània 03”. EACC. Castellón·    “La escultura hoy”. International Sculpture Congress. U.P.V. Valencia·    “Más allá de la esfera pública”. With Douglas Ashford, U.P.V. Valencia·    "La pornografía de lo real, historia y arte contemporáneo". With Francesc Torres. U.P.V. Valencia

2001·    “e.di 2001". ESIC. Valencia

1999·    Set design for cinema and TV. U.P.V. Valencia

GRANTS AND AWARDS2007·    2nd Prize in International Plastic Arts Contest, Local Government of Orense, Spain·    Artists-in-residence in Maus Hábitos, Espaço de intervençao cultural. Oporto, Portugal

2006·    Artists-in-residence in Oficinas do Convento. Montemor o Novo, Portugal·    Beca Argo. Montemor o Novo, Portugal

2001·    Erasmus in KIAD (Kent Institute of Art & Design). England

EXHIBITIONS OF AUDIOVISUAL WORK2008·    Further information. Transmediale 08. Berlin, Germany

2007·    AXENÉo7. Art Centre. Quebec, Canada·    Tú me suenas. V Premio Auditorio de Galicia. Santiago de Compostela, Spain·    Montehermoso Cultural Centre. "Intervenciones TV". Vitoria-Gasteiz, Spain·    CeC&CaC. Videoclip en los cajeros. New Delhi, India·    AlterArte Festival. Videoclip en los cajeros. Murcia, Spain·    Hangar obert. "Videoclip en los cajeros". Barcelona, Spain·    VI International Plastic Arts Contest, Local Government of Orense

2006·    "Cultura con ñ", La 2 TVE. Spain·    Transmediale 06. Berlin, Germany

2005·    VAD. Gerona, Spain·    Transmediale. Berlin, Germany·    18th Stuttgarter Filmwinter. Germany

2004·    Hertzoscopio. Fundição de Oeiras. Portugal·    VideoMedeja. Montenegro, Serbia·    Este04. Valencia, Spain

2003·    Espacio Tangente. Burgos, Spain·    II Plastic Arts Contest, University of Zaragoza, Spain

2002·    Gallery Amantes. Torino, Italy

2001·    KIAD Gallery. United Kingdom

 

 

 

 

 

 

 

 

 

 

 

 

 

08autd2185

2008 / 2008.02.11. RN3. La Ciudad Invisible (Edith Alonso)

Name Play Size Duration
La Ciudad Invisible, RN3. LA GENTE QUE VIENE - Edith Alonso
4.6 MB 4:59 min

 

 

 

 

 

 

08disb2239

2008. Fernando Llanos. [VI VÍDEO] APARICIÓN MILAGROSA (video)

 

 

Option 12APARICIÓN MILAGROSA

 

 

 

 

 

 

 

 

 

 

 

08inve1871

2008. Debashis Sinha (Cv)

TORONTO, 1968 LIVES AND WORKS IN TORONTOWWW.DEBSINHA.COM WWW.OLDMONKEY.WORDPRESS.COMWORK EXPOSED IN MADRID ABIERTO: THE 16 OFFERINGS ARE MADE

 

For many years a percussionist with a number of Canada’s premiere world music pioneers, Sinha has begun to forge a name for himself in the world of audio and new media art.  His training under master drummers from various world percussion traditions inform his work and his questioning of the role of tradition as a tool for innovation.  This basic premise fuels the many ongoing projects which form the basis for his creative output, including audio art, experimental video, audio installation, and performance.  His solo improvisational performances (using traditional percussion instruments, electronics, laptop, or combinations of all 3) are noted for their range of aural and physical gesture, and he continues to perform as a percussionist within the world music scene with various ensembles.  Current projects of note include the recording of a solo CD, a new live improvising duo as percussionist with Berlin’s Robert Lippok (of To Rococo Rot fame), and the creation of a body of video work for live performance.

Sinha is a recipient of grants from the Canada Council for the Arts, the Ontario Arts Council, the Chalmers Foundation, and the Toronto Arts Council.  The work he has undertaken with the assistance of these grants have allowed him to complete a variety of projects from studying with master drummers in the Middle East, to recording and releasing CDs, to touring, to composing and creating new media art.

GRANTS AND AWARDS2006·    Ontario Arts Council Grants to New Media Artists·    he sat on the glittering precipice, a net art/video work of 24 hours duration based on the passing of my father

2004·    Canada Council for the Arts Recording Grant·    Ima Ensemble: post traditional improvised music by World Music practitioners.·    Resulting CD bad monkey bad bad monkey released 2005

2003·    Canada Council Grants to Individual Musicians Program: Non-Classical Music·    Carnatic rhythmic theory and improvisation under master Trichy Sankaran.·    Advanced Frame drumming techniques and improvisation with Glen Velez (NYC)·    Hand drum and drumkit combination techniques with Seido Salisofski (NYC)·    Ontario Arts Council composition grant to compose 5 pieces for percussion and voice. Subsequently included on the CD "tumma"

2002·    Chalmers Professional Development Grant·    Study of traditional and non-traditional techniques in Persian hand drumming with·    Pejman Haddadi (tonbak and daf, Los Angeles)

2000·    Canada Council Grants to Individual Musicians Program: Non-Classical Music·    Carnatic rhythmic theory and improvisation under Mrdangam master Trichy Sankaran·    Accompaniment and percussion studies at Helwan University Faculty of Music,Cairo, Egypt·    Accompaniment and maqam studies with violinist Alfred Gamil, Cairo, Egypt·    1998. Toronto Arts Council Composer's Program·    To develop notation/compose for Winnipeg Taiko group Fubuki Taiko·    Also: Master Musicians workshop/concerts with Bassam Saba (USA, Lebanon), Beth Cohen (USA) and John Wyre (Canada) as part of concert series' presented by Maza Meze. Projects funded by the Canada Council, Toronto Arts Council, and Ontario Arts Council

RESIDENCY/EXHIBITIONS/SPECIAL PROJECTS2008·    Invited Artist, Deep Wireless Festival of Radio Art. Live performance as part of a quartet of sound artists for Radio Theatre. Toronto, Canadá

2007·    Nuit Blanche, commissioned project: where you are. One of 15 projects selected from open call. Cell phone audio art, where audience members dial a toll free number to listen to audio art constructed from recordings of Kolkata streets while walking the streets of Toronto during Nuit Blanche.  Project featured by eye weekly arts magazine·    Invited artist, Das Kleine Field Recordings Festival, Berlin·    Solo improvised laptop performance using archived field recordings from my own collection·    Duo concert with Berlin sound/electronic artist Robert Lippok on percussion and live electronic processing, presented by the Goethe Institut Toronto and Raster-Noton

·    Broadcast 2005 and now online at http://debsinha.com/3.MP3s/Deb%20Sinha.mp3

2005·    Inclusion on Deep Wireless Festival of Radio Art compilation CD·    CBC Radio Host, Music Around Us·    Guest host of nationally aired CBC Radio 2 program, July, 2005. Produced by Hele ·    Montagne and Keith Horner

ENSEMBLES/ONGOING·    Regular member of Lippok | Sinha (traditional world percussion with Berlin electronica/laptop artist Robert Lippok·    Ima Ensemble (leader; post traditional free improvised music created by world music practitioners)·    Maza Mezé (Arabic/Greek folk music fusion ensemble, performing original music/reinterpreting folk songs from Greece and the Arab world on traditional instruments)·    Maryem Tollar (Original jazz and Arabic songs)·    Ensemble Polaris (music from Scandinavia and northern countries)·    Appearances with autorickshaw, Trichy Sankaran (south Indian), Marilyn Lerner (improvised), Jean Derome (improvised), Jesse Cook (rhumba flamenco), Jane Siberry (pop), the Flying Bulgar Klezmer Band (Klezmer/jazz), Leela Gilday (singer/songwriter), Shurum Burum Jazz Circus (Arabic/Yiddish jazz), Silk Road Ensemble, Irshad Khan, Punjabi by Nature (bhangra/reggae)·    Accompanist for dance classes at National Ballet School of Canada (w. artist in residence Peggy Baker), Dancemakers, Toronto Dance Theatre Company, School of Toronto Dance Theatre

RECORDINGS (indicates Juno nominations, Juno winner)2006·    Autorickshaw: So the Journey Goes (Tala-Wallah)·    Leela Gilday: Sedzé

2005·    Ima Ensemble: bad monkey bad bad monkey·    Deep Wireless Festival of Sound Art, vol. II: compilation CD·    Begin·    Maryem Tollar: Book of Life

2004·    Four higher (Tala-Wallah)·    Debashis Sinha:  tumma·    2003·    Ensemble Polaris: Not Much is Worse Than a Troll·    The Flying Bulgar Klezmer Band: Sweet Return·    Maza Mezé: Secrets Moon Magic (CBC Records)

2002·    Flowers of Forgiveness·    Hypnotika (CBC Records)·    Fiddlesong

2001·    Quell. Nadjiwan·    The Liquidaires: Complicated Love

2000·    Brand New Threads. Songs from Middle Eastern Canada·    14 remembered

1998·    Unleavened·    Fiddlesong (Anne Lederman)·    Irshad Khan: Awakening·    1997·    Sable/Sand Trilogy·    Doula:  In The Garden

COMPOSITION2007·    Original music and sound design streamed over the internet live via video/audio chat. Driected by Jacquie P.A. Thomas at  the Royal Alexandra Theatre, April/May·    Hongbu and Nolbu and the Magic Pumpkins (LKTYP)·    Original music and performance for the Lorraine Kimsa Theatre for Young People.  Directed by Alan MacInnes, May·    Music for Visual Media (Highlights)

2005·    Music/Performance for Dance (Highlights). Stupa (Peter Chin)·    Musical Director for Dora award winning 7 dancer/5 musician work.  Performed October 10-17, in Toronto·    In A Landscape/Unfold (Peggy Baker Solo Dance)·    Solo percussion score/performance for 3 solo dances performed by dancer/choreographer Peggy Baker.  Performed at the Henry Moore Sculpture Gallery, Art Gallery of Ontario, September·    Made In India (Rubena Sinha)

2004·    Bollywood Hopscotch (Indance). Full length score and sound design created from 1 to 5 second sound bites of 1970's Bollywood songs.  Choreography by Hari Krishnan·    Choreographic Trust, Year Two (Peggy Baker Solo Dance)

2003·    Recreated the dance piece Sanctum (see below) with dancer Helen Jones. Choreography by Peggy Baker, music by Ahmed Hassan·    Hyphenated and Soraab  (Sampradaya Dance Company)·    Original music and live performance.  Performance created by Rubena Sinha and Shaun Phillips.  Presented in Winnipeg, MB, March·    Harbourfront PSA for Omni Television (Marble Media)

2002·    Composition and sound design. Choreographed by Anita Ratnam (Chennai) and Lata Pada, Toronto

2001·    Patterns in Snow (Fusion Dance Theatre). Original music and live performance. Performance commissioned by the St. Norbert Arts and Cultural Centre in Winnipeg, August

2000·    1 step forward, 2 steps back (inDance). Music composed for percussion and tape, performed with dancer Hari Krishnan, september·    Sanctum (Peggy Baker Solo Dance)·    14 remembered (Ahmed Hassan). Requiem in remembrance of the 14 women killed in the 1989 Montreal Massacre.  Ahmed Hassan, musical director. With music by Debashis Sinha and the 14 remembered ensemble. Recorded October 2000, world premiere December. 6, 2000 at Massey hall, Toronto. Video launch Nov. 30, 2002

1999·    A duet of percussion/sound and dance performed with dancer Peggy Baker as part of the Peggy Baker/Solo dance 1999 season.  Music composed by Ahmed Hassan·    Sable/Sand trilogy (Dancemakers)

1997·    Music composed by Ahmed Hassan, Colin Couch, Debashis Sinha, Maryem Tollar, and Ernie Tollar.  Live performances at Toronto's Premiere Dance Theatre,  February, Also released on CD·    Music for Theatre (Highlights)·    e-dentity (Mirvish Productions/Theatre Gargantua)·    The Crowning (Fusion Dance Theatre). Composer, musical director and instrumentalist for a multimedia/dance. Performance commissioned by the Winnipeg Art Gallery

MUSIC FOR VISUAL MEDIA (HIGHLIGHTS)·    New score for OMNI TV documentary Losing My Religion, release date 2007·    Music from quell and tumma and other compositions featured on CBC TV's The Fifth Estate, CBC Newsworld (various documentaries, 2004-present;·    Percussionist, No Man's Land, music and choreography by Peter Chin, Alex Oktan, (dir), 2005;·    Harbourfront PSA for Omni Television (Marble Media), 2003

 

 

 

 

 

 

 

 

 

 

 

 

08sotd2110

2008 / 2008.02.07. RN3. La Ciudad Invisible (Miguel Gil)

Name Play Size Duration
La Ciudad Invisible, RN3. ELECTROSCHOTIS - Miguel Gil
3.4 MB 3:45 min

 

 

 

 

 

 

 

 

08disb2238

2008. Miguel Gil. ELECTROSCHOTIS

FORMAT: AIFF

 

Name Play Size Duration
Miguel Gil. ELECTROSCHOTIS
4 MB 1:46 min

Electroschotis is an electro-acoustic remake of a Schotis with Flamenco elements. It was conceived – among other acousmatic uses – for being amplified through loudspeakers in minaret style in strategic points of the city at dawn, nightfall and midday Fridays. It represents an alternative call (although not exclusive) to the religious call (traditionally in the form of a bell or Adhan) as an invocation to social and racial integration, as well as to civic mindedness and lost hope.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08sotb2079, 08sotc2103, 08sose2142

2008. Estibaliz Sadaba (Cv)

BILBAO, 1963 LIVES AND WORKS IN: BILBAOHTTP://WWW.HAMACAONLINE.NET/AUTOR.PHP?ID=135WORK EXPOSED IN MADRID ABIERTO: EL PLANETA DE LAS MUJERES INVASORAS

EDUCATION2003Doctoral course “Espacio, Forma e Imagen: El entorno visual contemporáneo” 19831988Bachelor’s degree in Fine Arts from the University of the Basque Country

GRANTS, AWARDS AND SUBSIDIES2008·    Co-directed exhibition: La feminidad problematizada: Práctica artística  feminista y nuevas representaciones corporales. Centro Cultural Montehermoso, Vitoria

2007·    XLIV edition of the Pollença Plastic Arts Contest 2007

2006·    Grant from Museum ARTIUM Vitoria

2005·    Grant from Foundation Bilbaoarte.

2004·    Plastic Arts Support Grant from the Government of the Basque Country. Project “Construyendo al Hombre-Hembra””

2003·    Plastic Arts Support Grant from the Government of the Basque Country. Project “Cuerpos reales-Cuerpos perfectos”

2001·    Plastic Arts Support Grant from the Government of the Basque Country. Project ¡Escóndete objeto!

2000·    Audiovisual Creation Support Grant. Local Government of Vizcaya·    Plastic Arts Support Grant from the Government of the Basque Country.

