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2009-2010. Jorge Díez. PRESENTATION

For the first time ever, MADRID ABIERTO has taken place over two years. This was one of the changes proposed by the advisory committee that completed its task in 2008. One of the members of this committee is the curator of this sixth edition, Cecilia Andersson, who analyses in her introduction the processes she has followed to select the ten art interventions (Adaptive Actions, Lara Almarcegui, Laurence Bonvin, Susanne Bosch, Lisa Cheung, Teddy Cruz, Iñaki Larrimbe, Josep-Maria Martín, Gustavo Romano and Pablo Valbuena) which we are presenting from 4th to 28th February 2010, although several of them have been active for some months now and in different forms in the city.

Participation in the open call was quite plentiful, reaching 587 proposals by 769 artists from around the world. In the area of sound art 48 were presented, from which we selected Sarah Boothroyd, Manuel Calurano/Anna Raimondo, Yves Coussement, Javier Díaz-Ena, Wade Matthews, Annemarie Steinvoort, Matthew Verdon, Hernani Villaseñor and Gloria Zein. To these were added the audiovisual works of Fausto Grossi, Sinbait (Puy San Martín y Nerea Lekuona), Izibeñe Oñederra, Logela, Iván Argote, David Elgea, Furarellefalle, Xuban Intxausti, Wolf D. Schreiber, Fabricio Caiazza, Lobo Pasolini and the group Left Hand Rotation, selected in the ninth and tenth edition of, a project which has decided to close its cycle of activities with the participation of guests such as Antoni Muntadas, Eugeni Bonet, Antoni Mercader and Joaquim Dols, whose works were also included in our section on audiovisuals.

In February 2009, we held at La Casa Encendida in Madrid the seminar Urban Buddy Scheme, together with a presentation of the artists and a meeting to prepare their projects in the form of an open workshop. The Spanish participants invited were Basurama, C.A.S.I.T.A., Javier Duero, Exprimentolimon, Uriel Fogué, Andrés Jaque, Kawamura-Ganjavian, Ludotek, Luis Úrculo and Wunderkammer, and from other countries, Alexander Gerdel (Venezuela), International Festival (Sweden), Kyong Park (USA), Adriana Salazar (Colombia) and STEALTH.unlimited (Serbia/Netherlands). The seminar analysed the possibilities of a socio-cultural and politically engaged collaborative effort, as well as the way in which such an initiative could act as a catalyst for change in the city, striving to activate processes that integrate new scopes of knowledge within existing ones.

Thanks to this new biennial format, the artists selected have had more time to become familiar with the local context and to prepare their projects, also facilitating various connections between some of the projects and between several of them with many city agents. This has also allowed addressing some of the gaps which concern us most, such as the lack of an educational programme. As a result of the collaboration of the doctorate programme Art Applications in Social Integration of the Faculty of Education at the Complutense University of Madrid and thanks to the interest of its director, Marián López Fernández-Cao, we have had the valuable contribution of María Molina, who has prepared a prototype of an educational workshop and then developed it as a pilot experience (Aula Abierta), as well as providing part of the contents for the specific projects by Susanne Bosch and Lisa Cheung.

Other of the usual failings is the lack of resources to communicate the projects, since our choice has always been to favour production. Throughout 2009 we distributed the book Madrid Abierto 2004-2008, which includes the fifty-five projects conducted in the first five editions, as well as the pieces selected in the sound and audiovisual sections and the roundtables held. Additionally, the information desk at La Casa Encendida, as well as the roundtables and artist presentations, have helped overcome this lack of information in the latest editions, together with the distribution of fifty thousand issues of this publication. Nonetheless, information out in the street is still a weakness of this and many other programmes of public art. Previously we used various means to resolve this issue, and we even built, together with a street furniture company, an information point prototype designed by Kawamura-Ganjavian. Now we have taken another small step by producing the INFOMAB, also designed by them at their Studio Banana, a space with which Madrid Abierto aims to extend this collaboration, in a similar way as that promoted by Mariano Serrano, who has collaborated in various aspects of this edition, as well as Iñaki Domínguez, Jorge Todolí, Sonsoles Rodríguez and Paula González. We would like to thank all of them most sincerely and in particular, we would like to thank Marta de la Torriente, whose work as general coordinator is never sufficiently acknowledged.     

Organised by the Cultural Association MADRID ABIERTO, this edition is being promoted by the Vice Presidency, Regional Ministry of Culture and Sports and the Office of the Spokesperson of the Regional Government of Madrid and the Government Area of Arts of the Madrid Council, with the collaboration of Casa de América, Fundación Telefónica, La Casa Encendida, Círculo de Bellas Artes, ARCO, Ministerio de Cultura, Radio Nacional de España, Canal Metro, Fundación Rodríguez/Centro Cultural Montehermoso, Pro Helvetia, British Council, Art Council of North Ireland, Canada Council for the Arts, AECID, Teatro Fernán Gómez, Studio Kawamura-Ganjavian and Zoohaus. Continuing with the work of previous editions RMS La Asociación is in charge of coordination and equipo 451 of graphics and the web ( Our thanks as well go to all of them.


.....................................................................................................................................................................................................................................................................JORGE DÍEZCultural director and curator. Director of Madrid Abierto and co-director of the MBA in Companies and Cultural Institutions of the Santillana/Salamanca University, curator of the 2008-09 program Espai 13 of the Joan Miró Foundation in Barcelona.














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2009-2010. Jorge Díez. MADRID ABIERTO 2004-2010



Madrid Abierto is an artistic interventions programme aimed at activating the public space by reflecting on our political, social and cultural environment through contemporary art. Artistic practices that seek new spaces of interaction based on multidisciplinary and contextual approaches, together with the concepts of public sphere, territory and identity, are in the theoretical and programmatic nucleus of projects like Idensitat, which we will turn to later, whilst in the case of Madrid Abierto, these artistic practices have gradually emerged in the event’s trajectory, comparing and contrasting them with each annual edition’s experience. A trajectory of five consecutive years that has entailed a gratifying but exhausting effort, centred on the production of projects presented in response to an international open call for participants which has generated increased interest among artists.  The number of participants has risen from 234 in 2004 to 567 in 2008, and the temporary or ephemeral interventions have taken place in the month of February with some form of reference or presence around the junction Paseo del Prado-Recoletos-Castellana of the city of Madrid.

From Arnold Hauser[2] to the more recent Deyan Sudjic[3], different authors have described how since the Greek era political leaders have used art and architecture to seduce, impress and intimidate their subjects by depriving them of their condition of citizens and, therefore, of being active agents of the social configuration of the public space. This function of art, even with the variations produced in the concept of art, remained in place over time and first came into question with the avant-gardes of the early 20th century, facing head-on opposition in the decade of 1960 by the different artists and groups in some way involved with the idea and practice of public art, for example, Siah Armajani[4]. In the presentation of Madrid Abierto in 2003 we already aligned ourselves with Lucy R. Lippard in her definition of public art as “accessible work of any kind that cares about, challenges, involves, and consults the audience for or with whom it is made, respecting community and environment; the other stuff is still private art, no matter how big or exposed or intrusive or hyped it may be”[5].


The context: setting and background

Our project is based in the city of Madrid[6], although we initially set ourselves the still pending objective of expanding or connecting it to the largest cities of the Autonomous Community of Madrid and to try to organise the isolated initiatives emerging in a number of those cities[7]. And in the city of Madrid the decision was made to intervene in the junction Prado-Recoletos-Castellana, which crosses the city from south to north and concentrates the offices of the most important institutions and cultural, political and economic organisations, a faithful representation of the historic and current power through buildings and monuments. The reason for this decision, questioned with good reason by certain sectors of the artistic sphere, requires a description of the origins of the project.

The International Contemporary Art Fair (ARCO), which held its twenty-seventh edition in 2008, stands among the world’s most important art events for the large number of visitors and the wide range of activities associated with the different fields of art. In the space of the five or six days of the ARCO event, both the exhibition site and the city of Madrid become a meeting point for artists, gallery owners, collectors, critics, curators, researchers, the media, museum directors and public and private cultural institutions, as well as, as opposed to other fairs, a large and very young public coming from different parts of Spain to meet this annual appointment with contemporary art. This fair began in 1982, the same year that the Socialist Party won the general elections, the year after the failed coup d’état of February 23rd and five years after Spain’s return to democracy, following the long period of General Franco’s dictatorship. At that time, the Spanish gallery sector was extremely weak, institutional contemporary art initiatives were scant and collecting was practically inexistent. With the arrival of the director, Rosina Gómez Baeza, the objective of the fair to promote the collection of and to generate a market for contemporary art was rounded off with two parallel lines of action. On the one hand, the presence of institutional spaces in the fair, which gradually increased in number and size in line with the emergence of more contemporary art centres and museums and the collections of large companies, which through foundations, awards or competitions sought to associate their image with the country’s modernisation process and, at the same time, obtain added fiscal advantages. On the other hand, the organisation of all kinds of activities associated with mediums like video, music, design and internet, as well as seminars and forums, managing to bring together in the space of a few days more activities than those organised during the rest of the year through the regular programmes of the city’s cultural institutions. All in all, ARCO became the great annual artistic and commercial event which absorbed a large part of the resources and much energy.  This double facet of artistic and commercial event represented both ARCO’s success, even surviving the difficult years of the nineties, and its weaknesses. In recent years an attempt was made to re-steer the fair towards a more professional format, comparable with that of the most important international fairs, an objective the new director, Lourdes Fernández, is working towards with the enormous difficulty of finding an individual niche for ARCO against the backdrop of the Anglo-Saxon and central-European dominant position and the strength of emerging powers like China.

Thus, within the numerous activities generated by ARCO over the years, in 2000 it presented the Open Spaces, sponsored by Fundación Altadis, a foundation dependent on the Spanish-French company of the same name, heir to the old public monopoly on tobacco, which in January 2008 was bought by the British company, Imperial Tobacco. On that first occasion, several works of art, basically sculptures, both for the public and the exhibition space,  were selected and installed in the fair’s exterior accesses, and a number of round tables on public art were organised. The following year, through a competition between various galleries and institutions, a number of pieces were installed in different passage ways of the installations of the fair, and a jury presided by Jérôme Sans, then co-director of the Palais de Tokio in Paris, awarded the prize to the best work.

Although the term “public art” was called into question, on a general and non-specialised level, public art continued to be largely identified with sculpture in public spaces. These unsuccessful Open Spaces in ARCO mainly responded to this approach and were strongly criticised by a sector of artists and specialists. Consequently, the project Madrid Abierto emerged as a result of the suggestions of ARCO’s director and the competent persons of Altadis, and after many consultations and a long period of work meetings, aimed at organising artistic interventions outside the fair, in the public space of the city of Madrid. Initially, the physical space was confined to the junction Prado-Recoletos-Castellana as this made it possible to incorporate into project institutions like Fundación Canal, Casa de América and Círculo de Bellas Artes, whose offices would become the subject of interventions, the sponsors could be given the visibility that they demanded and it made it possible to concentrate the work of the artists (initially restricted to less than eight) in a central and accessible space. From an artistic point of view, the disadvantages to this were plain to see and accusations of "decorativism" and subordination to ARCO and the institutions were soon heard. However, in 2008 the fifth consecutive edition since 2004 was held, managing to expand the physical space outside the above-mentioned junction and to produce all kinds of projects in any environment. The fifty-five interventions included in this publication have been produced and the pieces of work selected in the last two editions in the categories of audiovisual and sonorous art, a total of forty works, twenty in each category, also mentioned in this publication, have been transmitted in different specialised media.

The visual arts sector in Spain has undergone a deep transformation process in the last twenty years, in terms of the artistic market, private initiative through collections, foundations, art centres and awards, and public activity. Many cultural centres, museums and exhibition centres have been opened, in the midst of a sometimes absurd competition between the different public administrations. However, deficiencies in education, training, production and international presence continue to be very large. Looking further back we can see that, despite the strict political control and the censorship under Franco's dictatorship regime and the efforts of the regime to improve its image by participating in international exhibitions and biennials in the fifties and sixties, culture was one of the most active battlegrounds of Franco’s left-wing opponents, particularly in the seventies.

Spain’s recovery of democratic liberties and rights brought a burst of initiatives in the cultural terrain, on many occasions, of a festive nature and with the street as stage. The “movida madrileña”, the hallmark of that thirst for entertainment and creativity reached the furthest points of the planet, and the most important media channels echoed it as a synonym of youth, freedom, art and culture. In the field of plastic arts, the German Neo-Expressionism and the Italian Transvanguard found fertile ground in our country, and all Spanish conceptual art, simultaneously critical with the regime and with the dominant artistic tendencies, was swiftly and selfishly buried by the triumphant new figuration, which on the one hand connected with the sculptural and pictorial tradition and, on the other, reflected the general yearning for political and cultural normalisation.  

As if that weren’t enough, after ‘la movida’ of the eighties, parallel to the crisis of the international art market in the nineties and the triumph of the Neoliberalism of Thatcher and Reagan, Madrid suffered a serious setback, coinciding with a long period of the most anachronistic conservatism in the city’s government, aggravated by a lack of solid cultural structures and the still too recent weak cultural public policies in Spain. A symbol of this setback was the installation in the centric crossroads of the street Alcalá with Gran Vía of the sculpture, La Violetera, as a tribute to the seller of violets staring in the zarzuela of the same name. As a result of an exhibition held by the Colombian artist, Fernando Botero, several of his works of art were purchased and installed in the Paseo de la Castellana. Both initiatives were strongly criticised in artistic and urban-planning media, particularly the sculpture of La Violetera, which was removed and subsequently installed more discreetly in another part of Madrid.  The original spot was used in Madrid Abierto 2004 to install Perspectiva Ciudadana by Fernando Sánchez. The work revealed, on a low platform, the molten bronze fragments of the statute of Felipe IV located in Madrid’s Plaza de Oriente, acting with the same popular strategies of false historic representation or romantic ruin to defend the continuous questioning of the imposed or desired heroes that historically have been eliminated and swiftly replaced. The work of Sánchez Castillo produced by Madrid Abierto was subsequently exhibited in different exhibitions and was finally bought by the Artium museum in Vitoria to add to its collection.  But when it first appeared, Perspectiva Ciudadana, and consequently Madrid Abierto, was the target of sarcastic criticism by Fernando Castro Flórez[8], who later went back on his words or the evolution of the project was so radical that it led him to change his mind[9]. On the same spot where Perspectiva Ciudadana was installed, Alonso Gil and Francis Gomila intervened in 2007 with Guantanamera, a multimedia project that reflected on the use of music as a torture instrument.

Going back to Madrid’s municipal policy, in that same period other sculptures of a number of Spanish politicians of the 19th century were also placed throughout the city, as well as a series of fountains and monoliths combined with the heavy and lavish urban furniture introduced by that municipal government. Subsequently, the post of mayor was filled by Alberto Ruiz Gallardón, of the same political wing, who made his major projects, also in the cultural terrain, the hallmarks of his administration. Projects like Matadero Madrid or Noche en Blanco are, with their pros and cons, the most relevant in the cultural arena. The same team that is currently working with this mayor in the area of culture, headed by  Alicia Moreno and Carlos Baztán, backed the creation of Madrid Abierto from the Government of the Autonomous Community of Madrid when Ruiz Gallardón was its president, and once in the City Council, he continued to do so as of the first edition in 2004, in addition to acting as our interlocutor in processing the installation permits for the interventions, one of the key and problematic areas of any public art project, co-ordinated by the General Directorate for Cultural Projects and its most senior head, Cristina Conde. Likewise, the Department of Culture of the Autonomous Community of Madrid, headed by Santiago Fisas, has collaborated in a decisive way in the five editions organised through the successive general directors of Archives, Museums and Libraries, Álvaro Ballarín and Isabel Rosell.

If we look to Barcelona, the presence of art in the public space has been different as a result of its urban-planning policy after the restoration of democracy and the strong impulse of the Olympic Games of 1992, which the city has tried to give continuity to with the largely failed operation of the Fòrum de las Culturas. The works of Antoni Tàpies, Roy Lichtenstein, Francesc Torres, Rebecca Horn and Tom Carr, among many other recognised artists, have played a role in the city’s urban-planning transformation strategy. The work of other famous artists has also been appearing in other Spanish cities, for example, Manuel Valdés, Andrés Nagel and Miquel Navarro, through an increasing number of competitions and commissions. Such initiatives are generally in the form of the permanent installation of monumental sculptures in public spaces, largely of a figurative nature and with the commemorative or symbolic zeal of the new democratic powers, generally associated with specific public works - although, in the worst cases, they are purely based on the personal taste of the public authority commissioning the work or the individual’s connivance with some clever gallery owner or curator. Thus, for example, in 2003 a certain scandal broke out as a result of the acquisition of paintings by the Ministry of Development, under the Presidency of Aznar, whose minister, Francisco Álvarez Cascos, commissioned the works to the Marlborough gallery and International Public Art, which the minister’s girlfriend happened to be a consultant to.  It also transpired that the organisations responsible for airports, railways and roads, also dependent on the Ministry of Development, also acquired works of art from the same sources totalling 3.3 million euros.


The model of Madrid Abierto

However, that is neither the scale nor the model of Madrid Abierto, which is closer to several initiatives that emerged in Spain at the end of the decade of 1990 and which, from the artistic sphere, put emphasis on the social and political context, generally from critical standpoints, to interact with these contexts by involving the public. One such initiative was Capital Confort, produced by the collective of artists, El Perro, in Alcorcón (Madrid) between 1997 and 2002, as well as the above-mentioned Idensitat, called Calaf Arte Público in its first edition in 1999, directed by Ramon Parramon, who successfully reconverted a sculpture competition of this small town (3,435 inhabitants) in the province of Barcelona, extending it in successive editions to other cities like Mataró and Manresa, to generate an interesting network. Ramon Parramon, Pablo España and Iván López, original members of the former group of visual artists, El Perro, who have since created the group, Democracia, (curators of the 2008 edition), have participated in different ways in the successive editions of Madrid Abierto and form part of the advisory committee set up in 2007 to review the model of our project, together with Cecilia Andersson, Guillaume Désanges, Arturo-Fito Rodríguez and Mª Inés Rodríguez, with the co-ordination of Rocío Gracia, art historian and member of RMS La Asociación.

Looking at international projects like Skulptur Projekte in Münster (Germany), whose first edition was held in 1977, or inSite_05 in the border between the United States and Mexico, in San Diego-Tijuana, held between 2003 and 2005 for the purpose of stimulating public domain experiences in the everyday flows of that border zone, as well as other initiatives like Muestra de luces de artistas associated with the promotion of the Winter Olympic Games of Turin or the public art programme parallel to the Istanbul Biennial (Turkey), we can make a number of observations on their scale and projection. For example, most of these projects are held in medium or small cities, are associated with other events that either gave rise them or are organised to complement the first, and they depend on public initiative or funds. These features appear throughout this text as we contextualise Madrid Abierto and explain its evolution and current state, as of its above-mentioned origins in the Open Spaces of Fundación Altadis in ARCO.

The initial work meetings, which began in March 2002, repeatedly came up against the differences between the physical and economic scale of an exhibition inside the fair and the possible interventions in the public space of the city of Madrid, in addition to the objective difficulty of reconciling the concept of public art with that of a commercial fair and with some of the most important galleries’ opposition to any activity held outside the installations of the fair, which in their opinion might distract collectors and potential buyers visiting ARCO. As a reference, an amount of fifty thousand euros was considered for producing a project of an adequate artistic scale and quality, which was the initially available total budget. In addition, and for various reasons, none of the public institutions were single-handedly prepared to join Fundación Altadis in directing the project.

Faced with this situation, I proposed redesigning and directing the project externally, focussing it on the production of artistic interventions with a maximum assignation per intervention of six thousand euros (subsequently, the assignation was increased to twelve thousand euros per selected project, and in the 2009-2010 edition to fifteen thousand) and introducing it in two phases. In February 2003, coinciding with ARCO, four projects from invited emerging Spanish artists would be produced and installed in the junction Prado-Recoletos-Castellana and, simultaneously, the 2004 international call for participants would be published. ARCO would give up space inside the installations of the fair for the presentation of Madrid Abierto, would disseminate the international call for participants and would participate in the production of one of the interventions. The initial funds would come from Altadis, the City Council of Madrid and the Government of the Autonomous Community of Madrid, who would assume the different expenses of the project.  During the rest of 2002, sponsorship agreements would be established with cultural institutions with offices in the area of the above-mentioned junction, such as Casa de América, Círculo de Bellas Artes and Fundación Canal, as well as with organisations associated with contemporary art, such as Fundación Telefónica. In addition, it was suggested that the TV programme, Metrópolis, shown on the 2nd channel of TVE, should produce a monographic programme on the first edition and that the State Society for Design and Innovation Development (Ddi) should be responsible for the promotional and information space in ARCO. The proposal was accepted and the lines of action began to be implemented with success. At the end of the year, the procedure for obtaining the installation permits for the four invited projects was initiated and blocked by the Committee for Urban Aesthetics, set up by Madrid’s mayor, Álvarez del Manzano. With hardly any room for manoeuvre to try to have the decision overturned, in the month of December we proposed, and it was accepted, the launch of the call for participants to the event forecasted for 2004, which would include the previously invited projects. With the only supports of a bilingual Spanish-English leaflet establishing the conditions of the call for participants, two advertisements in specialised Internet providers and the dissemination of information to the media, we received 234 proposals from 316 artists from 25 countries, with 57 projects for the specific intervention on the Elevated Deposit of Fundación Canal. The Arts Department of the new municipal government appointed Teresa Velázquez (subsequently director of the Museo Patio Herreriano in Valladolid and contents director of Matadero Madrid, currently responsible for the exhibitions of the MNCARS) to co-ordinate the processing of all the installation permits, an always crucial issue, especially in the first edition. That first edition took place between the 5th and the 22nd of February 2004 and had very wide and positive media coverage, although it also received strong criticism in certain cultural supplements, which interpreted it as another ARCO event without the necessary maturity from an artistic point of view. The assessment of the sponsors was positive and they agreed to continue lending their support.

Four editions later, one of the above-mentioned supplements praised Madrid Abierto 2008 because “it probes into its role, its mission, its function, its need, its aesthetic validity, its plastic command, its political approaches, i.e. citizenry”[10]. After five editions, the advisory committee to Madrid Abierto spent one year carrying out an analysis and debate on a new model for the programme which, on the approval of the sponsors, gave rise to the call for participants to the 2009-2010 edition.  The general lines agreed were:

-         Maintain the open call for participants.  The number of invited artists may not exceed 50% of the total number of artists selected in the open call for participants.

-         Establish a biannual regularity, dedicating the first year to the round tables, including the presentation of selected artists, and incorporating the artists into the work sessions in an open workshop format. Continue to hold the interventions in the month of February of the second year.

-         Include in the call for participants a brief introduction generally contextualising the event plus a specific text from the curators.

-         Proceed with the physical and conceptual overflow in the junction Prado-Recoletos-Castellana.

-         Continue with the audiovisual and sonorous sessions and expand the specific media for their transmission.

-         Maintain the current advisory committee until completing a cycle in which all the members have performed curator tasks in Madrid Abierto.

-         Generate documents and publications to expand on the experience and knowledge gained from the editions held.

On another front, we are aware that the resources available and the management structure are to blame for the current dissemination shortfalls and the lack of, for example, a pedagogical programme. Currently, the project is managed by the Cultural Association Madrid Abierto, set up for the sole purpose of developing the project, since in the first three editions the project did not have a defined institution or entity directing it but several institutions headed by the main three sponsors plus a small number of persons, between three and five, in charge of management and co-ordination tasks. An essential boost, both for the continuity of Madrid Abierto and for setting up the association, was given by the director of Fundación Altadis, Alberto Sanjuanbenito, as in practice, the foundation was forced to assume a series of legal tasks and responsibilities, as well as others of a different nature, which went beyond those corresponding to the foundation’s role of cosponsor.

From the beginning, the technical management has been performed by a management company specialised in the artistic sector, RMS La Asociación, in which Marta de la Torriente has assumed the general co-ordination of Madrid Abierto. All the image, graphic and web design tasks have also been realised, from the first edition, by a designer involved in contemporary art reflection and practices, Aitor Méndez, in collaboration with Fernando A. Cienfuegos. The rest of the tasks have been contracted out, on an individual basis, to different professionals and, occasionally, students from Universidad Europea of Madrid have collaborated in the odd project and, in the last two editions, students doing work practice as part of the MBA course on Cultural Companies and Institutions offered by Santillana Formación/Universidad de Salamanca. 

Therefore, the project has no fixed personnel structure in place or a permanent physical office, which allows reduced operating costs and greater flexibility.  However, the other side of the coin is that the expansion of the project is restricted, specific aspects cannot be given the necessary continuity and the response to all the occasional incidents inherent to conducting a project of interventions in the public space is often fragile and unstable.

Madrid Abierto’s target public is the citizens of Madrid and its visitors, especially those interested in contemporary artistic practices, and professionals of the art world, many of whom concentrate in Madrid for ARCO. Although the time has come to leave certain clichés behind, such as taking art to the street or bringing art to the public, public art is no doubt called to appeal directly to the people, as well as to propose new forms of critical construction and use of the public space. Also evident, therefore, is the near impossibility to activate mass participation and wide knowledge of the proposals generated, beyond the interventions centred in specific communities or contexts of the city, despite the certain degree of imposition entailed in intervening in the public space. In this respect, and especially after the negotiation battle to ensure the installation of their work, the intervention of Dier and Noaz, authors of Estado de excepción, in the last edition’s round tables was very significant, as they addressed the imposing nature of their work, urban art, in sharp contrast with the egocentric and continued performance displayed by Jota Castro as of the presentation act to the press, as a result of an incident with his work, La hucha de los Incas. The disappearance of the moneybox the morning after it was installed, recovered by the municipal cleaning services at some distance from its original site in the area of the Open Air Sculpture Museum very close to where Dier and Noaz’s work was installed, and ready to be immediately reinstalled, was followed by a gruesome succession of events and the subsequent removal of the work by the artist. The incredible conclusion was Jota Castro’s offer to settle all the problems, together with his threats of lawsuits, by allowing him to collect the moneybox from where it had been deposited until the end of Madrid Abierto so that his gallery could sell it in ARCO. The incidents, the negotiation, the response of the public and the institutions are very important factors in any public art project and, to a certain extent can be anticipated, although with a high degree of uncertainty and, consequently, are difficult to manage. 

As mentioned above, the nucleus of Madrid Abierto is the production of artistic interventions in the public space of the city. An expanded space progressively extended from the junction Prado-Recoletos-Castellana to other physical and social contexts of the city, with the clearest examples seen in 2008, with the projects Explorando Usera by the group LHFA and Speculator-Empty World by the collective Todo por la Praxis. Together with the extension of the initial physical axis, from the beginning, different projects of Madrid Abierto have been developed in an extended public space, which has included advertising supports like panels, the network of monitors and screens of the Metro, different media like the press, radio, Internet and mobile phones. All sharing different intervention strategies in a public space understood as a communication environment dominated by commercial and institutional discourses. In this respect, the different artistic interventions try to generate proposals both of a symbolic and practical nature to open new critical and participation channels for the public in the configuration of the public space.

The selection of projects by Madrid Abierto through an international public call for participants responds to the double intention of combing the international panorama every year and using the call for participants as a channel for giving exposure to the project. Although it is true that a call for participants of these characteristics, until now with a maximum assignation of twelve thousand euros per project (includes production, travel expenses and the artist's fees), on the one hand, dissuades specific artists from participating and, on the other, increases the number of those who do, making the selection more difficult and giving rise to frustration in the organisation and many of the participating artists. In the past five editions, more than one thousand five hundred projects were received and a total of fifty-five produced, which is a considerable number but a very small share of all the proposals presented. On another front, the open call for participants complicates the curators’ task of co-ordinating and giving coherence to the whole of each year’s interventions, although the possibility of including guests and the curators describing their work guidelines in the call for participants attempts to correct these problems.


Sonorous and audiovisual art

The collaboration, in the first three editions, with the programme La ciudad invisible on Radio 3-RNE and with Canal Metro led us to consider the possibility of incorporating two specific calls for sonorous and audiovisual pieces into Madrid Abierto. Hence, in 2007 we selected eight specific works for radio and eleven audiovisuals from the twenty-four and seventy-four, respectively, proposals presented; in 2008, twelve sonorous projects were selected from the one hundred that responded to the call for participants and we incorporated the nine audiovisual pieces from the eighth edition of the project, Intervenciones TV, organised by Fundación Rodríguez and Centro Cultural Montehermoso of Vitoria-Gasteiz, with whom we have reached a collaboration agreement.

In both cases, they involve pre-existing pieces of a maximum length of ten minutes for the sonorous projects and three minutes for the audiovisual projects, with a payment of five hundred euros per author for broadcasting rights. A copy of all the projects is kept as part of Madrid Abierto’s document resources and public archive, and the artist may allow the work to be placed in Madrid Abierto’s website for non-profit purposes.  

On another front, in the first two editions, the contemporary culture programme, Metrópolis, shown on TVE’s channel 2, produced and broadcasted monographic reports on Madrid Abierto which, in addition to adding to the exposure of the project, fulfilled the purpose of documenting the project.


Round tables

Also, as of the third edition we widened our project to include a cycle of round tables in La Casa Encendida. Under different formats, these tables have included the presentation of projects by their artists and presentations on other national and international public art projects, such as El Perro (Capital Confort, Alcorcón, Madrid), Javier Ávila (Periferias, Gijón), Maribel Doménech/Emilio Martínez (Portes Obertes, El Cabanyal de Valencia), Ramon Parramon (Idensitat, Calaf, Barcelona), Bartolomeo Pietromarchi (Trans:it Moving Culture through Europe, research project), Cecilia Andersson (Urban Workshop, Liverpool), Guillaume Désanges (cofounder of Work Method, agency based in Paris and co-ordinator of artistic projects of Laboratoires d'Aubervilliers), Dionisio Cañas (Cambio de Sentido, Cinco Casas, Ciudad Real), Tania Ragasol (inSite, Tijuana-San Diego), Arturo Rodríguez (Tester, project on the Web), Mª Inés Rodríguez (Tropical paper editions, editorial projects of artists), Daniel Villegas (Madrid Procesos), Vít Havránek (Tranzit, Praga) and Nelson Brissac (Arte Cidade, Sao Paulo).      



The total expense budget, which in the first edition was one hundred and twenty-six thousand euros, is now two hundred and seventy thousand euros, mostly funded by the three main sponsors (Fundación Altadis, the City Council of Madrid and the Government of the Autonomous Community of Madrid) and the rest by other collaborators such as ARCO, Casa de América, Fundación Telefónica, the general directorates for Co-operation and Fines Arts of the Ministry of Culture, La Casa Encendida, and the odd donation from the embassies of the participating artists’ countries, production companies or galleries in very specific projects. We should also highlight the collaboration of certain institutions that display projects, such as Círculo de Bellas Artes, Centro Cultural de la Villa and the above-mentioned Casa Encendida, which has become one of our most important collaborators as venue of the round tables and the presentation of projects, as well as acting as a permanent consultation centre on all the previous interventions and editions since the start of Madrid Abierto.

Approximately 65% of the budget is spent on the production of projects, including travel and artists’ fees; 15% on personnel expenses, including members of the jury and curators; 15% on publications, dissemination material and the information point; and 5% on sundry expenses, nearly half of this on advertising, confined to specialised media on the Internet.


Results and dissemination

In the five editions held, 55 artistic interventions have been produced, 20 sonorous pieces have been transmitted and 20 audiovisual works shown. Three round table cycles on public art have been held. In addition, an annual information journal with a print run of 50.000 copies has been published and distributed in the information points, by the collaborating entities and ARCO. Each of the editions has been documented in photographs and video and all the information is available on the website In collaboration with Fundación Telefónica, the publication Locutorio Colón has been launched, the result of a project by Ali Ganjavian, Maki and Key Portilla-Kawamura, and Tadanori Yamaguchi, of the same name, produced in the 2006 edition.

The project has been presented, among others, in the visual arts symposium, Simposio de Artes Visuales, La naturaleza pública del arte, Universidad Federal de Espíritu Santo de Vitoria, Brazil (June 2008); the workshops on architecture, art and the city, Jornadas-Encuentro de Arquitectura, Arte y Ciudad Simbiocity, Tabacalera, San Sebastián (May 2008); the 10th Spain-Japan Forum held in Nagasaki (October 2007); the 16th symposium on plastic arts, 16º Simposio de Artes Plásticas de Porto Alegre (Brazil), Experiencias actuales en arte público (July 2007); the course, Contextos y proyectos de arte público. Modelos efímeros de intervención, Museo de Arte Contemporáneo (MARCO), Vigo (February 2007); the debate workshops, Cuestionando el arte público: proyectos, procesos y programas, Idensitat, Centro de Arte Santa Mónica de Barcelona (2006); and the 4th International Conference on Public Art, held in Taipei (Taiwan), Espacios públicos y arte público  (2004).

The international exposure has been very positive and the response from the public in the different presentations given has also been favourable. With regard to the public, which every year either voluntarily or casually comes faces to face with the artistic interventions produced by Madrid Abierto, the above-mentioned programmes produced by Metrópolis, and many radio and television reports, reflect the reactions of individual members of the public.  However, in general, news and current events programmes tend to emphasise the public’s surprise at these contemporary art projects or to provoke a jokily response, often because they do not have the necessary means to contextualise the project in the everyday interests of the public, which paradoxically are the origin of many of the projects. There are many people who, at first out of curiosity, have gone to see, for example, in 2008, the project by Santiago Cirugeda, Construye tu casa en una azotea, and then have explored the subject further or joined the project’s debates on housing, Empty World. Only in very specific cases do we have real figures on participation, such as the approximately eight thousand persons who went to see, after having signed the required safety conditions, the Mirador nómada by the Mexican artist, José Dávila, in Casa de América in 2005. However, a merely quantitative assessment would suggest that the several hundred immigrants who participated in Locutorio Colón in 2006 or the nearly four hundred persons who voted to select the buildings virtually demolished by El Perro in 2004 are a negative result, when in fact the exposure, the knowledge and the artistic repercussion of both projects were very significant[11].

With regard to the media, as mentioned, despite the lack of backing from  advertising companies, the exposure is very wide in terms of number of media channels and reports published, compared with other artistic events, and the specialised press has gradually shifted from a certain indifference to general positive recognition.


Outlook and future issues

As mentioned above, an advisory committee has spent one year debating the current model (regularity, type of call for participants, curatorship model, selection of artists, setting, objectives, debates and publications) and the future prospects of the project, incorporating the conclusions into the call for participants to the 2009-2010 edition, where everything which up until now we had been doing on an annual basis will be spread in the space of two years. After these five editions, the projects seems firmly consolidated in the artistic environment, but its continuity is complex, given the recent takeover of Altadis by Imperial Tobacco, the line of activities developed by the City Council of Madrid for the project and the restrictions in the way of managing the project under the current management structure.

We are also up against a series of questions that only practice can answer, whilst no doubt others will arise. There are very specific aspects open to debate such as the suitability of the association’s legal status with regard to managing the project, or the possibility of extending the interventions in time, which a biannual model could facilitate. Also, from the point of view of the continuity of this kind of projects in time it is worth considering the combination of private and public funding as well as that of a number of collaborating institutions and companies, which can vary each year in line with the specific projects; this could guarantee more independence, but at the same time it multiplies the annual sponsorship tasks and restricts the contributions of each sponsor by having to share the limelight of the initiative with others, which can make the project even more fragile. Of a more general nature, other issues must also be addressed, such as the possibility of separating the management from the contents of an artistic interventions project in the public space, i.e., to what extent is it possible to manage a project that seeks to position itself in the context of a city like Madrid from a purely cultural approach or should we consider a more social approach. Likewise, we should also consider the degree of invention and continuous reconversion necessary to hold one’s place, through contemporary artistic practices, in a terrain dominated by the market and institutions, especially when some of those institutions end up reproducing similar projects with far more resources, and when in its campaigns commercial advertising steals the language and the tactics used by public art. Without of course forgetting the so-often-absent theoretical star or target of these initiatives: the public.

[1] A precursor of this text, with a different structure and approach, was published in Gestión cultural. Estudios de caso. Barcelona: Ariel, 2008, pages 257-277.

[2] “The tyrants (the Greeks) employ art not merely as a means to fame and a propaganda instrument but also as an opiate to soothe the opposition”. Hauser, Arnold. The Social History of Art. Routledge, 1999.

[3] Vid. Sudjic, Deyan. The Edifice Complex.  Penguin, 2006.

[4] “Let’s not fool ourselves: the cultural image of the city no longer depends on erecting monuments or  placing decorative works; on the contrary, this is a time of growing social and cultural rejection towards "commemoration" sculptures and ornamental statues. Citizens are increasingly refusing to accept the imposition of monumental landmarks that they disagree with, and public places being taken up by works of art that are a testimony to the personal tastes, the imaginative capacity and the individual expressions of artists with whom citizens don’t identify with. Citizens prefer interventions in the shape of what since the decade of 1960 has been referred to as ‘public art’, an art that cares for and tries to satisfy the specific needs of the public and to replace ‘the myth of the artist’ with a civic sense of ‘useful art’, capable of sensitizing everyday spaces, constructions and objects”. Marín-Medina, José. The Useful Sculpture: Siah Armajani. El Cultural [El Mundo]. 10th-16th October 1999, pages. 32-33.

[5] Lippard, Lucy R. Looking Around: Where We Are, Where We Could Be. In: Mapping the Terrain: Genre Public Art. Seattle: Bay Press, 1995.

[6] 3,128,600 registered inhabitants in the city and 6,008,183 in the Autonomous Community in 2006. Source: Institute of Statistics of the Autonomous Community of Madrid.

[7] For example, in Alcobendas (104,118 inhabitants), Arganda del Rey (45,085), Alcorcón (164,633) and Leganés (182,471). Ibid.

[8] “I was walking through the street of Alcalá, if I may use the phrase of the “chotis” song, when I came across, or rather, no exaggeration, I nearly tripped over a pile of metal things scattered on the floor. I thought it was the fault of the decades-old compulsion, zoologically common in moles, of the City of Madrid to dig up the streets. I admit that I had had a rough evening. Before I began to blaspheme, I realised that what my eyes were seeing was a ‘sculpture’, cut in pieces more than deconstructed. The plaque took me from a furious uncertainty to a mixture of perplexity and sadness. (…) I hadn’t seen anything so (once more, excuse me for saying what I think, even at the expense of friendship) disastrous in a long time. (…) I thought, making a sudden mental connection, that one cannot misappropriate the spot of La Violetera and get away with it. (…) The worst thing was that I even felt nostalgia for that tacky thing as a fitting antidote for trans-pompier art. (…) I will repeat myself over and over again in describing what I saw: stupidity served in bulk, aesthetics of posh (pseudo) antagonists, zombie literalism, canonised hash and mess and, something blatant, shameless plagiarism (for example, in those birds of Casa de América)”. Castro Flórez, Fernando. Nostalgias de La violetera (multi-pass, futuribles y otros merodeos). ABC Cultural [ABC]. 14th February 2004, p 32.

[9] “From the architectural interference of Santiago Cirugeda, to LaHostiaFineArts which sets out a post-situationist drift through Usera, the display of messages by Fernando Llanos in Videoman and the Watchtower of Noaz and Dier, we are evidencing something more than mere metaphorical operations to get over the act. All of them emphasise the urgent need to rethink the metropolitan, to offer courses and standpoints that go beyond aesthetic pleasure or the conversion of artistic experience into a supplement of entertainment culture. The community is not possible; we must escape a rhetoricalized nihilism or a hermetic attitude that will ultimately lead to critical impotence”. Castro Flórez, Fernando. El arte hueco y el montaje plano. ABCD de Las Artes y Las Letras [ABC]. 8th-14th March 2008, pp. 44-45.

[10] Pozuelo, Abel H. Madrid intervenido. El Cultural [El Mundo]. 14th-20th February 2008, pages 76-78.

[11] Other numeric data includes the number of visitors to Madrid Abierto’s website, which in 2007 was 42,066 with 235,963 pages consulted.  Only in the month of February 2008, the figures were 10,519 and 76,122, respectively, 49,761 pages corresponding to the USA, 18,566 to Spain, 2,257 to non-identified countries and 1,924 to other EU countries.


.....................................................................................................................................................................................................................................................................JORGE DÍEZCultural director and curator. Director of Madrid Abierto and co-director of the MBA in Companies and Cultural Institutions of the Santillana/Salamanca University, curator of the 2008-09 program Espai 13 of the Joan Miró Foundation in Barcelona.















09-10pvtb2394, 09-10mdtd2460

2009-2010. CALL FOR PROJECTS (rules and conditions)


1. Reflecting from the stance of contemporary art practice on cultural, social and political environment, the purpose of this call for applications is to select artists to produce interventions of a temporary or ephemeral nature aimed at contributing to activate the public space. The initiative includes two specific projects for the Casa de América and Círculo de Bellas Artes buildings, which will be incorporated into Madrid Abierto with other invited projects and selected sonorous and audiovisual works.

This edition of Madrid Abierto will be dedicated to emerging practices that critically engage with the urban environment. Madrid Abierto 2009-2010 aim to include a wide variety of practitioners and art forms that establish their strengths in an expanded role, and that work in the social realm of art practice and audience participation. The idea is to produce and show work that connect various disciplines and that opens up for collaborations between, for example, artists, architects, designers, computer programmers, social scientists and urban planners.                             

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. Given the current framework, where society often fail to negotiate some of the most immediate challenges, how can pooling resources such as the ones found in interdisciplinary groups, develop alternative work methods? How can inertia and nostalgia be substituted by visionary and inspiring tools that act as catalysts for change?

2. The programme schedule is as follows:

- Application deadline: until September 10th 2008.

- Selection of artists: until October 31st 2008.

- Preparatory meetings and seminars: February 2009.

- Elaboration of final projects: until April 30th 2009.

- Assessment of projects and installation permits: until June 30th 2009.

- Execution of artistic interventions and transmission of sound and audiovisual works: February 2010. 

3. Coinciding with ARCO, the interventions will be take place in February 2010 in Madrid, with some form of presence or reference in the junctions Paseo de la Castellana-Recoletos-Prado and Calle de Alcalá-Gran Vía.

The sound works will be transmitted by Radio 3, Radio Nacional de España in February 2010. Audiovisual works will be presented during this time too.

 4. Artists of all nationalities are encouraged to present their applications (except for the Casa de América project, which is open to Latin American artists only), either individually or as a team. In the case of team application, one representative must be appointed.

5.         A) Artistic interventions.-Each participant must include:

              * Curriculum of no more than 2000 characters with a photocopy of the author or authors’ National Identity Document (or equivalent).

              * Description of a project already executed and the draft of a project for Madrid. In both cases no more than 4000 characters.

              * A maximum of six sketches or images of the project or draft project in jpg format with a maximum resolution of 72 dpi.

             * Description of the technical set up and needs of the draft project.

              * Estimated and broken down budget of the draft project, including details of items that could possibly be self-financed.

              * All the files must be PC compatible. Files sent from an Apple computer must have adequate extensions (doc, xls, pdf, jpg, tif, etc.).

              * Should the above-mentioned information fail to be received in full, the participation will be rejected.

              * The maximum budget for each selected artist is 15,000 euros. In all cases this sum includes expenses derived from the preparatory meeting in February 2009, as well as travel, accommodation, production, transport and set up of the intervention in February 2010, the author or authors fees (up to a maximum of 2000 euros) and any applicable taxes.

              B) Sound Art.- Each participant must include:

              * Curriculum of no more than 2000 characters and a photocopy of the author or authors’ National Identity Document (or equivalent).

              * Description of the proposed piece, not exceeding 4000 characters.

* Maximum length of work is10 minutes per author and must be sent on a CD.

* Selected artists will receive 500 euros.  A direct master copy of the work will form part of the documentary collection and public archives of Madrid Abierto.  The work may possibly be placed on the website, for non-profitable purposes and with prior consent of the authors.

  C) Audiovisual work.- The audiovisual work selected in the 2008 and 2009 calls for applications for TV Interventions ( will form part of the Madrid Abierto 2009-2010 programme in collaboration with Fundación Rodríguez and   Centro Cultural Montehermoso (and may be transmitted by Canal Metro). Those selected will receive 500 euros and a direct master copy of the work will form part of the documentary collection and public archives of Madrid Abierto.  The work may possibly be placed on the website, for non-profitable purposes and with prior consent of the author

   Audiovisual applications will not be accepted through the Madrid Abierto application procedure.

6. All the proposals must be sent by electronic mail to This email address is being protected from spambots. You need JavaScript enabled to view it.This email address is being protected from spambots. You need JavaScript enabled to view it. prior to September 10th 2008.

7. The advisory committee of Madrid Abierto, presided by Programme Director Jorge Díez and comprised of Cecilia Andersson, Guillaume Dèsanges, Ramon Parramon, Mª Inés Rodríguez, Fito Rodríguez and artist group Democracia, participates in the various phases of this edition. Casa de América and Círculo de Bellas Artes will appoint a representative for the task of selecting each institution’s intervention.

Cecilia Andersson will be this edition’s curator. In collaboration with the advisory committee of Madrid Abierto, she selects the participating artists on the basis of their track record, the quality and viability of the proposals and the total reversibility of the interventions. The organiser may round off the selection with invited artists, up to a maximum of 50% of the total number of selected artists in the open invitation. Since these projects will occupy public spaces, Madrid Abierto will obtain the necessary municipal permits to the set up the interventions.

Should the selected artists use images or elements belonging to third parties, they must provide authorisation of the proprietors for the use of images or extracts in the project. 

8. Madrid Abierto reserves the right to publish and reproduce the selected artistic interventions for all purposes associated with the promotion of the programme, and shall incorporate all generated documentation into its documentary collection and publicThe selected projects and works are the property of the authors and, as the case may be, the promoting institutions shall have a preferential right to purchase them.

9. Participation in this call for applications entails full acceptance of the conditions of entry.














INTERNATIONAL SEMINARPlace: La Casa EncendidaRonda de Valencia 2Dates: 5-8 February 2009

Madrid is growing in an unprecedented pace. Multi disciplinary initiatives are engaged in processes that formulate new possible relationships with the city and its inhabitants, this while revealing complex layers of information. Activities that aim to envision possible futures, beyond the current construction crisis, continue with impressive strength.

Madrid Abierto 2009-10 (previously an annual event of interventions in the city, now biennial) will host a seminar at La Casa Encendida 5-8 February 2009. This edition of Madrid Abierto sets out to investigate the potentials of collaborative socio-cultural and politically engaged work and how such work may perform as catalysts for change in the city. We will also try to activate processes that integrate new bodies of knowledge into the already existing.

The aims for these days are basically two. One is to connect the group of selected Madrid Abierto participants with people in Madrid, but also to keep connecting people in Madrid with each other. The resulting networks we aim to establish will hopefully serve as information base, forum for discussion and exchange in preparation for Madrid Abierto projects that are presented in February 2010.

In an effort to provide the artists visiting from abroad with tools that facilitate exchange with people in Madrid as well as an understanding and engagement with the city, locally based practitioners from various fields have been invited to present their views of Madrid. The seminar also includes a group of additional invited artists with an international profile who presents their context specific works carried out in other parts of the world as springboards for further discussion.



Thursday 5 February6.00-6.15 pm. Welcome speech by Cecilia Andersson, Curator of Madrid Abierto and Jorge Díez, Director of Madrid Abierto.

6.30-7.15 pm.Brief introductions for all invited participants. Open to the public for participation.

7.15-21.00 h.Presentations by Andrés Jaque, Basurama, Ludotek and Wunderkammer. Chaired by Javier Duero.

Friday 6 February 6.00-6.45 pm.Presentations by Studio Kawamura Ganjavian, Uriel Fogué, C.A.S.I.T.A. y Exprimentolimon. Chaired by Luis Úrculo.

7.00-7.45 pm. Presentation by Kyong Park.

8.00-9.00 pm. Presentations by Apolonija Šušteršič + Meike Schalk, Alexander Gerdel y Teddy Cruz. Chaired by Kyong Park.

Saturday 7 February 12.00-2.30 om. One-on-one meeting expert meetings with inivted participants and the attending public.

6.00-6.45 pm. Presentation by International Festival.

7.00-7.45 pm. Presentations by Laurence Bonvin, Susanne Bosch y Josep-Maria Martín. Chaired by STEALTH.

8.00-9.00 pm. Presentations by Jean François Prost, Adriana Salazar y Gustavo Romano. Chaired by International Festival.

Sunday 8 February 6.00-6.45 pm. Presentation by STEALTH.

7.00-7.45 pm. Presentations by Pablo Valbuena, Iñaki Larrimbe y Lisa Cheung. Chaired by STEALTH.

8.00-9.00 pm. Final discussion with all the participants. Chaired by Cecilia Andersson.



Lara Almárcegui (Spain). Her work often explores neglected or overlooked sites, carefully cataloguing and highlighting each location's tendency towards entropy. Her projects range from a guide to ruins in Holland to the display of materials used to construct the cities in which she shows. Her works are simple actions. Behind them are vast research processes.

Cecilia Andersson (Sweden) is curator and founder of Werk Ltd., a curator's studio in Stockholm. Her latest projects include Supersocial; a platform for events organised in different cities and On Cities; an exhibition at the Swedish Museum of Architecture, Stockholm. Curator of Madrid Abierto 2009-10.

Basurama (Spain) focuses its action area in productive processes, the waste such processes generate and the creative possibilities brought about by this contemporary circumstance. It aims to study phenomena that are part of the massive production of real and virtual rubbish in the consumer society, providing new views that act as generators of thoughts and attitudes.

Laurence Bonvin (Switzerland) appraoch her subjects in so-called "documentary style" that implies an exploratory approach, close to objectivity and away from the spectacular. Main fields of exploration are suburban periphery, urban sprawling, the landscape and architecture. Research include discussions with sociologists, urban thinkers, architects and others involved in the shaping of urban contexts.

Susanne Bosch (Germany/United Kingdom) carries out site-specific, gallery and context-based installations, films, drawings, objects, publications and collaborative event-based projects. Her work is usually based on long-term research questions such as the role and potential of art in contested societies and situations.

C.A.S.I.T.A. -on this occasion Diego del Pozo, Eduardo Galvagni and Loreto Alonso- (Spain) carries out projects produced in collaborations that generate time for dialogue simultaneously as they take place in autonomous art spaces. Their current project ( observes the conditions of subjectivity and methods of production.

Lisa Cheung (Great Britain/Canada) is interested in public spaces and in creating environments where social exchange can occur. She is also interested in the temporary structures that constitutes urban landscape.  In recent projects she utilised gardening and cultivating plants as a point of interaction and participation.

Teddy Cruz (United States). The task of contemporary art and architecture today should be to reveal territorial and institutional conflicts as an operational tool to redefine practices of intervention in the public domain. No advances in design can occur without re-organizing existing political structures and economic resources. This in order to promote alternative systems of sociability and activism.

Jorge Díez (Spain), cultural director and curator. Director of Madrid Abierto and co-director of the MBA in Companies and Cultural Institutions of the Santillana/Salamanca University, curator of the 2008-09 program Espai 13 of the Joan Miró Foundation in Barcelona.

Javier Duero (Spain) is an independent curator and cultural producer. He has developed projects and been the curator of exhibitions in different institutions and centres of national and international art. Currently he directs a research group on the cultural tissue of the region of Madrid for the CA2M in Móstoles. He is a member of the Pensart Cultura association.

EXPRIMENTOLIMON (Spain). A non-profit cultural association created with the aim to raise public awareness on the citizen's reading of and engagement with contemporary art. Through different workshops they attempt to make people contemplate and discuss cultural and social topics. Exprimentolimon is a multidisciplinary group involving psychologists, sociologists and art teachers.

Uriel Fogué (Spain) is an architect and teacher of the Architectonical, City and Territory Department at ESAYA (UEM). He is co-editor of the publication UHF. Most recent projects and works of his Agencia de Arquitectura (Agencia de Arquitectura (Architecture Agency) look at the "infra-structuring" of public space as an aesthetic policy practice concerning energy.

Alexander Gerdel (Venezuela). "Shanty" is a recurring topic in Gerdel's work, which resorts to this marginal and periphery architectonic figure - excluded from official history - to analyse the idiosyncrasy of a country and to confront it with its cultural identity.

International Festival (Sweden), initiated by architect Tor Lindstrand and choreographer Marten Spangberg, devises work in a range of cultural contexts and operate at the interface between architecture and performance, and between object and action. Their work facilitates a collective dialogue that aims to dissolve the line between spectator and viewer.

Andrés Jaque Architects (Spain) and the think tank linked to the Political Innovation Office explore the role architecture plays in building societies. They administer the political quality brand Arquitectura Parlamento (Parliament Architecture) and design political transparency plans; urban planning based on the word of mouth or social assemblies based on controversy, among others.    

Kawamura-Ganjavian (Spain). Architecture studio established by Key Portilla-Kawamura and Ali Ganjavian. They have worked in several countries in the fields of urbanism, architecture, stage design and product design. Their projects range from the scale of domestic objects to the territorial scale using a consistent language of concept-materialisation throughout these diverse endeavours. They are founding members of Studio Banana.

Iñaki Larrimbe (Spain) cultural activist. In the field of comic strips he co-founded and co-directs the magazine TMEO. He recently coordinated the device Inmersiones focused on artistic practices emerging from the Basque Country. As an artist his most recent works aim to belong to a "do it yourself" culture situated within the mechanisms of cultural industries.

Ludotek (Spain). Ludotek is a chronotopic, social and physical research lab.Ludotek proposes a critical exploration related to the leisure activities of the contemporary individual.Ludotek researches children's activities, produces tests with children based on video, ludograms, documents and play with children without providing any type of education.

Josep-Maria Martín (Spain). With a subjective and reflective will questions and criticises the reality upon which he decides to work. His pieces emphasise ideas about process, research, participation, involvement and negotiation so that the agents identified for each project become real generators of a common project.

Kyong Park (United States) is associate professor at University of California San Diego (from 2007), a co-curator for Shrinking Cities in Berlin (2002-2004), the founding director of International Center for Urban Ecology, Detroit (1999-2001), a curator of Kwangju Biennale, South Korea (1997), the founder/director of StoreFront for Art and Architecture in New York (1982-1998).

Jean François Prost (Canada). Artist and architect whose work is based on initiating change in our perception and conception of the urban environment. Projects aim to activate uses in public spaces, contribute and begin to rebuild an urban imaginary, show, encourage visible acts of resistance, of sociability and signs of positive antagonism.

Gustavo Romano (Argentina) has carried out his work using different media: action art, installations, video, net art and photography. He favours the concept of "project" over work of art. He participated in the Havana Biennial and the Singapore Biennial, among others. Awarded Guggenheim Fellowship 2006.

Adriana Salazar (Colombia) has observed how our behaviours become a sign of our subjectivity, and despite this they are not normally the object of our reflections. She has then gone to the production of machines that subvert the sense of our actions: doing actions clumsily, repetitively and out of context, turning the ordinary into something absurd.

STEALTH.unlimited -Ana Dzokic and Marc Neelen- (Serbia/The Netherlands). Their practice spans urban research, spatial intervention and cultural activism. STEALTH considers space a tool and agency. Projects like Wild City (Belgrade) or Urban Catalyst (Amsterdam) involve diverse models of collaborative practicing and co-creation. Co-initiators of Lost Highway Expedition (Western Balkans) and co-curators of the Dutch pavilion, Venice (2008).

Apolonija Šušteršič + Meike Schalk (Germany/The Netherlands/Slovenia). Šušteršič's artistic research combines practice and theory to pursue methods for reflection in which the provocation of crisis leads to a scenario of alternatives and spaces for hope. Schalk is an architect and researcher, teaching the Critical Studies Studio at KTH School of Architecture in Stockholm, together with FATALE (Feminist Architecture Theory Analysis Laboratory Education).

Luis Úrculo (Spain), a graduate of the ETSAM and Illinois Institute of Technology in Chicago, carries out projects involving architecture, video, design and illustration, among others for Philippe Starck, Sybilla, Mansilla-Tuñón and BCG. He has exhibited his work recently in the 11th Biennial of Venice, FreshMadrid!, Gallery Dama Aflita (Porto) and JAE (Young Spanish Architects).

Pablo Valbuena (Spain),architect graduated at the ETSAM, he has been linked to the tangent spheres of art and architecture, developing spatial concepts applied to virtual environments, videogames, cinema and digital architecture. He currently develops art projects related to space, time and perception.

WUNDERKAMMER -bblab, G+W gálvez-wieczorek, MISC- (Spain).Team made up of three studios that together develop projects within the field of architecture, urban planning, landscaping, design and teaching. Their collaboration does not fit into a standard studio model, but rather as a laboratory that accommodates a constant exchange of ideas and experiences. 


Director: Jorge DíezCurator: Cecilia AnderssonCoordination: RMS La Asociación

Organize: Asociación Cultural Madrid Abierto y La Casa EncendidaSponsor: Fundación Altadis, Área de Gobierno de las Artes del Ayuntamiento de Madrid, Consejería de Cultura y Turismo de la Comunidad de MadridCollaborator: Casa de América, ARCO, Círculo de Bellas Artes, Fundación Telefónica, Ministerio de Cultura, Radio 3, Canal Metro, Fundación Rodríguez-Centro Cultural Montehermoso









2009-2010. AULA URBANA (Credits)

Education Project in collaboration with the Faculty of Education, Complutense University of Madrid.

DOCTORAL PROGRAMMEApplications of the art in social integration: art, therapy and education in diversity.

TUTORS OF THE PROJECTMarián López Fdz.Cao y Alfredo Palacios Garrido

COORDINATORMaría Molina López












2009-2010. AULA URBANA (published text)

WORKSHOP. AULA URBANA: ARTE EN LA CALLECoordinator: María Molina López

On this sixth edition, MADRID ABIERTO has created the educational project Aula urbana, dealing with the different artistic interventions produced, with the aim of favoring their development, diffusion and comprehension. The educational program is aimed at any person or citizen collective that might be interested in participating in this initiative, which is being elaborated with the support of the Faculty of Education of the Universidad Complutense de Madrid, with the tutorship of Marian López Fernández Cao and doctor Alfredo Palacios Garrido, coordinator and professor, respectively, of the PhD program Aplicaciones del arte en la integración social: arte, terapia y educación en la diversidad.*

The fundamental aims of this educational project are, on the one hand, to involve citizens in public art, in order for them to interpret and enjoy it, developing a critical reflection on the city and promoting the feeling that it is their belonging, while observing and perceiving the changes that artistic interventions may provoke in public spaces, seeking, at the same time, for their sensitive response and appreciation of the evocative, expressive, esthetical and functional qualities these pieces may have.

The educational project is made up of three stages. On the first one, the program of MADRID ABIERTO is delivered to the participants. The project begins once they are given the location and characteristics of the different pieces on which they will work. Also, in this first session, those interested will be invited to participate, on the 4th and 5th of February, in the opening of the selected projects for this edition, event that will take place in La Casa Encendida.

During the month of February, the second stage of the project begins. In this period of time the participants will carry out the different perceptual activities corresponding to each of the pieces, so that they are able to understand them in their proper context. At the same time, information regarding the interaction between the public and the interventions will be gathered, using audiovisual and photographic material as well as interviews or questionnaires.

Finally, on the third phase, the participants will share the obtained data in active observation. They will reflect on the pieces, which will be analyzed, and conclusions will be developed as exercise in order to synthesize the information. In this final stage the aim is to help the participants retain and consolidate the acquired knowledge, with two different proposals or optional courses of action: one which intends to improve the artist’s work and its interaction with the citizens, and another to promote participants own artistic creations.

This educational project has been initiated as an experiment, on November, with two groups of middle school students from the Sagrado Corazón de Jesús in Madrid. On the month of December, an open call for participation in the project Aula Urbana was made, intended for education centers and citizen organizations. It will be open during January of 2010. Along the month of February the educational project activities will take place with the school named above and with those who are interested in participating, coinciding with the artistic interventions of MADRID ABIERTO.

* Applications of art on social integration: art, therapy and education in diversity.












2009-2010. EVALUATION MEETING 2010 (report)

MADRID ABIERTO 2009-2010Evaluation meetingMatadero, 2nf and 3rd of July 2010


Laurence Bonvin, Susanne Bosch, Lisa Cheung, Iñaki Larrimbe, Josep-Maria Martín, Jean-François Prost and Gustavo Romano (participant artists in Madrid Abierto 2009-2010); Pablo España (Democracia), Ramon Parramon and Fito Rodríguez (members of the advisory committee of Madrid Abierto 2007-2009); Jorge Díez and Marta de la Torriente (Asociación Cultural Madrid Abierto); Pilar Acón, María Molina, Mariano Serrano and Manuela Sevilla (collaborators of Madrid Abierto 2009-2010).


The treated issues according to the established programme created by the advisory committee of Madrid Abierto (March 2008):

Fito Rodríguez comments on the reasons for the absence of this edition’s curator, Cecilia Andersson, who should provide an essential perspective for the evaluation. He also stresses that the horizon seems to be predetermined in suggested guidelines.

