DESCRIPTION OF ASSEMBLY SYSTEM AND TECHNICAL REQUIREMENTS

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

It will be necessary to hire carpenters to build it.

Materials: wood and tools to work on it.

Acrylic paint DELUX and materials to paint.

 

 

 

 

 

 

 

 

 

 

08prtc3507

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

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

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

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

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

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

 

 

 

 

 

 

08inte3502

 DESCRIPTION AND TECHNICAL NEEDS

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

ENLARGEMENT OF A GREEN AREA

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

Requirements

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

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

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

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

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

CONNECTING TWO PLANTERS

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

Requirements

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

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

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

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

Labor:• concrete cutter operator• gardener• Bricklayer

CONNECTING TWO STOOLS

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

Requirements

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

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

Labor:• concrete cutter operator• mason

 

 

 

 

 

 

 

 

 

 

05prtc3434

OCTOBER 2007

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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

 

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

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08intb3691

 

HUCHA DE DESEOS. WE ARE THE NEIGHBOURHOOD: ACT!LOCATION: MADRID, LA LATINA,OUTPUT: 12TH NOVEMBER 2009 UNTIL 27TH FEBRUARY 2010: PARTICIPATORY PUBLIC ART PIECE IN LA LATINA,1ST – 26TH FEBRUARY 2010: CHARCOAL WRITING ON PASEO DE RECOLETOS27TH FEBRUARY 2010: OPEN SPACE DECISION EVENT IN EL CIRCULO DE BELLAS ARTESSINCE MARCH 2010: REALISATION OF 2 WISHES BY ASOCIACIÓN AMIGOS DE LA CORNISA-LAS VESTILLAS AND ZOOHAUSPROCESS PARTNERS: SUSANNE BOSCH DID THE PROJECT PROPOSAL (WWW.SUSANNEBOSCH.DE) FOR MADRID ABIERTO 2010 (WWW.MADRIDABIERTO.COM), CHOSEN BY CECILIA ANDERSSON / CURATOR (WWW.WERKPROJECTS.ORG) IN COLLABORATION WITH ZOOHAUS (WWW.ZOOHAUS.NET), CÍRCULO DE BELLAS ARTES (WWW.CIRCULOBELLASARTES.COM), AULA URBANA / MARÍA MOLINA LÓPEZ CON SAGRADO CORAZÓN DE JESÚS Y CENTROS DE DÍA NUMANCIA AND PALOMA, IGNACIO TEJEDOR LÓPEZ / VIRGINIA LAZARO VILLA / MARIO LEAL / ELENA BUENO (PROJECT ASSISTANTS) AND THE WHOLE NEIGHBOURHOOD OF LA LATINA. IT WAS PARTIALLY FUNDED BY THE ARTS COUNCIL NORTHERN IRELAND & BRITISH COUNCIL. THE TWO WISHES WERE FULLFILLED BY ASOCIACIÓN AMIGOS DE LA CORNISA-LAS VESTILLAS AND ZOOHAUS.PROJECT WEB: WWW.HUCHADEDESEOS.WORDPRESS.COM

 

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 www.huchadedeseos.wordpress.com. 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.

 

EXCERPTS FROM A CONVERSATION BETWEEN CECILIA ANDERSSON AND SUSANNE BOSCH IN MARCH 2010

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.

www.elcampodecebada.org

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10intc3696, 09-10intc3709

Laurence BonvinGhostownwww.laurencebonvin.com

Lisa CheungHuert-o-Buswww.lisacheung.com Iñaki LarrimbeUnofficial Tourismwww.web.jet.es

Josep-María MartínUna casa digestiva para Lavapiés / A digestive house for Lavapiéswww.josep-mariamartin.org

Adaptive ActionsCampo AA, Madrid / AA Camp, Madrid    www.adaptiveactions.net

Gustavo RomanoTime Notes: Oficina móvil / Time Notes: Mobile Officewww.gustavoromano.org

Pablo ValbuenaTorre / Tower Blockwww.pablovalbuena.com

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

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

 

 

 

 

 

 

 

 

 

09-10prta2502

 PROCESS

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.

 

 

 

 

 

 

 

 

09-10prtc3616

 

  

HOMEVIDEO, 1999FrankfurtIn collaboration with Alexander Wolff

A private apartment was rented for one month in Frankfurt City. During this time 5 to 6 movies were shown daily from 5pm to 2am. The list contained about 150 movies which were in a way typical homevideos. The movies were shown in alphabetical order as printed on the invitation – card. The daily program was announced on an answering machine and on a local radio broadcast. The situation in the apartment was dithering between watching videos privately with friends and sitting in an apartment on a sofa with total strangers who got hold of the invitaion card.

à bout de souffle the abyss the addiction lʼage dʼòr akira alice`s restaurant alien hombre lobo americano as tears go by auch zwerge haben klein angefangen malas tierras teniente corrupto the bad sleep well barbwire barfly batman belle de jour bennys video die bettwurst the birds die bitteren tränen der petra v. kant blade runner blowup bodysnatchers bonny & clyde das boot la boum boyz ʻn the hood braindead brazil desayuno con diamantes bullet in the head buster keaton butch cassidy & the sundance kid el cabo del miedo carrie el color del dinero convoy crash darkstar days of heaven dead man el cazador dirty dancing der diskrete charme der bourgeoisie dobermann tarde de perros donnie brasco der dritte mann teléfono rojo volamos hacia Moscú das duell dune der ekel the exorzist face to face fallen angels fargo faster pussycat! kill! kill! femaletrouble the fog fitzcarraldo freaks the fugitive funny games ghost in the shell goldfinger the las uvas de la ira hana-bi heavy traffic hellraiser the heroic trio i hired a contract killer independence day jackie brown la escalera de Jacob kids kika the killer king kong king of n.y. die klapperschlange ein kurzer film über das töten lethal weapon liquid sky living in oblivion lohn der angst lolita mad max man bites dog der mann, der vom himmel fiel el mariachi mein name ist nobody der mieter the misfits moby dick motorpsycho asesinos natos 1984 nostalghia north by northwest the omen once upon a time in america once upon a time in the west outbreak die outsider der pate permanent vacation pink flamingos quadrophenia rambo reservoir dogs rio grande robocop rocky romper stomper rosemaries baby satyricon scarface the searchers secrets and lies short cuts sid & nancy the silence of the lambs der sinn des lebens slate, wyn and me snake eyes sommer der liebe der stadtneurotiker starship troopers starwars stille tage in clichy strange days tag der idioten tanz der teufel taxi driver terminator tykho moon titanic tokyo fist total recall die unbestechlichen united trash die unzertrennlichen violent cop wargames war of the worlds der weiße hai cuando éramos reyes white of the eye wild at heart wilde erdbeeren wild things wir kinder vom bahnhof zoo wut im bauch zabriskie point

 

 

 

 

 

 

 

07inme3810

ZARAGOZA, SPAIN, 1972 LIVES AND WORKS IN ROTTERDAMWORK EXPOSED IN MADRID ABIERTO: BAJAR AL SUBTERRÁNEO RECIÉN EXCAVADO / GOING DOWN TO THE RECENTLY EXCAVATED UNDERGROUND PASSAGE

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;

 

 

 

 

 

 

 

 

 

 

09-10prtb2523

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

 

 

 

 

 

 

 

 

 

 

 

09-10intd2885

** SEE THE ATTACHED PDF

 

 

 

 

 

 

 

 

 

 

 

09-10inmc2807

NOVEMBER 2005

 

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

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

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

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

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

 

 

 

 

 

 

 

 

 

 

 

06inmb0917

 PRESENTATION

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.

PRECEDENTS

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.

FOUNDATIONS OF THE PROPOSAL

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.

 

 

 

 

 

 

 

 

 

 

 

09-10prtc3614

 

INVITATION, 2005Varsoviain collaboration with Alexander Wolff

Central point of the work is the distribution of a set of keys to an one bedroom appartment in Warsaw to various people. As there are consisting as many keys as invitation cards, more or less 500 and there are about as many potential owners of place, the apartment looses it`s quality as a private housing and becomes a kind of public space as for example a museum could be. The apartment is equipped corresponding to its size for one to two persons.

Although the apartment was located in Warsaw, the project in whole was not based on a certain place, as the distribution and personal handout of the keys and invitation card was already an essential part of it and the owners of the keys could wander around with them anywhere with the knowledge having access to an apartment in Warsaw.

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07inme3808

WESEL, GERMANY, 1967LIVES AND WORKS IN BELFAST AND BERLINWWW.SUSANNEBOSCH.DEWWW.RESTPFENNIG.COMWORK EXPOSED IN MADRID ABIERTO HUCHA DE DESESOS:¡TODOS SOMOS UN BARRIO, MOVILÍZATE!

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© , www.kunstcoop.de 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, www.wps1.org, invited by PS1, PAN, and the Perna Foundation, Italia. Scientific Committee member for the EU project FUTURE (Future Urban Research in Europe), http://www.urban-future.net/, 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.

