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

DESCRIPTION OF ASSEMBLY SYSTEM AND TECHNICAL REQUIREMENTS

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

It will be necessary to hire carpenters to build it.

Materials: wood and tools to work on it.

Acrylic paint DELUX and materials to paint.

 

 

 

 

 

 

 

 

 

 

08prtc3507

2008. Alicia Framis + Michael Lin. PASSAGE GARDEN

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

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

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

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

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

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

 

 

 

 

 

 

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

 DESCRIPTION AND TECHNICAL NEEDS

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

ENLARGEMENT OF A GREEN AREA

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

Requirements

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

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

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

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

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

CONNECTING TWO PLANTERS

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

Requirements

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

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

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

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

Labor:• concrete cutter operator• gardener• Bricklayer

CONNECTING TWO STOOLS

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

Requirements

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

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

Labor:• concrete cutter operator• mason

 

 

 

 

 

 

 

 

 

 

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

OCTOBER 2007

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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

 

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

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08intb3691

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

 

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

2009-10. ARTISTS / INTERVENTIONS / LINKS

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

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

 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.

 

 

 

 

 

 

 

 

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2007. Mandla Reuter. HOMEVIDEO, 1999

2007. Mandla Reuter. HOMEVIDEO, 1999

 

  

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

 

 

 

 

 

 

 

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2009-2010. Lara Almarcegui (Cv)

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;

 

 

 

 

 

 

 

 

 

 

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2009-2010. Lara Almarcegui. GOING DOWN TO THE RECENTLY EXCAVATED UNDERGROUND PASSAGE (location)

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

 

 

 

 

 

 

 

 

 

 

 

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

NOVEMBER 2005

 

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

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

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

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

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

 

 

 

 

 

 

 

 

 

 

 

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

 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.

 

 

 

 

 

 

 

 

 

 

 

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2007. Mandla Reuter. INVITATION, 2005

2007. Mandla Reuter. INVITATION, 2005

 

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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2009-2010. Susanne Bosch (Cv)

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.

 

 

 

 

 

 

 

 

 

 

 

 

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2005. ARTISTS / INTERVENTIONS / LINKS

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

Colectivo Tercerunquinto        www.tercerunquinto.org

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

Henry Eric Hernández García    Zona vigilada

José Dávila    Mirador Nómada

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

Óscar Lloveras Sin títulohttp://oscarlloveras.com/

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

 

 

 

 

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

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

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

 

 

 

 

 

 

 

 

 

 

09-10intd2884

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

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

MAY 2009 

 

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

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

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

2007. Mandla Reuter. INVITACIÓN, 2006

2007. Mandla Reuter. INVITACIÓN, 2006

 

  

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

2009-2010. Pablo Valbuena (Cv)

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

2008. ARTISTS / INTERVENTIONS / LINKS

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

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

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

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

Guillaume Ségur    Welcome On Board

Fernando Prats    Gran Sur    www.fernandoprats.cl

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

LaHostiaFineArts (LHFA)    Explorando Usera    www.lahostiafinearts.es

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

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

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

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

 

 

 

 

 

 

08prta1766

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

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

 

 

 

 

 

 

 

 

 

 

09-10intd2883

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

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

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

 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

2007. ARTISTS / INTERVENTIONS / LINKS

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

2007. Dirk Vollenbroich. POWERS OF THE DARCKNESS

2007. Dirk Vollenbroich. POWERS OF THE DARCKNESS

  

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

2009-2010. Gustavo Romano (Cv)

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

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

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

 

 

 

 

 

 

 

 

 

 

 

 

09-10intd2882

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

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

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

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

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

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

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

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

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

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

 

2007. Dirk Vollenbroich. SUPER NOVA, 2001

2007. Dirk Vollenbroich. SUPER NOVA, 2001

 

           

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

2006. ARTISTS / INTERVENTIONS / LINKS

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

Chus García FrailePost it        www.chusgarciafraile.com

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

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

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

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

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

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

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

 

 

 

 

 

06prta0818

2009-2010. Iñaki Larrimbe (Cv)

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

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

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

 

 

 

 

 

 

 

 

 

 

 

09-10intd2881

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

MARCH 2009

 

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

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

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

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

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

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

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

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

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

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

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

Technical details for the publication :

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

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10intb3633

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

 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

2007. Dirk Vollenbroich. LUFTHANSA LIGHT, 2004

2007. Dirk Vollenbroich. LUFTHANSA LIGHT, 2004

 

   

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

2009-2010. Lisa Cheung (Cv)

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

2004. ARTISTS / INTERVENTIONS / LINKS

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

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

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

 

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.