Jorge Díez states that proper dates to allow the presence of everyone involved were discussed but that it had been impossible for her to come. He says that in a meeting with Cecilia after the presentation of projects in February, they analyzed the difficulties she had to carry out a proper tracking of the production of projects, due to her living in Sweden and the overlap that occurs when making decisions with the production team and headship of Madrid Abierto. Anyhow, the experience of this edition, which covered two years, with a previous preparatory encounter in February of 2009 was considered very positive. Regarding the proposed guidelines for 2011, they are the consequence, on one hand, of the convenience of developing tasks which are impossible to cover following the usual calendar of project development and, on the other hand, the impossibility of compromising the institutional funding for the next edition, bearing in mind the next local and autonomic elections in the first semester of 2011.

Bellow, different issues brought up in this evaluation session:

1. Keep the open call with a maximum of 50% more artists invited by the curators.To Jean-Françis Prost the edition was very interesting and we must keep it this way. Pablo España underlines the fact that the open call is one of the essential features of the project. No discussion on the subject of percentage of guests.

2. Create a biennial periodicity, keeping the debate sessions and presentations of selected artists for the first year. Focus, the first year as well, on working with selected artists and elaboration of projects.Diversity of opinions regarding this issue, which are determined by the type of project each artist is dealing with. Some artists, like Josep-María Martin, consider a two year span very little time and suggest it should be triennial (first year for reflection, second year to conceptualize the idea and third year to develop the project. “I have had very little time to reflect on the project, in 6 months I had to deliver a final project and for my type of work there is not enough time to conceptualize”.) When asked about such periodicity, Iñaki Larrimbe considers two years as too much time. Other participants came up with the option of giving each artist the time he needs and carry out the project at different points in time, respecting the cycles of each project and its process. Josep-María insists on the fact that it depends on the type of project, if it has already been thought about and is a development of some previous concept or if it is a project that needs to comprehend and develop within the city, with the community. Laurence Bonvin thinks that she would have needed a whole year to discover the city and another year to take the pictures, she agrees with the fact that it depends on if the project already exists. Pablo España thinks that the model of this last edition is much more realistic regarding artistic practices, thus it has clearly improved. The model might use one practice or the other, depending on the global project. The 2008 edition was of direct propaganda. He agrees in expanding the time span but questions its viability.We should keep the first year’s encounter, considered by Susanne Bosch, among others, as very important to create contacts, relationships and know the inner workings of Madrid. In such encounter, the Urban Buddy Schemme should prevail by bringing people together and meeting the city’s residents and other agents that might help in the subsequent development, infrastructure and dialogue that the project will need. Josep-María also thinks that the first encounter in February 2009 went very well. He thinks we should keep that first event and create an intermediate work meeting for the artist to get involved in the management of Madrid Abierto and foster collaborations between projects.

Josep-María thinks it is essential to increase the time period in order to find external funding which is necessary for each project. He also believes that Madrid Abierto should become an agency which prolongs the project in time while other projects and things take place during the year and not only during February. He thinks there at two possible models:A- Select projects in open call and start work.B- Offer contexts and relations to the artists and start working on the project at that moment.He thinks the best model would be a synthesis of both. Ramón Parramón thinks that the concentration of projects in time is positive in relation to communication, visibility… and negative for the artist, but it is necessary to keep a common moment in time for all projects. Pablo thinks that we are tending more and more towards the invisibility of the projects therefore he considers it essential to have a date in which they coincide, although there are projects that need more time and continuity. That common moment could be an exhibition.

Josep-María thinks that it’s very important to do something to make the subjective element of each project visible (Are we capable of transforming something subjective? Reveal the work that has been carried out?). Fito believes we should create an accessible device for the public, to explain the projects. He thinks it makes no sense going back to exhibition halls, this would undermine what has already been achieved in public space. There has to be another way to show it, that is the problem. Pablo thinks it is possible to use both platforms; the hall and public space. He doesn’t believe in going back to the institutions or to work in the enclosed space of exhibition halls. Fito and Susanne think the artist himself should take his project from the subjective realm to decide and find the way of showing it; he has to find a solution in order for the external to return to an enclosed space. Laurence thinks there are projects in which we have to discuss not only how they should be shown but also, in projects that have dealt with an external community, to see how such community or communities have been represented and information returns to that community.

Josep-María thinks that technical problems should be shown, why a project has ended up being a certain way and not another, how a project has started, its plan and how it has ended up. Madrid Abierto is a laboratory, with a development in which the artist’s final analysis and delivery of information is essential. It is also essential to arrive to final conclusions, which must be transmitted. Fito dwells on how people can start out from this lab to transcend it and surpass its frontiers into other realms.

3. Continue with February’s interventions In general, people have suggested carrying out projects outside the month of February, for it is not a proper month weather wise, as well as the amount of ARCO related activities, which interfere. Susanne thinks that by changing the intervention month, a different use of space would be activated on the public’s mind. Manuela Sevilla also thinks it is necessary to change the interventions’ month. Josep-María thinks that the interesting side of keeping it in February is that it coincides with ARCO providing affluence of specialized public that is in Madrid in those dates. The possibility of keeping it during ARCO is discussed, but extending the period of exhibition from one month to three. Jorge Díez underlines the fact that, both the common moment in time and its coinciding with ARCO are product of the restructuring of the Open Spaces project carried out by the Altadis Foundation within the Fair itself and on the other hand, the needed visibility both for the public and sponsorship. It is also indisputable that much of the professionals that go to ARCO can discover Madrid Abierto knowing that it would be very difficult to make them come expressly to see it. Also, due to the lack of money that Madrid Abierto invests on promotion, a special time gap has been created in the busy calendar of the city, just before ARCO, which the media has already incorporated. An example is the lack of attention that the media showed for Susanne’s project which started in November.

4. Include a paragraph in the call to contextualize the edition and another more specific paragraph written by the curator/s.Susanne thinks it is essential because, in her case, she decided to participate only after having read that paragraph.

5. Continue to physically and conceptually exceed the Prado-Recoletos-Castellana axis.Lisa Cheung doesn’t feel the need to keep intervening within those limits.Pablo España thinks that it is necessary to surpass those limits to continue with the more realistic model developed in Madrid Abierto.Jorge considers the transgression of these limits has taken place increasingly and effectively in successive editions. On the other hand, right now institutions would be thrilled by the idea of Madrid Abierto leaving the axis completely. There have been projects (critically oriented) in last editions which have involved very complicated negotiations due to the visibility they had within the axis, and for which other locations entailed no resistance at all.

6. Continue with audiovisual and sound sections and amplify specific means for their broadcast.The issue wasn’t discussed.

7. Maintain the current advisory committee and choose the curators among its members.Jorge explains how in 2009, after some personal resignations, they decided to dissolve the committee created in 2007, after the interesting review of the Madrid Abierto model, as consequence of conflicting interests on the role of the curator and also the bad administration of its participation in the model applied by Cecilia in the preparatory encounter of February of 2009.Once again the role of the curator is discussed, issue on which there is a diversity of opinions. Fito thinks it is important to maintain two values:a. The flexibility proven by Madrid Abierto to constantly review the model.b. He supports the idea of eliminating the curator as individual figure and suggests a collective curatorial position (it’s risky but this wide open policy is a beautiful idea).

On the other hand, like Josep-María, Susanne and Lisa, they support the figure of the individual curator when carrying out their role correctly. It is essential for the curator to be in contact with the artists and never to be “absent”. Josep-María thinks that in this edition the contact with the curator has been very intermittent and might have affected some projects.

Pablo thinks that if the curator is eliminated, Madrid Abierto is under the risk of becoming standard. Josep-María thinks that if we intend to continue with the idea of plurality, and thesis, there must be a curator or curatorial group (for example, maybe the artists of one edition might select the artists of the next), someone to direct the process as an interlocutor in a concrete place, an accessible person who knows the context of Madrid. Susanne thinks it is essential to give each edition a subject or theme; the curator can be international but we also need someone who knows the realities of the city. She suggests the idea of a young person able to create a connection with a foreign curator.

8. Generate documents and publications which expand the experience and the accumulated knowledge of the five editions,Total agreement.

New issues suggested outside the programmed plan:

1. Communication. Essential subject in which there is total agreement. Jean-François, due to his type of project, can’t plan everything beforehand and needs to carry out an action to activate sensibility and participation in the workshop. His intervention in Atocha has been complicated due to the station’s own rhythm and type of people that walk through the area. He would have needed more communication in order to get to people. He suggests the creation of a better and more specific map or plan where each intervention is clearly distinguishable. We have to find and develop new communication channels so the interventions get to the general public.

2. Manuela considers the project has globally gotten to the public after six editions and has been better conceptualized. By taking place in a two year period it becomes more “intriguing” to the public that follows it with more interest.

3. Ramón Parramón thinks Madrid Abierto has found a balance and has grown to relevant dimensions. He finds it complex because it combines a festival with production and residency (distributed in time). To him it also needs contacts and interaction with neighbourhoods and communities. It is important not to have a space or location of reference.

4. Josep-María believes in the importance of evaluation sessions, which must continue to maintain a transparency which he finds essential.

5. Ramón Parramón thinks the team of Madrid Abierto is too small, he also believes dynamic projects need a tracking, both in preproduction and the rest of the process until they develop completely. Fito says the model each time tends more towards a production agency. Therefore he thinks it is fundamental to create a larger team to produce less projects of larger potential. In his mind a team must be created and dedicated to the production, search of interlocutors for dynamic processes and development, as well as another group exclusively dedicated to communicate with the people, communities, media, blogs,… Josep-Maria disagrees with the idea of reducing the number of projects.

6. Madrid Abierto’s independence is crucial.

7. Josep-María and Susanne Bosch think it’s necessary to create residencies for artists.

8. To Josep-María communication and interaction between selected artists is necessary (an initial one and another during the process in order to share the complexity of its development). He claims not to have known the final development of each project, this has frustrated him. Although Laurence thinks it’s very important to bring the artists together during the year, she finds it very difficult, having the timing of each project in mind, to find a date and moment which fits everyone’s agenda. Lisa agrees with the organization of an annual event to specify the needs of each project and to put them in common with the rest of the artists. Jean-François thinks that the lack of communication between artists has been their own responsibility, they are the ones who must create relationships, but they haven’t. He thinks that, for this purpose, certain platforms or already existing tools could be used for this communication. For example, he names places to meet for five days to work on one project, then on another, and then with the rest. Laurence thinks Madrid Abierto is the one who should decide if it wants more interaction among artists.

9. Laurence considers there must be more communication with the Madrid Abierto team which should explain each person’s role in the organization not to get confused when working. Josep- María agrees on this, there must be a curator, a global producer and local producer; this last position would be currently missing. Due to this communication he claims not to have been able to study or see the different possibilities to develop his project, but to have been given very limited options. Jorge says that in the meeting of February 2009 each person’s function was explained, inside the tiny team of Madrid Abierto. He also explains all the options that were gradually given, for example, to Josep-María regarding his project, which, at some point and, in spite of having a local mediator chosen by himself was in a dead end, solutions that turned out to be pretty effective, for example, to locate and access an apartment where immigrants lived.

10. Both Laurence and Jean-François think it is important to make a first payment of fees at the beginning of the edition. Laurence also thinks that part of the fees should be external to the rest of the money used in production, being important to speed up the payment of those fees. Jorge explains that the fees are included in the totality of each project, but clearly separated and quantified; he apologizes once again because the payment still hasn’t been made due to the fact that Madrid Abierto has not received the City Hall’s subsidy yet, something that has never happened before.

11. Laurence thinks it is important for foreign artists to have a person who mediates with the project and knows the city well. For Lisa’s type of projects, she says she needs an infrastructure-platform to develop them and a different dialogue to that which other projects may need. To her it is basic to have a person in the city where she’s intervening through which she can access the people of different neighbourhoods and to create connections with them. Josep-María thinks that each project needs a support team or an ambassador (it could be done through University students or a teacher or hired person). With time to find funding, such support could be possible. Susanne thinks that the role of an ambassador who works and becomes each project’s spokesman is very important, be it a student or a hired person. Jorge stresses that in different ways all type of possibilities have been experimented, in some cases promoted by the artists and in others by Madrid Abierto. When someone is hired this must be included in the total budget and so it has been done when certain artists have decided to, but volunteers or grant holders have certain degree of uncertainty and lack of professionalism that some artists assume as part of the project and others don’t. The same thing happens with the basic team of Madrid Abierto, which changes with each edition. The reason to this is probably the scale of the whole project and the available budget, which, on the other hand, is dedicated mostly to the projects. It is very possible that the level of voluntarism has exceeded for long any reasonable limit.

12. The search of parallel ways to find funding. Jorge says that this has always been done in different ways for specific projects, but that the global funding has decreased once Altadis Foundation abandoned the project while other alternatives haven’t been found in the private sector, in spite of Telefonica Foundation’s momentarily interest. Also, both the City Hall and Community of Madrid have been reducing the budgets during the last two years, as a consequence of the economic crisis.

Result analysis of the finished projects and new guidelines:

1. Madrid Abierto’s open archive in Matadero.Jorge explains that, after many tries, and thanks to the collaboration of Pablo Berastegui, coordinator of Matadero, Madrid Abierto will share a space with three other projects (architecture, performing arts and visual artists from Madrid) to organize and centralize both the digital and physical contents that have been generated along the six editions. María Díaz and Manuela Sevilla are already structuring the contents and adding them to the archive.Susanne and Lisa think that each artist should provide material from the draft, the project and conclusions. It is also felt that it should be open, for communication (blog type) and for a future international forum. Jorge stresses the fact that, initially, everything will be incorporated, except certain contents due to their characteristics or to lack of permission from the artist to be uploaded. At first, like other archives in Matadero, they will be available for public enquire by having previously arranged a date. Susanne underlines the fact that there are other projects in Europe that are working on this subject. Jorge asks for available information to try and collaborate with them.

2. Educational project.María Molina considers it is possible to keep developing the educational project, in 2011 this year’s pilot experience could be extended.

3. Production of a document based exhibition about the whole of Madrid Abierto in its six editions.Jorge claims that this exhibition would help us review the work that has been done and reinforce the project’s presence both in exhibition halls and different activities to which Madrid Abierto is invited.

Due to lack of time we won’t analyze each project in the current edition, therefore we find both evaluation sessions to have ended.














2009-2010. Susanne Bosch. HUCHA DE DESEOS: ¡TODOS SOMOS UN BARRIO, MOVILÍZATE! (published text / Madrid Abierto 2009-2012 book)




The public art project Hucha de Deseos started on 12th November 2009 and created over the period of three and a half months a lively dialogue among neighbours of La Latina in what they would like to change and better in their common public space. The project collected left-over and unused money in form of old Pesetas in La Latina and throughout Spain.

512 wishes and proposals were collected (via audio recordings, interviews, postcards, posters, media) via a public multi-media collection site designed and built by the designer collective zoohaus. They can be read on On 27th February 2010, 55 neighbours of La Latina met for a day in el Circulo de Bellas Artes.

Together they decided what would happen with the 512 collected wishes in and for La Latina and with the around 85,000 Pesetas, exchanged into € 513.70. This one day Open Space event led to the selection of two proposals.

The multiple named wish of more green space in La Latina was realised through planting eight plum trees in the Cornisa Park on the 14th March 2010. The Asociación Amigos de la Cornisa-Las Vestillas took care of the realisation of this wish in a collaborative action. The second wish, putting a letterbox on Plaza Puerta de Moros – the previous location of the object – with which all local associations can stay in contact, exchange ideas and inform each other of events, is in the process of being realized. The plan is to put all incoming info on a blog so that the local network will be strengthened. zoohaus agreed to realize this wish.

From 1st – 26th February 2010, the 512 wishes were written a daily action of three hours’ duration, with white chalk on the pavement of el Paseo de Recoletos.

The educational program (Aula Urbana), created by María Molina López, engaged two groups of middle school students from the Sagrado Corazón de Jesús in La Latina in the project for over 4 months. The stu­dents became active participants in the collection of wishes, interviewing their neighbours and in the deci­sion process. Maria and Susanne also engaged with el­derly people from the daycare centres Numancia and Paloma in the neigbourhood to find out more about the history of the site and their take on it today.



S: Was your starting point for the curatorial concept of Madrid Abierto the question of what is needed and missing in Madrid?

C: Definitely. And also by talking to other people I know in the art in Madrid. There was a big concern that things were becoming very conservative and closed down. During dinners I organised I could see people being happy to meet other people locally. Theidea was to work that ‘togetherness’ on a bigger scale within Madrid Abierto. The notion of opening things up a bit. This is how I set out to think about what I could do within Madrid Abierto.

S: ‘Togetherness on a bigger scale’ certainly hap­pened in my project. Although, for me a ‘real’ col­laboration needs more grown and solid relationships. I would say, this was a step towards collaboration via a projects that asked for passionate participation and literally paid services and contributions. In terms of the making of a public participatory project, I am interested who is involved in the making of a project. e.g. my relationship with zoohaus started out of a rec­ommendation to work together. The idea to involve a young, local, but relatively un-experienced team was on one hand brilliant, on the other hand we went through a lot of mistakes together that could have been avoided with more experience and the matter in principle.

C: I think you mainly formed the work and process at the end more than anybody else in this process. Also in the collaboration with the people you worked with in Madrid locally. But obviously I chose your concept because it fitted super-well with my idea of the collab­orative remit. It was a very clear collaborative project.

S: I guess my take on collaboration is - in a pure sense - a concept and work that develops together. Madrid Abierto did not give me the time to develop a piece locally from scratch. How can an idea arrive at a neighborhood that is not proposed by someone who lives there, is one of my questions.

C: I don’t think of your project as ‘external’ nature at all, because you engaged with a lot of people in the neighborhood to make this happen. If you only came across the hucha, that was the object you saw, but the project was much deeper.

S: How do you measure the success of a work like this?

C: I do not have measurements of success, that is the point. This is not why we are doing this, it is not about saying this is a success or not, it also not about sayingit is good or bad, I am not interested in that. But I do think in terms of process it has been really successful. Your project involved so many people into its com­ing alive. It is entirely doing what it was supposed to do and it has taken so many paths. It has taken on so many unanswered questions. It is a complete success for me, I can thrive on these things that lead to new questions. It is not a final piece that comes, lands and is ready as such. I think it is a very dynamic work in that sense and to me that is a success.

S: Maria, living in this neighbourhood, kept on wor­rying: Do the neighbours really come, do they really take part in the decision process?

C: I was really surprised how well attended the Open Space was. But I think it is too narrow to only judge the project on the participation at the Open Space.Neighbours participated already by putting their desire in or recording their wish at the hucha. It can not only be judged by attending the Open Space. It is a fact that the project was installed for 3.5 months and people had the opportunity to engage. During the Open Space, people decided to stay for hours and to sit through these at times rather tedious discus­sions back and forth. But it proved to be a fantastic process. We may or may not like the decisions taken what to do with the collected pesetas. I thought it was impressive.


.....................................................................................................................................................................................................................................................................................AFTER “ROSARIO” WE HEARD THE CHANA GUANAText: Zoohaus

The 1999 movie Magnolia starts with a lot of strange events that are apparently a product chance. After the last of these stories, the narrator tells us his own opinion. “And it is in the humble opinion of this narrator that this is not just something that happened. This cannot be one of those things. This, please, cannot be that. This was not just a matter of chance. No, these strange things happen all the time.”

The day we decided what to do with the pesetas we collected with our “hucha de deseos”, many neighbours of La Latina came to the meeting. After an intense day, an equitable but participated solution equally distributed the money to satisfy two relevant neighbourhood wishes. The first wish was the urgent, realistic and very much discussed need of more trees. But better oriented trees, not to be planted in any arbitrary way, but supporting one of the most important popular causes that are being carried out, some trees destined to reinforce the park of La Cornisa, currently an endangered species. The second wish was never recorded in “Rosario’s” internal memory. It appeared in the debate and consensus, a wish which results from a six month cohabitation of La Latina with the “hucha”. This wish reflected on the availability of a channel for people to be heard, which invited them to participate and decide on how to improve the neighbourhood. Something weird was happening; this new channel had created a hole that transcends the neighbourhood’s framework creating a representative realm. Rosario became a device capable of uniting different realms and the neighbourhood thought this should continue.

Two years later, Rosario’s pesetas were employed to build a door/mailbox for the field of La Cebada, a shared public area which has been recuperated for the people. It is a five thousand square meter plaza congested with citizens that have, somehow, been able to connect two spheres, uniting the gap between those who make decisions and those who are subject to them. The field of La Cebada, citizenship and administration get together in public space to design it and manage it while seeking for new ways.

Two years later, in the square of Los Carros, where the hucha was physically installed, every Saturday since the 15th of May, neighbours get together to discuss how to improve the neighbourhood, in the so called “Asturias Meeting”.

Many of you might consider this to be a matter of chance, that there is no direct relation between these events and “Rosario”, but to me, this humble narrator, this can’t just be something that happened. This can’t just be one of those things, this, please, can’t be that. In my opinion, this can’t be, this can’t just be a matter of chance.



















09-10intc3696, 09-10intc3709

2009-2010. CREDITS

2009-2010. CREDITS

























09-10pvmg2415, 09-10pvid2404, 09-10pvie2406, 09-10pvih2408


Location: La Casa Encendida (Ronda de Valencia n 2)Moderated by: Cecilia Andersson and Jorge Díez.


4th of Februaryfrom 18.00 to 21.00h

Participating artists:18.00 to 18.30 Lara Almarcegui18.30 to 19.00 Laurence Bonvin19.00 to 19.30 Teddy Cruz19.30 to 20.00 Josep-Maria Martín20.00 to 20.30 Pablo Valbuena20.30 to 21.00 Debate and questions

5th of Februaryfrom 18.00 to 21.00h

Participating artists:18.00 to 18.30 Susanne Bosch18.30 to 19.00 Lisa Cheung19.00 to 19.30 Inaki Larrimbe19.30 to 20.00 Adaptive Actions20.00 a 20.30 Gustavo Romano20.30 a 21.00 Debate and questions



6th of February 18.00h

Introduction of the audiovisual pieces selected in the 9th and 10th edition of conducted by Fito Rodríguez.














2009-2010. URBAN BUDDY SCHEME / 06 feb 2009 / Studio Kawamura-Ganjavian (transcription)

Extracts from the MADRID_ABIERTO Urban Buddy Scheme sessions

6th OF FEBRUARY OF 2009Luis Úrculo (moderator)Studio Kawamura-GanjavianC.A.S.I.T.A.Uriel FoguéExprimentolimonCecilia AnderssonKyong Park (moderator)Alexander GerdelApolonija Šušteršič + Meike SchalkTeddy CruzKyong Park (questions)Discussion with the audience

Friday 06th/first session/presentation. Luis Úrculo (Key Portilla and Eli Ganjavian)(…after nominating the different teams)…we are talking about the city, not as an autistic project, but as that which exists, that functions…its citizens. They activate the city and due to that, a series of responses and projects are generated, to use this area as a means and place for reflection…


KEY… we met in London, in the University Office of London, later in the Royal College Art and later in the Architecture Association…after working in several countries and cities we decided to work in Madrid, the time was ripe, the city had a vibrant energy that had much to offer, as well as we had things to give in return…After some debate we have decided to show ‘our house’, our studio, the place where we work.When we arrived in Madrid three years ago we decided to create a place, a platform in which not only both of us would work but also other creative people, to develop synergies, to share and contaminate each other.Looking around we found Plátano street, in the north part of the Madrid centre, near plaza de Castilla, towards where the city centre gravitates. Urban development, skyscrapers, office buildings…but also, this area of Valdeacederas (within the neighbourhood of Tetuán) is an almost rural structure, which with the explosive growth of the 50/60/70’s has been gobbled up by the city.Here there is a light industry, garages, light metallurgy, printer’s…in fact, when we saw an old printer’s we had no doubt about it; that was the place for our platform.We are literally under the shade of Castellana’s four towers. ..

ALI...the main goal of this project was on how to put people from multiple disciplines together in one platform. How to manifest our ideology and things learnt in our teaching experience and to use it in one space. With the intent of putting our philosophy into practice, as architects, we started out from the smallest objects to the largest scales and understood that this only works by using systems……more than 38 people share our studio, contaminating each other and working in common projects……they are two main spaces, a ‘space for communication’, where we explore and communicate what we do to the outside world, and a ‘contamination space’ (we think of it positively) essential in order to work, to know what the other does and learn from each other.This is the context, but space is not relevant without the people involved.We didn’t choose the neighbourhood in an arbitrary way; we chose it for its possibilities and we are interested in our potential interaction with it.

.....................................................................................................................................................................................................................................................................Transcriber’s comments.(1) A video is played to show how neighbours ignore the studio’s activities…a street survey, ignorance of its existence, vague ideas, the acknowledgement of its presence…images of people that look through the window…and slowly change their opinion, friendly accepting these ‘youngsters’…(2) Then another video is played showing the ‘perplexity’ of studio members.“A great canvas where we can all participate…” says Ali.“…set designers, fashion, communication, architects; we also have the Banana Association, for ‘non-institutional’ cultural activities. On Thursdays there are activities, every two weeks there are conferences, debates, performances…”(3) Ali continues…”and as third part there is the ‘Banana TV Studio’, an audiovisual platform; we want to promote multidisciplinary audiovisual culture. The platform is made up of a series of editors, specialists on different fields that edit an audiovisual magazine selecting videos from Internet following the own editorial guidelines. We also have our own audiovisual production agency to publish interviews, articles, documentaries on the world of art, design, culture, architecture…We show a concrete project, an assignment by MATADERO. They asked for a reflection on different utopian cities of the XXI century. Upon the possibility of expressing only one answer, we are 38 people with different backgrounds…we decide to play four different short movies to show the plurality, its multiplicity. They are presented in a summarized form, a superposition of statements on the city’s inconveniences, the noise, the skyscrapers, the machines…the need for a utopian city, plausible… You can watch the videos in in studio banana TV…thanks”










Lisa Iñaki LarrimbeUnofficial

Josep-María MartínUna casa digestiva para Lavapiés / A digestive house for Lavapié

Adaptive ActionsCampo AA, Madrid / AA Camp, Madrid

Gustavo RomanoTime Notes: Oficina móvil / Time Notes: Mobile

Pablo ValbuenaTorre / Tower

Teddy CruzVallecas Abierto: ¿Cómo nos van a ayudar con su arte? / Vallecas Abierto: How is your art going to help us?

Susanne BoschHucha de desesos: ¡Todos somos un barrio, movilízate!    Lara AlmarceguiBajar al subterráneo recién excavado / Going down to the recently excavated underground passage.











2009-2010. Lara Almarcegui (Cv)


SELECTED SOLO EXHIBITIONS2008Ruins in Nederlands, Gallery Ellen de Bruijne Projects, Amsterdam.Bilbao Wastelands, Cabineta, Sala Rekalde, Bilbao.Ruinas de Holanda, Gallery Pepe Cobo, Madrid.La Box ENSBA, Bourges.

2007CGAC, Santiago de Compostela.

2004FRAC Bourgogne, Dijon.

2003    INDEX The Swedish Art Foundation, Stockholm.Chantiers ouverts au public, Centre D’Art Le Grand Café, Saint Nazaire.

SELECTED GROUP EXHIBITIONS2009Radical Nature, Barbican Art Center, London. (by Francesco Manaconda)Athens Splendid Isolation, 2nd Athens Biennale (by Can Sophie Rabinovitz)Monument to transformation, Tranzit, Praha.Evento, Biennale de Bordeaux. (by Didier Faustino)3rd Riwaq Biennale : a geography of 50 villages , Ramallah. (by Khalil Rabah, Charles Esche, Reen Fuda)Utopia and Monument, Sterische Herbst, Graz. (by Sabine Breitwieser)Sloop gebouw SFF, Flux-s, Eindhoven (by Annie Fletcher)The Boundary Layer, The Prairie Art Gallery, Grand Prairie, Alberta. (by Catherine Dean)Liquid Times, Westfälischer Kunstverein, Münster.

2008Annual Report, 7th Gwangju Biennale. (By Okwui Enwezor)Taipei Biennale 2008, (By Manray and Vasif Kortum).Matiere à Paysage, Biennale de la Seine, La Gallerie, Noissy-le-Sec.Greenwashing, Environment: Perils, Promises and Perplexities”, Fondazione Sandretto ReRebaudengo, Turin. (by Ilaria Bonacossa and Latitudes (Max Andrews & Mariana Cánepa Luna). Estratos, PAC Murcia. (Curated by Nicolas Bourrieau)Lofoten International Arts Festival, Svolvaer, Norge.

2007    Sharjah Art Biennial 8 : Still life, Art, Ecology  and Politics of Change, Sharjah Art Museum, United Arab Emirates. (By Jonathan Watkins and Eva Schaer)Shelter, Haarderwijk. ( by Henk Slager)Mimetic, Chateau de Tanlay, Yonne Art Center. (curated by Jean Marc Huitorel)

2006Momentum, Festival of Nordic Art, Moss. (by Marc Sladen and Annete Kiefluk)27 Biennial of Sao Paulo, (by Rosa Martinez, Lisette Lagnado, A Pedrosa)Frieze Projects, Frieze Art Fair, London. (by Polly Staple)Biacs, Sevilla Biennale, Sevilla. (by Okwui Enwezor)Theater of Life, Galeria Civica d’arte Contemporanea, Trento ( by Fabio Cavaluzzi)

2005Public Act, Kunsthalle, Lund, Lund. (by Mats Stjernstedt)Le genie du lieu, Musee des Beaux Arts, Dijon Delicious, Sint-Truiden. (by Luk Lambrecht)

2004    International Liverpool Biennial, Tate Liverpool. (by Cuauthemoc Medina)VI Werkleitz Biennale, Common propierty, Halle, Deutschland.Le Prochaine et le Lontaine, Domein de Kerguennec, Bignan, France.LAB, Kröller Müller Museuma, Otterloo. (by Nathalie Zonneberg).Catastrofi Minime, Museo di Arti Provincia di Nuoro, Nuoro, Cerdeña. 2003Idealism, De Appel, Amsterdam. Sin Título, Sala Montcada de la Caixa, Barcelona. (by Moritz Kung).1:1 x temps, quantités, proportions et fuites, Frac Bourgogne, Dijon. Dispersion, Bas Museum of Art, Miami.

2002Lost Past, Yeper. (by Moritz Kung)Bigtorino 2002, Torino Biennial. (by Pistolleto, Corinne Disirennes)

2000Scripted Spaces, Witte de With, Rotterdam. (by Bartomeu Mari)Espacio como Realidad, como Proyecto, Pontevedra Biennal (by Maria del Corral).

1999Stediljk Museum Bureau, Amsterdam.

PROJECTS IN PUBLIC SPACE2009Relocated houses, One Day Sculpture, Wellington, New Zealand. (by Claire Doherty).Scavo, PAV, Torino.

2006    Het braakliggend terrein van de Norfolkline open voor het publiek”, Den Haag.Comisioned by STROOM, Den Haag and SKOR, Amsterdam.

2003Allotment Gardens, Urban Festival, Zagreb.Een brakliggend terrein, Europoort Rotterdam, Rijksgebouwdienst, Rijkswaterstadt.

2002    Wastelands Tour, British Architectural Week, FACT, Liverpool.

2000Opening of a wasteland, Container Project Nicc, Bruxelles.

BIBLIOGRAPHY2009Pablo Llorca, Lara Almarcegui, Art Forum # February.Rachel Wolff “Runing over a new leaf”, Artnews, New York # april.

2008Katherina Deschka-Hoeck: Brachland der Freiheit, Frankfurter Allgemeine Zeitung, #27 Oktober. Tijs van den Boomen, Ruine als dankbaar object, NRC, Rotterdam # 10 June.Jean-Max Colard : Lara Almarcegui, Ruines in Nederland, Inrocks # 656.Pei-Tsen: Dig into the enviroment, Lara Almarcegui  ARTCO, Taipei # july.L’art, le territoire, espace public, urbaine, Veduta, Biennale de Lyon, Ed Certu.

2007Tom Morton: City Limits: Lara Almarcegui, FRIEZE pages 124-127 # Summer 20.Anna minton, Down to a fine art, The Guardian, London, 10th January.Francis Alys: Artists Favourites, Spike Art # 11, Wien.Ecology, Luxury and Degradation, Edited by Lattitudes, Uovo # 14, Torino.With/Without, Cultures of Space in the Middle east” Edited by Antonia Carver, Shumon Basar and Markus Miessen, New York.Design and Landscape for people, Edited by Clare Cumberlidge and Lucy Musgrave. Thames & Hudson.

2006Land Art. A Cultural Ecology Hand Book, Edited by Max Andrews. RSA, London.

2005Jean Marc Huitorel, Entropic promise: Lara Almarcegui, Art Press February. Binna Choi, A Statute of the inhabitable, Reader: Contributions to a topical artistic discourse, De Appel.

2004Ole Bouman: The emancipation of nowhere land, Pasajes de Arquitectura y crítica, Madrid, # February.Lara Almarcegui, l’idealisme en déconstruction, Bénédicte Ramade. L’œil, Paris summer. 2003Carole Smidt, La Force de l’abandone, A+ architecture, urbanism, design and art. # agust-september, Bruxelles.Thorsten Smiededrecht, Art and Architecture a reciprocal relationship?, Architectural Design, London  # may/June. 2002Santiago Cirugeda: Lara arreglatodo, Subrosa, editions la Letre Volé, Bruxelles.

2001Anne Pontégnie, Lara Almarcegui takes apart the gallery, Artforum digital, May.

WRITINGS1999Wastelands Map Amsterdam, a guide to the empty sites of the city, Stedelijk Museum Bureau, Amsterdam.

2006Guide of wastelands Sao Paulo, Edited by Biennial Sao Paulo.

2007Guide to Al Khan, An empty village in the city of Sharjah, Edited by Sharjah Art Biennial. 2008Ruins in the Netherlands, XIX- XX, Episode publishers, Rotterdam.

2009Ruins in Bourgogne, XIX-XXI, Le Press du Reel, Dijon.

WORKS IN PUBLIC COLLECTIONS Kröller-Müller Museum, Otterloo (Arnheem).FRAC Piamonte, Torino.Les Abattoirs, Toulousse.FRAC Bourgogne, Dijon.FRAC Alsace, Sélestat.Fundación La Caixa, Barcelona.MUSAC, León.CGAC, Centro Gallego de Arte Contemporáneo, Santiago de Compostela.Marcelino Botin Foundation, Santander.La Panera Art Cenrtre, Lérida.CAM Foundation.Yeh Rong Jai Culture & Art Foundation, Hsinchu City.

PRIZES2007UNESCO art prize. 2006Sculpture art prize given by the Madrid Municipality.

GUEST TEACHER AND WOKSHOPSStudio visits as guest teacher in De Ateliers, postgraduate art program, Amsterdam; Dutch Art Institute, postgraduate art program, Enschede.  Workshops at Piet Zwart Intitute, postgraduate art program, Rotterdam; Art in Public space master of Art School, Geneve; Umea Art School, Umea; Minerva Art Academy, Groningen; Annecy Art School; Centro Atlántico de Arte Contemporáneo, Las Palmas de Gran Canaria; Art School of Universidad Europea, Madrid; Cuenca Art School; Hangar, Barcelona; La Casa Encendida, Madrid and Graduation jury at Art in Public Space, La Cambre Art School, Brusels, Design of Public Space, Lyon Art School.

LECTURESArchitecture master, Berlage Institute, Rotterdam; Faculty of Architecture, Madrid; Faculty of Architecture, International University Catalonia, Barcelona; Architects College, Toledo; Architects College, Madrid;  Architectural School, American University, Beirut; Arts School of  Metz, Angoulleme; Dijon and Nancy; Tate Britain, London; Bluecoats, Liverpool; Le Grand Café, Saint Nazaire; Le Lieu Unique, Nantes; Centre de Art Parc St Leger, Pouges les Eaux; BLOK, Zagreb; Stedelijk Museum Bureau, Amsterdam; Etablissement, Brusels; Reina Sofía Art Centre, Madrid; Palaise des Beaux Arts, Brusels; TENT, Rotterdam; London School of Economics, London; Art Schools of Brasilia, Sao Paulo, Florianólpolis and Puerto Alegre; Faculty of Arts,Taipei University; master of Fine Arts, Massey Univesiy, Wellington;













Parking C/ SerranoGuided tours: days 28th of february, 28th of march,25th of april, 30th of may, 27th of june and 25th of julySchedule: 12.00 h













2009-2010. María Molina (Cv)


EDUCATION·    Licenciada en Historia del Arte, Universidad Complutense Madrid (UCM). 2000-4.    5º curso de licenciatura ERASMUS, Universidad de Turku, Finlandia.2004-5·    Diploma de Estudios Avanzados (DEA): Aula Urbana: Una propuesta didáctica para el Arte Público. Programa de doctorado: Aplicaciones del arte en la integración social: arte, terapia y educación en la diversidad, Facultad Educación, UCM. 2008.

SPECIALIZED EDUCATIONÁrea Arte, Educación y Transformaciones Sociales·    Negociaciones culturales.Articulación de las pedagogías colectivas y las polítcas espaciales. Universidad Granada 20h. 2009·    Simposio MODIFI Modelos diferencias y ficciones en la producción independiente de cultura contemporánea. Goethe Institut Madrid.2009·    Pedagogías culturales, práctica colaborativas y aprendizaje en red. Universidad Granada. 40h. 2009·    II Congreso Internacional de Educación Artística y Visual. Universidad Granada.30h.2008.·    Arte, entorno construido y participación: implicaciones sociales y educativas. Curso doctorado, departamento de Didáctica de la Expresión Plástica, UCM, 2008.·    Arte, educación e integración en museos. Curso doctorado, departamento de Didáctica de la Expresión Plástica, Universidad Valladolid, 2008.·    Miradas al Arte Público Contemporáneo. Geografías de la Inclusión y Transformación Social. UCM y Casa do Brasil, Madrid. 30h. 2008.

Área Arte, Educación y Terapia·    Género y Comunicación: audiovisual, educación y representaciones de género. UCM. 10 h. 2009  ·    La expresión artística como intervención educativo-terapéutica. Curso doctorado, departamento de Didáctica de la Expresión Plástica, UCM, 2008.·    Entorno natural, educación artística y arte terapia. Curso doctorado, departamento de Didáctica de la Expresión Plástica, UCM, 2008.·    Imagen, memoria e identidad. Curso doctorado, departamento de Didáctica de la Expresión Plástica, UCM, 2008.

Área Historia del Arte·    La sutileza del cambio. Imagen e imaginario actual de la ciudad de Granada. Universidad Granada. 30h. 2009·    Nuevas Políticas Urbanas y Escultura Pública. Fundación Claves de Arte. 10 h. 2006·    Conservación y Preservación del Patrimonio Histórico de la Humanidad. UCM. 100 h.2002.

Área Social·    Ingeniería Asistiva. Ingeniería para la rehabilitación funcional y de comportamientos de las personas con discapacidad. Universidad Internacional Menéndez Pelayo, Santander.30 h. 2008.·    XIII Edición Curso de Sensibilización sobre Inmigración. UCM y Centro de Estudios sobre Migración y Racismo (CEMIRA).Madrid.60 h. 2008.

PROFESSIONAL EXPERIENCEColegio Público Rabindranath Tagore, Madrid, 1 mes 2010·    Monitora de los talleres de educación infantil: Música y Ritmo y Cuenta Cuentos.

Campamento Urbano de Verano-Grupo Alventus, Madrid. 1 mes 2010·    Monitora de los talleres de educación infantil: Creatividad, Expresión Corporal y Piscina.

Escuela Complutense de Verano (UCM). 1 mes 2009·    Personal de apoyo: Atención de alumnos y profesores. Acompañamiento en actividades extraacadémicas.

Asociación Cultural Madrid Abierto (MA) 12 meses 2008/09·    Responsable del diseño y realización del Programa Pedagógico “Aula Urbana”.·    Coordinadora del seminario y encuentro internacional, Urban Buddy Escheme. Casa Encendida 2009

Museo Thyssen-Bornemisza, Madrid. 4 meses 2008·    Miembro del Departamento Investigación y Extensión Educativa..    Diseño de visitas-taller para inmigrantes.·    Coordinadora del I Congreso Internacional: Los Museos en la Educación

Museo Aboa Vetus & Ars Nova, Turku. 7 meses, 2006/07·    Miembro del Departamento de Didáctica. .    Diseño y ejecución de visitas-taller Path of Life sobre Guillem Nadal (Mallorca)..    Diseño y ejecución del programa didáctico para estudiantes de español.·    Coordinadora de la Bienal de Arte de Turku 07, con la participación de la Organización Hangar, Barcelona.·    Diseño y realización del espectáculo musical Välittömiä Tunteita-Instant Emotions, con la participación de Lau Nau (Finlandia) y Guillermo Castro (España).

Turku University, Universidad de Turku. 2005/06·    Tutora y Asistente de Profesor, Departamento de Español. 50 h..    Conferencia Arte contemporáneo español 1940 hasta la actualidad.

RESEARCH PAPERS·    The honest arquitecture of Alvar Aalto. (La honesta arquitectura de Alvar Aalto). U. Turku. 2006.·    Vivencia y terapia a través del entorno construido: una aproximación a partir de la obra de Alvar Aalto. Doctorado. UCM. 2008.·    Educación y entorno construido: Entrevista a la educadora del museo de Alvar Aalto en Jyväskylä, Finlandia. Doctorado. UCM.2008.·    Susana Nevado: The experience of a Spanish artist in Finland. (Susana Nevado: La experiencia de una artista española en Finlandia). U. Turku. 2006.·    The analysis of Susana Nevado creative process in two exhibition in Helsinki: In the stockroom, Galeria Huuto y Touch me or I am touched, TM-Gallery. (Análisis del proceso creativo de la obra de Susana Nevado en dos de sus exposiciones en Helsinki): U. Turku. 2006.















2009-10. AULA URBANA (images)

2009-10. AULA URBANA (images)









SAGRADO CORAZÓN DE JESÚS MIDDLE SCHOOL, students of the 3º year. Susanne Bosch project



SAGRADO CORAZÓN DE JESÚS MIDDLE SCHOOL, students of the 4º year. Susanne Bosch project

Mural entrevistas La Latina


HUCHA DE DESEOS OPENING. Susanne Bosch project













09-10inic2867, 09-10inic2868, 09-10tpid3109, 09-10tptd3110, 09-10tpid3111, 09-10tpid3107

2009-2010. EVALUATION MEETING 2010 (programme)

MADRID ABIERTO 2009-2010Evaluation meetingMatadero, 2nd and 3th of July of 2010

Internal discuss with the artists of this 6 edition of Madrid Abierto together with Democracia, Ramon Parramon and Fito Rodríguez (all of them, members of the advisory committee of Madrid Abierto between 2007 and 2009. They analyzed the five editions of the project and proposed the general lines of the actual edition). Both the artists and Madrid Abierto can invite to anyone that had made a directly collaboration on the organization or in the projects of this edition.

In general, the sessions will develop in Spanish because Matadero don’t have a system of simultaneous translation, but the interventions can made in English.

Friday 2nd of July. From 16.30 to 18.30 h.Evaluation of the agreement fulfilment of the advisory committee of Madrid Abierto (March of 2008) and discussion the incidence in the execution of the projects from the artists viewpoint:

·    Keep the international open call with a 50% maximum of invited artists by the curator.·    Establish a bienal periodicity, maintain the firs year for the discussion pannels and the presentation of the artists selected. Also this first year is use for work with the artists selected and to develop the projects.·    Continue doing the projects during the month of February.·    Include on the open call, a general paragraph of the summons of this edition and another one more specific from the curator.·    Still working on the overflow physical and conceptual axis of Prado-Recoletos-Castellana.·    Continue with the sections of audiovisual and sound works and increase the specific means to show them.·    Continue with the actual advisory committee and select the curator between of them.·    Generate documents and publications which develop the experience and the knowledge of the editions fulfilled.

Saturday, 3th of July. From 12.00 to 14.00 h.Analysis of the results of the projects made during this edition and the new lines of intervention.·    Public archive of Madrid Abierto in Matadero·    Educational project·    Make a production of an exhibition with documentary character of the development of Madrid Abierto during the past six editions.














2009-2010. Josep-María Martín. A DIGESTIVE HOUSE FOR LAVAPIÉS (technical data)


December 2009- Begin collaboration with the architect. February 2009.- Choose the family from Lavapies to develop the project.- Identify the main interlocutor of the neighborhood.- Open up a participation process carrying out interviews with specialists, professionals, interested social agents, involved in deep thought on digestive processes, memory and habitat: psychologists, anthropologists, architects, historians, politicians, neighborhood associations, citizens, cultural associations, gastroenterologists, dietician, social workers, educators, etc.

May 2009- Research and reflect on the importance of the habitat to help “digest memory”.- Order the obtained information on the subject.

June 2009- Present the proposals to the family and interlocutors, creating a debate.

June/September 2009- Create the executive modified project, integrating and enriching, the initial proposal of prototype Digestive House.

October 2009- Carry out the necessary administrative actions to develop the project.

December 2009- January 2010- Build the prototype.

February 2010- Spread the project.- Exhibit the Digestive House project.- Presentation of a documentary video and the website about the prototype.- Press release.- Publication.










2009-2010. TELECAST (list)

2009-2010. TELECAST (list)










2009-2010. AULA URBANA. Educational proposal

2009-2010. AULA URBANA. Educational proposal

















2009-2010. AULA URBANA. Convocatoria (poster)

2009-2010. AULA URBANA. Convocatoria (poster)















2009-2010. AULA URBANA. Report

2009-2010. AULA URBANA. Report

















2009-2010. URBAN BUDDY SCHEME / 06 feb 2009 / Wunderkammer + Ludotec (transcription)

Extracts from the MADRID_ABIERTO Urban Buddy Scheme sessions

6th OF FEBRUARY OF 2009Luis Úrculo (moderator)Studio Kawamura-GanjavianC.A.S.I.T.A.Uriel FoguéExprimentolimonCecilia AnderssonKyong Park (moderator)Alexander GerdelApolonija Šušteršič + Meike SchalkTeddy CruzKyong Park (questions)Discussion with the audience



(presentation)…a team made up of three architectural studies: BBLAV, GIWGALVEZ and MISC. They share a working space, developing projects together in realms such as architecture, urbanism, design, landscape and teaching activities. Their collaboration is not performed in the usual manner, but is a kind of lab that integrates different ideas and experiences.They will explain the general guidelines of their work, which is done both in common and individually. An investigation on urban utopia, understood as a transformation vector linked to reality.They have participated in the urban research lab called “ARTEPOLIS”, through an exhibit that includes proposals from 8 architectural studios on the utopian city. For 8 months “ARTEPOLIS” has tried to reflect on how to build a city, which, designed for man, propitiates interaction. Architects, critics and researchers have integrated a work platform on the concept of city, a concept to be dealt with from a humanist point of view. “ARTEPOLIS” is a project that has been developed in Intermedie (Madrid’s City Hall), in the Matadero Centre.

(conference) David Franco, Isabel Avichore, Luca BRunelli and Pablo Martínez, intervene.

David_ In the last decade, Madrid and its metropolitan hub have grown enormously by filling a territory which’s geography hardly offers obstacles to expansion.All the great operations developed in Madrid have been focused, on the one hand, on a disproportionate increase in housing construction, encouraging land speculation and, on the other hand, the construction of massive infrastructures needed to supply these housing areas.In this urban development model, based on the extensive occupation of the city’s external limits, the paradigm of sustainability and the current economic situation are shifting people’s attention towards the existing city.Recycling and the transformation of traditional areas seem to be the most efficient modes of development in relation to consumed resources. Therefore, it seems especially convenient to rethink our methods in areas which attract citizens’ interest…Madrid’s historic downtown.The trend in the handling and rehabilitation of these areas (not only in Madrid), public areas included, is to ‘respectfully’ build sham constructions that reproduce in an uncritical manner a series of features universally assumed to belong to a certain realm of history.In Madrid’s downtown these interventions have been specific and aesthetic, without questioning its identity as a crystallized and finished city, dismissing any relevant change or meaningful renovation. Is it possible to conceive more intense interventions in strategic points of such areas, introducing dynamics which are better adjusted to contemporary life? Can we imagine new forms of symbioses between the traditional city and life’s current complexity?

In reality, the traditional city is already a hybrid and complex structure where the public and private realm, mingle…an unequalled reality that the modern city has been unable to surpass. However, in some areas in downtown Madrid, what we find is an excessively homogeneous two-dimensional structure, in spite of its physical density and of use, where the lack of facilities and green areas (integrated in its fabric) involve a great pressure on local inhabitants. This triggers ‘gentrification’ processes which endanger city as a plural place.In opposition to this we can analyze the most beautiful monuments in today’s cities…the encounter between topography and urbanism…river banks, the great urban parks and, in general, the introduction of discontinuities and three-dimensional exception.…thus we can focus on a new view which is known by omitting historic, mythic and tourism values to understand the city as a physical structure and construct, on this hybrid notion of what three-dimensionality, new transformation tools for Madrid’s downtown.

Pablo Martínez_ The project we have brought to present, ‘TRIPTIP’, explores the possibility of two apparently opposed operations…increase the cities porosity, ‘sponging’, and increase the density of that which has been built, ‘process of three-dimensionalization’. The natural and the artificial, the planned and the unexpected, the real and the dreamt…we have chosen the Maravillas neighbourhood; we live and work in it. Also because the virtues and defects of Madrid’s downtown are intensified in that spot…It’s a neighbourhood with an absolute lack of facilities and representative public areas, with a homogeneous and compact fabric…therefore we conceive it as a generic environment, a scarcely qualified and neutral background to maximize radical change operations, triggering internal development and the renovation of Madrid’s centre.

Isabel Avichor_ and if a new vision on the role of Nature in the city enabled us to transform the main axis of the Maravillas Neighbourhood into a soft and flexible area focused on pleasure more than on simple circulation? We suggest a new type of urban space which combines the intense density of activities (typical of downtown Madrid) with a more smooth and cosy physical quality.

We start off from the street of San Bernardo. Due to its size it hides a great potential to be transformed in a radical way…usually taken by slow and irritating traffic, it’s the areas’ worst public spot.Maybe it would suffice to pedestrianize the area while lining some blocks in its margins…it would be a lineal garden which solved the lack of green areas in downtown Madrid.This new green, soft and inviting fabric that climbs through the walls, multiplying the surface for a new relation with the urban and rural realms, producing an urban three-dimension milestone. A system of towers superposed on the existing urban framework producing a new perceptive rhythm throughout the street’s route and creating, through the new skyline, a new scenery, direct descendant of the Gran Vía. These towers not only integrate new uses the neighbourhood needs, but include part of the apartment buildings upon which they support themselves, leaving them available for larger space facilities.

Our dream of creating a ‘Great Boulevard’ in San Bernardo materialises thanks to a synthesis between nature and urbanism, with vibrant life, flexibility and open to any imaginable use. A new type of public area that is able to synthesize modern man’s dream of living simultaneously immersed in urban while enjoying the pleasures of urban life.

Would it be possible to contemplate the sky, the horizon and the city from the inside?…and run and walk at 50 metres above the ground.This proposal was born out of this nostalgia for the skies in Velazquez and Goya that the city can barely see…we imagine a system of horizontal skyscrapers, that can provide the city with the facilities and uses it needs although lacking the floor on which to build them.A city with multiple layers that takes advantage of its elevated position to become supports for mechanisms that generate energy, tank-buildings to accumulate water from rain and irrigate the squares in which it’s supported…and to enable the creation of new atmospheres, fabricate clouds or rain, or if the temperature is appropriate, snow.

These new structures are built upon a series of small theme squares, some already existent, reprogrammed, and others to be created and construct a dispersed and un-hierarchical ‘sponging’, providing new poles of activity.Beyond solving the neighbourhood’s needs, with its lack of services, the proposal explores a new horizon of situations that respond to intangible necessities. Above all, enable something that Madrid’s development and topography has made impossible: a new relationship between the city and its outside.

We want to provide the city’s hub with the possibility of enjoying the marvellous and always changing sky and cycles of nature; linking locality and territory.To see the city from a new and surprising point of view, not only it becomes an amazing sight, but we recognize ourselves as part of it.Above, to run or walk at 50 metres high, to look at the Gran Vía from another perspective, bathing in winter in an indoor swimming pool and see the city at your feet, to have dinner in the 2 de Mayo square enjoying a beautiful sunset, to have breakfast in Fuencarral street watching the sunrise, skating above Comendadoras’ dome, bungee jumping from ‘Luna’ square, got from Hortaleza to San Bernardo without having to see a single car, without having to dodge a single bollard…or anything that we might imagine.

David_...and if the streets of Malasaña always seem too narrow and filled with people, they will become an immense common void where every person in the area might find his place…And the mass that is built through this operation is transmuted into vertical masses that emerge from the edges of this new space creating a new profile between geological and urban.

The new park is modelled with a new, rich and interwoven orography so that the enormity of common space is perceived as a chain of more intimate rooms, isolated from the noisy city streets. Under the highest hills will be large resource buildings covering the neighbourhood’s needs. The towers will be located in the perimeter, each will establish an interdependent relation with the park’s void depending on their topographical characteristics. Each of them will enrich the city centre with new facilities and elevated public areas. Instead of a homogeneous density of events, the environment we have created provides us with a new urban view of Madrid’s downtown, a view in which metropolitan public space can unite use, nature and urban intensity, while becoming a point of reference, a great void to expand our perception of urban landscapes, creating a stop, a moment of discontinuity and paradoxically opening possibilities to maximum density.

These three new watchtowers in Madrid’s skyline will enable the city to expand upon itself. The skyline will be more exuberant, adjusting to the city’s more dynamic quality of the last decades. Madrid as a whole will gain public space, altering the balance between public areas in the city centre and provide its inhabitants with the option to enjoy top floor housing in the verge of free space.To close these three proposals on a concrete environment we should open new perspectives on our historic downtown and the strategies to act upon it.Beyond a hopeless and conservative critic of our cities’ realities, in particular Madrid, we have to find the needed legitimacy and energy to suggest ambitious and viable alternatives to conquer, for once and for all, the city centre, the hub of the city.


(presentation)…is a socio-physic and chrono-topic research lab, a platform open to analytical discussion, from a recreational and playful standpoint. It doesn’t produce materials or objects but images to be consumed…Ludotec proposes a work of analytical exploration on modern man’s recreational activities…Ludotec investigates BOY, produces video-essays with children, ludo-grams for kids, ‘boy’ documents and plays with them without educating…They have done several projects like “Clearance Sale”, INTERMEDIAE, DOCUMENTA 12 IN KASSEL, AULA DE DANZA in Alcalá de Henares, Grosz festival, Institute of Architects of Madrid… It’s formed by Susana Velasco, Jordi Carmona and Rafael Sánchez Mateo.

LUDOTEC doesn’t provide any intervention, it projects a video for one of its workshops…(!)

















2009-2010. Susanne Bosch (Cv)


SELECTED SOLO EXHIBITIONS2009Themen, die nicht zählen, Orte, die nicht wichtig sind, Kunstverein,Würzburg.

2004Mensch weg/ Insan yitmis / Meri helazbune (human disappeared), sox36, Berlin.

2004ATA, Galerie35, Berlin.

2001 Restpfennigaktion/ Left-over Penny Campaign, SchmidtBank-Gallery, Nürnberg.Installation and Interviews, Left-over Penny Campaign, Gallery sox36, Berlin.

1998Restpfennigaktion/ Left-over Penny Campaign, Gallery Kohlenhof, Nürnberg.

SELECTED GROUP EXHIBITIONS2009Festival della Creatività, Fortezza da Basso di Firenze, Fondazione Sistema Toscana, Florence, Italia.Exhibition of Berlin Senate Sholarship for Istanbul, Künstlerhaus Bethanien,Berlin.The History of Crisis II, curated by Tessa Gibbin and Monica Nunez, Project Room Dublin and Belfast Exposed, Belfast, IrelandExhibition of Berlin Senate Sholarship for Istanbul, BM SUMA CONTEMPORARY ART CENTER Istanbul. 2008THE COMMON GOOD: The Enterprise of Art, PAN | palazzo arti napoli, Napoli.

2007PAN SCREENING, PAN | palazzo arti napoli, Napoli.Rubin, Contemporary Museum of Art & Design, Nürnberg.

2006Daily artist at the XV BIENNALE DE PARIS, online shop with designs by Susanne Bosch, snebtor, María Linares, France.Visa Quartett at Rundgang, Bauhaus-University, Weimar.

2005Institute for experience with the unknown, soundinstallation in the belltower of the Galleria della Provincia de Modena / Chiesa di San Paolo and Chiesa delle Monache, in the frame of The Bauhaus moves / La Bauhaus si muove, artists of the Bauhaus-University Weimar being guests in Modena.

2002Kunstbank, Berlin (together with Marisa Maza/ exhibition of Berlin Senate stipends) Währungswechsel/ change of value, Städtische Gallery Fürth, Deutschland.

2000SomaVision, Art and Media Centre Adlershof, Berlin.Wettbewerb U2 Alexanderplatz (collaboration with Ulrike Dornis and Jens Hanke) competition for subway-station U2, NGBK, Berlin.Goldrausch XI _unterwegs/ Goldrausch XI_on tour, Presentation at Kunstbunker Nuremberg /  Kunstraum Düsseldorf/     halle_für_kunst Lüneburg/art forum, Art Fair Berlin.

1999Wie Macht Kunst?/ What Makes Art?, Fridericianum, Kasseler Kunstverein (collaboration with Vollrad Kutscher), Kassel.Materials, Künstlerhaus Bremen.Sozialmaschine Geld (social-machine money), O.K., Centre for  ContemporaryArt, Linz, Austria (collaboration with V.Kutscher)Klinik, Morphing Systems (.collaboration with Stephan Kurr), Zürich.

1997Germinations 9, Villa Arson, Nice, France  Förderpreisträgerausstellung, Kunsthaus Nürnberg.Germinations 9, Tutesall/ Chateau de Bourglinster, Luxembourg.

1996Germinations 9, Prague, Castle, Czech Republic KunstRaumFranken, Kunsthalle Nürnberg.

PUBLIC ART PROJECTS2009-2010Madrid Abierto 2009-2010, public art intervention in Madrid.

2009Verwunderlich, dass Ihr Euch wundert, aber wir tun es auch. Multimedia Installation in Cafe Kotti, Berlin (contribution to the exhibition of Berlin Senate Sholarship for Istanbul).An·nex, Homage to John Cage "4'33", public intervention, Boyd Park, Belfast, Susanne Bosch in collaboration with Dragan Miloshevski & Michelle Moloney, Northern Ireland.AGENCY, Billboard in public space, Berlin.

2008Art, Media and Contested Space, Billboard in public space, Belfast Biennale 2008, Northern IrelandTHE COMMON GOOD: The Enterprise of Art, PAN | palazzo arti napoli, Napoli.

2007/8WHOSE VOICE IS IT ANYWAY?, Migrant-Media-Project in Belfast with screenings: 2MOVE: IRELAND, Belfast/Navan, NVTV/Belfast, Northern Ireland.

2007IKEA says HOME is the most important place, FIX07 – 7th InternationalPerformance Festival, Belfast, Northern Ireland.A viewing, public intervention in collaboration with Sandra Johnston and Marilyn Arsem, Out Of Site 2007, Dublin, Ireland.Performative event APPROPRIATE in collaboration with Alma Suljevic,(Sarajevo), Marilyn Arsem (Boston) and Sandra Johnston (Belfast), Northern Ireland.Top trumps Polish Migrants at Northbound Conference, Derry/Londonderry, Northern Ireland.

2006Mobile economies at Permanent moving, DGB Haus Berlin and public space Berlin-Schöneberg.Top trumps Work Migration at Out Of Site 2006, Performance in public space, Fringe Festival Dublin, Ireland.

2005Institute for experience with the unknown, soundinstallation in the belltower of the Galleria della Provincia de Modena / Chiesa di San  Paolo and Chiesa delle Monache, in the frame of The Bauhaus moves / La Bauhaus si muove, Modena.

2004Hic bir yere gidememek/ Nirgendwo Ankommen/ To arrive nowhere I-III, Café MittenMang and outdoor in Reuterkiez, Berlin.WG/3Zi/K/Bar, Düsseldorf. LOCK YOUR MIND, Apartman Project Space, Istanbul. Káko ßi dúschitschke mója? / How are you, my little soul? Lovesongs for Gropiusstadt, sound installation in an elevator in Gropiusstadt, Berlin.

1998-2002Restpfennigaktion/ Left-over Penny Campaign, art in public space project with collection sites in Wuhlheide, Berlin, centre of Nuremberg, Marienplatz, Munich, Alexanderplatz, Berlin.

1996-97Curriculum Vitae, poster action in Prague, Nuremberg, Nice and Luxembourg

SELECTED CURATORIAL PROJECTS4/2009Open Space Learning Exchange, in collaboration with Dr. Cherie Driver and Jo Töpfer, Connswater, Northern Ireland.

8/2008Summer School Art in Public, Open Space Technology Training, in collaboration with Dr. Cherie Driver, Jo Töpfer, Michael M Pannwitz, Connswater, Northern Ireland.

9/2007Summer School Art in Public, Artistic Communication Forms in Spaces of Social Interaction, Belfast, in collaboration with Catalyst Arts, Francis Zeischegg, Ailbhe Murphy and Ele Carpenter, CatalystArts Gallery, Belfast, Northern Ireland.