 

 

 

 

 

 

 

 

 

 

 

 

09-10prtb2522

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

Colectivo Tercerunquinto        www.tercerunquinto.org

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

Henry Eric Hernández García    Zona vigilada

José Dávila    Mirador Nómada

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

Óscar Lloveras Sin títulohttp://oscarlloveras.com/

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

 

 

 

 

05prta0366

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)

 

 

 

 

 

 

 

 

 

 

09-10intd2884

** SEE THE ATTACHED PDF

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10inmc2824

MAY 2009 

 

BRIEF PLAN OF ACTIONS AND INTERVENTIONS

WHEN

WHAT

WHERE

REQUIREMENTS

MADRID ABIERTO

DETAILS

17th

collection site

public place in

Built by the

permission

Pages 6-

October-

 

La

winning groups of

 

11

20th

 

Latina/Lavapies

urbanaccion

  

February

  

2/2009*, lead by

  

2010

  

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

  

15th

PR and

public place in

2 student

PR,

Pages

October-

maintainance

La

invigilators and

permissions

12-13

20th

of the collection

Latina/Lavapies

Susanne Bosch

for

 

February

process

 

will do regular

postering

 

2010

  

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

permission

Page 14-15

Saturday,

publicly sort the

public place in

everyone is

contact to

Page 15

20

coins and

La

invited to help,

Banco de

 

February

banknotes,

Latina/Lavapies

big public event

Espana,

 

2010

transport to the Banco de Espana

 

with benches, catering, info, media,

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

 

22th

Removal from

public place in

Organized by by

  

February

collection site

La

the winning

  

2010

 

Latina/Lavapies

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

  

27th

One day open

In public place

A large number of

Opening

Page 14-

February

space event

in La

participants, basic

speech of

15

2010

 

Latina/Lavapies,

catering and

the event

   

in close

venue, a

    

proximity to the

professional

    

collection site

Open Space

     

facilitator (e.g.

     

Antonio

     

Rodriguez)

  

March

Documentation,

Web, catalogue,

Susanne

PR to

 

2010

evaluation of

media

 

announce

  

event

  

the results

 

 

TIMELINE

 

 

THE COLLECTION OBJECT AND COLLABORATORS

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 www.coam.es** www.ecosistemaurbano.org

LOCAL PARTNERSHIP

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.

 

A PROCESS OF 4 MONTHS / ACTIVITIES AROUND THE COLLECTION SITE

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.

 

 

 

 

 

 

 

 

 

 

 

 

09-10intb3646

WORKING TITLE: ‘LITTLE PIECE - ACTION’ FOR ONE NEIGHBOURHOOD IN MADRID

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. ( http://www.aec-spain.net)

 

 

 

 

 

 

 

 

 

 

 

 

09-10prtc2601

 

  

INVITATION, 2006Varsovia

For the duration of half a year an apartment in the city of Warsaw will be rented. It will be equipped with furniture necessary for a basic living like a bed, a table and some chairs. The appearance of the flat should be as neutral as possible.

The project that is announced as an exhibition consists of the distribution of duplicated keys to as many people as possible in different venues, where we will be staying during the period of the project. This could be e.g. Frankfurt, Berlin or Istanbul.

The aim of the project is, to soften the boundaries between a private apartment and a public space by increasing the number of people having access to the place.

A space then could be defined as a sort of public space as soon as a certain number of keys are distributed/circulating.

The keys are distributed via personal handout together with an invitation card that describes the specification of the project. A large number of people will have the possibility to visit this apartment and get an active part of the exhibition. There is no schedule that would give an insight of how the flat is frequented; therefore the permanent possibility of casual encounters is most likely.

An essential part of the project is the act of the personal handout of the keys and their distribution to various people worldwide. A potential of diverse possibilities are introduced through the speculative dimension that is inherent to the project. The owners of the keys are deciding themselves about the possible varieties.

Another part of the project is seen in the choice of the city. Taking Warsaw as the starting point of the exhibition concept is explained within the geographical coordinates of the city, that demands awareness for the specific location.

Despite of the public/private apartment theme that lays within the project, it shall also function as a kind of social platform, and an offer to people to travel to another place.

Although we will try to do as much as possible ourselves to realise the apartment project, it will be necessary to work together with one of the Warsaw based institutions and people in matters of organisation and maintenance of the flat.

The project in Warsaw was realised with support of Buero Kopernikus,  http://www.buero-kopernikus.org/ and e-flux.

 

 

 

 

 

 

07inme3806

MADRID, 1978LIVES AND WORKS IN: MADRIDWWW.PABLOVALBUENA.COMWORK EXPOSED IN MADRID ABIERTO: TORRE / TOWER BLOCK

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. artintelligence.net.January 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. ADN.es. 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. ADN.es. September 6, 2007.Regine Debatty. ʻAugmented Sculpture v1.0ʼ. We-make-money-not-art.com. June 29, 2007.Sánchez Argilés, Mónica. ʻLa instalación, cómo y por quéʼ y ʻ5x5ʼ, El Cultural. 26 de Junio, 2009.

 

 

 

 

 

 

 

 

 

 

 

 

09-10prtb2520

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

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

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

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

Guillaume Ségur    Welcome On Board

Fernando Prats    Gran Sur    www.fernandoprats.cl

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

LaHostiaFineArts (LHFA)    Explorando Usera    www.lahostiafinearts.es

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

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

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

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

 

 

 

 

 

 

08prta1766

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

 

 

 

 

 

 

 

 

 

 

09-10intd2883

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10inmc2817

NOVEMBER 2009

ADAPTIVE ACTIONS – GENERAL DESCRIPTION Short abstract

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: www.adaptionactions.net

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.

ADAPTIVE ACTIONS. LONG DESCRIPTION

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

 

 

 

 

 

 

 

 

 

 

 

 

09-10intb3639

 ASSEMBLY AND PRODUCTION DESCRIPTION

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.

 

 

 

 

 

 

 

 

 

 

 

 

09-10prtc3570

Discoteca Flaming Star    Discoteca Flaming Star        www.discotecaflamingstar.com

Johanna Billing    You don’t love me yet    www.makeithappen.org/johannabilling.html

Alfonso Gil + Francis Gomila   Guantanamera    www.alonsogil.com   www.digitalartsgallery.co.uk/FG.ARTISTSpage.html

Ben Frost   I lay my ear to furious latinwww.ethermachines.com

Dan Perjovschi    Off www.perjovschi.rowww.lombard-freid.comwww.gregorpodnar.com

Dirk Vollenbroich    Short circuit / Cortocircuito www.dirkvollebroich

Mandla Reuter Pictureshttp://www.mandlareuter.com/

Susan PhillipszFollow Me

Anikka Ström    The missed concert    www.annikastrom.net

Dora García    Rezos/Prayers    www.doragarcia.net    www.rezosprayers.org

Nexus Art Group    Proyecto[NEXUS*]Jose Luis Delgado Guitart Ricardo EchevarríaMajorie KanterAchilleas Kentonis María Papacharalambous

Oswaldo Macià    Cuando los perros ladran     www.oswaldomacia.com

Leopold KesslerAlarm bikehttp://www.leopoldkessler.net/www/index.html

 

 

 

07prta1181

  

Powers of the darkness (Technical cityhall Frankfurt, 2002)

Each computer monitor inside the cityhall building dispalys an specially programmed screensaver during the night. The screenaver displays randomly every second a different color. The indirect, colored light kinetic displays a permanent changing image of the Frankfurt cityhall. 

( 85 offices )

 

 

 

 

 

 

 

07inme1294

BUENOS AIRES, 1958LIVES AND WORKS IN BUENOS AIRESWWW.GUSTAVOROMANO.ORGWORK EXPOSED IN MADRID ABIERTO: TIME NOTES: OFICINA MÓVIL / TIME NOTES: MOBILE OFFICE

SELECTED SOLO EXHIBITIONS

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.

SELECTED GROUP EXHIBITIONS

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, Argentina.Borges.es, Casa de América, Madrid, España.II Bienal del Mercosur, Porto Alegre, Brasil.I Bienal de Lima, Perú.

PERFORMANCES

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.

FILM FESTIVALS AND SCREENINGS

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, Brasil.Net.art CD.art, Casa Encendida, Madrid, España.Transmediale, Berlin, Deutschland.Encuentros Internacionales Paris/Berlín.Festival Ars Electronica, Linz, Austria.

PROJECTS

IP Poetry Project www.ip-poetry.findelmundo.com.arAzul cielo y blanca www.findelmundo.com.ar/azulcielo/Pieza Privada Nº1 www.findelmundo.com.ar/pp01/Pocketlog www.moblog.findelmundo.com.ar/CyberZoo www.cyberzoo.orgHyperbody  www.hyperbody.org Mi deseo es tu deseo  www.findelmundo.com.ar/mdtd

CURATORIAL PROJECTS

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.

WRITINGS

2009Desmontajes, Badajoz, MEIAC.

2006Netart.ib, Buenos Aires, CCEBA.

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

AWARDS AND GRANTS

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.

WORKS IN MUSEUMS AND COLLECTIONS 

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.

BIBLIOGRAPHY

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 Net.art”. 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”, borges.es, Casa de América, Madrid, 1999. (Cat. Exp)José Tono Martínez, Evidencias circunstanciales, Buenos Aires, 1998. (Cat. Exp)

 

 

 

 

 

 

 

 

 

 

09-10prtb2519

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

 

 

 

 

 

 

 

 

 

 

 

 

09-10intd2882

** SEE THE ATTACHED PDF

 

 

 

 

 

 

 

 

 

 

 

 

 

 

f09-10inmc2859

MARCH 2009

 

TECHNICAL SET UPS AND NEEDS

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.

QUESTIONS

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

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

 

TIMELINE

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 /

scanning

production of publication

posters / supplement /

artist book

daily publication of an image in a newspaper /

publication selling

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10intb3634, 09-10intb3635

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

f08aama3686

 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.

DESCRIPTION OF THE ACTION

“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.