 

 

 

 

 

 

 

 

09-10intb2757

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

Atocha train station, AVE Upper lobby

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10intd2880

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

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

The Passerby Museum

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

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

We thank you for your interest.

******

 

 

 

 

 

 

 

 

 

 

 

 

05intc3664, 05insc3663

2009-2010. Susanne Bosch. S/T (2009.10 / theoretical data)

 Public art project for Madrid Abierto 2009-2010 in La Latina / Plaza del Humilladero.Starting date: 29 October 2009Location: Plaza del Humilladero and entire La Latina neighborhood

Every banknote carries a trade value, but also a potential future value (saving for the next holidays, for the desired car, ...). Every conversation carries the potential of a future business, a new invention, a new task, a chance.

Everyone carries an unused potential, an idea in mind, an observation, an untold story or observation, unused old coins in a drawer at home. The public art project TITLE seeks to collect as many of these little individual potentials as possible. The art project brings them together to transform them into real things, projects and outcomes in the real world.

More than 136 436 519 996,32 Peseta coins and 159 065 015 995.71 Pesetabanknotes remain in peoples private property. TITLE will collect the Peseta* coins and banknotes in a public collection site in Plaza del Humilladero, La Latina neighborhood for the period of October 2009 to Mid February 2010. Along with the peseta collection, the project will ask the neighborhood and the users of the neighborhood (visitors of the Rastro market and markets, bars, cafes) actively, what they would like to realize with this public and worthless money in and for La Latina? The project will collect and publish extensively the wishes during the period of the event on a webpage, in the public media and in the neighborhood. During the final months of February, the wishes will be presented in a daily public art action on La Castellana.

On 20 February 2010, everyone is invited to publicly sort the coins and banknotes before the transport on 22nd February 2010 to the Banco de Espana.

On 27 February 2010 everybody who would like to be part of the decision making group, is invited to attend an Open Space event at Circulo de Bellas Artes. This one day event will be used to decide collectively what will happen to the pesetas and how this will be put into action.

TITLE is an artproject that serves as a model to empower people. It offers a creative platform that allows people to work together, to develop a collaborative spirit and inclusion. It offers the experience of a collective decision process. The art project combines an aesthetic appearance with a meaningful public debate. It creates a large forum for potential. By concentrating on one neighborhood, the project will empower people that live in close proximity and have a personal relationship, connectedness to the site and each other.

TITLE will do this through a number of artistic actions and interventions for a duration of 4 months from the end of October 2009 to end of February 2010.

A multi-media collection site will be on a public place on Plaza del Humilladero for the duration of 4 months to collect coins, banknotes and wishes, also to visualize wishes.

For the same duration, an interactive blog and regular actions in the neighborhood will introduce the project. Action dates are: 29.10.-1.11.2009, 12.11.-16.11.2009 , 12.12.-20.12. 2009 and 31.1.- 28.2. 2010.

During the final months of February, the wishes will be presented in a daily public art action on La Castellana. On 20 February 2010, everyone is invited to publicly sort the coins and banknotes and transport them to the Banco de Espana. On 27th February 2010 everybody who would like to be part of the decision making group, is invited to attend an Open Space event. This one day event will be used to decide collectively what will happen to the pesetas and how this will be put into action.

Web info: xxxx.xxThe multi-medial collection site was designed and built by 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)

 

 

 

 

 

 

09-10intb2723

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

 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

 

 

 

 

 

 

 

 

 

 

 

 

09-10prtc2533

2007. Dirk Vollenbroich. HAUSMUSIK, 2006

2007. Dirk Vollenbroich. HAUSMUSIK, 2006

 

              

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

2009-2010. Laurence Bonvin (Cv)

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.

 

 

 

 

 

 

 

 

 

 

09-10prtb2514

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

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

 

 

 

 

 

 

 

 

 

 

 

 

09-10intd2879

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

Wish 1- Leisure centre.- A shelter where the neighborhoods’ indigents can sleep.- A symbolic monument of La Latina.- Street safety.- Green area.Author: school of sagrado Corazon (Don Pedro).

Wish 2A park to let the dogs freeAuthor: Rosa

Wish 3From La Latina, we support you! We think it is an excellent initiative! We will closely follow all the information on the project. Greetings!

A1Improve La Latina’s facilities. I wouldn’t change anything I would just improve it

A2Make politicians aware of the importance of art. Long live art!