1998·    First prize in the 13th Vitoria Video Festival. ·    Audiovisual Creation Support Grant. Local Government of Vizcaya.

1997·    Subsidy from the Government of the Basque Country - Emakunde.Vídeo-zine Erreakzioa-Reacción

1995-94·    Subsidy Emakunde a Erreakzioa-Reacción

1994·    Plastic Arts Grant from the Local Government of Vizcaya.       Research Grant from MIDE (International Museum of Electrography), Cuenca

1991·    Travel Grant from the Government of the Basque Country to travel to San Marino, Arte Giovane 1991.

1990·    Prize and selection Ertibil 90. Local Government of Vizcaya.

1989·    Accésit Osakidetza Painting Contest.  Bilbao.

PROJECTS (SELECTION)2007·    Kiss Kiss Bang Bang. Fine Arts Museum. Bilbao·    Periferiak 07. Artistic Editing and Practice. Sala Rekalde, Bilbao·    Feministaldia 07. Arteleku, San Sebastián·    Egoileak 2006 Residentes. Bilbaoarte.Bilbao

2006·    Exhibition Identidades Críticas Patio Herreriano Valladolid. Foundation Rafael Botín, Cordoba

2005·    Co-directed seminar “Mutaciones del feminismo: Genealogías y prácticas artísticas” “Cárcel de amor” Museo Nacional Centro de Arte Reina Sofía, Madrid

2004·    Co-directed seminar “La repolitización del espacio sexual en las prácticas artísticas contemporáneas ” Arteleku, San Sebastián·    “LCM” Centro Atlántico de Arte Gran Canaria·    Exhibition “Gure Artea”. Centro Cultural Montehermoso, Vitoria

2003·    “Monocanal” Museo Nacional Centro de Arte Reina Sofía, Madrid. Sala Díaz Cassou, Murcia.CGAC Santiago de Compostela. Museum Patio Herreriano, Valladolid. ·    Palacio Condes, Gabia and Centro Jose Guerrero, Granada. KM, San Sebastián·    Santa Monica Art Centre, Barcelona. “MAP 2003”, San Sebastián

2002·    PhotoEspaña  2002 “Videos XX: Femeninos, Feminismos”.Casa América. Madrid·    “El bello genero: convulsiones y permanencias” Sala de la Comunidad de Madrid·    Exhibition GURE ARTEA. Sala Rekalde. Bilbao

2000·    Contemporary Art Festival Jonctions/Verbindingen 4. Brussels, Belgium·    “Construcciones de mujeres” Video cycle for INJUVE. Sala Amadís. Madrid·    Exhibition “Genero: Plural” INJUVE. Sala Amadís. Madrid·    Project ”bizia bidali” piece “¡Escóndete, objeto!”. Trasforma. ARCO 2000

1999·    Exhibition of audiovisual work within the exhibition “Posiciones en el mundo real” of Martha Rosler. MACBA. Barcelona·    SaarLorLux Film u.Videofestival. Germany·    Contemporary Art Festival Jonctions/Verbindingen. Brussels, Belgium

1998·    ARCO electrónico 98. “Supermodel, superficial”.       Exhibition “Como nos vemos” Tecla Sala. Barcelona·    “En construcció” Santa Monica Art Centre. Barcelona and cultural centres of the following countries: Cuba, Costa Rica, Colombia, Argentina, Peru

1997·    Co-ordination (with Azucena Vieites, from the collective Erreakzioa-Reacción)of the workshop “Sólo para tus ojos: el factor feminista en relación a las artes visuales” for the Arteleku Centre(Donostia) in the month of July, with the participation of the guests: Claudia Giannetti, Giulia Colaizzi, Guerrilla Girls,  UteMeta Bauer, Guadalupe Echevarría, Bildwechsel. Projection of various international video programmes and participation of eighteen artists from different countries·    Publication of Erreakzioa-Reacción nº6 and nº7 (Emakunde and the Government of the Basque Country)

1996·    Installation “Erreakzioa-Reacción”. Sala L´Angelot. Barcelona·    Publication El factor feminista.Erreakzioa-Reacción.·    Publication of the photographic series I don´t wanna be (a Barbie).Fat girl 5.San Francisco.USA·    Project fanzine Erreakzioa-Reacción (together with Azucena Vieites) for the section “?” in the exhibition NowHere, Louisiana Museum, Humlebaek. Denmark·    Publication ¿Quién es libre de elegir? and arte postal

1995·    Construcciones del cuerpo femenino. Seminar of conferences, videos and publication organised by Erreakzioa-Reacción with Azucena Vieites in Arteleku, San Sebastián·    Look at my eyes. Postal art project. Fashionette apt. San Francisco. USA.       Sirenas.Fanzine-Detournement. San Francisco. USA

1994·    Frauenkulturhaus Public relations Hamburg. Germany·    “Síndrome de la Musa” Sala Okendo, San Sebastián·    Foundation of the association Erreakzioa-Reacción (with A. Vieites and Y. de los Bueis) to develop projects associated with Women in the art world. Erreakzioa-Reacción 1.

1992·    Installation Bodies Parade (with Gabriel Villota) Arteleku, San Sebastián

1991·    Audiovisual installation Santissima Chiarezza IV Edition of the ArteGiovane Contest·    Provoc’Arte 91.San Marino. Italy. (with Gabriel Villota)

COLLECTIVE EXHIBITIONS2001·    Exhibition ”Arte electrónico en Euskadi” Science Museum, San Sebastián

2000·    Exhibition “PR2000” Museum San Juan, Puerto Rico·    Exhibition “Indomestico” Imatra. Bilbao

1999·    ARCO Electronico.CGAC. Santiago de Compostela·    ”TransexualExpress” .Bilbaoarte. Bilbao·    “Como nos vemos” Circulo de Bellas Artes. Madrid·    Exhibition Transgeneric Koldo Mitxelena, San Sebastián

1997·    Open Chambre, San Sebastián

1996·    Exhibition Gure Artea. Sala Rekalde. Bilbao·    Exhibition “El puñalito y un puñao”. Sala BBK. Bilbao·    Becarios Diputación 1994. Sala Archivo Foral. Bilbao.(Itinerant)

1993·    Exhibition of the project “De interes Publico”. Gallery Moriarty. Madrid.·    Emakunde. Sala del Archivo Foral. Diputación. Bilbao

1992·    Selected to compete at the XXXIV edition of the Guipúzcoa New Artists’

1991·    Selected to compete at the XXXIII edition of the Guipúzcoa New Artists’

1990·    Selected in the Second Getxoarte 90 Plastic Arts Exhibition Contest. Getxo.

1989·    Selected in the First Getxoarte 89 Plastic Arts Exhibition Contest.  Getxo.

1988·    Selected in Bizkaiko Artea. Exhibition Hall of the Local Government of Bilbao.

VIDEOGRAPHIC SELECTION1996·    Supermodel, Superficial: 3´40”·    Parole, parole: 4´. Kill yr idols: 2´46”.       Viviendo como una muñeca: 10´1997·    Femme: 2´26”. Incitación: 6´40”·    1998·    Reacción. 2’1999·    A mi manera (1): 3’ 43”.       El concurso de la gran felicidad (esto pasa mucho): 1’ 45”. 6% : 3’ 48”·    A mi manera (2): 3’. Envidia de ... :1’ 46”. Esto pasa mucho: 2’ 14”  ... Al hombre: 45”2000·    Producciones visuales de la sociedad de consumo: 5’ (with erreakzioa)·    2001·    Construcción de Imágenes/Imágenes de Mujeres: 4’ (with erreakzioa)2003·    Step (paso a paso): 2´·    2004/05·    Mujer Incompleta: 22006·    Sí, en venta: 4´04”, Nadie esperaba que yo tuviera talento: 3´ , Soy un hombre: 1´28”  2007·    El planeta de las mujeres invasoras: 3´40”. Ideologías domesticas: 4´. Desviaciones: 5´·    La liberación del cuerpo: 8´(erreakzioa-reacció)

VIDEO PRESENTATIONS2000·    Programme Metropolis TV2

1999·    ARCO Electronico. CGAC. Santiago de Compostela

1998·    13th Vitoria Video Festival 98·    ARCO 98. Asociación amigos de ARCO.·    Atelier-Brusson Jeûne. Villemur-Toulouse

1997·    Centro de Lectura (Talp Club). Reus·    La Fundición. Bilbao.Metropolis TV2. Cinemajove. Valencia

1996·    Gure Artea.Sala Rekalde. Bilbao·    Jornadas “Aglutinantes y Disolventes”. Sala Amarica. Vitoria

CONFERENCES AND ROUND TABLES2007.·    Periferiak 07. “Edición y práctica artística”. Erreakzioa

2004·    Conference “Generación Digital” Montehermoso Cultural Centre. Vitoria

2001·    Conference “Género, representación y nuevas tecnologías” Faculty of Psychology. Valencia

1999·    Conference “El feminismo en la esfera artistica(1): La recepción de los setenta” MACBA

1998·    Conference. Arte y Mujer: Visiones multiples. Museum of Fine Arts. Sevilla·    Conference in the seminar Perdidas en el espacio. Faculty of Information·    Sciences. Univ.Complut. Madrid

1997·    “Política, identidad y trabajo de mujeres” Faculty of Fine Arts. Cuenca.        Conference. Presentation of Erreakzioa-Reacción. Centro de Lectura de Reus.

1996·    Conference “Algunas pistas para Nuevas identificaciones”. Sala Amarica. Vitoria.·    “El cuerpo y sus atributos” Sala Rekalde. Bilbao.

1995·    Congreso on Nuevos retos en el sector cultural. Koldo Mitxelena. Donostia.

WORK IN MUSEUMS AND COLLECTIONS·    Museum ARTIUM Vitoria. Media Library of the Museum MNRS Madrid·    Media Library of the Museum MACBA Barcelona·    Foundation Amigos de ARCO . Media Library Bildwechsel. Hamburg.    Local Government of Vizcaya

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08autd2187

2008 / 2008.02.06. RN3. La Ciudad Invisible (Pedro Torres)

Name Play Size Duration
La Ciudad Invisible, RN3. RETHE - Pedro Torres
4.2 MB 4:37 min

 

 

 

 

 

 

08disb2237

2008. Carola Cintrón Moscoso (Cv)

SAN JUAN, PUERTO RICO, 1974 LIVES AND WORKS IN SAN JUAN, PUERTO RICOHTTP://CAROLACINTRON.COM/WORK EXPOSED IN MADRID ABIERTO: MICRO SONIDOS

EDUCATION2004·    MFA School of Visual Arts New York, USA1998·    Interdisciplinary Studies in Photography·    Fine Art Department and Public Communication School, University of Puerto Rico, San Juan, Puerto Rico1996·    BA Comunicación Pública. University of Puerto Rico. San Juan, Puerto Rico

AWARDS AND GRANTS2003·    Artist-in-residence in Diapasón. New York, USA.·    Prize awarded by the d.u.m.b.o. Art Center and the Experimental Television Center, New York, USA.

INDIVIDUAL EXHIBITIONS (SELECTION)2005·    Espacios en transición. Gallery Raíces, San Juan, Puerto Rico

2003·    Recollected. East Side Gallery. School of Visual Arts New York, USA.

1998·    Installation: Viaje al encuentro. Gallery Francisco Oller, University of Puerto ·    Río Piedras, Puerto Rico

COLLECTIVE EXHIBITIONS2007 ·    8th Santiago Video and New Media Biennale (Nominated for the Juan Downey Prize) Santiago, Chile·    Bac! 07. International Contemporary Art Festival. CCCB, Barcelona, Spain·    Refréscate pa'l verano. Gallery Raíces. San Juan, Puerto Rico·    Circa, International Art Fair, San Juan, Puerto Rico

2006·    VAE 10. International Video/Art/Electronics Festival, Centro Cultural España. Lima, Peru·    Brok-en, TAG Rom, Hato Rey, Puerto Rico·    Rewind...Rewind II, National Art Fair, Antiguo Arsenal de la Marina Española, La Puntilla, San Juan, Puerto Rico·    Video Formes. Cleremont-Ferrand, France·    312 Offline Exhibition Program. Newfoundland & Labrador, Canada

2005·    Rewind...Rewind I, National Art Fair, Antiguo Arsenal de la Marina Española, La Puntilla, San Juan, Puerto Rico·    Zeppeling, 8th Festival of Sonorous Projects, Centro de Cultura Contemporania de Barcelona, Barcelona, Spain·    Prog:ME, Electronic Media Programme, Rio de Janeiro, Brazil·    6th Plastic Art Competition, Contemporary Art Museum, San Juan, Puerto Rico

2004·    First International New Media Arts Exhibition and Symposium. Beijing, China·    InLab New Media Show, Vlepo Gallery, Staten Island, New York·    MFA Computer Art Exhibition 2004, Visual Arts Gallery, Chelsea, New York, USA.

2003·    7th Annual D.U.M.B.O. Art Under The Bridge Festival, Empire-Fulton Ferry State ·    Park, Brooklyn, New York, USA.·    Far From Home Videos. Remote Lounge, New York, USA.

1999·    Velocidad. Violencia. Vacío. Espacio ?, San Juan, Puerto Rico·    Fotografía: medio de visión e ideas IV, Gallery Francisco Oller, University of Puerto Rico, San Juan, Puerto Rico

1998·    1st International Photography Biennale of Puerto Rico, Convento de los ·    Dominicos, San Juan, Puerto Rico

CATALOGUES ·    VAE 10, Internacional Video/Art/Electronics Festival, Lima, Peru·    Rewind...Rewind II, Nacional Art Fair, Antiguo Arsenal de la Marina Española, La Puntilla, San Juan, Puerto Rico·    Video Formes. Cleremont-Ferrand, France·    prog:ME, Electronics Media Programme, Rio de Janeiro, Brazil·    6th Plastic Arts Competition, Contemporary Art Museum, San Juan, Puerto Rico·    1st International Photography Biennale of Puerto Rico, Convento de los Dominicos, San Juan, Puerto Rico

PUBLICATIONS·    TagRom. Prototipo, No. 14, 2007·    Carola Cintrón expone en Raíces. El Nuevo Día, 11 January 2005·    Intervenciones Públicas y otros atavismos. El Vocero, 13 January 2005·    Galería Raíces, Recinto de Arte Contemporáneo. Art Premium, July/August, 2005

 

 

 

 

 

 

 

 

 

 

08sotd2108

2008. Avelino Sala + Dano (Cv)

AVELINO SALA GIJÓN, 1972 LIVES AND WORKS BETWEEN MADRID, GIJÓN WWW.AVELINOSALA.COM

DANOBUENOS AIRES, 1985 LIVES AND WORKS IN MADRID WWW.ZIONTIFIK.COM

WORK EXPOSED IN MADRID ABIERTO: REFLEXIÓN ESTÉTICA

 

AVELINO SALAAfter graduating in Critical Contemporary Fine Art Practice and Visual Practice at the University of Brighton (Great Britain), Sala furthered his education in a large number of centres. He works across a widespread area covering the most various media of contemporary creation and dissemination. These include founding and co-editing the magazine Sublime. In parallel, he has shown his work in several solo and group exhibitions.