EXHIBITION PROPOSAL

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.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10intc3569

 

 

           

SUPER NOVA (2001) + LUFTHANSA LIGHT (2004)

 

SUPER NOVA, 2001

Every two seconds each of the 240 offices in the building was illuminated by a flash light module.The indirect light gernerated a ´fast-motion´ effect, displayed on the surface of the building.Compared to the buildings ‘speed of light’, all moves in public life seem to be in a slow-motion.

( 240 stroboscopes in 240 offices )

 

 

 

 

 

 

 

 

07prvc1291, 07inme1293

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

Chus García FrailePost it        www.chusgarciafraile.com

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

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

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

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

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

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

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

 

 

 

 

 

06prta0818

VITORIA, 1967LIVES AND WORKS IN VITORIAWWW.WEB.JET.ES/LARRY/ WORK EXPOSED IN MADRID ABIERTO: UNOFFICIAL TOURISM

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.

BIBLIOGRAPHY ARTÍCULOS2006Revista Lápiz. Abril.

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.

 

 

 

 

 

 

 

 

 

 

 

09-10prtb2516

** SEE THE ATTACHED PDF

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10inmc2815

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

 

 

 

 

 

 

 

 

 

 

 

09-10intd2881

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

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10intb3633

 GLOBAL IDEA AND INTENTION

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.

CONTEXT

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?

ACTION – PROCESS

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 www.adaptiveaction.net for the loitering project and a Madrid edition of the Adaptive Actions publication-journal will be produced during and following the event

 

 

 

 

 

 

 

 

 

 

 

 

09-10prtc2553

 

   

SUPER NOVA (2001) + LUFTHANSA LIGHT (2004)

 

LUFTHANSA light (Lufthansa headquarter Cologne, 2004)

Within one second, the LUFTHANSA head office in cologne is kineticly illuminated by flash light modules. In a volitional chaotic succession, the indirect light jumps in visible stripes through the floors of the offices. The speed of light raises the building from the whole environment of urban motions.

(Lufthansa building: 135 Meters, 20kW stroboscope lightning/floor)

 

 

 

 

 

 

 

07inme1292, 07prvc1291

HONG KONG,1969LIVES AND WORKS BETWEEN LONDON, UK, AND GRANADA, SPAINWWW.LISACHEUNG.COMWORK EXPOSED IN MADRID ABIERTO: HUERT-O-BUS

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

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10prtb2515

Emancipator bubbleBubble Business   www.emancipator.org

Diana LarreaEl palacio encantado   www.dianalarrea.com

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

Maider López Carteles Y banderolas

Etoy.CORPORATION       www.etoy.com

Fernando López Castillo Perspectiva ciudadana

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

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

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

 

 

 

 

 

 

04prta0011

......................................................................................................................................................................................................................................................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)

 

PREFACE

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.

 

FACILITATION

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.

 

ROOM REQUIREMENTS

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.

 

EQUIPMENT

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

 

MATERIAL

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.

 

AGENDA

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

Time

 

Activity

Team

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

Susanne

4

Saturday 27th 2010

  

10-10.30

Registration, check in, cup of coffee, break

Monica and 2 helpers,

1 person for buffet

1 person for documentacion

10.30-35

Opening

Susanne / Madrid Abierto

10.35-11

Introduction OS

Monica

11-12

1. Break-out session

 

13

2. Break-out session

 

14

3. Break-out session

 

15

Wall of Proceedings

 

15.30

Action Planning

 

16.30-17 h

Closing Circle

 

 

BOOK OF PROCEEDINGS

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).

 

CATERING / FOOD

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.

 

INVITATION LETTER (MADE BY SUSANNE)

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!

 

CONTACT LIST

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.

 

 

 

 

 

 

 

 

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Atocha train station, AVE Upper lobby

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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

The Passerby Museum

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

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

We thank you for your interest.

******

 

 

 

 

 

 

 

 

 

 

 

 

05intc3664, 05insc3663

 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 www.zoohaus.net **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)

 

 

 

 

 

 

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 SET AND TECHNICAL DETAILS

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

REQUIREMENTS

Access to water for irrigation systemSunny Public Square within residential community

 

 

 

 

 

 

 

 

 

 

 

 

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HAUSMUSIK (2006)

 

HAUSMUSIK ( Allianz Treptower, 2006 )

Walls and ceilings of selected offices in a high-rise building are color illuminated by a light control system. The windows, regarded from the outside, are colored rectangles on the buildings surface. An indirect lighting source is installed in two offices on each floor. From outside one can see a usual, from far visible, electronic soundlevel display. Hausmusik is the synchronized audio-level of the live send program by a local radio station.

( Treptower: 189 Meters )

 

HAUSMUSIK ( Frankfurter Büro Center, 2006 )

Walls and ceilings of selected offices in a high-rise building are color illuminated by a light control system. The windows, regarded from the outside, are colored rectangles on the buildings surface. An indirect lighting source is installed in two offices on each floor. From outside one can see a usual, from far visible, electronic soundlevel display. Hausmusik is the synchronized audio-level of the live send program by a local radio station.

( FBC: 165 Meters )

 

 

 

 

 

 

07inme1295, 07inme1296, 07prvc1289

SIERRE, SWITZERLAND, 1967LIVES AND WORKS IN: BERLIN AND GÉNEVEWWW.LAURENCEBONVIN.COMWORK EXPOSED IN MADRID ABIERTO: GHOSTOWN

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.

 

 

 

 

 

 

 

 

 

 

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Days 6, 7, 20 and 21. Roof terrace at La Casa Encendida (Ronda de Valencia nº 2)

 

 

 

 

 

 

 

 

 

 

 

 

09-10intd2879

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

A5Surveillance

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

 

 

 

 

 

 

 

 

 

 

 

 

09-10intc3609

 DEVELOPMENT (PHILOSOPHY)

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.

DEVELOPMENT (METHODOLOGY)

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.

 

 

 

 

 

 

 

 

 

 

 

 

09-10prtc3566

 

FOLLOW ME, 2006Old Garrison Cemetery, Berlin4th Berlin Biennale Photo Eoghan McTigue4 channel surround sound installation

 

 

 

 

 

 

 

07pric1306, 07aata1309

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

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

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

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

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

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

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

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

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

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

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

2005·    51st Venice Biennale

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

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

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

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

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

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

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

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

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

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

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

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

 

 

 

 

 

 

 

 

 

 

08PRTB1794

Pº de Recoletos,central boulevard

 

 

 

 

 

 

 

 

 

 

 

 

09-10intd2878

TIMETABLE

July

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

January

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

Disassembly

 

DETAILS ON ASSEMBLY AND PRODUCTION

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

 

 

 

 

 

 

 

 

 

 

09-10intb3589, 09-10intb3591

** SEE THE ATTACHED PDF 

 

 

 

 

 

 

 

 

 

09-10inmc2805

 RECORDED WISHES

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.

 

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

TRANSCRIPTION OF INTERVIEWS DONE BY THE SCHOOL OF SAGRADO CORAZÓNSC: sagrado CorazonI: interviewee

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.

 

 

 

 

09-10intc3608

 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.

 

 

 

 

 

 

 

09-10prtc2532

 

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

 

 

 

 

 

 

05prmc0488

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)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10intd2877

 DESCRIPTION ASSEMBLY SYSTEM AND PROJECT’S TECHNICAL BASICS

LOGISTIC AND TECHNICAL BASICS

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

TECHNICAL ELEMENTS FOR ARCHITECTURAL STRUCTURE

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

 (OCTOBER 2007)

 

 

 

 

 

 

 

 

08intb3543

 TECHNICAL SET UPS AND NEEDS

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

 

 

 

 

 

 

 

 

 

09-10prtc2527

REALITY SOUNDTRAK. Amsterdam, 2004

 

       

REALITY SOUNDTRAK. Ljubljana , 2003

 

       

REALITY SOUNDTRAK. Thessaloniki, 2004

 

 

 

 

 

06pric0893

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

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

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

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

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

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

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

 

 

 

 

 

08prtb1796

Diario Público

Espacio 28004 (C/ Marqués de Santa Ana nº 4)

INFOMAB (Pº de Recoletos, bulevar central)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10intd2876

 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 www.madridabierto.com. 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.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10intc2870

 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.

Duration

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.

Publication

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.

Collaborators

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.

Volunteers

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.

Assistants

How many assistants will be available, and for how long, to assemble and demount the work?

 

PROJECT PROPOSAL FOR MADRID ABIERTO 2010

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 www.adaptiveaction.net 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

 

 

 

 

 

 

 

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 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.

 

 

 

 

 

 

 

 

 

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

 

 

 

 

 

 

 

 

 

 

08intd2067

 

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 136.000.000.000 Peseta coins and 154.000.000.000 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:  http://huchadedeseos.wordpress.com

The multi-medial collection site was designed and built by www.zoohaus.net

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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.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10intc2842

 CURRENT STATE OF THE PROJECT

REPORT

- 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: http://www.unofficialtourism.com/.

- The budget is always under revision. The project will adjust perfectly to it. In this aspect, there are no problems.