200613 Monday Night Lectures, TEMPORARY INTERVENTIONS in cooperation with the ACC Gallery Weimar.

2005/0612 Monday Night Lectures, ART AND COMMEMORATION, in cooperation with the ACC Gallery Weimar.

2004    12 Monday Night Lecture, NEW ARTISTIC STRATEGIES, in Cooperation with the ACC Gallery Weimar.

2001-2002member of Kunstcoop© , in collaboration with the NGBK (Neue Gesellschaft Bildende Kunst, Berlin and the artists Nanna Lüth, Carmen Mörsch, Ana Bilankov, Bill Masuch, Ulrike Stutz, Maria Linares), Berlin.

10/2000-12/2002    Initiator of the sox36 - space in Oranienstrasse 175 in Berlin, Kreuzberg, Deutschland in cooperation with Alessio Trevisani/dancer, Stephan Kurr/artist, Marbo Becker/actor.

1996/97Co-curator with Christina Oberbauer of the yearbook/ Jahrbuchs 1997 walking through society Institute of Modern Art Nürnberg,Germany, 15 positions on site-specific or     interventional artwork: Guerrilla Girls, Olav Westphalen, Ute Meta Bauer/ Fareed Armaly, Sabine Kammerl, Bernard Brunon/Jade Dellinger, Rikrit Tiravanija, Maria Eichhorn, Christine and Irene Hohenbüchler, Iris Häussler, Shedhalle Zürich.

ACADEMIC RELATED ACTIVITIESsince 2006 Lecturer in Fine Art Research, Interface Art and Its Locations /  FOCUS: Art in Contested Spaces and Art & Documentation, University of Ulster, Belfast / Northern Ireland | Course Director of the MA Art in Public.

2005/ 2006         Assistant professor of the international MFA-programme Public Art and New Artistic Strategies at the Bauhaus-University, Weimar.

LECTURES7/2009The Pre-History of Crisis II, round table discussion, Belfast Exposed, Belfast,Northern Ireland.

2/2009Urban Buddy Scheme, Conference, La Casa Encendida, Madrid, Spain.

11/2008Decision committee meeting in PAN, Napoli.

10/2008Art, Media and Contested Space, panel member, MAC, Belfast Biennale, Belfast, Northern Ireland.

2/2008Culture moves, Symposia on Art in Social Context, Evangelische Akademie Tutzing, München.

2/2008Public-Private: Art in Public Space, Symposia in Cultural Theory, Alanus University of Arts and Social Sciences, Bonn.

2000-2002 Artist-talks in Weimar (ACC-Gallery and Bauhaus-University), Nuremberg (University and Städtische Gallery Fürth), Frankfurt a.M., Halle (University), Kunsthaus Bremen, Berlin (NBK and artist-run-gallery Weiss), Gallery KS Würzburg, Deutschland.

7/2007Die pARTizipanten, KOMM, lecture and workshop to develop a public art tender for the city of Nuremberg, Nürnberg.

6/2007Poland in Northern Ireland, lecture, Social Change and Resistance, conference, Gdansk, Poland.

6/2007ART RADIO LIVE, radio talk for Venice Biennale,, invited by PS1, PAN, and the Perna Foundation, Italia. Scientific Committee member for the EU project FUTURE (Future Urban Research in Europe),, Sverige.

4/2007AHH conference CONTESTATIONS: Ex-Jugoslavia: Looking at neighbouring concepts, workshop and lecture, Belfast, Northern Ireland.

1/2007Presentation of paper Human traffic in/from Istanbul and chair of one part of the conference Public sphere Istanbul, Bauhaus University Weimar.Part of roundtable about Sustainable action in relation to culture, Nürnberg, Deutschland.

11/2006Chair at APPROACH, roundtable meeting of international performance artists, I CONFESS, Switch Room, Belfast, Northern Ireland.

10/2006Chair at FAQ, Trauma, memory and counter-memory in relation to space, Culturlann, Belfast, Northern Ireland.

5/2006Performative events in public space, University of Art Berlin-Weissensee in cooperation with office of Public Art Berlin.

4/2006Urban Social Space, Conference of the city development in Jena, Deutschland.

11/2005Art in the social realm, University of Applied Science, Frankfurt/Main, Deutschland.

6/2004Art/Activism/ Civil society, with Lael Klime/Jerusalem, ACC Gallery Weimar.

1/2004The true, good and beautiful, between art and working reality, University assel, Deutschland.

11/2003Introduction of my art practice, Loft, Istanbul.

2003Art is something for rich people, my mother said, symposium art and economy, Werketage Berlin.Working Situation, lecture, Bauhaus-University Weimar, Deutschland.The model of selfgeneration, Goldrausch Künstlerinnen-Projekt, Berlin.

EDUCATION 2004 Four months training course for Civil Conflict Transformation / Civil Peace Service, Academy for Conflict Transformation, ForumZFD.

1999Goldrausch, artist project grant, professionalisation programme for female artists, Berlin.

Since 1996    Working as a freelance artist.

1990-96 University Erlangen / Nuremberg and Academy of Fine Arts Nuremberg, Master Student in Fine Arts. 1993Guest semester at Universidad Complutense, Madrid/Spain, Art and Spanish,Madrid.

AWARDS AND GRANTS2009Self-Arranged Residency to Madrid, Arts Council Northern Ireland.

2008/9Travel grant, Arts Council Northern Ireland to Mae Sot at the Thai BurmeseBorder, Thailand.

2008Pilotproject Gropiusstadt, Berlin. Invitation to AGENCY* to live one week inGropiusstadt to develop a site specific project.

2007Visiting Arts grant, Henry Moore Foundation/ Arts Council Northern Ireland/Scottish Arts Council/ British Council for the one week performative event APPROPRIATE in collaboration with Alma Suljevic, (Sarajevo), Marilyn Arsem (Boston) and Sandra Johnston (Belfast).

2006Percentage of Art Commission, Bezirksamt Tempelhof-Schöneberg, Berlin (invited to submit an idea and model).

2003Cultural exchange grant for Istanbul, Turkey from the Berlin Senate of Science, Research and Culture. Pilotproject Gropiusstadt, Berlin. A project developed by Birgit Anna Schumacher & Uwe Jonas. Invitation, to live one week in Gropiusstadt to develop a site specific project.

2001Working grant from the Berlin Senate of Science, Research and Culture.

2000Project grant from the Berlin Senate of Science, Research and Culture.

1998Residency in Nicaragua, office of international affairs, Nuremberg 3 months in San Carlos, Nicaragua. With Almut Determeyer.

1998Klinik, Morphing Systems (collaboration with Stephan Kurr), Zurich, Swiss (Cat.). Invitation to develop a site-specific work in an abandoned hospital. project curated by Teresa Chen, Dorothea Wimmer and Tristian Kobler.

1997Award of the Foundation Fine Arts Nürnberg.

1995Germinations Europe, residency for European artists in Poland.

1993Summer Academy Salzburg, Austria, workshop with Nan Goldin, financed by the Bavarian Ministry of Culture.

WORKS IN COLLECTIONS2009Brae Art Centre, Ballymena, Northern Ireland.

CATALOGUES 2009Istanbul/Berlin fellows1998-2009, sourcebook, Berlin, pg 82-87 (Cat. Exp.).

2009Yearbook of pilotproject Gropiusstadt, Berlin, pg 12-14 (Cat. Exp.).

2008    Yearbook of Bauhaus University Weimar, pg. 148-163 Preoccupations: Things Artists Do Anyway, 111 Artists Reveal TheirPassion, Published by 泥人laiyanprojects & Studio Bibliothèque, HongKong, Edited by Cornelia Erdmann and Michael Lee Hong HwePublic Istanbul – Spaces and Spheres of the Urban Edited by Prof. Dr. Frank Eckardt and Dr. Kathrin Wildner, Transcript, Frankfurt.Des/IRE, Designing Houses for Contemporary Ireland, Gandon  Editions / National Sculpture Factory Cork, Ireland.

2007Rubin, 40 Years of Institute of Contemprory Art Nürnberg.Istanbul Dergisi, Magazine, edition May 2007Istanbul Dergisi, Magazine, edition Sept. 2007The art of creating the Tomorrow, Spaceshuttle catalogue, BelfastIm Dienst der Sache, stadtkunst magazine, Berlin.Shifting the Stereotypes, Visual Artists' News Sheet, Issue 1.

2006Schnittstelle Kommunikation, book about communication in art, Berlin.Lock your mind, Istanbul-Berlin project in 2004 (Cat. Exp.).

2005     Yearbook of pilotproject Gropiusstadt, Berlin (Cat. Exp.).

2004     Yearbook of pilotproject Gropiusstadt, Berlin (Cat. Exp.).

2002        Sox36, programme 2000-2002, catalogue about the projects URTUX, art as utopia, Yearbook of the Institute of Moderne Art Nürnberg.

2000-2002Kunstcoop©, book about pilotproject artist do art-mediation/-education/communication at the NGBK, Berlin.WährungsTausch, catalogue from exhibition at Städtische Gallery Fürth (Cat. Exp.).

1998Berlin Alexanderplatz U2, catalogue from competition art at the subway, 12 selected projects, (Cat. Exp.).Sozialmaschine Geld, Kunst.Positionen, catalogue from exhibition about money at the O.K. Centre for Contemporary Art Linz, Austria, (Cat. Exp.).Restpfennigaktion, broschure about the project in public spaceMorphing, catalogue from exhibtion in abandonned hospital in Zurich, Suisse.

1996Isswas, Bavarian American Hotel, Nürnberg (Cat. Exp.).Germinations 9 (Cat. Exp.).

1996/97Kunst Raum Franken, Kunsthalle Nürnberg (Cat. Exp.).

REVIEWS2009The Pre-History of Crisis II, Sunday Times, 3rd August 2009The Pre-History of Crisis II, BBC Radio Ulster, 10 min Interview, 7th July 2009CNN Turk, 9.4.2009.Liane Thau, Bilder vom Alltag und ein Jubilaeum, Die Kitzinger, 27.3.2009.Aivers, Aine, A Report on Interface Summer School: Open Space Technology Training, Belfast, 10th - 16th of September 2008,   Visual Artists’ News Sheet, Issue 1, 2009.

2008Scala, radio feature about my work in Belfast, WDR  3, Deutschland.

2007Joan Fowler, High Stakes, Visual Artists’ News Sheet, Issue 6, 2007, pg 23Cherie Driver/ Anne Marie Dillon, On and on, Visual Artists’ News Sheet, Issue 5, 2007, pg 10.

2004Roswitha Buchner, „Hic bir yer gidememek“, Bayrischer Rundfunk, Sept. 2004.Stefan Strauss, Thailändische Schmusesongs im Neuköllner  Fahrstuhl, Berliner Zeitung, 24.08.2004.Meike Jansen, Einblick (57), TAZ Berlin, S. 28, 04.08.200M. Reichelt Philip Wiegands »Bar« und die Geschichte des sox36, Kunstforum International, pg 263 ff, Köln.

20025,3 Tonnen Pfennige sind 50 0000 Euro, Süddeutsche Zeitung,  28.06.2002, pg 42.Wahjudi, Claudia Die Münzmanagerin, Zitty / Kunst, 9/2002,  pg 83.

2001Falk, Sabine Wunschproduktion, kunststadt, stadtkunst, Nr.  47/2001, Berlin, pg 23.Schmidt, Peter Von der Potenz der Restpfennige, Süddeutsche  Zeitung, 8/2001, pg 56.Wagner, Thomas »Restpfennig«, FAZ, 31.12.2001, Feuilleton.

1999Das Fidericianum Magazin, Kunstverein und Kunsthalle Kassel, Heft 3, Herbst 1999, pg 32 ff

1998Kunstforum International, Bd. 149, S.108-109, Köln.  Blättner, M. »Restpfennigaktion«, Kunstforum International,  S.414-15, Bd. 140, Köln.

BIBLIOGRAPHY2006Weimar Day-to-Day (co-editor with Prof. Liz Bachhuber) Verlag der Bauhaus Universität Weimar. Liebe Mariela, catalogue text for Mariela Limerutti.

2005Schiller goes public (co-editor with Prof. Liz Bachhuber) Verlag der Bauhaus Universität Weimar.

2003Restpfennigaktion, book about the project in public space, including the collection of 1601 wishes, text contributions from Claudia Wahjudi, Dr. Volker Volkholz (sociology), Prof. F.B. Simon (psychology and economist), 314 pages, published by Verlag für moderne Kunst Nürnberg. Restpfennigaktion, poster about the project in public space.

1997Walking through society, Yearbook of the Institute of Moderne Art Nuremberg 1997 in collaboration with Christina Jacoby.














2009-2010. Susanne Bosch. HUCHA DE DESEOS: ¡TODOS SOMOS UN BARRIO, MOVILÍZATE! (location)

12th of November to 22nd of February: Plaza Puerta de Moros.

27th of February: Sala de Columnas, Círculo de Bellas Artes (C/ Alcalá 42). of Casa de America (Pº de Recoletos nº 2)












2009-2010. Imanol Garaizabal Pildain (Logela). GRAPAK



A stapler, manipulated by a human, dances to the rhythm of the music in a natural environment. This pollution of space reaches the highest levels of possible pollution.
















09-10auve3069, 09-10autb2963, 09-10autc3003

2009-2010. Josep-María Martín. A DIGESTIVE HOUSE FOR LAVAPIÉS (theoretical data)


For years the artistic projects of Josep-Maria Martín have focused on creating new artistic intervention strategies to affect certain well established structures in our society, which, however, don’t lack weak spots. With a subjective and reflexive will, he questions and criticizes the reality upon which he acts. His pieces stress the idea of process, research, participation, implication and negotiation, transforming each identified agent of each project in true generators of a common plan.

He is interested in art which is committed to surpass the aesthetic realm: there is no denying the troubles we confront in the political, social, anthropological environment, of territorial structuring and urban planning.

He is interested in life which is transformed by art and the art of living transformed. To transform the space of life, and social life transformed by the experience of art.

The artistic and political process implies a subjectivity which enables us to critically deal with the complexity of the world. In order to do so it is essential to realize a change of paradigm that will be the source of new images in a process of constant analyses and ethical gestures. To achieve this it creates collective research and analytical processes in specific contexts, searching for fissures in social and personal systems. From that point on, it negotiates with a transverse and horizontal criterion and suggests prototypes that are inserted in reality, creating a revealing experience out of its use. In any case, to use aesthetics in gaining change and put connecting tools in the hands of people to deal with the future.

Josep-Maria Martin’s artistic projects, being multidisciplinary, may be interpreted from each and every area to which the identified agents or participants belong to. For example: to the artist it is a work of modern art, to the architect it represents an architectural project, to a social worker, it is a collective work, for a politician, a project regarding social policies, negotiation, housing, immigration, etc.

Josep-Maria Martin states: “I am curious and that makes these types of projects very interesting to me. I’m interested in:- Opening up learning processes.- Researching in specific contexts and finding new ways.- Encountering people and realities.- To question and to find new ways of seeing things.- Seek and find images that have not thought of before.- To identify ethical gestures.- To develop collective processes to enter “unknown territories”.- To develop new proposals, going from that which is specific and personal to something general.- To go for innovation and suggest alternatives to achieve goals.- To explore contemporary aesthetic forms.- To create a possible participation in programs that may represent interesting challenges to me and may become sources of professional enjoyment, for being in my specific line of work.- To meditate on the contemporary world and its artistic translation. The Digestive House/ Josep-Maria Martin/Presentation


DRAFT:A DIGESTIVE HOUSE. For the neighborhood of Lavapies.


Josep-Maria Martin was invited to participate in the collective exhibition “Habitat/Variations”, in 2007, in order to rethink the concept of habitat and different ways of life. To develop the project, the Genevan architect Raphaél Nussbaumer suggested a collaboration to reflect together on the spaces in which we live.

That first experience in Switzerland makes it very interesting to continue thinking on Madrid’s new project. Madrid Abierto’s open call 2009-2010 is a good opportunity to keep reflecting on how space helps us confront memory.


To question the space we live in and establish an analogy between the digestive system and the home, as an organism that digests personal and collective memory. It is a way to focus on the relationship between spaces that people live in and how it can help individuals manage and confront history, personal and collective memory with the cognitive realm of life and the well being of people. We intend to find answers to the relationship between habitat-memory:

- How can our own history, the one we contribute, coexist with the history we find in reality?- Do we experience the legacy of a place’s memory?- What do we contribute to the memory of a certain place?- How do we face our personal and collective memory?- What influence does the habitat have on the individual, the family, community…?- How does space help us digest the events of our lives?- What is a family’s quality of life?- How do family members contribute to it?- How does it affect personal and professional relationships?- How do we face cultural displacement?- How do we live with people belonging to other cultures and backgrounds?


- Propose the intervention of an architect to develop the project collectively.- Identify a family form the neighborhood of Lavapies to carry out the idea.- Open up a participation process.- Identify and invite different interlocutors linked to the project.- Research on how the habitat helps us face memory.- Carry out interviews with each of the people identified as significant.- Reflect on family life in Lavapies.- Order the obtained information.- Elaborate and conceptualize the proposal.- Design the architectural project.- Debate about the proposal with the family and other previously interviewed interlocutors.- Design the executive project.- Build and open the designed space.- Evaluate the experience.- Create a web site and a documentary about the project.- Spread the project.- Experiment for a period of 3 months with the prototype.













2009-2010. AULA URBANA WORKSHOP. Call (information)

2009-2010. AULA URBANA WORKSHOP. Call (information)




AULA URBANA WORKSHOP: ART IN STREETSMADRID ABIERTO2010................................................................................................................................................................................................................................................

Cultural Association Madrid AbiertoDirector: Jorge DíezCurator: Cecilia AnderssonGeneral Coordinator: Marta de la TorrienteThis email address is being protected from spambots. You need JavaScript enabled to view

Educational Project in collaboration with the Faculty of Education of Universidad Complutense de Madrid.

Phd program: Applications of art in social integration: art, therapy and education in diversity.

Project tutors: Marian Lopez Fdz.Cao and Alfredo Palacios Garrido.

Coordinator of the Madrid Abierto educational program: María Molina López................................................................................................................................................................................................................................................

Madrid Abierto is an international program that activates artistic events in public areas of Madrid since 2004. In its sixth edition 2009-2010, through the activation of an educational program, it intends to improve the development, promotion and understanding of its art program.

The goals are:

To bring people closer to public art and encourage them to enjoy and interpret it, using their critical abilities to understand the city and promoting the feeling that it belongs to them.

To observe and perceive the changes that artistic interventions produce in public space and to be sensitive to its evoking, visual, aesthetic and functional properties.

PHASE 1. Presentation and initiation of the artistic-didactic project. In this phase Madrid Abierto opens and the educational project begins. Participants will find their locations and learn about the pieces’ characteristics. This phase will take place in the collective space involved with the project. Participants are invited to attend on days 4 and 5th of February in Casa Encendida in artist’s presentations of their projects.

PHASE 2. Contact the artistic project on site. The participants will visit the pieces, carrying out the appropriate perceptive activities, to understand them in their real context. It is also the moment to collect information on the piece’s interaction with the public, thanks to audiovisual and photographic records, interviews and questionnaires, etc.

PHASE 3. Thought-Action-EvaluationAfter returning to the workplace, participants will share the obtained information. They will analyze and reflect on this data, and will establish conclusions, as works of synthesis. In this phase is intended for participants to consolidate their acquired knowledge, in two ways: one focused on the promotion of the artist’s piece and its interaction with citizenship; and the other, for the participants to create their own pieces. This phase can take place in the involved group’s site or in a public setting.

Aspects to be defined by the participating institutions and cultural association in the meeting that will be held on the 19th of January 2010 at 6 pm (unknown location):

The place where workshops will be held; preferably sites ceded by institutions which are willing to participate.

Duration of workshops: Preferably they should begin at the end of January. At least it would be convenient to carry out a first session before the presentation of the projects, which will probably take place on the 4th and 5th in Casa Encendida. During the month of February they will visit the installations and interact with the projects. These will be combined with workshops where the visits will be analyzed. Finally, in March, it would be advisable to do another evaluation session in order to analyze the whole educational project.

The workshops will be made by Maria Molina Lopez, coordinator of the educational project, while the visits will need monitors to help out.

Ideal number of participants is about 15 to 20 people, to work in 5 groups of 3 or 4 people each.

Necessary material for the activity:A hall with capacity for at least 15 peopleProjectorBoardPhoto and video cameras











09-10tpmc3105, 09-10tpmc3611

2009-2010. RADIOCAST (list)

2009-2010. RADIOCAST (list)











2009-2010. Susanne Bosch. DREAM-DO-DONE (2009.05 / project review / technical data)

2009-2010. Susanne Bosch. DREAM-DO-DONE (2009.05 / project review / technical data)

MAY 2009 










collection site

public place in

Built by the


Pages 6-




winning groups of










2/2009*, lead by




the Group ecosistema/ Michael Moradiellos, addressing the terms and conditions of an object in public



PR and

public place in

2 student






invigilators and




of the collection


Susanne Bosch






will do regular





clean-outs and neighbourhood activites, postering of wishes in surrounding

of Din A 3 copies (?)


1-28th February 2010

writing of the wishes with white charcoal on the floor of the paseo.

La Castellana

This action will be done for 3 hours every day by 1-2 persons


Page 14-15


publicly sort the

public place in

everyone is

contact to

Page 15


coins and


invited to help,

Banco de





big public event




transport to the Banco de Espana


with benches, catering, info, media,

delivery modus, when and how, usage of bank account from La Coralla



Removal from

public place in

Organized by by



collection site


the winning





groups of urbanaccion 2/2009**, lead by the Group ecosistema**/ Michael Moradiellos,



One day open

In public place

A large number of


Page 14-


space event

in La

participants, basic

speech of





catering and

the event


in close

venue, a


proximity to the



collection site

Open Space


facilitator (e.g.








Web, catalogue,


PR to



evaluation of







the results







The collection object will be built by one of the winning groups of urbanaccion 2/2009**, lead by the Group ecosistema**/ Michael Moradiellos. The group will develop an aesthetic, public, functional object suitable for the site and purpose. They will built it, transport it to the site and put it up.The object will be removed between 22-23th February after emptying it on 20th Febraury 2010. Its future use is open, it can be used by others or will be brought to a public dump.It has to be developed, built, transported and removed with a total budget of 5000 €. Its function has to be: A collection site for Peseta coins and banknotes. A collection site for wishes and desires. The collection has to be as visible as possible to the public. The collection has also to be as save as possible for the duration of 4 months on a public site in Madrid without any security features. The police and neighbours will be asked to pass with attention1. The object has to inform and invite the public about it purpose and how it works. It has to be accessible for a person to enter and clean /empty it. It has to survive a public existence, outdoor for 4 months during the cold season. It has to be made in a way, that people cannot be hurt by the materialused. The size of the object shall not be using more than 4-5 qm floor space. The object and underground has to be able to keep a heavy content, as coins weight. The group will get together in June 2009, built in September and put the object up inmid October 2009.

* urbanaccion 2, see**


The project has some previous developments and experiences in Germany (1998-2002) and Italy (2008). Learning from the previous approaches, my intention in Madrid is to involve a specific group of audience next to the general pass-byaudience in public space. The specific group that will be involved is the neighbourhood accociation called La Corrala2.



The projects functions as a platform inviting people to take part. Participation and engagement in a project in general takes phases:Realizing an offer, thinking about the offer and the conditions (how much time does it take, what is it, why should I take part, is it of any value for me?...), speaking to someone about it, a moment of decision making, action (giving time and engagementinto it).Respecting this process, I am proposing a duration of 4.5 months. 3.5 months (mid October to end of January) will be dedicated to active and passive participation and engagement in the area. The month of February will be dedicated to publish the wishes with some public actions, to count the money publicly as an action and to make an open space event where the participants will collectively decide about the outcome of the project.All stages will be accompanied by massive media work to inform the neighbourhood, the city and the country about the approach.The phase of collecting wishes and coins/banknotes will be accompanied by monthly activities around the collection site. Several cultural centres in the area have already offered their space to the project to organize group discussions, to screen films, to do workshops with invited groups about topics such as: If money exists plenty, what would I change in my environment? How does money work and impact on decisions?Collcetive decisions making and the obstacles…. If I would be the King/Queen of the area, I would… Engaging them in thinking about the area and the improvements, changes, ideas they have for the location. Debates around money and values, swimming in money, visit from a banker to explain money circulations, elderly people speaking about the PESETA times…Once a month I come for 5-7 days to run these kind of events in collaboration with Maria and Virginia (student helpers).We actively invite all the key institutions, key decision makers to events and upcoming Open Space event and inform about the decision process in February 2010.The contact is established with La Corrala, but also with others like: Traficantes de Sueños, La Eskalera Karakola, A.VV., Associacion de Mujeres, Juan Vallebuena (fotographer, NO FOTO), Centro cultural Lavapies, C.A.S.I.T.A.,


1 According to my previous experience in Germany with public collection sites in 3 cities from 2000-2002, the public and also patroling police developed a natural engagement and awaerenss fort

2 http://www.avvlacorrala.orgWhile doing research in February and April 2009, I talked to a number of neighbourhood associations, social and cultural organisations. I also talked to artists / artists groups as well as architects about areas in the inner city district. La Corala is a head organisation that addressed the entire neighbourhood.














2009-2010. URBAN BUDDY SCHEME / 05 feb 2009 / Jorge Díez, Cecilia Andersson, Javier Duero, Basurama (transcription)

Extracts from the MADRID_ABIERTO Urban Buddy Scheme sessions5th OF FEBRUARY OF 2009Cecilia Andersson and Jorge Díez (presentation of seminar and Madrid Abierto 2009)Javier Duero (moderator)Basurama (Javier Duero presents + conference)Andrés Jaque (Javier Duero presents + conference) Ludotek (Javier Duero presents + conference)Wunderkammer (conference)

JORGE DÍEZ OPENS THE SESSIONS… since 2003, for five years, annually, interventions in the city are taking place and since 2007, at the same time, we organize our meetings, debate sessions, with specialists interested in public space and participating artists… to put things in common, comparing projects and proposals…

… until 2007, when we decided to create a consulting committee with some of the participating people or that had intervened as curators in MADRID ABIERTO… Cecilia Andersson, Ramón Parramón (director of Idensitat) with a longer and more interesting career in the field of open space interventions in Spain, Fito Rodríguez (with participation of the Montehermoso Cultural Centre)… and we created an audiovisual section… done with the collaboration of Canal Metro and last year as part of Casa Encendida’s programme …… we will also have Guillón Sanz, María Inés Rodríguez and the Democracia Group, curators of the previous edition……this committee had worked on MADRID ABIERTO’s model and introduced different ways of artist selection, the curator’s participation… and how to advance…

We decided to do the next edition in a two year period, to have more time… and with today’s start, the selected artists and groups, artists and architects of Madrid, could discuss matters with less stress, developing projects and having more time (for them) and more guarantees to manage city permits (which are always so complicated) to make them happen.

We also thought publishing the works, which annual editions couldn’t provide, and we started by editing, collecting 55 projects produced in these years and incorporating texts… it’s this big book. There are few copies,… a good working tool.… we use these days to discuss and learn…… we would like to thank Alberto Sanjuán Benito (Altadis Foundation) who has just retired, for his support since the first edition, we lose a great protector…

CECILIA ANDERSSON, CURATOR OF MADRID ABIERTO, TAKES THE FLOOR… how I have thought this edition should be, now in a new format; with more time to develop projects…To me, not being Spanish, MADRID ABIERTO has to be something for the city’s residents. Thus I have contacted a lot of people that live here, inviting them to present their works... it’s a gesture for those who come from abroad, to do their projects, and learn about Madrid, which would take longer otherwise… they are willing to share their knowledge of the city… something that is very important when working on public issues, to work with the city’s information to develop ideas and projects…That’s why I have named it URBAN BUDDY SCHEME, concept that we haven’t been able to translate… but it involves the idea that today artistic practices integrate several practices, entwining with many disciplines… I want to create links with the city, these can’t be created, but we can offer a platform, this session, to introduce people to each other…

…that’s why now we will do a ‘speakxxxx’, to introduce a lot of people, successive introductions to those we haven’t met before, changing every four minutes…every time I make the bells ring…we will try…Also, on Saturday at noon we will develop a ‘one to one’ session, to question the experts that appear in this list hung on the wall, an efficient way to know Madrid…Lets start talking to one another, let’s know each other.

JAVIER DUERO OPENS THE 1ST DEBATE SESSION WITH A LONG INTERVENTION…we begin by swiftly expressing a few ideas, a few thoughts on our working context which is Madrid…this edition’s novelties, on theoretical reflection, on the way in which we are going to work these days, for we have a new work model for this edition…as you can see we have given you candy for the brain, we have functioned as adults but using adolescent or children’s practices……a new form of managing our professional capital, invited to think in a critical way, acting within social commitment with the territory, in a horizontal, democratic and transparent way…we encourage you to learn and teach, to share knowledge…although being positioned in this totally hierarchical scenery, knowledge will not leave this session, but we will share it…this is an ephemeral scenery that will last only this afternoon.

This interesting work method defuses two control and power mechanisms…the institution/curator and curator/artist or artistic group relationship. That is, I consider that the institution VS civil society hierarchy and the role of the traditional curator are clarified… the curator becomes a cultural interface that doesn’t legitimize people or discourses. This has an enormous transcendence in a city like this, with its institutional relevance as the country’s capital city.This happens in Madrid, a city with great resources that has grown incredibly in the last 15 years, being Spain’s first economy, with the country’s highest GDP and one of Europe’s highest.

It’s important to locate where we come from, where we are building our project, where it’s taking place…also highlight the years’ delay in our sustainable cultural production model, show the brutal asymmetry that has existed between artists and institution/public administration… thus this year’s model for MADRID ABIERTO is a great novelty and somewhat transgressor, in the sense of inviting organizations and groups that work in the fabric, in that ‘underground’ that exists in the margins of institutional circuits.…Cecilia, who is Swedish, knows PIMFORUN(¡) (I’d like to dwell on this), an example…the first company or platform (created in the fifties) to watch Swedish cinema, in the 70’s became an production/distribution company for experimental cinema and video-art…to define where it’s at, in today’s Madrid there doesn’t exist any experimental film or video-art distributor, we don’t even have mediatecs…to any curator or researcher that wished to know what is being done in this field…I won’t dwell on the subject, you all amply know it.Currently all of Madrid’s problems are well known and the solutions are in process. We have to be optimistic, especially after the generational shift that has taken place in the administration’s every level, most of all as new profile art managers emerge, with a new spirit and a will to comprehend what cultural production is.

In this year, 2009, four initiatives converge in Madrid…the first of which would be “MADRID ABIERTO”, a critical research project on the territory, the city…and how we, civil society, interact, think and act upon it, this would be a civil society’s general context related to its territory……a second project would be “Map Madrid”, an initiative by the ‘2 de mayo’ Art Centre, in Mostoles, which intends to create a cartography, a ‘mapping’ of the whole of Madrid’s cultural scene, the associative and cultural mediation fabric separate from institutions and the market. A work group will do it along the year.…a third project would be “Madrid’s creators’ archive”, although it sounds incredible, it’s the first time an archive is made in which, through selection, 120 artists will be reflected on at the end of the year with profuse data on their projects and work…it will travel through different cities to make these artists known. One of the main problems for Madrid’s artists is their limited international visibility…some ‘mobility grants’ have been created to improve this, a lot more has to be done…And the fourth project is “Web2.o Project”, an initiative of ARCO and the Vocento publishing House. Through an open call they have created research computing and programming teams, to create a semantic Website to identify and structure the market and industry aspects related to sales, production and distribution of art works, most of all galleries and distributors.

Everything is changing very fast in Madrid’s cultural sector…in this MADRID ABIERTO we also encourage this new way of handling things.

Before presenting these groups it is important to say that participants are art groups that function as work groups and committed social activists that work together and have developed collaborative activities into professional strategies and have almost established a philosophy of life.

The first group is “Basurama”…a group that is dedicated to research and art management since 2001 and has focused on production processes, the residues they produce and the creative possibilities that this contemporary juncture arouses. Originated in Madrid’s Faculty of Architecture, it has evolved and adopted new forms since it begun, it wants to study phenomena inherent to the massive production of factual and virtual garbage in consumer society; providing new perspectives to act as generators of thought and attitude, it finds cracks in generative and consumer processes, establishing questions not only to our way of exploiting resources but also to our way of thinking, working and perceiving reality…Basurama carries out activities, projections, workshops, conferences, contests and edits publications. They also intend to establish a platform to create interactions between agents of the social and cultural fabric.They have worked in Brussels, San Sebastián, Sao Paulo, Linz and Caracas, their headquarters are in Madrid.Of all their projects I would emphasize “You throw away almost everything you buy” in which they carried out different activities and actions in several cities between September and December of 2008.It is made up of different people and today we will be joined by Alberto Nanclares and Miguel Rodríguez Cruz ‘Mister’.

BASURAMA...we will present a work from 2007, “Tourist visit to the M30”…we will visit the works in the city’s first loop. And another project, “Panorámicas” that considers the brutal change Madrid has undergone.…we work in Alpedrete, San Sebastián de los Reyes…never in the city’s nerve centres, we have never been in London, or NY, or in Paris, Berlin,… in Barcelona, never; we always work in weird and ugly places…it’s what we like best. 

When we were invited to Linz, not to ART FUTURA, as you may have thought, we were invited to work in neighbourhood cultural centres. In the end it didn’t happen for methodological reasons, but we truly celebrated it to be an ugly and filthy city that smells bad; that’s our work zone…we are dedicated to garbage, rubble, residues…lately we think that we are studying happiness, what progress means, the future.

When we talk about trash it has a lot of economic, psychological and Psychiatrich implications…we discuss development. What’s the future? When will tomorrow come?...

PROJECTION OF THE VIDEO-WORK, “VISIT TO THE M30”…we love the city of Madrid, its typical and ancient things, stew, the chotis…we loved the M30, it was an urban road, it separated the river, it appeared in a lot of films…it was a place we hung around a lot, a place with a lot of history, with a football stadium just above it…both a strange and fascinating place.

The works were done without any debate whatsoever. Supposedly the biggest works in Europe at that point…fascinated with this deployment we created a tourist visit to the works, this video. A year and a half after the works started Madrid was crazy over them, they had transformed citizens’ daily routine, the city’s psyche…the city was crazy over what it was seeing happen…everything started out to see the works, which was our joy (!) as they couldn’t be seen but only suffered, we rented a double-decker bus and filled it with tourists to go and see the works…

Projection of videoWhat’s interesting about the project is that it had great impact, media-wise. We thought of it as a tool for those social movements that criticized the destruction of Madrid or the radical changes that the city was suffering these years…due to the lack of information offered by institutions it was consumed keenly by citizens, demanded, absorbed by television channels, with a lot of audience… 

The “PANORÁMICA” project discusses consumer and production processes that trash generates in Madrid, taking pictures where garbage is kept…domestic garbage is generated, dangerous garbage… and it ends up in different dumps in the periphery, far from downtown… 

Pictures of dumps

Walking through this illegal tire cemetery, we find at the end, the housing development of Paco ‘El pocero’…it was really the same thing, an absurd creation of the city… it was the same way of throwing money away…  

A lot of money has been invested in Madrid due to the financial market’s revaluation, and as money can’t be eaten, it turned into millions of flats, 4 million flats in Spain, in Madrid a million in 5 years. Complete insanity…we also analyze Madrid’s dumps, car dumps, the construction of infrastructures…Madrid has spent public money to make roads as if there were nothing better to do…one car roads (picture of the M50), roads that connect areas that need to be connected (?), waste grounds…

We continue with “Panorámicas” investigating new neighbourhoods, what does their existence imply? Like an excrescence of the city, like an urban piece of shit…like San Chinarro, where there is a very famous building done by MRDV (some very cool Dutch architects) while the rest of buildings are copies of copies of copies…this area has almost been finished but others where infrastructures now exist have only been built halfway through because the bubble ended up bursting…

Here we can see the city of Valdeluz, close to the AVE railroad, in Guadalajara, in plots of land belonging to the family of the President of Comunidad de Marid, a neighbourhood for 30000 people where only 300 live…these 6 or 7 ghost towns surrounding Madrid are a fascinating subject……in contrast with the Cañada Real, a series of stockbreeding paths that existed around the country which are now occupied by chalets and houses of acceptable quality…but in an area close to Madrid’s dump…to us this is a lot more Madrid! 

 This is a very serious issue because it happens in a city that has great amounts of money, ‘saudi Madrid’…we don’t follow a closed discourse, but the crisis comes and it’s a power subject matter …and now, where do we go?...ghost cities, half built houses, dumps; we are in that paradigm, not a city that develops further but a city that has just ‘crashed’…this is the most interesting material for MADRID_ABIERTO. 

This is the subject, so that the institutional steamroller doesn’t knock us down, and leave us looking stupid, Esperanza Aguirre’s hair gel, Gallardon’s gel…

…I remember when we did the ‘M30’, Miguel Sebastián called us (now Secretary of Industry, then just a candidate to be city Mayor) and looking at us with a serious stare, while sucking on a popsicle, said: What do you think of Madrid, do you think it’s dodgy? And we said, no way! We love Madrid, we love this city…but it is an absurd city! all of the consultants, about 15 of them, looked at each other, they didn’t understand anything.

… Madrid is an absurd city that is trying to clean up, using a lot of deodorant but it still stinks, it smells like one of those British tourists dancing in Benidorm, which smell awful and on top of that use cologne, which is disgusting…

This is what we are working on, we believe Madrid is just like one of these characters…








2009-2010. Pablo Valbuena (Cv)


EDUCATION2003Architect at Escuela Técnica Superior de Arquitectura de Madrid, Spain. E.T.S.A.M.

SELECTED EXHIBITIONS2010Gallery Max Estrella. Madrid, España. (Upcoming)Sala Parpalló. Valencia, España. (Upcoming)Madrid Abierto. Madrid, España. (Upcoming)Matadero Madrid. Abierto x obras. Madrid, España. (Upcoming)Laboral Centro de Arte. Gijón, España.. (Upcoming)MUAC (Museo Universitario de Arte Contemporáneo). México D.F., México. (Upcoming)

2009CREAM. International Festival for Arts and Media. Yokohama, Japan.DAF09. Museum of Contemporary Arts Taipei. Taipei, Taiwan.Almost Cinema. Vooruit. Gent, Belgique.Alter Arte 09. Murcia, España.Fluid Architectures. Netherlands Media Art Institute. Amsterdam, Nederland.Mostravideo. Belo Horizonte and Vitoria, Brasil.Vrije Academie. Open studio. The Hague, Nederland.Hambre 09. Madrid, España.ARCO 09. Contemporary art fair. Gallery Max Estrella. Madrid, España.Murcia City Hall. Building by Rafael Moneo. Murcia, España.

2008Seoul Museum of Art. 5th International Seoul Media Art Biennale. Seoul, Corea.OK Centrum for Contemporary Art. Linz, Austria.Laboral centro de arte. Nowhere / Now Here. Gijón, España.Todaysart 08. The Hague, Nederland.Photoespaña 08. Barrio de las Letras/Medialab Prado. Madrid, España.Hambre 08. Madrid, España.Centre dʼart Santa Mónica. Sonarama. Barcelona, España.Mois Multi 9. Meduse. Quebec City, Canada.ARCO 08. Contemporary art fair. Area de las artes ayto. Madrid, España.The Hague City Hall. Building by Richard Meier, Nederland.

2007Singapore SC Museum. DAT exhibition. Singapore.Ars Electronica 2007: Goodbye Privacy. Second City exhibition. Linz, Austria.Noche en Blanco 2007. Medialab Prado. Madrid, España.Casa de Velázquez. Madrid, España.Interactivos 2007. Medialab Madrid, Centro Cultural Conde Duque. España.

2006Proyecta 2006. ʻArquitecturasʼ. Madrid, España.Centro Párraga. Arquifoto: Proyecciones Atemporales. Murcia, España.PUBLIC ART PROJECTS

GRANTS AND AWARDSMatadero Madrid. Ayudas a la creación contemporánea. Madrid, Spain.

2009Research and artist in residence program. WBK Vrije Academie / World Wide VisualFactory. The Hague, Nederland.Madrid Abierto. Public Art interventions, Madrid, España.

2008Honorary Mention. Prix Ars Electronica.

2007Artist in Residence. Casa de Velázquez. Madrid, España.

LECTURES2009Bern University. Joint Master of Architecture. Bern, Switzerland. Museo de Arte Abstracto Español. Cuenca, España.Madrid Abierto: Urban Buddy Scheme. La Casa Encendida. Madrid, España.

2008 / 2009Light, Space and Perception. Conducting workshop/research group at Medialab-Prado,Madrid.

2008V2 test_lab: urban play. V2- Noordkaap foundation, Dordrecht, Nederland.Universidad Complutense de Madrid.Arquiset 08. Lightscapes. Architecture week. Barcelona, España.

2007Dorkbot Madrid, España.Interactivos 08. Medialab-Prado. Madrid, España.Entramado. Noche en blanco. Plaza de las Letras - Medialab-Prado, Madrid, España.

BIBLIOGRAPHY Van Bogaert, Pieter, Projection-Injection-Incision. About Pablo Valbuenaʼs Extension Series,  Paper for Almost Cinema. Gent, Belgique. 2009Casey Reas. FORM+CODE in Design, Architecture, and Art. Princeton ArchitecturalPress. (to appear).Agotai, Doris (2009), Der Raum im Off. Die Leerstelle als inszenatorisches Gestaltungsmoment, in: Frohne, Ursula; Haberer, Lilian Eds., Kinematographische Räume,München (to appear).Agotai, Doris (2009), Starring Architecture, in: Cultuur en media, 609, Mediafonds, Stimuleringsfonds Nederlandse Culturele Mediaproducties, Amsterdam, p. 8–12.Bea Espejo. ʻArtistas con Hambreʼ. El Cultural. June 6, 2009.R. Klanten, L. Feireiss. ʻBeyond architecture. Imaginative buildings and fictional citiesʼ.Gestalten. February 2009.Hambre 09. Exhibition Catalogue. 2009.Turn and widen. 5th Seoul international biennale. Exhibition Catalogue. 2008.Nowhere / Now here. Laboral Centro de Arte. Exhibition Catalogue. 2008.Graham Coulter-Smith. ʻPablo Valbuena, Augmented sculpture v1.2ʼ. 2, 2008.Jose Luis de Vicente. ʻPablo Valbuena ilumina el barrio de las letrasʼ. El Cultural. March 6, 2008.R.Bosco / S.Caldana. ʻPremios Ars Electronicaʼ. Ciberpaís, El País. July 3, 2008.Beatriz Portinari. ʻLa vanguardia de la vanguardiaʼ. El País. January 26, 2008.ʻEsto es la Plaza de las Letrasʼ. El País. January 26, 2008.Marta Peirano. ʻMenos interés por la tecnología y más por las ideasʼ. September 10, 2007.R.Bosco / S.Caldana. ʻArs Electronica invade el espacio urbano de Linzʼ. El País.September 6, 2007.Carlos Albaladejo / Marta Peirano. ʻArs Electronica ve las estrellasʼ. September 6, 2007.Regine Debatty. ʻAugmented Sculpture v1.0ʼ. June 29, 2007.Sánchez Argilés, Mónica. ʻLa instalación, cómo y por quéʼ y ʻ5x5ʼ, El Cultural. 26 de Junio, 2009.














2009-2010. Susanne Bosch. LITTLE PIECE - ACTION (theoretical data)


According to the last monthly statistics of Banco de España, there are still 820.000.000 Euros in Peseta coins and 956.000.000 Euros in Peseta banknotes that still remain in peoples private property (July 2008).

The ‘Little piece - ACTION’ would like to collect the Peseta** coins in a certain neighbourhood of Madrid for the period of the public art event.

I would like to collect these worthless coins (unless you carry them to the Banco de España in Calle Alcalá 48 to exchange them) in public space, visibly for all.

Along with the peseta collection, I would like to know from the neighbourhood where the collection site is based, what they would like to realize with this public and worthless money? The project will collect and publish the wishes during the period of the event.

At the end of the period, there will be a rough estimate of the coins collected and everybody who would like to be part of the decision making group, is invited to attend an open space event***. This event will be used to decide collectively by the neighbourhood what will happen to the pesetas and how this will be put into action.

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.

Open Space Technology meetings have a single facilitator who initiates and concludes the meeting and explains the general method. The facilitator has no other role in the meeting and does not control the actual gathering in any way.

The collection of waste money and and leftover ideas in 2 countries and 2 different contexts has been twice a very unique and every time very different experience.

Poeples participation in this project highly depends on their believe and historical background in a participatorial democracy, where people truely have an impact in decision making.

I am interested in the way people engage when they realize they have a chance to make a difference with their contribution and they are invited to make this difference via an action and an idea/hope/dream/aspiration.

With the collection of pesetas the project directly connects to a local/national past. (In Germany and Italy the project collected the current currency (DM and Euro).)

By concentrating on one neighbourhood only, the project tries to empower one group of people that live in close proximity and have a personal relationship, connectedness to the site and eachother.

I would like to propose neighbourhoods like Lavapies, Retiro, Latina, Carabanche, Moncloa-Aravaca.


**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.

***Antonio Rodriguez from AEC - Actividades Educativas Culturales could be the facilitator of the event as a trained open space facilitator in Madrid. (














2009-2010. Teddy Cruz. VALLECAS ABIERTO: HOW IS YOUR ART GOING TO HELP US? (location)

Fachada de la Casa de América/Façade of Casa de America (Pº de Recoletos nº 2)












2009-2010. Yves Coussement (Cv)


EDUCATION ·    Graduated as engineer-architect, 2001, University of Gent, Belgium. EXPOSICIONES INDIVIDUALES (SELECCIÓN)/ SELECTED SOLO EXHIBITIONS

2009·    Like Lips, Like Lettuce, Buro Leeuwaarden, Fries Museum, Leeuwaarden, Nederland. ·    Breathe out as you rise to the surface of the water, Stichting Luc Peire, Knokke, Belgique.

2008·    North, Galerie Tatjana Pieters, Gent, Belgique.

2007·    Specchio specchio, Sint-Lukasgalerie, curator Filip Luyckx, Bruxelles, Belgique.

SELECTED SOLO EXHIBITIONS 2009·    Like Lips, Like Lettuce, Buro Leeuwaarden, Fries Museum, Leeuwaarden, Nederland. ·    Breathe out as you rise to the surface of the water, Stichting Luc Peire, Knokke, Belgique.

2008·    North, Galerie Tatjana Pieters, Gent, Belgique.

2007·    Specchio specchio, Sint-Lukasgalerie, curator Filip Luyckx, Bruxelles, Belgique.

SELECTED GROUP EXHIBITIONS 2009·    Artforum Berlin, with Galerie Tatjana Pieters, Berlin, Deutschland. ·    Artes Musicales, Domein Alden Biesen Art Brussels 2009, Tatjana Pieters/OneTwenty Gallery, Bruxelles, Belgique.

2008·    International Triennale of Contemporary Art (ITCA 2008), 'Re-reading the Future', National Gallery, Praha. ·    VideoDictionary', Fundación La Caixa, LLeida, España. ·    Gantz Graf, De Witte Zaal, (duo exhibition with Xavier Mary), Gent, Belgique.

FILM FESTIVALS AND SCREENINGS 2009·    Happy New Ears Festival, Kortrijk, Belgique. ·    Screening (presentation of 6 video works), Be-Part, Waregem, Belgique.

2008·    White Night, Matadero Madrid, Madrid.

2007·    Les Rencontres Paris-Berlin (festival), Circulo de Bellas Artes, Madrid. ·    Kino Babylon, Berlin, Deutschland.

2006·    Cinema L'entrepôt, Paris, France. ·    Image Forum Festival, Tokio, Japan.

AWARDS AND GRANTS 2006·    Honourable Mention at Transmediale.06 Festival, Berlin, Deustchland, with "Insert the Name of the City Here"













2009-2010. Puy San Martín + Nerea Lekuona (Sinbait). AÍDA



 They know your feelings, emotions, desires, flaws, they catch our attention, they awake our interest, stimulate our desire, action, consume, buying…


















09-10auve3071, 09-10autb2965, 09-10autc3005 

2009-2010. Adaptive Actions. AA CAMP-MADRID (2009.11 / project review / theoretical data)



Adaptive Actions was initiated in London 2007 by Jean-François Prost and explores alterations in the workplace, at home and in public spaces in general. Identifying the variety of these personal and found alterations in the city as different forms of adaptation creates a vocabulary for the expression of the collective imagination through the existing urban structures therein.

These 'actions' modify and activate the intended use of architecture and enhance the character of the urban environments. They create positive tensions that test the limits of tolerated appropriation.

Can these simple actions, images and ideas, such as the hybridization of conventional and unusual urban realities, infiltrate our collective imagination to promote feelings of identity and a sense of cultural belonging?

Adaptive Actions points to how urban phenomena may have an impact on residents' perception of the environment and their relationship to it. By offering a space for sharing experiences, ideas, forms of actions and specific accomplishments, Adaptive Actions are in the process of compiling an inventory of alterations rarely presented to a general audience. Printed documents and organised events are being planned to increase the visibility of selected actions to the public eye, to build affiliations and encourage communal thinking.

For more information:

AA Camp in Madrid During the Adaptive Actions Camp in Madrid, we would like to document and create new micro-actions. Some actions will be initiated in Madrid (in various types of spaces and neighbourhoods) but also in other cities and countries. I cherish the idea of creating a project of distributed actions taking place simultaneously in different places and brought together in one communal art project. All actions will be documented on the website and some will be part of the next AA publication.

Open call (for collaboration): > Published in specialized and local neighbourhood newspapers > Posted on billboards, urban furniture and places were people can and already post information. > Sent to local community groups, schools and universities > Sent to artists, Madrid Abierto members and all those who submitted proposals for 2010 but were not selected. This in order to offer additional possibilities for participation, to increase the number of participants and to reach a wider audience.

DurationFrom Feb 04 – 28The camp would be open 5-6 days a week. Visual material will be visible at all times.

AA Publication – Madrid edition At the AA Camp the publication will be produced by several people who edit existing and incoming content (locally and through the web) in order to produce the new book, print and web (eBook format as a verbatim digital copy of the printed work) which will be published after the sojourn.

The publication will include (in Spanish and English) :- 101 Adaptive Actions or locations with images and when necessary short descriptions - 4 texts (or more) including: - 2 interviews: one on the topic of micro-politics with philosopher and theorist Brian Massumi and Marie-Pier Boucher, PHD student at Duke University in North Carolina, and Jean-François Prost as representative of Adaptive Actions.


Global idea and intention:The project consists in documenting, revealing and creating new micro-actions of appropriations and unplanned uses in the city of Madrid and elsewhere

Action – process:The project indexes and reports on existing adaptive actions in the city and encourages the implementation of new activity in relation to architecture, urban spaces and objects. It unfolds in three overlapping stages: (1) a call for proposals; (2) action, and; (3) its subsequent publication/broadcast.

1. Call for Contributions and ProposalsIn order to document and create an inventory of existing urban acts, a survey is being conducted (before and during Madrid Abierto). The objective of this project is to document existing or new, marginal, singular or popular, less discussed or highly known forms and places of singular actions. The request for proposals accelerates the process. Several existing or proposed adaptive actions will be chosen along with an idea for a collective action and a workshop.

2. ActionA space for gathering, loitering and submitting proposals will be erected in a busy Madrid public building. This temporary camp (with a large recognizable sign indicating ADAPTIVE ACTIONS) will combine presence, production and interaction.

Our shared knowledge and expertise will be applied towards accomplishing a creative project the aim of which is to modify the intended, predominant or limited use of architectural and urban elements. This infiltration of public space highlights such topics as resident adaptive actions and appropriations, creative transformation potential and the multiplicity of users and uses.

3. Publication/broadcastThese new adaptive actions will be made public via the Internet and through the production of a publication. Dissemination within the community will aim at representing the different forms of actions (in the workplace, the home or public spaces in general) as a creative means of appropriating shared realities and therefore as a form of adaptation. The presentation of actions (on a greater or lesser scale), be they projected or completed, will create a vocabulary with which the collective imagination may express itself through the use of existing structures, and will encourage the growth of other actions.

The intervention is based on the repetition of a series of micro-actions, simple gestures imparting and initiating change in our perception and conception of the urban environment.This project wants to activate uses in public spaces, contribute and begin to rebuild an urban imaginary, show, encourage visible acts of resistance, of sociability and signs of positive antagonism.

Jean-François Prost, representative for the project

















The enormity of the urban experience, the overwhelming presence of massive architectures and dense infrastructures, as well as the irresistible utility logics that organize much of the investments in today’s major cities, have produced displacement and estrangement among many individuals and whole communities.[1] Such conditions unsettle older notions and experiences of the city generally and public space in particular. This is probably most acute in global cities.  The monumentalized public spaces of states and monarchs remain vibrant sites for rituals and routines, for demonstrations and festivals. But increasingly the overall sense is of a shift from civic to politicized urban space, with fragmentations along multiple differences.

At the same time, these cities contain a diversity of under-used spaces, often characterised more by memory than current meaning. These spaces are part of the interiority of a city, yet lie outside of its organising utility-driven logics and spatial frames. They are “terrains vagues” that allow many residents to connect to the rapidly transforming cities in which they live, and to bypass subjectively the massive infrastructures that have come to dominate more and more spaces in their cities. Jumping at these terrains vagues in order to maximize real estate development would be a mistake from this perspective. Keeping some of this openness, might, further, make sense in terms of factoring future options at a time when utility logics change so quickly and often violently–excess of high rise office buildings being one of the great examples.


This opens up a salient dilemma about the current urban condition in ways that take it beyond the fairly transparent notions of high-tech architecture, virtual spaces, simulacra, theme parks. All of the latter matter, but they are fragments of an incomplete puzzle. There is a type of urban condition that dwells between the reality of massive structures and the reality of semi-abandoned places. I think it is central to the experience of the urban, and it makes legible transitions and unsettlements of specific spatio-temporal configurations.

Architecture and urban design can also function as critical artistic practices that allow us to capture something more elusive than what is represented by notions such as the theme-parking of cities.


All of this brings to the fore the importance of the actual making of public space under conditions where the privatizing and the weaponizing of urban space are becoming extreme. We see here a shift in the meanings of the urban condition.

[1] This work is based on Una Sociologia de la Globalizacion (Madrid y Buenos Aires: Ed. Katz) 


Hilary Koob-Sassen ( Endless City, 2008. Original publication in The Endless City, Ed. Ricky Burdett, Phaidon Press, New York, 2008.



The making and siting of public space is one lens into these types of questions. We are living through a kind of crisis in public space resulting from itsgrowing commercialization, theme-parking, and privatizing. The grand monumentalized public spaces of the state and the crown, especially in former imperial capitals, dominate our experiences. Users do render them public through their practices. But what about the actual making of public space in these complex cities, both through architectural interventions and through users practices?

Dwelling between mega buildings and terrain vagueshas long been part of the urban experience. In the past as today, this dwelling makes legible transitions and unsettlements. It can also reinsert the possibility of urban making – poesis — in a way that massive projects by themselves do not. The “making” that concerns me here is of modest public spaces, constituted through the practices of people and critical architectural interventions that are on small or medium level scales. My concern here is not with monumentalized public spaces or ready-made public spaces that are actually better described as public-access than public. The making of public space opens up questions about the current urban condition in ways that the grand spaces of the crown and the state or over-designed public-access spaces do not.

The work of capturing this elusive quality that cities produce and make legible, and the work of making public space in this in-between zone, is not easily executed. Utility logics won’t do. I can’t help but think that the making of art is part of the answer–whether ephemeral public performances and installations or more lasting types of public sculpture, whether site-specific/community-based art, or nomadic sculptures that circulate among localities. Further, the new network technologies open up wide this question of making in modest spaces and through the practices of people. One question that might serve to capture critical features of this project is How do we urbanize open-source?

Architectural practices are central here, specifically those which can take place in problematic or unusual spaces. This takes architects able to navigate several forms of knowledge so as to introduce the possibility of architecture in spaces where the naked eye or the engineer’s imagination sees no shape, no possibility of a form, only pure infrastructure and utility. The types of space I have in mind are, for instance, intersections of multiple transport and communication networks, the roofs of recycling plants or water purification systems, small awkward unused spaces that have been forgotten or do not fit the needs of utility driven plans, and so on. Another instance is a space that requires the work of detecting possible architectures where there now is merely a formal silence, a non-existence, such as a modest and genuinely undistinguished terrain vague --not a grand terrain vague that becomes magnificent through the scale of its decay, as might an old unused industrial harbor or steel factory.

The possibility of this type of making, detecting, and intervening has assumed new meanings over the last two decades, a period marked by the ascendance of private authority/power over spaces once considered public. Further, over the last five years especially, the state has sought to weaponize urban space and to make it an object for surveillance. At the same time, the increasing legibility of restrictions, surveillance and displacements is politicizing urban space. Most familiar, perhaps, is the impact of high-income residential and commercial gentrification, which generates a displacement that can feed the making of a political subjectivity centred in contestation rather than a sense of the civic on either side of the conflict. The physical displacement of low-income households, non-profit uses and low-profit neighbourhood firms makes visible a power relationship - direct control by one side over the other as expressed directly in evictions or indirectly through the market. This politicizing of urban space and its legibility is also evident in the proliferation of physical barriers in erstwhile public spaces, perhaps most pronounced in US cities, and most visible since the attacks of September 11, 2001. US embassies worldwide increasingly resemble medieval fortresses. In this context public-access space is an enormous resource, and we need more of it. But let us not confuse public-access space with public space. The latter requires making – through the practices and the subjectivities of people. Through their practices, users of the space wind up making diverse kinds of publicness.



In brief, several trends are coming together enabling practices and imaginaries about making, rather than merely accessing, public space. One concerns some of the conditions discussed above, specifically today’s wider unsettlements of older notions of public space. These unsettlements arise from the limits of public-space-making in monumentalized spaces as well as from the shifts towards politicizing urban space and weakening civic experiences in cities. Both conditions produce openings to the experience and the option of making.

A second trend is the option of making modest public spaces, which may well be critical for recovering the possibility of making spaces public. This type of making was historically significant in European cities and diverges as a project from the making of grand monumentalized spaces: it entailed making in the interstices of the spaces of royalty and the state. Today this type of making is geared to the interstices of private and public power, and adds a novel dimension: the repositioning of the notion and the experience of locality, and thereby of modest public spaces, in potentially global networks comprising multiple such localities.    

A third trend is the delicate negotiation between the renewed valuing of diversity, as illustrated in multiculturalism, and the renewed challenges this poses to notions and experiences of the public.


* This is a commissioned text. It does not reflect specifically upon the works presented in this edition. Rather, it is about Saskia Sassen’s work and is published with the intention to illuminate some of the points raised for discussion during MADRID ABIERTO 2009-2010. 


Saskia Sassen is the Lynd Professor of Sociology and Member, The Committee on Global Thought, Columbia University. Her new books are Territory, Authority, Rights: From Medieval to Global Assemblages ( Princeton University Press 2008) and A Sociology of Globalization (W.W.Norton 2007) both published in Spanish with Editorial Katz (Buenos Aires and Madrid) in 2008.. Other recent books are the 3rd. fully updated Cities in a World Economy (Sage 2006) and the edited  Deciphering the Global (Routledge 2007).  She has just completed for UNESCO a five-year project on sustainable human settlement with a network of researchers and activists in over 30 countries; it is published as one of the volumes of the Encyclopedia of Life Support Systems (Oxford, UK: EOLSS Publishers) [ Her books are translated into sixteen languages. She has written for The Guardian, The New York Times, Le Monde Diplomatique, the International Herald Tribune, Newsweek International, the Financial Times, among others. Website:

Ed. Katz (Buenos Aires and Madrid) has published Spanish translations of both A Sociology of Globalization  and Territory, Authority, Rights: From Medieval to Global Assemblages.




















09-10pvtb2389, 09-10pvib2391, 09-10pvtb2392, 09-10pvtb2393

2009-2010. URBAN BUDDY SCHEME / 06 feb 2009 / Grupo Casita + Uriel Fogué (transcription)

Extracts from the MADRID_ABIERTO Urban Buddy Scheme sessions

6th OF FEBRUARY OF 2009Luis Úrculo (moderator)Studio Kawamura-GanjavianC.A.S.I.T.A.Uriel FoguéExprimentolimonCecilia AnderssonKyong Park (moderator)Alexander GerdelApolonija Šušteršič + Meike SchalkTeddy CruzKyong Park (questions)Discussion with the audience



We are Loreto Alonso, Eduardo Galván and Diego del Pozo Barriouso, we work independently and also as a group. CASITA is an acronym that changes (its meaning) depending on the projects we’re working on. I am interested in emphasizing the original nature of our activities… collective and collaborative… we like collaborating with each other but also with other networks and disciplines, and dealing with other non cultural characteristics.