His focus shifts across a wide yet intense and fertile territory, defined by a conceptualisation of the eminently autobiographical as a reflection on the contradictions inherent to the artist's role in contemporary society, an issue he explores in his installations.

Avelino Sala co-opts the plethora of meanings of the word Socorro (help in English) to construct a narrative running through an installation based on the specific and immediate interpretations of the word by the inhabitants of the coastal town of Luanco. It then gradually opens up to a wider and more nuanced slew of applications connecting with the crisis and transformation of the fishing industry, the no less topical restructuring of the neighbouring metallurgic giant, and the alteration taking place in all areas of life (tourism, the service sector or the real estate and construction boom).

For the artist, the necessary awareness in relation to the state of unrest and confusing hopelessness requires a return to roots, a recovery of the distinctive signs he finds in handmade and manufactured products to reflect the kind of collective spirituality whose original focus is the image of the Cristo del Socorro [Christ of Succour], the object of local devotion which fishermen from Luanco pray to for protection in the seafaring work. Local tradition believes in the concession of this grace in hard times.

The requested and granted succour is rendered through the traditional nets, models, the perennial light, calling attention to the abandonment and shipwreck of many of the signs that used to single out Luanco from other coastal towns in Asturias.

 EDUCATION2001·    BA (Hons Degree) in Critical Art Practice from Brighton University, England

PROJECTS2006·    Monographic within the project Feedback y La Otra on Telemadrid

2004·    Co-founded the independent art space Subliminal Projects in Gijón

2002·    Founded and, since then, directs the magazine Sublime, arte + cultura contemporánea www.sublimeart.net·    Collaborates with various magazines and organisations towards disseminating current art.  ·    Has published monographics and critics in Sublime, ARCO especial, Contemporary, AlHarafish, AlPanPAm, Zehar, Las Políticas del Arte, w3art.es, www.sublimeart.net, and texts in the catalogues of various artists. Currently collaborates with the magazine CityScapes, Valencia.·    Has co-ordinated the Arte Joven Europeo forums held in Zaragoza and magazine events within the Interzonas (2006) context. Has also participated in the ARCO'06 debate tables and has given conferences and chats in several universities, namely, the University of Oviedo, Brighton, Navarra, the Cervantes Institute in Stockholm and the Stockholm WIP.

GRANTS AND AWARDS2007·    Artport International Award video, Basel, Switzerland. Unesco and the New York Foundation for the Arts, New York, USA·    Young Exhibition Organisers Competition (together with José Luis Corazón), Opere Murarie, Rome, Italy

2006·    Honorary mention, 19th Ibiza Biennale, Spain·    Support grant. Municipal Culture Foundation of Gijón, Spain

2005·    Grant from Bilbao Arte Fundazioa, Bilbao Arte. Basque Country, Spain

2004·    Acquisition prize, International Plastic Arts Competition of Cantabria, Spain·    4th Astragal prize, Youth Council of Asturias, Spain·    Artist-in-residence in ArtHaus, Ethan Cohen Projects, Truro, Massachusetts, USA·    Art projects support grant, Municipal Culture Foundation of Gijón, Spain

2003·    Honorary mention, Generación 2003, Caja Madrid, Spain·    A_T, Arte y política, El lenguaje como arma, video production project on the cities of the Atlantic Arc.·    Hangar artist-in-residence grant. Injuve and Hangar. Barcelona, Spain

2002·    Artistic creation grant. Sculpture Centre, Antón de Candas Museum, Asturias, Spain·    Support grant for the promotion of Spanish art and new tendencies, Ministry of Culture, Spain

2001·    Art disciplines education support grant. Asturias Regional Ministry of Culture, Spain·    Subsidies for on-line digital projects, FMC of Gijón, Spain·    Acquisition prize in drawing competition. Gallery Amaga, Avilés, Asturias, Spain

2000·    Art disciplines education support grant. Asturias Regional Ministry of Culture, Spain·    Brighton and Hove council student award, Brighton Council, England·    Artist-in-residence subsidy to stay at the Portland Sculpture Trust Research Centre. Brighton University, England

1999·    Art education support grant. Asturias Regional Ministry of Culture, Spain·    Caja de Asturias grant for projects and training abroad

1998·    First prize in the 8th Nicanor Piñole painting competition·    Art disciplines education support grant. Asturias Regional Ministry of Culture, Spain·    Brighton and Hove Council dent award, Brighton Council, England

1997·    Art disciplines education support grant. Asturias Regional Ministry of Culture·    Multi-disciplinary art activities subsidies. Municipal Culture Foundation and Popular University of Gijón, Spain

INDIVIDUAL EXHIBITIONS2007·    Anxiety, (Grito, ladrido, murmullo). WIP, Stockholm, Sweden·    Resistenza. Opere Murarie, spazio BDM, Rome, Italy·    Fuego camina conmigo. Gallery Espacio Líquido, Gijón, Spain

2006·    Arde lo que Será. Gallery MCO. Oporto, Portugal.·    DRAMA "PhotoEspaña". Gallery Raquel Ponce. Madrid, Spain·    Drama. Gallery Ferrán Cano. Palma de Mallorca, Spain

2005·    Reflexionen. Art Center Friedrichstrasse, Gallery Vostell, Berlin, Germany·    La Espera. Sala Carlos III. University of Navarra. Pamplona, Spain·    The Long Wait. Contemporary Art Space El Gallo, Salamanca, Spain

2004·    Icaro Project, 51 SIF. International Photography Hall, Centro Revillagigedo, Gijón, Spain·    Another man at the ArtHaus. Ethan Cohen Projects. Truro, Massachusetts, USA·    La Espera. Espacio Astragal. Regional Ministry for Youth. Gijón, Spain·    El hombre de la trinchera. EMAC Space. Plasencia, Badajoz, Spain·    Desarrollo Sostenido. Palacete del Embarcadero. Santander, Spain·    XXI Century man. Antón Museum. Candás, Asturias, Spain

2003·    Enfrentamiento hipercrítico. Gallery Mario Sequeira. Braga, Portugal·    Restlessness. Gallery Sicart. Barcelona, Spain·    Enfrentamiento crítico. ArtFutura 03, Foundation Gabarrón, Valladolid. Spain·    Restlessness. Espacio Líquido, Gijón, Spain·    Restlessness. Gallery Vostell, Madrid, Spain·    Restlessness. Gallery Sandunga, Granada, Spain

2001·    No sólo unos pocos sino todos están llamados.... Espacio Líquido, Gijón, Spain·    Void Project series. Salas de Caja de Asturias, Spain·    Void Project, S1. CCAI, Gijón, Spain

COLLECTIVE EXHIBITIONS2007·    Nightcomers. 10th Istanbul Biennale. Istanbul. Turkey·    Extensiones y anclajes, LABoral Art Centre, Gijón, Spain·    Anamnesia. Encuentro entre dos mares. Valencia-Sao Paulo Biennale. Valencia, Spain·    The Art House. Ethan Cohen projects, Miami Beach. Miami, USA·    ArtPort, Making waves. DIVA Art Fair, Paris, Le Louvre. Paris, France·    Pool Art Fair. Miami Beach. Miami, USA·    Balelatina. Art Basel, Gallery Espacio Liquido, Basel, Switzerland·    Scope Basel. Gallery Marc de Puechredon, Basel, Switzerland·    Festival Sonar. CCCB, Barcelona, Spain·    HoritzóTV. Perspectivas de otra TV posible. La Capella, Barcelona, Spain·    VIDA. International Sport and Art Biennale, CCA. Gijón, Spain·    Sights for now. Linkoping Art Centre, Sweden·    Arco 07. Gallery Espacio Líquido, Gijón and Gallery Raquel Ponce, Madrid, Spain·    Te Mando Un Colega. Gallery ADN. Barcelona and Espacio Abisal. Bilbao, Spain·    Signos de la Ciudad. CCAI de Gijón and CAAC, Andalusian Contemporary Art Centre, Sevilla, Spain·    PlayStation Suite, Madrid, Spain·    Norte Collection, Santillana del Mar, Cantabria, Spain·    Jam Art fair, ArtPort Project, Palma de Mallorca, Spain·    ArtValencia, ArtPort Project and Espacio Liquido, Valencia, Spain

2006·    Arco 06, Espacio Liquido. Madrid, Spain·    Fuego Camina Conmigo. Caracas Biennale. Fine Arts Museum Caracas, Venezuela·    Ibiza Biennale. Contemporary Art Museum Ibiza, Spain·    Vigilancia. Ediciones Arte y Naturaleza. Madrid, Spain·    7th Miniatures Biennale. La Laguna, Canary Islands, Spain·    1st Novartia Artistic Creation Competition, Murcia, Spain·    Extramuros Project. Escultura y paisaje en el arco Atlántico, Asturias, Spain; Portugal and United Kingdom·    Encuentros Arte y Naturaleza of Valle del Jerte. EMAC, Plasencia, Badajoz, Spain

2005·    Poles Apar t/ Poles Together project, 51st Venice Biennale, Italy·    Freakylandia, Gallery T20, Murcia, Spain·    Reflexionen. Rostock Kunsthalle, Germany.·    Scope Art Fair. Ethan Cohen Projects, London, England·    Water Ways project, Venice, Italy·    Photo LA. Ethan Cohen Art Gallery. Los Angeles, USA·    Mobile Art, LA Art fair, Los Angeles, USA·    Pornografías. Gallery Carmen de la Guerra, Madrid, Spain·    Art Brussels 05. Espacio Líquido, Brussels, Belgium·    ForoSur 05. Latin American Contemporary Art Fair, Espacio Liquido. Cáceres, Spain·    Explum. "Emerging Art Competition". Murcia, Spain

2004·    Psico Bunker. Santa Mónica Art Centre. Barcelona, Spain·    Solo para las Masas. Gallery Blanca Soto, Madrid, Spain·    Hartísima. Turin Fair, Espacio Liquido, Italy·    Park your Art. ScopeArt fair, Ethan Cohen Art Gallery, Miami, USA·    Observatori 04. Museum of Arts and Sciences, Valencia, Spain·    International Cantabria Plastic Arts Competition. Santander, Spain·    ScopeArt fair, Ethan Cohen Art Gallery, New York, USA·    Art Brussels 04. Espacio Liquido, Brussels, Belgium·    Off Loop, Barcelona, Spain·    Cologne Art fair, Espacio Liquido, Germany.·    Lisbon Fair, Espacio Liquido, Lisbon, Portugal·    34 Artistas ,14 dias de Revolución. Casa Duró. Mieres, Asturias, Spain·    ArteSantander. Gallery Sicart, Santander, Spain·    Ensalada de Bombilla, Gallery Blanca Soto, Madrid, Spain·    Dog days. FIB, Ruta artística, Benicassim Festival, Castellón, Spain·    Feedback. Espacio feedback, Madrid, Spain·    4th Plastic Arts Biennale. Foundation Rafael Botí. Córdoba, Spain·    Casas y Calles. Public and Domestic Art. Madrid, Spain

2003·    Cologne Art Fair 03. Gallery Vostell. Berlin, Germany·    Arte Lisboa 03. Espacio Liquido, Portugal·    03 Vilafranca Contemporánea. Gallery Sicart and Gallery Palma Dotze, Barcelona, Spain·    Open. Spaces. Hangar, Barcelona, Spain·    Sevilla Actual  03, isla de La Cartuja. Espacio Liquido, Sevilla, Spain·    National Art Biennale of Pamplona. La ciudadela, Pamplona, Spain·    Otras Meninas. Foundation Telefónica. Itinerant through Europe, and the USA·    Generación 2003. La Casa Encendida, Madrid and itinerant through Spain and Portugal.·    ARCO 03. Gallery Vostell, Madrid, Spain·    EX_IN, Sobre Exclusiones e Inclusiones. Espacio C. Cantabria, Spain·    Fluxus sin fin, Gallery Vostell. Madrid, Spain·    ForoSur 03. Gallery Vostell, Cáceres, Spain·    Periferias_2, interventions in public spaces, FMC, Gijón, Spain·    ArteSantander 03. Espacio Liquido, Santander, Spain·    Confluencias 03. Asturias Sculpture today. University of Oviedo, Spain

2002·    ARCO 02. Gallery Vostell. Madrid, Spain·    ArTransmedia. International Art Forums. Foundation DANAE. Gijón, Spain·    Tentaciones 02 Fair, Espacio Liquido, Madrid, Spain·    Pasajes del Paisaje, Albuquerque Museum. New Mexico, USA·    La Ruta del Sentido. Arquitectures, Casa de América, Madrid and Espacio Imatra, Bilbao, Spain·    ForoSur 02, Gallery Rafael Vostell. Cáceres, Spain·    Citas a ciega. Red de museos de Gijón, FMC, Spain·    Light is Life. Santander, Spain·    ArteSantander 02. Espacio Liquido. Santander, Spain·    Obsesiones de un turista. FMC de Gijón, Spain

2001·    PORTOARTE 01. Espacio Liquido. Oporto. Portugal·    Young Art European Forums. Teruel, Spain·    Degree show. Brighton University. Brighton. England·    La mirada en el agua. Barjola Museum, Gijón, Spain·    Gallery Apart. London, England·    Odisea en el espacio. Itinerant through Spain and France·    Diálogos lúdicos. Espacio Líquido, Gijón, Spain·    Gallery Altamira. Gijón, Spain

2000·    Interaction. South Gallery Grand Parade. Brighton University, England·    Gravedad Cero. Regional Plastic Arts Fair of Asturias. Itinerant through Spain and France·    Group show. Portland Sculpture Trust. Portland Island, England

1999·    Look both ways, Phoenix Gallery. Brighton Festival, England·    Multiples art market. Phoenix Gallery, Brighton, England·    Efecto 2000. Regional Plastic Arts Fair of Asturias. Itinerant through various Spanish cities and the Interceltic Festival of Lorient, France·    Triumph exhibition. Brighton. England·    International Artists' Book Fair. Brighton University, Barbican Gallery. London, England·    La mirada en el agua. Barjola Museum. Gijón, Spain

1998·    1st Urban Art Fair. A:Península. Gijón, Spain·    Nexo. Regional Plastic Arts Fair of Asturias, Spain·    It has art love in it, Brighton University, England

1997·    Gallery Altamira. Gijón, Spain·    El crisol del Norte. Young Art Fair of Asturias. Itinerant through Spain

WORK IN COLLECTIONS·    Testimonio collection. Caja Madrid, Spain·    Espacio C collection, Cantabria, Spain·    Bilbao Arte Fundazioa, Spain·    Temas de Arte collection. Comunidad de Madrid, Spain·    Caja de Asturias collection, Spain·    Local Council of San Martín del Rey Aurelio. Fine Arts Museum of Asturias, Spain·    Rottary Club collection. Antón Museum, Asturias, Spain·    Norte collection, Regional Ministry of Culture of Cantabria, Spain·    Local Council of Valdemoro, Madrid, Spain·    EMAC, Plasencia, Badajoz, Spain·    Arte y Naturaleza. Contemporary Art Centre of Ibiza, Spain