DEADLINES

- 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)

 

 

 

 

 

 

 

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Support for the public reading L'UnitàModena, Italia 2003

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

 

 

       

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

 

 

 

 

 

 

05pric0474

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

 

 

 

 

 

 

 

 

 

 

08intd2066

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

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

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

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

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

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

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

2004·    Opening of land sites with public equipment. Sevilla

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

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

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

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

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

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

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

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

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

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

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

2004·    Intrusiones. Andalusian Contemporary Art Centre, Sevilla

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

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

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

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

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

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

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

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

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

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

1993·    Contaminación. Family house. Sevilla

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

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

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

 

 

 

 

 

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 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)

 

 

 

 

 

 

 

 

 

 

 

 

 

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Teddy Cruz with M7Red

CONTEXT: FROM THE GLOBAL BORDER TO THE BORDERNEIGHBORHOOD

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 FAÇADE OF CASA DE AMERICA AS A PRODUCTION SITE

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.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10intc2832

          

 

 

 

 

 

 

 

 

05prvd0471

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

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

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

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

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

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

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

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

 

 

 

 

 

 

 

 

08prmc1891

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

 

 

 

 

 

 

 

 

 

 

 

08intd2065

 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…

KissesTeddy

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10intb3601

 “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…

 

 

 

 

 

 

 

 

 

 

 

 

 

08-10intc2829

           

    

 

           

 

 

 

 

 

 

 

05prid0469, 05prvd0470

 

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

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

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

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

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

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

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

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

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

 

 

 

 

 

 

 

 

 

 

08prtc3522

 

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

 

 

 

 

 

 

 

 

 

 

 

 

 

08intd2064

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

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

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

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

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

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

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

 

 

 

 

 

 

08prtb1790

 “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…

(PROYECT RECTIFICATION / SEPTEMBER 2009)

 

 

 

 

 

 

 

 

 

 

 

 

09-10intb2674

 

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: www.timenoteshouse.org 

 

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.  

 

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

UPDATE FOR THE MADRID ABIERTO 2009-2012 BOOK

 

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. 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10intc2821, 09-10intc3693

           

         

 

 

 

 

 

 

 

 

 

05prid0468

[ vi video ]Videointervenciones móviles en contextos urbanos específicos

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

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

IT HAS BEEN PRESENTED AT

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

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

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

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

INTRODUCTION

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

DESCRIPTION

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

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

VIDEOINTERVENTIONS

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

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

PORTABILITY OF THE EQUIPMENT

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

MOBILITY

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

CONTENT OF THE PROJECTIONS

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

THE PROCESS

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

 

 

 

 

 

 

 

08prtc1866

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

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08intd2063

CALL FOR PARTICIPATION: ACTORS

ACTOR’S PROFILE

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.

OPENING HOURS AND FEES

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.

ACTOR’S TASKS

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.

SOME ADVICE FOR THE ACTORS

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. http://www.timenoteshouse.org/ltdb.cgi

Here is a video from the previous action:http://www.youtube.com/watch?v=fsJ_8WLGd5s

(December 2009) 

 

 

 

 

 

 

 

 

 

 

09-10intb3593

A space of production, presentation and actions www.adaptiveactions.net

AA

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.

 

AA CAMP, MADRID

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.

 

WORKSHOPS

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.

 

LIVE PUBLICATION

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.

 

EXPLORATORY MODE 

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 www.adaptiveactions.net for information and schedule of activities, workshops and meals that will take place weekly at the AA Camp in Madrid and elsewhere.

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[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. 

 

 

 

 

 

 

 

 

 

 

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CHAMPS 

         

COLLINE

         

FOREST

       

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

 

 

 

 

 

 

 

 

 

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 MISPLACING. OBLIGED SEEING

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

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

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

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

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

MISPLACEMENT

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

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

PREPARATION

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

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

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

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

 

 

 

 

 

 

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Casa de América façade

 

 

 

 

 

 

 

 

 

 

 

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

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

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

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

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

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

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

2008–2007·    Informacion Contra Informacion, CGAC, Spain

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

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

2004·    Kwangju Biennale, Korea

2003·    50th Venice Biennale

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

 

 

 

 

 

 

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INVITATION TO PARTICIPATE

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 (www.adaptiveactions.net) 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: infoadaptiveaction.net

(November 2009)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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 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.

EUROPE. WHAT IS THAT?

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.

MANIFESTO FROM MOUHAMADOU BAMBA DIOP AND HIS PARTNERS FROM THE ‘PISO PATERA’ IN LAVAPIÉS From our ‘piso patera’

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.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

    

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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

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

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

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

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

 

 

 

 

 

 

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

 

 

 

 

 

 

 

 

 

 

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JANUARY 2010 

TECHNICAL FACTS

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.

 

 

 

 

 

 

 

 

 

 

 

 

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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?”

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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

 

 

 

 

 

 

 

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 TREATMENT

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

THE REQUIRED PROFILES ARE

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

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

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

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

DISPLAY

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

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

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

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

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

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

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

TIME

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

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

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

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

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

 

 

 

 

 

 

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

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

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

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

2005·    Affatus, Galería Joan Prats Artgrafic, Barcelona

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

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

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

2001·    Pathografías, Galería Animal, Santiago de Chile

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

1999·    Synaisthesis Substantiae, Galería Joan Prats Artgráfic, Barcelona

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

1996·    Recent work, Galería Antonio de Bartola, Barcelona

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

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

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

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

2006·    ARCO’06, Galería Joan Prats, Barcelona

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

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

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

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

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

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

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

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

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

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

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

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

2005·    Ideografía, The artist’s studio, Barcelona

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

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

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

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

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

GRANTS AND AWARDS2006·    Scholarship John Simon Guggenheim Memorial Foundation

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

1998·    Scholarship President of the Republic of Santiago de Chile

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

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

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

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

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

 

 

 

 

 

 

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

 

 

 

 

 

 

 

 

 

 

 

 

08intd2060

 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)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10intb2644

 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!

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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

 

 

 

 

 

 

 

05inme3678

 

         

         

FAUBOUR BETUNE

 

 

 

 

 

05prid0463

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

GENERAL INTRODUCTION

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

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

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

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

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

 

 

 

 

 

 

 

 

08prtc1822

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

 

 

 

 

 

 

 

 

 

 

 

 

08intd2059

 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 2010www.madridabierto.com

Datesfrom the 4th to the 28th of February

Timetablefrom 11am to 6pm.

Mondaysbreak

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”

 

 

 

 

 

 

 

 

 

 

 

09-10intb3582

 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.

 

 

 

 

 

 

 

 

 

 

 

09-10intc2774

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

     

     

 

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

     

     

 

 

 

 

 

 

 

 

05inie3677

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

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

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

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

 

 

 

 

08prtc3509

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

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

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

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

 

 

 

 

 

 

 

 

 

 

08intc2052

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

 

 

 

 

 

 

 

 

 

 

08intd2058

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

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

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

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

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

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

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

2001·    Sichere freiheit, Lothringer13, Munich, Germany

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

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

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

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

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

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

 

 

 

 

 

 

 

 

08prtb1786

 PROCESS

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 Pensart.org 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)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10inmb3568

 

       

       

       

          

         

         

 

 

 

 

 

 

 

 

 

05inie3676

 TECHNICAL REQUIREMENTS

– private apartment in the center of Madrid

– budget for furnishing the place

– sound system

– video, dvd facilities

– budget for further invitations publications on paper

 

 

 

 

 

 

 

 

 

07prtc1301

 

Empty World

www.emptyworld.es

Workshops on Urban resistances,

gentrification and property speculation.

FEBRUARY-2008

Thursday 21, Friday 22 and Saturday 23.

Liquidación Total.

C/San Vicente Ferrer 23 Local 2

Metro Tribunal. Madrid.

 

Thursday 21.18:00 h-21:00 h.

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

Saturday 23.18:00 h-21:00 h.

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

Saturday 30.18:00 h-21:00 h.

Workshop Empty World. (Patio Maravillas) 

 

 

 

 

 

 

 

 

 

 

08intc2046

Círculo de Bellas Artes Façade

 

 

 

 

 

 

 

 

08intd2057

 

PRECEDENTS

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.

FOUNDATIONS OF THE PROPOSAL

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.

 

 

 

 

 

 

 

 

 

 

 

09-10intb3621

 

     

    

     

      

        

        

        

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

 

 

 

 

 

 

 

05inme3675

 The project described below is a work I developed and realised in 2005 in the city of Warsaw, Poland.

For Madrid Abierto I propose a variation of this apartment project. It will be similar to the work in Warsaw as it will involve a private apartment in the center of Madrid as the starting point of the project.

As Madrid Abierto is meant as an exhibition in public space I will develop the work outgoing from an apartment within the city, which can be considered as the most private space as such. The apartment will be twisted within the project into a public or semi-public space, as the possibilties of accessing it through the public will be changed, as well as there will be certain things happening, both suitable for the very private as for public space.

 

 

 

 

 

 

 

07prtc1300

 EMPTY WORLD. Empty housing real state agency.

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

Empty housing, gentrification and speculation

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

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

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

Empty World

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

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

(October 2007)

 

 

 

 

 

 

 

 

 

 

08intb3549

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

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

 

Speculator.www.speculator.es

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

 

 

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

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

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

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

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

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

WORKSHOPS ON URBAN RESISTANCES, GENTRIFICATION AND PROPERTY SPECULATION

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

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

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

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

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

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

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

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

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

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

www.todoporlapraxis.com

www.emptyworld.es

www.speculator.es

 

 

 

 

 

 

 

 

 

 

08intc2044, 08intc2042

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

 

 

 

 

 

 

 

 

 

08intd2056

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

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

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

“He is fantastic”. Guillermo Arriaga, Writer.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

1998·    VI VIART University Video Festival. Caracas, Venezuela

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

 

 

 

 

 

 

 

 

08prtb1782

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

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

       

       

          

          

 

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

       

       

          

          

 

 

 

 

 

 

 

 

 

 

 

05inme3674

 

 THE METHOD

Especially controlled light sources (40x30x30 cm) will be positioned in each room of the Palacio de Comunicaciones. By an parallel transmitted electronic pulse all light sources inside the building do a short blink. The blinking is random controlled and can be realized trough the windows from outside as an indirect lighting.