Loreto_ We started in 2003, considering ourselves an ambiguous group, its members could change. We started out with a simple project, some mailboxes used in urban interventions, and ended up calculating the IPF (Indication of a Project’s Feasibility)… from then on we focused on expanding the field in which art is framed, and generate an interaction device.In this case, the IPF, was intended to measure what different perspectives we had on our ideas, thinking together…After that we did a larger project “As long as you live in my house”, then, the group was called ‘Open.House.Interdisciplinary.Situations.Artistic.Works’.It discussed a subject, a realm: that of family.We found a house with the help of Universidad Complutense and El Escorial’s City Hall, carrying out activities with organizations from the area…We discussed power relations that are created in families, immigration, families of older people…

In 2006, and with this method, which dwells between exhibition and redaction, we approached the subject matter.The project was called “How to earn a living, the transparent entity”. At this point the group was called‘How.To.Articulate.Hopeful.Situations.(between)Work.(and)Art’.It was an autonomous installation… there were screens, in the main one, people with different backgrounds commented on their situations. We weren’t interested in filming a documentary, we wanted to know what they thought about work and compare it with what we thought about work.We also used drawings to keep discussing our subject.

…we project the film’s ‘trailer’, people say:“…they have all our time!”“…it’s my hobby, I enjoy my job!”“…we all have a right to be lazy at times!”“… (personal fulfilment) this is the great sham from which multinational companies spring!”

__In a booth there was a sound piece with people’s opinions, different generations, of a family…their roles at work, there social position due to their job activity…etc. This in the realm of work, the other one was more public.

__There was also, a meeting space, where we had some meetings to develop ‘interactive time’. Three public meetings; The first was done to discuss the project’s questions. The second was done with former and current workers of Matadero; two generations of workers talked: those who had grown in ‘material’ working conditions and those who worked in ‘post-ford’ production conditions.The third was with children. A theatrical dynamic with the use of a mediatec, two characters, Time and Money… helped children learn about the history of work during the twentieth century.

__It was important to have people participate in our project. Thus we built a mediatec, with discourses on work, norms, news (in 99 the first anti-globalization demonstration in Seattle, in 2006 the integration of China in the World Commerce Organization…), books which contained classic narratives on production…and we created a Decalogue. It can be looked up in the web.These ten items, this practical/theoretical/visual construction, was the starting point of our current project: ‘The Black Box’.This artefact is based on an airplanes’ device, which accumulates information to be consulted in case of necessity. Our subject is the modes of production. Its nature is distributive…we started with it in Austria and Slovenia. It contains information on work and ‘backgrounds’ that we collect.An important idea is the ‘proposal-wise’ aspect, we ask the public to answer our question: “what do you think…what type of action could change the sense of our productivity?”What we suggested was for people to answer and intervene in the ‘black box’ with words and images. In Austria, when we started with this project, we met groups and artists such as Oliver Ressler, Martin Creed; Intellectuals like Isabel Puschmann, Christan Fleck or social activist groups like Chalass d’Grass…and suggested them to distribute it in their environments. The box can also be used in public areas and everyday situations.It should be given also in the street, to widen commonplace debate, out of strict cultural and artistic parameters, to break the taboo regarding work and the current recession. Financial discourses seem to annul hopes when we most need them…we want to create a collection of ideas, not too utopian…of any kind and we want you to participate by giving an opinion.



…basically I want to discuss three ideas: one is, INVASION, another is, THE GAMBLE, and the last one, CELEBRATION… I will explain them as well as our work in the studio with architects Carlos Palacios and Eva Gil.

Invasion1_we are being invaded by infrastructures. In the picture, a typical modern city, in which the floor is transparent…and through a layer of infrastructure (an unseen, invisible technological space) social space can be seen, above, to which the layers of infrastructure are veiled…we can see a clear frontier, between the two worlds. The social area (relationships), and that of experts (technological).There we have a frontier.

2_these other images have to do with a very special infrastructure, photovoltaic solar panels. A type of technology we are testing in the studio for different projects.This image shows a small village that uses photovoltaic energy. The picture has been redesigned to show the different layers; nature, the urban layer, and infrastructures. We’re investigating the process and find that these two borders are being undone. These projects are in process, an invasion is taking place. Frontiers make no sense any more. There is a new invasion by some new technological citizens…we, as architects, are designing a cohabitation of such citizens and urban spaces.

I’m going to put an example that we have recently created for Madrid’s City Hall (a proposal to intervene in the city’s public space). This the square of General Vara del Rey, in El Rastro…it belongs to different urban spaces, of different scales and époques, connected, articulated, well connected, from any spot in Madrid you can get there relatively fast…The square is clearly affected by El Rastro’s activity…an outdoor market which provokes these type of situations…here we can see it (pictures are shown) on a normal day, as usual, and here, on Sunday morning, the square has been invaded by stands, people, by a market that strongly determines and activates the area, with a rich social variety, in a square with different levels, with buildings belonging to different centuries…Lets see how we managed such an invasion…first we suggested a practical case of how to introduce this photovoltaic infrastructure, a clear example of an infrastructure that needs to be visible. It’s not closed-underground as others; it is not thrown into the background by society. We made an energy survey to find out how much energy could be used in this synthesis between the public realm and technology, under the current norms.

We created a geometrical module that harmonized the way it was installed in the public space and the way it worked, regarding the sun, its movement through the seasons.The foundation of the project is this elevated fabric of ‘infrastructure’, a mix of solar panels (photovoltaic) and ecological supports (vegetation). This hybrid landscape, which this combination of ecological panels and photovoltaic supports, produces; some short term solutions in the pavement, with these little ‘mountains’ (water deposits for the rain) of recycled water for irrigation use; a number of big scale trees, of deciduous leafs, drains of CO2; a net of vegetation of small evergreen trees, not to veil the solar panels,…This type of landscape is what we envision to manage this invasion. The geometry that interrelates the sun’s movement and the administration of optimized solar energy with a range of efficiency of 90/95% (the panels aren’t expensive, we used standard commercial ones).

Depending on how you look at it, we have different landscapes. Looking at it from the south the whole landscape is photovoltaic, from the north you can see the inferior parts of the panels, looking from an angle you see a mixed landscape……in a section, the conical water deposits are covered (water gets dirty when exposed). This elevation, this ‘unevenness’ produces topographical figures……the panels’ supports are particularized depending on the weight… they are customized producing different uses for urban furniture; seats, swings, gymnastic artefacts…even a roundabout supplied with photovoltaic energy. Here we present (the projection continues) scale tests, fast drawings to test how the project would work once installed in the square…ENERGETIC STRATEGIES__ The project works on two types of ‘panels’. Opaque, solar ones and the ecological elements that support small ‘pots’ with vegetation, letting the sun pass through in winter and not so in summer, when they create shade.

VEGETATION STRATEGIES__ A uniform net of evergreen trees and the CO2 drain with deciduous trees enlarge the green area, adding the green panels.

PAVEMENT__ Avoiding ornamentation, we studied the received solar radiation, visually interpreting each dot/pixel per floor tile, creating a composition on the pavement…materials were chosen depending on their power to absorb…obtaining a map according to our research…an interpretation of colour and texture, another energetic pact in the pavement.

THE WATER__ According to the radiation map, and knowing which areas were warmer, we installed water micronization and evaporation areas, sources emerging from the ground…refreshing Madrid’s dry weather with vapour. The structure also deals with El Rastro’s commercial geometry.

The GambleCOMMUNICATION__ If these new citizens enter the cities, we have to communicate with them. We have to connect with a previous concept: the gamble.A previous project of ours; “Energetic sports lottery”…we wanted to question the role of ecology in society.This project was tested in the Universidad Javeriana of Bogotá and started off with this idea: why ecology seemed a negative and pessimistic instruction? Always saying what to do…don’t waste water! Recycle paper! Don’t consume too much!, with citizens always on the passive side.

We tried to question ourselves: why aren’t we capable, as technicians, to offer desirable strategies from an ecological standpoint?And we set out to rehearse “energetic sports lottery”…using monitored solar panels we could gamble on what was captured every day…developing a long term calculation, although it is subject to contingencies such as clouds, birds, dirt…

A panel in Madrid, in our studio, sent the information through Internet to a classroom in Bogotá, where it was projected like if it were the stock market, with questions such as: “how much will this panel capture tomorrow at twelve in the morning, in Madrid, and with these technical characteristics”.The students didn’t guess any of the questions on the first days. From the fourth day on, due to the money (they had collected 20 €, quite some money in Colombia and there were some 80 students)…because of the money there was a strong involvement and everyone acquired the scale in an indirect manner.Everyone knows how much electricity bills cost, but not how much energy a solar panel produces. Therefore, we found ways of involving people with strategies, even of this type (which could even corrupt!, says the speaker, ironically)…although it would be good to be corrupted by ecology.

Speaking of the project: How does the square communicate? We have an indicator of daily collected information. If the geometry I have explained before installs the solar panels in a way that once they are superimposed I only see a green landscape or technological one, depending on my point of view, the same thing happens when looking from beneath.Therefore, the inferior parts of the panels have some indicators that shine at night or project with certain intensity according to the light they have captured during the day. Thus, in some privileged spots of the square, ‘reading points’, citizens, with a book, can participate in this strategy. This is important to us; as you can see in the sketches of the project, there are spots where you can’t see. We try to codify the energy in spatial sensations or possibilities of spatial relations.In any case, the important thing is for this strategy to become an offer, not an instruction…to have the opportunity to participate if one wants to.

AMORTIZATION_ The infrastructure changes its colour as the investment is being repaid. The square pays itself in the long term. In eleven years it will be repaid for. It changes its colour so the citizen knows the time left to recover the investment.

WATER GAUGE_ How much water has been obtained? There is a territorial water gauge. Flood zones, the territory of Madrid has as many of these as water reservoirs, they are flooded depending on the level of water in the reservoirs. Water is not a local but territorial subject. It’s machinery that works for you when you open the tap.

RECYCLING panels, each time you ‘score’ glass to be recycled, the panel indicates what is going to be done with it.Make a website for the square, or a facebook to the citizen that explains his profile…

ECONOMIC SURVEY_ I don’t have time, they are telling me to finish…

From our point of view, this ‘invasion’ has to be managed from the standpoint of architecture and urbanism, as well as from other realms. And this agreement, these emigration laws aren’t documents to be written apart. We are studying Spain’s controversial 2001 “immigration laws”, and translating them to the technological immigration laws. The truth to us is, these are the Immigration Laws, a clause in our contract…the materialization of this square, once it’s built, is the “agreement that puts technological citizens in relation to one another”.

I end with THE CELEBRATION_ An invitation to everyone in the UHF group…with this publication. With different formats, this is the nº 1…this is jamón, this is fish honey, these are some maps with counters…the ‘arch-bingo’ to enjoy when attending architect conferences, this edition is a soap bar with a magazine inside, you will wash yourselves until you use it up and then you might read it… And this, and last, that we will present on the 14th of February, is called ERRA, Errors, Risks, Noises, Accidents…a lot of fun to present it on Saint Valentines day…

Thank you very much.













2009-2010. Gustavo Romano (Cv)



Utilitarios para un universo inestable, Museo Tamayo, México DF, México.Mercado de futuros, Galería Ruth Benzacar, Buenos Aires, Argentina.Sabotaje en la máquina abstracta (obras de 1998 al 2007) MEIAC, Badajoz, España.Heterotopía, Galería Ruth Benzacar, Buenos Aires, Argentina.Pieza sonora para ser caminada, Centro Cultural Recoleta, Buenos Aires, Argentina.La tarde de un escritor, Museo de Arte Moderno de  Buenos Aires, Argentina.Tres Acciones, Galería Ruth Benzacar, Buenos Aires, Argentina.Evidencias Circunstanciales – con Jorge Macchi -, Museo de Arte Moderno de  Buenos Aires, Argentina.Casos de Identidad,  Centro Cultural España Córdoba, Argentina.Video Instalaciones y Objetos, Centro Cultural España, Buenos Aires, Argentina.


Variation Time, Galerie der Künstler, München, Deutschland.Sintopías, Instituto Cervantes, New York.Taking Time / Tiempo al Tiempo, MARCO, Vigo, España.Art Goes Heiligendamm, Rostock, Deutschland.Videonale 11, Kunstmuseum, Bonn, Deutschland.Sintopías, Instituto Cervantes, Beijing, China.I Bienal del fin del mundo, Ushuaia, Argentina.I Bienal de SingaporeEn las fronteras / Grenzgänge, Instituto Cervantes, Viena, Austria.Relecturas en la Colección del MAMbA, Museo de Arte Moderno de Buenos Aires, Argentina.Sobre una realidad ineludible, MEIAC, Badajoz, y Centro de Arte Caja de Burgos, España.Mystic, Massachusets College of Arts, Boston, Massachusetts.Cardinales, MARCO - Museo de Arte Contemporánea de Vigo, España.Nueva/Vista Videoarte de Latinoamérica, IFA Gallery, Bonn, Berlin, Stuttgart, Deutschland.Selección de obras de la Colección del New Museum, New Museum, New York.El Final Del Eclipse, Fundación Telefónica, Madrid, Granada y Salamanca, España.VII Bienal de la Habana, Cuba.Interferences, Belfort, France.I Bienal Internacional de Buenos Aires, Museo Nacional de Bellas Artes, Buenos Aires,, Casa de América, Madrid, España.II Bienal del Mercosur, Porto Alegre, Brasil.I Bienal de Lima, Perú.


Oficina de reintegro del tiempo perdido y Time Waves, MARCO, Vigo.Pieza con globos #2 y #3, Laboratorio Arte Alameda, Ciudad de México.Losing Time y Exchange Office, I Bienal de Singapur, Singapore.Underground Information System, Intervención en el sistema de información y trenes del metro de Buenos Aires, Festival Diálogos Buenos Aires- Berlín.Pieza sonora para ser caminada, Centro de España en Montevideo, Uruguay; Centro Nacional de las Artes, Ciudad de México.


Festival Transitio MX, Laboratorio Arte Alameda, DF, México.Festival VAE10, Lima, Perú.Festival FILE, San Pablo, Rio de Janeiro, Brasil.Festival Centro + Media, Centro, DF, México.Videobrasil, San Pablo,, Casa Encendida, Madrid, España.Transmediale, Berlin, Deutschland.Encuentros Internacionales Paris/Berlín.Festival Ars Electronica, Linz, Austria.


IP Poetry Project cielo y blanca Privada Nº1 www.cyberzoo.orgHyperbody Mi deseo es tu deseo


Re/Apropiaciones, MEIAC de Badajoz, España.Desmontajes, MEIAC de Badajoz, España.El video como zona de cruce, Centro Cultural de España en Montevideo.Acciones, Investigaciones y Relecturas, Centro Cultural España Córdoba, Argentina.Net(art)working, Centro Cultural de España en Buenos Aires.Robot Ludens, Centro Cultural de España en Buenos Aires.De camaleones y caballos de Troya, Centro Cultural de España en Buenos Aires.Caleidoscopios, Centro Cultural de España en Buenos Aires.(Re)codificaciones, Centro Cultural de España en Buenos Aires.Itinerarios y Souvenirs, Centro Cultural de España en Buenos Aires.Turbulencias (en el ciberespacio), Centro Cultural San Martín, Buenos Aires.


2009Desmontajes, Badajoz, MEIAC.

2006Netart.ib, Buenos Aires, CCEBA.

2003Cuadernos del Limbo (ed), Buenos Aires, Limbo Ediciones.


John Simon Guggenheim Memorial Foundation Fellowship, New York.Incentivo para nuevas producciones del concurso Vida 7.0, Fundación Telefónica de España, Madrid.Premio Konex de Platino, Fundación Konex, Buenos Aires.Primer premio en Buenos Aires Video XII, Premio ICI de Video, Buenos Aires.


New Museum of Contemporary Art, New York.Fundación Arco, Madrid.MEIAC, Badajoz.Museo de Arte Moderno de Buenos Aires.Museo Nacional de Bellas Artes de Buenos Aires.


Mercedes Urquiza, “El tiempo no es dinero, quizás”, Diario Perfil, Buenos Aires, 19 de abril de 2009.Eugeni Bonet, “Lógica del contrasentido”. Sabotaje en la máquina abstracta, MEIAC, Badajoz, 2008. (Cat. Exp)Laura Revuelta, “Que no se apague la llama del ingenio”, ABCD, diario ABC, Madrid. 22 de marzo de 2008.Carlos Jiménez, reseña de “Sabotaje en la maquina abstracta”, Babelia, diario El País, 15 de marzo de 2008, Madrid.Nilo Casares. “El «chip» poético”, ABCD, diario ABC. 8 de marzo de 2008, Madrid.Johan Frederik Hartle, “El tiempo es oro… ¿o no?”, Tiempo al tiempo, Vigo, 2007. (Cat. Exp)Eva Grinstein, “El secreto mejor guardado del”. ARTECONTEXTO, Madrid, agosto de 2007.Belén Gache, “Time Notes”. I Bienal de Singapur, 2006. (Cat. Exp)Laura Baigorri, “Viaje sin destino. Para no olvidar”, Arte y Compromiso, MEIAC, Badajoz, 2004. (Cat. Exp)Jorge López Anaya, “Nuevos y viejos medios”, diario La Nación, Buenos Aires, 3 de junio de 2004.Jorge López Anaya, “Gustavo Romano, la poética tecnológica”, diario La Nación, Buenos Aires, 9 de abril de 2000.Arturo Carrera, Tres Acciones, Buenos Aires, 2000. (Cat. Exp)Belén Gache, “El lado invisible de las cosas”,, Casa de América, Madrid, 1999. (Cat. Exp)José Tono Martínez, Evidencias circunstanciales, Buenos Aires, 1998. (Cat. Exp)












2009-2010. Gustavo Romano. TIME NOTES (technical data)


General production:- Note printing (special issue for Madrid Abierto)- Promotion flyers to post around the streets

Mobile office production:- Construction of a cart upon a tricycle- 2 actors or volunteers to attend the office- 1 printer- 1 laptop (or PDA with portable keyboard)

Main office production (Casa de America) :- 2 actors or volunteers to attend the office- 1 desk or kiosk - 2 chairs- promotion poster showing directions to the office- 1 computer- 1 printer- Electronic connection- Internet connection

If possible, the videos of previous actions and other documents will be exhibited inside the Casa de America space.














2009-2010. Pablo Valbuena. TOWER BLOCK (location)

Torre Madrid (Plaza de España) Days: tuesday, 18th of february, and friday, 19th of februarySchedule: from 20.00 to 02.00














2009-2010. Vanesa Castro López (Fur Alle Falle). SKARRO

LENGTH 2' 59''


Trailer of the Skarro documentary

This video fuses the documentary genre (using television images) with the skate-video. It shows some illegal beer sellers that turns into ‘skarro’ superstars, a sport that they themselves invented.

The video deals with audiovisual appropriation, and goes from a very serious subject (the problem of drinking in the streets of Valencia) to a delight of technical ‘skarro’ skills.

The city of Valencia, with its skate-spots and places to get drunk, is the scenario of this documentary.
















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2009-2010. Laurence Bonvin. GHOSTOWN (2009.03 / project review / technical data)

MARCH 2009



What I need from Madrid Abierto :

 -       Be connected with a printing house with experience in photography, a good lithographer and an English speaking graphic designer to support me in the designing, preparing and the printing of the publication. Production period January 2010.

 -       Negotiate a collaboration with a newspaper (i.e. “El Pais”) to obtain the daily publication of an image from the project during the duration of the project in February 2010. The sum of the images, plus a selection of unpublished texts will then be printed and put together in an artist supplement distributed with the week-end edition. The extra amount of printed copies, not distributed with the newspaper, will be assembled and bound in an artist edition for sale during the exhibition and possibly distributed further.

 -       Find a publishing/distribution house interested in art, photography and urban issues (such as Actar) to co-produce and/or distribute the publication. Such a collaboration could lead to the transformation of the supplement into a book or an artist book.

  -       I need to be connected with 2 very good translators, familiar with urban issues, from English to Spanish and from Spanish to English.

 -       I need a designated space to present and sell the publication in the info booth of Madrid Abierto

 -       I need to reserve a selection (10-15) of the existing billboards, MUPI, on el paseo del Prado from Atocha to where I’ll put up ink-jet prints.


 -       Are the Mupi for free? Or how much do they cost?

 -       What would be a reasonable number of exemplary for the publication?



April – July 2009

August – October 2009

September –December 2009

January – February

2010 (till opening)

February 2010

Exhibition time

production of photographs

production of texts / translations / image selection

designing /


production of publication

posters / supplement /

artist book

daily publication of an image in a newspaper /

publication selling















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2009-10. Cecilia Andersson. INTRODUCTION


This is the first edition of MADRID ABIERTO as a biennial event and the theme for this edition is collaboration. The call for works announced its openness for proposals that spans across disciplines and for artists aiming to situate their work within the social realm of art practice and audience participation. Selected artists met for three days during an initial seminar which took place in Madrid early February 2009. The aim of the seminar was not only for participating artists to introduce themselves and present earlier works but also to allow for other players, familiar with Madrid and its context, to present their activities. Behind it all was the idea to create a network of connections, a network that would help the selected visiting artists, the majority of them based outside of Spain, to connect with local knowledge and with the specific context of Madrid. The works now presented are some of the results of processes and contacts initiated during this seminar.

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. Given the current framework, where society often fail to negotiate some of the most immediate challenges, how can pooling resources such as the ones found in collaborative and interdisciplinary initiatives, develop alternative work methods? How can inertia and nostalgia be substituted by visionary and inspiring tools acting as catalysts for change? In our post-political age, how can artistic practices intervene beyond dominant conventions? How can artists access and address spaces and places when in fact, most citizens takes no interest to participate in communal social networks?

This edition of MADRID ABIERTO explores how collaboration and co-operation can act as catalysts to induce changes of benefit for the city and its inhabitants. Involving people from a broad professional spectrum, among them gardeners, actors, community workers, programmers, architects and urban planners, resulting art projects manifest a wide range of views and expressions. The aim of such a socially engaged approach is to create a larger network which, ideally, makes it possible to come closer to an understanding of some of the dynamics that operate in the city. Articulating specific concerns and voicing local issues is one step closer to resolving a conflict or improving a situation. The ten commissioned artists in this edition of MADRID ABIERTO are probing into terrains that often remain in obscurity and/or silence. The aim is to reveal some of the dynamics of collaborative efforts and explore how such efforts may affect people and politics in specific places.

Implicit in the word collaboration is some kind of mutual understanding. It would be difficult to carry out a collaborative project if there was not initially agreed upon what the project wished to communicate and to who. This process of stipulating goals, articulating and exploring paths as well as the constant look-out for additional partners are integral parts of collaborative projects. In these aspects, art projects and cultural projects in general, can function as tools for exchange and of recognition of the people involved. Initiating collaborative dialogues allows for coexistence, neighbourliness, alternative identification and for greater comprehension of diversity. Art must in these contexts be understood as a form of political imagination. The need to create such models is endless in today’s society.

Collaborative practice may also file under categories such as socially engaged art, community-based art, dialogic, ‘relational’, participatory, interventionist, research-based art…. One thing is certain, since the 1990s an increased number of artists work within such constellations and are, as a consequence, increasingly judged by their working process and by the models for participation they come up with. Does this way of working, this kind of “method fever”, to quote Sarat Maharaj, this consensual agreement, distance artists from the core of artistic practice, namely autonomy? Is it possible that collaborative projects, instead of exploring visions and ideas that are close to the artist’s heart, instead succumbs to be part of a rather conventional idea of what collaboration and participation can be? British art critic Claire Bishop refers to this position as religious, as “Christian”, and argues that often in collaborative projects the artist takes on a self-sacrificial position and performs for the Other.

Now, one year after our first reunion in Madrid the time has come for presentation. Some of the questions posed above remain unanswered while others have been clarified. Additionally, some of the works presented have managed to generate new questions. This presentation is an opportunity to contemplate some of them.

Spain just took on the presidency of the European Union while the economical crisis keeps rattling the country. One of its most visible signs are the ghost towns that surrounds Madrid and which Laurence Bonvin has documented. Seseña for instance, is already a ghost town even before anyone moved in. And unlike the late 19th century Wild West where ghost towns began to appear after the California gold rush, its equivalent, the Spanish construction frenzy, collapsed quicker than anyone could have imagined. In the middle of crisis and as one hands-on way to deal with it, plan ñ was put to work. It is devised to improve infrastructure in the country while simultaneously provide job opportunities.  Lara Almarcegui is tapping into one part of the plan, the construction of a parking garage under Calle Serrano. The one day per week when workers are not excavating, guided tours will be arranged into the underworld of Madrid. This underbelly of Madrid, its intestines, its strata bared in layers, presents an uncanny side of the city otherwise perceived solely through its orderly constructed environment.  The excavated dirt with all its remnants of past lives naturally carries seeds for the future. Vegetation buried for years may be brought to life again when exposed to sunlight.

Lisa Cheung converted a truck into a mobile gardening centre that will tour Madrid, making stops once at week along a mapped out route. Raising questions about sustainability while sharing knowledge, the garden bus also aim to build a community of ‘city farmers’ by introducing a common theme which to gather around.Iñaki Larrimbe offers a different vehicle and presents a different range of tours. His refurbished caravan is stationary and parked in the city centre where it serves as an alternative tourist office from which specially commissioned maps will be distributed. The maps intend to make the city visible from distinct points of views and include, for instance, the best neon signs in Madrid, a selection of outstanding urban art as well as streets and squares where movies were filmed. All describe alternative routes for city visitors. His tours indicates the unusual, the often not seen and asks us to pay attention. In this he has something in common with Adaptive Actions (AA). AA’s temporary tent erected inside the Atocha train stationfunctions as a meeting point, as collection and exhibition site. AA intends to document the absurdities in the city such as illegible signage, incomprehensible rules, loitering, the strange, contradictory and often overlooked.

The idea of collecting, creating a meeting point and a place for sharing and belonging in your own community are topics explored by Susanne Bosch. Her initiative is to collect pesetas which went out of circulation in the New Year 2000. She is asking for a collaborative effort not only to collect remaining pesetas, but also to join forces and decide what to do with the money once collected and counted.  If Bosch’s work is about collecting old money, Gustavo Romano is issuing a new kind of currency. His performance based interaction operates from a converted tricycle equipped with wi-fi connection and a printer issuing Time Notes. These notes refer to an alternative currency ranging from 60 min to 1 year. It is a way of reimbursing people for their lost time while also questioning value systems embedded in monetary exchange. Making use of space in a most efficient way, counting its use by the minutes and converting the time into money paid for rent; Josep-Maria Martín have interviewed African immigrant living in Lavapiés in situations called ‘camas calientes’. Many people with varying legal statuses are all gathered in one apartment where they take turns to sleep. These beds are never cold. As soon as one is freed by one person, the next paying guest is waiting. Martín interviewed the people sharing these apartments and also left the video camera for them to document their lives. He conducted interviews with immigration officers and social workers. The resulting video is screened in the open air during the dark hours of the night.

Nights are cold in Madrid during February but Pablo Valbuena needs the darkness for his projections in public space. His discrete animations projected onto the façade of a building, track the outline of the architecture and bring new dimensions to an architectural reality which looks very different in daylight. While Valbuena works as a kind of architectural ghost writer, Teddy Cruz challenges a different façade, that of Casa de America for his intervention. In a parasite like manner, small room is positioned inside the hosting building and made accessible via ladders leaning against the facade. Part of Cruz’ project is also to invite Tijuana based Mexican artist Felipe Zuñiga in residency and to through education, establish links with immigrant children in the Madrid suburb of Puente de Vallecas. The façade of Casa de America will, in an amoeba like act of transformation, turn into a symbolic bridge that connects not only between countries, but also between periphery and centre.

It is my belief that the above projects, mentioned here only as brief summaries, carry the strengths to call for an initial awareness of contemporary cultural needs. How such needs may be accommodated in the future requires a longer commitment – projects that stretch over a longer period of time. The projects presented as part of this edition of MADRID ABIERTO gives shape to what is still unknown. As such they actively take part in defining the needs for tomorrow.


.....................................................................................................................................................................................................................................................................CECILIA ANDERSSON Is curator and founder of Werk Ltd., a curator's studio in Stockholm. Her latest projects include Supersocial; a platform for events organised in different cities and On Cities; an exhibition at the Swedish Museum of Architecture, Stockholm. Curator of Madrid Abierto 2009-10.














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2009-2010. URBAN BUDDY SCHEME / 05 feb 2009 / Andrés Jaque (transcription)

Extracts from the MADRID_ABIERTO Urban Buddy Scheme sessions

5th of February of 2009Cecilia Andersson and Jorge Díez (presentation of seminar and Madrid Abierto 2009)Javier Duero (moderator)Basurama (Javier Duero presents + conference)Andrés Jaque (Javier Duero presents + conference) Ludotek (Javier Duero presents + conference)Wunderkammer (conference)


ANDRES JAQUE(presentation)… is a group of architects, Andres Jaque Architects and Cinthya Associates, Political Innovation Office, explore the role that architecture fulfils or may fulfil as agent in the construction of societies. It manages the “Parliament architecture” brand of political quality, designing hosts for the “TECNOGHEISA” contemporary city, Plans for political transparency, “Twelve actions to reveal Peter Eisenman or a line of Steep Garden jewels, urban plans based on word of mouth, “TUPERHOME”, buildings that make you want to hug “TEDDY HOUSE” or social assemblies that generate controversy, building (priest dormitory) in Plasencia…

…some of their current projects include Rolling House, architectural prototype of shared housing in Barcelona; the Nevernever Land House in Ibiza; Hostel for the Floating Pleasures, Mallorca; the Walk Around the House Museum, a global project to be distributed around big shopping malls

(conference)… I would like to show you four pictures that are urban to me…In my opinion there exists a very wrong idea, thus it is important to relocate the concept of urbanism in architectonic and urban activities

____ Great scale/Urbanism. Urbanism is not equal to those thousands of houses that have been built in last years, those ghost towns, it has nothing to do with crystallized concepts that deal with great scale interventions or with strategic design, 20 year term decisions… first, infrastructures, then housing, then… that which we all know.Neither does it have to do with cities, the construction of cities, what is believed to be urban at this point in time; in my opinion it has to do with, it’s defined as “some kind of qualified air in a particular way”, that is, with the way of building an interaction context”…SHIFT__I think this ‘shift’, in our conception of what is urban, towards something more adjusted to political and democratic frames is crucial to rethink urban and architectonic activities and the management of cities…I suggest four very elementary ideas… and find the way to incorporate it to the construction and transformation of our environments.

1_HOW ARE THESE INTERACTION SYSTEMS, WHICH WE COULD CALL.. URBAN, BUILT?The materials that I suggest are these, ‘Parliamentary parenthesis’.We have worked in the “city of political innovation”, with the Universidad Javeriana of Bogotá, in the development of ‘soap operas’, as well with Carlos Plitnick, Omar Rincón, art, urbanism and architecture students…They can be seen in ‘youtube’, putting “I hate you, love you so”, to explain why soap operas construct a “parliamentary parenthesis”… with the poster, made by Julia Roshenfal of the Global Show project. To see why film reviews have been so rough with soap operas… critics haven’t been able to comprehend the ‘social commitment’ that soap operas imply… when the main character confronts a difficult decision, at some point in time receives advice from a friend that is usually liberal as well as from her mother that is usually conservative. In a100 chapter soap opera diatribe, the protagonist has to make a decision, a triangle is built, the liberal and conservative options, and is in a political ‘twin be twin’, between two options. It’s the moment in which all of them end up looking into the infinite and action is suspended… this is the narrative disaster to which film critics refer… however, if we check out what really happens in ordinary households, where controversy appears, taking part, is precisely because a ‘parenthesis’ has been created.When the decision takes places in specific or local environments, due to this political construction, it is there where these ‘parenthesis’ occur, it is where urban interactions take place.

2__CRITICAL SPACEThe construction of spaces, which in itself reveals shared public issues, that matter to all of us… therefore we are interested in being able to discover how our environments react or ‘position’ themselves towards them… I refer to things such as gender equality, equity in access to resources, sustainability, space representation…This is an example, an assignment we received from the City of Culture Foundation of Galicia, the M30 of Galicia, which is going to elaborate the community’s budget for the next 20 years. We received the assignment to conceal the works of the City of Culture, which were ugly to politicians; they even suggested us to create a wooden barrier to ‘cover that massive earth movement’.However, we redesigned the assignment, said that the works were beautiful, that the problem was that they weren’t visible enough, transparent, they weren’t comprehensible to people that weren’t taking part in them. We developed a “Transparencies plan” that was very simple… Build some towers in Santiago’s historic centre just to watch the works and for five minutes every hour the sound of the works was heard through small amplifiers (conversations, bricklayers having lunch…), projecting it downtown as a transplanted ghost; bus lines to visit the works; to equip the works as if they were El Retiro, as a public infrastructure (coffee machines and food, services…) to spend one’s day…And more complex proposals; to assign each construction company actively working there a code of colours so that they were visible to the whole and at first sight…We suggested more things; some were rejected because they created ‘risky situations’ for the politicians. We tried to make the trace of residue and material transportation visible… from the works outwards and from the outside within, to really see the trace that such a massive work leaves in the environment…To me this is a city (referring to a fallen sign in the works of Santiago de Compostela’s City of Arts), this is an urban situation… the sign fell and we had to solve it, we found the men in blue fixing the yellow sign, we asked the directors, how come the men in blue worked in the yellow area? They didn’t know… However, a group of elderly people standing against the fence… “we come every day and we have observed that they have an agreement, when the yellow men have a lot of work to do the blue ones help them…”Thanks to those transparency devices, the works were understood, transparent to those not involved.In my opinion, the city could become urban by simply installing devices, enabling “public concerns”, shared by all of us, to be evaluated and visible to all.

3__ The third property of urbanism has to do with INNOVATION COMMUNITIES AND EMOTIONAL NETWORKS. Urbanism occurs when we develop systems that link a community in the development of sensibilities, cultural forms, in conclusion, the notions of quality that the community as a whole experiences and the people contribute to implement…It has to do with ‘Tupper Home’, the development of houses, that, with demonstrative marketing formulas (Avon, Tupperwave…), we can establish a ‘word of mouth’ urbanism.Basically, the idea is that specific formulas of quality in serial production, specialized conditions for those who are involved in the works, efficiency in the use of materials that make costs cheaper and the management of space…Would reduce the quantity of work hours to pay a mortgage, all that construction of a qualitative society could be done by a simple ‘word of mouth culture’… thus, that woman could build a ‘tupper ware’ house, invite others and build an urban community, word of mouth, an expansive horizontal urbanism, as a network… so that users themselves were producers, designers and beneficiaries of economic performance; the transformation and exploitation of the city.

4__... the last thing has to do with the area of ‘long term confrontation’, the urban aspect as a political space in which differences can be built without a violent horizon in mind, without crossing a rupture horizon.Our experience… some years ago we started working, Enrique Krahe, Miguel de Guzman and myself, in the transformation of a fifteenth century building, a minor seminar, a factory of priests, a geriatric hospital, a priestly house, that would host the same people that had been educated there. After having lived in rural environments as parish priests, now when 90 years old it’s impossible for the Church to take care of them in their houses, dispersed through the country. And, as there aren’t that many people that want to become priests, the factory had to be transformed into a dormitory for people who have been independent, with great ability to make important decisions in a day to day basis…This is what it looks like, it was very controversial, it became known with the phrase “what a whorehouse the priests have built for themselves…”

… I would like to say something about this project, of how architecture, the material devices that we architects manage can contribute to transform a building; from a factory for unity (the idea of uniting bodies around an exclusive and desirable doctrine) it turned into a controversial network (public space), disputed but durable. We did it by inserting a bunch of toys in the building, playful devices… that fulfilled the role of perfect hosts, to ask a question: What is your opinion about this? What do you think? Building a dinner’s conversation on different views of things… in the garden, instead of a French design, as the bishop had requested, we decided to divide it in small parcels, one per room; we didn’t define their exact limits at any point, nor the entrances, the idea was to create a conflicting space in the garden… like the remote control that makes us argue and fight over it and to decide…

… Another idea (taken from the Situationist International’s minutes), that lights are turned on and off centrally. If we ask about this, the answer is: “what a problem, the debate would begin, the discussion on when to turn it on…”, that’s what we wanted and to a great extent we distributed switches…We designed benches and furniture that incited people to adopt several postures, several decisions…

… in these vegetable gardens (commenting on a projected photo) you can see a retired priest keeping an eye on some lettuce. He had agreed with the neighbours to cultivate several gardens and then distribute the crop.

… there were many pacts. In this picture (open air dance in the dorm’s garden) we see an urban image , a group of residents are together in a party without conciliating their opinions, this group discusses the colours that had be used, the director defended them but another man strongly criticized them, saying that he didn’t like them in order to receive visits… The priest was blind (!).











2009-2010. Iñaki Larrimbe (Cv)


SELECTED SOLO EXHIBITIONS2004Agnosia, Galería J.M, Málaga.Cara de chicle, Cajastur, Gijón, (catálogo editado).

2003La casa de goma, C.C Montehermoso, Vitoria-Gasteiz, (catálogo editado).

2002Plasticity, Galería Bilkin, Bilbao.

2001Plasticman, Bilbao-arte, Ayuntamiento de Bilbao, (catálogo editado).

SELECTED GROUP EXHIBITIONS2009Comparada, Sala Fundación Caja Vital, Vitoria-Gasteiz.

2007Objeto de réplica, Artium, Vitoria-Gasteiz.

2006Bienal de Artes Plásticas, Ciudad de Pamplona.

2005Objetland, Junto a Ciuco Gutierrez y Txema Madoz. Galería Siboney, Santander.

2004Dfoto, Stand Galería Bilkin, San Sebastián. Sin Sentido, Galería Trayecto, Vitoria-Gasteiz.Arco 2004, Stand Galería Bilkin, San Sebastián.

2003Feria Internacional de Arte de Bruselas, Stand Ego Galery.Arco 2003, Stand Galería Bilkin, San Sebastián.

2002Foro Sur, Stand Galería Siboney, Cáceres.Gótico pero exótico, Museo Artium de Álava, Vitoria-Gasteiz.Feria Internacional de Arte de Turín, Stand Galería Alter Ego, Torino.Arco 2002, Stand Galería Siboney.Red, Galería Alter-Ego, Barcelona.

2001Feria Internacional de Arte de Frankfurt, Galería Alter-Ego, Frankfurt. PROJECTS 2009-10Unofficial Tourism, Oficina de turismo alternativo, Madrid Abierto, Madrid.

2009Iquitos, Perú, Hotel Sándalo, Habitación 23, Sesión de fotos turísticas realizadas y entregadas a una familia sin recursos económicos.

2008¿Sauna finlandesa o descenso de barrancos? Espacio de alojamiento para turistas culturales, Con el apoyo de la galería Trayecto, el Centro Cultural Montehermoso y Krea, Vitoria-Gasteiz.

2007Bogotá, Hotel Princesa, Habitación 14, Cómic-diario de viaje, Expuesto en la Galería Santa Fé de la Alcaldía Mayor, Planetario de Bogotá.

2006Airotiv, Columna de crítica cultural, Diario de Noticias de Álava. Hotel Páramo, Habitación 122, Ejerciendo de turista en la propia cuidad, Galería Trayecto, Vitoria-Gasteiz.Seria Soneub, Realización de guía de viaje, C.C. Recoletta, Gobierno de Buenos Aires, Argentina.

2005Caracas, Hotel Eliot. Habitación 123, Libro de viaje, Itineró por diversos espacios alternativos del País Vasco.

CURATORIAL PROJECTS2010Hartos de arte, Exposición itinerante y publicación para ser distribuida con la revista TMEO.

2009Co-realización del Proyecto Amárica (proyecto de gestión de tres salas expositivas del Departamento de Cultura de la Diputación Foral de Álava por parte de una asamblea abierta de agentes culturales locales, actualmente funcionando)

1999-09Coordinador del Espacio independiente Zuloa, Vitoria-Gasteiz.

2008-9Coordinador de Inmersiones, Sala Amárica, Vitoria-Gasteiz.

2003-8 Coordina el Festival Cultural, Crash Cómic de Vitoria, Vitoria-Gasteiz.

1988 Cofundador de la revista de cómic TMEO, Realiza cómics y la diseña

WRITINGS2005Columnista cultural en el diario de su ciudad, Vitoria-Gasteiz.

2005-6Crítico puntual de arte en el suplemento Mugalari (Gara)

1999-2002Director del fanzine cultural Acción.

EDUCATIONLicenciado en Bellas Artes.

AWARDS AND GRANTS2008Ayudas a la producción. Centro Cultural Krea. Vitoria-Gasteiz.

2006Beca Centro Museo Vasco Artium. Premio a la promoción de la cultura local. Diario de Noticias de Álava.

2004Compra de obra en el 3er Premio Concurso de Artes Plásticas de Cantabria.

2002-2003Ayudas a la creación, Ayuntamiento de Vitoria-Gasteiz.

2000Adquisición de obra en el Certamen de Artes Plásticas de Pollenca, Mallorca.

1999Beca de fotografía Can Basté, Ayuntamiento de Barcelona.

WORKS IN MUSEUMS AND COLLECTIONSArtium de Álava, Gobierno de Cantabria, Bilbao Arte, Gobierno Vasco. Ayuntamiento de Pollenca, Ministerio de Cultura Español.


2004, 2003Catálogos de Arco.

LIBROS2009Libro, Sauna finlandesa o descenso de barrancos, Iñaki Larrimbe. Colección Esci Project 3. Ayuntamiento de Vitoria-Gasteiz.

2004Catálogo, Cara de chicle, Iñaki Larrimbe, Cajastur, Oviedo.













2009-2010. Gustavo Romano. TIME NOTES (theoretical data)

 TIME NOTES“Mobile office for the reimbursement of wasted time” and other actions by Gustavo Romano

The Time Notes project involves a series of actions in public spaces using a new monetary system based on time units, 1 year bills, 60 minutes, etc. The back of these bills present different quotes, about money or time, written by philosophers, writers or economists.

Starting with a first opening action in Berlin, other actions took place in different cities (Singapore, Rostock, Vigo) and in each case they were the product of observations related to local problems regarding the system of exchange, the experience of time (as personal or alien) and the thoughts that on these subjects arose in each location.

The proposal for Madrid Abierto is to establish a “mobile office for the reimbursement of wasted time” and carry out at least 2 other actions using these banknotes, with topics that may arouse after field research, and observation of interaction with local issues which take place at the moment of the intervention.

A main office would function in Casa de America where video documents, banknotes and other documents related to the project would be exhibited. The mobile office would follow a route through different places of the city, for as much time as the event takes place.

It will be complemented with a low cost promotion campaign of wide circulation.


“MOBILE OFFICE FOR THE REIMBURSEMENT OF WASTED TIME”(Working in an unwanted job, time wasted on the wrong relationship, time in the army, etc.)

The construction of an office based on a tricycle and the use of a portable printer, a PDA with WIFI and a folding keyboard, will enable movement and autonomy regarding interaction with the public as well as collecting information and uploading it to the Internet.


The action will be videotaped, and showed along the recordings of previous Time Notes actions. Copies of the banknotes with written causes for having wasted time will also be exhibited.

















2009-2010. Wade Matthews (Cv)


EDUCATION·    Doctor of Musical Arts por la School of the Arts de Columbia University, Nueva York, con estudios de electroacústica en el Columbia-Princeton Electronic Music Center.·    Master of the Arts en composición musical por la City College of New York.·    Bachelor of the Arts en música por Antioch College, con dos años de estudio en el New England Conservatory of Music, de Boston.

CONCERTS·    Relay New York, Museum of Modern Art, Nueva York.·    Lieux, Museo Nacional Centro de Arte Reina Sofía, Madrid, España.·    Festival Camerissima, Centro Nacional de las Artes, México D.F, México.·    Festival Irtijal, Instants Chavirés, París, France.·    Festival Irtijal, Éspace SD, Beirut, Líbano.·    Festival SF/Alt, Acme Observatory, San Francisco, CA. Raumshiff Zitrone, K-77, Berlín, Deutschland. Western Civilization, Londres, UK.·    Festival I & E, Dublín, Irlanda.·    Festival Sonic Scope, Lisboa, Portugal.·    Festival Sal, Cabo Verde. Festival La Alternativa, Círculo de Bellas Artes, Madrid, España.·    Festival Play, La Casa Encendida, Madrid, España.·    Festival Hurta Cordel, La Casa Encendida, Madrid, España.·    Festival Madrid en Danza, Centro de Arte Reina Sofía, Madrid, España.·    Festival Experimentaclub, La Casa Encendida, Madrid, España.·    Seattle Improvised Music Festival, Good Shepard Center, Seattle.·    Festival Internacional de Música Contemporánea de Alicante, Auditorio del CAM, Alicante, España. Festival IN-Sonora, Istituto Europeo di Disegno, Madrid, España.·    Gira Intermedia 28, Liverpool, Manchester, Estocólmo, Dublín, Toulouse, Madrid, Valencia, Gijón, España. Giras E.E.U.U., Seattle, Portland, San Francisco, Berkeley, Oakland, Los Angeles, Chicago, Champaign, Bloomington, Columbus, Youngstown, Detroit, Springfield, Pittsburgh, Baltimore, Philadelphia, Buffalo, Princeton, Nueva York. Giras Argentina/Uruguay, Buenos Aires, La Plata, Posadas, Salta, Resistencia, Mendoza, Córdoba, Colonia, Montevideo.

ACADEMIC RELATED ACTIVITIES·    Cursos universitarios impartidos: Historia del Jazz, Centro de Estudios Norteamericanos, Universidad de Alcalá.·    Cognición y creación; mente corporeizada y procesos cognitivos en la creación artística, Universidad de las Palmas, Islas Canarias.·    Clases magistrales y talleres impartidos: Clase magistral sobre la improvisación musical, Conservatorio Superior Nacional de Música y Danza, París, France.·    Clase magistral sobre la improvisación musical, California Institute of the Arts, California.·    Taller de improvisación musical con medios electroacústicos, Centre for Computacional Musicology and Computer Music, Universidad de Limerick, Irlanda.·    Taller de libre improvisación musical, Universidad de las Américas, Puebla, México.·    Taller de libre improvisación musical, Universidad de la República, Montevideo, Uruguay.·    Taller de música y danza improvisada, CCF du Chouf, Deir el Qamar, Líbano.·    Taller de música y danza improvisada, Estudio Tres, Madrid, España.·    Taller de música improvisada, Conservatorio de Elche, Alicante, España.·    Taller de música improvisada, Asociación IBA, Barcelona, España.·    Conferencias Center for Computer Music, Columbia University, Nueva York.·    University of California, San Diego.·    University of Limerick, Irlanda.·    American University of Beirut, Líbano. Universidad de las Americas, Puebla, México.·    Facultad de Bellas Artes, Universidad Complutense de Madrid.·    Facultad de Ciencias de la Información, Universidad Complutense de Madrid.·    Instituto de Investigación Musical, Universidad Autónoma de Madrid.·    Universidad nacional de Salta, Argentina. Universidad nacional de Córdoba, Argentina.·    Universidad de las Palmas de Gran Canarias. Círculo de Bellas Artes de Madrid.·    Fundación Segundo y Santiago Montes. Universidad Internacional Menéndez y Pelayo.·    Centro de Estudios Internacionales, Fundación Ortega y Gasset.·    Consejo Superior de Investigaciones Científicas.

WRITINGS·    Colectividad e intencionalidad en la "libre improvisación européa"; factores orientativos para un estudio musicológico. en Revista de la Sociedad Española de Musicología.·    Quince segundos para decidirse; La "composición instantánea" y otras ideas recibidas acerca de la improvisación musical en Preliminares, (Nº 10).·    Intimidad y límite, reflexiones sobre el perro de Stockhausen, en La Balsa de la Medusa, (nº 49).·    Hacer música en la Alhambra, (Cat. Exp.) La Alhambra vista por artistas.·    Historia de la música, Deutsche Grammophon, en 50 tomos, de los que Wade Matthews ha escrito 11.·    Invitado a coordinar el número 151 de la Revista de Occidente, La música en nuestros días" al que también contribuye el artículo: I Sing the Body Electric: meditaciones sobre la música en la era electrónica.













2009-2010. Iván Argote. I JUST WANT TO GIVE YOU MONEY

LENGTH: 1' 50'' YEAR: 2007


Video sample of an intervention that took place in the subway of Paris, in which he offers coins to people. He starts off by delivering a speech, telling them that he is going to give them money, then, he pass through every seat of the wagon offering 20 cents to each person. Most of the people are very suspicious, some of them smile and finally no one accepts the coins he offers.
















09-10auve3063, 09-10autb2957, 09-10autc2997

2009-2010. Gustavo Romano. TIME NOTES: MOBILE OFFICE (location)

Varying places in the city and at Casa de Muñecas, Casa de América













2009-2010. Laurence Bonvin. GHOSTOWN (2009.03 / project review / theoretical data)

MARCH 2009


For Madrid Abierto 2009-2010 I intend to realize a photographic essay about two new neighborhoods in the outskirts of Madrid : Valdeluz, 60 kilometers north-east of Madrid, next to the city of Guadalajara and Seseña located 60 km south of Madrid.

The first example is part of a long term development planning along the Northern A2 highway. The exclusive city originally planned for 30’000 people, including tennis courses and a golf course has come to a sudden stop in its development as the real estate crisis strongly hit Spain at the end of 2008. Currently the city counts 350 inhabitants, one grocery, many walled commercial spaces and an infrastructure waiting for further building activity. The nearby railway station offers a connection to Atocha in 20 minutes 4 times a day and reports an average of 15 people using this expensive facility everyday. 

Seseña in the south of Madrid, represents the cheap version of Valdeluz. Built by a former sewage worker, El Porcero, it operates on several levels : as a personal utopia giving low income families an opportunities to buy a flat, or as a speculative tool for other people. Most people actually bought units in order to resell them with profit which explains why only 750 inhabitants are officially recorded in a city originally planned for 13’000 units where over 2500 people have bought one or several flats. Almost no one lives in a neighborhood that popped out of nowhere, in a semi desert area where water had to be brought in and no direct public transport connects Seseña to Madrid.

I intend to approach both locations starting from a large, distant, general view, landscapes and urban landscapes to penetrate the spaces and capture precise details in architecture, infrastructures, facilities, everyday scenes and portraits. Isolation, void, a sense of loneliness, of time suspension and unsettling feeling of uncertainty will provide for the general atmosphere of the series.

These different aspects will be put together in order to create a strong narrative. I will work in color with a medium and a large format camera. The 25 to 30 images will be edited and printed as a supplement to be inserted with a daily or a weekly newspaper or magazine on the day of the opening and distributed for free in the information booth of Madrid Abierto during the whole duration of the exhibition.

The insert will also include a selection of texts : one by Basurama team on the local context and interpretation of the real estate and urban development crisis, one interview with Kyong Park on the global approach of the issue and a general analysis by an author of the real estate significance as part of a global monetary flux and speculation phenomenon.

Texts will be printed in original language and translated into Spanish and English.

The publication should ideally freely distributed as a supplement with the week-end issue of a major newspaper such as El Pais. This possibility would depend on the interest of one newspaper to support the project and finance part or all of the printing costs for the insert. The actuality of the thematic could present some interest for a newspaper.

The publication will anyhow be available (for sale) throughout the exhibition in the information booth of Madrid Abierto. A launch could also take place on the day of the opening. This publication consisting of the selection of images and a choice of texts that could take 2 forms : as a newspaper’s supplement freely distributed with the weed-end edition of El Pais (i.e.), as a soft cover / box artist publication for sale during Madrid Abierto in the info both, in a selection of bookshops and distributed by a distribution company.

A collector’s edition with a signed print could also be on sale to support the funding of the project.

Additionally ink-jet printed posters will be placed in a selection (10-15) of Mupis on El Paseo del Prado near Atocha.

Technical details for the publication :

Format : to be definedColor print, fine semi-mat paperNumber of pages : 64 (provisional)Edition : ?Cover/box for artist’s edition
















2009-2010. Susanne Bosch. HUCHA DE DESEOS: ¡TODOS SOMOS UN BARRIO, MOVILÍZATE! (Open Space / technical data)

......................................................................................................................................................................................................................................................LOGISTICS & MATERIALS DOCUMENTOpen Space on La hucha de deseos27th Feb 2010in Circulo de Bellas Artes Madrid, Spainfor a 1-day Open Space gathering with approx. 60-80 participants(Feb 10th, 2010)



The parameters described here have been developing over the last decade of Open Space practice in more than 250 Open Space Technology events. The collective experiences are transferred into conditions and infrastructure proved to be helpful for self-organized learning and working in Open Space format. The materials and requirements listed below provide the infrastructure for self organizing work and learning. Ideas, suggestions, improvements and other inputs from sponsors and participants in the trainings have been the major contribution to developing these parameters and are very welcome! If you consider alternative options please consult with the training team.



1. Monica Castillo will facilitate the Open Space event.

2. 2 helper (TBN) will assist to set up and maintain the infrastructure, registration of participants, taking digital photos, recording the results, producing the book of proceedings incl. table of content, work on the contact list, etc.

They need to be available one day prior the event for setting up and during some hours after the event for taking everything down.



The entire Sala de Columnas is needed for three days.

No other activities can be organized at the same time.

The central space for the circle will be in the Sala de Columnas.

We identified 5-6 breakout rooms in the Sala de Columnas.

For 50-80 participants 50-80 chairs will be needed, arranged in a circle. 30 additional chairs for the 6-8 break-out spaces. No tables! Daylight is essential! The centre of the circle needs a carpet or 8 cushions for people to kneel on while they write their issues. Make sure that we can stick papers with masking tape to the walls.

Ask for permission!

It is essential that the team will have full access to the facility from 4 pm on Feb 26, 2010 for set up the Open Space infrastructure and until 7 pm on Feb 27, 2010 for taking it down.



1. A high speed copy machine that can enlarge from A4 to A3 format, including extratoner in reserve in the facility, technical support on hand. The copy machine will serve as scanner for the PDF (if possible).2. 8 cushions for the centre of the circle for people to kneel on while they write their issues3. Mobile pin-boards or wall space (Make sure that we can stick papers with masking tape to the walls. Ask for permission!)4. 2 Glue sticks5. 40 black, 20 blue, 20 red and 10 green broad tipped (4 to 5mm) marker6. Red, green, black and blue 2 of each color Trainer Marker (10 mm)7. 80 fine liner felt tip markers (0,4 mm, black)8. 2 packages of crayons9. 1.500 pins, 4 mm head diameter, 15 mm long10. 50 pin cushions11. 12 clip boards A412. 20 material boxes A413. 2 pairs of scissors14. 1 small bottle of TipEx15. Computer and ideally access a printer16. Digital photo camera17. Video camera18. Microphon



1. 100 sheets of flip chart paper (plain, no rules or squares) or similar sheets of paper (A1) 69cm x 99cm3. 200 sheets A3 paper 80g/sqm white4. 200 sheets A3 paper 80g/sqm yellow5. 300 white, 300 yellow and 200 red cards, 99 x 210 mm, 160 g/sqm6. 2 rolls of soft paper masking tape 30 mm wide, Tesa # 43227. Post-its, self-adhesive, size 12,5 cm by 7,5 cm, in 6 different colors (one pack of each)8. 2 sticks of gue

The book of proceedings will be done digitally and will just exist as 1 original copy.



The agenda needs to be amended the closer we get to the event.





Monica and 2helpers

Friday 26th


10 h

Setting up the space, unpacking, control material list, setting up the office, making the signs, last questions

Monica and 2 helpers



Saturday 27th 2010



Registration, check in, cup of coffee, break

Monica and 2 helpers,

1 person for buffet

1 person for documentacion



Susanne / Madrid Abierto


Introduction OS



1. Break-out session



2. Break-out session



3. Break-out session



Wall of Proceedings



Action Planning


16.30-17 h

Closing Circle




During an Open Space with 50-80 participants the book of proceedings contains about 80 pages incl. table of content, cover page, contact list and photos. Each participant should get her/his personal PDF of the book.

This should be delivered digitally. One assistant will be busy with the production of the PDF. This can be done directly while the 30 minutes of Closing Circle and taken home on a memory stick or send via e-mail /downloaded from webpages when participants leave.

If this doesn’t work out the organiser must find a possibility to send this to each participant shortly after the gathering (by E-mail, download or if not possible, as a print out).



Open Space is an Institutionalized Coffee Break. Therefore, it is important to have a permanent buffet style catering near the main room during the entire time of the event. It consists of mineral water, fruit juice, coffee, tea, fresh milk for tea and coffee, fruits, vegetable sticks (carrots, turnip, cucumbers, whatever in season) with thick yoghurt dips, nuts. This substitutes for the traditional coffee breaks which are not provided for, breaks are self organized.

This kind of non-stop buffet also requires non-stop attention: fresh dishes, refills,

etc. with much attention by the food service staff.



The invitation should contain time and place of the meeting, the organizer, the title and the context of the actual Open Space gathering. Furthermore it contains some information about Open Space Technology and the way, in which the meeting will be held. The following list of aspects can help to formulate the letter. But it is up to the organizer and the invited what will actually be put in.

In case of any doubt: less is more!



The Contact List contains the contact data of the participants and will become part of the Book of Proceedings. The Contact List will contain the last name, the first name, the postal address, telephone number(s), and email….other items such as organization, web address, etc. are optional. The list is set up with the last names in alphabetical order in the first column.

The Contact List will be started as a separate document before the Open Space event.

The preliminary list will be produced in Excel or Word as the participants are signing up for the event. The files will be available at the beginning of the event. The list will be printed, enlarged on A3-paper and posted on the wall in the main room. Participants may than add, remove or edit their own data. The corrected list will be printed and enlarged again for cross checking the data. The final version will than be included into the Book of Proceedings that every participant will take home.

It enables the participant to stay in contact and to work together on their plans and projects created during the event.










2009-2010. Lisa Cheung (Cv)


SOLO EXHIBITIONS2008Fountain of Clear Ripples, Cliffe Castle, Keighley.

2007New Chandeliers, Hoxton Hall, London.

2006Whispering Roses, Museum of Garden History, London. Fireflies, Seoul Fringe Festival, Seoul.

2005Pique Nique, Firstsite at Minories Art Gallery, Colchester.

2004GWC”, Spacex Gallery, Exeter.

2003New Year, Chinese Arts Centre, Manchester.

2002Twilight Garden, Camden Arts Centre, London. Light Familia”, Derby Museum and Art Gallery, Derby.

2001Lite Bites, Gasworks Gallery, London.

1998Nightlights, Para/Site Central, HK.

1997Eat in or Take-Away, Plymouth Arts Centre, Plymouth.

SELECTED GROUP EXHIBITIONS2009Group Process, Radar Arts Programme, Loughborough University, Loughborough.

2008Contemporary Chinoisere, Collyer Bristow Gallery, London.China Design Now, Liberty Department Store, London.Tatton Park Biennial, curated by Parabola, Tatton Park, Knutsford.

2007Human Cargo, Plymouth Museum and Art Gallery, Plymouth. Boutique, Chinese Arts Centre, Manchester.

2006Close Distance, Plymouth Museum and Art Gallery, Plymouth. Double Six, G Index, Toronto.

2004Homeland, Spacex Gallery, Exeter.Nit Niu 04, Pollenca, Mallorca.Artsparkle, Leeds City Gallery, Leeds.Stranger than Fiction”, ACE Touring Show.

2003Exhumed, curated by Danielle Arnaud, Museum of GardenHistory, London.Did you know Hong Kong was still last night?, Parasite Art Space, HK.Glamour, British Council, Praha.Meinstrastando, El Conde Duque, Madrid.Carioquinha, Espaco Bananeias, Rio de Janeiro.

2002New Releases, Art Gallery of New South Wales, Australia.Diversion, Museum of Garden History, London.Gwangju Biennale, with Parasite Arts Space, Gwangju, Korea.

2000Hong Kong Artscope 2000, Mizuma Gallery, Tokyo.How the West was Lost and Won, British Council, Praha.

1999Gracelands Palace, Sungkok Museum, Seoul (pub.). II@Dogenhaus, Dogenhaus Annex Gallery, Berlin.

1997Fish Out of Water, Curwen Gallery, London (pub.).

SOLO PROJECTS2009Mobile Allotment, Nightingale Estate, Greenwich, London.

2008El Club de los Dedos Verde, Intermediae, Madrid.Summer Palace, A Foundation (off site), Liverpool. Spirit of Gosport, Aspex Gallery (offsite) Portsmouth. 2005I asked her and she said yes, Chinese Arts Centre, Manchester.

COLLABORATIVE PROJECTS2007Blink (with public works), St Peter’s Estate, London.

2006Lassie Come Home (with Ming Wong), Camden Arts Centre, London.

2004TV Dinners (with Ayako Yoshimura), Home, London (pub.).

1999Double Happiness (with Emil Goh). Outdoor project of Hayward Gallery, London.

PERFORMANCES2009Alternative Village Fête, curated by HOME, National Theatre, London.

2007Celebrando, Intermediae, Madrid.Vital 07, Chinese Arts Centre, Manchester.

2003Art and Food, curated by HOME, Victoria & Albert Museum, London.

EDUCATION1989-92Bachelors of Fine Arts, Queen’s University, Kingston, Canada.

1996-97Post Graduate Diploma of Arts, Goldsmiths College, London.

1997-98Master of Arts, Goldsmiths College.