 

 

 

 

 

 

 

 

 

 

 

 

08sotd2105, 08sotd2106

2008. Gregory Büttner (Cv)

HAMBURG, 1972 LIVES AND WORKS IN HAMBURG WWW.GREGORYBUETTNER.DEWORK EXPOSED IN MADRID ABIERTO: WALZE 1

2007·    Participation at the project “Microton - Science und Sounds“ new sounds for historic science movies. Special programm at the Kurzfilmfestivals Hamburg

2006-2007·    Participation at the project “Reise ins 21 Jahrhundert”, Composers in the Schools! A Project of Landesmusikrats Hamburg in cooperation with the Hochschule für Musik und Theater

2005 ·    Co-organizer (together with Sebastian Reier) of a series of movie events around the topic “sound and picture“ www.bildundton.tk·    Videoscreenings at: 2:13 festival [athen], metropolis, b-movie, infernale, s.k.a.m. kurzfilmfunk

2004 ·    Launch of the label 1000füssler which releases experimental music and video www.1000fussler.com·    Co-founder of the musician-organisation verband für aktuelle musik Hamburg, www.vamh.de·    Member of the musician-association hörbar e.v. www.hoerbar-ev.de

2000-2004 ·    Specialization in audiovisual work: sound, video, photography

1997-2004 ·    Communication design studies at the university for applied sciences, Hamburg

RELEASES·    nil_audio, 3”cd-r /AIC ·    23 ZOOMS, dvd-r + cd-r /1000füssler ·    every, 3”cd-r /1000füssler ·    3”/1, 3”cd-r /1000füssler ·    heiz, track on the cd “heizung raum 318“ with S.Funck, A.Tietchens, N.Stephan /1000füssler ·    domichel, contribution to the compilation “Der Michel und der Dom”, CD / Grünrekorder ·    tischbrunnen, contribution to the compilation “Verfassung”, LP / Hamburger Hörbar e.v. ·    alugeige, mp3-single www.plakatif.net   ·    Soon: walze 1-8, cd /fireworks edition records·    tba, cd / collaboration with Rhodri Davies / con-v

WITH FÜR DIESEN ABEND·    Since 2001 exist the audio duo “für diesen abend“ (engl: for this evening) with Stefan Funck. Partly in co-operation with the artist Katrin Bethge, who uses overhead projectors to convert the sounds of the duo to visuals and vice versa.

Performances ·    in Copenhagen, Rotterdam, Nijmegen, Hamburg, Berlin, Cologne, Düsseldorf, Frankfurt, Leipzig, Dresden, Erlangen, Detmold, Stralsund.

Festivals·    International Filmfestival Rotterdam 2007, 8. Festival Garage 2004 (Stralsund/Germany), The Art of Overhead 2005 (Copenhagen / Denmark), Blurred Edges 2006 -12 Tage aktuelle Musik (Hamburg)·    PlacardClubTransmediale (Berlin), Hafensafari.

Releases·    self titled, cd-r / 1000füssler·    Live, cd-r + video/Alulatonserien·    verbiegung der normallinie, contribution to the compilation “prosit zur letzten tide“, 2cd-r / Hörbar·    Soundtrack for the shortfilms Ellipse (2003 / 10 min / 35mm ) and Innen (2004 / 20 min / 35mm) by Martin Kaatz

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08sotd2114

2008. Gregory Büttner (Cv)

HAMBURG, 1972 VIVE Y TRABAJA EN HAMBURG WWW.GREGORYBUETTNER.DEOBRA EN MADRID ABIERTO: WALZE 1

2007·    Participación en el proyecto "Microton - Science und Sounds", sonidos nuevos para películas científicas e históricas. Programa especial en el Kurzfilmfestivals, Hamburgo

2006–2007·    Participación en el proyecto "Reise ins 21 Jahrhundert". Compositor en Schools!, un proyecto de Landesmusikrats Hamburgo en colaboración con el Hochschule für Musik und Theater

2005·    Coorganizador (junto con Reier) de una serie de eventos musicales relacionados con el tema "sonido e imagen" www.bildundton.tk·    Proyección de videos en: 2:13 Festival [Atenas], metropolis, b-movie, infernale, s.k.a.m. kurzfilmfunk

2004·    Lanzamiento del sello 1000füssler, que edita música y video experimentales www.1000fussler.com·    Cofundador de la organización musical verband für aktuelle musik, Hamburgo, www.vamh.de·    Miembro de la asociación de músicos hörbar e.v. www.hoerbar-ev.de

2000–2004·    Especialización en trabajo audiovisual: sonido, video, fotografía.

1997–2004·    Estudios de Diseño de Comunicación en la Universidad de Ciencias Aplicadas, Hamburgo.

PRODUCCIONES·    nil_audio, 3"cd-r /AIC ·    23 ZOOMS, dvd-r + cd-r /1000füssler ·    every, 3"cd-r /1000füssler ·    3"/1, 3"cd-r /1000füssler ·    heiz, tema en el cd "heizung raum 318" con S.Funck, A.Tietchens, N.Stephan /1000füssler ·    domichel, contribución a la recopilación "Der Michel und der Dom", CD / Grünrekorder ·    tischbrunnen, contribución a la recopilación "Verfassung", LP / Hamburger Hörbar e.v. ·    alugeige, mp3-single www.plakatif.net   ·    En breve:  walze 1-8, cd /fireworks edition records ·    tba, cd / colaboración con Rhodri Davies / con-v

 

CON FÜR DIESEN ABEND·    Desde 2001 existe el dúo de sonido "für diesen abend" (en español: "Para esta tarde") con Stefan Funck. Parcialmente en colaboración con el artista Katrin Bethge, que utiliza retroproyectores para convertir los sonidos del dúo en visuales y viceversa.  ·    Conciertos en Copenhague, Rotterdam, Nijmegen, Hamburgo, Berlín, Colonia, Düsseldorf, Frankfurt, Leipzig, Dresde, Erlangen, Detmold, Stralsund.·    Festivales: International Filmfestival Rotterdam 2007, 8. Festival Garage 2004 (Stralsund/Alemania), The Art of Overhead 2005 (Copenhague / Dinamarca), Blurred Edges 2006 -12 Tage aktuelle Musik (Hamburgo)·    PlacardClubTransmediale (Berlín), Hafensafari.·    Producciones:·    self titled, cd-r / 1000füssler·    Live, cd-r + video/Alulatonserien·    verbiegung der normallinie, contribución a la recopilación "prosit zur letzten tide", 2cd-r / Hörbar·    Banda sonora para los cortos Ellipse (2003 / 10 min / 35mm) e Innen (2004 / 20 min / 35mm) de Martin Kaatz

 

 

 

 

 

 

 

 

 

 

08sotd2113

2008. Alicia Framis + Michael Lin. 100 WAYS TO WEAR A FLAG (2007.10 / project review / technical data)

OCTOBER 2007

 

DESCRIPCIÓN DEL SISTEMA DE MONTAJE Y NECESIDADES TÉCNICA DEL PROYECTO

NECESIDADES TÉCNICAS Y LOGÍSTICAS

1.    La locación para la performance debe ser cerrado preferiblemente, pues será en época de invierno. 2.    Será necesario iluminación y sonido (todavía por definir características específicas)3.    Las Modelos serán contratadas previamente a través de agencias de modelos madrileñas. 4.    El peinado y maquillaje de las modelos será organizado por parte del Alicia Framis Studio.5.    El equipo de Alicia Framis Studio se encargará de todas las contracciones. Así como del traslado de los vestidos si fuera necesario.

NECESIDADES TÉCNICAS DE ESTRUCTURA ARQUITECTÓNICA

1.    El sistema de montaje de la estructura arquitectónico estará descrito y detallado en el Dossier presentado por Michael Lin.2.    El sistema de Iluminación y sonido se hará por parte del personal contratado para este fin.

 

 

 

 

 

 

 

 

 

 

 

 

 

08intb3659

2008. Alicia Framis + Michael Lin. 100 WAYS TO WEAR A FLAG (2007.10 / project review / visual data)

2008. Alicia Framis + Michael Lin. 100 WAYS TO WEAR A FLAG (2007.10 / project review / visual data)

OCTOBER 2007

 

 

 

Ingrid Pastor

 

 Roberto Piqueras

 

   

Copies of Chinese designers designs

 

 

 

 

 

 

 

 

 

 

 

 

 

08inib3657

2008. INTERVENCIONES TV (every audiovisual work)

Audiovisual works belonging to the 2007 edition of INTERVENCIONES TV competion, which formed part of the MADRID ABIERTO 2008 program.This video was screened on Metro tv channel.

 

        

Estibaliz SadabaEL PLANETA DE LAS MUJERES INVASORAS2007. 3'45"

Synopsis: “…in a planet governed by women, men might even end up feeling threatened and vulnerable.”

I have redirected a series of images based on the idea of détournement, in the sense of uprooting aesthetic artefacts from their original context and diverting them towards contexts of one’s own creation. Based on the philosophy that any idea is susceptible to becoming something else, even its opposite, the entire piece would become a displacement of meaning exercise, as of the iconic and semantic elements that we attempt to dismantle.

 

Itziar OkarizMC CARREN + PULASKYMcCarren. 2007. static photo and voice in off. 00'56''Pulasky. 2007. static photo and voice in off. 00'41''

 McCarren is an attempt to represent a real landscape through the elements that remain on the margins of the field of vision of documentary convention. The story is a verification of a series of trivial objects that succeed one another in the landscape and are an indispensable part of a concrete experience of the place.

Pulaski establishes a connection with a place, the bridge, through the description of a past occurrence that lacks importance to any other person. It makes visible the rear part of the adverting apparatus of the billboards on the sides of the road.

They both address the subjective experience of different urban spaces.

 

Mabi Revuelta4 HORAS Y 56 MINUTOS2007. DVD. Colour. Pal. Estéreo. 1'54"

Internet is becoming the audiovisual home of many users, like an independent republic against conventional television. Even so, 4 hours and 56 minutes is our new television consumption record.

In the form of advertising zapping, Mabi Revuelta reflects on the future and meaning of current TV: the analogical signal against alternative on-line systems; passive advertising consumption vs. digital interaction.

 

Mikel Arbiza of Perros Callejeros Films   SKATEBOARDING DESDE EL CORAZÓN2006 > 2008

Second video for the company Parafernalia Skateboards (www.parafernalia.info) where we can see the company’s team (Diego Doural, Blayney Hamilton and Mischa Canibal) skating with a lot of friends (Mathieu Dupuy, Dani Pérez, Samuel Dorregaray, Cristian Cortizo, Ibai Larralde, Pablo Rivera, Mateo Rotaetxe, Juanma Fernández, Iñaki Guantxe, Alain Saavedra, and others.)

The three promotional pieces ‘teasers’ presented in Madrid Abierto were specifically prepared for the competition Intervenciones TV. The long video will be finished in the course of 2008.

 

Andrew SeniorPUBLIC INANITY + PRIVATE INSANITY-24 HOURS2007. DV 720x576. PAL. Colour. Stéreo. 01'07''

Public Inanity reflects upon the intrusion of television into our public spaces as endlessly repeating loops of trivial content assail us from street corners. Private Insanity takes 24 hours of television and compresses both sound and images in a crescendo of sensory overload.

 

Maya WatanabeAUTORRES2005. 1'15". Performed by: Maya Watanabe. Camera: Martín Guerra

Autobiographical piece which borrows film dialogues which are edited, mixed and reassembled to create a narration with a new meaning.

 

Raúl Bajo IbáñezLA PIEL DEL LOBO2007. 3'45". Mini dv

Synopsis: "...in a planet governed by women, men might even end up feeling threatened and vulnerable."

La piel del lobo is a video that reflects on our concept of reality, built on the base of the images fed to us by the audiovisual media. The reality simulations gradually woven around us by the media have managed to irremissibly trap us, incapacitating us to differentiate the real, multi-form, ubiquitous and intangible reality. Trapped in this network of images, we are easy prey to its constant economic, physical, emotional and political manipulation. This video is a small contribution towards media resistance, an incitement to alter the rules of the game: the lambs will rebel, hunt the wolf down and strip its skin.

 

Yolanda de los BueisHIS ITV2007. PAL. 4:3. Colour Stereo. 03'18". Camera: Miles Tudor. Old man: Yolanda de los Bueis

Part I and IIIThere is a private eye in a public space.There is a public eye in a private space.There is a space that is neither private nor public.A public solitude.

Part IICertain disturbing fragments are recognised in an instant, but neither with sufficient sharpness nor time to be able to make a judgement. Their material and aesthetic features act as catalysts of desires, evoking a sense of the perverse or summoning fantasies.

 

Furallefalle-FAF (Vanesa Castro + Iñaki López)CUÑAS TV2003. DV. 02'13"

CUÑAS TV is an audiovisual with a positivist vision of TV.

In the form of television zapping, we find various spots and ads. The spots are of a critical and reflexive nature, on sexuality and violence on TV. The ads of an absurd advertising nature, where the everyday is sold. Thus we can see Andy Warhol advertising "garlic from La Mancha", Maria Abradelo presenting an exhibitionist child or Joe Blogs advertising his depression.