TECHNICS

- The whole Lighting Equipment needs regular power supply; 230 V AC.- The Lighting modules are stand alone solutions.- It is possible to build up the lighting modules in flexibel positions in each room.- Inside each room of Palacio de Comunicaciones will be one or two lighting modules inuse (each 40x30x30xm).- The Installation usage in the whole building is about 10 kW/h (= 0,2kW/h each module).- The installation needs no special technical requirement.- The installation is build up in between 1-2 days and taken down in 3-4 hours- All components are certified by the Geman TÜV (Technical Supervisory Association)- ...

 

 

 

 

 

07prtc1285

Todo por la Praxis: PROJECT LAB

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

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

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

EMPTY WORLD

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

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

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

Empty world in four movements. (Programme)

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

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

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

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

 (January 2008)

 

 

 

 

 

 

 

 

 

08intb3550

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

INFORMATION BULLETIN

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Madrid 2007

Signed: The representatives of the community

Mr. Mr.

Mr. Mr.

Mrs. Mrs.

 

Signed: New tenant.                                     Signed: Santiago Cirugeda. Architect

 

 

 

 

 

 

 

 

 

 

 

 

08intc2037, 08intc2035

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

 

 

 

 

 

 

 

 

 

 

 

08intd2055

CASA DE LA NEGOCIACIÓN, 2003-2004Kunsthalle de Fribourg, Fribourg, Suiza

* SEE THE ATTACHED PDF

 

 

 

 

 

 

 

 

 

 

 

 

09-10aama3395

 

   

    

      

     

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

 

 

 

 

 

 

 

 

05inme3672

 TEMPORARY KINETIC LIGHTINSTALLATION

My art work is focused for about ten years on kinetic architecture illumination. On the occassion of the coming Madrid Abierto 2007 here the sketch of my work ‚short circuit‘ (‚cortocircuito‘) in consideration of the ‚Palacio de Comunicaciones‘.

THE IDEA

The architecture of the Palacio de Comunicaciones stands in opposite to the strengh of the architectures I normally work with. In case of this ninty years old excessive construction by Antonio Palacios, I try to do a work in opposite to my ‚dissolving‘ light installations in high-rise buildings (like for example the LUFTHANSA headquarters in Cologne, the ‚Technisches Rathaus‘ in Frankfurt or the IDUNA NOVA building in Münster).

By a synchronized lightning inside each room of the Palacio de Comunicaciones, I will generate a junction of all spaces. The excessive aesthetics facade of this neo baroque building with its art deco elements will appear in a visual solve of the convoluted interior.

THE METHOD

Especially controlled light sources (40x30x30 cm) will be positioned in each room of the Palacio de Comunicaciones. By an parallel transmitted electronic pulse all light sources inside the building do a short blink. The blinking is random controlled and can be realized trough the windows from outside as an indirect lighting.

 

 

 

 

 

07prtc1284

Centro Cultural de la Villa de Madrid, Jardines del descubrimiento, from 14:00 to 23:00 h.

 

 

 

 

 

 

 

07intd1429

 TECHNICAL REQUIREMENTS

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

(January 2008)

 

 

 

 

 

 

 

 

 

 

 

08intb3548

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

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

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

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

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

 

 

 

 

 

 

 

 

 

 

08intc2018

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

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

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

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

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

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

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

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

2001· Niggendijker, Groningen· Rebus, Alkmaar

2000· De Vest, Alkmaar

1998· Desolaat’ lokatie project, Alkmaar

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

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

2006 · MENS, Leuven

2004 · Nieuwe Domeinen, Amsterdam

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

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

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

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

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

1998· Provadja theater ‘Clone Control’, Alkmaar

PHURCHASES2005· Utopia aan particulieren

2002· ‘Kill your darlings’aan particulieren

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

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

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

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

 

 

 

 

08prtb1778

  

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

 

 

 

 

 

 

 

 

 

 

 

05inme3671

 DESCRIPTION OF THE PROJECT

I am using the insular housing of commercial honey Bees to construct 5 contained sonic environments. The physical Beehive contains a speaker that emits one of 5 concurrent parts of a non-linear score (a series of related loops or random length). Each of these parts will consist primarily of a low frequency tone that will vary subtly in volume and texture from within each box… at close range with an ear to any given hives the viewer will experience a singular experience of that tone and texture…

However at a distance the summed harmonic interplay of all 5 hives will create a nonlinear narrative that ebbs and flows at the looping mercy of infinite algorhythms.

…A muted, singular experience- BUT WHAT DOES IT ‘MEAN’- Conflicting perspectives, both external and internal- Harmony- Dissonance- Cause and Effect- Communication of the vernacular as the sum of the secular

What feedback loops are created in these moments of conflicting perspective and in this case audible melodic movement and its various implied secular introspections?

The Beehive is an incredibly powerful image of passive aggression… the singular harmless insect OR The swarming killer mass… A secular sweetness made in swarming rage and guarded secrecy. I am fascinated by the connotations of the‘Closed box’… I am fascinated by the insinuations that a beehive in a public space makes… about our security? …about the nature of emotion and containment? About our sense of control and personal space- These ideas when addressed musically again play with perception of meaning and conversely actual intentions.

How does preconception about people in their personal ‘hive’, enwrapped in their culture and kind affect the actual experience of them? Are the Bees dangerous or does the collective experience make them so?

Various political and religious divisions dilute the natural empathy of the human condition that is often already strained by geographical separation and language- and this occurs both on a singular and social level. Harmonies and dissonance in sound are relative to a listener just as the reactions to social structures and cultural aspects are relative to the individual and the individual experience.

Distance between the hives- and the transmission of their sound across space presents us with less defined linear structures- and more confusing, perplexing and perhaps scarier perspectives: Ergo: Many boxes raise many questions… So, Namely- Do we fear what we cannot dissect?

This work also references the work ‘Arrival of the Beebox’ by American poet Sylvia Plath whereby she uses the image of the Beehive to explain inner turmoil using external form ‘…The box is locked, it is dangerous…’I am interested in exploring the core idea that this poem suggests… that to open the box (the issue)… is to risk attack by its contents… a universally familiar idea…

And indeed, perhaps it is.

 

 

 

 

 

07prtc1265

 Banco de España and Serrano Metro Stations

 

 

 

 

 

 

07intd1428

 CALL: Guide for tapas in Usera

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

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

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

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

(October 2007) 

 

 

 

 

 

 

 

 

 

 

 

 

 

08intb3547

 No more no less

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

Most of my work emerges like this.

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

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

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

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

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

A personal problem, in fact.

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

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

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

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

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

 

 

 

 

 

 

 

 

 

08intc2015

 

    

       

           

     

     

   

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

 

 

 

 

 

 

 

 

 

05inme3670

With torture music, our culture is no longer a means of individual expression, instead, it is an actual weapon.” Moustafa Bayoumi. Professor at Brooklyn College, New York

 

Guantanamera is a multimedia project that reflects on the use of music as a torture instrument. The piece will be located inside one of the air vents of Madrid’s Subway that leads onto the street and will be audio-visually experienced from outside, i.e., from the street.

Our proposals consists of installing a high-amplification sound system inside one of the metro’s air vents that leads onto the street, blasting all the existing versions of the song La guantanamera, including those of Celia Cruz, Los lobos, Compay Segundo, Tito Puente, Nana MousKouri, The Maveriks, and The Fugees, among many others, as well as versions specifically performed by artists and musicians for this project.

The strange development within the American military structure after the Vietnam War made it possible for a number of high rank members of the military intelligence to start thinking in innovative ways, adapting various obscure New Age theories to military strategy activities.

Currently, in the war on terrorism, America’s military forces have used pop music, rap and heavy metal, as a means to torture military prisoners. They have mainly used sleep deprivation, as a form of systematic disorientation that in most cases leads to madness. Songs by Eminem and Doctor Dre, among others, are used in Iraq, Afghanistan or Guantanamo.

During the age of the Inquisition there were different artefacts to torture and obtain confessions, a practice that disappeared in time. Although those machines may not exist, methods have evolved, and to have a sound system and a record is enough material to torture.

If the British used white noise in their interrogations of Irish Republicans, Americans prefer their own music. “Those people have never heard heavy metal. They can’t stand it”, said a Guantanamo interrogator to Newsweek. “Eminem is so alien to them that they go crazy”, added another one in Afghanistan, (quoted in ABC).

According to a report by Human Rights Watch, “prisoners were subject to rap music and heavy metal for extended periods of time at high volume”. In the Guantanamo prison they used Eminem, Britney Spears, Limp Bizkit, Rage Against the Machine, Metallica and even Bruce Springsteen. The song Bodies (cadavers), by the metal band Drowning Pool was used in Afghanistan and Guantanamo. Haj Ali, an Iraqi man tortured in the Abu Ghraib prison, who appeared in an infamous picture having to keep himself on a cross position while hooded, had to listen, hour after hour, day after day, to David Gray’s Babylon, at full blast volume in his cell. It’s ironic because many of Eminem’s and Doctor Dre’s songs encourage victims of social injustice to stand and rebel.

The media has described a series of very aggressive measures used for long. For example, those prisoners who are unwilling to cooperate are stripped, chained to a chair that is attached to the ground and exposed to strobe lights, rock music and deafening rap, repeating songs constantly, about 50000 times, from speakers that are close to the ear. The captives are forced to listen to music at unbearable volume levels 24 hours a day, seven days a week.