PERMANENT COMISSIONS2006Secret Lives of Hours and Minutes, ACE, London

2004Bliss, Chinese Arts Centre, Manchester.

2003Tradescant’s Ark, Museum of Garden History, London.

GRANTS AND AWARDS2009 & 2007Grants for the Arts, ACE.

2003Travel Grant, British Council.

2001Visual Artists Fund, London Arts Board.

2000Year of the Artist, Northwest Arts Board.

1999Florence Trust Studio Award, Florence Trust, London.

1999Freeman Fellowship, Vermont Studio Centre, Vermont, USA.

1995Project Grant, Hong Kong Arts Development Council.

1992Best in Show & Best Sculpture, Toronto Outdoor Art Exhibition.

PUBLIC COLLECTIONSArts Council of England, UKPlymouth Museum and Art Gallery, UKDerby Museum and Art Gallery, UKAgnes Etherington Arts Centre, Kingston, Canada















2009-2010. Adaptive Actions. THE ART OF LOITERING (theoretical data)


The Art of Loitering is a new work which will be created specifically for Madrid Abierto. The project consists in documenting, revealing and creating new loitering actions in the city of Madrid. This project explores the possibilities and enablement of loitering – i.e. flânerie, doing nothing, wasting time, staying idle in one place, moving slowly and, through this simple act, assert the public status of urban spaces.


In Liverpool, I asked kids and teenagers what was the most public space in the city for them. Several answered their basement room or sofa. In their reality, the most public space was the most private of spaces: in the comfort of their home far away from any CTTV cameras or from increasingly common monitoring systems. In your living room, you can loiter, sleep with a hood over your head and gather in large groups without being scared of contravening public gathering laws (3 or more). After thought, this astonishing, unanticipated, spontaneous and even at first violent answer appeared the most logical to me. Had widespread forms of control, increased bans, CCTV cameras, exacerbated the boundaries between seen and unseen, inside and outside, private and public? Were usually visible social behaviour, illicit activities, signs of poverty, diversity and creativity pushed underground?

Observing cities around the world as well as my own, one readily realizes that the privatization and normalization of public space has become global. To what degree is Madrid like many other cities caught in this world phenomenon? Is loitering still an active part of Latin (especially in Spain) life and culture and can it inspire others? What is slowness today? Where do loitering acts take place: underground parking lots, parks, basements, underpasses, vacant lands, malls, derelict buildings? How can we describe them, qualify them, talk about them and make them visible? What do these current practices of loitering say about public spaces in general? Where, how and with what tools, devices or tactics can we initiate and develop new areas of flânerie in public spaces, often exclusively dedicated to circulation and consumption?


The project indexes and reports on existing loitering actions in the city and encourages the implementation of new activity in relation to architecture, urban spaces and objects. It unfolds in three overlapping stages: (1) a call for proposals; (2) action, and; (3) its subsequent publication/broadcast.

1. Call for Contributions and ProposalsIn order to document and create an inventory of existing urban loitering acts, a survey is conducted (before and during the event Madrid Abierto). The objective of this project is to document existing or new, marginal, singular or popular, less discussed or highly known forms and places of loitering. The request for proposals accelerates the process. Several existing or proposed loitering actions will be chosen along with an idea for a collective action and a workshop.

2. ActionA space for loitering and submitting proposals will dwell on a busy Madrid street or plaza, or in a public building were people bustle and rarely have the opportunity or time to stop. From this temporary camp (with a large recognizable sign indicating LOITERING in Spanish) combining presence, production and interaction, participants and Madrid visitors will be offered loitering coupons (equivalent or higher to the hourly-rate salary in Spain). They will be paid to do nothing and to loiter with one of the Adaptive Actions Representative to share (discover) and document their existing or proposed act of flânerie. Workshops and acts of collective loitering will also be discussed and elaborated from this space during the event.

Our shared knowledge and expertise will be applied towards accomplishing a creative project the aim of which is to modify the intended or preponderant or limited use of architectural and urban elements. This infiltration of public space highlights such topics as resident adaptive actions and appropriations, creative transformation potential and the multiplicity of users and uses.

3. Publication/broadcastThe selected new and existing loitering actions will be made public through the distribution of multiple examples of a printed document and via the Internet . Dissemination within the community will aim at representing the different forms of loitering (in the workplace, the home or public spaces in general) as a creative means of appropriating shared realities and therefore as a form of adaptation. The presentation of actions (on a greater or lesser scale), be they projected or completed, will create a vocabulary with which the collective imagination may express itself through the use of existing structures, and will encourage the growth of similar actions.

The intervention is based on the repetition of a series of micro-actions, simple gestures imparting and initiating change in our perception and conception of the urban environment.This project wants to activate uses in public spaces, contribute and begin to rebuild an urban imaginary, show, encourage visible acts of resistance, of sociability and signs of positive antagonism.

Jean-François Prost, 2008Representative for the project

.................................................................................................................................................................................................................................................* The project title and loitering lexicon will be in Spanish. A preliminary linguistic research is in progress, but no definite choices have yet been made.

* A section will be added to the website for the loitering project and a Madrid edition of the Adaptive Actions publication-journal will be produced during and following the event














2009-2010. Adaptive Actions. AA CAMP-MADRID (location)

Atocha train station, AVE Upper lobby



















2009-2010. Iván Argote. MAKING OF

LENGTH: 1' AÑO: 2007


Sample of a video made in the Paris subway, in which he tries to direct people as if they were actors in a movie he is making. The video lasts as long as a journey between two stations. It begins once the door of the subway car closes, moment in which he say “Action!”, then, slowly he start saying out loud things like: “Continue like that”, “you are doing it very well”. The video ends when the door opens and he say “Cut!”.














09-10auve3065, 09-10autb2959, 09-10autc2999

2009-2010. Laurence Bonvin (Cv)


SELECTED SOLO EXHIBITIONS 2010CPIF, Pontault-Combault, Paris.

2009On Location, Museum for Photography, Braunschweig.

2008On The Edges of Paradise, Center for Photography, Géneve.

2007Ferne Fenster, SOX 36, Berlin (with Tarramo Broenimann).

2007The Photographers, Platform Garanti Contemporary Art, Istanbul (2 persons show with Juul Hondius).

2006When I Look at You, 10m2 Gallery, Sarajevo.

2004Contemporary Art Forum, Sierre.

2003Espace abstract, Lausanne.One-eyed Little Owl, Palais de l’Athénée, Géneve.

2002White Heat, Skopia Gallery, Géneve.

SELECTED GROUP EXHIBITIONS2009Us, Johannesburg Art Gallery, Goodman Gallery, Johannesburg.I Am By Birth A Genevese, Vegas Gallery, London and Forde, Géneve.

2008The Waste Land, Caravan, Berlin.Howl, Caravan, Berlin.

2007Welt Bilder II, Helmhaus, Zürich.L’Europe en devenir, Centre Culturel Suisse, Paris.Cahiers d’artistes 2006-2007, Fri-Art, Fribourg.Global Cities, Tate Modern, London.

2006Swiss Art Awards, Art-Basel, Basel.Let’s Stay Alive Until Monday, Tbilisi (curated by Daniel Baumann).

2005   Wednesday Calls for the Future (curated by Daniel Bauman), N.A.C., Tbilisi.Zoom in - zoom out, Fri-Art, Fribourg.

2004Interférences – Contemporary Swiss Photography, Aarhus, Copenhagen.

2002What about 9/11 Photographers. Center for Photography, Géneve.Meyrin : 4 Photographers, Forum Meyrin, Meyrin.

CURATORIAL PROJECTS Territoire & Paysage, N Gallery, Tbilissi (cat.)

ACADEMIC RELATED ACTIVITIESTeaching position, photography department, ecal, University of Art & Design, Lausanne.

WRITINGS 2009Freizeit, Berlin Schoenhauser, FCAC, Géneve, (mongraphy).

2008Stream n°1, Paris, (magazine).On the Edges of Paradise, edition fink, Zürich, (monography).Face, Géneve, (magazine).

2007Laurence Bonvin, Cahier d’artiste, Pro Hevetia, edizione Periferia, (mongraphy).Welt Bilder 2, Helmhaus, Zürich.

2006Graz Architecture Magazine, 03, Graz. Magazine XXI, Istanbul, Summer.Von General zur Glamour Girl – A Portrait of Switzerland, S.N.L. Bern (cat.).

2005DECORUM, KunstBulletin Supplemen, (contribution).

2004Flughafenkopf, Hochparterre Supplement, December  (contribution).Takeoff, Geneva School of Art Yearly Review, Artist Contribution.

2003Abstract,  (magazine).What about 9/11 Photographers. Photography Center, Géneve (cat.).Territory & Paysage (cat.).Girl’s n’ Boys, Meyrin : 4 Photographers  (cat.).Weltenblicke, Fotomuseum Winterthur (cat.), Suisse.Genève-Bruxelles, aller-retour, Saint-Gervais, Géneve (cat.).

1993Aus der Romandie, Fotomuseum Winterthur (cat.).

EDUCATIONGraduated from the National School of Photography, Arles, France, 1991

AWARDS AND GRANTS2009South African Residency, Pro Helvetia.Ile-de-France Center for Photography Residency, Les Recollets, Paris.

2008Over 35, project grant, City of Geneva.

2007Publication, Cahier d’artiste, Pro Helvetia.Berlin Schönhauser Residency, Canton of Géneve.

2006Swiss Art Award, Basel.

2005 /2003Project grant, Cultural Affairs Department, Géneve.

2002Swiss Art Award, Basel.

2001Vordemberge-Gildewart Price, Neuchâtel. 

2000Project grant, Culture council, Sion.

WORKS IN MUSEUMS AND COLLECTIONSCommunication Museum, Bern, Suisse.Municipal  Contemporary Art Collection, City of Géneve.Municipal  Photography Collection, City of Géneve.National Swiss Bank, Zürich.Nacional Swiss Library, Bern.André Malraux Center, Sarajevo.Private collections.

BIBLIOGRAPHY2009Yves Rosset, De Mémoire in Freizeit, Berlin Schoenhauser, FCAC, Géneve.Gabriel Truan New Gate in Freizeit, Berlin Schoenhauser, FCAC, Géneve.Jochen Becker, Fade to Grey, Camera Austria n°115, Graz.

2008Urs Stahel, Constructed Promises in On the Edges of Paradise, edition fink, Zürich.Daniel Bauman, Gain and Loss (interview ) in On the Edges of Paradise, edition fink, Zürich.

2007Bertrand Bacqué in Laurence Bonvin, Cahier d’artiste, Pro Hevetia, edizione Periferia.Andreas Fiedler Welt Bilder 2, Helmhaus, Zürich.

2006Fatosh Üstek (interview), Magazine XXI, Istanbul.Lysianne Léchot-Hirt, What about 9/11 Photographers. Photography Center, Géneve.












2009-2010. Lisa Cheung. VA VA VOOM VEG (technical data)


VAVAVoom Veg is a mobile self-contained unit, transported by tractor/motorcycle that can remain with the unit or used when necessary.


Access to water for irrigation systemSunny Public Square within residential community














2009-2010. Josep-María Martín. A DIGESTIVE HOUSE FOR LAVAPIÉS (location)

Days 6, 7, 20 and 21. Roof terrace at La Casa Encendida (Ronda de Valencia nº 2)














2009-2010. Sarah Boothroyd (Cv)


EDUCATION ·    Master of Journalism, Carleton University, Ottawa. ·    Bachelor of Arts, McGill University, Montreal.

SELECTED EXHIBITIONS 2009·    Beijing 789 Biennial, Beijing. True/False Film Festival, Missouri. ·    Third Coast Filmless Festival, Virginia and Illinois.

2008·    International Symposium for Electronic Art, Dublin. ·    Art Matters, Montreal. ·    MediaNet Edges Festival, Victoria. ·    EcoFocus Film Festival, Georgia. ·    Third Coast International Audio Festival, Chicago. ·    RadiaLX radio art festival, Portugal. ·    Digital Art Weeks, Suisse. ·    Third Coast Festival Listening Room at The Hideout, Chicago. ·    Concordia University Electroacoustic Studies concert, Montreal. ·    Deconstructing Hip, Toronto. ·    Ladyfest Toronto, Toronto. ·    Yeosu International Art Festival, South Korea. ·    International Features Conference, Bulgaria.

2007·    Radio Without Boundaries Festival, Toronto. ·    Radio Art Salon at Galley 1313, Toronto. ·    True/False Film Festival, Missouri. ·    International Features Conference, Copenhagen. ·    International Association of Women in Radio and Television Conference, Nairobi.

2006·    Radio Without Boundaries Festival, Toronto.

CD RELEASES 2009·    Deep Wireless VI, New Adventures in Sound Art.

2007·    Deep Wireless IV, New Adventures in Sound Art.

2006·    Deep Wireless III, New Adventures in Sound Art.

FILM FESTIVALS AND SCREENINGS 2009·    Dawson City International Short Film Festival, Canada. ·    Board Shorts Film Festival, Queensland. ·    Montenegro Canadian Film Festival, Podgorica, Canada. ·    San Francisco Women's Film Festival. ·    La Bande Video, Quebec City. ·    Scene and Heard, St. John's. ·    Shenkman Arts Centre, Ottawa. ·    Resolution, Ottawa.

2008·    Baltimore Women's Film Festival, Baltimore. ·    Ladyfest Toronto. ·    Continental Drift International Short Film Festival, St. John's. ·    Ladyfest Manchester. ·    National Screen Institute Online Film Festival. ·    St. John's International Women's Film Festival. ·    Silver Wave Film Festival, Fredericton, Canada.

AWARDS AND GRANTS 2009·    Best Short Documentary, San Francisco Women's Film Festival.

2008·    ShortDocs Award, Third Coast International Audio Festival. ·    Christoph Lehmann-Halens Memorial Award, Carleton University. ·    Ake Blomstrom Award, European Broadcasting Union.

2007·    Deep Wireless Residency, New Adventures in Sound Art.

2006·    Ruth Hancock Scholarship, Canadian Association of Broadcasters.

2005·    Kelleher Award, CBC Radio. ·    Mowatt Award, CBC Radio.















2009-2010. Izibene Oñederra. SO



 The meaning of the word ‘So’ is to look. This is an invitation to go through a mysterious story, familiar in its sound, heard on TV?
















09-10auve3067, 09-10autbc3001, 09-10autb2961

2009-2010. Susanne Bosch. S/T (2009.10 / theoretical data)

 Public art project for Madrid Abierto 2009-2010 in La Latina / Plaza del Humilladero.Starting date: 29 October 2009Location: Plaza del Humilladero and entire La Latina neighborhood

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 observation, an untold story or observation, unused old coins in a drawer at home. The public art project TITLE 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 and outcomes in the real world.

More than 136 436 519 996,32 Peseta coins and 159 065 015 995.71 Pesetabanknotes remain in peoples private property. TITLE will collect the Peseta* coins and banknotes in a public collection site in Plaza del Humilladero, La Latina neighborhood for the period of October 2009 to Mid February 2010. Along with the peseta collection, the project will ask the neighborhood and the users of the neighborhood (visitors of the Rastro market and markets, bars, cafes) actively, what they would like to realize with this public and worthless money in and for La Latina? The project will collect and publish extensively the wishes during the period of the event on a webpage, in the public media and in the neighborhood. 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 before the transport on 22nd February 2010 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 at Circulo de Bellas Artes. This one day event will be used to decide collectively what will happen to the pesetas and how this will be put into action.

TITLE 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 experience of a collective decision process. The art project combines an aesthetic appearance with a meaningful public debate. It creates a large forum for potential. By concentrating on one neighborhood, the project will empower people that live in close proximity and have a personal relationship, connectedness to the site and each other.

TITLE will do this through a number of artistic actions and interventions for a duration of 4 months from the end of October 2009 to end of February 2010.

A multi-media collection site will be on a public place on Plaza del Humilladero for the duration of 4 months to collect coins, banknotes and wishes, also to visualize wishes.

For the same duration, an interactive blog and regular actions in the neighborhood will introduce the project. Action dates are: 29.10.-1.11.2009, 12.11.-16.11.2009 , 12.12.-20.12. 2009 and 31.1.- 28.2. 2010.

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.

Web info: xxxx.xxThe multi-medial collection site was designed and built by **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). 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.

(October 2009)








2009-2010. Susanne Bosch. HUCHA DE DESEOS: ¡TODOS SOMOS UN BARRIO, MOVILÍZATE! (wishes / postcards transcription)

Wish 1- Leisure centre.- A shelter where the neighborhoods’ indigents can sleep.- A symbolic monument of La Latina.- Street safety.- Green area.Author: school of sagrado Corazon (Don Pedro).

Wish 2A park to let the dogs freeAuthor: Rosa

Wish 3From La Latina, we support you! We think it is an excellent initiative! We will closely follow all the information on the project. Greetings!

A1Improve La Latina’s facilities. I wouldn’t change anything I would just improve it

A2Make politicians aware of the importance of art. Long live art!

A3Mi wish, my idea is to lower housing prices

A4Not to have so much noise in the street


A6A new sports centre

A7To find ourselves in any country in which we areFor La Latina to continue as it isTo keep things as they are

A8A rain of wine (Jumilla 2010)

A9To promote poetry readings, book stores and cultural activities

A10Reduce usual criminal activity in the neighborhood (always the same people)Reduce noises at nightMore public children centersMore green areas(a neighbor)

A11Local sports center. Before we had one but now there’s nothing. Municipal pool

A12We want theatre in the streets-squares! Culture for everybody!

A13Regular surveillance

A14Remove the benches off the façade of building numer 8 of Gran Vía de San Francisco; increase lighting to avoid homeless people from peeing on the walls of the building and cleaning to end bad odors.

A15Recover the Castilian spirit of the neighborhood; more security; improvement in the streets and businesses of La Latina.

A16Vacant apartments and premises of La Latina should be recovered for the neighbors.

A17Turn it into an amusement park.

A18I want a sports center.

A19Steady policemen.

A20I would love to have more green areas, more plants in our squares (which are of sand only). More color!

A21Buy as much books by Daniel Estulin on The Bilderberg club and give them away for free.The book on the CIA in Spain by Alfredo Grimaldos can also be included

A22Pigs should stop pissing on the doors and corners of the neighborhood

A23A decent market should be created so we don’t have to go to other neighborhoods to buy.

A24A time machine

A25To open a leisure centre

A26Create a mobile disco

A27A football pitch in Las Vistillas

A28Walls to practice graffiti legally

A29Benefits for the homeless

A30Create a foundation to help immigrants

A31Open a disco for minors

A32Open a shopping mall

A33A residence for the homeless

A34Green areas

A35Intelligence please!

A36Leisure centre

A37Leisure centre

A38Demolish the school. Very important!

A39Leisure centre

A40Mobile disco

A41A football pitch in Las Vistillas

A42Win a Mac Grimon prize

A43A shopping mall

A44A sports centre

A45A swimming pool

A46A shopping mall

A47A cinema

A48Support a foundation that truly needs it or schools so they can have school material

A49Open a shopping mall

A50A place for the homeless

A51A sports centre

A52A monument

A53A place for the homeless to sleep better or a place to live

A54A film school for free

A55A school for disabled children

A56An adoption centre

A57A shopping mall

A58A place the homeless to sleep

A59A sports centre

A60A shopping mall

A61A place for the homeless

A 62A disco

A63A sports centre

A64A museum about the past of the Latina and things like that

A65A Japanese restaurant

A66A museum of antiquity in La Latina and things like that

A67A leisure centre

A68A sports centre

A69A monument symbolizing La Latina

A70More security

A71A Japanese restaurant

A72A Break Dance school

A73A Japanese restaurant

A74A Break Dance school

A75A club

A76A leisure centre

A77A leisure centre

A78Support a foundation that truly needs it or some public school so they can have books and material

A79A shelter for the homeless

A80A sports centre

A81A monument

A82A sports centre

A83Demolish the school

A84A football pitch for Las Vistillas

A85A shelter for those who live in the street

A86Create a bicycle lane

A87Improve La Latina neighbourhood with more security

A88More money, more cleanliness in the neighbourhoods

A89A market or supermarket

A90I want public bathhouses for the pigs that come and piss in the street on weekends

A91A proper bathhouse in the neighbourhood

A92More parks, more green areas… More public kindergartens, more space for children

A93Public toilets and community centres

A94A cinema free of charge in the square for the summer

A95More musicians and troubadours in the squareFor dogs not to wash themselves in the fountain

A96For the neighbourhood to be as it was 10 years ago (or before)Down with the noise, down with the excess of bars, eject rich kids that piss here and not in their beautiful neighbourhoodsMore cleaningOur swimming pool has been destroyed They’re going to destroy my Market of La CebadaOur Vistillas which will disappear No to speculation- no to degradationHELP! HELP! HELP, help, help, …!

A97Security and cleaning up the neighbourhood

A98More love for the neighbourhoodMore car parks

A99More green areas

A100A parking lot for residents

A101For closing down bars

A102My fondest wish, a Corte Inglés

A103A theatre and street entertainment

A104Concerts and theatrical shows every weekend in the square, thanks!

A105Less peopleStreet theatre and music

A106Adjust the Plaza de Carros and cleaning once a week

A107My wish: the city hall shouldn’t ruin the Park of Cornisa and give to the Church. It’s our park!

A108Clean the Plaza de Carros 2 or 3 times a week

A109To clean Park la Cornisa so we can sit down without fear. Respect the park of las Dolices more and eliminate the mattresses. To take care of the lighting for there are dark areas

A110I wish a dream: that my neighbourhood, la Latina, became as it was years agoI wish speculation and degradation disappeared from itI wish we had the Latina swimming poolI wish my beloved market of la Cebada wouldn’t disappear I wish for cleanlinessI wish there were no noise, to limit the number of barsI wish the alternative stupid thing for spoiled brats would forget about usI wish for another neighbourhood, the one we had before, for the Latins of always to be able to liveIf you’re the three wise men please, do it!

A111For a neighbourhood with bars that obey the regulations

A112(Written by a child)To equip the squares for children

A113Create some place for young people and don’t change the park of Cornisa

A114I wish they made football pitches in some old sports centre

A115Create more places for sport and shopping malls

A116Cinemas, Burger king, MacDonalds, sports centre

A117My wish is for the neighbourhood to remain as it is

A118To create football and basketball pitches in the old sports centre

A119To improve the park of la Cornisa

A120Maintain the park of la Cornisa

A121I would like the neighbourhood to have sport facilities and a meeting centre for youth and associations

A122I wish they created more places to hold events for youngsters and an economic dancing school

A123A centre for young people’s activities

A124I wish there were more places for young people (stores, restaurants, bars,…)

A125I want a shopping mall and a sports centre

A126To keep the park of la Cornisa

A127I wish the park of Cornisa remained the sameA sports centre A dancing academy or a park where the sports centre used to beBicycle lane

A128To build a big sports centre and a bicycle lane

A129More places for young people

A130To keep the Plaza de Carros and San AndresCreate a bicycle lane and a sports centre

A131To build a new big sports centre

A132To keep the park of la CornisaTo build a new sports centreBicycle lane

A133Sports centrePreserve the park of la Cornisa

A134For the church of la Paloma and the park of la Cornisa to remain the same

A135I want a Corte Inglés

A136 (Mar, girl)I want more nature, more flowers, more trees

A137A real nice park, with an area to protect oneself from the rain, with grass, trees, benches, tables,…

A138 (Nicole, 10 years)Please, we need a park in La Latina neighbourhood

A139 (boy)A Corte Inglés

A140For a cleaner neighborhood!

A141 (boy)I want a Corte Inglés

A142We want more trees and greenness in the city. Here works are taking place, widening sidewalks and trees are not being plantedThose places where there were are now cement squares. Madrid is becoming stifling. PLANTS, TREES OR PUT HUGE FLOWERPOTS WITH BUSHES!

A143An exhaustive control of bars that might open without license

A144I want more activities and cultural variety in the neighborhood. Thanks

A145 (boy)I would like a Corte Inglés

A146My dream would be a Corte Inglés

A147A park with gardens

A148We need a free public car park in the neighborhood/for residents. IT’S IMPOSSIBLE TO PARK IN THE AREA!

A148.1To create a simple football pitch in las Vistillas, 2 goals, the lines of the pitch and that’s it

A149More parks and less dogs that use the street as toilet without cleaning it afterwards

A150More green areas

A151Green areas

A152More green areas

A153Finish the sports centre

A154To change the type of stores in the shopping centre of Puerta de Toledo

A155More festivals

A156A music festival and a free concert

A157A festival

A158Build apartments for young people at a good price

A159I am a 6 year old boy and I am tired of seeing my neighborhood full of dog pooh and garbage

A1601- Bicycles and bicycle lanes all around the neighborhood2- Freedom in the streets3- Pedestrian areas

A161A Corte Inglés

A162 (boy)Please let the park of la Cornisa remain

A163Help the homeless people in the neighborhood

A164An amusement park

A165I wish they would build the sports centre of la Latina again. Sport is health!

A166Please, clean the neighborhood and don’t let the dogs pooh in the park of las Vistillas, which is a disgrace and children can’t get in. Thanks.

A167Food for the poor

A168Forbid accordions and parks

A169To build a film theatre

A170Buy tents for people who live in the streetFood for the homelessA very good meal for Christmas or, depending on the money collected, several meals during the year

A171My wish is for la Latina to be cleaner

A172 (a girl)I wish dad and I never separated

A173Thousands of picture cards of the League to exchange

A174I don’t want to get angry with my family or with my sisterI don’t want to lie to anyone

A175 (boy)I love my puppy and her knees to be cured

A176 (boy)I want my mom to come home as soon as possible

A177 (boy)To destroy the school

A176 (boy)For you to be very happy and for me to see it

A177 (boy)A rollercoaster for everyone

A178 (niño)For the kings’ wishes to come true

A179A clean neighbourhood

A180Our wish is a location with a drinking fountain and benches to sit or lay down (without a bar) and a fenced area for dogs

A181Don’t take the park of La Cornisa away from us

A182 (niño)I want a cat. I want a parrot

A183 (niño)I want a nativity scene

A184I want Madrid to remain as clean and beautiful; not one politician should damage it

A185For a cleaner neighbourhood, without odours

A186A football pitch

A187A football pitch; to know each other; a time machine

A188Don’t take the park of la Cornisa away from us

A189More clearing less drinking in the street

A190A swimming pool. Our swimming pool

A191A football pitch

A193Leave the park of la Cornisa and don’t bring the dogs down to the garden

A194To create a pedestrian pasaje for the La Paloma residence to cross to the cafeteria

A195A free hostel to sleep to visit la Latina

A196More security

A197More green areas

A198More taxi signs

A199A new market for La Latina.

A200A new market. Less noise in the neighbourhood. A sports centre. Cleanliness in the street.

A201I would the Project for park la Cornisa to never happen. I would also want the streets to be cleaner

A202My wish is to remodel (at last!) the Market of la Cebada, giving the neighborhood new impulse and easing shopping for everyone (most of all mothers) in the neighborhood

A203A newmarket for La Latina and peace and happiness for everyone

A204More security, less mafia

A205Modernize the neighborhood

A206More security for the neighbourhood. Less persecution and raids of immigrants

A207I wish La Latina was a safer neighbourhood, for youngsters to have more programmes and education, and more integration

A208A sustainable park of la Cornisa (self-sufficient irrigation system)

A209An ecologic vegetable garden for the neighborhood in the park of la Cornisa

A210Rehabilitate the gardens of seminario and open it for the public, for the nighbour’s and tourist’s enjoyment!

A211To take out the slope of Toledo street and put the old businesses

A212To keep the stores (grocery stores, butcher’s shop,…) and inns (León de Oro, Cava Baja)

A213Put a bus stop in the residence for excursions (La Paloma)

A214To keep maintain the few old stores that still remain in the neighborhood of La Latina

A215To modernize some stores

A216I want to eliminate the slope of Toledo street, because the people living in La Paloma residence can’t climb it

A217Take the slope of Toledo street, make it flatter

A218Not to end the Numancia centre and make more centres for elderly people

A219Security, it is necessary for the neighbourhood

A220More security for Gil and Mon streets, and more streetlamps

A221To keep park of la Cornisa and plant more trees

A222Not to end the Numancia centre

A223Keep park of la Cornisa A224For Mercado de la Cebada to remain

A225To feed people in Numancia centre

A226For streetcars to be replaced, more secure and eliminate cars

A227Keep la Cornisa. Not to destroy the barquillero, roasted potatoes, sweet potatoes, chestnuts in a railway machine

A228For turkeys and the kid with the bar to continue (behind closed doors). Babtisms in which coins were thrown

A229For the fiesta of la Paloma to continue

A230For kermes to continue in las Vistillas.

A231To fix Paseo de Extremadura.

A232Mi wish is to fix Paseo de Extremadura.

A233A streetcar from Puerta de Toledo that “broke” the stone bridge not to pass again. “In the prime of my life and without being able to win it” (Pierra).

A234Would it be posible to create a cartoon (fun) which induced children and youngsters not to stick chewing gum on the floor and preserve buildings and businesses form graffiti?

A235My wish is for this neighbourhood Downtown-la Latina to be cleaner. I live here since the 70’s, and it has never been so full of graffiti, it’s a shame, such a beautiful historic neighbourhood in which anyone can buy a spray (which they sell in any store) is owner of the street and can dirty façades, stones, which although cleaned will never look the same. I also wish outdoor bars to clean paper napkins that falla to the ground, if they have a business the street doesn’t have to be full of garbage. And, last, to find housing for the homeless. This is a tourist and historic neighbourhood and we give an impression of a dodgy and dirty city… not of a modern capital.

A236To keep streets of Madrid free from graffiti

A237To restore every historic monument in Madrid

A238I wish Madrid was clean and for pigs not to exist

A239Give us back las Vistillas

A240Take las Vistillas Hawai from the church

A241Wi-fi for free in all the neighbourhoods

A242Weekly activities every Saturday morning: fen sui, aerobic, belly dance, drum circle… Money to pay the teachers

A243Organize a playing/educational group for the kids in the neighbourhood

A244More green areas

A245To be able to park closet o my house

A246My wish is to create leisure areas for people in the neighbourhood to play sports, to practice street dance, areas to be able to express yourself…

A247More green areas for children, car parks. Garbage and recycling containers

A248Ana rea open to the people to Saint, as well as parks and libraries. I would like a place to receive artists of all ages

A249Meetings for neighbours on terraces (use terraces as a common area)

A250More plants in the streets or even, plantations (gardens and orchards) of the neighbours

A251No to the Church, no to the ‘mini-Vatican’

A252My wish to have less police in the neighbourhood on Sunday afternoons

A253Public space for cultural activities, workshops, exhibitions

A254Free car parks

A255More recycling containers

A256I want more supermarkets

A257Shelters and mess halls for the homeless

A258Better cleaning service

A259Christmas lighting all year

A260To promote traditional businesses

A261Greater investment in small businesses of the neighbourhood

A262New asphalt

A263 More public cultural facilities in the neighbourhood

A264Less real estate speculation in the neighbourhood

A265No to the ‘mini-Vatican’! To give us back las Vistillas. The neighbourhood needs more green areas and less pollution

A266Veranos de la Villa for free.. but for real!

A267A good athletics track, a sports centre

A268To improve line 6 of Metro. To reduce the price of Metro tickets in the neighborhood of La Latina

A269I want a zebra crossing. Some kilos of paint = a great service for the neighbourhood. In a place where there are three schools and children’s education centre. When crossing the road of San Francisco we throw ourselves to the cars…. Why? Because from Tabernillas street to the square of San Francisco el Grande there’s a great distance. SOLUTION: a zebra crossing with two options: Las Aguas street with Carrera de San FranciscoSan Isidro with Carrera of San Francisco

A270To eliminate the mini-Vatican

A271To rebuild the old market of la Latina which was demolished, instead of the current market which has no proper imageAnd thus recover an architectonic work that should have never been lost

A272Mixed toilets

A273More green areas, less graffiti

A274Less traffic, more parks

A275More green areas and less graffiti

A276More green areas and less graffiti

A277I wish Madrid remained as clean and Beautiful

A278Build a park for children

A279I want pollution to disappear

A280To recycle more and for this world to be a better place

A281I don’t want dog pooh in every street of the neighbourhood, and if given the choice, municipal sports centres with swimming pools

A282Enlargement of the children’s area of la Cornisa park and rehabilitate and open to the public, without building anything

A283No to the mini-Vatican (areas for leisure)

A284For houses to be for free, please

A285My wish is to plant trees in the park of la Dalia

A286Fountains for everyone to drink and for the cattlePreserve the parks

A287Improve accesses for elderly people

A288To build a hospital where the prison was before

A289I want a better neighbourhood of la Latina

A300To build a bigger swimming pool and a sports centre

A301To put turkeys and quails in the parks. To put streetcars again

A302To take Hawai the street market at the end of Arganzuela. To build a huge swimming pool

A303To create more toilets in the neighbourhood; more surveillance. It’s frightening to go out

A304Don’t destroy the park

A305Better security

A306A Hospital

A307Happiness, more employment and holidays

A308More green areas

A309To put more benches

A310Build a new Hospital

A311More green areas for my puppy

A312I would want a hospital

A313A Day Centre for disabled youth and people with alzheimer

A314To fix the bridge of Segovia and put more police in the streets

A315Don’t take Hawai the park of la Cornisa and more surveillance for dogs and to put trees in the Dalia Park to give shade when we are out on a walk. (An old woman is writing this, thanks)

A316To bring streetcars back

A317There shouldn’t be so many people. To be more calm

A318Good quality community areas

A319Hygiene indications (for people who drink in the streetPosts of historical information with maps (what is el Rastro, square of la Paja,…)

A320For traffic agents to receive a salary in accordance with their duties (pay rise now!)

A321A cheaper theatre to invite my girl

A322To legalize Marihuana

A323Not so many Chinese, Indian or Arab businesses in the neighbourhood

A324To improve the Faculty of Fine Arts at least a little bit

A325I would like a shelter or place t olive for the homeless people in the Church

A326Grass in the square of los Carros ando of la Paja

A327I think that our neighbors of the Church of San Andrés shouldn’t live there. It is insalubrious for them and for the neighbors that live around. Everyone that visits the neighborhood, which is a lot, is astounded and impressed with them. I think the members of the City Hall and the Social Brigades shouldn’t permit it and should take them to a more appropriate place

A328A statue made of the coins themselves. Which? As there are theatres around I thought of a mask

A329To put exhibition halls for new artists, independently form their age

A330I would like more parking areas, and green areas

A331A Corte Inglés

A332A park for children and a car park for people in the neighborhood

A333Fill the park of la Cornisa with trees and more green areas

A334Lots of parks! The Cornisa for ever!

A335More surveillance for the “dog people”, the dog poohs are a disgrace; and a hospital and less Vatican, “but with the Church we have bumped, Don Quixote”

A336To create more areas for walking

A337Our wish is ana rea with a drinking fountain and benches to sit or lay down (without a bar in the middle), and a fenced area for dogs

A338For people not to piss in my street, thanks

A339My wish is for la Latina to be cleaner

A340A football pitch

A341(To still have the love of my family and the love of the ones we live with). I would like to invest money in free kindergartens for the neighbors. Thanks for the iniciative, a kiss and a hug

A342More flowers and rainbows, friend and games at park of la Cornisa

A343To respect the park of la Cornisa, because the centre has few green areas. To clean the street more frequently , as well as “poops”. This area has a great density of population and needs more cleaning. The neighbourhood of Salamanca is always clean. Why?

A344Unquestionably, improve the green areas and creating more. It would also be necessary to do something to reduce the noise (cars, etc)

A345 (boy)I want pollution not to exist and to keep the park of la Cornisa

A346 (boy)To clean dog pooh every day

A347 (boy)Cute little trees, little trees in my neighborhood

A348 (boy)I am Daniel and I don’t want garbage in the streets

A349Put grass around the trees of Plaza de Carros

A350For Gallardón and la Vria to forget the terrible idea of destroying Cornisa-Vistillas to create buildings that cool well be somewhere else

A351I build the sports centre of la Cebada once again and not to move the park of la Cornisa

A352To organize weekly outdoors concerts in the park of la Cornisa

C1La Latina is synonymous with music, art, joy, people, in one word; with life, my wish is we never lose it

C2To buy a pair of roller skates for Mr Mayor for him to go through the neighbourhood and see how abandoned such a noble area is. For the taxes we pay to be reflected on improvements in the neighborhood

C3 (boy)To reduce the smoke in streets and bars

C4For the neighborhood not to lose its identity and preserve its light. THANK YOU, LA LATINA!!!

C5A spaceship A dragon park

C6Everyone to be happy

C7I just want welfare and peace for the neighbors and proper coexistence with people who come everyday to enjoy the neighborhood

C8To know each other right now! (And to let me know the day when it will happen: This email address is being protected from spambots. You need JavaScript enabled to view it.)

C9 (boy)For things to go better in school and playground

C10Streets for the peopleA life with of light and color, peace and love. And all the prisoners to the streets

C11For everything to improve, society, Africa, those with no name…

C12For things to change, yes! For better and never for worse

C13More honesty

C14To be better “for” others. Carlos Castella

C15More jobs. A good environment

C16A neighbor's assembly. Migrations integration

C17The best for the neighborhood

C18For youngsters of today to learn the chotis and dance in the verbena of la Paloma

C19For my grandchildren to learn to dance the chotis

C20For people in the neighbourhood to be friendlier

C21For the neighbourhood to be what it once was; verbenas, dances, fun with organs in the patios. To do chain stitches

C22For everyone to be happy and a peaceful world

C23I want peace for the world, for everyone to be able to eat and drink without begging

C24Such good fortune!

C25To respect the cultural centres in squad houses of the neighborhood

C26To achieve communication and knowledge without social, cultural or money barriers. Thus I want for everyone to share the same things, love and peace

C27No to police oppression

C28I want to feel good with myself, with those who are around me and those who are not

C29My wish is for young people to have jobs

C30I want, for the neighborhood’s good, to end mortgages

C31Love, consolation and affection for God, saviour of the whole world

C32I would like proposals like this one

C33I want world peace. (A citizen of the world)

C34For love to invade every human being

C35I want a loto f peace in the world

C36For the world to become aware that what we need is solidarity, love, common sense… peace and love for all, for the world at large

C37For my family to be fine

C38A dog for my brother

C39Health for my brothers, thank you very much

C40Tranquility and friendship in this neighborhood

C41Get to be a good person to make people happy and do good things

C42I wish my mother returned home as soon as possible, I love you

C43I wish to live in Europe someday!

C44For everyone to be happy

C45I want to be a good girl and most of all to have fun on my birthday and to receive a lot of presents

C46Love and peace

C47 (boy)I wish candy would rain from a giant crane

C48 (boy)For toys to rain and anything we want

C49 (boy)For evil people not to exist

C50 (boy)Money and chocolate raining














2009-2010. Iñaki Larrimbe. UNOFFICIAL TOURISM (theoretical data)


Tourism, that great industry, has democratized – and trivialized- experiences. And cultural tourism doesn’t elude this perversion: the administration of culture as a way to create consumer habits in today’s citizens is imposing. This is an already unstoppable phenomenon. Paraphrasing Begout’s words on Las Vegas: “it’s a matter of following one rule: suggest experiences to tourists and visitors”. And in this way local programs on culture strip themselves of content in trying to attract visitors that may generate economic profit for the cities. In such a situation citizens become extras of the film: culture is not an end in itself, but just another economic resource. In the same way as “beach and sun” tourism has destroyed many natural settings, the new cultural tourism damages local cultural ecosystems. The paradox is that this new landscape is motivated and stimulated by the Culture departments of our public institutions.

The “Unoficcial tourism” project intends to embed itself, through the economy of means, the “do it yourself” philosophy, inside the mechanisms created by the cultural industries. But “Unoficcial tourism” doesn’t intend to criticize. The idea is to be part of such reality from a nihilistic point of view, because “Unoficcial tourism” is designed to serve foreign cultural consumers. It tries to respond to the demand of cultural entertainment which, as we have said, new cultural policies (based on a socioeconomic criterion) have created.

The fact that political management of culture has accepted the “public realm” of the cultural experience as just another “resource”, against, not only other ways of perceiving culture – were it considered a value, a lifestyle or a way to interpret difference-, but believing that beyond media attention it has no value, has been an influence in the development of this project. Also, and paradoxically, if we agree with Castell, “the transformation of capitalism, the continuous weakening of the State’s influence, together with social changes originated in the development of new technologies” establishes a whole institutional context where the economic and moral resources of what we call “non profit” is used as a way to legitimize social development, job creation, cultural tourism, etc. The full acceptance of these facts has produced a series of alterations in the art system that must be treated with criticism. A criticism that, by its own logic, private and public cultural institutions (which follow such socioeconomic approach) do not subscribe to.


THE INTERVENTIONThe idea is to customize a caravan, turning it into a “non official” tourist office to be located in the streets of Madrid and thus be able to meet the foreign cultural tourist’s needs. We choose a caravan as formal device due to its attainability: it is economic and easy to transform.

ACCOMPLICESItinerary creatorsIt is necessary to count on different people related in some way to the city of Madrid to elaborate some maps or street plans, showing strange, curious or personal tourist itineraries…

Already created itinerariesA series of artists (Leo Bassi, for example) have developed in some occasions alternative tourist itineraries of Madrid. It would be interesting to study their history, visualize them in maps and integrate them into our project to offer them to foreign cultural consumers.

Tour guide We will need a guide to help and inform tourists.

Graphic designerNecessary to design all the graphic material (maps, brochures,…) and to customize the caravan.














2009-2010. Iñaki Larrimbe. UNOFFICIAL TOURISM (location)

Pº de Recoletos,central boulevard














2009-2010. Puy San Martín + Nerea Lekuona (Sinbait). NON TITLE



The apparent stillness of reality is juxtaposed with the symbiotic and fictitious dimension that produces the organic sensation of amazement.

On the other hand the dynamic image, opposed to the lack of intrinsic movement of its surroundigns, again opposed to the existence of extrinsic movement.

If we add to these perceptive sensations the suspension of the moving image, which contrasts with the inorganic growth and decrease of the apparent reality, we create a dramatic tension that disturbs the spectator throughout its development.

In this way, the audiovisual allegory intends to open a debate concerning the myth of the cavern- cathodic- related to the authority of fictitious social values felt as legitimate, when those that are truly legitimate, inherent to that which is most primitive in human beings, revolve in inferiority, struggling to coexist on equal terms. The solution to this paradox leads us to think about the idea, accepted as well as mistaken, referring to “everything that appears on television is true”, in which we can also include our video-creation understood as a form of media.















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2009-2010. Gustavo Romano. TIME NOTES: OFICINA MÓVIL (2009.05 / project review / technical data)



Design the notes (Madrid Abierto eidition)Design the flyersDrawing of the cart Print the notesContact and call for possible actorsCall of the international guests for debate sessionFind a place in Madrid to be in August for four days

August and September

Arrival in MadridAcquisition of computers and the rest of technical devicesMeeting with actors, selectionSearch and selection of providers to make the cartContact local guests for the debate session and find a placeFind apartment for January and FebruaryDeparture from MadridDevelopment and installation of software


Rent of an apartment in MadridArrival in MadridPrint flyersHire Internet serviceCreation of the cartDistribution of flyersFirst runs with the Mobile OfficeRecord videoEdition of video

February (before the 4th)

Assembly at Casa de AmericaTest Internet connection and communication between Mobile Office and Main Office

From the 4th of February on

Programmed routes of Mobile Office beginMain Office functioningPreparations for debate session

Date still to be established

Debate session

From the 1st of March on




General production

- 3000 note printing (special issue for Madrid Abierto)- Promotion flyers to post around the streets

Mobile office production

- Construction of a cart upon a tricycle- 2 actors or volunteers to attend the office- 1 printer- 1 laptop (with an extra battery charge and webcam)- Wireless Internet 3G

Production for main office (in Casa de America)

- 1 actor or volunteer to take care of the office- 1 desk or kiosk - 2 chairs- 1 reading desk (or reading place with 1 or 2 buckets)- Promotion poster to show the way to the office- 1 computer- 1 printer- Electric connection- Internet connection- 1 DVD player- 1 TV set- Headphones- 1 showcase or desk to exhibit the notes











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2009-2010. Susanne Bosch. HUCHA DE DESEOS: ¡TODOS SOMOS UN BARRIO, MOVILÍZATE! (wishes / audio transcription)


2A house for the homeless.

3A monument that represents La Latina and a sports centre.

4A green area.

6A sports centre.

9A green area.

19Fix Jesús el Pobre street because it’s in real bad condition. They have fixed all the adjacent streets where there are outdoor bars.

22I would like the garbage in the containers to be picked up more frequently, there are rats and a lot of filth

23I would like public toilets in the bar areas, because if not people pee in the street and it smells really bad.

25We want more drinking fountains in the street. Thanks.

28To remove the benches from Gran Vía of San Francisco number 8 and put more light, please.

31Fresh squares not deserts, we don’t want deserts. Please, Gallardon!

75Don’t take away Vistillas’ park.

89Don’t take park of la Cornisa from us.

94Leave Vistillas and la Cornisa without priests.

102I want to recover the swimming pool of La Latina, because now, each time I want to go swimming I have to go to Pacifico, please.

149Saconia became an independent neighborhood. I want a free, united and unique Saconia. I want a special Saconia of Spain.

154Fix Travesía de las Vistillas, which is paved and in bad condition.

160For the Vatican to leave the hill of Vistillas.

161I want the empty premises of la Latina were used for neighbourhood activities.

162Public toilets so people don’t piss on the street.

177For 2010 to bring much joy to the neighbourhood of La Latina.

243Never take away the park of Vistillas, and everything surrounding it which San Francisco the Great.

283I very much desire, very much, that in our fountain of La Latina, there were a drinking fountain.

284I want more moneyboxes such as this one, so we can give people in the neighbourhood a chance to speak up.

287Hi, I’m David, , I’m not from this neighbourhood, but if it were my neighbourhood I would like a bicycle lane. Thanks.

289I very much desire, very much, to plant rosemary and thyme in the square’s basins.

292Public toilets in the street so people don’t piss on the doors of houses.

308I want a lot of moneyboxes because it’s the coolest thing in Madrid, no doubt.

323I want to wipe the dog poops out of the neighbourhood.

331We want a livelier neighbourhood, of cultural ways of life.

346I want more parks in the neighbourhood, there are none. Please.

353I don’t know what I want for this neighbourhood; free rooms for rent, at a good price, around 300 euros.

354I want the old houses of the neighbourhood refurbished and make proper windows so that living rooms have more light, and not a weird bedroom.

359A lot of work for everyone in the neighbourhood.

366I wish Julia was my best friend. But if this is for the neighbourhood, I want the streets to be as nice as they already are.

367Children’s areas and parks.

370I want the neighbourhood to be cleaner…, I want the neighbourhood to look prettier… I want… so many things.

417It would be great to have more cleanliness in the streets.

419There a lot of dog shit.

426Beers at one euro.

430Bicycle lane for all Madrid and for the neighbourhood.

432A park to drink.

446I want the neighbourhood to stop smelling like piss because of the Mayor, that doesn’t take care of the neighbourhood at all. Thanks.

453To turn Toledo street into a pedestrian lane.

454I want the prices of the rent to decrease and to put terraces in every house so there is plenty of light.

461I wish they didn’t break the moneybox anymore and I hope it truly worked and for this project, which is so much fun, made this neighbourhood really improve.

470A golf course.

471I wish there were no drunks.

515I want the public library to remain. And to make it pedestrian. Pedestrian Latina now!

524Benches for everyone.

530We want less traffic in the neighbourhood.

552Only park in la Cornisa.

554Only park in la Cornisa.

563I want a park in the square and not so many drunks because they do bad things to us.

570I would love this neighbourhood to be hyper-civilized and for people to like things that are done, they would take care of them and were friendly to strange objects.

572I want 400000 trees in my neighbourhood so that we all have shade in the summer and so it’s very green.

574We want a park for the children to play every afternoon.

596I want a statue of Gallardon here.

602I would like a removable swimming pool for summer here, in this square.

607A swimming pool for children.

612I want more terraces.

623I want a clean neighbourhood.

627More signs showing the way.

631Hi, first I would like to congratulate you, the project, and well, and wish you would do something in Granados street, in the steps there are.

643Less police and let the good looking people around here sing and play.

645To clean the piss.

648Hi, my wish to clean the neighbourhood and Granados street.

649A graffiti wall for the neighbourhood.

699For the moneybox to remain for a long time.

700For La Latina to have orchards.

701For the moneybox to remain in La Latina.

704We want cheaper housing in La Latina, this beautiful neighbourhood.

705Don’t take the park of la Cornisa.

707A bus line that comes from Moncloa. We almost don’t have public transport around here.




Sagrado Corazon 1SC- La Latina swimming pool?I-Yes, they have demolished it, to renovate it, but we don’t know what they are going to do.SC- Let them renovate it then.I-Yes, let them do it and leave it because there are people that if they want to go. And if it’s not ready, well…. They have to go to another place that is more… besides, it is something that’s been there for a long time, as far as I know. It doesn’t mean that it’s been there long before I was born.

Sagrado Corazon 2I- What do I want for La Latina?, tranquillity.SC- Tranquillity?I-Tranquillity, I’m going to move (laughter). I wish it was quieter.SC- Something that can be made, something to build… a park…I-No, no, they shouldn’t film so many movies down there where I live because the breakdown van has taken my car a couple of times.

Sagrado Corazon 3A wish for the neighbourhood of La Latina is not to change the market of la Cebada. If they’re going to do it they should leave the old structures.

Sagrado Corazon 4I want less expensive apartments, to keep the market of la Cebada, the old sports centre and more parks as well.

Sagrado Corazon 5We want many more parks than just la Cornisa… yes, yes, the park of la Cornisa.

Sagrado Corazon 6I come from Jerez, I’m a tourist, but I wish they made a park in La Latina.

Sagrado Corazon 7I want such a lively and happy neighbourhood, and less drugs and less crime.

Sagrado Corazon 8Well, nothing, lets see, I will ask a wish for the people in the neighbourhood, because they want a swimming pool for the summer, lets see if it can come true.

Sagrado Corazon 9To reduce the rate of beggars, which as we can see, are taking over the streets day by day. More shelters and support from public institutions.

Sagrado Corazon 10Everything, be good, and hey, the neighbourhood should be cleaner, looking good, let there be no robberies, lets all be good, ok? That’s my wish.

Sagrado Corazon 11Well, I live in Holland but I’ve been coming here for a long time now, and I always find people without a house over there, I feel sorry for them, and I have just given them a euro, but of course, that is not a good solution. Look, that man is putting out the bucket that works as kitchen and we should solve such awful situations by opening a shelter and giving them the services they need, and I think that would be a great measure for the neighbourhood.

Sagrado Corazon 12More surveillance over people with dogs, and to build a hospital, not a Vatican.

Sagrado Corazon 13Savings book.

Sagrado Corazon 14I-They should build a huge swimming pool.SC- For you and for your grandchildren.I- For everyone.

Sagrado Corazon 15I want an alternative theatre because it’s a necessity to be fulfilled in Madrid, because alternative theatres of today, the most different was Cuarta Pared but now everyone gets into fights and do things that are, typical of elites you know, there’s no alternative and the other tiny ones, in order to eat use commercial material such as monologues like the ones by Manolo Manola talking about pooh, butt, fart, piss and there’s no alternative theatre.

Sagrado Corazon 16We would like a supermarket there, bigger, which delivered to the houses, because elderly people don’t have a single store with home delivery. They could make a shopping mall instead of that, with home delivery service to help elderly people, because this neighbourhood is full of them.

Sagrado Corazon 17I1- Social action for the underprivileged, no? for underprivileged people.I2- But it’s complicated Nacho.I1- I wouldn’t use the money to install a streetlight, for example, because City Hall should do that, but there are lots of associations that need material support or that type of thing, places that work with kids, which need pencils o that type of… lets say, I wouldn’t use it to install a crystal balloon that will last one month and which I don’t, don’t think… I would use it for a social purpose…, yes, yes.

Sagrado Corazon 18I1- What I would do, for example, would be a chotis dancehall, for older people to teach youngsters, in that way you can attract the elderly public which is in possession of the pesetas, to teach a traditional dance from Madrid that many of us youngsters don’t know how to dance and chotis is speakers, chotis, and on the floor people dance and it could be a good interaction between different generations, the elderly person putting the pesetas, exchanging information related to the old Madrid, that has to do with pesetas, with the youngster.I2- Nacho, maybe it would be better to practice zarzuela, because chotis,…I1- Well, any dance they might know, the old people, older than 55 or 60, ha?

Sagrado Corazon 19The first thing is, to me, that people knew what they really desire, I’m sure people can think, there is a lot of people saying “I want to help others” and don’t understand that first of all they have to help themselves because of their type of job or type of life they have due to lack of care for their children. I would promote something to bring awareness about what is truly valuable in life. Make people aware, I don’t know, to promote conferences but not on an intellectual level but for everyday people. Do you want to know how to improve family life? Or, do you want…? I once heard of a man that tried to make rich people happy and he was greatly criticized because they said “you have to help poor people” and he said “no, no, rich people have their own problems… because they only collect money and we have to show them to live, right?” well it’s a bit…, because now in Madrid people say “I don’t have money” but we all have, all. This month I can’t pay the rent, but next month I will have more than I need and… I don’t know. I don’t how to do that.

Sagrado Corazon 20To clean the neighbourhood up, ok?

Sagrado Corazon 21I think the best thing would be to create more parks and an underground car park so there wouldn’t be so many cars in the streets.

Sagrado Corazon 22There’s a lot, ha? we have many wishes. Clean streets; less noise; bars to close their doors so we don’t hear; apart, the market is in terrible condition. We want a new market, a new sports centre.

Sagrado Corazon 23- Hey, hello. We are members of school Sagrado Corazon and we are participating in the Moneybox of Wishes project, we’re asking people about their wishes for La Latina and we wanted to know if you could tell us yours.- I, having been born in this neighbourhood, want all of us to be able to be in the streets. I want the street to be, apart from a way to collect taxes, a place where lots of children play, with night watchmen, it doesn’t matter we can all enjoy our neighbourhood. Because we are always paying and we receive very little.

Sagrado Corazon 24I have several wishes. Lets see, first I would want the market to be renewed, it is a project that has been discussed for many years now. I would like the streets to be clean. I would like the park of la Cornisa to remain as it is, and to preserve the small business model. These are, in the meantime, all the wishes I remember.

Sagrado Corazon 26My wishes the neighbourhood of La Latina are, well they are great and wide. First and foremost, I want a new market, this one is really old, it’s in very bad condition, and a sports centre, of course. The area needs it, as well as a bit of development in its streets, a bit like in other neighbourhoods. This one is very much abandoned in that sense. These are my wishes.

Sagrado Corazon 27I-Well! I ask for health, you see. SC- This was the neighbourhood, that is, something you would like to have in the neighbourhood of La Latina but there isn’t.I- Something there isn’t, well gosh,. Well the big thing, what they haven’t done, leave the market like that, a modern market.Of course…SC- Warmer.I-Better equipped. You guys, as youngsters. Do you want the market as it is?SC- No.I- Well, you’ve said it all.

Sagrado Corazon 28My wish? A new market. Someone should build a new market, please, we really need it.






2009-2010. URBAN BUDDY SCHEME / 08 feb 2009 (video)

Sunday 8th of February, 2009Moderated by: STEALTH

1  Cecilia Andersson presents STEALTH00:00 - 00:30 STEALTH00:30 - 26:07



2STEALTH00:00 - 23:53



3Pablo Valbuena00:00 - 10:40

Lisa Cheung11:00 - 26:12


4Lisa Cheung00:00 - 00:26

STEALTH (questions and discussion with the audience)00:26 - 18:14


5Jorge Díez + Cecilia Andersson + all the participants (questions and discussion with the audience)00:00 - 21:06


6Jorge Díez + Cecilia Andersson + all the participants (questions and discussion with the audience)00:00 - 21:12


7Jorge Díez + Cecilia Andersson + all the participants (questions and discussion with the audience)00:00 - 20:10













2009-2010. Lisa Cheung. VA VA VOOM VEG (theoretical data)

 VA VA Voom Veg (working title) is a prototype for a mobile, temporary vegetable garden that invites local residents in urban locations to grow fresh vegetables within the city centre. This project shares the pleasures and rewards of gardening with people who do not have the opportunity because they live in an urban environment. As well, it attempts to expand the possibilities of how we use public spaces for communal benefits and the degrees participation and belonging that can be cultivated.

VVVV draws on the traditions of allotments in the UK and other European countries. Allotments were a necessity during the war year food shortages and now have enjoyed a recent resurgence due to the greater importance placed on organic and local production coupled with rising food prices. Often times, unwanted unusual spaces in urban centres were used for allotments because of their easy accessibility and availability; thus transforming “unused” land into communal spaces. Furthermore allotment garden is characterised by a strong community spirit, passionate individuals and a generous sharing of knowledge, work, and of course food!

VVVV attempts to reclaim public space for individuals and the community. It also endeavours to imbue a sense of the “country’ back into urban life by linking the city dweller with the earth fundamentally by growing food in a communal environment. This is especially relevant as more and more people live in small, urban apartments with no private open space and little access to green areas. As well, this project acts as a link to village life, where many once originated from and often long to return.

The structure is in the shape of an idyllic “A-frame” “country” house on a trailer. This will be sited in a neighbourhood in Madrid within a public square where participants can access. One side forms a glass greenhouse for cultivating seeds and small plants. As the plants mature, the glass roof can slide safely under the roof of the house, allowing the vegetables to continue to grow. Vegetables and fruits can be grown in the house itself and within the many window boxes. All materials and equipment necessary are stored inside the little house. In addition, a compact library of gardening books, activity notice board and garden “diary” (to record thoughts, comments and experiences) will be housed within the unit.

Local residents are invited to participate, decide the planting, maintain and enjoy the fruits of the garden throughout the period of the project (Feb - July). Their input and dedication are essential for the success of the garden and the project. A core gardening club will be formed (composed of local residents) to regularly maintain the garden, accompanied by monthly gardening workshops and gardening assistance for novices. Communal activities will be organised around the garden (ie communal lunch, strawberry celebration, harvest festival etc) where all are welcome. As well the mobile garden will travel to other parts of the city to hold workshops, demonstrations and other community activities.

This proposal is based on my interest in public spaces and creating social environments where social exchange can occur. I am interested in temporary structures that make up urban landscape. My recent projects have used gardening and cultivating plants as a point of interaction and participation.









2009-2010. Lisa Cheung. HUERT-O-BUS (location)

Moday: closed 

Tuesday: Plaza de la Pilarica, Usera.

Wednesday: Plaza Soledad Torres Acosta (Cinema Luna). CANCEL

Thursday: Plaza de Agustín Lara, Lavapiés (in front of Escuelas Pías).

Friday: Plaza de la Remonta, Tetuán.

Saturday and Sunday: Jardines del Descubrimiento (Plaza de Colón)
















2009-2010. Matthew Verdon (Cv)


EDUCATION ·    BA (Practice and Theory of Visual Art), Chelsea College of Art and Design, London.

SELECTED GROUP EXHIBITIONS 2010·    The Pursuit of Happiness, Arsenal Gallery, Poznan, Poland.

2009·    Art/Value/Currency, The Pigeon Wing, London. ·    Spinning Tongues, Vibe Gallery, London.

2008·    Wrapped and Encased, Wolstenholme Projects, Liverpool. ·    Theory and Practice, Gallery Aferro, Newark, USA.

2007·    Punk, Ada Street Gallery, London, UK and Rote Flora, Hamburg, Deutschland. ·    Situation Leeds 07, Round Foundry Media Centre, Leeds.

2006·    Glossolalia, Gallery Aferro, Newark, USA. ·    Creekside Open, APT Gallery, London.

2005·    Terror, Beaconsfield Gallery, London.

FILM FESTIVALS AND SCREENINGS 2006·    Temporary Cities, Cultural Communication Centre of Klaipeda, Lithuania and National Centre of Contemporary Art, Moscow, Russia. ·    Projektor, Café Gallery Projects, London.

















2009-2010. Xuban Intxausti. 1968-2008



El año 1968 cambió el transcurso de la historia contemporánea. Los acontecimientos históricos difundidos en medios de todo el planeta conmovieron y encendieron a la juventud de la época y significó un cambio profundo en los valores y la forma de vivir de la juventud.

En el año 2008, en el cuarenta aniversario del 68, la televisión española sólo dedicó un programa de televisión en rememorar aquellos años. En aquel programa casi no se contaron los hechos acontecidos, sólo se habló de un posible tongo que hubo en el festival de Eurovisión de aquel año.

A partir de la interpretación de unas declaraciones de José María Iñigo, todas las televisiones se hicieron eco de la noticia sin contrastarla. La noticia tergiversada llegó hasta el prestigioso periódico The New York Times y ensombreció cualquier otro análisis o debate sobre aquel histórico año.

El video 1968 – 2008 nos muestra las imágenes más significativas de 1968 con el audio de los programas que trataron el tema del tongo de Eurovisión.














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2009-2010. Xuban Intxausti. 1968-2008

LENGTH: 3’YEAR: 2008


1968 changed the course of contemporary history. The historic events that took place and that were spread throughout the mass media moved and stirred up the youths during this time. They represent a profound change in the values and ways of living among young people.