 

 

 

 

 

 

 

 

 

 

 

08auve2367

2008. RUEDA DE PRENSA (images)

2008. RUEDA DE PRENSA (images)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08dive2365

2008. Raúl Bajo Ibáñez (Cv)

MADRID, 1970 LIVES AND WORKS IN MADRID WWW.HAMACAONLINE.NETWORK EXPOSED IN MADRID ABIERTO: LA PIEL DEL LOBO

EDUCATION·    Bachelor's degree in Fine Arts from the Complutense University of Madrid

COURSES AND WORKSHOPS1997·    International Congress "Arte en la Era Electrónica", Contemporary Culture Centre. Barcelona. With the participation of Peter Weibel, Jefrrey Shaw, Antoni Muntadas and José Jiménez, among others·    "Arte en Internet". Directed by Zush and Yoonah Kim, El Escorial Summer Courses, Madrid

1996·    Art and Multimedia Seminar "Art y Comunicació Global".  Cultural Centre of la Caixa Foundation. Barcelona·    Workshop "Nuevas Tecnologías digitales de la imagen en el arte actual". Imparted by José Ramón Alcalá. Els Tallers de Miro. Palma de Mallorca

1992·    Course "Del guión a la realización cinematográfica". Directed by Pilar Miró and Antonio Giménez Rico. El Escorial Summer Courses, Madrid

1991·    Seminar "Espacio-tiempo, coordenadas del lenguaje cinematográfico" imparted by Miguel Picazo, Pedro del Rey Fernando Arribas, in Circulo de Bellas Artes, Madrid

AWARDS AND GRANTS1997·    Support grant for production of artistic projects. International Electrography Museum, Cuenca·    Videocreation Selection Prize.  Audiovisual Arts Show 97, Youth Institute, Madrid

1996·    Videocreation Selection Prize. Audiovisual Arts Show 96, Youth Institute, Madrid

1994–1997·    Pre-doctoral Research Grant, Complutense University of Madrid

OTHER ACTIVITIES2007 ·    Some of his videos are distributed by the international distribution company Hamaca: www.hamacaonline.net

1997·    Co-founder of "Peninsulares" Video Directory on the Web, Organisation dedicated to promoting activities and initiatives surrounding video and the web page www.peninsulares.org

1994-5·    Director of the videocreation section of the magazine " La Hora Feliz", Co-ordinator of the special monographic " La Imagen Precaria: vídeo de creación en España (aquí y ahora)"

 

FESTIVALS AND EXHIBITIONS2007·    Minima 2007, Gandia, Valencia·    Selected in Intervenciones TV 2007, Rodríguez Foundation, presentation in the Montehermoso Cultural Centre, Vitoria·    The one minute Belgian open. Ghent, Belgium·    One minute film & video Festival, Aarau, Switzerland·    Zemos 98. 9th Edition. Fuera de control, San Clemente Monastery, Seville·    Included in the Hamaca catalogue, media & videoart distribution from Spain, Barcelona, www.hamacaonline.net·    Majadahonda Audiovisual Creation Festival, Madrid

2005·    Videoformes. Manifestation Internationale Dárt Vidéo et Nouveaux Médias, Clermont-Ferrand

2004·    9th Cabra National Audiovisual Creation Contest. Córdoba·    Audiovisual Injuve 1998-2002, Sala Aamadís, Madrid·    Invideo, Spazio Oberdan, Milan, Italy·    Visual 04, Cultural Centre Carmen Conde, Majadahonda, Madrid·    Los ojos cercanos Cartografías, relatos y ficciones en torno a las imágenes como documento. La Casa Encendida, Madrid·    19th Vitoria Gastei Audiovisual Festival. Montehermoso Cultural Centre, Vitoria·    1º Finalist in Minima 2004, Theatre del Raval, Gandia, Valencia·    Viper 2004, Basel, Switzerland·    26th Montpellier International Mediterranean Film Festival, France.

2003·    Mínima 2003 vídeocurt, Theatre del Raval, Gandia, Valencia·    18th Vitoria-Gasteiz Audiovisual Festival 2003, Montehermoso Cultural Centre, Vitoria·    8th Cabra National Audiovisual Creation Contest 2003, Municipal Film Studio of Cabra, Cordoba·    25th Montpellier International Mediterranean Film Festival, France

2002·    Navarra International Audiovisual Creation Festival. Planetario de Pamplona

2000·    Pre-selection of work presented at the Youth Institute's Audiovisual Arts Show. Madrid

1999·    Presentation Peninsulares, Gallery Idearte, Madrid·    Espacio de Videocreación. Feria Arte+Sur. Granada·    Luces intermitentes. Situaciones. Faculty of Fine Arts, Cuenca

1998·    Itinerary of the 97 Audiovisual Arts Show, Argentina, Paraguay; Chile, Peru, Cuba, Bolivia, Colombia, Costa Rica, Dominican Republic·    Encuentros de Vídeo, Faculty of Fine Arts, Salamanca·    Gallery Artenet. Estampa 98 Art Fair, Madrid

1997·    Navarra Video Festival, Planetario de Pamplona·    Audiovisual Arts Show, Youth Institute, Spanish Museum of Contemporary Art, Madrid·    "En Construció, Panorama del Vídeo de Creació als Anys Noranta". Santa Mónica Art Centre, Barcelona·    Jove 97 Video Festival, Valencia Youth Institute, Valencia·    XII Vitoria Video Festival, Palacio de Villasuso, Vitoria·    Video à la carte of the 4th Barcelona Independent Video Show, Contemporary Culture Centre, Barcelona·    "Videodegradables", Video Exhibition. Sala Rekalde, Bilbao·    "Eurovídeo 97" 1st Unicaja Video Contest. Aula de Cultura de Unicaja, Málaga

1996·    Video à la carte of the 3rd Barcelona Independent Video Show, Contemporary Culture Centre, Barcelona·    Cinema Jove 96 Video Festival, Valencia Youth Institute, Valencia·    Elche Independent Film and Video Festival, Hort del Xocolater, Alicante·    Lorca 96 Video Festival, Popular University, Theatre Guerra, Murcia·    Audiovisual Arts Show, Youth Institute, Spanish Contemporary Art Museum, Madrid

1995·    Navarra Video Festival, Planetario de Pamplona·    X Vitoria Music Video Festival, Palacio de Villasuso, Vitoria·    Video à la carte of the 6th Vigo International Video Festival, Auditorium Cultural Centre Caixa Vigo, Pontevedra

1994·    Cinema Jove 94 Video Festival, Valencia Youth Institute, Valencia·    IX Vitoria Music Video Festival, Palacio de Villasuso, Vitoria

1993·    II Navarra Video Show, Planetario de Pamplona

ARTICLES AND PUBLICATIONS·    Imágenes de los límites, in VV.AA, Tèchne, Editorial Complutense, Madrid, 1998·    Electrografía e Identidad: Aproximaciones a la auto(re)presentación del cuerpo, boletín. "Teodosio 5" No. 41, Sevilla,1998·    Desarrollando estrategias: Transgresión, reflexión e independencia. Magazine "La Hora Feliz", No.4 special monographic edition on videocreation, Madrid, 1994·    El cine como arte o la mirada cándida del cine. Magazine "Imagen en movimiento" No.1. Faculty of Fine Arts, Madrid, 1992

BIBLIOGRAPHY·    Omar Kahm, "La pandilla catódica", article in El País de las Tentaciones, August, 1997·    Eugeni Bonet, "Señales de video", catalogue of the Itinerant exhibition Museo Nacional Centro de Arte Reina Sofía. Ministry of Culture, Madrid, 1995.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08autd2189

2008. INFOMAB (images)

2008. INFOMAB (images)

 

PASEO DE RECOLETOS

CASA ENCENDIDA

        

 

 

 

 

 

 

 

 

 

 

 

 

 

08diie2364

2008. CHART Madrid Abierto (451 Studio)

2008. CHART Madrid Abierto (451 Studio)

 

      

 

MUPPI SKETCH

     

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08diie2362, 08diie2361

2008 / 2008.03. ON DISEÑO. Madrid Abierto 08

2008 / 2008.03. ON DISEÑO. Madrid Abierto 08

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

08dima2234

2008. Fernando Llanos. [VI VÍDEO] BIENAL DO MECOSUL (video)

 

                

[VI VÍDEO] BIENAL DO MERCOSULPorto Alegre, Brasil

Optionn 1TERRORISMO POÉTICOAcciones de aviones proyectados en el aeropuerto

Option 2 VIDEOMAN VS GAÚCHOProyecciones de gaúchos en el monumento Laçador

Option 3SEXO / AMORProyección de un beso en Farrapos (zona roja)

Option 4HOMENAGEM A SEU MADRUGA Proyecciones de Don Ramón (seu Madruga) en lote abandonado

Option 5VIDEO NA RUAProyecciones de arte eb video en una calle del centro

Opción 6 VIEDOARTE O - FUTEBOL 5 Proyecciones de vídeo afuera de un estadio de futbol

Option 7INVADIENDO ESPACIOSProyecciones durante la inuaguración de la V Bienal de Mercosul

 

 

 

 

 

 

 

 

 

08inve1872

2008 / 2008.03.30. EL PAÍS SEMANAL. Karl Marx está en venta (Andreas Templin)

2008 / 2008.03.30. EL PAÍS SEMANAL. Karl Marx está en venta (Andreas Templin)

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

 

 

 

08dima2233

2008. Alicia Framis + Michael Lin. PAINT ON TENNIS COURT, 2005

2008. Alicia Framis + Michael Lin. PAINT ON TENNIS COURT, 2005

 

Paint on tennis court.View of installation, Contemporary Museum, Honolulu, Hawaii.

 

 

 

 

 

 

 

 

08inme3506

2008 / 2008.03.08-14. ABCD. El arte hueco y el montaje plano

2008 / 2008.03.08-14. ABCD. El arte hueco y el montaje plano

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

 

 

 

08dima2232

2008. Alicia Framis + Michael Lin. PALAIS DE TOKYO, 2002

2008. Alicia Framis + Michael Lin. PALAIS DE TOKYO, 2002

 

 

 Painted wooden panels and cushions with patterns.View of installation in Palais de Tokyo, Paris.

 

 

 

 

 

 

 

 

08inme3505

2008. Patrick Courtney. HAIR + SPIT V1.0.

FORMAT: LOOP/ CD I YEAR: 2005-2007

 

Name Play Size Duration
Patrick Courtney. HAIR SPIT V1.0
7.5 MB 8:11 min

 ‘"The end result of complete cellular representation is cancer"William S. Burroughs Naked Lunch 134

hair+spit v1.0 is a war broadcast. It is first piece taken from over 17 hours of actual sound recordings of chemotherapy treatment. The sound of the drugs, blood transfusions, hydration treatments and food supplements entering the body.

In the summer of 2005, I sat beside my son, Piers, in Ward 10. He had cancer. These are moments of complete helplessness; you are not part of the rest of the world. You feel lonely in the realisation he is lonely; you are always alone in great pain wherever that pain originates and for nearly two months he hardly spoke or smiled. He has now fully recovered.

Chemotherapy is a form of warfare; a well planned and sustained war of attrition against any abnormal and uncontrolled cell division causing cancerous tumours. Like any successful battle plan it requires meticulous planning, execution and of course, luck. Like any war, there are many casualties suffered other than intended targets. Collateral damage within the body is widespread. Severely reduced is the hair and saliva production within the body due to the destruction of those dividing cells; it decimates the immune system.

In a small totally blacked out space, an immersive sonic environment, I want to put the audience somewhere in the position I was; in a children’s oncology ward in the dead of night with the faint sound of the infusion pump which had the unsettling psychological effect of slowly increasing in volume until it was all I could hear. This is, in media terms, within the realm of a war broadcast, a ‘scaling up’ as opposed to obvious ‘scaling down’ effect we normally experience.

hair+spit v1.0 is both a real document and an artistic corporeal investigation through a lonely virulent sound of mutation and war.

 

 

 

 

 

 

 

 

 

 

 

 

 

08sotc2097-08sose2138-08sotb3366

2008 / 2008.02. REVISTA DE MUSEOLOGÍA, NUM 40. Madrid Abierto

2008 / 2008.02. REVISTA DE MUSEOLOGÍA, NUM 40. Madrid Abierto

** SEE THE ATTACHED PDF

 

 

 

 

 

 

 

 

 

 

08dima2231

2008. Alicia Framis + Michael Lin. GRIND, 2004

2008. Alicia Framis + Michael Lin. GRIND, 2004

 

Painted wooden floor and wallView of installation in PS1 Contemporary Art Centre, New York

 

 

 

 

 

 

 

08inme1817

2008 / 2008.02. ES MADRID MAGAZINE. Madrid Abierto

2008 / 2008.02. ES MADRID MAGAZINE. Madrid Abierto

** SEE THE ATTACHED PDF

 

 

 

 

 

 

 

 

 

 

08dima2230

2008. Alicia Framis + Michael Lin. ATRIUM STADHUIS, 2002

2008. Alicia Framis + Michael Lin. ATRIUM STADHUIS, 2002

 

 

View of the intervention  in the City Hall of The Hague, Netherlands

 

 

 

 

 

 

 

 

 

08inme1816, 08inme3503

2008 / 2008.02.29. EL MUNDO S XXI. La próxima generación

2008 / 2008.02.29. EL MUNDO S XXI. La próxima generación

** SEE THE ATTACHED PDF

 

 

 

 

 

 

 

 

 

 

 

 

 

08dima2228

2008 / 2008.02.28. TAXI MAGAZINE. Madrid Abierto. Varios espacios

2008 / 2008.02.28. TAXI MAGAZINE. Madrid Abierto. Varios espacios

** SEE THE ATTACHED PDF

 

 

 

 

 

 

 

 

 

 

 

 

08dima2226

2008 / 2008.02.28. PÚBLICO. Agenda

2008 / 2008.02.28. PÚBLICO. Agenda

** SEE THE ATTACHED PDF

 

 

 

 

 

 

 

 

 

 

 

08dita2225

2008 / 2008.02.22. EL MUNDO SXXI. Protestas a pie de Calle (Todo por la Praxis)

2008 / 2008.02.22. EL MUNDO SXXI. Protestas a pie de Calle (Todo por la Praxis)

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

 

 

 

08dima2223

2008 / 2008.02.18. 20 MINUTOS. La ciudad como museo

2008 / 2008.02.18. 20 MINUTOS. La ciudad como museo

** VER EL DOCUMENTO ADJUNTO

 

 

 

 

 

 

 

 

 

08dima2221

2008. Todo por la praxis. CHEMA: EL MUNDO ES AZUL, 2004

2008. Todo por la praxis. CHEMA: EL MUNDO ES AZUL, 2004

 

    

EL MUNDO ES AZUL, 2004 (the word is blue)Plaza de España, Madrid Chema

In 2003, Telefónica launched a promotional campaign using motorbike racers which were sponsored by the company. That same year, some of them were world champions, so the company took advantage of the media hype to promote their company. The main slogan, the campaign’s message (“The world is blue”) uses the accidental media effect in an ambiguous manner, transferring it to a company’s reality whose only connection to such event is its sponsor condition. That is, once more, publicity and marketing use classic tools, such as de-contextualization, appropriation, opportunism, to launch their campaigns. And it’s here where as a reaction and counter-campaign arises using the same codes, the same tools, but subverting them. “The world is blue” campaign reminded me of the true blue world, that is, to bricklayers. To substitute some media icons, whose clothing consists of blue overalls, which are also worn by unknown bricklayers, maintaining the rest, thus creating a perfect scenery.

Promotional posters used for Telefónica’s “the world is blue” campaign.T The world is blueD The new design of telephone booths provides a space that the company itself uses to promote their services. The posters’ design has been conditioned by the size and the format of promotional space available in telephone booths. As it was impossible to introduce the posters in that space in a conventional way, the posters are made of vinyl that is stuck on the available space, the action took place by sticking two pieces of vinyl (100x80) in two booths, the interventions posters intertwine with the real Teléfonica posters. The posters remained unnoticed for about a month, once the company renewed their promotional posters. A 2004P Plaza de España Madrid

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

TODO POR LA PRAXIS (TPP) was created as a “laboratory for Projects” which produces a variety of aesthetic and cultural projects. TPP is formalized in an area of design and testing of the most efficient cultural resistance techniques, focusing on testing non conventional tools, forms of organization and action, around specific action projects. Their two basic themes are activist artistic practices or opposition practices as a means to represent social conflict in an effective aesthetic manner and artistic practices in/on public space and its repercussions on the social context in which they inscribe themselves. Those basic themes are themselves divided in three research lines that are represented through their alter egos: establishing a symbolic game which defines each of their working areas.