La guantanamera is the most internationally rec¬ognised song of the Cuban song book. This catchy tune, which has travelled the world over represent¬ing Cubans as an anthem, was adapted by Julián Orbón based on a poem by José Martí. The melody exists since the 19th century and Joseito Fernández employed in his noticiario cantado (sang news) radio broadcasts during the forties.

The origin of the word Guantanamo comes from the Taino people, the aborigines of that area of Cuba, and means “river of the earth”. It is precisely this geographical area where the American naval base is located..

 

 

 

 

 

 

07prtc3490

 CALL FOR PARTICIPATION

“With torture music, our culture is no longer a means of individual expression, instead, it is an actual weapon… Disco isn’t dead, it has gone to war” Moustafa Bayoumi. Professor of English and postcolonial literature at Brooklyn College, City University of New York

In the depths of one of the air vents of Madrid’s Metro, located in the heart of the capital, we will install a powerful sound system which will blast versions of the classic Cuban theme GUANTANAMERA. This project is a reflection on the use of music as a torture instrument employed by the Psychological Machinery of the North American Armed Forces on detainees in Afganistan, Iraq and Guantanamo.

An invitation to participate… 

We are inviting artists who work with sound, musicians, DJs, rappers and Flamenco artists to collaborate in this project by recording their own versions of Guantanemera and also sending pre-existing versions to us.

If you would like to send us a version, please contact:

ALONSO GIL or FRANCIS GOMILA at: This email address is being protected from spambots. You need JavaScript enabled to view it.xxThis email address is being protected from spambots. You need JavaScript enabled to view it.xx

The installation will be in place for a period of one month, coinciding with ARCO 07 (February 2007)

 

(December 2006)

 

 

 

 

 

 

 

07intb1327

Performance February 1st. Subsequent information: Café Gijón, Paseo de Recoletos, nº 21 from Wednesday to Saturday from 17:00 to 21:00 h

 

 

 

 

 

 

 

 

07intd1427

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

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

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

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

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

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

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

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

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

Fernando PratsBarcelona, 2007

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

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

Justo Pastor MelladoArt critic, Santiago de ChileNovember of 2007.

 

 

 

 

 

 

 

 

 

 

08intc2009

WORK EXPOSED IN MADRID ABIERTO: Estado de excepción

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

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

 

 

 

 

 

 

08prtb1780

 

  

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

 

    

   

    

   

    

       

       

 

 

 

 

 

 

 

 

05inme3669

  TECHINCAL DETAILS OF THE READYMADE KIOSK

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

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

INSTALLATION REQUIREMENTS

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

FLAMING STAR DISCO TRANSFORMATION

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

 

 

 

 

 

07prtc3486

  

YOU DON'T LOVE ME YET, 2003, DVD 07:43Cinematography by: Manne Lindwall(Original song by Roky Erickson, published by R.Erickson 1984)Musical arrangements by Ida Lunden 

The “You Don’t Love Me Yet” project consists of both a film and an ongoing live tour (2002-2006) in which local musicians in different cities were invited to collectively cover the 1984 song “You Don’t Love Me Yet” by the Texan singer-songwriter Roky Erickson. The film “You Don’t Love Me Yet” (2003) depicts a group of musicians performing the song together in a recording studio in Stockholm and exploits a dramatic repetition of melody  and lyrics to unravel popular constructions of love, while presenting  an evaluation of the formation of contemporary subjectivity.

TOUR 2002-2006

Index, Stockholm Oct 4 2002 

Eskilstuna Art Museum, Eskilstuna Aug 23 2003 

Norrköping Art Museum, Norrköping    Sep 27 2003 

Tingshuset, Östersund Oct 4 2003 

Frieze Art Fair, London Oct 8 2003 

Vara Consert House, Vara Nov 9 2003 

Bar Alahuone, Helsingfors Dec 4 2003 

Sjömanskyrkan, Gävle Dec 6 2003 

Ystad Art Museum, Ystad Jan 24 2004 

Vedanta Gallery, Chicago Apr 30 2004 

Milton Keynes Gallery, Milton Keynes UK March 15 2005

Festival a/d Werf, Utrecht, March 19 2005  

Festival Boulevard, Hertogenbosch Aug 5 2005 

De VeenFabriek, Leiden 27/11, 2005

Upcoming: The lab, San Fransisco 16th of November 2006-10-01 

 

MORE INFO ABOUT THE PROJECT, PRESS RELEASES AND TEXT 

Vedanta Gallery is pleased to present the first solo exhibition of Johanna Billing in the U.S. and the final destination of the film and live tour You Don’t Love Me Yet which has traveled to various institutions in Sweden including Index: The Swedish Contemporary Art Foundation where it originated and at the Frieze Art Fair in London. The opening event will include live performances by local Chicago musicians performing the song 'You Don't Love Me Yet' written by American singer-songwriter Roky Erickson. Also exhibited will be a video of the recording of the song at Atlantis Studios in Stockholm by various Swedish musicians. In both a hopeful and disillusioned way, the song points out the difficulty of being in a relationship and daring to lose control of oneself.

Johanna Billing’s film and live music project You Don't Love Me Yet is a bittersweet convergence between the individual and the audience whose catalyst is the 80's pop song, You Don't Love Me Yet by Roky Erickson. The project commenced in October 2002 including more than twenty participating singers, soloists and bands. Roky Erickson's song was covered again and again, repeated in a wide variety of interpretations each reflecting the participants' own personal style. One performance was followed by another in what increasingly came to resemble a tragi-comic, manic litany about the social demands that weigh heavily on people; for instance the concept of self-fulfillment, or the hazards of entering a relationship with someone and therefore daring to let go. Despite the disillusioned tone of the song, a feeling of trust and hope is discernible between the lines.

The project's second part, Johanna Billing's film You Don't Love Me Yet , produced in June 2003, again invited a group of participants only this time the individual performance is replaced by a collective effort at Atlantis recording studios at Karlbergsvägen in Stockholm, where both a film and audio recording took place. The film lies somewhere between a music video and a documentary, with the emphasis on the common performance by the many protagonists: musicians; singers; music engineers and film photographers. This film was screened at six different locations in Sweden in collaboration with art institutions who have also acted as co-producers. The project also includes an audio CD containing the recorded song, which will be distributed free of charge at each event.

Johanna Billing was born in 1973 and lives and works in Stockholm, Sweden. Selected solo exhibitions include Index, Stockholm; Milch at Gainsborough Studios, London; Bild Museet, Umea; Moderna Museet, Oslo; and has participated in group exhibitions including Peripheries Become the Center, Prague Biennale 1; Delays and Revolutions, Venice Biennale, Italian Pavilion, Venice; and is included in Cream 3 published by Phaidon.

Johanna Billing was also recently featured in the March issue of Frieze Magazine. 

 

Johanna Billing (Sweden) presents her video installation "You  Don't Love Me Yet" which exploits a dramatic repetition of melody  and lyrics to unravel popular constructions of love, while presenting  an evaluation of the formation of contemporary subjectivity.

The music project and video projection “You Don’t Love Me Yet” by Johanna Billing appropriates the 1984 song of the same title by American singer-songwriter Roky Erickson. Billing first heard this song on the radio in the same moment she was reading in the newspaper that Sweden has the greatest amount of single-dwelling homes in the world. Billing relates the impetus of this project to contemporary problematics of Swedish identity, such as isolation and the institutionalized nature of Swedish social democracy, where consensus tends to be privileged over dissension.All the participants in Billing’s video belong to her generation, a younger demographic that is often accused of indifference and apathy, in contrast to the previous generation who is often (self) heroicized as active in transforming society in the 1960s. Billing focuses on this younger demographic, to employ these characteristics of indifference and apathy as cliché, yet as reality, as assessment, and yet as a means of evoking emotive characteristics that often seem waning in the golem of contemporary youth. The result is very direct – Œwarm as Billing calls it - especially in what she sees as its address to a non-gallery audience – and thus raises a number of complications.

Firstly, this exploration of emotion via a re-rendering of an almost forgotten pop song, while emphasizing repetition, becomes a whirl of affective obsession. The experience of blank, young faces engaged with this mournful, catchy melody that repeats again and again evokes a conundrum of contemporary subjectivity (or subjectivity in general) as an endless, empty spiral around key emotive terms, which are held upon desperately as a means of defining inter-relation and individual consciousness as it glimmers in the spotlight of a ‘thing called love’. The rhapsody of this melody begins as melodrama, transforms into reflexive parody (the indestructible melody of the 1984 Band Aid tearjerker Do They know it's Christmas), then peaks as nightmarish circular coil.

 Billing speaks to this in terms of artists and their competitive egos; especially in terms of their desire to be loved (by seeking successful careers). She contrasts this by pulling together a “harmonious collective of individualists” as a “viable reality”. As such, the work operates as an examination of social behavior, especially in terms of group dynamics within a social whole held together by a ritualistic intervention, repetitive music. However the strange distancing the work enforces from the viewer, and the insufficiency of the music, participants and especially the lyrics both lament and circumnavigate the expectations of being happy and finding love. The work offers no conclusion, but dispels some fantasies, remarks upon others and, like all the work in this exhibition, begins from the ordinary and everyday to create glimpses into profundity, madness, and imaginings of the future.