A3Mi wish, my idea is to lower housing prices

A4Not to have so much noise in the street

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

2009-2010. Iñaki Larrimbe. UNOFFICIAL TOURISM (theoretical data)

 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

2007. Susan Phillipsz. FOLLOW ME, 2006

2007. Susan Phillipsz. FOLLOW ME, 2006

 

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

 

 

 

 

 

 

 

07pric1306, 07aata1309

2008. Santiago Sierra (Cv)

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

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

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

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

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

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

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

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

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

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

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

2005·    51st Venice Biennale

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

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

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

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

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

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

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

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

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

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

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

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

 

 

 

 

 

 

 

 

 

 

08PRTB1794

2009-2010. Iñaki Larrimbe. UNOFFICIAL TOURISM (location)

Pº de Recoletos,central boulevard

 

 

 

 

 

 

 

 

 

 

 

 

09-10intd2878

2009-2010. Gustavo Romano. TIME NOTES: OFICINA MÓVIL (2009.05 / project review / technical data)

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

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

 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

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

 VA VA Voom Veg (working title) is a prototype for a mobile, temporary vegetable garden that invites local residents in urban locations to grow fresh vegetables within the city centre. This project shares the pleasures and rewards of gardening with people who do not have the opportunity because they live in an urban environment. As well, it attempts to expand the possibilities of how we use public spaces for communal benefits and the degrees participation and belonging that can be cultivated.

VVVV draws on the traditions of allotments in the UK and other European countries. Allotments were a necessity during the war year food shortages and now have enjoyed a recent resurgence due to the greater importance placed on organic and local production coupled with rising food prices. Often times, unwanted unusual spaces in urban centres were used for allotments because of their easy accessibility and availability; thus transforming “unused” land into communal spaces. Furthermore allotment garden is characterised by a strong community spirit, passionate individuals and a generous sharing of knowledge, work, and of course food!

VVVV attempts to reclaim public space for individuals and the community. It also endeavours to imbue a sense of the “country’ back into urban life by linking the city dweller with the earth fundamentally by growing food in a communal environment. This is especially relevant as more and more people live in small, urban apartments with no private open space and little access to green areas. As well, this project acts as a link to village life, where many once originated from and often long to return.

The structure is in the shape of an idyllic “A-frame” “country” house on a trailer. This will be sited in a neighbourhood in Madrid within a public square where participants can access. One side forms a glass greenhouse for cultivating seeds and small plants. As the plants mature, the glass roof can slide safely under the roof of the house, allowing the vegetables to continue to grow. Vegetables and fruits can be grown in the house itself and within the many window boxes. All materials and equipment necessary are stored inside the little house. In addition, a compact library of gardening books, activity notice board and garden “diary” (to record thoughts, comments and experiences) will be housed within the unit.

Local residents are invited to participate, decide the planting, maintain and enjoy the fruits of the garden throughout the period of the project (Feb - July). Their input and dedication are essential for the success of the garden and the project. A core gardening club will be formed (composed of local residents) to regularly maintain the garden, accompanied by monthly gardening workshops and gardening assistance for novices. Communal activities will be organised around the garden (ie communal lunch, strawberry celebration, harvest festival etc) where all are welcome. As well the mobile garden will travel to other parts of the city to hold workshops, demonstrations and other community activities.

This proposal is based on my interest in public spaces and creating social environments where social exchange can occur. I am interested in temporary structures that make up urban landscape. My recent projects have used gardening and cultivating plants as a point of interaction and participation.

 

 

 

 

 

 

 

09-10prtc2532

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

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

 

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

 

 

 

 

 

 

05prmc0488

2009-2010. Lisa Cheung. HUERT-O-BUS (location)

Moday: closed 

Tuesday: Plaza de la Pilarica, Usera.

Wednesday: Plaza Soledad Torres Acosta (Cinema Luna). CANCEL

Thursday: Plaza de Agustín Lara, Lavapiés (in front of Escuelas Pías).

Friday: Plaza de la Remonta, Tetuán.

Saturday and Sunday: Jardines del Descubrimiento (Plaza de Colón)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10intd2877

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

 DESCRIPTION ASSEMBLY SYSTEM AND PROJECT’S TECHNICAL BASICS

LOGISTIC AND TECHNICAL BASICS

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

TECHNICAL ELEMENTS FOR ARCHITECTURAL STRUCTURE

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

 (OCTOBER 2007)

 

 

 

 

 

 

 

 

08intb3543

2009-2010. Laurence Bonvin. DRAFT (technical data)

 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

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

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

REALITY SOUNDTRAK. Amsterdam, 2004

 

       

REALITY SOUNDTRAK. Ljubljana , 2003

 

       

REALITY SOUNDTRAK. Thessaloniki, 2004

 

 

 

 

 

06pric0893

2008. Todo por la praxis (Cv)

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

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

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

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

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

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

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

 

 

 

 

 

08prtb1796

2009-2010. Laurence Bonvin. GHOSTOWN (location)

Diario Público

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

INFOMAB (Pº de Recoletos, bulevar central)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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2009-2010. Lara Almarcegui. GOING DOWN TO THE RECENTLY EXCAVATED UNDERGROUND PASSAGE (published text)

 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.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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2009-2010. Adaptive Actions. AA CAMP-MADRID (2009.05 / proyect review / theoretical data)

 ADAPTIVE ACTIONS The process and concept are the same as previously proposed.