 

 

CHEMA: Alter ego of “Todo por la Praxis” Project. Chema is built through the symbiosis of two main icons of revolutionary movements: Che Guevara, paradigm of the revolutionary movement, precursor of guerrilla war tactics and Mao Tse-Tung, forerunner of the social mobilization campaign defined as cultural revolution. Chema is created as a new revolutionary icon, by mixing characteristics of the two and developing a new line of direct action through the new concept of “cultural guerrilla”.

One of the most urgent functions of confrontational cultural practices is to redirect propaganda campaigns, through interferences in the communicative channel, specific social issues, refocusing campaigns from a position that shows the internal contradictions of the symbolic system of ideological transmission.

Therefore, an anti-hegemonic social praxis that works by decoding, dismantling codes, mechanisms, artefacts and ideological and coercive constructions with which the ruling class maintain their discursive hegemony.

** SEE THE ATTACHED PDF

 

 

 

 

 

 

 

 

 

08aama1926, 08aama3537, 08aama3535, 08prmc3533

2008 / 2008.02.14. EL MUNDO. EL CULTURAL. Madrid intervenido

2008 / 2008.02.14. EL MUNDO. EL CULTURAL. Madrid intervenido

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

 

 

08dima2219

2008. LaHostiaFineArts (LHFA). VENTA EL TIGRE, 1999

2008. LaHostiaFineArts (LHFA). VENTA EL TIGRE, 1999

 

VENTA EL TIGRE, 1999Construcción de una chabola con material de desecho de la Universidad Autónoma de Madrid.

La construcción servía de bar, punto de encuentro e información de las Jornadas de Intervención Espacios Cruzados. Venta el Tigre, situada frente al Rectorado, era regentada por los propios estudiantes de Historia del Arte. Contaba con una página web y web-cam activa. Fue clausurada por los autores en respeto a la censura de la Universidad de la obra de otro autor participante de la muestra.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08aama1918

2008. LaHostiaFineArts (LHFA). EL BAILE DE MI TANI, 2001

2008. LaHostiaFineArts (LHFA). EL BAILE DE MI TANI, 2001

EL BAILE DE MI TANI, 2001

Botellón con proyección de vídeo en escaparate y baile al ritmo de la música de Tani.Lavapiés

 

 

 

 

 

 

 

 

 

 

 

 

 

08aama1917

2008 / 2008.02.09. EL PAÍS - BABELIA. Madrid Abierto. Hasta el 2 de marzo

2008 / 2008.02.09. EL PAÍS - BABELIA. Madrid Abierto. Hasta el 2 de marzo

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

 

08dima2216

2008. LaHostiaFineArts (LHFA). PASSPORT, 2001

2008. LaHostiaFineArts (LHFA). PASSPORT, 2001

 

PASSPORT, 2001Performance

Coslart, 2002. Coslada

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08aama1916

2008. LaHostiaFineArts (LHFA). PASSPORT, 2001

2008. LaHostiaFineArts (LHFA). PASSPORT, 2001

 

PASSPORT, 2001Performance

Coslart, 2002. Coslada

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08aama1916

2008 / 2008.02.09. ABC (EDICIÓN NACIONAL). Una galería al aire libre

2008 / 2008.02.09. ABC (EDICIÓN NACIONAL). Una galería al aire libre

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

08dima2215

2008. LaHostiaFineArts (LHFA). SPITTING IMAGES, 2002

2008. LaHostiaFineArts (LHFA). SPITTING IMAGES, 2002

 

SPITTING IMAGES, 2002Papel sobre dibujo, Galería Moriarty

 

 

 

 

 

 

 

 

 

 

 

 

 

08aama1915

2009-2010. Susanne Bosch. DREAM-DO-DONE (2009.05 / project review / fieldwork)

MAY 2009

 

SOME STATISTICAL INFORMATION

 

AGENDA 21 DE LA CULTURA, EL PROGRAMA PARA LOS DISTRITOS

In the Agenda 21 of the city of Madrid I found an interesting alignment with my public art approach to La Latina / Lavapies*:

* source: "programa electoral del candidato a la alcaldía de madrid" Populares Madrid 2007" http://www.agenda21culture.net/index.php?option=com_content&view=article&id=45&Itemid=62&lang=

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10intb3649

2008. LaHostiaFineArts (LHFA). PICNIC, 2005

2008. LaHostiaFineArts (LHFA). PICNIC, 2005

 

PICNIC, 2005 Performance

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08aama1914

2008 / 2008.02.08. PÚBLICO. La calle tiene la palabra

2008 / 2008.02.08. PÚBLICO. La calle tiene la palabra

** ABRIR PDF ADJUNTO PARA VER EL DOCUMENTO COMPLETO

 

 

 

 

 

 

 

 

 

 

 

08dima2213

2008 / 2008.02.08. PÚBLICO. La calle tiene la palabra

2008 / 2008.02.08. PÚBLICO. La calle tiene la palabra

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

 

 

 

 

08dima2213

2009-2010 / 2010.02.05. DIARIODEIBIZA.ES. Madrid Abierto mostrará un nuevo punto de vista de la capital

2009-2010 / 2010.02.05. DIARIODEIBIZA.ES. Madrid Abierto mostrará un nuevo punto de vista de la capital

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

 

 

 

 

09-10ditd3191

2008. LaHostiaFineArts (LHFA). DESFILE, 2005

2008. LaHostiaFineArts (LHFA). DESFILE, 2005

 

DESFILE, 2005Performance

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08aama1913

2008. LaHostiaFineArts (LHFA). INCIDENCIA DE ESTA PERFORMANCE EN EL PESO DE SU PÚBLICO, 2006

2008. LaHostiaFineArts (LHFA). INCIDENCIA DE ESTA PERFORMANCE EN EL PESO DE SU PÚBLICO, 2006

 

 

EFFECT OF THIS PERFORMANCE ON ITS AUDIENCE Festival performance. Modern Art Centre. Madrid

The audience was weighed before and after the performance. The difference was calculated and it was concluded that this performance makes you lose weight.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08aama1912, 08aata3622

2008. LaHostiaFineArts (LHFA). BENIDORM, 2006

2008. LaHostiaFineArts (LHFA). BENIDORM, 2006

 

    

BENIDORM, 2006Collective action

The Benidorm brought together more than twenty video-artists in a piece of collective authorship. The process was simple: after arriving at Benidorm and having a first contact with the city, each video-artist recorded a one hour tape about those aspects of the city that were considered appropriate. These tapes or rough cuts were raffled off among the participants for each to edit the video between 2’ and 4’ aprox from someone else’s recording. With all the pieces a DVD was edited as a film.

 

 

 

 

 

 

 

 

 

08aama1911-08aama3531

2008 / 2008.02.08. EL MUNDO. Un arte que habla con la ciudad

2008 / 2008.02.08. EL MUNDO. Un arte que habla con la ciudad

** SEE THE ATTACHED PDF

 

 

 

 

 

 

 

 

 

 

08dima2210

2008. LaHostiaFineArts (LHFA). INTERVENCIONES SOBRE PERFORMANCES, 2007

2008. LaHostiaFineArts (LHFA). INTERVENCIONES SOBRE PERFORMANCES, 2007

 

INTERVENCIONES SOBRE PERFORMANCES, 2007

Dos vídeos que contienen 23 performances de artistas madrileños realizadas expresamente para su grabación en vídeo y otra tantas manipulaciones de las grabaciones a cargo de 23 videoartistas madrileños.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08aama1910

2008. LaHostiaFineArts (LHFA). INTERVENCIONES SOBRE PERFORMANCES, 2007

2008. LaHostiaFineArts (LHFA). INTERVENCIONES SOBRE PERFORMANCES, 2007

 

INTERVENCIONES SOBRE PERFORMANCES, 2007

Dos vídeos que contienen 23 performances de artistas madrileños realizadas expresamente para su grabación en vídeo y otra tantas manipulaciones de las grabaciones a cargo de 23 videoartistas madrileños.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08aama1910

2008. LaHostiaFineArts (LHFA). UNA PERFORMANCE CON FUTURO, 2007

2008. LaHostiaFineArts (LHFA). UNA PERFORMANCE CON FUTURO, 2007

 

 

UNA PERFORMANCE CON FUTURO, 2007Festival Performas. Centro de arte Moderno. Madrid.

Quiniela rellenada de manera colectiva.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08aama1909

2009-2010. Susanne Bosch. DREAM-DO-DONE (2009.05 / project review / theoretical data)

2009-2010. Susanne Bosch. DREAM-DO-DONE (2009.05 / project review / theoretical data)

MAY 2009

 

‘DREAM-DO-DONE’ for the area of La Latina / Lavapies in Madrid

GENERAL CONCEPT

Every banknote carries a trade value, but also a potential future value (saving for the next holidays, for the desired car, ...). Every conversation carries the potential of a future business, a new invention, a new task, a chance.

Everyone carries an unused potential, an idea in mind, an obervation, an untold story or observation, unused old coins in a drawer at home. The public art project DREAM-DO-DONE seeks to collect as many of these little individual potentials as possible. The art project brings them together to transform them into real things, projects, outcomes in a real world.

DREAM-DO-DONE will collect the Peseta* coins and banknotes in a public collection site in the La Latina / Lavapies neighbourhood for the period of mid October 2009 to Mid February 2010. Along with the peseta collection, the project will ask actively the neighbourhood and the users of the neighbourhood (visitors of the Rastro market and markets, bars, cafes), what they would like to realize with this public and worthless money? The project will collect and publish extensively the wishes during the period of the event on a webpage, in the public media and as posters in the neighbourhood. During the final months of February, the wishes will be presented in a daily public art action on La Castellana. On 20 February 2010, everone is invited to publicly sort the coins and banknotes and transport them to the Banco de Espana. On 27 February 2010 everybody who would like to be part of the decision making group, is invited to attend an open space event***. This one day event will be used to decide collectively what will happen to the pesetas and how this will be put into action.

*The name is believed to have been derived from the Catalan word "peceta", meaning "little piece" (i.e., the diminutive of "peça", "-eta" being the usual feminine diminutive) [1]. However, it is also possible that the name is the diminutive of "peso", an already-existing currency whose name derives from a unit of weight; this is consistent with such other currencies as the British pound. "Peseta" is also the term used in Puerto Rico for a U.S. quarter-dollar coin.

**unless you carry them to the Banco de España in Calle Alcalá 48 to exchange them

***Antonio Rodriguez from AEC - Actividades Educativas Culturales could be the facilitator of the eventas a trained open space facilitator in Madrid. ( http://www.aec-spain.net)

 

AIMS

DREAM-DO-DONE is an artproject that serves as a model to empower people. It offers a creative platform that allows people to work together, to develop a collaborative spirit and inclusion. It offers the exerience of a collective decision process. The art project combines an unusual aethetic appearance with a meaningful public debate. It creates a large forum for potential. By concentrating on one neighbourhood, the project will empower people that live in close proximity and have a personal relationship, connectedness to the site and each other.

 

OUTCOMES/ACTIONS

DREAM-DO-DONE will do this through a number of artistic actions and interventions for a duration of ideally 4.5 months from mid October 2009 to end of February 2010.

A collection site will be on a public place in La Latina/Lavapies for the duration of 4 months to collect coins, banknotes and wishes, also to visualize wishes. For the same duration, an interactive blog or webpage, regular poster actions and PR will be performed. 

During the final months of February, the wishes will be presented in a daily public art action on La Castellana. On 20 February 2010, everyone is invited to publicly sort the coins and banknotes and transport them to the Banco de Espana. On 27th February 2010 everybody who would like to be part of the decision making group, is invited to attend an open space event. This one day event will be used to decide collectively what will happen to the pesetas and how this will be put into action 

 

BRINGING THE WISHES ON LA CASTELLANA, 1ST-28TH FEBRUARY 2010

From the beginning to the end of February, the wishes and desires given by the people over the past 3.5 months will be transformed into a public art event on La Castellana. It will take the following shape:

In a daily public action, 2 persons will write the wishes with white charcoal on the floor of the paseo. This action will be done for 3 hours every day. Every day the writing will be either continued where it stopped the previous day or started again (depending if the rain washed it away).

 

20TH FEBRUARY 2010 – PUBLIC MONEY COUNTING AND SORTING EVENT OF THE COLLECTED COINS AND BANANOTES

On 20th February 2010, the population will be invited to sort the coins in order to bring them to the Banco de Espana. This will be a one day public event with media present. A van will be hired to bring the sorted coins and banknotes to the Banco de Espana. The public will be provided with information, hot drinks and catering (this willbe done in cooperation with the local bars and shops).

 

OPEN SPACE EVENT ON 27TH FEBRUARY 2010

Open Space Technology is an innovative format of organizing gatherings with large groups. ("Technology" in this case means tool — a process; a method.) It represents a self-organising process. Participants construct the agenda and schedule during the meeting itself. Thus it enables the bringing together of all interested parties with their insights, experiences, questions and wisdom. Open Space Technology allows diverse people to address complex and possibly controversial topics. It functions best where more traditional meeting formats fail: in situations involving conflict, complexity, diversity of thought or people, and short decision-times. It supports systems of all kinds and sizes in unfolding the forces of collaboration, cooperation, participation, creativity and spirit required to come to action on the burning issues facing them.4The Open Space Event on 27th February will end with an action plan (including a time schedule) what to do with the accumulated money and wishes. It will also identify who is taking care of the realisation.

4 Antonio Rodriguez from AEC - Actividades Educativas Culturales could be the facilitator of the event as a trained open space facilitator in Madrid. (http://www.aec-spain.net)

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10inmb3644

2008 / 2008.02.01. LA GUÍA DEL OCIO. Madrid Abierto

2008 / 2008.02.01. LA GUÍA DEL OCIO. Madrid Abierto

** SEE THE ATTACHED PDF

 

 

 

 

 

 

08dima2208

2008. LaHostiaFineArts (LHFA). DRAWING GIBRALTAR, 2007

2008. LaHostiaFineArts (LHFA). DRAWING GIBRALTAR, 2007

 

DRAWING GIBRALTAR, 2007

Reunión de fin de semana en Gibraltar de 15 artistas con la fianlidad de realizar un dibujo expandido de Gibraltar.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08aama1908

2008. Guillaume Ségur. KUNG FU MAT, 2007

2008. Guillaume Ségur. KUNG FU MAT, 2007

KUNG FU MAT, 2007Installation

Mat (vynil, polyethylen foam, velcro), steel wiresDimensions: 600x600x130 cm

This installation will be featured in the exposition Enlarge Your Practice, which will take place next July at the Friche Belle de Mai in Marseille.The mat has already been constructed. The relief of the mat will be created by attaching thin steel cables to the exhibition space ceiling.This project was created during a 5-month period spent in Shanghai with the Cultures France program « villa Médicis hors les murs ».