In the year 2008, on the 40th anniversary of 1968, Spanish television dedicated only one TV program to commemorate this time. On the television special the events that took place were hardly represented, it was all about a possible fix that might have occurred in the Eurovision festival that same year.

Starting with the interpretation of a statement delivered by Jose Maria Iñigo, every newscast took note of this news item without verifying it. The distorted item even appeared in the prestigious New York Times and overshadowed any other analysis or debate regarding this historic year.

The 1968 – 2008 video shows us some of the most significant footage of 1968 with an audio soundtrack extracted from those TV programmes that only talked about the Eurovision fix.















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2009-2010. PRESS RELEASE. Hucha de deseos invitation (Susanne Bosch)

2009-2010. PRESS RELEASE. Hucha de deseos invitation (Susanne Bosch)















2009-2010. Laurence Bonvin. DRAFT (technical data)


Printing of selected images including critical texts by an historian of urbanism, an architect, a sociologist, an art critic in a publication that could take the form of a newspaper.

Printed posters to be placed in the streets of Madrid.

Publication of a postcards set (10 postcards).

Stand in the information booth of the project with free postcards, posters and publication











2009-2010. Laurence Bonvin. GHOSTOWN (location)

Diario Público

Espacio 28004 (C/ Marqués de Santa Ana nº 4)

INFOMAB (Pº de Recoletos, bulevar central)


















 With this project, Lara Almarcegui organizes visits to the excavations being made under Calle Serrano to construct parking lots. As the works and the 15 meter deep excavation is in full process, the walls of the excavation are not covered with concrete, making the different layers of stone of Madrid’s subsoil visible. For a moment the public is able to observe the city as it is beneath the ground.

Constituted by multiple layers, Madrid has a complex strata of subsoil on different levels. There are tunnels and vaults that support the subway and train infrastructures, water pipes, drains and sewer system, telephone wires, electricity and Internet, subterranean rivers, cellars, parking lots and bunkers. Going down to the recently excavated underground passage by the Serrano parking lots will not only provide the occasion to come closer to the underground infrastructure of Madrid; it will also be a visit to that which is primitive and natural in the city. The project engages with an understanding of Madrid’s physical reality, rock-earth, before it became a city. During this descent into the passage, the negative subconscious of the city shall be experienced. That is to say, instead of building, to descend in order to learn more, but also, to brutally and simply do the opposite of what architecture does.

The action consists in inviting the public to watch a space in process that changes every week and throughout its complete transformation. The work machinery functions constantly, stopping only one day a week, on Sundays, day when the visits take place- one Sunday each month until June.

The details and schedule for the guided tours are available at the MADRID ABIERTO information center, placed, during February, on the Paseo de Recoletos, and also on the website Registration can be done by sending an e-mail to This email address is being protected from spambots. You need JavaScript enabled to view it. from Monday to Friday from 10.00pm to 18.00 pm. Applications are accepted until full capacity is reached (there is a limit of 20 people). It is indispensable to receive a confirmation from MADRID ABIERTO in order to complete the tour.

The visit is made with a guide that takes the group to the excavation and explains the works of engineering, the function of the machinery and its progress, but most of all, he interprets and presents the geology of the layers of materials that appear during the excavation.

The works are being made in order to build three parking lots above the future tunnel that will link the Atocha and Chamartin train stations. This tunnel will be 7km long and constructed during the next two years. Both projects are part of a plan to redesign Calle Serrano, including the transformation of the public thoroughfare, the construction of parking lots and a tunnel.



















2009-2010. Eugeni Bonet. GOOD LUCK

LENGTH: 1' 5''


 A minute for Eugeni Bonet’s Interventions TV 2009.

 The Wheel of Fortune is a successful television contest that is on the air since 1975, a franchise that has extended around the world, in the case of Spain with the name: La Ruleta de la Suerte. However, the pretext for this piece is a fragment of the soundtrack of Good Night, and Good Luck, George Clooney, 2005), where we can hear a speech delivered by the journalist Edward R. Murrow about the highs and lows of television. The title is a product of the dissociated coincidence of both elements.














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2009-2010. Adaptive Actions. AA CAMP-MADRID (2009.05 / proyect review / theoretical data)

 ADAPTIVE ACTIONS The process and concept are the same as previously proposed.

But instead of focussing on loitering, I prefer to make a broader call for collaboration on the Adaptive Action theme and have one or two workshops or collective actions on a specific topic such as loitering.

For and during the Adaptive Actions Camp in Madrid, we would like to document and create at least 101 new micro-actions. Some actions would be initiated in Madrid (in different types of neighbourhoods including the conurbano) and elsewhere in other cities in Spain or other countries. I cherish the idea of creating a project of distributed actions, simultaneously happening in different places and brought together in one communal art project. All actions will be documented on the website and some will be part of the next AA publication which will be produced during the Madrid Abierto event.


ADAPTIVE ACTIONS Camp in Madrid A space of production, presentation and actions

Open call (for collaboration)

> In specialized and local neighbourhood newspapers > posted on walls, urban furniture and places were people already post information. > to local community groups, schools and universities > to all those who proposed, submitted a project to Madrid Abierto but were not selected. - to offer them a possibility to participate, to increase the number of participants, and widen the audience.


One month in Madrid The camp would be open 6 days a week and activated by collaborators and me 4 or 5 days a week.


The publication will include: 30 (with current budget) to 101 Adaptive Actions (depending on final available budget for print & design) one center-fold poster-image 2-3 texts (or more if additional budget)

One interview

(which will be translated from English to Spanish) on the topic of micropolitics with philosopher and theorist Brian Massumi and Marie-Pier Boucher, PHD student at Duke University in North Carolina, and Jean-François Prost as representative of Adaptive Actions. Brian Massumi recently confirmed his participation and we will be doing this summer a few preliminary lectures and discussions before the official interview.


Confirmed for Madrid Abierto: Marie-Pier Boucher (Raleigh, USA) = 1 week (publication committee) Frank Nobert (Montréal) = 3 weeks (publication committee) Jean-Maxime Dufresne (Montréal)= 4-5 days (workshops) During the followings weeks I will be looking for two or three persons located in Madrid. I have several persons in mind and hope to meet others when I come back to Madrid and after making the call for collaboration.


Will you have one or two volunteers? I recently had two persons available at several events and it makes an enormous difference for the artist and visitors. It also permits the artist to free some time to document and assist the work of several participants creating actions outside of the camp.


How many assistants will be available, and for how long, to assemble and demount the work?



Global idea and intention

The project consists in documenting, revealing and creating new micro-actions of appropriations and unplanned uses in the city of Madrid and elsewhere

Action – process

The project indexes and reports on existing adaptive actions in the city and encourages the implementation of new activity in relation to architecture, urban spaces and objects. It unfolds in three overlapping stages: (1) a call for proposals; (2) action, and; (3) its subsequent publication/broadcast.

1. Call for Contributions and Proposals In order to document and create an inventory of existing urban acts, a survey is conducted (before and during the event Madrid Abierto). The objective of this project is to document existing or new, marginal, singular or popular, less discussed or highly known forms and places of singular actions. The request for proposals accelerates the process. Several existing or proposed adaptive actions will be chosen along with an idea for a collective action and a workshop.

2. Action A space for gathering, loitering and submitting proposals will dwell on a busy Madrid street, or in a public building. This temporary camp (with a large recognizable sign indicating ADAPTIVE ACTIONS) will combine presence, production and interaction.

Our shared knowledge and expertise will be applied towards accomplishing a creative project the aim of which is to modify the intended or preponderant or limited use of architectural and urban elements. This infiltration of public space highlights such topics as resident adaptive actions and appropriations, creative transformation potential and the multiplicity of users and uses.

3. Publication/broadcast The selected new adaptive actions will be made public through the production of a publication and via the Internet1. Dissemination within the community will aim at representing the different forms of actions (in the workplace, the home or public spaces in general) as a creative means of appropriating shared realities and therefore as a form of adaptation. The presentation of actions (on a greater or lesser scale), be they projected or completed, will create a vocabulary with which the collective imagination may express itself through the use of existing structures, and will encourage the growth of other actions.

The intervention is based on the repetition of a series of micro-actions, simple gestures imparting and initiating change in our perception and conception of the urban environment.

This project wants to activate uses in public spaces, contribute and begin to rebuild an urban imaginary, show, encourage visible acts of resistance, of sociability and signs of positive antagonism.

1 A section will be added to the website for the Madrid edition and a second Adaptive Actions publication will be produced during the event.

MAY 2008 Jean-François Prost, representative for the project









2009-2010. PRESS KIT. Selected artists

2009-2010. PRESS KIT. Selected artists












2009-2010. Laurence Bonvin. DRAFT (theoretical data)

 For Madrid Abierto I intend to realize a project for which I already made locations scouting and first images in December 2007. What interest me most in Madrid is the amazing development that occurred in the last years in the periphery of the city, areas such as Seseña Nuevo, Esquivias, Paracuellos de Jarama (Mira Madrid) where the real estate industry has launched some gigantic satellite cites. The intention is approach the subject with a documentary and a critical point of view. With the crisis surrounding the real estate business the situation must be in a critical state and nobody knows how things will be in the coming 2 years.

My aim for this project is to investigate photographically this issue. Additionally I would like to invite urban planners, architects to write critical texts that will be included in a brochure. To finalize the project printed posters will be placed in the streets in different parts of the city and a set of postcards will be distributed in the information booth of Madrid Abierto. Both presentation turning around the idea of an idealized image of the city and making a selection of images available to everyone.











2009-2010. Susanne Bosch. HUCHA DE DESEOS: ¡TODOS SOMOS UN BARRIO, MOVILÍZATE! (published text)


Starting date: 12 November 2009Location: Plaza Puerta de Moros and entire La Latina neighborhood

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 observation, an untold story or observation, unused old coins in a drawer at home. The public art project Hucha de deseos: ¡Todos somos un barrio, movilízate! seeks to collect as many of these little individual potentials as possible. The art project brings them together to transform them into real things, collective projects and outcomes in the real world.

More than Peseta coins and Peseta banknotes remain in people’s private property. Hucha de deseos: ¡Todos somos un barrio, movilízate! collects the Peseta1 coins and banknotes in a public collection site in Plaza Puerta de Moros, La Latina neighborhood for the period of October 2009 to Mid February 2010. Along with the peseta collection, the project asks the neighborhood and the users of the neighborhood (visitors of the Rastro market and markets, bars, cafes) actively, what they would like to realize with this public and worthless money in and for La Latina? The project collects and publishes extensively the wishes during the period of the event on a webpage, in the public media and in the neighborhood. During the final days of February, the wishes are presented in a daily public art action from 15-18 h on Paseo de la Castellana. On 20 February 2010, everyone is invited to publicly sort the coins and banknotes before the transport on 22nd February 2010 to the Banco de España.

On 27 February 2010 everybody who would like to be part of the decision making group, is invited to attend an Open Space event at Círculo de Bellas Artes. This one day event is used to decide collectively what will happen to the pesetas and how this will be put into action.

Hucha de deseos: ¡Todos somos un barrio, movilízate! 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 experience of a collective decision making process. The art project combines an aesthetic appearance in form of a multi-medial collection site, a blog, posters and public interventions with a meaningful public debate. It creates a large forum for potential. By concentrating on one neighborhood, the project empowers people that live in close proximity and have a personal relationship, connectedness to the site and each other.

Hucha de deseos: ¡Todos somos un barrio, movilízate! is doing this through a number of artistic actions and interventions for a duration of 4 months from the end of October 2009 to end of February 2010. A multi-media collection is on a public place on Plaza Puerta de Moros for the duration of 4 months to collect coins, banknotes and wishes, also to record and listen to wishes.

For the same duration, an interactive blog and regular actions in the neighborhood are introducing the project.

Action dates are: 29.10.-1.11.2009, 12.11.-16.11.2009, 12.12.-20.12. 2009 and 31.1.- 28.2. 2010.

During the final days of February, the wishes are presented in a daily public art action on Paseo de la Castellana. On 20 February 2010, everyone is invited to publicly the coins and banknotes and transport them to the Banco de España. 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.

Web info:

The multi-medial collection site was designed and built by


1. 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.
















2009-2010. Manuel Calurano + Anna Raimondo (Cv)

HTTP://ANNARAIMONDO.WORDPRESS.COM/WORK EXPOSED IN MADRID ABIERTO: LAVAPIÉS CHIPÉN. MEMORIA SONORA DE UN BARRIO..................................................................................................................................................................................................................................................................

MANUEL CALURANOEDUCATION ·    Ingeniero informático, uclm, Ciudad Real.

ACADEMIC RELATED ACTIVITIES 2009·    Paisaje sonoro. aprender a oir, radio vallekas, Madrid.

2008·    Paisaje sonoro. ·    Aprender a oir, centro hispano colombiano.

AWARDS AND GRANTS 2008·    Círculo de bellas artes, madrid, 1er premio en la convocatoria el aire en.


ANNA RAIMONDOEDUCATION ·    Licenciada en periodismo, Bologna, Italia.

SELECTED GROUP EXHIBITIONS 2009·    Nits d'aielo i art, Valencia 2008 In-sonora, "en el aire", hablar en arte.

PROJECTS  ·    Programa de radio dedicado a la creacion sonora y a la sensibilizacion a la escucha "sonirico", radio Grenouille, France. ·    Intervenciones en espacios publicos "escuchas indiscretas", Marseille.

BROADCASTED PROJECTS 2009·    Sonirico, radio Grenouille, Marseille. ·    Free lance para ars sonora (Radio clasica, rne). ·    Free lance para el "postre" (Radio tres, rne). ·    Free lance para appartement 22, web radio, Marrueccos. ·    La regla de la musica, radio vallekas y union de radios comunitarias libres (urcm) 2008 Realizacion de cartas sonoras para la residencia artistica soundres con Terry riley y bang on a can all stars, difundida por radio popolare network, Puglia, Italia. ·    Hablar en arte, radio círculo, Madrid.

CURATORIAL PROJECTS 2009·    Programa de residencia soundres-insonora. Jurado para la convatoria "hablar en arte 2009", radio círculo, Madrid. 2002·    Festival de jazz contemporaneo "vertigo", Caserta, Italia.

ACADEMIC RELATED ACTIVITIES 2009·    Paisaje sonoro. ·    Aprender a oir, radio vallekas, Madrid. ·    Como escribir para las orejas, taller de radio experimental; cinemateca de Tanger, Marrueccos. 2008·    Paisaje sonoro. aprender a oir, centro hispano colombiano. ·    Escribir para la radio, radio vallekas, Madrid. 2007·    Giornalismo musicale, radio città fujiko, Bologna, Italia.

AWARDS AND GRANTS 2008·    Círculo de Bellas Artes, Madrid, 1er premio en la convocatoria en el aire.




















2009-2010. Eugeni Bonet. GUILTY CONSCIENCIE



 A minute for Eugeni Bonet’s Interventions TV 2009.

A zapping mosaic, TDT tuner by means of, makes up an image: a blinking spill of images, I should say. The pretext of this piece is an extract from the Clave: Omega (The Osterman Weekend, Sam Peckinpah, 1983) film soundtrack. When the information and show business industries enjoy themselves in their own stigmas, appealing to the freedom of their audiences, the trick creates a double guilty conscience: ‘if you want to return to reality turn off the TV’.















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2009-2010. Iñaki Larrimbe. UNOFFICIAL TOURISM (2009.05 / project review / theoretical data)



- A location has been selected for the intervention: in front the Wax Museum (Paseo de Recoletos 41).

- A working team has been created with the creators of routes:John Tones will create an itinerary on old arcade machines.Mauro Entrialgo, neon promotion signs.Jimina Sabadú, places in Madrid where famous movies have been filmed.Santi Otxoa, religious relics.Guillermo, murals.

- Marta has asked for six budgets to print works of Madrid for the making of maps, booklet and exterior vinyl to decorate the caravan.

- The cost of hiring a person to work helping tourists in the caravan has been evaluated. Marta will take care of it.

- An artisan has been contacted to customize the caravan in Vitoria (internal furniture).

- A graphic designer has been contacted in Vitoria to design the graphic material.

- A person from Vitoria has been contacted to take the caravan to Madrid.

- A website has been created:

- The budget is always under revision. The project will adjust perfectly to it. In this aspect, there are no problems.


- End of June: delivery of the maps by collaborators

- July, August, September: design of maps and booklet by designer

- October, November and December: internal and external customization of the caravan (designer and artisan)

- End of January: hire the person in the caravan

- End of January: transfer caravan to Madrid and locate it in its proper place

 (MAY 2009)









2009-2010 / 2010.02. PRESS RELEASE. 15-21 February week activities

2009-2010 / 2010.02. PRESS RELEASE. 15-21 February week activities








2009-2010. URBAN BUDDY SCHEME / 07 feb 2009 (video)

Saturday 7th of February, 2009

1 Cecilia Andersson (presentation of International Festival)00:00 - 00:55

International Festival00:55 - 19:35


2International Festival00:00 - 19.39


3International Festival00:00 - 06:49



4Josep-Maria Martín 00.00 - 16.56

Susanne Bosch18.37 - 19:39

5Susanne Bosch00.00 - 19.51

6Susanne Bosch00.00 - 01:22

Laurence Bonvin 01:40 - 18.35

STEALTH (questions)18:35 - 19:46

7STEALTH (questions)00.00 - 00:45

8STEALTH (discussion with the audience)02:20 - 15:14

PRESENTATIONS, GROUP 2ºModerator: International Festival

International Festival15:14 - 18:50

Jean François Prost18:50 - 26:29

9Jean François Prost00.00 - 05:27

Adriana Salazar 05:27 - 20.41

Gustavo Romano20:41 - 26:13

10Gustavo Romano00:00 - 09:50














2009-2010. Lara Almarcegui. GOING DOWN TO THE RECENTLY EXCAVATED UNDERGROUND PASSAGE (2009.12 / theoretical data)

 Thanks to the Going down to the recently excavated tunnel project, Lara Almarcegui organizes visits to the excavations that are being made under the street of Serrano to construct parking lots. As the works and excavation – which is 15 meters deep- will be in full process, the walls of the excavation will not be covered with concrete and the different layers of stone of Madrid’s subsoil will be visible. For a moment we will be able see the city just as it is beneath the ground.

Madrid has a complex framework in its subsoil made of multiple layers, at different levels. There are tunnels and spaces that correspond to the subway and train infrastructures, water pipes, drains and sewer system, telephone wires, lighting and Internet, subterranean rivers, cellars, parking lots and bunkers. Going down to the recently excavated tunnel of the Serrano parking lots will be an occasion to get closer to other infrastructure tunnels of Madrid; but it will also be a visit to that which is primitive and natural in Madrid.

The project deals with the understanding of Madrid’s physical reality, rock-earth, before becoming a city. In this journey into the tunnel, the negative subconscious of the city shall be experienced. Instead of building, it would be interesting to submerge one self in order to learn but also to simply and brutally do the opposite to what architecture does.

The action will consist in inviting the public to watch a space in process that changes every week and will be completely transformed. The machinery at work is constantly functioning and it only stops one day a week, on Sundays. The visits to the excavation will take place on Sundays from the 4th to the 28th of February.

Details and the schedule for the visits will be available at the Information Point of Madrid Abierto placed in xxxx. Registration shall be made there or sending an e-mail to This email address is being protected from spambots. You need JavaScript enabled to view it. until the capacity is fulfilled (the capacity will be limited and the registration shall be made 48 hours before the visit. It will be necessary to receive confirmation from Madrid Abierto).

The visit will be made with a guide that will go down to the excavation with the group, and will explain the works of engineering, the function of the machinery and its progress, but most of all, he will interpret and present the geology of the stratums of materials that will be appearing in the excavation.

The works are being made in order to build three parking lots above the future tunnel that will link the Atocha and Chamartin train stations, this tunnel will be 7km long and will be constructed along the next two years. Both projects are part of a plan to redesign the street of Serrano, it includes the transformation of the public thoroughfare, the construction of parking lots and a tunnel.

The excavation that we will visit, will be the third parking lot, which is beneath Serrano, between the street of Jorge Juan and the Plaza de la Independencia or Puerta de Alcalá. Pedestrians will be able to access through Serrano and vehicles will find entrance in Jorge Juan, the street of Alcala and Salustiano Olozaga.

(December 2009)















2009-2010. Teddy Cruz. VALLECAS ABIERTO: HOW IS YOUR ART GOING TO HELP US? (published text)

Teddy Cruz with M7Red


Architectural investigation by the artists at the border between Tijuana, Mexico and San Diego, California, has focused on observing the trans-border urban dynamics between these two cities through the current politics of surveillance and immigration , the conflict between formal and informal urbanisms and economies , and the tensions between enclaves of mega wealth and the rings of marginality and poverty that surround them. These critical issues, they argue, characterize the contemporary metropolis everywhere.

The multiple dividing vectors that operate at global scales between geopolitical borders, natural resources and communities end up inscribing themselves locally, at the scale of the contemporary neighborhood.. It is here where global conflict takes on a particular specificity, becoming local crisis characterized by the lack of affordable housing, jobs and public and social infrastructures.

This is the way in which Cruz’ work has focused on the micro scale of the urban neighborhood, understanding it as a site of production, where new conceptions of economic and social sustainability, housing and density may be amplified. This process has motivated the artists to question the role of architecture and art as producers of new interactions between physical space, alternative programs, institutions and communities.


The artists’ proposal for MADRID ABIERTO intends to extend this investigation and adapt it to the context of Madrid and the façade of Casa de America. Beyond a singular and only visually protagonist intervention, their proposal has to do with facilitating triangulations across institutions, social actors and networks, economic resources and a specific neighborhood of Madrid. Instead of intervening upon the façade of Casa de America, their interest is to work inside of it, literally activating it with a work-program, a platform of collaboration with other Spanish and Latin American artists, architects and social activists. Their main intention is to transform the façade into a site of production, within which to conceptualize and generate a parallel project that will be enacted once MADRID ABIERTO ends. To produce and event after the event.

Elements and Sequence of the Project:

A collaborationTeddy Cruz proposes to activate the façade by producing a critical, interdisciplinary collaboration. This project is developed mainly by Cruz in collaboration with the collective M7Red, from Buenos Aires, Argentina, led by architects Mauricio Corbalan and Pio Torroja. Teddy Cruz conceives this initial collaborative process as an ‘artist in residency’ program inside MADRID ABIERTO (a program inside the program), transforming this intervention in Casa de America into a platform for cultural exchange, facilitating and promoting the presence of Latin American architects and artists in order to create contact with local dynamics inside a neighborhood of Madrid.

A neighborhood: Puente de VallecasThe artists have chosen Puente de Vallecas as the neighborhood to operate because of its history as a critical threshold in the margins of the urban structure of Madrid, with a significant amount of immigrant population and because of its associative and activist network. Inside this neighborhood, they have selected a series of agencies and social actors that will be part of the project, including Vallecas Radio, Asociación al Alba and Asociación Cultural de la Kalle.

The open façadeThe elements that constitute the physical intervention of the façade are minimal: a text and a ladder. 1. The text contextualizes the intervention in an emblematic way, by posting on the façade a question that was made by a Paraguayan immigrant to a group of artists during a dialogue in Villa 31, an informal settlement inside Buenos Aires, in which Teddy Cruz and M7Red participated. “How is your art going to help us?” is the question they have decided to bring from Buenos Aires to place it on the façade of Casa de America and making it the background for their project during this edition of MADRID ABIERTO, suggesting the necessity to investigate a more functional relation between research, artistic intervention and the production of the city. 2. The ladder is the physical element that enables the artists to ‘penetrate’ the façade while activating it internally, using theInca Room as the scenario for a series of working meetings between different publics and activists from the neighborhood.

The architecture of a ConversationThe working meetings will be orchestrated and conceptualized by Teddy Cruz and M7Red, who will suggest a criteria that can give shape to the conversation and, eventually, to an alternative project towards the neighborhood. These are some of the initial topics related to the content and general parameters of the event:

- Questioning the role of artistic practices in relation to the current real estate crisis and the shortage of socio-economic resources and public infrastructure.

- Putting forth the question of the Participative Budget: The idea of generating a seed economic capital that can emerge from MADRID ABIERTO’s budget to support an artistic intervention in Puente de Vallecas, while connecting it to other public resources, processes of action and urban imagination, inside and outside the State.

- Creating a process to locate dispersed resources, without a previous idea of their application, so that the different actors and the public can together configure critical relations between these resources and diverse spatial and temporal dynamics, using the façade as an interface between this way of thinking in ‘real time’ and the city. .

- Apart from the scheduled meetings that will be held inside the façade among the social actors (activist practices) of Vallecas, who, in turn, will generate the intervention in the neighborhood, the artists will also choreograph exchanges with the general public.. During three separated meetings, the Inca Room will be opened from the façade in order to invite a group of people, some of them chosen by the actors, others institutionally affiliated and from diverse sectors. During these three meetings a ‘mini-performance’ will be elaborated inside the Inca Room where actors and M7Red will create a public update of the conversation and the diverse mappings of the neighborhood.

-The façade of Casa de America will potentially a ‘double’ on the Internet, and in some strategic site inside the neighborhood. The artists are interested, for example, in the possibility of duplicating the façade several times.

- For the artists, an essential part of this project is to leave an institutional trace, once MADRID ABIERTO concludes, the foundation towards an architecture of collaboration among activists groups in a critical Madrid neighborhood. It is then when the actual project of MADRID ABIERTO will begin.

















2009-2010. Fabricio Caiazza. SINCITA VIDEOS











Pieces of text extracted from Internet 2.0, manually written upon physical mediums that are installed in the street to be photographed, filmed and then returned to the Internet. Sincita Videos is the same exploration with low cost cameras for the registration and making of stopmotions.

















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2009-2010 / 2010.02. NOTA DE PRENSA. Press conference

2009-2010 / 2010.02. NOTA DE PRENSA. Press conference














2009-2010. Teddy Cruz. TRAFFIC (2009.10 / theoretical data)

 Dear Marta,(hello Jorge, hello Cecilia!!) this is an update…

I am sending a small description of the new version of the project… so you can discuss it with Casa de America… also a pdf with three images to contextualize the intervention…

1. The idea behind this version is to save energy and money… by not having to build the scaffolding, without skin to cover it and the other systems…

2. Instead of completely ignoring the façade, totally covering it… we love the idea of ‘playing’ with the façade, exhibiting it as part of the intervention.

3. Our ideas always have to do with the ‘activation’ of the façade with artistic activities… It is still Felipe Zuñiga’s idea, the artist from Tijuana whom I have invited as ‘facilitator’, and will work with artists from Puente de Vallecas to use the façade as a working space and exhibition site… by the creation of a performance corridor connecting the neighbourhood to Casa de America… as well as triangulation between Vallecas and Tijuana… Felipe is already working on a communication system to link different groups from Tijuana and Vallecas-Madrid… I met with Emilia María and Charo, from the municipality to work on the selection of artists, groups that would be involved…

4. In this case, the idea is, in this new version, to really activate the façade… and propose the ‘penetration’ of the façade itself with two stairways which would enable us to ‘enter’ through the windows of the mobile piano… the floor with the balcony… and create tiny rooms behind the façade… these spaces would be built with very light materials such as wood… and wouldn’t have any physical contact with the internal wall of Casa de America… but our intention is also to record through pictures this ‘parasite workshop’ inside the museum’s official space… that is, making the intervention project external as well as internal…

5. The public would NOT have access to these two spaces… these would only be private spaces for artists who would be allowed to work inside…

6. The work of these artists would be accessible through a projection: the plastic bubble… and also with sound: a duct which would connect the building with the mass of traffic cones that would cover the bench on the sidewalk in front of the building… we love the idea of an intervention that ‘captures’ this bench, creating a ‘shelter’ for the pedestrian and for someone to be able to sit and listen to narratives of Vallecas…

This is the brief summary of our idea!

Thanks! Lets hope that Casa de America will want to collaborate and find this version acceptable… which saves us money but also creates a relation with the museum which is more interesting… of course… we would have to know what is in the mobile piano’s area… to know if it’s possible… we love the idea of having the director’s office there, and for him to share his office with the artists… but separated by a wall, of course… they wouldn’t see each other, but would share the same space…

















2009-2010. Pablo Valbuena. TOWER BLOCK (published text)

 “In that Empire, the Art of Cartography reached such level of perfection that the Map of one Province occupied the whole City, and the Map of the Empire, a whole Province. As time passed by, these excessive maps did no longer satisfy and the Schools of Cartography erected a Map of the Empire that was the Size of the Empire and exactly matched up with it”.Del rigor en la ciencia, Jorge Luis Borges

The piece is a specific installation in which, upon an element, its own abstract representation is superimposed. With the drawing of a plane onto the architecture of reference, the real city is extended towards a virtual dimension.

Video-projection is the technique that is used to create such an effect, but apart from technical details, the work is based on tools of such antiquity as perspective or trompe l’oeil that function by manipulating the viewer’s perception.

In this case, the transformation of urban space is achieved by movement and by the interaction of light and shadow. Instead of building architectural structures with palpable materials, it is the projection of lines and planes of light, that create the illusion of new appearing spaces.

‘Real’ and ‘virtual’ elements are overlapped in this type of city. Assisted by already existing architecture, it is about making the inside visible from the outside, transforming solid walls into transparent ones or making it clear to us how time has gone by in the city…















2009-2010. Javier Díez-Ena (Cv)


EDUCATION 1997·    Facultad de Ciencias de la Información de la Universidad Complutense de Madrid. ·    Licenciado en Periodismo.

PERFORMANCES 2009·    South By Southwest, Austin /Texas.

2008·    CMJ Festival, New York. Popkomm, Berlin. ·    Vitoria Jazz Festival, Vitoria-Gasteiz. ·    Zemos 98. 2007 y 2008 Noche en Blanco de Madrid.

2007·    Manchester Jazz Festival.

2003–2007·    Experimentaclub.

2006·    Festival Internacional de Benicássim, Castellón.

2003–2006·    Primavera Sound, Barcelona.

2005·    Festival de Otoño en el Teatro del Circulo de Bellas Artes.

2002–2005·    Festival de Jazz de Madrid.

2003·    Ibiza Jazz Festival. ·    Getxo Jazz Festival. ·    Teatro Jovellanos. ·    Festival de Cine de Gijón.

WORKS FOR THEATER 2009–2010·    Drácula, Centro Dramático Nacional (Efectos sonoros, theremin y colaboración en el espacio sonoro) Estreno: Teatro Valle Inclán, 3 de diciembre de 2009, Madrid.

2007–2009·    Nanas para despertarse, Compañía Malucos Danza (Theremin, espacio sonoro y músico de escena como thereminista y contrabajista ) Estreno: Sala Triángulo, 21 de diciembre de 2007, Madrid.

FILM PROJECTS ·    Como miembro del grupo musical Dead Capo es coautor de la música utlizada en las películas: Interior noche y Malas Noticias, ambas con dirección de Miguel Ángel Cárcano. Como músico (contrabajista) ha participado en la grabación de las bandas sonoras de las películas Una palabra tuya, dirigida por Ángeles González Sinde y After, dirigida por Alberto Rodríguez, ambos scores compuestos por Julio de la Rosa.

BROADCASTED PROJECTS ·    Colaborador habitual del programa Carne Cruda (Radio 3) , actualmente en antena, creador de la sección semanal Amanitas y cardos / (Radio 3 - Radio Nacional de España).


ACADEMIC RELATED ACTIVITIES 2009·    Actividades pedagógicas sobre el theremin, Teatro Jacinto Benavente de Galapagar, Madrid.

2008·    Actividades pedagógicas sobre el theremin, Encuentros Klabbing de Pamplona.

2007·    Intervención y ponencia sobre el theremin en Medialab, Centro Cultural Conde Duque, Madrid. Coordinador de Medios de la Compañía Nacional de Teatro Clásico (INAEM)

WRITINGS 1998–2009·    Colaborador fijo de la revista Vanidad, ha publicado decenas de entrevistas y artículos siempre centrados en la música.

2004·    Revista Rockedelux,: Manifesto Moncloa Sound System.

AWARDS AND GRANTS 2009·    Fundación Canal, Premio Audiciones (sección música electrónica). 2007·    Como parte de la banda de Aaron Thomas: Premio Villa de Bilbao. 2003·    Como parte de Dead Capo: premios Injuve de jazz.












2009-2010. Joaquim Dols Rusiñol. VIDEO-ART



It is the history of video-art limited to the pure skeleton of ideas and personal feelings, visualized in a micro-animated text format.
















2009-2010 / 2010.01. PRESS RELEASE. Madrid Abierto. From 4 to 28 February

2009-2010 / 2010.01. PRESS RELEASE. Madrid Abierto. From 4 to 28 February















2009-2010. URBAN BUDDY SCHEME / 06 feb 2009 (video)

Friday 6th of February,  2009

1Luis Úrculo (moderator)00:00 - 02:30

Studio Kawamura-Ganjavian02:30 - 21:49


2C.A.S.I.T.A.00:00 - 15:48

Uriel Fogué15:48 - 22:13


3 Uriel Fogué00:00 - 10:59

Exprimentolimon10:59 - 18:22


4 Exprimentolimon00:00 - 05:05

Cecilia Andersson05:05 - 06:39

Kyong Park (moderator)06:39 - 28:18

5Kyong Park00:00 - 08:27

Cecilia Andersson08:27 - 09:24

Alexander Gerdel 09:24 - 27:18

6Apolonija Šušteršič + Meike Schalk00:00 - 13:31

Teddy Cruz13:31 - 23:20


7Teddy Cruz00:00 - 05:40

Kyong Park (questions)05:40 - 24:31

Discussion with the audience23:35 - 24:31

8Discussion with the audience00:00 - 01:30















2009-2010. Pablo Valbuena. S/T (2009.09 / project rectification / theoretical data)

 “In that Empire, the Art of Cartography reached such level of perfection that the Map of one Province occupied the whole City, and the Map of the Empire, a whole Province. As time passed by, these excessive maps did no longer satisfy and the Schools of Cartography erected a Map of the Empire that was the Size of the Empire and exactly matched up with it”.Del rigor en la ciencia, Jorge Luis Borges

The piece is a specific installation in which, upon an element, its own abstract representation is superimposed. With the drawing of a plane onto the architecture of reference, the real city is extended towards a virtual dimension.

Video-projection is the technique that is used to create such an effect, but apart from technical details, the work is based on tools of such antiquity as perspective or trompe l’oeil that function by manipulating the viewer’s perception.

In this case, the transformation of urban space is achieved by movement and by the interaction of light and shadow. Instead of building architectural structures with palpable materials, it is the projection of lines and planes of light, that create the illusion of new appearing spaces.

‘Real’ and ‘virtual’ elements are overlapped in this type of city. Assisted by already existing architecture, it is about making the inside visible from the outside, transforming solid walls into transparent ones or making it clear to us how time has gone by in the city…















2009-2010. Gustavo Romano. TIME NOTES: MOBILE OFFICE (published text)


The Time Notes project involves a series of actions in public spaces using a new monetary system based on time units, 1 year bills, 60 minutes, etc. The back of these bills present different quotes, about money or time, written by philosophers, writers or economists. 


Starting off with one first launch action developed in Berlin, other actions took place in different cities, Singapore, Rostock, Vigo, Munich, Mexico, Buenos Aires. In each case people started to discuss the different local problems related to the currency system of exchange and how people experience and perceive time.

  The proposal for MADRID ABIERTO engages with the opening of a Mobile Office and a Central Office based in Casa de America.


The Mobile Office will travel daily from the central space in Casa de America taking three main routes: 1. the North segment, going from Paseo de Recoletos towards Paseo de la Castellana; 2. the South line, through Paseo del Prado towards Atocha's Station, and 3. the Western line, which will go through Calle Alcalá to Plaza Mayor, eventually drifting down other streets, deviating from the main arteries. 


The Mobile Office will offer two types of services that `banks´ commonly render: Reimbursement of time that has been lost, and Loans of time. The Office, through its system of lost time reimbursement, presents itself as a place for reception and classification of time which has been transferred involuntarily, under pressure or for arbitrary reasons. In other words, time wasted attending to an unwanted job, time lost in the wrong relationship, time spent while serving in the army, etc.


In the Mobile Office, a Time Notes representative will register descriptions of how the deponents lost their time, and reimburse the deponent with a bill of the corresponding value. The reason for the loss of time will be printed on the back. Also, an online data base with the compiled information will be created.

  In a similar manner, through a Time Loan service, the Office presents its credit line for the concretion of postponed wishes. Starting off with the question: "If you had a minute, an hour, an extra year in your life, ¿what would you do?" it involves a reflection about our use of time and those things we constantly leave for a better moment in the future. All the information delivered by the bank's `clients´, will be daily transmitted to the Time Notes website: 


The Central Office, established as an operational base and information centre, which will be situated in the Dolls' Room of Casa de America, will serve for several uses and purposes: thanks to an updated map, it will offer information about the routes, schedules and itineraries of the Mobile Office. Central Office will receive the video signal from the Mobile Office wherever it may be. A customer service section will be installed, offering the same services as the Mobile Office.


The Office will also offer documental information, videos, bills and other documents of what has previously occurred in the Mobile Office as well as in other stages of the Time Notes project. A centre will be created for the reception, discussion and bibliographic consultancy of reference material related to problems of money, new alternative exchange systems and other financial theories. This centre will also serve as location for the Mobile Office once it has finished its daily route.  





Starting off with one first launch action developed in Berlin, other actions took place in different cities, Singapore, Rostock, Vigo, Munich, Mexico, Buenos Aires, Mexico, Madrid, Munich, Mumbay and even so in the World Bank building in Washinington D.C. In each case people started to discuss the different local problems related to the currency system of exchange and how people experience and perceive time. 

















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2009-2010. Left Hand Rotation. FÉLIX VS. COUSTEAU



 Forget about climate change, the melting of the poles or the real estate aberrations that take place on our shores. Felix VS Costeauis the final showdown between the two great forces of nature, two of its four basic elements: ‘The earth against the sea’: since the origins of our planet each of them has tried to occupy the globe in their own particular manner. The sea is capable of eroding the earth but there are many cases of islands and small artificial continents created above the water.

This struggle is represented by Felix Rodriguez de la Fuente and Jacques Costeau, two of the television martyrs, two icons of contemporary culture that invaded television and the media in the 80’s and left behind an inheritance with which we must now deal.

This piece is the first televised debate between these two characters.
















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2009-2010 / 2009.12. NOTA DE PRENSA. Hucha de deseos project (Susanne Bosch)

2009-2010 / 2009.12. NOTA DE PRENSA. Hucha de deseos project (Susanne Bosch)














2009-2010. Nelson Brissac. URBAN INTERVENTIONS

2009-2010. Nelson Brissac. URBAN INTERVENTIONS


 MADRID ABIERTO is becoming one of the few projects, all over the world, able to face a crucial question about contemporary art: the relation to the urban space. As a contribution to a discussion about its strategies and process, we present here a short balance of a project of urban interventions -Arte/Cidade- carried out in Sao Paulo, Brasil (1) .   The proposal consisted of taking Sao Paulo as a field where questions about the city and art were being played. The contemporary metropolis as a complex and dynamic space, in constant change, creating new and unusual spatial, social and cultural configurations. When the new urban policies of revitalization and the established forms fail before the complexity and scale of the proceedings of globalization, we must discuss new urban and artistic interventions in megacities. The project tried to promote interventions able to transcend their immediate surroundings and refer to the vast territory of the megacity and the global reconfiguration of the economy, the power and the art. To attract our perception towards situations which only show with the exploration in loco, the visual scrutiny. Interventions, which would take into account the process of metropolitan and global, restructure but would be opposed to the institutional and corporative appropriation of urban space and artistic practices.

Jose Resende 2002


How to consolidate the result developped by the most recent projects for the urban space? It is essential, to be able to operate on an urban scale, to create aesthetic and technical instruments and processes appropriate for the development of the proposals from the artists and the presentation of material, structural and political questions (relationship with communities and public authorities involved) put forward to be introduced.

Each edition of Arte/Cidade was prepared in three stages: a large urbanistic survey of the region, a selection of sites and the development of the projects of intervention. The survey, focussing on the social-spatial dynamics of the megalopolis is completed by a survey of the possible situations of intervention. Those areas were visited by all the participants, who contributed with important suggestions of readings and new sites, enriching the map proposed in the beginning.

How to take into account, on the occasion of preparation of the projects of intervention, the multiple and complex decisions which affect those urban situations? How to make possible for the participants, many of them foreigners, to operate with those factors? A group of support, including architects and engineers, took part in the development of every project, trying to stress to the limit their structural and technical potentialities and their urbanistic and social scope. The possibilities of intervention on urban areas and building, the problems of structural support and the use of materials were studied, in each case, having in view the experimentation and the transgression of conventional functions.

The complexity and the scale of the proposed situations do not allow a process of work that is not based on technical projects and the right operational supports. So it was sought to avoid an intuitive adequation with regard to the sites. As well as breaking the process, nowadays crystallized in projects for a specific site. To avoid the locations serving only as a context, as a background, for works, hardly allusive, simple commentaries on the situations.

How to assess the device created by the interventions as a whole? The urbanistic, economic, social and political effect the project caused? The fast process of global integration of the cities has basically changed the conditions and principles of urban interventions. Megaprojects of redevelopment and an important transnational institutions are carrying out a deep restructure of the cities on a global scale. Demanding a new technical, aesthetic and institutional list and new strategies for the action in the urban space. Which were the results, strictly aesthetic, of the interventions carried out by Arte/Cidade? In which way the principles and proceedings set up by the projects had an influence on the artistic initiatives that, since then, had the urban space as a parameter? In retrospect, the different interventions may be seen perhaps as involved in part with sculptural strategies on a large scale.

Wodiczko 2002    Vito Acconci 2002

In other cases, not always they succeeded in mobilizing the social groups they were intended for. Other different conceptual and operational parameters needed to be introduced in this artistic practice with the aim of their effects being more intensive and inclusive. Strategies which will permit to face the institutional, discursive and economic apparatus characteristic of the city and the "world of art". To prove how a product of the urban space and culture -as well as the reception of this process- have become more and more submitted to economic relations and of power. A way to approach this subject would be to analyse the future of the sites where the interventions took place, some of them converted into cultural centres, shopping centres and large projects of urban development with housing and office towers. Other areas became favelas or are used now for informal activities. The new uses of these sites are, therefore, of very different nature, as well as the part which the project may have eventually had in this process. In front of the new relationship between art and urban development, which are the alternatives open in metropolies in process of global restructuration? Our option was to emphasize the large areas, extraordinarily complex and dynamic, excluded from the projects of urban development. To point out programs which relate the dynamic indetermination of these intersticial territories. To promote interventions which would potentialize urban situations linked to communities resistent to the existent design of the city and to the prevailing economic and social interest. A possibility of introducing new urban strategies.

In the last few years we have watched a phenomenon which has absolutely changed the parameters of evaluation of the urban space and the extent of the interventions: the global integration of the largest cities, with the appearance of great urban architectural projects promoted by international capital. Closely related to that process we see the tendency to the mega-museums, which tend to subordinate the production and the aesthetic perceptions to the same global spatial logic. A monumentality that steers the city and art towards the spectacle and the cultural tourism.

It is no longer possible to conceive projects for the urban space without taking into account that new large scale. Given the growing spatial, institutional and social complexities of urban situations, every intervention has to take into account that intense process of restructuration of the cities. That means the need to develop strategies in opposition to the spatial area, the architectural shape and the institutional or corporative instrumentation of art.

Interventions in megacities place the matter of the perception of large urban areas which escape completely from the mental map of their inhabitants, from the parameters established by urbanism and the grammar of the art for public spaces. Which are the subjects related to the perception, by the public, of interventions on this scale? When the cities are adopting strategies of concerned with marketing, housing development and cultural tourism, artistic practices must avoid the speculation inherent to those processes.

Could projects of artistic interventions on the urban space become a field of discussion about the processes of urban restructuration? Is it possible in the present scenery of administration of cities and culture, dominated by corporative and institutional operations with a great economic and political power, to create a public space of debate about the alternatives of urban development and artistic production?

(1) Arte/Cidade teve quatro edições, a partir de 1994. A primeira ocorreu num matadouro desativado, na região sul da cidade. A segunda, no centro, em três edifícios e na área por eles demarcada, cortada por um viaduto. A terceira, ao longo de um ramal ferroviário, na região oeste. A última, em 2002, na região leste da cidade, antiga área industrial, num recorte de cerca de 10 km2.

....................................................................................................................................................................................................................................................................NELSON BRISSACIs a philosopher whose works is related to art and urban-planning issues. Since 1994, he is organiser and curator of Arte/Cidade, an urban interventions project in São Paulo.

















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2009-2010. URBAN BUDDY SCHEME / 05 feb 2009 (video)

Thursday 5th of February, 2009

1      Cecilia Andersson y Jorge Díez (welcome speech)00:00 - 24:15

Javier Duero (moderator)24:15 - 28:08


2Javier Duero (moderator)00.00 - 03:37

Basurama (presented by Javier Duero + confernece)02:30 - 20:50 Andrés Jaque (presented by Javier Duero + confernece)20:50 - 27:15



3Andrés Jaque (conference)00:00 - 06:58


4Andrés Jaque (conference)00.00 - 09:26

Ludotek (presented by Javier Duero + confernece)09:26 - 18:08


5Ludotek (conference)00:00 - 10:50

Wunderkammer (conference)10:50 - 18.50


6Wunderkammer (conference)00:00 - 02:02

Javier Duero + debate02:02 - 19.09


7Debate00:00 - 11:46













2009-2010. Gustavo Romano. TIME NOTES: MOBILE OFFICE (2009.12 / fieldwork)



For the mobile office we need a young man and a woman, preferably from Madrid, or not to be identified by their foreign accent.

The ideal profile is a jovial person, who enjoys dealing with people, but knows how to listen and lets others speak, someone who understands that the protagonist is the interviewed and not he.

The profile to avoid is someone who is afraid to interact with strangers, an irascible person or someone who is always joking.

For the main office of Casa de America, the gender is irrelevant and it’s not important if they know how to approach people, for, in this case, people will come to the office by their own will.


The mobile office will drive around for 4 hours 5 days a week. We should specify when, but for now I think that from Tuesday to Saturday from 11am to 3pm would be fine, but I am open to suggestions.

For 3 or 4 hours the main office can function in Casa de America (the rest of the time it would work as a space). In that case the opening hours will depend on Casa de America.

Two actors will make use of the mobile office.

The planned fees for actors are a total of 2000 euros.

I will be in the mobile office at times, sometimes in the main one.


For those who work in the mobile office, they will daily have to drive a “bike-cart” and then bring it back to Casa de America.

They will have to stop at specific locations and start offering their service of Reimbursement of wasted time and Loans.

In order to do this I will personally explain the operation in detail, but in general, it consists of asking people about their wasted time or what they would do if they had extra time, give them the corresponding bills and upload the information on the computer.


1- Even the most unusual reasons are welcome. The main role is to collect reasons for wasted time. When a person arrives at the “office”, the actor says this, more or less:“In this office we offer different services, for example, the reimbursement of wasted time. You tell us how you lost your time, due to a bad decision, or something that you had to do without wanting to, and we will give it back to you with our notes. We have 1 minute, 1 day, 1 year,…”

2- Don’t try to force any specific reason. If the person is confused or has doubts and you want to avoid uncomfortable silence, it’s better to ask some open questions instead of helping them with suggestions.For example, you can say… “Don’t you ever waste time? Are you sure?” Or ask something about the person… “Do you work, or do you study?” Or you can say… “Take your time, there’s no hurry”.If the person doesn’t have anything in mind, as a last resource, you can ask him some general information…. “You’re so lucky. Are you happy with your job? Do you always do what you want?”, etc.

3- Avoid the word Art. In my experience, if they become aware that this is an art project… people get disappointed (me too).No one thinks that this situation is for real, but everyone wants to think that it’s true. Everyone enjoys the illusion, and they want to play the game. But if you use the word “art”… the game is over.

Anyhow, as it is a weird situation, people will ask: “What is this? What is it for? Who are you?”.I recommend three strategies.First. Try not to answer, avoid the question. You can try and answer with a question. “What might you use it for? How could it be useful? How would you use it?”Secondly, you could say, “this is a new financial system, and once it becomes global, you’ll be able to pay with these notes, because time is money”. Or… “we are trying to substitute our currencies with this one”, “we are spreading the idea of replacing this money with this”…In the third place, if the person is a real drag, one can say… “I am working for the Time Notes Corporation. Here you can see the website. You can check it out and find out more about it. I really don’t know much more than what I’ve already told you”.And of course, if the situation turns very uncomfortable… you can finish the game by saying:“Ok this is an art project, bla, bla, bla…”

4- Try to make people talk. Don’t try to impose our ideas. Listen. Ask and re-ask. Try to make people give richer information, not only a short version. Request more information: where, when, why…5- Don’t get depressed if you didn’t do it too well with one person. More shall come. Each person is a whole different and independent story (and didn’t listen to what happened previously). The main idea is this should never become a job. It must be fun and playful for everyone. For the public and also for the actors. 6- Go to the website and check some examples, some of the reasons that people gave at the office.

Here is a video from the previous action:

(December 2009) 












2009-2010. Adaptive Actions. AA CAMP-MADRID (published text)

A space of production, presentation and actions


The Adaptive Action (AA) laboratory, initiated in London in 2007[1], lends voice to marginal causes, alternative urban lifestyles, counter-conducts and citizen’s artistic creations by which imagination and personal creativity influences daily life. AA makes an inventory in order to disclose these singularities and existing actions.AA also aims to encourage others to engage in new creative activities in order to adapt the urban fabric. AA nurtures itselfon individual and collective contributions and initiatives by extendingan open call for collaboration (taking placein several places simultaneously). AA is looking for contributions for the website, itspublication as well as for contributions that maystimulate reflection, discussions and presentations at the Camp in Madrid. Through the AAwebsite or at the Camp, people may register as actors and submit actions.These may be already existing, created by you or by others, all are welcome. You may also comment or discuss forthcoming contributions.



At the Atocha train station in Madrid, a production and live-action Camp will house the AA project during February. Experiences and materials – whether in the making or from past and/or future initiatives – will be presented at the Camp and in a forthcoming publication. Visitors may modify existing contributions or post their own. Supporters[2] at the Camp will assist theactors and discuss possible additions, proposed actions and  arisingissues with participants. Madrid citizens will be invited to put forward micro-actions yet to be carried out.



The program of events at the AA Camp (workshops/actions, lunch-and-learns) on specific topics and locations will build bridges between actors and actions. The latter will undergo prolongation and be remodelled. Some will be launched in Madrid some inother cities and countries) and collected into a joint art project. The aim, as Maurizio Lazzarato would say, is not to neutralise differences but, conversely, to enrich the concept of commonality through these differences[3]. As Lazzaratoargues, the challenge is to find ways to retain multiplicity, to embrace heterogeneity while maintaining disparity.



The second AA publication[4] will be developed and produced in Madrid, live and in publicwithin a limited timeframe. During themonth ofproduction camp, all material for the publication will be assembled and edited and by the end of thisprocess, the book will be published. Actors can contribute directly to the selection and preparation of material on site or viaemail. Throughout this process, visitors will post new actions atthe Camp, hallmarking the ongoingrenewal of adaptive actions in counterpoint to those featured in the publication. At the AA Camp, structure and planning will coexist with the unexpected.



This project will expand thoughts on various themes related and complementary to architecture and art, including the concept of post-production and unplanned, un-programmed transformation and appropriation that give meaning to the city. By this process, various impressions will merge. One-off, geographically isolated acts will converge and, in vast numbers, take new directions, shape coherences, strengths and arouse interest by creating unexpected -and otherwise impossible- associations, links and cross-references.

The project focuses on micro-actions because these prompt or modify our perception of the urban environment. Their design is a reflection and expression of behaviour in tune with artistic creation. Many actions are anonymous, unsigned, clandestine, previous to transformation. The authors are awarethat these actions will eventually be changed, maintained or possibly eliminated by others. Their relation to the context suggests a potential re-appropriation, but the collective imagination they establish - especially if they multiply by numbersand if their presence becomes widely known - ensures the sustainability of a state of mind akin to artistic expression. Consciousness, signature and participation are thus inherent to this type of project. Citizen actions suggest a different process for shaping cities, open and collaborative, responsive and crosscutting.

Visit for information and schedule of activities, workshops and meals that will take place weekly at the AA Camp in Madrid and elsewhere.


[1]    By Jean-François Prost and at SPACE studios and Canadian International residency in Hackney, East London.

[2]     Several past and new AA collaborators will, in turn, tend to the Camp.

[3]     Yves Citton, Puissance de la variation, Maurizio Lazzarato, Multitudes 20, pp.187-200 and book : Puissances de l'invention. La psychologie économique de Gabriel Tarde contre économie politique, also published at Les empêcheurs de  penser en rond, 2002.

[4]     The first Adaptive Actions publication (UK edition) was launched in March 2009. It features many actions as well as articles by Pascal Nicolas-Le Strat (France), Judith Laister (Austria), Frank Nobert and Jean-François Prost. 












2009-2010. Hernani Villaseñor Ramírez (Cv)


EDUCATION2007·    Programa de fortalecimiento para jóvenes compositores, CMMAS, Morelia, México.

2002·    Programa de estudios en fotografía, Fábrica de Imágenes, Morelia, México.


·    Audio Engineering Diploma, School of Audio Engineering, Milán, Italia.

1996·    Percusiones, Escuela Nacional de Música, Ciudad de México.

SELECTED SOLO EXHIBITIONS2007·    Somos un gran sistema de sonido, instalación sonora, Casa de la Cultura de Morelia, Morelia, México.

·    4@Q Ciclo de audiciones en cuadrifonía, Universidad de Quilmes, Buenos Aires, Argentina.

2008·    IV Jornadas Argentinas de Música Contemporánea, Universidad Nacional de Córdoba, Córdoba, Argentina.·    Música Viva 2008, Sound Walk, Centro Cultural de Belém, Lisboa, Portugal.

2005·    Fotoseptiembre 2005, Fábrica de Imágenes, Morelia, México.

2004·    Colonización, Things we did and didn't do, Art Tank Gallery & Queen Street Studios, Belfast, Irlanda del Norte.·    Colonización, Things we did and didn't do, Fábrica de Imágenes, Morelia, México.

PERFORMANCES2009·    Ensalada Inestable II, Centro Cultural España, Ciudad de México.·    Prácticas de Vuelo, Ex Teresa Arte Actual, Ciudad de México.

2008·    IV Festival Internacional de Música Contemporánea de Michoacán, CMMAS, Morelia, México.

2006·    III Festival Internacional de Arte Electrónico 404, C.C. Parque de España, Rosario, Argentina.

BROADCASTED PROJECTS2008·    Sueños, altar sonoro, Radio Educación México.·    Campanas de Independencia, pieza sonora, Radio Educación México.

2007·    Intervención sonora al mural de Diego Rivera Sueño de una tarde dominical en la Alameda Central, Radio Educación México.·    Papalotzin, altar sonoro, Radio Educación México.


ACADEMIC RELATED ACTIVITIES2007·    Conferencia Somos un gran sistema de sonido, CMMAS, Morelia, México.

2004·    Taller Producción de música electrónica, Centro de Arte y Nuevas Tecnologías, San Luis Potosí, México.

1989–1994·    Percusiones, Conservatorio de las Rosas, Morelia México.

AWARDS AND GRANTS2007·    Programa de Coinversiones para la Producción Artística de Michoacán para Construcciones, CD de música Acusmática.

2005·    Programa de Estímulo a la Creación y Desarrollo Artístico de Michoacán, Jóvenes Creadores para la inatalación sonora Somos un Gran sistema de Sonido.















2009-2010. Lobo Pasolini. THE ART OF VIDEO ART



Using footage from the Prelinger archives, The art of video art uses vintage TV commercials to create a visual retro mash-up essay about the ontology of video art, the art of the televisual age.














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2009-2010 / 2009.11. PRESS RELEASE. Final results

2009-2010 / 2009.11. PRESS RELEASE. Final results













2009-2010. DISCUSSION PANELS / 5 feb 2010 (video)

5th of February 20106pm to 9pm.  PRESENTATION OF THE INTERVENTIONS

1Presented and moderated by Cecilia Andersson and Jorge Díez (00:00 - 00:40)

Iñaki Larrimbe, Unofficial Tourism(00:40 - 20.05)

Adaptive Actions, AA Camp, Madrid(20:05 - 27:05)



2Adaptive Actions, AA Camp, Madrid(00:00 - 26:36)



3Adaptive Actions, AA Camp, Madrid(00:00 - 05.17)

Lisa Cheung, Huert-o-Bus(05:17 - 27:29)



4Lisa Cheung, Huert-o-Bus(00.00 - 01:24)


5Gustavo Romano, Time Notes: Mobile office(00.00 - 05:36)

Susanne Bosch + Zoohaus + María Molina, Hucha de desesos: ¡Todos somos un barrio, movilízate!Susanne Bosch(05.36 - 20:28)


6Susanne Bosch + Zoohaus + María MolinaSusanne Bosch(00.00 - 03:00)

Zoohaus(03:00 - 19:46)

Susanne Bosch + María Molina, Educational ProjectSusanne Bosch(19:46 - 20.29)

7Susanne Bosch(00:00 - 05:33)

María Molina(05:33 - 11:30)

Susanne Bosch + Zoohaus + María Molina(11:30 - 20:29)

8Debate and questions(00:00 - 06.27)














2009-2010. Adaptive Actions. AA CAMP-MADRID (2009.11 / fieldwork)


ADAPTIVE ACTIONS Camp in Madrid A space of production, presentation and actions with Madrid Abierto, February 2010

To whom it may concern,

Several collaborators and myself are currently working on new content for the Adaptive Actions' website, second publication and to present and discuss at upcoming Madrid Abierto 2010 event. Adaptive Actions ( will hold camp next February, during one month, in the centre of Madrid: a space for gathering, sharing experiences and submitting actions (happening in the city) while previous or ongoing ones will be shown. The idea is to create an environment in which thinking and doing enacts both local and international dimensions. The project investigates theories and examples of architecture that focus on the social, political, gender,activist or other aspects of the production of space.

I would very much like you to contribute to the Adaptive Actions' research platform in Madrid. I am looking for a collaborator, professor and students in Madrid interested by new ideas and research in alternative architectural and urban practices and to participate in a 2-3 day Charette workshop at the AA (Adaptive Actions) Camp.

The proposed topic: document absurd, unusual, neglected, over controlled spaces in need of reflection and different forms of activation. The objective is to document existing adaptive actions and encourage the creation of new ones by the proposal of critical spaces of intervention and give meaning to our daily built environment. The Charette will be followed by a round table discussion and documented progressively on the Adaptive Actions' Website and upcoming 2nd publication (Madrid edition).

Hoping you will accept our proposition, we look forward to your response so we can discus in more details and meet during my stay in Madrid during the following week.

If you have any other queries, please do not hesitate to contact me.

Kind Regards,

Jean-François Prost Adaptive Actions Email:

(November 2009)
















2009-2010. Josep-María Martín. A DIGESTIVE HOUSE FOR LAVAPIÉS (published text)

 A project by Josep-Maria Martín with Mouhamadou Bamba DiopProduction MADRID ABIERTO Cultural mediation Pensart

Josep-Maria Martín’s artistic projects are focused on creating new intervention strategies that affect established structures of our current society, some of which have fissures. The artist questions and critiques the reality he decides to work on. His work explores concepts such as progress, investigation, participation, involvement, negotiation and proposition. In this process, agents that have been identified for each intervention become the true creators of a common project.

Josep-Maria is interested in forms of art that exceed the purely aesthetic, encouraging a movement from aesthetics towards ethics, life transformed by art and the art of living by transformation. His aim is to use aesthetics in order to visualize situations and try to change them.

These are multidisciplinary projects that are open for appropriation by the different participants involved. For example, that which is a piece of contemporary art for an artist, is, in the mind of a social worker, a community project, etc. As such, the artistic object transforms into a multifunctional object.

PISO PATERA: overcrowded apartment for immigrants

For this edition of MADRID ABIERTO the artist was interested in questioning a ‘piso patera’ as a space for people to live in and to establish an analogy between the human digestive system and the home as an organism that digests collective and personal memories.

After months of investigation and interviews Josep-Maria located Mouhamadou Bamba Diop, a Senegalese citizen who lives in an apartment in the neighborhood of Lavapiés, along with 16 fellow countrymen, all without legal documents. The artist asked them to reflect on their way of living in an overcrowded apartment (‘piso patera’) and, Bamba in particular, to tell the story of his life in Senegal, his journey to Spain on a small boat and the dream that all of them share of returning to their country in order to create a better future for the youth of Kayar (Bamba’s home town). The artist’s original intention of working on the apartment for immigrants materialized itself instead by offering a contract to Bamba in order for him to be part of the project and thus temporarily legalize his status in the country. MADRID ABIERTO 2010 will be the first phase of this proposal. In January Josep-Maria and Bamba traveled to Senegal to develop a socio-economic project in Kayar.