Altogether, if one can speak of illuminations for contemporary culture, these works in Everyday Every Other Day touch upon testing reality (and the systems that construct it), and speak to an urgency to confront individual and collective mythologies which are often bound up by repressed histories, socio-political and behavioral consensus, and ongoing injustices.

(Every other day, exhibition in Candada 2005)

 

 

You Don’t Love Me Yet (interview about project after the last event in 2005, from the book if I cant dance I dont want to be part of your revolution, 2006)

In her long term project You Don’t Love Me Yet, which has been touring to different international cities between 2002 and 2005, Johanna Billing invited musicians to play a live version of a song by Roky Erickson according to their own interpretation. If I Can't Dance… organized the Dutch part of the tour in 2005 which traveled from Utrecht, to ‘s-Hertogenbosch and finally Leiden.

In this project Johanna Billing made herself as an artist almost invisible. Behind the scenes though, she organized the event as precisely as possible. For example, by choosing a location that normally is not used as a music podium, or proposing an afternoon to stage the event instead of an evening, she consciously tried to break through existing patterns of behavior in both the music and the visual arts scene. As an artist she facilitated a collective experience where individuality expressed itself in the different artistic interpretations of the song, where the performing musicians were invited to listen to each others’ presentations and where the audience was witness to the potential of repetition, as the event offered a wide range of versions of this sole song text. Each event had its specific line up of performances by rock bands, choirs, laptop musicians, professionals, amateurs or impromptu get togethers, mainly coming from the local scene. All the concerts ended with the video screening of the studio recording of You Don’t Love Me Yet , a work made by Johanna Billing together with a group of Swedish musicians.

On various occasions Johanna Billing expressed her ideas and thoughts about the project, as well as explaining how this project came into being. The following text is a compilation of quotes extracted from an interview with Helena Holmberg in September 2003, published in the Swedish magazine Nifca Info. The main part comes from a talk Johanna Billing presented on the occasion of the project Radio Days in De Appel in Amsterdam, broadcasted live on Saturday March 30, 2005. The after note stems from email correspondence in April 2006 between Johanna Billing and the curators of If I Can’t Dance… .

WHY JOHANNA BILLING CHOOSE THIS SPECIFIC SONG

“I think I first heard the original version of the song in 2001. It is written and performed by the American singer songwriter - and I guess you can say icon - Roky Erickson in 1984. Roky Erickson is perhaps most known for his work with the psychedelic rock group 13th Floor Elevators in the 60’s. He had a solo career later and released many songs, though this specific one is not the most well known.”

“I happened to hear this Roky Ericksson song, which is about love and relationships in both a hopeful and disillusioned way, about the same time as I heard on the radio that Sweden has the highest number of single-occupancy households in the world. That made me reflect on just how highly we value independence. I've been brought up in an era where it's almost ugly to be dependent on someone. This applies not only to love matters, but in other areas too. It can be exceedingly difficult to let go of oneself and one's own selfish interests.”

“I cannot remember if I liked it very much in particular in the beginning, but it really got stuck in my head. I spend a lot of time wondering about it. I guess it puzzled me a bit. I was really curious to put together an almost manifesto type of event. Coming together around something that was very slippery and vague and ambiguous,  I wanted to see if coming together would help to pin down the core of the song, what it was about, or could be about… .”

HOW THE PROJECT ORIGINATED

“My main idea at the beginning of 2002 was to gather musicians and artists from many different groups to join in a studio for a recording of a version together. (Yes, I know the word Band Aid comes to mind! But for me it was not really about making a project in relation to that.) At that time there was no money to produce such of big project. Index, the institution that had invited me to work on this project, did not have this kind of money. So what I did, to just get some things started, was to invite all these groups to Stockholm to come down to the basement of Index to perform one version of the song after another, twenty bands in a row from four in the afternoon till eight in the evening. It was not meant to be anything more than a kind of a starting point for something else. I never dared to think that this extremely simple set up could actually turn out to be something quite magical in the end because while the concert was going on, and the song after a while started to repeat it self, it created an incredible atmosphere that I still cannot really describe.”

HOW THE PROJECT PROCEEDED

“Ok, so the concert was a success! It could have ended there, but the reason why all the groups took part in the concert in the first place, was because they were promised that they could do the big version in the studio later on. So I had to continue and already then I started to feel a bit manic. Should I really take this any further? But apparently it was just the beginning! So in June 2003, eight months after the first live event, we managed to get the funding and were able to enter the wonderful prestigious old Atlantis studio in Stockholm where for example Abba made some of their first recordings. I got help from an extremely talented musician and composer Ida Lundén to arrange the song with strings, horns and choir arrangements. These arrangements were made very flexible and had to be invented in the studio while people were playing basically. This was because we could not control beforehand who would come and what instruments people would bring. I am still amazed that it actually sounds quite planned! The version from the studio, where altogether forty five musicians took part, was put on CD, distributed and handed out for free during the tour. I also made a film from this recording session.”

“But what about this tour? How did it come about? It actually happened because of a major misunderstanding. In order to get funding for the filming and the recording in the studio, Mats Stjernstedt and Helena Holmberg of Index had contacted all these smaller art institutions around Sweden, asking them if they were willing to contribute to the project. And then we would screen the film and make exhibitions with them in all the different cities. Further, my idea was to have a local band or artist to make one more contribution in every city. But many months into the process, I realized that I had totally misunderstood what Mats and Helena had told me: it turned out that all these smaller cities did not want to make anything less or smaller than the event we did in Stockholm, so they were all in for making the huge live event with many bands. I think at first I kind of panicked! We were talking about arranging a really big tour with live events in ten cities within only a couple of months.”

“Knowing how much of an effort it was for me to put together something like this, even though I was used to arranging concerts, the other question was how it would work for an art museum that perhaps had never had any experience of working with music. Luckily it was too late for me to say anything and the whole tour thing was already starting to happen.”

JOHANNA’S IDEAS ABOUT THE NOTION OF THE COVER VERSION

“I had been thinking about the idea of making cover versions a lot and was interested in working with that. Personally I really love cover versions and I have always envied musicians because they can do cover versions. When you do a cover version, you pay a tribute to something, in a loving way; you might even reveal your influences by doing that. This is something that I have found very rare in the art world where you, instead, basically spend all the time creating an aura around yourself that is as unique as possible. The closest thing to cover-versions we have as artists is the paraphrase. This is something often more complex and theoretical and very seldom about something you like, or even worship… .”

“I guess another reason why I like the cover version is that it implicates that you have to step outside of yourself and focus on someone else, enter someone else’s world. You are making something maybe not about yourself, or if it is a tribute, not even for your self, but to me that does not make the result any less personal. On the contrary, I think when you work with cover-versions you sometimes let your self go and experiment even more. And to let go of oneself, no matter if it is in a love relationship or in a collaboration, is I think what this project is about.”

“Working with cover versions as a format for this project has served a bit like a catalyst. Because it is about finding something out while you are doing it, taking part in a project for reasons that are not the most immediate ones in a way. In this case, you are invited to take part not to play your own song, but another persons song, and you might ask yourself for what and for whom? These questions and how you relate to them, are very important ingredients in this project.”

“Related to the idea of the cover version, is this other important element within the initial concept, namely repetition. The fact that You Don't Love Me Yet is repeated time and time again, in different forms, is almost like an incantation. But this repetition cannot just be about doing something again. I hope everyone feels that it's about extending the project and that the new versions work as additions and commentaries.”

ABOUT THE EFFECT OF THE SPECIFIC SETTING

“Many of the performers, no matter how established they are, said they had never been as nervous as in these specific concerts. I guess that is because there was this extremely intense listening experience. You sit down, it is totally quiet, no beer drinking and talking, as is normal in other concert situations. And of course you start to listen for the small things that are different in the songs. Or if you are a performer, you might even sit there and compare your own version to the others before going up to play and that is perhaps what made so many of performers so nervous.”

ABOUT THE ENCOUNTER OF DIFFERENT STYLES AND COMMUNITIES

“During these events, the set up worked almost like a trick - even though not deliberate - to get people to listen with equal concentration to different types of music. And that is something that has been so revealing for me working with this project. Since I normally arrange a lot of music concerts with the record label that I also work with, my experience is often that when it comes to music, people are very specific about their taste, and about what kind of music concerts they go to, not quite as open as people who are interested in art and visit art shows.”

“This thing, that it is possible to arrange a concert with the toughest hip hop guys playing together on the same stage with for instance classical guitar students, and that it can feel like a very natural thing, only because you have something else to focus on, that has been a really amazing experience.”

“I think it has helped a lot that the audiences were extremely mixed. The mix of both the performers and the audience came, I guess, out of a very practical set-up we tried to establish in all the cities we went to. In every city we wanted the local art institution to collaborate with a local music institution or venue. And many times this happened for the first time, often with a lot of skepticism and hesitation. Could this be something good? Nobody wanted to loose any of his or her integrity of course in the process. There was a fear sometimes that the music would not be taken seriously enough in the art museum context and vice versa. The funniest thing that actually happened in many of the cities, was not that people came up afterwards and said how good it was but instead they often were a bit surprised that it actually happened at all!” 

ABOUT WHAT THIS LONG TERM PROJECT ENTAILS

“For me it feels natural working with a project for a long time and it is exciting having so many components in a project and at the same time activating something so open and motley. The collaboration between the organizers is also interesting, as they now make 'cover' versions of the first concert in their respective towns. Obviously, there's a double-emotion connected to it, but still that is what the project has been about since the start. I find it exciting - and quite right - that in part even I must relinquish control over the way I work with exhibitions and events. Of all the various parts of this project, I think that is the most exciting: trying to create a more flexible form for how things are shown while maintaining the content.”