The installation is made of a deformed Kung Fu mat floating in the exhibition space.The surf ace is built on the base of a triangular grid, identical to those used in 3D software to create flexible surfaces. Beyond its extremely geometrical and synthetic aspect, this huge mat seems to outline a natural shape. Indeed, the forms extracted from technological construction tools tempt to reproduce the natural form of a mountain.

This work is also an adaptation of physical properties proper to digital kung fu movies. The development of the post-production and its result, which is the modification of the physical properties of materials, marks an important step in the evolution of gestures and forms of the kung fu in the cinema. In this production of effects, the substance is deformed compared to reality, the materials lose their qualities and become soft or hard, pure effects dependant on theiruse made by the body. The same effects are applied to the use of the architecture during the fights, so the space and the elements are totally controlled.

 

 

 

 

 

 

 

 

 

 

08aama1899

2008. Guillaume Ségur. UNTITLED (ENS), 2004

2008. Guillaume Ségur. UNTITLED (ENS), 2004

 

UNTITLED (ENS) 2004Video installationFurniture-architecture for video, wood, zdimension: 190x310x130 cm.1 LCD monitor, 1 monitor.2 DVD PAL, 4/3, coul0r, stereo sound, lenght:The walking girl, 9min 40The guitarist, 3min 20

The spectator finds themself in front of a wooden mass. It is unclear whether it’s a sculpture, a piece of furniture or a model. This “shelter” was in fact conceived from the mental imagary of a school. While representing the turns of inclined hallways, it further incorporates a warped perspective in proportion to its spatial volume. As a result: the collision of an abstract cube and a functional cube.

The actual school is relayed to the spectator by the images on the screen. At first, a labyrinth where the metronomotic wanderings of a young girl are used as a pretext for the spatial discovery, to film the architecture. This long walk is also a way to show the time, the measured time of a metronome of steps, the time, no longer fluid, passes through the hallways, through the use of this silhouette, who could be any student. On the second screen, a living room, where a guitarist plays a solo piece: a surreal tune between a rock melody and an electronic repetition. The music creates a feeling of vertigo where the revolving sounds make an echo to the incessant sound of steps of the first video.

The video come furniture has the effect to seem to contain everything, encapsulating its sounds and images. In fact, its continual movements in a game of interplaying the concepts of inside and outside saturate all the technical and thematic elements of the ensemble, a window looking out towards a garden, a hermetic hallway; one screen that propels out of the structure and the other which is superimposed; the sounds which cross the faces of the structure. The entirety of the elements caught in a play of circulation.

 

 

 

 

 

 

 

08aama1898

2008. Fernando Prats. AGITACIÓN, 2006

2008. Fernando Prats. AGITACIÓN, 2006

 

El año 2006 desarrolle el proyecto titulado Agitación a través del patrocinio de la  John Simon Guggenheim Memorial Foundation. El conjunto de las acciones  representa una  exploración de nuevos medios de expresión y representación a través de la pintura y el trabajo con el humo; en resumidos términos, los objetivos de este proyecto en particular fueron los  siguientes:

1.  Realizar una investigación que refexione y explore nuevas maneras de aproximación a la pintura. Observar los fenómenos de la naturaleza y ponerlas al servicio de la pintura 2.  El objeto del trabajo consistio en captar fuerzas presentes en la naturaleza y que sean “absorbidas” por la superfcie pictórica, desarrollando medios inéditos de registro visual.

GEYSER DEL TATLO, NORTE DE CHILE

Se ubicaron en la zona del Tatio, región geotérmica ubicada a 4.321 metros de altitud, estructuras de soporte para superfcies impregnadas de humo, las que fueron “pintadas” directamente por las erupciones y vapores provenientes de las piletas. Todo el proceso de producción fue registrado en vídeo y fotografía, material que forma parte integral del total de la obra, sumándose a las láminas de humo.

En defnitiva, se trata de avanzar en la acción pictórica -abrir la pintura- a una geologisidad pictórica, pintar las fuerzas que la misma naturaleza, desde sus propios elementos, reorganiza: fuerzas extremas como la erupción, ebullición, oscilación, dinamismo, horizonte, ascenso y descenso, temperatura transitoria, nueva escala, movimiento sísmico, ritmo y tiempo.

Agitación es un proyecto que propone nuevas relaciones entre fenomenología y lenguaje, buscando en la realidad los motivos que nos ayuden a entender que la resistencia en la pintura radica en utilizar nuevas formulas de incisión.

 Agitación 24 de Septiembre, 2006. Video 5 mts. de duración

 

Agitación 24 de Septiembre, 2006. Pintura. Humo y ebullición de agua a 110º de temperatura, sal, rocío y vapor sobre papel. 300 x 420 cm

 

 Agitación 19 de Septiembre, 2006. Video 5 mts. de duración

 Agitación 19 de Septiembre, 2006.Pintura. Humo y ebullición de agua a 110º de temperatura, sal, rocío y vapor sobre papel. 200 x 140 cm

 

Fernando Prats durante la realización de la acción  Agitacion Serie individual I. Geiser del Tatio, norte de Chile. 2006.Video de la acción, 1´7” seg. Pieza única.

Agitación Serie individual I, 2006.Humo y ebullición de agua a 102º de temperatura, sal, rocío y vapor sobre papel. 50 x 70 cm.

 

 Fernando Prats durante la realización de la acción  Agitacion Serie individual III. Geiser del Tatio, norte de Chile. 2006.Video de la acción, 2´3” seg. Pieza única.

Agitación Serie individual III, 2006.Humo y ebullición de agua a 102º de temperatura, sal, rocío y vapor sobre papel. 50 x 70 cm.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08aama1889

2008. Fernando Prats. CONGELACIÓN, 2002

2008. Fernando Prats. CONGELACIÓN, 2002

 

 

CONGELACIÓN, 2002

Foto de la acción realizada sobre el Glaciar Collins en la Antartica, donde el artista enterró todos los materiales, herramientas y otros elementos determinantes para él, declarando: “Allí se encuentran las raíces del que camina hacia el norte y no pierde su propia identidad.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08aama1884

2008. Fernando Prats. VERTICALIDAD NORTE-SUR, 2003

2008. Fernando Prats. VERTICALIDAD NORTE-SUR, 2003

 

VERTICALIDAD NORTE-SUR, 2003

Intervención  en el altar mayor  Cruz altar, de Eduardo Chillida, y la crucifixión de  Pedro, de Rubens, en la Kunst Station Sank Peter Köln . Tubo de neón 1200 cm.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08aama3661

2008. Fernando Llanos. CURSIAGRIDUALCE, 2007

2008. Fernando Llanos. CURSIAGRIDUALCE, 2007

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

CURSI AGRIDULCEProyecto editorial que recopila los dibujos de Fernando Llanoswww.fllanos.com/cursiagridulce

 

 

 

 

 

 

 

 

 

 

 

 

 

08aama1881,08aata1878

2008. Annamarie Ho. THE DIVINE, 2005

THE DIVINE, 2005Installation

In this piece, I re-created the funeral scene of the protagonist, a transvestite prostitute named Divine, from Jean Genet’s Our Lady of the Flowers (1942).  Rather than illustrating the scene as Genet had meticulously described, I decided to merge details from Divine’s funeral with Pope John Paul II’s funeral.  Ultimately, The Divine suggests neither funeral but alludes to a dialogue between an existential, individualized morality and an institutionalized religion.

 

 

 

 

 

 

 

 

 

 

08aata1833

2008. Annamarie Ho. EVERY INTIMATE APPAREL STORE IN MY NEIGHBORHOOD, 2007

EVERY INTIMATE APPAREL STORE IN MY NEIGHBORHOOD, 2007Multimedia

My current project considers fifteen intimate apparel stores located in an eight-square-block area in my neighborhood in the Lower East Side, Manhattan, New York.  Stores like this have existed for a hundred years, and are not ‘sexy’ compared to their contemporary counterparts, like Victoria’s Secret.  With the piece, I plan to manifest my relationship to my neighborhood and to these stores, and to reveal what I personally consider to be their anomalies.

 

 

 

 

 

 

 

 

 

08aata1838

2008. Annamarie Ho. UNTITLED (SPY ROCKS) AND UNTITLED (SPY STUMP), 2006

2008. Annamarie Ho. UNTITLED (SPY ROCKS) AND UNTITLED (SPY STUMP), 2006

 

 

UNTITLED (SPY ROCKS) AND UNTITLED (SPY STUMP) 2006Outdoor installation

I referred to an incident from January 2006, when Russian authorities discovered that British agents had placed a ‘spy rock’—a fake rock with a hidden transmitter that they then used to upload classified information onto their PDA’s—in a Moscow park.  I created six spy rocks, each with different functions, and a spy tree stump and placed them within the confines of Socrates Sculpture Park in Long Island City, Queens, New York.  These spy objects, however, did not actually perform their surveillance functions but rather raised political questions to viewers.

 

 

 

 

 

 

 

 

 

 

08aama1840

2008. Annamarie Ho. BONLANG SHI SHR / BETELNUT GIRLS, 2006

2008. Annamarie Ho. BONLANG SHI SHR / BETELNUT GIRLS, 2006

 

BONLANG SHI SHR / BETELNUT GIRLS, 2006Installation and performance

With this piece, I looked at a practice occurring only in Taiwan—the selling of the addictive substance betelnut by scantily-clad girls in glass booths—and decided to recreate aspects of it.  I created my own booth with such elements as sexually suggestive signage, and then I hired an actor to perform as the betelnut girl.

 

 

 

 

 

 

 

 

 

 

08aama1839

2008. Inmi Lee. WHEN TIME SPLITS ITS HUSK, 2006

2008. Inmi Lee. WHEN TIME SPLITS ITS HUSK, 2006

 

WHEN TIME SPLITS ITS HUSK, 2006Single channel video installation / 10 min / loop

In this piece, the giant pyramid melts into the nature - returning once more to its source. The juxtaposing the pyramid, the ultimate icon of immortality and preservation, with the transience, fragility, and effervescence of ice, the piece illustrates the vulnerability of the human monument, making us aware of our own fleeting place in the balance of time.

 

 

 

 

 

 

 

 

 

 

 

08aama1837

2008. Inmi Lee. ALLORA , 2006

2008. Inmi Lee. ALLORA , 2006

 

ALLORA, 2006

Mixed-media installation / 2 channel video / 5 mins This piece questions the formation of language and how one can read into the culture through the study of the language.

 

 

 

 

 

 

 

 

 

 

 

08aama1836

2008. Inmi Lee. DISPLACE / real-time interactive installation, 2005

2008. Inmi Lee. DISPLACE / real-time interactive installation, 2005

 

DISPLACE / real-time interactive installation, 2005

This is a real-time interactive site-specific installation. With the wake of globalization, everyone is in permanent transience. The movements of viewers up and down the stairs trigger the fragments of emigrant/immigrant stories.

 

 

 

 

 

 

 

 

 

 

 

08aama1835

2008. Inmi Lee. ZERO / performance art, 2004

2008. Inmi Lee. ZERO / performance art, 2004

 

ZERO / performance art, 2004

This piece talks about state of entropy that exists in our society. The pseudo-balance is created by the perpetual cycle of production and destruction. This act alone has no destiny, progress and development and therefore it has no accumulating past. This questions what we are actually doing to sustain ourselves from this confinement.

 

 

 

 

 

 

 

 

 

 

 

 

 

08aama1834

2008. Andreas Templin. WIN-WIN-SITUATION, 2004-05

2008. Andreas Templin. WIN-WIN-SITUATION, 2004-05

Model for sculptural work, app 75x120x75xcm (dog Kennel), wood, c-prints

This sculptural work of 2004-05 based on a standard dog kennel for mid-sized is meant to be contribution to the postproductive movement in cotemporary art. Many solutions in visual art tend to be resolved in standadrized and common principle of representation, while the ending-point of this principle can already be found in the work approach of Andy Warhol. The suggestion of this absurd merchandise tries to pinpoint on this specific problem of visual art production becoming a post-productive gesture of itself.

 

 

 

 

 

 

 

 

 

 

08aama1828

2008. Andreas Templin. MONUMENT FOR DONATELLA VERSACE, 2005

2008. Andreas Templin. MONUMENT FOR DONATELLA VERSACE, 2005

 

  

Installation view at Art Chicago / Art in the Park, Chicago 2005Installetive mixed media work with performative elements

    

 

"Monument for Donatella Versace" is an artwork whitch interplays performative and installative aspects. It is built as an aesthetical "co-branding" adopting Versace-like elements with the intencion of commenting the idioms of pre-manufactured lifestyle-conceps on the example of Donatella Versace. It follows the intention of an "unwished co-branding"- to bring the luxurious lifestyle promoted by the brand Versace to the street-level.

Next to the monument, which is preferably installed in periphere urban surroundings, free champagne in the coolers and kitschy R&B music from a ghettoblaster and a few (casted) fancy Versace-like dressed girls are being used to indulge the visitors into a sort of exclusive club-like atmosphere vernissage/opening blurring the boundaries of branding and visual art equally.

The announcement/invitation for the event/opening is printed on promotional gifts like lighters and matches appearing in the same style than the monument.

   

 

 

 

 

 

 

 

 

 

 

 

 

 

08aama1827

2008. Andreas Templin. CRASHED SATELLITE, 2006

2008. Andreas Templin.  CRASHED SATELLITE, 2006

 

Presentation in the inner city of Fribourg/CH19.06.2006Winner of Concours Belluard Bollwerk Int.

 

 

 

 

 

 

 

 

 

 

08aama1826

2008. Guillaume Ségur. WELCOME ON BOARD (2008.01 / technical data)

2008. Guillaume Ségur. WELCOME ON BOARD (2008.01 / technical data)

 

       

       

(January 2008) 

 

 

 

 

 

 

 

 

 

08inib1944

2008. Fernando Prats. GRAN SUR (2008.01 / technical data)

2008. Fernando Prats. GRAN SUR (2008.01 / technical data)

TECHNICAL PLANS

 

ASSEMBLY DETAILS 

         

         

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08inib1949, 08inib1950

2008. Fernando Prats. GRAN SUR (2007.11 / visual data)

2008. Fernando Prats. GRAN SUR (2007.11 / visual data)

 

Without title, 2007. Smoke, air and graphite on paper with printout of Casa de America’s façade. 21 x 29,7cm.

                                                                                                                             (November 2007)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08inib1947, 08intb1948

2008. Jota Castro. LA HUCHA DE LOS INCAS (2008.01 / visual data)

2008. Jota Castro. LA HUCHA DE LOS INCAS (2008.01 / visual data)

REFERENCES

    

 (January 2008)

 

 

 

 

 

 

 

 

 

08inib1945

2008. Andreas Templin. HELL IS COMING / WORLD ENDS TODAY (2007.11 / visual data)

2008. Andreas Templin. HELL IS COMING / WORLD ENDS TODAY (2007.11 / visual data)

 

Hatred/fundamentalism/represented by an re-enactment of fanatic right-wing demonstrations.This is staged by a doppelganger.