To be born. Where? There. Why? I don’t know. To grow. To think. To look. To listen. To study. You can’t. I can’t anymore. To work. I want more. To hear. To see. Europe. So, what is that? I don’t know. It sounds good. Him, he left. He also. Did he arrive? I don’t know. To work. I want more. Love. I’m getting married. Me too. My son. I’m getting married, again. Another child. To work. Europe. So, what is that? I don’t know. He left. Now they have a better life. And he? I don’t know. To work. For what? Not much, I want more. Europe. So, what is that? It seems good. Is it? I don’t know. He left. Did he do well? Maybe. I love you. I also love you. My cousin left. Where? To Spain. What is that? Did he do well? Sure. What do you have to do? Work. For what? I want more. He called. Is he ok? Yes, he called. Now they have a better life. I’m leaving. Where are you going? To a better world. Better? Yes, better. Are you sure? He left. Did he do well? Now they have a better life. And him? I don’t know.


We are a group of Senegalese immigrants that arrived in Spain on a boat, hoping that in Europe we would be able to thrive as human beings, helping our families and Community. We arrived in Madrid after a suicidal journey. Today we are 17 persons living in a small apartment in Lavapiés. We demand to be, to have, to live, to subsist, to be supported, to feel, to belong… in freedom.

To feel loved and respected. To feel visible and heard. To feel other people’s feelings as our own and to feel taken into account. To feel our interests and words are being heard. Feeling the cold, warmth, love, anger, outrage, admiration…

Belonging and identifying ourselves as Senegalese inside and outside our homeland. This means being supportive by nature and due to religious conviction; to protect the weak one, who doesn’t have or doesn’t want; being hospitable and building a community, living in peace among everyone that surrounds us; being, thanks to the strength that we achieve due to our mutual support and the respect towards our hierarchic structures which facilitate our coexistence; having the Koran as our main guide and holding on to our beliefs until our last breath.

…the freedom to leave and stay, to thrive, to create… Freedom.

Ababacar Gningue, Aliou Badara Diouf, Assane Kebe, Bassirou Thioune, Daouda Kebe, Djibril Diop, Djibril Ndiaye, Ibrahima Gueye, Ibrahima Toure Niang, Madeguene Gueye, Modou Diouf, Modou Sall Ndiaye, Mouhamadou Bamba Diop, Mouhamadou Lamine Diatta, Moury Conde.
















2009-2010. Josep-María Martín.¿WHO´S ON THE LINE? CALL FOR FREE!, 2007

2009-2010. Josep-María Martín.¿WHO´S ON THE LINE? CALL FOR FREE!, 2007

¿WHO´S ON THE LINE? CALL FOR FREE! In 18 Geschichten quer durch dies republik, 2007

Fankfurter Buch Messe Faire & Incult Iniciativas CulturalesColonia, Hamburgo, Berlín, Sttugart, Alemania

By Josep-Maria Martín con: Thomas Steinaecker, Pilar Baumeister, Navid kermani, Natasza Goerke, Stefan Beuse, Singrid Behrens, Tosten Schulz, Feriden Zaimoglu, Yade kara, Odile Néri-Kaiser, Tilmarau, Sudabeh Mohafez, Anna Catarina, Hahn, Beqe Cufaj, Sandra Hoffmann.

Curated byr: Stefanie Klinge y Carlos Bloss.















2009-2010 / 2009.11. PRESS RELEASE. Madrid Abierto

2009-2010 / 2009.11. PRESS RELEASE. Madrid Abierto













2009-2010. DISCUSSION PANELS / 4 feb 2010 (video)

4th of february 20106pm to 9pm. PRESENTATION OF THE INTERVENTIONS

1Presented and moderated by Cecilia Andersson and Jorge Díez (00:00 - 00:35)

Lara Almarcegui, Going down to the recently excavated underground passage (00:35 - 23:05)



2Lara Almarcegui, Going down to the recently excavated underground passage (00:00 - 08:30)

Laurence Bonvin, Ghostown(08.30 - 23:05)



3Laurence Bonvin, Ghostown(00:00 - 18:06)

Pablo Valbuena, Tower block(18:06 - 23:05)



4Pablo Valbuena, Tower block(00:00 - 14:57)

 Questions(14:57 - 23:05)


5Questions(00:00 - 01.23)


6Josep-Maria Martín, A digestive house to Lavapiés(00:00 - 23:05)


7Josep-Maria Martín, A digestive house fot Lavapiés (00:00 - 16.20)

Teddy Cruz, Vallecas Abierto: How is you art going to help us?(16.20 - 23:05)


8Teddy Cruz, Vallecas Abierto: How is you art going to help us?(00:00 - 23:05)


9Teddy Cruz, Vallecas Abierto: How is you art going to help us?(00:00 - 02:04)

Debate and questions(02:04 - 15:35)












2009-2010. Adaptive Actions. AA CAMP-MADRID (2010.01 / technical data)



Wireless Internet connection(for visitors to be able to see the website, directly add information and for us to be able to work and communicate- most of us won’t have a phone).

Electrical power (plugs) of 1000-1200 watts: for 3 laptop computers (3x65 watts) a small printer (100 watts)5 lamps (5x60 watts)2 battery chargers (2x65 watts)and occasionally a projector for presentations (200 watts) and 200 watts for additional needs.

Installation4 days (3min) to install (31st January, 1,2,3 of February) a day to disassemble (March 1st).

A small space for storage: in the station so we can deposit a suitcase with the printer and small objects.


If the meeting goes well, could you ask them for 10-15 collapsible chairs? (for the workshops and seminar) and three tables for the whole month.













09-10intb2658, 09-10inib3623

2009-2010. Iñaki Larrimbe. UNOFFICIAL TOURISM (published text)


With Unoficcial tourism, artist Iñaki Larrimbe seeks to customize a caravan and turn it into an `unofficial´tourist office. By locating it in the streets of Madrid, the aim is to inform foreign cultural consumers (tourists) by offeringmaps and guides containing alternative routes of exploration. Different to those delivered by the `official tourism´, these itineraries have been made by six people livingin Madrid, and who are related to its most alternative culture, its `underground´ or counterculture. Mauro Entrialgo and Adriana Herreros have created a guide to “Advertising neon signs”, Guillermo de Madrid has put together a route of “Urban Art”, Jimina Sabadu shows us public spaces where motion pictures wereshot; John Tones invites us to walk into various arcades and stores that have kept the old school game machines; Santi Otxoa delivers an itinerary to “One hundred year old taverns in Madrid” and the Todo por la praxis collective, encourages us to meet the unheard-of human fauna and urban flora in the neighbourhood of “Cañada Real”.

The Unoficcial tourism project aims to attach itself, through humble resources and with support of `do it yourself´ culture,inside those mechanisms created by cultural economic interests and tourism. In every way this is a parasitic type of activity that creates parallel structures to official versions byusing public spaces and infrastructures, and in this manner intend to create and spread different views and interpretations of Madrid. It involves the idea of transferring the format of a`fanzine´ transmission onto tourism by creating an `underground office´ with the help ofresources available to the ordinarycitizen: a caravan.

To sum up, Unoficcial tourism aims to be a project that responds and tends to the cultural entertainment necessities that, as suggested above, the new cultural policies based on socioeconomic criteria have generated. But Unoficcial tourism does not intend to raise a critical voice. The idea is to participate in reality from a nihilistic point of view. The reason for thisis that institutional critique todayis not possible. A virgin space does not exist, there is no non-institutional realm, which can serve as a basis to generate criticism.

This new project by Larrimbe carries on with the theme of cultural tourism, something he has already been dealing with in his latest productions. In a similar manneras last year, when the artist recreated a `hotel´ in a small private space in his home townVitoria, andwith scarse resources tried to fulfill the needs for accommodation that the Museums, art Centers and cultural venues have created locally Unoficcial tourism is the beginning of an `alternative tourist office´. As the critic Peio Aguirre states in his book Sauna finlandesa o descenso de barrancos “The figure of Larrimbe as a cultural agitator inside the cultural framework of the city situates him in a difficult position in order to assume the role of an artist supported by a representational legitimacy. He is conscious of this satellite position. If, as he himself notices, the critic has already been digested and the auto-sabotages can’t be taken any further, it seems to be a better choice to be playing the game of inscribing himself inside those mechanisms (as oil added to the machine) against which he daily fights. So, knowing the artistic position he holds, it seems to be a good option to try and interrogate, once again, about the nature of the critic and the limits of the institutionalized insides and outsides. Is it the same thing to do, to write a column in a newspaper analyzing the activity of cultural policies or to carry out a project where a whole device of communication and infrastructure is being represented?

Obviously it is not the same thing. However, the message is not too different. Does the caravan-device alibi reinforce or neutralize the critic? Does the content of the statement revolve against its own form of communication? How does having to contribute in any way to Larrimbe’s project affect the institutions?”

















2009-2010. Gloria Zein (Cv)


SELECTED SOLO EXHIBITIONS 2008·    Philosophers' beds/bedding philosophers, Iranian Artists' Forum, Tehran, Iran.

2007·    philosophenbetten, Galerie Rossella Junck, Berlin.

2004·    Vorspiel(e), Factor 44, Antwerpen, Belgique.

2003·    Vorspiel(e), Goethe Institute Paris. ·    Vorspiel(e), Deutsch-französisches Kulturinstitut, Aachen, Deutschland.

2002·    Vorspiel(e), Syrius Kunstraum, Düsseldorf, Deutschland.

SELECTED GROUP EXHIBITIONS 2009·    A book about death, Emily Harvey Foundation, New York City. ·    Trendwände, Kunstraum Düsseldorf, Deutschland. ·    Incantato, Galerie Rossella Junck, Berlin.

2008·    Glück Gehabt - Art goes Underground, NGBK Berlin. ·    3xF: Fußball, Frauen, Fotografie, Heinrich-Böll-Stiftung, Rostock, Deutschland.

2007·    Copycats, Künstlerhaus Dortmund, Deutschland.

2006·    SEXWORK Art Mythos Reality, NGBK Berlin. ·    3xF: Fußball, Frauen, Fotografie, Frauenmuseum Wiesbaden, Deutschland. ·    3xF: Fußball, Frauen, Fotografie, ARD-Hauptstadtstudio Berlin. ·    Confinement and the art of decoration, Artspace New Haven.

2005·    Paris-LA, Cache Contemporary Gallery, Los Angeles. ·    Blue Hall - Marktplatz Europa, Kunsthalle Arnstadt, Deutschland.

2004·    Die Loreley. Ein Fels im Rhein. Ein deutscher Traum, Mittelrhei Museum Koblenz, Deutschland.

2003·    Blue Hall - Marktplatz Europa, Atelierhaus Panzerhalle, Potsdam, Deutschland.

2002·    Free Manifesta, Frankurt a.M, Deutschland.

PERFORMANCES 2004·    The Thomas Greb Project: Personal belongings, Designmai Berlin.

STAGE DESIGN 1997·    Der eingebildete Kranke (Molière), Director: Anja Topf, Festspiele / Festival Bad Hersfeld, Deutschland.

·    The Breathing Project, since 2001 new haven breathing, ultra radio, 16.03.2006 antwerp breathing, radiocentraal Antwerp, 23.04.2004 washington breathing, art@radio Washington DC, 04.12.2002 ny breathing, WKCR radio station, NY, 13.09.2002 frankfurt breathing, Free Manifesta Frankfurt, Juli/August 2002

ACADEMIC RELATED ACTIVITIES 2005–2009·    Technical University Braunschweig (D), Institute of Fine Art : Lecturer (Lehrauftrag) 2008 parkingallery, Tehran (Iran): Lecture: Can art question philosophy? 2006 Educational Center for the Arts - ECA, New Haven (USA): Workshop: (self-)portrait.

WRITINGS ·    Articles about art and photography 2009 Die Kunst der anderen, Die Tageszeitung (taz) Berlin, October 12 2009, p. 16 2007 Die heilige Familie von Ikea, taz Berlin, December 5 2007, p. 25 2006 Die Ausdehnung der Tatnacht, taz Berlin, October 7 2006, p. 29 Doppelagenten der Erinnerung, taz Berlin, September 30 2006, p. 27 Kampf um den Helena-Pokal, taz Berlin, June 7 2006, p. 18 2005 Gedanken wie Grippeviren taz Berlin, October 6 2005, p. 16 Alle Ampeln stehen auf Gelb, taz Berlin, September 19 2005, p. 16 Sex ist etwas Komisches, taz Berlin, August 19 2005, p. 16 Auf den Nagel getroffen, taz Berlin, March 14 2005, p. 16 Helden des Augenblicks, taz Berlin, January 25 2005, p. 15 2004 An anthology of art,, NZ, December 2004 2001 Documentation as artistic practice,, NZ, August 2001 Quelle est-le rôle de l'artiste aujourd'hui? Tokyobook2, Palais de Tokyo, Paris (F), November 2001 FORMACIÓN ACADÉMICA/ EDUCATION 2001 International Summer Academy of Fine Arts, Salzburg (Austria): class of Ilya Kabakov 1998 Master of Architecture, Technical University of Vienna, Austria. 1989-1998 studied Philosophy and Architecture in Darmstadt (D), Vienna (A) and Paris, France.

AWARDS AND GRANTS 2008·    Artist in residence at the Emiliy Harvey Foundation, Venice 2004 Szpilman Award - Best Seven 199596 Erasmus Grant for Paris, Ecole d'Architecture Paris La Villette

WORKS IN MUSEUMS AND COLLECTIONS ·    Mittelrheinmuseum, Koblenz, Deutschland.

BIBLIOGRAPHY 2008·    Alice Bombardier: Quand Art + Philosophie = Un lit" La Revue de Téhéran, June 2008, p. 62-67 Glück gehabt. ·    Kunst im Untergrund, NGBK Berlin (D), 2008 (Cat. Exp) 2007 Michael Nungesser: Sexwork. ·    Kunst Mythos Realität Kunstforum Band 184, 2007, p. 291 - 293 SexWork - Art Mythos Reality, Kehrer Verlag Heidelberg (D), 2007 (Cat. Exp) ·    Iris von der Tann and Heide Weissenberger Künstlerateliers Berlin Ed. Werkstück, Berlin (D), 2007 (Cat.) ·    Matthew Rose: Made in Berlin Art and Antiques, Malibu, CA (USA), Oct. 2007, p. 166 Andrea Edlinger: Kunstrundgang taz, Berlin, 27.06.2007 ·    Katrin Bettina Müller:Liegen Lernen - Philosophen Betten von Gloria Zein in der Galerie Rossella Junck sind etwas für ausgeschlafene Personen Tip Berlin nr. 13/2007, S. 65 ·    Nadine Albach: Von Nachahmungstätern und Achill, der sich selbst einwechselt Westfälische Rundschau (D), 16.02.07 2006 ·    Ebon Fisher: Between Plumage and Plunder Artspace New Haven (USA), 2006 (Cat. Exp) ·    Factor 44 - Les jours fixes 1996 - 2006, Antwerpen (B), 2006 (Cat. Exp) ·    Daniel Kalt: Fußball, elfmal anders Berlin Art Info 53 (2006), p. 21 ·    Brigitte Werneburg: Zwölf Freunde müsst ihr sein taz Berlin, June 13, 2006 ·    Judy Birke: Nothing confined about Artspace exhibit New Haven Register, February 26, 2006 2005 ·    Brigitte Werneburg.: Ein Tunnel quer durch die Erde taz Berlin, March 25, 2005 2004 ·    Die Loreley. Ein Fels im Rhein. Ein deutscher Traum. Verlag Philipp von Zabern, Mainz (D), 2004 (Cat. Exp) 2003 ·    Gabor Baksay: Ceci n'est pas Gloria Zein MOVIE, Aachen, February 2003, p. 43 2002Matthew Rose: Foreplay: Gloria Zein NY ARTS MAGAZINE, June 2002, p. 73 2000 Happy Birthday Johannes. ·    Kehrer Verlag Heidelberg (D), 2000 (Cat. Exp)
















2009-2010. Josep-María Martín. RINCÓN DE SUEÑOS, 2000

2009-2010. Josep-María Martín. RINCÓN DE SUEÑOS, 2000

RINCÓN DE SUEÑOS: Una ludoteca para los niños y jóvenes trabajadores de la “Central de Abastos”, DF, 2000Echigo-Tsumari Art Triennial, Niigata, Japón, 2000

By Josep-Maria Martín con Jorge Vázquez, Sara Álvarez + Vanesa Bohórquez, Martha Patricia Ortiz, Ylenia Escogido, Olinda Larralde, Marichuy Torres, Manolo Arreola, Wilson Osorio, Silvia Gruner, Magdalena Carranza, Cuca Valero, Miguel Legaria, Olinda Ortiz, Juan Carlos Reyes, Tirzo Madariaga, Marcos Martínez, Eleazar Miranda, Francisco Javier Miranda, Marco Antonio Miranda, Antonio Merino, Jorge García, Alejandro Andrade, Humberto Macedo, Avelino Hernández, Guadalupe Martínez, Héctor Torres, Adrián Lima, Cristóbal Morales, Agustín Hernández, Carlos Flores, Federico San Agustín, Pedro Martínez, Pablo Esperón, Miguel Hernández, Cesahi Baldomero, Jaime García, Yonari Aguilar, Alonso Victoria.

Curated by: Martí Perán









2009-2010. URBAN BUDDY SCHEME (images)

2009-2010. URBAN BUDDY SCHEME (images)
















2009-2010. Josep-María Martín. A DIGESTIVE HOUSE FOR LAVAPIÉS (2009.05 / fieldwork / Bamba´s trip)

 Ever since I was a very young child I had always thought of Europe as offering the best chance of being able to have a nice life. I would still like to believe this to be true, but the reality that my flatmates and I face everyday has, at least for the time being, rendered it almost impossible.

I honestly thought that I would find work I would like when I got to Spain, a position that might allow me to support my family and, above all, to be successful in life. The truth however, despite anything we might say, is that the future for an immigrant and particularly anyone ´without documents´, is very gloomy and difficult in every sense. Harsher and harsher laws are being passed; there seems no end to the continual arrival of immigrants brought in by sea in “pateras” and on top of all that there is a deepening economic crisis… I have now come to believe that it is not worth anymore abandoning your country of origin to come to Europe or risking your life in a “cayuco” for a chance to live in Spain.

I am one of those people who risked their lives to come to Spain. After six fruitless years of trying to get a visa, I decided to achieve my dreams no matter what the cost. There were a multitude of pateras leaving Senegal in the summer of 2006, so many that it would be hard to put a number on it. Those were strange times and it seemed as though absolutely everyone was going crazy trying to get a place on a patera and make it across to Europe. According to the Senegal media, the pateras picked up their passengers in fishing villages. The one I boarded left from Kayar, my mother's village. On the day concerned I left my house at 11 o'clock in the morning after lunch. My mother and brothers were not at home. They had left for a religious ceremony and my wife, my son and I had stayed behind. I was with one of my friends when I took leave of my wife and she asked me where I was going. “Just for a walk to the beach”, I said. Then my friend and I caught the bus to Kayar. The police were carrying out checks when we arrived at Kayar bus station at four in the afternoon. The Senegalese government had decided to mobilise police troops and put an end to the pateras phenomenon, so they were arresting anyone arriving in the village with a travel bag. We were lucky that day because we had no cases or anything else with us that might have made us look suspicious. My uncle had prepared a room ready for us at my grandparents´ residence whilst we waited for the departure time. The same uncle personally knew the head of the criminal gang who organised the trip. He was a man highly sought after by the police…… I never thought we might travel on that particular day. There is so much corruption in Africa that you can pretty much get whatever you want if you have enough money and in all probability the police officials were paid for each patera that actually left. The criminal gangs had the police completely under their control. We finally managed to leave at midnight. I decided beforehand to ring my wife and tell her the truth. I quickly told her that I was getting a patera bound for Spain, and never even gave her any time to reply in case, as she surely would have, she said something that might make me change my mind. I told her to pray for me and to take care of my son, and that I loved her so much. A small cayuco took us from the beach to the patera which sat five kilometres offshore. We were the first to get in. When we boarded they were not many people. There were two engines at the back, a quantity of large containers that must have contained fuel and water. Some planks of wood had been set out across the middle as benches and all the food was out. Our provisions comprised milk, biscuits, rice and sugar. One hour later the patera was completely full of people and you could not even place another foot on the floor. The highly illegal nature of the trip itself meant that being orderly was out of the question and the criminal gangs were just shoving people in as though we were goods in transit. When it got to the point that you just could not even have squeezed another fly onto the patera the captain, who was just a fisherman, decided it was time to leave. That was when the departure speech was given: “this trip is either going to Barça or Barzaq”. This literally meant we were on our way either to Barcelona or further beyond”, and if anyone was not of a mind to achieve that dream or was not prepared to die for it, then they should get off there and then. There was no turning back.” The moments following that talk were very emotional. Some people decided to abandon the boat because a lot of them had already started throwing up. Most people who have actually made the trip have in fact been the victims of false information fed to them by the criminal gangs. They had never been on a patera. So we left for Spain over Saturday night to Sunday 27 August 2006. The first night of our journey was peaceful and there was a full moon. The night was so silent. All you could hear was the noise of the engine and the patera as it slapped against the water. None of us said a thing. You would have thought that our souls had left our bodies. We could see the last lights of the village fading in the distance behind us. We were leaving our lives, our roots, our identity and everything we truly stood for behind. Most people could not eat a thing that night and many threw up so much, to the point of becoming ill and no one wanted to eat. It was crazy. We had just started to realise what we had done. The whole thing had only just begun. The following day, after having slept in a sitting position all night, our bodies ached all over. Some people started to have a temperature, others seemed to be about to faint. The captain and his crew tried to help those who could not cope any more. When midday came, the cook, who had cooked up the rice, handed out food to anyone who could still eat. There was nothing but water all around us, the sky and the sun. There was no way of knowing whether we were travelling towards the North, the South, the East or the West. The trip had ceased to hold any meaning for me, a journey towards sure death. The first four days continued in exactly the same manner until the weather changed. That was when we reached winter. The sea became horribly unpleasant and our patera started to take in water. It was getting so bad that I decided with a friend to organise ourselves into a group and reduce the amount of water. But each time we managed to bail out one lot of water it hardly seemed to make any difference. That was the point when we thought we would drown and most people started to cry. It is difficult to see an adult crying but they were quite right, the situation was desperate. We did not seem to be going anywhere, we were just surrounded by sea and the horizon meant nothing to us. I thought we had been tricked. It was crazy to think that a patera might make it all the way to Spain. All this drove some of my companions crazy and they started having hallucinations. They wanted to throw themselves overboard and some of them, at night, jumped into the sea. They did not intend to commit suicide but just thought they were still on land. They said they could hear their children or their mothers calling to them, waiting for them on the seabed. Some people's skin was peeling off due to the salt and they had deep wounds on their mouths, legs or faces. A lot of my traveling companions did not want to move around at all, not even to attend to their bodily functions and just stayed put, slumped in their own excrement. Others repeated verses from the Koran over and over again. None of this had any effect on any of the fishermen handling the patera. They were used to the sea. The last three days went on like that up until Friday afternoon when we saw some lights on the horizon. It looked as though we were either reaching land or maybe it was another ship…….. it was our salvation. At last we had found what we were seeking, just some dry land, that was all.

Saturday 2 September 2006. I reached Isla del Hierro. I had never seen an island that size. It was nine o'clock in the morning local time when our patera docked with 74 persons on board. We were all male and 9 of us were children. I had never seen so many white men and the smell they gave off made me feel sick. Most of them were wearing a red and white uniform, others were dressed in green and there were also those who had a dark blue colour uniform. They got us out of the cayuco, and sorted us out so they could count how many of us there were. Some of us were hardly able to walk. They took our clothes and gave us new ones. You could make out people in the distance leaning out of their windows and watching what I thought must have been an unusual scene for them.

A man in uniform, who must have been a policeman, stood in front of us and asked us: Do any of you speak Spanish? No one replied. He asked again but this time in French and no one answered again so he asked for a third time in English. After a few moments I decided to speak with him because there was nothing else I could do and, even though I was frightened, I said: “I speak Spanish”. The official, acting surprised, asked me the same question again and I gave him the same answer.

That was how I started my first job in Spain and became an interpreter.

After two days on the Isla de Hierro, we were moved to Tenerife to a reception centre called Las Raíces, which was in fact a military camp. The centre was divided into two parts: one part was for the military and the other for us. Our part was then further divided into two sections called Camp A and Camp B. I was in B, which was larger, nearly twice as big as A. There were 128 tents, two large shower areas, two enormous dining areas, over 20 toilets and the police tent. Each tent held 24 people and had 24 beds. It is easy to imagine the kind of people that were there. It was my job to organise distribution of breakfast, lunch and supper. I lined people up in queues according to which patera they had come in on. Each patera group had to march in two lines like soldiers towards the dining room. When it was your turn to eat the others had to wait standing up until the first people finished. So there was hardly enough time for the 3072 people to finish having breakfast when the lorry carrying lunch would appear, and the same happened again with supper. Whenever any problem arose I was expected to work and I worked without any breaks, without a timetable, and without any remuneration. I had to take about 40 people every morning out to get water from Camp A and take anyone who was sick over to the Red Cross, then clean the entire camp with a group of people hand-picked by the police and who were provided with food in exchange for the work that they did. Some of my work, therefore, also involved resolving fights that broke out between individuals, organising departures and arrivals, attending to people with material needs such as clothes, t-shirts, trousers, shoes, teeth cleaning and shaving materials, etc. That was my daily life in that centre for a period of almost three months.

The normal legally permitted length of time that a person should remain at such a reception centre is 40 days. When I had been there for the regulatory period I was asked to stay on by the Chief of Police in exchange for being provided with legal immigration status. I had not been expecting such a proposal. So I stayed on for another month and a half longer. By then I was not sleeping at the centre any more. An inspector would pick me up every afternoon and take me home, and that was where I lived during the time that I worked for free at the centre. We would get up at dawn to go to work and during the journey I was able, to some extent, to see how wonderful Tenerife was - it was a place of dreams. After they had managed to get me a preliminary contract, however, they said that they could not arrange for my legal status to be approved because this could not, by law, be done until three years had elapsed. That inspector told me I would be better off leaving because they would never fulfil their promises. I managed to get a plane ticket to Malaga through the Red Cross and left Tenerife. I arrived in Malaga at night and caught a bus to Almeria, where a cousin of mine lived.

Once I got to Almeria I found my cousin who had already been in Spain for two years. He picked me up at the Roquetas de Mar bus station. It was a Wednesday in the afternoon. My cousin lived in a suburb called the “suburb of 200 dwellings”. It is very well known because almost 95% of the people who live there are immigrants: Senegalese, Malian, Ghanaian, Nigerian, Moroccan and Romanian. My cousin was living in a two bedroom flat with a dining room occupied by six people, all of whom made their money by selling pirate CDs. After taking a day to get the lie of the land I went off to find work in the agricultural fields, but could not get anything because there were so many people that there was not enough work for everyone. So there was only one option open to me and that was to sell pirate CDs. You would sell these in the street markets that took place in various locations around Almeria. My cousin gave me a rucksack with more than 90 CDs and films and a blanket with strings attached which went on the ground. That kind of work is horrible and is nothing like a normal job because you are always on the lookout in case some police officer catches you and takes you off to the police station. To be honest, I was very ashamed of doing that work. I did not like the way I had to act and felt ridiculous grabbing the blanket and running between people, even though I managed to make a bit of money. A couple of weeks went by and then the day arrived when the police caught me with a car in which we were transporting films, pirate CDs and perfumes. My cousin decided to plead guilty and he was sentenced to eight months imprisonment and a three thousand euros fine. That left me all alone in Spain without any family or friends; I did not know anyone, had no-one to turn to, in a complete vacuum and having to pay for a bedroom every month that my cousin had rented opposite his, with a machine for recording CDs and DVDs, a load of fake copies and blank CDs. I shared that flat with two other people from Nigeria - one man that I did not know how he made his money and a woman with a young daughter who was most certainly a prostitute. After two days of chaos and confusion, trying to find a solicitor who would represent my cousin, I decided to push ahead and substitute my cousin in the CD business which had put him in prison. From then on I just spent my time recording and selling to the people who went out to the street market. I rented a car so I could go to Granada and buy the materials I needed – the blank cds, copies, plastic covers, etc.

Seven months went by and business became less and less profitable. I decided to move area. By now it was June 2007 and I shall never forget that month, just like October 2006 when I had received a phone call on the Tenerife beach ‘Playa de los Cristianos’ telling me that my wife had given birth to a son. She had been seven months pregnant when I left home. That day I was happy and sad at the same time but this time it was bad news: my father had just died. People die each day, all the time, without you realising, but it only has to be one of your close loved ones for you to understand how truly cruel death can be. I loved my father and I would very much have liked to have seen him again and to have spent the last days of his life with him. That man really meant everything to me, he was a reference point, he meant safety, all in all he was a father in every sense of the word. He suffered from an illness that affected his heart. After spending ten days in hospital he came home and then died after supper. It was a Tuesday. I have spoken to him that day on the phone, and when I think back I understand now why he said what he did… he gave a little talk on life, on how short it is. He told me I should always pray and do good deeds as if I might die the next day, but that I should also work and become accustomed to wherever I lived as though I was never going to die. That day I cried the whole night long. Whenever I pictured my two sons and my father in my head I would ask myself whether the life I lead is worth living, so far from home, from my people, from my loved ones. Those were truly the worst days of my life. I really thought about going home then but decided in the end to come to Madrid.

I arrived in Madrid one week after my father had died. There was a new opportunity waiting for me here as well. I arrived on a Friday at 6 o'clock in the morning at the Méndez Álvaro bus station and took a taxi to the suburb of Lavapiés where a childhood friend of mine was living, in Jesus and Mary street. What I found was something I could never have imagined, an apartment exactly like a patera boat. An apartment where loads of people lived. There were twelve people in this one and you were hard pushed to find a corner to sleep the night, a real hole of a place rented to my friend by a Bangladeshi for €1200 a month. This apartment had four bedrooms and a living room and, just like in Almeria, the people living there made their money by selling pirate CDs. The next day I grabbed my rucksack and went off to find some way I could get ahead. After spending some time on the Spanish national Renfe railway I got off at a town called Torrejón de Ardoz. I found people from Ecuador there carrying on the same illegal sales activities in a pedestrianised street near the main square. Truth be known, I did quite well there because I managed to make €50 in that place every afternoon. The higher the rise, however, the greater the fall. After I had been selling CDs for a month the local police arrested me together with a lad from Ecuador and I spent my first night ever in prison. I thought the world had come to halt that night because, after I had been put into the closed room and the iron doors banged shut, I lost all sense of time or what the weather was like, nothing about the world outside and this was a very painful experience for me. They took me to court the next day and the judge ruled on my case. My lawyer told me that I had to sign every month on the first and the 15th day of the month. I went back to my home quite crushed, so depressed that I did not want to hear any more about CDs. I lost the will to live. I could not face doing that work any more. Not a night went by without one of my companions at the apartment spending the night at the police station. I have never seen such high levels of security on the Madrid streets. It would appear now that just about everybody wearing sunglasses on the street is secret police. I just had to find something else to do, whatever it might be.

After doing nothing for a month, the people I was living with decided to change apartment and split up to different locations. We found a flat near Lavapiés Square, with three bedrooms and a living room. The owner was from Pakistan and he required someone with a residence permit to sign the contract and €3600 for the deposit. We gave him part of that money. The gentle man wrote down and acknowledged having received €1000 from us on a piece of paper and signed it with his National Identity Document. He kept one copy and he gave us the other one. However, when we asked him for our money back the following week because we had not been able to put together the remaining portion, that man refused to give it back to us because he said that the date of the preliminary contract had already expired. We argued with him and then the police arrived and the police officers told us that nothing could be done because the preliminary contract was actually not legal and that we did not have sufficient evidence to charge this man. The truth is that the first thing that you learn when you are here is that you cannot trust anybody, not even yourself. This man had stolen our money. We eventually put enough money together to get another apartment with two bedrooms in Lavapiés for €850 per month. There were six of us from the start. By now it was already August 2007.

One month later I managed to find a job at San Martín de la Vega in a scaffolding warehouse. I worked for seven months at that warehouse and received €50 a day for my efforts. I handed over €100 a Ghanaian gentleman for the use of his legal immigration status documents. You can work in this country using other people's legal documents because most white people think that all black people are the same and cannot tell us apart. I would get up every day at five o'clock in the morning to go to work but the truth is that in our apartment you cannot survive if you are working because there is always somebody new arriving and in the end there were 12 of us living in a two-bedroom apartment. My flatmates never slept at night and would argue about stupid things and speak in loud voices that could be heard from the street and in the end could not take it any more so I decided to move. I found a room for €300 in Torrejón de Ardoz which I shared with a fellow national, but seven months went by and then I ran out of work. That was April 2008 just when the economic crisis began. I went back to the same nightmare as before, exactly the same situation that I had been in at the beginning, seeking and not finding work. I hung on for three months but then I had to do something and went back to selling pirate CDs. This time I was selling them at the Legazpi Metro station but sure enough the day came when a security guard chased me to train carriage and wanted to get me out of there. He had not asked to see a ticket or any documents and told me to get out of the carriage. I refused because I had a ticket. After pushing me around for a few minutes he took out his safety baton and hit me twice until two people I did not know had to step in and help me defend myself from him. That night I went home very angry and I just did not know what to do. I went back to Legazpi station and asked that man's boss for an explanation, but when I got there the man did not even have his safety baton and he denied having hit me. I took my shirt off to show him the injuries he had caused me but those people did not want to know anything. They asked me to leave and stop bothering them. I decided to get back on the metro but those gentlemen escorted me out of the station. I decided to go to the police and report the matter, which still has not been ruled on.

I really miss my country, and especially my family, my mother, my two brothers, my two sons and my wife. She is a woman of natural beauty, an African lady. I am really fond of my wife, I love her, I adore her and I would give all the money in the world just to see her again. She is the only person that makes me feel human when I am at her side.

I feel like I have no family, I have nothing, because I never found what I came to Spain looking for and I doubt I ever will. I would really like the African political leaders to review their methods of government, because things just cannot go on like this. It is true that Africa has been the victim of three centuries of slavery, but that it is not a good enough excuse. We have to forge ahead, solutions must be found, we must work and stop deceiving people, stop robbing and put an end to the killing. Europe must also be made aware of what is happening in Africa and why it goes on. Perhaps the fault lies with all of us but we do not all suffer the consequences. The decisions are taken in Europe and the Earth in Africa cracks open.

Immigration is a good thing in one sense, but it must be said that not everybody who arrives from over there has the same opportunities and they certainly do not all have the same skills. It would be crazy to think that all Africa's young people might continue to come over to Europe.

Mouhamadou Bamba Diop

(December 2009 / this text was published in the Madird Abierto 2009-2012 book)
















2009-2010. Lisa Cheung. HUERT-O-BUS (published text)

 Huert-o-Bus is a travelling greenhouse, inviting local residents in Madrid to grow fresh vegetables and plants within the city centre. Huert-o-bus makes use of existing urban public spaces for communal gardens and local food growing.

Like a public city bus, Huert-o-bus will stop in different neighbourhoods and districts in designated plazas, carrying its `passengers´ of seeds and seedlings. Each site will be marked by a `bus stop´ that informs neighbours/visitors of the Huert-o-bus schedule and its activities.

Huert-o-bus will be equipped with required facilities in order to act as a greenhouse as well as a centre of activities. It will house a small library, gardening tools, seating and a kitchen. Neighbours are invited to use the greenhouse to cultivate seeds for their own gardens as well as for sharing plants, food and ideas.

Huert-o-Bus draws on the traditions of allotments in the UK and other European countries. Allotments were a necessity during the war years with food shortages and have recently enjoyed a resurgence due to the greater importance placed on organic and local food production coupled with rising food prices. Often times unwanted unusual spaces in urban centres were utilized for growing food because of their easy accessibility and availability; thus transforming “unused” land into communal spaces. Furthermore the allotment garden is often characterised by a strong community spirit, passionate individuals and a generous sharing of knowledge, work, and of course food!
















2009-2010. Josep-María Martín. PROTOTYPE DÉSPACE POUR GÉNER LES ÉMOTIONS, 2003-2005

2009-2010. Josep-María Martín. PROTOTYPE DÉSPACE POUR GÉNER LES ÉMOTIONS, 2003-2005

PROTOTYPE DÉSPACE POUR GÉNER LES ÉMOTIONSHôpital Saint-Jean Roussillon, Perpignan and Ecole Superieur de Beaux-Arts de Perpignan, Francia.

By Josep-Maria Martín con Alain Fidanza & Andrew Hal, Jörg Bosshard, Chantal Esseiva, Agnès Langevine.Curated by: Isabelle Narcy.













2009-2010 / 2010.01.03. RN3. Fluido Rosa (Susanne Bosch)

Name Play Size Duration
Fluido Rosa. Susanne Bosch (03.01.10)
109.4 MB 1:59:32 min

Visualizamos la obra de John Daley, hablamos del proyecto artitsico de Susanne Bosch, presentamos el colectivo Mano de Santo, mostramos un dosier sonoro sobre Israel y nos introducimos en el DA2 de Salamanca. (03/01/10)








2009-2010 / 2010.07.02. CONTRAINDICACIONES.NET. Psychoeconomy! (Gustavo Romano)

2009-2010 / 2010.07.02. CONTRAINDICACIONES.NET. Psychoeconomy! (Gustavo Romano)












2009-2010. MESAS DEBATE / 04, 05 feb 2010 (imágenes)

2009-2010. MESAS DEBATE / 04, 05 feb 2010 (imágenes)





















2009-2010. Lisa Cheung. HUERTO-O-BUS (2010.01 / technical data / informative text)

 Welcome to the Huert-o-bus!

A ‘travelling’ greenhouse that will visit different neighbourhoods of Madrid from the 4th to the 28th of February.

We invite you to participate by planting a seed, taking care of the plants or doing some community activity or workshop… and most of all, to enjoy a green area in the city!

Huert-o-bus is a project by Lisa Cheung for MADRID ABIERTO

Datesfrom the 4th to the 28th of February

Timetablefrom 11am to 6pm.


TuesdaysPilarica square in Usera (between Pilarica street and Dolores Barranco street)

WednesdaySoledad Torres Acosta square (Luna Cinema)

ThursdayAgustín Lara square, Lavapiés (in front of the Pious Schools, between Sombrerete street and Meson de Paredes street).

FridaysRemonta square in Tetuán.

Saturdays and SundaysGardens of the Discovery- Plaza Colon.

“Leave your mark by planting a seed”













2009-2010. Laurence Bonvin. GHOSTOWN (published text)

 Ghostown is a photographic project about some of the new neighbourhoods in and around Madrid, mainly Seseña in the South and Valdeluz in the North. The series of photographs looks at the state of these places after the financial crisis severely hit Spain at the end of 2008, triggering the collapse of the real estate sector.

Constructions were either brutally suspended ¬- like in Valdeluz, an unfinished city planned for 30.000 where a mere 400 people live at the present time. Or, as in Seseña, left empty due to speculation as the large majority of owners never intend to live in this remote area and are now unable to sell their flats. Ghostown is a journey through the uncanny vacancy and observes the lifeless, melancholic state of these on-going construction sites.

During MADRID ABIERTO 2010 Ghostown will be showcased in different formats: as a free large format publication, as postcards as well as images published in the newspaper Público.













2009-2010. Annemarie Steinvoort (Cv)


EDUCATION 2004·    School for Audio Engineering Amsterdam, Electronic Music Production.

2001·    Centre for the Arts Utrecht, Logic Audio.

1999·    Centre for the Arts Utrecht, Multimedia Production 1998 Centre for Electronic Music Amsterdam, ProTools Audio.

1987·    Art Academy Utrecht, Graphic Design and Photography.

BIBLIOGRAPHY ·    Vis Elaine, Steinvoort Annemarie, Sound Art- art works from the essence , 9/2008, Utrecht Cat. Exp. ‘Matchmaking at Suzhou Creek' Easlink Gallery, 10/2004

SELECTED GROUP EXHIBITIONS 2009·    File/Hipersonica, sound installation, Sao Paulo. ·    SoundLAB 6, sound installation, Köln.

2008·    Slem Opdrift, poetry, Terschelling. Gallery Artonova, sound installation, Brugge. ·    Concerthall, sound installation, Gent, Belgique.

2007·    Living Concert, vocal improvisation, Utrecht, Nederland. ·    Levka Ori Artist Encounter, literature, Paleochora, Grecia. ·    Soundwaves Festival, sound installation, Brighton.

2006·    Museum of Modern Art, sound installation, Arles, France. ·    Babel, sound installation, Utrecht, Nederland.

2005·    Phonurgia Nova 2005, sound installation, Arles, France. ·    ICMC 2005, sound installation, Barcelona. ·    Avecom Festival, sound installation, Arnhem, Nederland. ·    Artist's Biennale, sound installation, Hong Kong.

2004·    Eastlink Gallery, sound installations, Shanghai. ·    Painting and Sound, sound installation, Appingedam, Nederland.

2003·    Dutch Music Days, sound installations, Utrecht, Nederland. ·    Image and Sound, sound installation, Utrecht, Nederland. ·    Labyrinth of Possibilities, art experience project, Utrecht, Nederland.

2002·    Sense it!, audiofilm project, Utrecht, Nederland. ·    Boulevard ‘d Unica, interactive installation, Utrecht, Nederland.

2001·    Sophie's Winterpalace, sound installation, Utrecht, Nederland.

2000·    Boulevard ‘d Unica, photography installation, Utrecht, Nederland.

1999·    Art Circulation, sound installation, Nieuwegein, Nederland.

1998·    The Saloon, video sound installation, Utrecht, Nederland. ·    Aa Art 2, interactive installation, Groningen, Nederland. ·    Sensus, video sound installation, Utrecht, Nederland.

1997·    At the Receiving, interactive installation, Utrecht, Nederland. ·    ArtBall, audio composition, Utrecht, Nederland.

1996·    Greetings from Holland, poetry, Utrecht, Nederland.

1995·    S.P.I.D.L.S.P, poetry installation, Utrecht, Nederland. ·    Gallery de Brieder, photography & sound, Rotterdam, Nederland. ·    The Room Project, photography, Utrecht, Nederland. ·    A Matter of Memory, poetry installation, Utrecht, Nederland. ·    From Mouth to Mouth, photography installation, Utrecht, Nederland. ·    Boulevard d'Unica, organic objects, Utrecht, Nederland.

1994·    Sophie's Palace, presentation poetry bundle, Utrecht, Nederland. ·    Broese Kemink Books, poetry installation, Utrecht, Nederland.

PERFORMANCES 2008·    Bimhuis, vocal improvisation, Amsterdam, Nederland. ·    Gallery Artonova, live recitation, Brugge, Belgique. ·    Concerthall, live recitation, Gent, Belgique.

2007·    Living Concert, vocal improvisation, Utrecht, Nederland. ·    SJU Jazzpodium, vocal improvisation, Utrecht, Nederland.

2003·    Labyrinth of Possibilities, art experience project, Utrecht, Nederland.

1998·    Art Circulation, audio poetry performance, Nieuwegein, Nederland.

1997·    University Museum, performance, Utrecht, Nederland.

1996·    Int. Memorial Exchange, performance, Utrecht, Nederland. ·    For Example the Queen, performance, Amsterdam.

1994·    Expo Hall, audio poetry performance, Hilversum, Nederland. ·    I.I.A.V, audio poetry performance, Amsterdam.

PROJECTS 2004–2007·    Member planteam of FollyDock, International Folly Design Contest Rotterdam.

2003·    Initiator and Project-Director of art experiece project Labyrinth of Possibilities. Initiator, Producer and Music-Director audio productions Intrinsic Industries. Initator and Music-Director Sense it! AudioFilms.

2000·    Photography, International Sculptor Symposium 2000, Changchun, China. ·    1999 Initiator and Creative Director Magie Design,

1995–2000·    Member of exhibition committee De Galerij, space for dialogue exhibitions.

1994·    Member of the board of directors of Foundation Sophie's Palace, an artist-led initiative, wich stimulates interaction between artists among themselves and between artists and their audience.

BROADCASTED PROJECTS 2009·    File/Hipersonica, online broadcast, Sao Paulo. NPS6, radio broadcast, Hilversum, Nederland.

2007·    Meer TV, radio broadcast, Utrecht, Nederland.

2004·    Soundscape after 2000, radio broadcast, Hilversum, Nederland. ·    Soundscape after 2000, radio broadcast, Hilversum, Nederland.

WRITING 2008·    Sound Art- art works from the essence, Utrecht, Nederland.













2009-2010. Josep-María Martín. CERAMIC JUICE, 2002

2009-2010. Josep-María Martín. CERAMIC JUICE, 2002

CERAMIC JUICE, 2002Espai d’Art de Castelló, España

By Josep-Maria Martín & Rirkrit TiravanijaCurated byr: Martí Peran












2009-2010 / 2010.02.28. RN3. Fluido Rosa (Lara Almarcegui)

Name Play Size Duration
FLUIDO ROSA. Lara Almarcegui (28-feb-10) I
57.7 MB 1:03:00 min
FLUIDO ROSA. Lara Almarcegui (28-feb-10) II
57.7 MB 1:03:00 min

Nos acercaremos a conocer la obra del fotógrafo francés Antoine D'agata. Entraremos en el Espacio Emergente creado por Unicaja en Málaga. Hablaremos con la artista Gloria Martín. En Rotterdam nos encontraremos con Lara Almarcegui. Exploramos las de Redes de Arte. En páginas centrales realizaremos un primer acercamiento a la realidad de la Electrónica Suramericana y en portada escuchamos lo nuevo de Komatsu (28/02/10).








2009-2010. INFOMAB. Espacio 28001 + La Casa Encendida

2009-2010. INFOMAB. Espacio 28001 + La Casa Encendida



























09-10inic2771, 09-10diie3274

2009-2010. Josep-María Martín. A DIGESTIVE HOUSE FOR LAVAPIÉS (2009.05 / project review / technical data)


September 2008- Presentation of draft of A Digestive House for the neighbourhood of Lavapiés, Madrid Abierto 2009-2010.

November 2008- Selection of draft of A Digestive House in a immigrant home of Lavapiés for Madrid Abierto 2009-2010

February 2009- Presentation sessions of Madrid Abierto 2009-2010, Casa Encendida, Madrid

March and April of 2009- Suggest as coordinator of the Project and main interlocutor in the neighbourhood.- Investigate and organize the immersion in the neighbourhood through social mediators.- Identify and suggest a video director to record and edit a documentary about the project.- Open a participation process by carrying out interviews with specialists, professionals and social agents interested and involved in reflecting on the process of digestion, memory and habitat.

Interviewed agentso Belinda Muñoz, Delicatessen store.o Esteban Ibarra, Association against intolerance.o Ramón Maria Masat “Momo”, Production Assistant.o Máximo Murat, Lutier Italian.o Chen Pen Shengli, Vice President of the Asociación de Chinos of Spain.o Jacobo Rivero Rodríguez, Neighbourhood Leader.o Rafael Ángel Palacios Soto, retired.o David N. Luhn, Architecture Critic.o Iris Rossi, Dominican, president of the AMOR Association and advisor of the Ambassador of Dominican Republic in Spain.o Carmelo Arcal, Professor in Social Anthropology, UCMo Manuel Maria de Bariluz, president of the neighbour association “la Corrala”,Lavapiés.o José Roncero Siles “Pepe”, squatter and cultural agitator.o Ignacio Angulo, architect/artist.o Abdel Khalak El Kamoun, Imam in the Lavapiés mosque.o Enrique Predero, urban developer.o Chema Palas, movie director.o Juan Carlos Sotinos, Ecuadorean, resident in immigrant apartment 1.o M. Antonia Fernández López, Spanish, resident in immigrant apartment 1.o Shahjamal Ahmed, Vice President Association Bangladesh.o Victor Defarges Pons, Doctor specialized in digestion, Hospital Ramón y Cajal.o D. Emilio, parish priest of the San Lorenzo church of Lavapiés.o Manuel Jiménez, doctor, from Lavapiés.o Silvia Robles, social worker.o Paloma García, lawyer for immigrant women.o Uriel Fogué, architect.o Bamba, senegalés, resident in immigrant apartment 2.o Juan Ramos Cejudo, psychologist.o Galo Endara, Ecuadorean artist and creative Minority.o José Santamaria, director of Minority.

May 2009Research and meditate on the importance of the habitat to help people “digest memory”.Order the collected information on the subject.Conceptualize the architectural project for the apartment.

June 2009Present, propose and discuss process with project’s interlocutors and immigrants in the apartment.

June/September 2009Carry out the modified executive project, incorporating and enriching the initial proposal of A Digestive House in an Apartment for Immigrants in the neighbourhood of Lavapiés. Edit the documentary video.

October 2009Formalize the necessary administrative issues to be able to carry out the project.Edit a 60’ documentary video in mono-channel format for its public exhibition.

December/January 2009-January 2010Build a prototype.Edit documentary video.

February 2010Spread the project.Exhibit the project.Present the documentary in a cinema within near proximity to the Paseo de Recoletos axis (Circulo de Bellas Artes, Casa Encendida, Casa de America).Website about the project.-Presentation in the neighbourhood.

(project review May 2009)



















2009-2010. Iñaki López Ordóñez (Fur Alle Falle). NAZI HYMN OF LOVE



 Video performance in which two individuals sing a Britney Spears song in front of a motorcycle shop window.


















09-10auve3060, 09-10autb2955, 09-10autc2995

2009-2010. Josep-María Martín. MILUTOWN: Inubuse Bus-stop, 2000

2009-2010. Josep-María Martín. MILUTOWN: Inubuse Bus-stop, 2000

MILUTOWN: Inubuse Bus-stop, 2000Echigo-Tsumari Art Triennial, Niigata, Japón

De Josep-Maria Martín con Kohebi, Akira Higuchi, hiroko Hosol, Hyuni, Takasuke Ikeda, Yumi Ikeda, Kazuya Inamitsu, Hiroashi Enomoto, SatoruChikaoka, Makiko Takanashi, Tatumi Terakami, Yuko Tosa, Miwako Tsuji, Naoyuki Tsuji, ShoheI Uno, Yayu, Marylin yamada, Hikaru Yamashita.

Comisariado por: Fran Kitagawa, Jean de loisy, Okwui Enwezor, Yusuke Nakahara, Apinan Poshhyananda, Ulrich Schneider, Nancy Spector.










2009-2010. Josep-María Martín. A DIGESTIVE HOUSE FOR LAVAPIÉS (2009.05 / project review / theoretical data)



Josep-Maria Martin was invited to participate in the collective exhibition “Habitat/Variations”, in 2007, in order to rethink the concept of habitat and different ways of life. To develop the project, the Genevan architect Raphaél Nussbaumer suggested a collaboration to reflect together on the spaces in which we live.

That first experience in Switzerland makes it very interesting to continue thinking on Madrid’s new project. Madrid Abierto’s open call 2009-2010 is a good opportunity to keep reflecting on how space helps us confront memory.


To question the space we live in and establish an analogy between the digestive system and the home, as an organism that digests personal and collective memory. It is a way to focus on the relationship between spaces that people live in and how it can help individuals manage and confront history, personal and collective memory with the cognitive realm of life and the well being of people. We intend to find answers to the relationship between habitat-memory:

- How can our own history, the one we contribute, coexist with the history we find in reality?- Do we experience the legacy of a place’s memory?- What do we contribute to the memory of a certain place?- How do we face our personal and collective memory?- What influence does the habitat have on the individual, the family, community…?- How does space help us digest the events of our lives?- What is a family’s quality of life?- How do family members contribute to it?- How does it affect personal and professional relationships?- How do we face cultural displacement?- How do we live with people belonging to other cultures and backgrounds?

Proposal- Propose the intervention of an architect to develop the project collectively.- Identify a family form the neighborhood of Lavapies to carry out the idea.- Open up a participation process.- Identify and invite different interlocutors linked to the project.- Research on how the habitat helps us face memory.- Carry out interviews with each of the people identified as significant.- Reflect on family life in Lavapies.- Order the obtained information.- Elaborate and conceptualize the proposal.- Design the architectural project.- Debate about the proposal with the family and other previously interviewed interlocutors.- Design the executive project.- Build and open the designed space.- Evaluate the experience.- Create a web site and a documentary about the project.- Spread the project.- Experiment for a period of 3 months with the prototype.
















PROTOTIPO DE ESPACIO PARA GESTIONAR LAS EMOCIONES EN EL HOSPITAL, 2005-06Espai d’Art de Castelló y Hospital Provincial de Castelló, España

De Josep-Maria Martín con Alain Fidanza, Rafael Belda, Ana D, Prades, Nacho Vega, Maurice Caldera, Olga Maroto, Pilar Peris, Ana Torres, Amalio Palacios, Eduardo Fernández, Carmen Castillo, Jaime Lloret, Mari Carmen Mellado, Mari Carmen Llanos, Mateo Asensi, Begoña Fabra, Nabil El Jada












2009-2010 / 2010.02.26. RN3. La Libélula (Gloria Zein)

Name Play Size Duration
LA LIBELULA. Gloria Zein, Madrid breathing (26-feb-10)
57.7 MB 1:03:00 min

LaLiBéluLa contará con la presencia en esencia de Felipe Zapico autor del poemario Litros de versos... Jorge Díez cerrará el ciclo de Madrid Abierto con la pieza Madrid breathing, de la alemana Gloria Zein, y escuchará la palabra, las voces y el espíritu de Bertrand Russel, Gustavo Iglesias, José Manuel Sebastián, Gustavo Adolfo Bautista, Kike Babas... y Orlando Zapata. Y suenan: Backfire Band-Wise in time-The ballad of Den the Men,Sing when you're happy-Sunday Drivers-Tiny Telephone,I'm an alcoholic-Dent May & his magnificent ukelele-The Good Feeling Music of Dent May & his magnificent ukulele,Five Bottles Mambo-Yma Sumac-Mambo!,Ahora que veo salir el sol-Deicidas,Sara-Deicidas,¿Qué han hecho contigo?-Deicidas,Moderno de cartón piedra-Deicidas,No me gusta el rock-La Romántica Banda Local-Todas sus grabaciones, Nuestra jerga-Kike Suárez & La desbandada-Carta blanca (26/02/10).







2009-2010. CHART. Madrid Abierto (Estudio 451)

2009-2010. CHART. Madrid Abierto (Estudio 451)


call image       web image 















2009-2010. David Elguea. TV1



It deals with the interpretation of the world, its deciphering, the creation of sense. Perception and consciousness. A consciousness and a perception, that are technologically mediated. Images that are textured by the machine-like traces of the TV monitor, sound and voice which are generated by a computer. Technology as a mediator between the individual and a changing reality in constant metamorphosis. It is also a meditation about the work of art and its codes.
















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2009-2010. Josep-María Martín. ¿DE PARTE DE QUIÉN? CALL FREE: Locutorio Móvil, 2003

2009-2010. Josep-María Martín. ¿DE PARTE DE QUIÉN? CALL FREE: Locutorio Móvil, 2003

¿DE PARTE DE QUIÉN? CALL FREE: Locutorio Móvil, 2003Banquete_: Palau de la Virreina, Barcelona España

De Josep-Maria Martín con María Lucía Castrillón, Montserrat Mas, Santi Balmes, Juan Abreu, Juan Villoro, Ignacio Vidal-Folch, Miquel de Palol














2009-2010. Fausto Grossi. I AM A CLOWN



I am the cyber clown in flesh and bone.

Through playing he likes to dig into our human condition. Into the way we present and represent ourselves and others. Where social body, psychic body, physical body defines us. To recognize, assume and manifest our interior clown is hard for us. But it is also there where we can criticize and look for accomplices. It makes you laugh to think about it.

He doesn’t like the way things are going and he wants to change them. I am a clown. I am a clown, in the language of the empire. From that point of view it is interesting to see people’s reaction and, of course, also his reaction. He is an observer and observed at the same time.

The action takes place in front of the Roman Parliament. A place where big decisions are made, where power is practiced and exhibited.















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2009-2010. Josep-María Martín. CASA DE LA NEGOCIACIÓN, 2003-2004

2009-2010. Josep-María Martín. CASA DE LA NEGOCIACIÓN, 2003-2004

CASA DE LA NEGOCIACIÓN, 2003-2004Kunsthalle de Fribourg, Fribourg, Suiza















2009-2010 / 2010.02.24. RN3. La Libélula (Mathew Verdon)

Name Play Size Duration
LA LIBELULA. 24-feb-10
57.7 MB 1:03:00 min

Hoy tenía intención de repasar con LaLiBéluLa de Radio3 una novedad discográfica que me ha dejado patidifuso... una producción de lujo, músicos excepcionales, unas canciones pegadizas y con mensaje, un sonido excepcional de una banda cuyo nombre no he conseguido retener, y no porque fuese extranjero, que yo juraría que no, sencillamente es que no se me ha quedado... además se me ha olvidado traer el disco, o sea que... bueno, pues escucharemos otras tonadas de... de otros artistas, leeremos algunos fragmentos seleccionados...y no sé si me dejo algo en el tintero...LaLiBéLuLa de Radio3 contará con las Memorias de un amnésico ( Memoirs of an amnesiac), una obra de arte sonoro que firma Mathew Verdon y que nos presentará desde Madrid Abierto Jorge Díez... Además contaremos con la palabra y las voces de Fermín Herrero, Pedro Guerra, Ángel González, Jorge Luis Borges, José Emilio Pacheco...(24/02/10).









2009-2010. Antoni Mercader. TOP VIDEO

LENGTH: 3'YEAR: 2009


Between the slide projector and the audio mixing of Internet videos, 30 years have passed! This period goes from 1976 to 2009, from ‘the differentiated showing to the simultaneous screencast’ or ‘from the book to the wiki archive data base’.

We could begin with: ‘from collective and exceptional visualization to viral flux….’; if this type of introduction works ‘the rise of the audiovisual and multimedia culture’ would be a good ending for the epilogue.

The idea of an accessible archive, the power of creative experimentation, the potential of social connection, are ideas that we wish to highlight in this video recollection/ metaphor about Top Video.

If the aim was to reach a shared watchtower for visibility and sound, we have progressed. If our goal was to organize (in a way which shouldn’t be imposing or alienating) the 70’s audiovisual experimentation ahead, we can see that we are in the process of making it happen.

Note: the material from the seventies belong to private files. Material from 2009 are from digital files that are open for anyone to check out.

















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2009-2010. Josep-María Martín. PROTOTIPO PARA LA BUENA EMIGRACIÓN, 2005

2009-2010. Josep-María Martín. PROTOTIPO PARA LA BUENA EMIGRACIÓN, 2005

PROTOTIPO PARA LA BUENA EMIGRACIÓN, 2005Centro de Formación e Información sobre la fronteraCasa Ymca Tijuana (México), InSite_05, Tijuana (México), San Diego (USA)










2009-2010 / 2010.02.19. RN3. La Libélula (Annemarie Steinvoort)

Name Play Size Duration
LA LIBELULA. 19-feb-10
53.3 MB 58:16 min

Hoy los ojos multifacetados de nuestra anisóptera dirigen la mirada lejos, al último horizonte, porque le ha entrado una duda... ¿Qué habrá al otro lado de las montañas?... Supone LaLiBéLuLa que ese microcosmos intuido a modo de otro mundo mejor es posible, es algo más que una utopía, porque cualquier vida distinta a la nuestra nos enriquece, nos cubre de colores distintos y nos hace crecer... Por eso hoy nos acompañan Leticia Audibert, el mismísimo Alvaro Cunqueiro y ya en las Tierras Altas de la península Ibérica, con versos editados por Hiperión, el poeta castellano Fermín Herrero (19/02/10).








2009-2010. ARTETERAPIA MAGAZINE Nº4. (Jorge Díez / Madrid Abierto)

2009-2010. ARTETERAPIA MAGAZINE Nº4. (Jorge Díez / Madrid Abierto)



ARTETERAPIA. Papeles de arteterapia y educación artística para la inclusión social.Vol. 4/2009 (pags: 267-278)ISSN: 1886-6190



CUERPO Y CREACIÓN1. Reflexiones sobre la praxis en arteterapia María DEL RÍO

2. El cuerpo enclaustrado Teresa PEREIRA

3. “Cuerpo a través”. Una experiencia de salud emocional en enseñanza del arte 43Joaquín SÁNCHEZ RUIZ, Emilio GÓMEZ y Pedro CHACÓN

4. Corporalidades Dora Ines MUNEVAR M. y Nohra Stella DIAZ C.

5. Danza e integración Vicenta GALIANA LLORET

6. “Cuando tu mente quiere una cosa... y tu cuerpo hace otra”. Arteterapiay parálisis cerebral Ana VIÑUELAS LOZANO

ARTE TERAPIA E INCLUSIÓN SOCIAL7. Técnicas inmigrantes en el país de las ciencias sociales.Informe del empleo de técnicas especiales en una investigación con niños inmigrantes y nativos Hilda WENGROWER y Xavier SERRANO BLASCO

8. La creación y el espacio terapéutico en el medio penitenciario Paula-Alicia CONDE y Paula TEJEDOR LÓPEZ

9. Integración social, arteterapia y procesos educativos con adolescentes Graciela ORMEZZANO y Franciele S. GALLINA

10. Arteterapia con niños en edad preescolar Sol MARTÍNEZ

11. Arteterapia. Una herramienta complementaria para la atención de la salud en el área metropolitana de Buenos Aires Mariángeles FUNES

ARTE Y PARTICIPACIÓN SOCIAL12. El arte comunitario: origen y evolución de las prácticas artísticas colaborativas Alfredo PALACIOS GARRIDO

13. Idensitat. Proyecto en proceso Ramón PARRAMÓN

14. Museo abierto: entre visualidades y visibilidades.Tejiendo redes y miradas de afectos. De los fragmentos a las constelaciones Lilian AMARAL

15. Arte público colaborativo-participativo.La función pedagógica y transformadora del arte colaborativo Daniel TOSO

16. Madrid Abierto Jorge DÍEZ

REFLEXIONES Y EXPERIENCIAS17. De las ruinas y otras búsquedas atávicas Joaquín Francisco TORREGO GRAÑA

18. ¿Qué Historia de la educación artística? Tomás LORENTE

RESEÑAS Y RECENSIONES19. Últimas publicaciones Noemí MARTINEZ DÍEZ

20. Exposiciones: Arte outsider, Centro Conde Duque, Madrid Noemí MARTÍNEZ DÍEZ

21. Séraphine: Nueva película sobre una artista outsider Graciela GARCÍA MUÑOZ

22. Presentación del libro Reinventar la vida. El Arte como terapia Natividad CORRAL

23. Exposición: Visiones y encuentros Sandra ILLANA BENITO














2009-2010. Antoni Muntadas. INTRO Y ...FIN



This video is a minute of publicity about show business and its main characters.