HOW THE PROJECT FURTHER DEVELOPED

“From the cosy candlelit concert place in Östersund, it was a totally different atmosphere setting up the event at the Frieze Art Fair in Regents Park in London in October 2003. When we were doing the sound check in the temporarily built lecture room that the concert was going to take place in, the directors of the fair got a call from the gallery booth next to us where the owner of the gallery was very upset and shouting that he could not hear what his client was saying. So it was all very different, trying to fit something in to a context where you feel like you make a big contrast just by being there - even though this of course was an art project to begin with.”

“After the event at Frieze I think Mats, Helena and I started to feel more confident and relaxed now that the project  had been made in five cities: Stockholm, Eskilstuna, Norrköping, , Östersund and London, it was all going great! We might even have thought that this concept could never go wrong…”

“But then a month later we went to Vara, a very small town in the middle of Sweden. There the project was incorporated into a big cultural youth camp, where young kids from the Baltic countries came to the concert house in Vara and took part in all kinds of cultural workshops for a week. And You Don’t  Love Me Yet was one of the projects they were supposed to work on. What made the whole experience so different (and difficult), was because they were told to do these versions by their teacher, and they had no choice. I think it is very important for this project that it is about choice and that you bring something with you in the process, the fear of what you might loose or the speculation of what you might win, or what ever other reason you might have for taking part. But still it is up to you!”

“Next stop was outside of Sweden again: Helsinki, Finland. There all my prejudices about the Finnish music scene were proven right when all the Finnish performers came to the sound check with their hands full of all kinds of electronic equipment: game boys, synthesizers and homemade computers. There were not even enough electrical outlets in the end to set up everything and the concert was delayed for hours.”

“Coming closer to Roky Erickson, in March 2004 we went to the US, to Chicago, where the event was organized by Kristen Van Deventer, a music enthusiast working at Vedanta Gallery with a lot of contacts to some of the finest musicians in Chicago. When doing the events in smaller cities around Sweden, many of the participating bands had not heard of Roky Erickson before. Still they took part. Some knew of my record label perhaps as some kind of security and some took part for other reasons, for the song itself. But one nice thing with the Chicago event was that this time nobody knew who I was. Instead, everybody knew of Roky Erickson, so the event there got to be a lot about a tribute concert to Roky Erickson which was very beautiful and a bit different from the previous events.”

“The Chicago event was supposed to be the final stop ever. For many, also very practical reasons, I could not work on any new work basically and started to feel a bit trapped. So for the next couple of months no events happened and we turned new proposals down. In Timisoara in Romania though, there was a remix version being made in October 2004 by the Romanian group Makunochi Bento. And while I was in Romania listening to their version, I got a call from Michael Stanley who is working in Milton Keynes, a city outside of London, asking if we could not do it again. Having the song in my head again, I could not say no. So in March 2005 there was another concert held in Middletown Hall, the shopping mall of Milton Keynes, a new city, only 35 years old that you could say basically centers around its shopping mall.”

“Sitting on the floor there in the middle of the shopping mall, for me the event suddenly got to be a bit strange, because right in the middle of the performances, all of a sudden this memory popped into my head from when I was a teenager in the small town of Jönköping and was singing in a religious choir, mostly because there was nothing else to do in your spare time. Anyway, suddenly I saw myself very clearly on this choir trip up to Stockholm and how we were standing in the middle of a big shopping center in the south of Stockholm, singing for people passing by. So to be doing this kind of event in a public place like this, suddenly freaked me out! So maybe, for me it all comes down to this thing again: the choice you have also as an audience member to take part in this or not.”

“It is funny to sit here and talk about this in Amsterdam because as I speak, the plans for setting up three new You Don’t Love Me Yet concerts here in the Netherlands are being made at this very moment and they will happen in Utrecht, on 19th of May, at Festival a/d Werf, then in August at Theaterfestival  Boulevard in Den Bosch and finally at De VeenFabriek in Leiden in November later this year. So for all you listeners in Holland, consider this an open call, if you want to join this project and make a cover version in any of these cities, contact Annie Fletcher, Frederique Bergholtz and Tanja Elstgeest who are organizing these events together.”

EPILOGUE

“From talking, to doing and now, finally sitting here writing about it. We did make the three events in The Netherlands as I said. It went really well I think. In fact it went so well, the first time in May at Festival a/d Werf in Utrecht, that I almost felt a bit weird about it. Where did all the nervous tension go? The anxious and subdued atmosphere, where you could sense the mixed feelings of reluctance and enthusiasm and the worries in between the songs, about what was going to happen next, was completely gone! The event in Utrecht was so enjoyable and easygoing: it was an atmosphere allowing people to clap their hands, sing along and even make jokes and laugh! I was amazed. I realized later that this was perhaps just my first encounter with the easy and relaxed Dutch way of socializing, doing things together with absolutely no inherent struggle or problem, collaborating for the fun of it! Just like that! It was great, but weird to feel that maybe the functions I was aiming for the project to have, did not really apply here. I started to think that there was maybe not really the same need for doing the project in Holland. But then on a rainy afternoon in August, when the summery festival spirit all of a sudden seemed very far away, I did get back to the more harsh moods together with the smaller and more hesitating crowd on the second floor of the foyer of Theater aan de Parade in ‘s-Hertogenbosch. The atmosphere gradually evolved though, each time asong was performed. And amazingly in the end, people just did not want to stop playing: encores, again and again.

And finally on the 27th of November 2005, what was to be announced as the final stop ever of the You Don’t Love Me Yet tour, took place in Leiden. It was the most massive set up so far with around twenty seven bands performing during a couple of extremely cold hours in the freezing VeenFabriek, that was not yet fully renovated. Before the bands started to perform, in my introductory speech I was stressing the uniqueness of the event, talking about how final it was. At the same time I felt kind of stupid, standing there and saying all this, though knowing that this whole Dutch tour for example never even should have happened, because the stop before, the one in Milton Keynes - no actually, the one in Chicago, or even the one in Ystad was the real final stop originally…! And this is something I have found so striking about the project; to realize  eventually that maybe I just cannot stop it. It is not longer my project, and of course not my song. Anybody can come along and do it, and may be do it even better.

And that was also one of the more interesting conversations we had when talking about whether the You Don’t Love Me Yet project could get this ‘other chance’ again, and be turned into a Dutch tour, after the final stop in Milton Keynes last year. We started talking about the differences in making performance and art projects in the art world compared to the theatre world, or the music scene. A play, a concert or a tour, just gets better the more it is interpreted, played or seen, the more it travels and the more people get the chance to get involved, all over the world. Also in the art world, there is sometimes a kind of feeling that it is ok to repeat some things, in fact, that is good! But just not too many times, then the project can face a risk of loosing its credibility or value, its uniqueness perhaps as an “art object/project”. And so, when discussing the ways of working with art and performance and how to make something that can have a function, a catalyst again, showing the differences and the similarities between these fields, it was just impossible to resist continuing to explore this. One of the other more interesting parts of working with this project in the If I Can’t Dance… frame, was the notion of repetition. To take an already repeating project and repeat it three times within itself almost, and within such a small area, and on top of that, within only a couple of months, turned out to be very fascinating and challenging. And I am so happy also to not only have the same performers coming again and again to the different cities in The Netherlands, like the fabulous fishermen choir De Rotte Herders who the second time around took their version even further and transformed themselves and the song from a traditional folk tune, sung in a specific Den Bosch’ dialect, to the coolest rap version (still in Dutch though!). But, for me, it has also been great to have the opportunity to work with the same fantastic group of people, with for example Joris Tideman and his great way of finding and working with the musicians, not only for one event, as in the other cities, but again and again, and to have the possibility to not only look at things as a one of a kind experiment., but to have the chance to redo things, and work on them, taking the bad experiences into consideration and making them better next time. 

So, now that it is over, and especially since the last event was so nice, I cannot stop thinking of the somewhat vague but intriguing suggestion I heard the other day, which was that somebody told me to “just think about the possibilities” of perhaps setting up a You Don’t Love Me Yet concert in San Francisco and imagine “how many great musicians there are over there. Just one more time… .”

 

 

 

 

 

 

07prtc1257

La casa encendida, Ronda de Valencia nº 2. Frebruary 1, 20:00H

 

 

 

 

 

 

 

07intd1426

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

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

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

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

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

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

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

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

 

 

 

 

 

 

 

 

08intc2005

  

    

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

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

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

 

 

 

 

 

 

 

 

 

 

 

08inme1854

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

 

DID YOU LEAVE MADRID MORE THAN TEN YEARS AGO?

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

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

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

                    WE EXPECT YOUR ANSWER WITH GREAT ANTICIPATION!

Anne Lorenz    &   Rebekka Reich               Artistas (Allemagne)

 

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

QUESTIONNAIRE

Hello XXX (person’s name or nickname)

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

Please, think on each question before answering: 

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

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

123

 

Hugs and kisses from Zürich and thanks for collaborating,

Anne & Rebakka

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

 

(October 2004)

 

 

 

 

 

 

 

05intb3456, 05intb3455

Near the book stands of Cuesta Moyano

 

 

 

 

 

07prtc3488

Paseo de Recoletos, central Boulevard, 11-23H  

 

 

 

 

 

 

 

07intd1425

[vi video] Mobile Videointerventions in specific urban contexts.

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

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

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

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

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

www.fllanos.com/vi_video

 

 

 

 

 

 

 

 

 

 

 

 

08intc2000