The camp / the concentration camp. Giorgio Agamben.     Power. Michel Foucault.    Speed and devastation. Paul Virilio.

 

(November 2007)

 

 

 

 

 

 

 

 

 

 

 

08inib1934, 08intb1935

2008. Andreas Templin. HELL IS COMING / WORLD ENDS TODAY (fielwork)

CALL FOR PARTICIPATION

 Se buscan personas para colaborar en proyecto artístico de Madrid Abierto 2008

El artista Andreas Templin busca para su proyecto titulado “Hell is coming/World ends today” seleccionado en Madrid Abierto (www.madridabierto.com; del 7 de febrero al 2 de marzo) gente que quiera participar en la ejecución del mismo a través de dos vías.

-    Por un lado, busca ciudadanos residentes o que estén trabajando en la ciudad de Madrid que ejercería como modelos por una semana, vistiendo prendas de ropa de moda con los nombres de filósofos contemporáneos. Se busca gente a la que le guste el skate, metal, punk, visual kei, goth, Hip Hop o R’n’B. Gente que esté simplemente interesada en la cultura juvenil o involucrada en intervenciones de arte a nivel internacional, será también bienvenida.

-    Por otro lado, busca un actor con disponibilidad para los días 7 al 14 de febrero. Esta persona iría vestida con traje de vestir oscuro y sombrero e iría portando dos carteles por el centro de Madrid durante 4 ó 5 horas al día. Su localización transcurriría en ciertas plazas y calles céntricas de la ciudad, sin hablar con nadie y con cierta actitud de “visionario”

Para conocer honorarios que se retribuirán a los participantes y ampliar información del proyecto, por favor, contacte con Andreas Templin en This email address is being protected from spambots. You need JavaScript enabled to view it.

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

The visual artist Andreas Templin is currently preparing a project for Madrid Abierto, a yearly exhibition in City of Madrid for art in public space. He is doing live-artwork which involves 150 citizens of Madrid. Next to this he is looking for an actor who could play a role in the streets of Madrid.

The actor would walk around in "Sunday-cloths" (black aor dark suit) and a Stetson hat with  two signs through the Inner City of Madrid, always stay at a certain plaza or streetcorner for a while and than walk on to the next spot. He would not talk to anybody and just have a sort of visionary, energetic look. He should be around in the hours when most people are in the street. This would happen 7th till including 14th of February. He is payed  XXX- Euros including tax. If he could do this 4 to 5 hours a day would be perfect. It would pay him around XXX.- Euros an hour including tax. Please forward to people interested in this and have a look at the attached description.

Si quiere saber más del proyecto o inscribirse, por favor, contacte con Andreas Templin en This email address is being protected from spambots. You need JavaScript enabled to view it.

http://worldendstoday.wordpress.com/

http://andreas-templin.blogspot.com/

 

 

 

 

 

 

 

 

 

 

08intb1933

2008. Alicia Framis + Michael Lin. NOT FOR SALE (2007.11-2008.01 / visual data)

2008. Alicia Framis + Michael Lin. NOT FOR SALE  (2007.11-2008.01 / visual data)

 

Designed by Jorge Masanet 

 

Designed by Chus Burés      Designed by Chus Burés

 

        

On the Helga de Alvear Galery

(November 2007 - January 2008) 

 

 

 

 

 

 

 

 

 

 

08inib1932

2008. Anno Dijstra. MISPLACING (visual data)

2008. Anno Dijstra. MISPLACING (visual data)

 

 

EMAIL

Dear asociacion...

Thank jou for your mail, i do not have images of the project becouse its not ready made, the project is a new step in my work, but also comming from the reconstruction concept, former works are made from that principal, so the new work is conected to these workes. My description of the plan is about the new step. In the way i work i never make any skeches or maquettes, i hope this is not a problem for commity. I hope i understood the question of the Madrid Abierto well, becouse i thougt its about new work. Best regards Anno Dijkstra

I enclosed a photo of a insitu work for the project Moscow - Bernadette of the SMAK in Belgie, ist a work i make special for people at home.

 

 

 

 

 

 

 

 

 

 

08prtc1845, 08pric1842

2008. Todo por la praxis. SPECULATOR (2007.05 / visual data)

2008. Todo por la praxis. SPECULATOR (2007.05 / visual data)

 

    

    

      

(May 2007)  

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08inib1960

2008. Annamarie Ho + Inmi Lee. LA GUERRA ES NUESTRA (technical data)

2008. Annamarie Ho + Inmi Lee. LA GUERRA ES NUESTRA (technical data)

 ASSEMBLY SYSTEM AND TECHNICAL NEEDS

The production of our piece occurs in two steps: (1) the fabrication of the sign itself and (2) the installation of the sign onto the Círculo de Bellas Artes.

 

 

FABRICATION OF THE SIGN

Our sign will be made from channel letters, where every letter of the phrase La guerra es nuestra. will be individually constructed in black Plexiglass and lit with LED lights.  Each letter will be 0.6 meters tall, 0.6 meters wide, and 0.5 meter deep.  The letters will then be mounted to a raceway—a long, aluminum channel—which also houses the transformers and the high-voltage wiring for all the letters in a single unit.  The raceway will be painted a color to match the exact color of the building’s façade.  The entire sign, including the raceway, should be approximately 0.6 meters tall, 12.8 meters wide, and 1 meter deep.  Please refer to La_guerra_es_nuestra_04.jpg as a reference.

Our preliminary research in the United States indicates that a sign similar to the one we propose would cost approximately 4000 euros and take three to five days to complete, depending on the vendor. To reduce transportation costs, we plan to have our sign manufactured locally in Madrid.

 

INSTALLATION OF THE SIGN

The raceway of the sign will be attached to the front wall of the Círculo de Bellas Artes. Our research indicates the type of sign we have chosen to make is quite simple to install. First, the vendor manufacturing the sign creates a mounting pattern specific to façade. For safety, we then plan to hire an electrician for half a day for consultation to ensure we use a proper power supply and that we are to code. Next, we would hire a crew to install the sign itself—first they drill holes for hanging the raceway as well as for running electricity through the wall and then they mount the sign using thru-bolts and backer-plates, both which are supplied by the vendor manufacturing the sign.  The actual installation requires two or three men one day to complete.

 

 

 

 

 

 

 

 

 

 

08prmc1831

2008. Todo por la praxis. SPECULATOR (technical data)

2008. Todo por la praxis. SPECULATOR (technical data)

** SEE THE ATTACHED PDF

 

 

SPECULATOR

Dedolight spotlight 150wDedolight spotlight 150w with dimmer incorporated. Stand.Manfrotto included

Standard Billboard Chroming Aluminium Trush 3x5

Digitally printed canvas 3x5 micro-perforated finishes

T Speculator

D The intervention takes places by making a promotional poster with images of the character that as if part of a graphic novel, enables a presentation of him. It will also include a spotlight that will project the word Speculator into the sky of Madrid. Emulating the Batman comics in which the citizens of Gotham City used this resource to contact the superhero. We use this same element so the new Speculator comes to the city Madrid.

A 2008

P Madrid Abierto 2008

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08prmc1923, 08prmc3533

2008. Dier + Noaz. ESTADO DE EXCEPCIÓN (proposed location)

2008. Dier + Noaz. ESTADO DE EXCEPCIÓN (proposed location)

 

EMT Cibeles cornerTo me the ideal place, a visible spot, with paving stones, City Hall…

Small ParkThe sandy floor would be proper, we would have more space. Not very visible.

Small Square in front of the MuseumVisible from moving cars. The floor is not too good. A little isolated

 

 

 

 

 

 

 

 

08prmc1858

2008. Santiago Cirugeda. CONSTRUYE TU CASA EN UNA AZOTEA (2008.02 / visual data)

2008. Santiago Cirugeda. CONSTRUYE TU CASA EN UNA AZOTEA (2008.02 / visual data)

 

   

 

REFERENCES PREVIOUS WORKS

  

  

(February 2008) 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08inib1957, 08inib1958, 08inic2033

2008 / 2008.03. E451.NET. Imagen gráfica Madrid Abierto 2008

2008 / 2008.03. E451.NET. Imagen gráfica Madrid Abierto 2008

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08dimd2360

2008. Fernando Llanos. [VI VÍDEO] (technical data)

2008. Fernando Llanos. [VI VÍDEO] (technical data)

 

 LIST OF THINGS NEEDED TO CARRY OUT THE PROJECT (provided entirely by the artist)

1. 1 harness to position the equipment.2. 3 batteries AG. 12 watts, 18 amperes.3. 1 battery charger 29 amperes (min-12).4. 1 stand for video projector, with movable arm.5. 2 camera stand, (one mobile, one fixed).6. 1 voltage transformer from DC to AC 400 watts.7. 2 horns.8. 1 projector of 2 000 lumens.9. 1 portable DVD.10. 1 portable mini-DV deck.

LIST OF THINGS TO USE IN CASA DE AMÉRICA1. 1 DVD player.2. A video projector.3. A computer to show the website to check info. 4. A vinyl with info and image of the project.

WEIGHTThe whole equipment weighs 15 kilos.

MEASURESVarying.

MATERIALSVarious, metal, acrylic and electronic equipment.

LIGHTING CONDITIONSTwo or three mobile spotlights.

LOCATION CONDITIONSIf wanted we can assemble everything on a manikin (check website’s picture). We need an appropriate place. If it’s an urban intervention we could use a store’s showcase, a window containing manikins.

 

 

 

 

 

 

 

08prmc3520

2008 / 2008.02.28. CONTRAINDICACIONES.NET. Proporsal nº 19 (Anno Dijkstra)

2008 / 2008.02.28. CONTRAINDICACIONES.NET. Proporsal nº 19 (Anno Dijkstra)

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

 

 

 

 

 

 

08dimd2359

2008. Fernando Prats. GRAN SUR (visual data)

2008. Fernando Prats. GRAN SUR (visual data)

 

Composition and order in the advertisement’s sentences. Height of the typography 40 cm

    Sin título, 2007. Collage using la Vanguardia newspaper. 45 x 30 cm.

 

View of installation on the façade 

 

 

 

 

 

 

 

 

 

 

 

08pric1883

2008 / 2008.02.28. ELCULTURAL.ES. Madrid intervenido (27.02.08)

2008 / 2008.02.28. ELCULTURAL.ES. Madrid intervenido (27.02.08)

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

 

 

 

 

08dimd2358

2008. Fernando Llanos. [VI VÍDEO] (visual data)

2008. Fernando Llanos. [VI VÍDEO] (visual data)

RELATED WORKS

 

        

     

     

    

 ** VER MÁS INFORMACIÓN EN TRABAJOS RELACIONADOS

 

 

 

 

 

08prmc1867

2008. Todo por la praxis. SPECULATOR (theoretical + visual data)

2008. Todo por la praxis. SPECULATOR (theoretical + visual data)

** SEE THE ATTACHED PDF

Todo por la Praxis (TPP) was created as a “laboratory for Projects” which produces a variety of aesthetic and cultural projects. TPP is formalized in an area of design and testing of the most efficient cultural resistance techniques, focusing on testing non conventional tools, forms of organization and action, around specific action projects. Their two basic themes are activist artistic practices or opposition practices as a means to represent social conflict in an effective aesthetic manner and artistic practices in/on public space and its repercussions on the social context in which they inscribe themselves. Those basic themes are themselves divided in three research lines that are represented through their alter egos: establishing a symbolic game which defines each of their working areas.

 

Speculator: Heteronymous of “Todo por la praxis” project. This line of work focuses on the urban concept – public field and the real estate business – the urban theme contains matters that are more felt than comprehended thus the need to unveil the discourses and practices that deal with the structure of the urban environment, focussing on systems of symbolic production, circulation of meaning, social meaning processes. In this sense, every practice that is centred on creating confrontational spaces against ruling structures and to investigate space expropriation strategies will be received as potential projects of SPECULATOR.

The idea is to amplify artistic practices as a means to articulate oneself socially as collective authors of our own experience, witnessing therefore, the construction of confrontational spaces as actors and not mere spectators.

To carry out the job we develop a character (Speculator) with obvious references to comic. This character comes to being as an antihero that incarnates values of the real estate speculator: extortion, blackmail, manipulation, and, of course, speculation. This ironic and symbolic game unveils both urban discourses and practices that prevail in the ruling ideology.

Speculator: Alter ego of Todo por la Praxis, the proposed intervention for Madrid Abierto’s 2008 edition intends to be the presentation of the Speculator character in the city of Madrid.

The project has clear references to the realm of comics. The use of language of comics translates itself in the construction of a character: Speculator, the urban issue, the growing problem of savage urbanism, is the context in which the activity of such unique character inscribes itself. The ironic symbolic game of heroes and antiheroes, present both the draft of the project and in the creation of the character, enables us to perceive contemporary urban practices from a critical standpoint.

  

    

      

 

 

 

 

 

 

 

 

 

 

 

08prmc1922, 08pric1921, 08prmc1924, 08prmc3532, 08prmc3533

2008. Fernando Prats. GRAN SUR (technical data)

2008. Fernando Prats. GRAN SUR (technical data)

 

 

 DESCRIPTION OF ASSEMBLY SYSTEM

The advert will be made of a 40cm high white neon pipe:

More or less 23 iron frames will be made, with the complete sentence in neon, therefore it will be possible to hang it from the frame and rest it against the façade of Casa de América.

 

THE DRAFT’S TECHNICAL NEEDS

Technical crew specialized in assembly and disassembly of promotional neon pipes. Electrical current to light the advert.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08prmc1886, 08prtc3523

2008. Guillaume Ségur. WELCOME ON BOARD (technical data)

 

              

 

Plywood, steelDimenssions: 700x600x185 cm

DESCRIPTION OF THE ASSEMBLY SYSTEM AND TECHNICAL NEEDS OF THE PRELIMINARY PROJECT

The piece will be made with the help of a carpenter who is specialized in skate park projects. The carpenter will ensure a strong foundation for the structure. It will be built to hold a large number of people.

As far as the transportation needs, the sculpture will be divided into 8 parts which will be connected and screwed together. Reinforcements would be installed for these parts.

For the Madrid construction, in addition to both the carpenter and I, we need 2 more people to carry and to support the different parts of the structure. The supports used for the fabrication will also be used for the project assembly.

The unit must be installed on a flat and preferably smooth surface to guarantee its “skateabililty”.

The time frame estimated for the assembly of the project is one day.

 

 

 

 

 

 

 

 

 

 

 

08pric1897, 08prmc1892

2008. Santiago Cirugeda. CONSTRUYE TU CASA EN UNA AZOTEA (2008.01 / technical data)

2008. Santiago Cirugeda. CONSTRUYE TU CASA EN UNA AZOTEA (2008.01 / technical data)

** SEE THE ATTACHED PDFS

PROCEDURE FOR INSTALLATION

     

 

 

TECHNICAL PLANS

    

 

ASSEMBLY

     

(January 2008) 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08inib1954, 08inib1955, inib1959