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2009-2010 / 2010.02.18. RN3. La Libélula (Hernani Villaseñor)

Name Play Size Duration
LA LIBELULA. 18-feb-10
54.2 MB 59:11 min

Hay quienes parecen señalados por el dedo de un destino infausto, quienes sufrieron la pesadilla en sus carnes y no pudieron ni elegir dejar de ver... pero hasta en esos casos, tras las penalidades, las miserias, tras el dolor que deja la derrota, queda siempre un resquicio para la esperanza, para un último aliento que nos lleve a hacerle una higa al Hado y al Estado, a poner los ideales a buen recaudo y firmar con orgullo la autoría de nuestra vida. LaLiBéLuLa de Radio3 contará con la presencia en esencia del escritor Antonio Altarriba, co-autor junto al dibujante Kim de El arte de volar. Además sonarán la palabra y las voces de Oliverio Girondo, Carlos Faraco y el diario sonoro de Hernani Villaseñor Ramírez que traerá Jorge Díez desde Madrid Abierto (18/02/10).







2009-2010. Wolf D. Schreiber. GEDANKEN EINES SKISPRINGERS



Summary: What’s in a ski jumper’s mind during jumping. Synopsis: The video shows a ski jumper from the beginning (the waiting phase before the green signal), the leap and landing in the target area. It is loud, the spectators wait for his action. He is very concentrated. We cannot see what he thinks and feels. This video shows what he may feel and think, and this shows with simple and comic-like expressions. The stress at the start, the uncertainty and the fascination of the flight phase, the desire for a good landing, the release after the successful leap, the expected admiration of the spectators.















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2009-2010 / 2010.02.04. RN3 / La Libélula (Jorge Díez)

Name Play Size Duration
LA LIBELULA. 04-feb-10
57.7 MB 1:03:00 min

La libélula - Madrid Abierto: Jorge Díez - 04 Febrero 2010

La capacidad de evocación que posee el espectro sonoro es asombrosa... es, hasta que la realidad virtual imponga su hegemonía, el único ámbito en el cual, a ojos cerrados, podemos vivir cualquier situación. 'A ojos cerrados' he dicho, y no es casualidad porque precisamente hoy LaLiBéLuLa de Radio3 va a visitar la muestra Madrid Abierto, un festival internacional de arte público e intervenciones cuya programación de Arte Sonoro desentrañaremos con la ayuda de su director Jorge Díez... Así, a través del éter del sonido, llegaremos a lugares resonantes, a momentos de palpitante emoción, a vorágines ruidistas como las que azotan el páramo radioeléctrico... y esto sólo es el principio... Va a ser éste un febrero loco, abierto al foro desde la pequeña poza, desde este estanque tan indicado para disfrutar de un buen retiro. Para este planeo a ras de superficie LaLiBéLuLa de Radio3 contará con la presencia del citado Jorge Díez, y con la palabra...












2009-2010. Gustavo Romano. PSYCHOECONOMY! (published text / Madrid Abierto 2009-2012 book)

2009-2010. Gustavo Romano. PSYCHOECONOMY! (published text / Madrid Abierto 2009-2012 book)

PSYCHOECONOMY!Corporate Summit 2010 


 Psychoeconomy is a platform for discussion and artistic research that suggests an alternative approach on different subjects of global interest, exploiting the specificities in thought and diffusion that the realm of art creates. Among other actions, it promotes the Corporate Summits, which consist of annual forums formed by entities which have been created by artists (for example, banks, technological companies, and even micro-nations).

Psychoeconomy would like to revise the modes of citizen participation on a global scale, in the resolution of conflicts from which they are mainly excluded by not being able to make decisions although later being subject to their consequences. 



 Fort the first edition it was proposed the organization of a meeting in order to discuss the international financial crisis and prevailing monetary exchange systems among artists who deal with the issue of the economy in their work through the tactical use of the media, the appropriation of corporate strategies or irony.  Banks, technology companies and even micro-nations are just a few examples of the corporations (some fictitious, and others not), created by the artists invited.

The main objective of the meeting was to elaborate a document as a declaration regarding the current state of the crisis. This declaration along other proposals by each “corporation”, were compiled in a publication. The version on paper was presented during the Sevilla 2011 Corporate Summit, while its digital version can be downloaded free of charge from Psychoeconomy’s website.

Taking full advantage of the singular arena for reflection and distribution created by the art field, the meeting attempted to generate dialogue between the participating artists’ projects, which entail propositions that deal with deconstructing everyday practices, social order, individual routine and the routine pertaining to areas of personal interaction and exchange along with their protocols.  This means questioning technological media’s promise of democracy and equality as well as a critique of the will to control that lies concealed beneath their ostensible transparency.


The Madrid Declaration.Participating corporations.FUQ: Frequently Unanswered Questions.Psychoeconomy Blog.Advance Sevilla 2011



Daniel García Andújar Barcelona Technologies To The People

 With the confirmation that new information and communication technologies transform our everyday experience as his point of departure, Daniel G. Andújar creates a fictional piece (Technologies To The People, 1996) with the aim of making us conscious of the reality that surrounds us and of the deception of certain promises of free choice that inexcusably are converted into new forms of control and injustice.

He is an historical member of (a point of reference internationally in net art) and the creator of numerous internet projects, such as art-net-dortmund,,,,,, etc. He is participating in the 2009 Venice Biennial in the Catalunyan pavilion.    artiendo de la constatación de que las nuevas tecnologías de la información y la comunicación transforman nuestra experiencia cotidiana, Daniel G. Andújar crea una ficción (Technologies To The People, 1996) con el objetivo de hacernos tomar conciencia de la realidad que nos rodea y del engaño de unas promesas de libre elección que se convierten, irremisiblemente, en nuevas formas de control y desigualdad.


Fran Ilich Tijuana Space Bank

True to its slogan, “purify your money”, the Space Bank offers a set of innovative and revolutionary ideas applied to banking, speculation and investments according to the catchphrase of helping you to reach your objectives without harming others.  Among the services they offer are investments in the commodities market by way of Zapatista coffee or corn, or financing art, literary and tactical media projects. 

Fran Ilich is a writer, media artist and digital activist.  He has participated in numerous international events.  Among his projects figure Borderhack, an art camp located on the border between Tijuana and San Diego, and Possible Worlds, an autonomous cooperative server launched on the occasion of the Zapatista Army’s Sixth Declaration of the Lacandona Jungle. 


Gustavo Romano Buenos Aires - Madrid Time Notes / Promoter of the 2010 Summit

The Time Notes project comprises a series of actions carried out in public spaces utilizing a monetary system based on units of time (bills of 1 year, 60 minutes, etc.).  Following an initial action developed and launched in Berlin in 2004, offices have been set up in Singapore, Rostock, Vigo, Buenos Aires and Mexico City, soon to be joined by Madrid and Munich.  One of the services provided is the Reintegration of Time Lost, which is offered as a place for the reception and classification of time ceded on a voluntary basis, under pressure or for arbitrary reasons.

Gustavo Romano is a Buenos Aires-born contemporary artist who works in a variety of media including installations, actions, net art, video and photography.  Many of his projects are presented in various stages of preparation, at times even cross-branching into new projects.  He uses media and technology devices as well as objects that pertain to our everyday life, decontextualizing them in an attempt to oblige us to rethink our familiar routines and preconceived notions. 

He was awarded the Guggenheim Fellowship in 2006. Lives and works in Madrid. 


Georg Zoche Munich Transnational Republic

The Transnational Republic is a group of artists working to construct the first Transnational Republic, where citizens are defined by the similarity of their beliefs and feelings. The new republic will represent its citizens on a civil level, for the first time not succumbing to national interests but rather concentrating on global concerns.

Founded in 1996 in Munich, Germany, byGeorg and Jakob Zoche, it has grown to include more than 4,700 citizens as of June 2009, and has been represented at international conferences and meetings throughout Europe, Asia, South America, and Australia. The Transnational Republic’s currency is the "payola", emitted by the Central Bank of the United Transnational Republics.
















2009-2010 / 2010.02.20. ABC DE LAS ARTES Y LAS LETRAS. El artista y la ciudad

2009-2010 / 2010.02.20. ABC DE LAS ARTES Y LAS LETRAS. El artista y la ciudad














2009-2010 / 2010.02.22. BLOGS.KM77.COM. Turistas del arte urbano (Iñaki Larrimbe)

2009-2010 / 2010.02.22. BLOGS.KM77.COM. Turistas del arte urbano (Iñaki Larrimbe)


















2009-2010. INFOMAB. Paseo de Recoletos (images + published text + cv)

2009-2010. INFOMAB. Paseo de Recoletos (images + published text + cv)




The INFOMAB2010 project originated as a way of promoting the MADRID ABIERTO programme in the centre of Madrid by giving out information in la Plaza de Cibeles. As a temporary visitor, the small and slightly elevated pavilion seems to be in Madrid only for a small period of time.

INFOMAB2010 is a place for people to pass through and to stay at the same time. It hosts small events and also deliver information to the pedestrians that walk along the busy boulevard of Paseo de Recoletos. The project is the product of an ingenious approach that intends to create a representative space with minimal economic and material resources, to welcome visitors.

The pavilion is a cylindrical industrial deposit that has been drilled in order to create two big accesses and multiple small gaps (portholes). Its location, between the ready-made and the urban installation, gives the device a solid and homey image at the same time.

During the day, both accesses create a magical atmosphere of light, and, at dusk, internal light radiate towards the street through dozens of open gaps.

Kawamura-ganjavian has conceived this unique project as an experiment dealing with the architectural possibilities that recycled prefabricated elements of FP (fibreglass polyester) may have.

A Kawamura-ganjavian project



Key Portilla Kawamura, Oviedo, 1979Ali Ganjavian, Teheran, 1979Live and work in Madrid

FORMACIÓN ACADÉMICA·    Key Portilla-Kawamura 2001–2003·    Postgraduate Diploma Course , Architectural Association School of Architecture, London.

2004–2005·    Madrid Master course in communication, Universidad de Alcalá.

2002–2004·    Postgraduate Master in Space and Architecture, Royal College of Art, London.

2001–2002·    Out Reach practice and theory of spatial photography, Cooper Union, New York.

1998–2001·    BSc in Architecture, University of East London, International School of Architecture, London.

1997–2000·    BSc in Architecture, University of East London, International School of Architecture, London. Ali Ganjavian

SELECTED GROUP EXHIBITIONS 2009·    Beyond Media, Visions Festival of Architecture, Florence, Italia. ·    Galp pedestrian and cycle bridge exhibition, Lisboa, Portugal. ·    Traveling show of architecture design competition. 2008 Nous Gallery, London. ·    Exhibition of StickingRings, pavilion project Alterpolis, Madrid. ·    Presentation of Alterpolis project, Matadero, Madrid. ·    Re-Activate, EACC, Castellón, España. ·    Exhibition of StickingSticks pavilion and of Locutorio Colón project Perdidos, COAM Foundation, Madrid.

2004·    Fly Utopia, Transmediale.04, Berlin, Deutschland.

2003·    Space search engine©, Zurich, Suisse. ·    Exhibition and lecture, Critique is not Enough, Shedhalle Gallery. ·    La Nuova Agorá, book edited by Dagmar Reichert, Biella-Zurich, Suisse. ·    Space search engine©, Biella, Italia. ·    Exhibition and lecture Nuova Agorá, curator Dagmar Reichert Cittadellarte / Fondazione Pistoletto.

2010·    Opinno, office refurbishment,·    Pregny communal house competition, Geneva, Suisse.

2009–2010·    Infomab 2010, information centre for Madrid Abierto, Madrid. ·    Librairie La Fontaine, interior design of bookstore, Lausanne, Suisse. ·    PiP exhibition design, LABoral, Gijón.

2009·    Galp bridge competition, Lisboa. ·    Titanic, refurbishment of residential lobby, Madrid. ·    Azul-lejos, refurbishment of cafeteria, Madrid. ·    Iniciarte stand, ARCO, Madrid.

2008·    Tabakalera competition, San Sebatián-Donosti. ·    Design of multipurpose kiosk inside a park, Parque de los Pinos, Madrid. ·    Reflections about the utopian city, Alterpolis, Madrid. ·    Palace Hotel, Refurbishment of hotel ballroom, Madrid. ·    Re-Liquido, Gijón. ·    Heineken offices, Refurbishment of corporate office space, collaboration with Ramiro Losada, Madrid. ·    Marcau, Ilanz, Suisse. ·    Psychiatric Clinic, Aravaca, Madrid.

2007–2008·    Black Mountains. PSI pavilion. Asturegion Terriotorial Laboratory, Regional mapping and strategic planning, Asturias, España. ·    LightHouse, single family house in Puerta de Hierro In collaboration with Pedro Quero, Studio Banana, Madrid. ·    Tank, Transformation of flat into loft and audiovisual workshop, Madrid.

2007·    Ahmad-T, architectural consultancy, Southampton, UK. ·    Rincón Malillo, Transformation of winery into art foundation, Jerez. ·    Infomab, Information Centre for Madrid Abierto, Madrid. ·    Cyberspaces, design for a digital art exhibition curated by Ars Electronica,La Laboral Art Centre, Gijón.

2006–2007·    Locutorio Colón, public art piece, Madrid.

2006·    Smoke House, concept proposal for Planless House compeitition, JA magazine. ·    Somao, single family house, concept Design, Asturias, España. ·    Light as you Move, interactive prototype for Phillips illumination competition. ·    Abierto, Summary book, Madrid. ·    Rampas, sculpture competition, Navacerrada, España.

2005·    Li-Mac, Musac art centre, León. ·    Le Home 67, transformation of flat, Paris. ·    Le Home 12, transformation of flat, Paris. ·    Vista House, Tenzuela, España. ·    Symmetrical Simulacrum, winning entry in public art competition, not executed, Madrid.

2004–2005·    La Nave, Information centre, Madrid

2004·    Cranbrook Lighthouse, RIBA residential competition, London.

2002–2004·    Mirador bajo la escombrera, Turón, Asturias, España.

2003·    Musik didaktik, Shedhalle Gallery, Zurich, Suisse. ·    Nile Street, London.

2002·    Space Search Engine, urban mapping and temporary occupation agency, London. ·    ARCO art fair project, spatial configuration of art fair, Madrid.

2000–2001·    Horizontal archaeology, restoration of Victorain house and attic in the East End, Ham Park Road, London.


2002·    Projects Review dip 10 and Departure, London. ·    Coordinator of exhibitions, Architectural Association, London.

ACADEMIC RELATED ACTIVITIES 2009·    Master European Design Labs, Madrid Directors of Course, Istituto Europeo di Design. ·    DIY Studio, Rosario, Argentina. ·    Tutors of creative workshop, Centro Cultural Parque de España Pecha Kucha Night, Bilbao. ·    Conference, Guggenheim Museum, Bilbao. ·    Art & City Seminar, Istanbul. ·    Lecture on public art. Mais allá da colpa, Urbanism workshop, Coruña. ·    Tutors in workshop at Universidade da Coruña. ·    How Sustainable is Sustainability, Madrid. ·    Lecture at seminar, Galería Salvador Díaz. ·    Urban Buddies, lecture at conference, Madrid Abierto, Casa Encendida, Madrid.

2008·    Instituto Europeo di Design, Madrid. ·    Tutors of European Design Lab master course 2008-2009. Re-fresh, Matadero Madrid. ·    Lecture inside the Madrid Architecture Week agenda. ·    Un-Defining Architecture, Skopje, Macedonia. ·    Lecture at Faculty of Architecture, University of Saint Methodius and Saint Cyril. ·    Forum Skopje, Macedonia. ·    Lecture and debate in urban seminar.

2007·    Universidad Politécnica, Madrid. ·    Tutors of Master course Self Design. ·    Accademia di Architettura di Mendrisio, Suisse. ·    Assistant of Professor Martin Boesch, 4th and 5th year. ·    Istituto Europeo di Design, Madrid. ·    Tutors of European Design Lab master course 2007-2008. ·    Studio Banana, Bregenza, Austria. ·    Lecture, at Kunsthaus Bregenz, Z Connection summit. ·    PH 02, Pesoz, Asturias, España. ·    Landscape and territory workshop, design tutors.

2006·    Istituto Europeo di Design, Madrid. ·    Tutors of Furniture Design master course 2006-2007. ·    Quito, Retroactive Simulacrum lecture, Las Palmas de Gran Canaria, España. ·    Lecture, First Architecture, Landscape and Art Biennale of the Canary Islands, España.

2005·    Spaces for Art, Madrid. ·    Round table, Director and moderator, ARCO, Madrid. ·    The Post-Museum, Coruña, España. ·    Lecture, International University Menéndez Pelayo Summer School From the Post-Museum to the Post-Industry, Avilés, España. ·    Opening lecture at the Symposium Contenedores de Arte, Ayuntamiento de Avilés, España.

2004·    Cartographic Fantasies, Kassel, Deutschland. ·    Geography workshop, Kassel University, Deutschland. ·    Epic landscapes, Avilés, España. Lecture, Oviedo University Summer School on Industrial Heritage, España.

2003·    Urban gazes, Urbans rumours, Madrid. ·    Round table, Director and moderador, ARCO, Madrid.

2002·    The dilemma of the exhibition space, Madrid. ·    Round table, Director and moderator ARCO, Madrid Six artifices, six, Aranjuez, España. ·    Lecture, Rey Juan Carlos University Summer School.

2008·    Inside Information, chapter in the book Slightly Urban about artist Renate Buser. Published by Christoph Merian Verlag, Basel, Suisse.

2007·    Locutorio Colón, monographic book on the homonymous project published by Fundación Telefónica and Madrid Abierto, Madrid. ·    Cabinet, Cage, Stage, chapter in the book Artificialy Deconstructed, about artist Wesley Meuris, published by Dexia and Cultuurcentrum Brugge, Brugge, Belgique.

2005·    Almost Nothing, article in Arconoticias magazine, Madrid.

2004·    About hybrids, vortexes, what happened and what could have happened, article, Arconoticias magazine, Madrid. ·    Alai, article, Sublime Art and Contemporary Culture magazine, Gijón, España.

2003·    Fields, topologies and surrenders, article on the piece Time Lapse by Francis Alÿs, Arconoticias magazine 26, Madrid.

2002·    Urban pentagram, article on the piece Zebra by Juan Carlos Robles, Arconoticias magazine 24, Madrid.

2009·    Taylor, S. practice: kawamura-ganjavian, Monocle, no.29, vol.03, London, December09-January10, p.94.·    Art and Design Practicds in Reference to City and Art - II, Mimar Sinan University, Istanmbul, 2009, pp.107-·    Heat me and Divide It, in Housley L. (ed.), The Independent Design Guide, Thames & Hudson, London, 2009, pp. 299 and 310. ·    Rivas, R., Arquitectos enredados en un buen plan, El País, Madrid, 2 Junio 2009, p.6. ·    IX Premios Saloni de Arquitectura 2009, catalogue, Barcelona. ·    Tadanori Yamaguchi + Maki Portilla-Kawamura + Key Portilla-Kawamura + Ali Ganjavian, Locutorio Colón in Díez, J. (ed.), Madrid Abierto 2004-2008, Madrid, 2008, pp. 314-319. ·    Read, wherever and whenever..., The Reader, issue 0-1, Taipei, February 2009, pp 37. ·    Károlyi, E. kawamura-ganjavian, inventeurs, Artravel, no.25, Paris, February 2009, pp. 50-52.

2008·    Casas, F., Kawamura-Ganjavian, Diseño interior, no. 196, Madrid, November 2008, pp. 50-54.·    Bogoeva, K., Arhitektite treba da rabotat vo poveke zemji, Utrinski vesnik, Skopje, 23 April 2008, p. 16.·    Predavanje na arhitektot Kej Portila Kavamura, Utrinski vesnik, Skopje, 17 April 2008, p. 16. ·    Huellas de Abecedario: 12 diseñadores, 12 objetos, 12 reflexiones, Anuario del diseño, no.2, 2008, pp. 52-54. ·    Perdidos 3, las "carras B" de la arquitectura, Arquitectos de Madrid, no. 1, March 2008, p. 33. ·    Tres exposiciones en el COAM, 2008, ON DISEÑO, no. 289, January, p. 48.

2007·    Locutorio Colón, in Swiss Architecture Museum (ed.) 2007. ·    Reactivate!!: Espacios remodelados e intervenciones mínimas, Christoph Merian Verlag, Basel, p. 106. ·    Díaz J., Madrid Abierto, in Arte, Experiencias y Territorios en Proceso, Idensitat, Manresa, 2007, p. 31.·    Merry-Kawamura-Ganjavian, 2007, Plug on, Designers Light: Ingo Maurer Poet of Light, catalogue, Gwangju.·    Design Biennale Foundation, Gwangju Espinosa de los Monteros, P. 2007, Diseño: Ideas de sobra, ABC, 9th June, p. S6-5. ·    Quero Motto, P., Portilla-Kawamura, K. y Ganjavian Afshar, A. 2007. ·    Spaces for cyberspaces, LAB_ciberspacios, catalogue, LABoral Centro de Arte y Creación Industrial, Gijón, pp. 66-69. ·    Vozmediano, E. 2007, En busca del receptor fugaz, El Cultural, 15 February, pp. 77-80. ·    Light as you move, in Transitions: light on the move, catalogue of exhibition, COAM, Madrid, 2007, p. 60-61.

2006·    Yamaguchi, T., Portilla-Kawamura, M., Portilla-Kawamura, K. y Ganjavian, A. 2006, Locutorio Colón, in Creus, J., Gallego-Picard, P. y Quesada, F. (ed.), O monografías: Cidade I, Santiago de Compostela·    Primera Bienial de arquitectura, arte y paisaje de Canarias, catálogo, Gobierno de Canarias, Islas Canarias, 2006, pp. 270-271. ·    Ganjavian, A. 2006, Postcard from... Madrid, in Injection, no. 1, May, London, p. 7. ·    Yamaguchi, T., Portilla-Kawamura, M., Portilla-Kawamura, K. y Ganjavian, A. 2006, Locutorio Colón, Madrid abierto 06, Art interventions 1-26 February 2006. ·    De la Villa, R. 2006, Madrid se abre al arte, El Cultural, 9 February, Madrid, p. 60.

2005·    Hansen, F., Urban Dispersion: To map the unmappable; An interview with Ali Ganjavian and Key Portilla-Kawamura, in Heim Again; Identity, Ideology & Geography, KHiB, Bergen, 2005, pp. 48-53.

2004·    Hansen, F. and Mehler, S.; Programm 2003 bis Mitte 2004, Verlag Shedhalle, Zürich, 2004.

2002·    Portilla-Kawamura, K. & Ganjavian, A. 2002, Space Search Engine, La nuova agorá, catalogue, Cittadelarte - Fondazione Pistoletto, Biella, pp. 145-147.
















09-10diie3271, 09-dite3273, 09-10dite3275

2009-2010. INFOMAB. Paseo de Recoletos (pre-production)

2009-2010. INFOMAB. Paseo de Recoletos (pre-production)

























09-10dime3270, 09-10dime3267, 09-10diie3266,09-10dime3268, 09-10dime3269

2009-2010 / 2010.02.19. EL PAÍS (ON MADRID). Déjate ver

2009-2010 / 2010.02.19. EL PAÍS (ON MADRID). Déjate ver















2009-2010. Annemarie Steinvoort. IMMATEREALITY – SOUNDSCAPE


Name Play Size Duration
5.6 MB 8:11 min

 Inspired by being present in the moment, the sound around us and intrinsic sound within us, the essence of immateriality and reality is brought together to express that the immaterial is creation of reality and that reality is creation of the immaterial.

The titel expresses T’ai Chi: opposites come from unity and merge as one, something of the one is hidden in the other. Therefore the rotation symmetry and the dynamic interaction of polarities implies continuous cyclic movement and transformation.

The Soundscape composition is made by working with ‘real’ environmental sounds to create a new acoustic ‘virtual’ world. The concept of movement and transformation is expressed through the use of motion related and transit related sounds.

By taking environmental sounds from the natural and the mechanical world out of their context, a new unique space that exists only in sound is created. Immatereality is about the stages, motions and transformations in the realization of creation.














09-10sotc2897, 09-10sotb2887, 09-10sose2934

2009-2010 / 2010.02.17. DIARIO NOTICIAS DE ÁLAVA. Todos a Madrid

2009-2010 / 2010.02.17. DIARIO NOTICIAS DE ÁLAVA. Todos a Madrid














2009-2010. INFOMAB. Paseo de Recoletos (project)

2009-2010. INFOMAB. Paseo de Recoletos (project)















09-10dime3263, 09-10dime3262

2009-2010 / 2010.02.19. ABC.ES. Arco 2010: Otra vuelta de Feria

2009-2010 / 2010.02.19. ABC.ES. Arco 2010: Otra vuelta de Feria















2009-2010. David Elguea (Cv)


EDUCATION 2006·    Master de Filosofía Hermenéutica. Universidad de Deusto, Bilbao

2004·    Técnico multimedia, Escuela de cine y video, Andoain, Guipúzcoa.

2002·    Licenciado en bellas artes, U.P.V, Lejona, Vizcaya.

1991·    Taller de pintura con Juan Genovés. Arteleku, San Sebastian.

SELECTED SOLO EXHIBITIONS 2008·    LEUK*, Zelai Arizti Aretoa, Zumarraga, Guipúzcoa

2007·    TEKS*, Colegio de arquitectos, San Sebastián.

2006·    TEKS*, Galeria KUR, Donosita.

2005·    TEKS*, Itarte Etxea, Zumárraga, Guipúzcoa.·     5 Cortometrajes, PHOTOMUSEUM, Zarautz, Guipúzcoa.

2004·    TEKS *, PHOTOMUSEUM, Zarautz, Guipúzcoa.

2001·    Sala Juan de Lizarazu, Urretxu, Guipúzcoa.

1999·    Itarte Etxea, Zumárraga, Guipúzcoa.

1991·    Casa de cultura de Urretxu, Urretxu, Guipúzcoa.

SELECTED GROUP EXHIBITIONS 2008·    Festival de video TV JAM, Vitoria.

2006·    X bienal de artes plásticas, Pamplona.

2005·    Getxoarte, Getxo, PHOTOESPAÑA, proyecciones plaza de santa Ana, Madrid.

2004·    Getxoarte, Getxo, Vizcaya.

2003·    Getxoarte, Getxo, Vizcaya.

2002·    Seleccionados para adquisición de patrimonio.U.P.V, Campus de Lejona, sala Araba, Vitoria- Gazteiz, Álava. ·    100 artistas, Galería catálogo general, Bilbao. ·    Espacio 1, Galería catálogo general, Bilbao.

2000·    Alumnos de bellas artes, Aula de cultura, Getxo, Vizcaya.

1998·    Galería espacio Abisal, Bilbao.

FILM FESTIVALS AND SCREENINGS 2008·    Festival de video TV JAM, Vitoria.

2005·    5 cortometrajes, PHOTOMUSEUM, Zarautz, Guipúzcoa.

WRITINGS ·    CAMERA AUSTRIA N 93 MARZO 2006. Publicación internacional

WORKS IN MUSEUMS AND COLLECTIONS ·    Arizona, serie TEKS*, PHOTOMUSEUM, Zarautz, Guipúzcoa.












2009-2010 / 2010.02.19. GARABAT.WORDPRESS.ORG. Expo solosontoys

2009-2010 / 2010.02.19. GARABAT.WORDPRESS.ORG. Expo solosontoys















2009-2010. Gloria Zein. MADRID BREATHING


Name Play Size Duration
5.9 MB 5:12 min

 Madrid breathing is a pulsatile composition entirely based on the sound of her breath, which has been digitally modified and arranged like a piece of music.She has conceived of the project for the radio. Her aim is to have it played in as many cities worldwide as possible.

The 'breathing' project is the idea of a collective, large-scale happening, in which all inhabitants of Madrid can participate. Right before transmission, the radio-audience should be asked to open their windows and project the sound onto the street. Passing pedestrians will perceive the sound emerging from the surrounding buildings as if the architecture itself reflected the rhythm of life.

At night, acoustic signals seem louder than during daytime. Nocturnal temperature inversions make sound travel further as it is reflected off the upper inversion layer. Also, general noise emission decreases and single sounds can be more easily distinguished. Late at night, as traffic slows down and most birds hushed, we perceive the nightly-active animals and the human society with its nocturnal noises: a single car passing by, music pouring out of bars and clubs, dialogue-bits, sounds of radio and TV, someone snoring or the neighbours making love.At other times or places, there are detonations – flight-bombers tend to circulate by night. Windows are broken, books or religious centres burned. With the help of fire and electricity the humans have become horribly inventive concerning their nocturnal activities.

Sometimes, the air finally seems still – and the individual finds himself alone.Now imagine, you were walking through Madrid at night and the buildings started to breath softly.

The composition was created in collaboration with sound engineer Eric B. Barr.

















09-10sotb2888, 09-10sotc2899, 09-10sose2935

2009-2010. Josep-María Martín. THE DIGESTIVE HOUSE, 2007

2009-2010. Josep-María Martín. THE DIGESTIVE HOUSE, 2007

THE DIGESTIVE HOUSE, 2007 Memory and habitat: habitat prototype in Onex.BAC, Bâtiment d’Art Contemporain. Onex y Ginebra, Suiza



Josep-Maria Martin was invited to participate in the collective exhibition “Habitat/Variations”, in order to rethink the concept of habitat and different ways of living. To develop the project, the Genevan architect Raphaél Nussbaumer suggested a collaboration to reflect together on the spaces in which we live.

The project focused on the city of Onex, a bedroom community in the suburbs of Geneva, Switzerland. It was built in the sixties, a period in which different solutions were suggested to solve the housing problem. In those days a lot of apartment blocks and collective spaces were built, which no longer answer today’s needs of size and comfort as well as the diversity of the new family structures.

These neighborhoods contain a highly diverse population, ethnically as well as culturally.

The majority of its inhabitants come from countries all over the world, which have had to move for socioeconomic reasons or as political refugees that are running from a war and bring tragic experiences, which are added to the common difficulties of adjusting to a new country.



To question the space were we live in and establish an analogy between the digestive system and the home, as an organism that digests personal and collective memory. It is a way to focus on the relationship between spaces that people live in and how it can help individuals manage and face history, personal and collective memory with the cognitive realm of life and the welfare of people. We intend to find answers to the relation habitat-memory:

- How can our own history, our contribution, coexist with the history we find in reality?- Do we experience the legacy of a place’s memory?- What do we contribute to the memory of a certain place?- How do we face our personal and collective memory?- What influence does the habitat have on the individual, the family, community…?- How does space help us digest the events of our lives?- What is a family’s quality of life?- How do family members contribute to it?- How does it affect personal and professional relationships?- How do we face cultural displacement?- How do we live with people belonging to other cultures and backgrounds?- How do we coexist with the memory of war?


- Propose the intervention of an architect to develop the project collectively.- Identify a family form the neighborhood of Lavapies to carry out the idea.- Open up a participation process.- Identify and invite different interlocutors linked to the project.- Research on how the habitat helps us face memory.- Carry out interviews with each of the people identified as significant.- Reflect on family living in a suburb of Geneva.- Order the obtained information.- Elaborate and conceptualize the proposal.- Design the architectural project.- Debate about the proposal with the family and other previously interviewed interlocutors.- Design the executive project.- Build and open the designed space.- Evaluate the experience.- Build a real-scale model of the apartment in the Bac, Bâtiment d’Art Contemporain of Geneva.- Make a video documentary about the project.- Spread the project.- Search for funding.- Experiment for 3 months with the prototype.


- Begin collaboration with the architect. Raphaél Nussbaumer.- Choose the neighborhood of Onex to develop the project.- Identify the main interlocutor of the Sr. Mercolli neighborhood Service director for Youth and Community Action of Onex.- Open up a participation process carrying out interviews.    - Mr Kurteshi, Caretaker of Onex’s blue tower.    - Mr Mercolli, Service director for Youth and Community Action of Onex.    - Mr Bürgisser, Director of the Housing Office of Geneva’s Canton.    - Mr Pythoud, Architect.    - Mrs Parisod, eco-biologist.    - Mr Armenian, gastroenterologist.    - Mr Ries, Dietician.    - Mrs Quinodoz, Radiologist.

- Research and reflect on the importance of habitat to help “digest memory”.- Interview and suggest the Kurteshi family an intervention in their house of blue tower Avenue du Gros-Chêne 43 in the city of Onex, as beneficiary of the project.- Needs in the habitat identified by Mr Kurteshi.     - Recover the relation between nature and earth.         - Improve the relationship among neighbors and other residents in the city.         - Widen the playing areas for their children and their neighbors’.         - Need to create relational and community areas.

- Josep-Maria Martin’s remarks:    - Multicultural composition of the neighborhood.    - Kosovo-Albanian origin of Mr Kurteshi.    - A design related to his origins and war (memory).    - Being caretaker of the building in which he lived.    - Double role: caretaker and tenant.    - Reluctance to improve his house.    - Recreation of his original Kosovo-Albanian habitat.    - In the neighborhood there is a difficulty in creating areas of transition between public and private space.

- Order the information obtained on the subject.- Present and debate on the proposals to the family and interlocutors of the project.    - Proposals:       - Build a balcony in the West façade.        - Build a garden on the communities’ terrace roof.       - Build a cabin, in the flowerbeds surrounding the building, for the children to play.

    - Findings of the debate:        - Need to create a community area signaling the transition between private and public space.        - Develop a collective area on the terrace roof of the building: garden, vegetable garden, cabin to play, barbeque, etc.        - Mr Kurteshi, caretaker of the building, committed himself to manage the use of this new area.

- Carry out the executive project modifying, integrating and enriching the initial proposal of the Digestive House Prototype.- Elaborate, in collaboration with Mr Kurteshi, the rules of use.- Search for funding.- Carry out the administrative management needed to develop the project.- Build a prototype.     - Spread the project.         - Exhibit the Digestive House project in Geneva’s Bac.         - Create a real-scale model of the Kurteshi family’s apartment.         - Show the plans and photographs.         - Produce a documentary film.- Press release.- Publication.


The Foundation, owner of the building, showed their interest, approval and support in the project by providing the necessary resources needed to carry it out. The intention was to take most of the experience and spread it to other neighboring buildings.The prototype wasn’t finally installed in the terrace roof, for external reasons.Geneva’s fire department didn’t give permission, due to a change in regulation (produced during the project’s development) related to the building’s emergency exits.Onex’s City Hall and Mr Bürgisser, Director of the Housing Office of Geneva’s Canton, keeps working in order for the project to become a reality.The Digestive House enabled them to visualize the need to improve the neighbors’ communications in Onex and, also, the need to treat the transitional areas between private and public spaces.











09-10prmc3392, 09-10prmc3618

2009-2010. Josep-María Martín. A DIGESTIVE HOUSE FOR LAVAPIÉS (related work)

2009-2010. Josep-María Martín. A DIGESTIVE HOUSE FOR LAVAPIÉS (related work)

THE DIGESTIVE HOUSE, 2007 Memory and habitat: habitat prototype in Onex.BAC, Bâtiment d’Art Contemporain. Onex y Ginebra, Suiza



Josep-Maria Martin was invited to participate in the collective exhibition “Habitat/Variations”, in order to rethink the concept of habitat and different ways of living. To develop the project, the Genevan architect Raphaél Nussbaumer suggested a collaboration to reflect together on the spaces in which we live.

The project focused on the city of Onex, a bedroom community in the suburbs of Geneva, Switzerland. It was built in the sixties, a period in which different solutions were suggested to solve the housing problem. In those days a lot of apartment blocks and collective spaces were built, which no longer answer today’s needs of size and comfort as well as the diversity of the new family structures.

These neighborhoods contain a highly diverse population, ethnically as well as culturally.

The majority of its inhabitants come from countries all over the world, which have had to move for socioeconomic reasons or as political refugees that are running from a war and bring tragic experiences, which are added to the common difficulties of adjusting to a new country.



To question the space were we live in and establish an analogy between the digestive system and the home, as an organism that digests personal and collective memory. It is a way to focus on the relationship between spaces that people live in and how it can help individuals manage and face history, personal and collective memory with the cognitive realm of life and the welfare of people. We intend to find answers to the relation habitat-memory:

- How can our own history, our contribution, coexist with the history we find in reality?- Do we experience the legacy of a place’s memory?- What do we contribute to the memory of a certain place?- How do we face our personal and collective memory?- What influence does the habitat have on the individual, the family, community…?- How does space help us digest the events of our lives?- What is a family’s quality of life?- How do family members contribute to it?- How does it affect personal and professional relationships?- How do we face cultural displacement?- How do we live with people belonging to other cultures and backgrounds?- How do we coexist with the memory of war?


- Propose the intervention of an architect to develop the project collectively.- Identify a family form the neighborhood of Lavapies to carry out the idea.- Open up a participation process.- Identify and invite different interlocutors linked to the project.- Research on how the habitat helps us face memory.- Carry out interviews with each of the people identified as significant.- Reflect on family living in a suburb of Geneva.- Order the obtained information.- Elaborate and conceptualize the proposal.- Design the architectural project.- Debate about the proposal with the family and other previously interviewed interlocutors.- Design the executive project.- Build and open the designed space.- Evaluate the experience.- Build a real-scale model of the apartment in the Bac, Bâtiment d’Art Contemporain of Geneva.- Make a video documentary about the project.- Spread the project.- Search for funding.- Experiment for 3 months with the prototype.


- Begin collaboration with the architect. Raphaél Nussbaumer.- Choose the neighborhood of Onex to develop the project.- Identify the main interlocutor of the Sr. Mercolli neighborhood Service director for Youth and Community Action of Onex.- Open up a participation process carrying out interviews.    - Mr Kurteshi, Caretaker of Onex’s blue tower.    - Mr Mercolli, Service director for Youth and Community Action of Onex.    - Mr Bürgisser, Director of the Housing Office of Geneva’s Canton.    - Mr Pythoud, Architect.    - Mrs Parisod, eco-biologist.    - Mr Armenian, gastroenterologist.    - Mr Ries, Dietician.    - Mrs Quinodoz, Radiologist.

- Research and reflect on the importance of habitat to help “digest memory”.- Interview and suggest the Kurteshi family an intervention in their house of blue tower Avenue du Gros-Chêne 43 in the city of Onex, as beneficiary of the project.- Needs in the habitat identified by Mr Kurteshi.     - Recover the relation between nature and earth.         - Improve the relationship among neighbors and other residents in the city.         - Widen the playing areas for their children and their neighbors’.         - Need to create relational and community areas.

- Josep-Maria Martin’s remarks:    - Multicultural composition of the neighborhood.    - Kosovo-Albanian origin of Mr Kurteshi.    - A design related to his origins and war (memory).    - Being caretaker of the building in which he lived.    - Double role: caretaker and tenant.    - Reluctance to improve his house.    - Recreation of his original Kosovo-Albanian habitat.    - In the neighborhood there is a difficulty in creating areas of transition between public and private space.

- Order the information obtained on the subject.- Present and debate on the proposals to the family and interlocutors of the project.    - Proposals:       - Build a balcony in the West façade.        - Build a garden on the communities’ terrace roof.       - Build a cabin, in the flowerbeds surrounding the building, for the children to play.

    - Findings of the debate:        - Need to create a community area signaling the transition between private and public space.        - Develop a collective area on the terrace roof of the building: garden, vegetable garden, cabin to play, barbeque, etc.        - Mr Kurteshi, caretaker of the building, committed himself to manage the use of this new area.

- Carry out the executive project modifying, integrating and enriching the initial proposal of the Digestive House Prototype.- Elaborate, in collaboration with Mr Kurteshi, the rules of use.- Search for funding.- Carry out the administrative management needed to develop the project.- Build a prototype.     - Spread the project.         - Exhibit the Digestive House project in Geneva’s Bac.         - Create a real-scale model of the Kurteshi family’s apartment.         - Show the plans and photographs.         - Produce a documentary film.- Press release.- Publication.


The Foundation, owner of the building, showed their interest, approval and support in the project by providing the necessary resources needed to carry it out. The intention was to take most of the experience and spread it to other neighboring buildings.The prototype wasn’t finally installed in the terrace roof, for external reasons.Geneva’s fire department didn’t give permission, due to a change in regulation (produced during the project’s development) related to the building’s emergency exits.Onex’s City Hall and Mr Bürgisser, Director of the Housing Office of Geneva’s Canton, keeps working in order for the project to become a reality.The Digestive House enabled them to visualize the need to improve the neighbors’ communications in Onex and, also, the need to treat the transitional areas between private and public spaces.











09-10prmc3392, 09-10prmc3618

2009-2010 / 2010.02.12. EL PAÍS (EP3). Arte: explosión de ferias

2009-2010 / 2010.02.12. EL PAÍS (EP3). Arte: explosión de ferias














2009-2010. Fausto Grossi (Cv)


EDUCATION 1992·    Licenciado en escultura, A.A.B.B, Frosinone, Italia.

SELECTED SOLO EXHIBITIONS 2004·    La Stanza. Ambientación, La Caraba, Librería/Taller de intentos culturales, Baracaldo, Vizcaya.

2003·    Puras Apariencias, Instalación, Espacio Zuloa, Vitoria-Gasteiz.

2002·    Interferenze, Instalación, Windsor Kulturgintza, Bilbao, Vizcaya.

2000·    Retrato de familia, Anodigrafía sobre titanio + sonido, Spazio Grossi, Bilbao.

1998·    Anoidigrafía sobre Titanio, Sarea, San Francisco, Bilbao.

1994·    El Argonauta, Acción/Instalación, Galería Cooperativa de la Brocha, Bilbao.

1993·    Seis días seis posibilidades, Instalación en Las Chamas, Bilbao.

1990·    In sito, Intervención urbana en la plaza Umberto I. Arce, Frosinone, Italia.

SELECTED GROUP EXHIBITIONS 2008·    Interface, III Festival Internacional de Videopoesia Videobardo, Argentina. ·    I am a clown, Interface. Intervenciones tv 9. Vitoria-Gasteiz, España.

2007·    Modular recombinable. Anodigrafía sobre titanio, Beca taller, Bilbao Arte, Bilbao. ·    After Urban, Videoart & arquitectura event, University of Pennsylvania, Philadelphia, USA. ·    XII Bienal, Guadalupana, Mexico.

2006·    El pregonero, II Festival Internacional de Videopoesia Videobardo, Argentina. ·    El pregonero, Com.plotS.Y.S.tem, Biennale di Architettura di Venezia, Pabellón Venezuela, Venezia.

2005·    Desacuerdos sobre arte, política y esfera pública en el Estado español, MACBA, Barcelona.

2003·    Prendete e mangiate questa è la mia pasta, Com.plotS.I.S.tem, Goethe Institut, Roma.

2004·    Saturación, Anodigrafía sobre titanio, Tercer Premio de Poesia Experimental, Diputación de Badajoz, España. ·    Tomad y comed esta es mi pasta, Anodigrafía sobre titanio, Caballos de Troya, Espacio Tangente, Burgos.

2000·    Crosses of the Herat, A networking art Project by Hans Braumüller in Homage to Indigenous People, Installed in the Museum of Contemporary Art in Santiago de Chile.

1999·    No pinto y punto, Libro objeto, Anodografía sobre titanio, INTEROLERTI, Festival Internacional de Poesía Experimental, Zarautz, España. ·    IIª Exposicao Internacional de Arte Postal Seculo XXI, Biblioteca Municipal, Camara De Barreiro, Portugal.

1997·    Prometeo encadenado, Galería ARSenal, Bilbao.

1996·    Artis Mundis, Casa de Cultura de Camargo, Cantabria.

1993·    Plasmatics. Performance. Las Chamas, Bilbao.

1992·    Oferta Unicas. Instalaciones + eventos, Antiguo Depósito de Aguas y Palacio de Villasuso, Vitoria.

PERFORMANCES 2009·    I am a clown, II Encuentro de Arte Global , Lisboa, Portugal. ·    Tres actos, Performance-Teatro, Influencias mutuas, Destruyendo límites. XXXIV Festival Internacional de Teatro de Vitoria-Gasteiz.

2008·    Salutación a Clemente Padín. Fundación J. Brossa. Barcelona.

2007·    Conectado desconectado, Acción, Netlach 2007, Espacio Abisal, Bilbao. ·    I am a clown, Acción en la Documenta Kassel, Alemania.

2006·    Pasta Bilbao, ComplotS.Y.S.tem, Biennale di Architettura di Venezia, PabellónVenezuela, Venezia. ·    I am a clown, Acción delante el Parlamento de Viena, Austria y Parlamento de Roma, Italia. ·    Comedores de pasta, I. jornadas de Poesía experimental de Euskadi, Baracaldo, Bilbao.

2005·    Desde Bilbao a Sevilla, Contenedores, Sevilla.

2004·    Homo Performans, Catalogo General, Bilbao.

2003·    Cuestión de pasta, Com.plot S.Y.S. tem. Goethe Institut, Roma. ·    Frac/asado. Acción. MAD03, Madrid.

2002·    Prendete e mangiate questa è la mia pasta, Acción, Por amor al arte, Alcudia, España.

2001·    Tomad y comed esta es mi pasta. Arco. Madrid. ·    Picnic. eBent´01, Festival internacional de performances, Barcelona.

2000·    Fausto Grossi in concert. Acción, II Festival de Música Sonora, Eguia, España.

1998·    Una semana de trabajo como una semana especial, Acciones y documentos, Espacio Abisal, Bilbao.·    Prospecciones Periféricas, Proyecto de investigación coordinado por: the Carrying Society, Arteleku, Loyola, San Sebastián. ·    Interface, Acción, Paquete Vasco, N.A.S.A, Santiago de Compostela, España. ·    En busca de un imaginario colectivo, Acción, Paquete Vasco, Museo de B.B.A.A, Valencia.

1996·    Ammassato. Acción. + ó - Yak el performador. Facultad de A.A.B.B. Universidad de Salamanca.

1995·    Observando la reacción de los demás, Acontecimiento, Talleres Abiertos, Centro Cívico La Bolsa, Bilbao.·    Alteración, Acción, Facultad de BBAA de la UPV/EHU, Lejona, Vizcaya. ·    Performance, El Inquilino comunista en concierto, Espacio multimedial En Canal, Bilbao.

1993·    Semana Vasca, Restaurant Hirscheneck, Basilea, Suisse.

1992·    Hasta el final, Evento en la Facultad de BBAA de la EHU, Lejona, Vizcaya. ·    Pasta de autor, Happening en el Kultur-Bar de San Francisco, Bilbao.

FILM FESTIVALS AND SCREENINGS 2008·    Participa como jurado en Intervenciones tv, Un proyecto de la Fundación Rodríguez, producido por Montehermoso, Vitoria-Gasteiz.

2007·    Participa como jurado en el Festival de Cortos Caostica 7, Bilbao.

PROJECTS 2008·    Coordina la convocatoria de arte postal, El sobre como continente que se realiza en Spazio Grossi y Poesía en acción en Bilbao Arte para Expoesia 08. ·    Iª Bienal de poesía experimental de Euskadi.

2007·    Organiza la instancia de Clemente Padín en Bilbao. Poesía experimental, Clemente Padin, Bilbao.

2002·    Miembro de Complots.I.S.tem. proyecto dxe investigación, constituido por un grupo independiente de artistas y arquitectos, www. 1996.

2000·    Miembro de la Asociación de Artistas Visuales de Euskslerria, País Vasco.

1993·    Funda y gestiona Spazio Grossi, Espacio para el arte experimental, Espacio compartido con una tienda obrador de pasta fresca y pizza, Bilbao.

19931994·    Las Chamas, antiguo comedor de las Minas de Zabala, rehabilitado como Centro de Actividad Artística que establece contactos desde la escena local a la internacional para abrir nuevas posibilidades de comunicación, Bilbao.

FILM PROJECTS 2009·    Participa como actor en el corto Maridos de sangre realizado por el cineasta Manuel Ortega Lasaga.

2007·    Estreno del corto Mefisto y Fausto del artista, performer y realizador Ramón Churruca, en el que participa como actor.

1998·    Participa como actor en la película Radiation escrita y dirigida por Suky Hawley y Michael Galinskysi.

WRITINGS 2008·    La teoría y la practica del arte contextual llega a Euskadi,·    Entrevista a Fausto Grossi realizada por Cesar Reglero,

2007·    Reflexion: Bilbao años `90 ¿Accionismo o arte de acción?,

2006·    I am a clown.

AWARDS AND GRANTS 2006·    Beca Taller, Fundación Bilbao Arte, Bilbao.

1992·    Beca Erasmus en la facultad de B.B.A.A de la U.P.V./E.H.U, España.

WORKS IN MUSEUMS AND COLLECTIONS ·    Instituto Cervantes, Fez, Marruecos. ·    MACBA, Barcelona. ·    Fundación Bilbao Arte, Bilbao. ·    Diputación de Badajoz. ·    Centro de Poesía Visual de Peñarroya-Pueblonuevo, Córdoba.

BIBLIOGRAPHY 2007· Amaro Nel, El arte un bien demasiado importante para dejarlo en manos de de artistas, críticos, y galeristas, com.plot.S.I.S.tem, com.plot city MEETING POINT, Edited by Nicoletta Braga, Emiliano, Coletta, Chiara Colombo, Antonella contw, Vincenzo di Siena, Fausto grossi, Massimom Mazzone, Ricardo Murelli, Nicolás Pallavicini, Com.plot S.Y.S. tem, Osvaldo Tiberi. Apeiron Editori s.n.c, Roma, Italy, pp. 66-71, 128-131, 171.

2006    Fraser Andrea, Isn´t This a Wonderful Place? (A tour of a Tour of the Guggenheim Bilbao), MUSEUM FRACTIONS, Public Cultures/Global Transformations, Edited by Ivan Karp, Corinne A. Kratz, Lynn Szwaja, end Tomás Ybarra-Frausto. Duke University Press, Dirham, Nort Carolina, USA, pp. 146, pp.158.

1997·    López Rojo Alfonso, Situacionistas, Lapiz, Revista Internacional de Arte, nº128-129, pp. 120.

1996·    Fausto Grossi, Añadiendo color al museo Guggenheim de Bilbao, Escultural nº 3, Revista.

1992·    Nicola Carrino, "costruire la scultura" Academia di Belle Arti di Frosinone, Edita Academia di Belle Arti di Frosinone, imprime Tipografia Bianchi, Frosinone, Italia, Catálogo. Facoltà di Architettura Roma Tre, com. plot S.I.S.tem/GLAC, ALTRE VISIONI.. Libertà Politica Territorio y EDIFICI CONCETTUALI E ARCHITETTURE. Presentazione del progetto ballatoio del bookshop rassegna video-dibattiti. 10. Mostra Internacionale di Architettura de la Biennale di Venezia, Italia.












2009-2010 / 201.02.17. PUBLICO.ES. Abandonados a su suerte (Laurence Bonvin)

2009-2010 / 201.02.17. PUBLICO.ES. Abandonados a su suerte (Laurence Bonvin)














2009-2010. Hernani Villaseñor Ramírez. DIARIO SONORO

Format: Acusmática

Name Play Size Duration
Diario sonoro
Hernani Villaseñor Ramírez

9.8 MB 7:08 min

 This piece was created in 2008 by field recordings made in the cities of Morelia and Mexico DF, recordings that took place in the sonic environment of the composer and that, at the same time, were registered in a logbook with the date and place of each recording. In a similar process to that of using a diary but instead of writing down the events, here they appear in a sound format.

Diario Sonoro recollects sounds from open and intimate spaces that the composer inhabits, listening situations that submerge us in different environments through fragments of sound, natural and processed, in a discourse that does not have a determined order. It simply opens up small windows of sound mixed in such a way that they offer a structure in which the piece is moving from one atmosphere to another. From calm to tense, in which metallic sounds mixed together offer a new dimension and color to the textures of sound.















09-10sose2936, 09-10sotb2889, 09-10sotc2901

2009-2010. Vanesa Castro (Furallefalle) (Cv)



EDUCATION 2008–09·    Gestión cultural y Creación web, MausHábitos, Oporto.

2004·    U.P.V, Especialista Universitaria en Artes Visuales e Intermedia, Valencia.

2003–04·    U.P.V, Tercer ciclo. Doctorado en Artes Visuales e Intermedia, Valencia.

2003·    CAP, Curso de Adaptación Pedagógica. ·    Espai d'Art Contemporani de Castelló. Estudis de cultura contemporània 03, Castellón. ·    U.P.V, La escultura hoy. Congreso Internacional de escultura, Valencia. ·    U.P.V, Más allá de la esfera pública. Workshop impartido por Douglas Ashford, Valencia.

2002·    U.P.V, Licenciada en Bellas Artes, Valencia. U.P.V, La pornografía de lo real, historia y arte contemporáneo, Workshop impartido por Francesc Torres, Valencia.

2001 ·    ESIC Escuela superior de Gestión Comercial y Marketing. e.di 2001. ·    Encuentro de empresarios, Gestores de la Innovación, Diseñadores y Gestores de la Comunicación Valencia.

1999·    Escenografía en Cine y TV. U.P.V., Valencia.

EXHIBITIONS2010·    Ciclo D-Generación2. Nuevas experiencias del Cine de no ficción. Centros del Instituto Cervantes.

2009·    VI Premio Auditorio de Galicia, Santiago de Compostela. ·    Festival Internacional de Cine de Ourense, Orense. ·    Bienal Mercosul, Porto Alegre, Brasil. ·    Encuentros Fortuitos, Centre Cívic Sant Andreu Barcelona. ·    Baumann v.09, Festival de Cortometrajes, Terrassa. ·    XV Bienal de Vila Nova de Cerveira, Portugal. ·    Ráfagas, La 2 TVE. ·    REC, Festival Internacional de Cine de Tarragona, Tarragona. ·    D-Generación2, Festival Internacional de Cine de Las Palmas.

2008·    Aptitudes, Encuentro de Arte Contemporáneo, La Rambla, Córdoba. ·    Festival Internacional de Cine de Ourense, Orense. ·    VAD Festival internacional de vídeo y artes digitales, Gerona. ·    Observatorio Alterarte, Centro Cultural Deputación de Ourense, Orense. ·    VII Certame de artes plásticas Deputación de Ourense, Orense. ·    Novos Valores 08, Museo de Pontevedra. ·    Economías del trabajo, Metrópolis, TVE La2.

2008·    Culturas, Exposición para el diálogo intercultural. ·    MIRAXES, Mini-reportaje sobre Furallefalle en la televisión Gallega TVG. ·    Los Lolos, Sala Alterarte, Campus de Ourense, Orense. ·    En.Piezas 08, Obra Social Caja Madrid, La Casa Encendia, Madrid. ·    VI Bienal de Artes Plásticas Rafael Botí, Córdoba. ·    Madrid Abierto 2008, La Casa Encendida y Canal Metro, Madrid. ·    Transmediale 08, Berlín.

2007·    AXENÉo7, (dentro del DVD colectivo d-forma) Centro de arte, Quebec, Canadá. ·    V Premio Auditorio de Galicia, Santiago de Compostela. ·    Intervenciones TV, Centro Cultural Montehermoso, Vitoria-Gasteiz. ·    VI Certame Internacional de Artes Plásticas da Deputación de Ourense, Orense. ·    CeC&CaC, DVD d-forma, Nueva Delhi. AlterArte, DVD d-forma, Murcia. ·    Hangar obert, DVD d-forma, Barcelona.

2006·    Ananil 06, Montemor-o-novo, Portugal. ·    DVD d-forma, Festival Internacional de Vídeo de Valencia, Valencia. ·    Cultura con ñ extracto del interactivo Kitsch kitchen, La2 (TVE). ·    Transmediale 06, Berlin. 2005 VAD International festival of video and digital arts, Gerona. ·    Transmediale 05, Berlín. 18th Stuttgarter Filmwinter, Stuttgart, Germany.

2004·    Hertzoscopio 2004, Fundição de Oeiras, Portugal. ·    VideoMedeja, Novi Sad, Montenegro, Serbia. ·    Este04 Festival, Valencia. FestiGal, Santiago de Compostela.

2003·    Gamonal: Intervenciones artísticas en comercios, Espacio Tangente, Burgos. ·    II Concurso de Artes Plásticas de la Universidad de Zaragoza. Movida X la manica, Galería Amantes, Turín, Italia.

PERFORMANCES 2009·    Chámalle X, Jornadas de arte de acción, Universidad de Vigo, facultad BBAA, Pontevedra.

2008·    Concierto de Los Gru, Presentación Premi Miquel Casablancas, Barcelona.·    FEA, Festival de electrónica alternativa, Los Lolos, Barcelona.·    Festival Gente Joven, La Capsa, Los Lolos, Barcelona.

2006·    Kafé-ta-kabaré, Valencia.

2005·    Galería Sala Naranja, Postpatetic. Für, Valencia.

2004–2005·    Gong show, Valencia.

2004·    Kitsch kitchen, 2 meses, happenings, Galería Kitsch International, Valencia. ·    Guerra mítica, Valencia e Madrid (ARCO), 2003. ·    Back Up Festival, Vídeo-acción en Internet, 2002.

ORGANIZATION2009·    Workshop de Circuit Bending. UPV, Valencia. Workshop de Circuit Bending. Magatzems, Valencia.

2008·    Interruptor, Mostra de Video-arte, Concejalia de Juventud, Programa Activa Joven, Castilla La Mancha.

2007·    Showroom de vídeo para evento Ananil, Montemor-o-Novo, Portugal.

2004–2006·    Organización de 1º, 2º y 3º Gong Show, Valencia.

2006·    Asistente colaboradora en la organización de los actos inaugurales del Palau de les arts y les ciencies Reina Sofía, con LLorenc Barber, Valencia.

2005–2006·    Kafé tà kabaré, Valencia.

AWARDS 2009·    Premio Miquel Casablancas, Centre Civic Sant Andreu, Barcelona.

2008·    Premio Novos Valores 2008, Deputación de Pontevedra. ·    Premio "Intervenciones TV" 3º Premio Gzcrea de Música. 2007 ·    Premio "Intervenciones TV". 2º premio VI Certame Internacional de Artes Plásticas da Deputación de Ourense, Orense.

GRANTS 2009·    Ayuda AGADIC para el desarrollo y promoción del talento audiovisual gallego.

2008·    Beca de perfeccionamento de estudios artísticos, Deputación de A Coruña.

2007·    Beca de residencia artística en Maus Hábitos, Porto, Portugal.

2006–2007·    Beca Argo, Montemor-o-Novo, Portugal.

2001·    Beca Erasmus, KIAD (Kent Institute of Art & Design), United Kingdom.









2009-2010. Susanne Bosch. INITZIATIVA CENTESIMO AVANZATO, 2008

2009-2010. Susanne Bosch. INITZIATIVA CENTESIMO AVANZATO, 2008




Siendo bastante distinto al proyecto alemán de larga duración, en 2008 invité a los ciudadanos de Nápoles a que participasen en un proyecto en y para la ciudad. Duraba 4 meses; un museo se hizo cargo del proyecto.

Los empleados del museo se dedicaron a difundir el proyecto al tiempo que cuidaban las monedas. También fueron muy cuidadosos a la hora de recolectar los deseos. Hasta septiembre de 2008 se habían recogido 460 Deseos.

El proceso de toma de decisiones en Nápoles será diferente del anterior. En Noviembre de 2008 invitaremos a un grupo de jóvenes adultos de entre 8 y 12 años para decidirse por un deseo. Usaremos el método de Espacio Abierto para permitirles tomar su decisión de modo colectivo.

Decidimos invitar a ciudadanos de esta edad con un fuerte sentido ético de lo que significa la verdad, honestidad y aquello que es mejor para la comunidad. Siendo conscientes de que en Nápoles hay una larga tradición de entramados informales de toma de decisiones, la decisión de escoger este tipo d