But instead of focussing on loitering, I prefer to make a broader call for collaboration on the Adaptive Action theme and have one or two workshops or collective actions on a specific topic such as loitering.

For and during the Adaptive Actions Camp in Madrid, we would like to document and create at least 101 new micro-actions. Some actions would be initiated in Madrid (in different types of neighbourhoods including the conurbano) and elsewhere in other cities in Spain or other countries. I cherish the idea of creating a project of distributed actions, simultaneously happening in different places and brought together in one communal art project. All actions will be documented on the website and some will be part of the next AA publication which will be produced during the Madrid Abierto event.

 

ADAPTIVE ACTIONS Camp in Madrid A space of production, presentation and actions

Open call (for collaboration)

> In specialized and local neighbourhood newspapers > posted on walls, urban furniture and places were people already post information. > to local community groups, schools and universities > to all those who proposed, submitted a project to Madrid Abierto but were not selected. - to offer them a possibility to participate, to increase the number of participants, and widen the audience.

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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2009-2010. Laurence Bonvin. DRAFT (theoretical data)

 For Madrid Abierto I intend to realize a project for which I already made locations scouting and first images in December 2007. What interest me most in Madrid is the amazing development that occurred in the last years in the periphery of the city, areas such as Seseña Nuevo, Esquivias, Paracuellos de Jarama (Mira Madrid) where the real estate industry has launched some gigantic satellite cites. The intention is approach the subject with a documentary and a critical point of view. With the crisis surrounding the real estate business the situation must be in a critical state and nobody knows how things will be in the coming 2 years.

My aim for this project is to investigate photographically this issue. Additionally I would like to invite urban planners, architects to write critical texts that will be included in a brochure. To finalize the project printed posters will be placed in the streets in different parts of the city and a set of postcards will be distributed in the information booth of Madrid Abierto. Both presentation turning around the idea of an idealized image of the city and making a selection of images available to everyone.

 

 

 

 

 

 

 

 

 

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

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

 

 

 

 

 

 

 

 

 

 

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

 

Starting date: 12 November 2009Location: Plaza Puerta de Moros and entire La Latina neighborhood

Every banknote carries a trade value, but also a potential future value (saving for the next holidays, for the desired car...). Every conversation carries the potential of a future business, a new invention, a new task, a chance.

Everyone carries an unused potential, an idea in mind, an observation, an untold story or observation, unused old coins in a drawer at home. The public art project Hucha de deseos: ¡Todos somos un barrio, movilízate! seeks to collect as many of these little individual potentials as possible. The art project brings them together to transform them into real things, collective projects and outcomes in the real world.

More than 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.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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2009-2010. Iñaki Larrimbe. UNOFFICIAL TOURISM (2009.05 / project review / theoretical data)

 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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2005. Raimond Chaves. HANGUEANDO, 2002-03

2005. Raimond Chaves. HANGUEANDO, 2002-03

Support for the public reading L'UnitàModena, Italia 2003

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

 

 

       

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

 

 

 

 

 

 

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

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

 

 

 

 

 

 

 

 

 

 

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2008. Santiago Cirugeda (Cv)

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

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

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

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

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

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

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

2004·    Opening of land sites with public equipment. Sevilla

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

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

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

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

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

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

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

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

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

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

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

2004·    Intrusiones. Andalusian Contemporary Art Centre, Sevilla

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

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

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

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

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

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

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

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

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

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

1993·    Contaminación. Family house. Sevilla

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

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

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

 

 

 

 

 

08prtb1792

2009-2010. Lara Almarcegui. GOING DOWN TO THE RECENTLY EXCAVATED UNDERGROUND PASSAGE (2009.12 / theoretical data)

 Thanks to the Going down to the recently excavated tunnel project, Lara Almarcegui organizes visits to the excavations that are being made under the street of Serrano to construct parking lots. As the works and excavation – which is 15 meters deep- will be in full process, the walls of the excavation will not be covered with concrete and the different layers of stone of Madrid’s subsoil will be visible. For a moment we will be able see the city just as it is beneath the ground.

Madrid has a complex framework in its subsoil made of multiple layers, at different levels. There are tunnels and spaces that correspond to the subway and train infrastructures, water pipes, drains and sewer system, telephone wires, lighting and Internet, subterranean rivers, cellars, parking lots and bunkers. Going down to the recently excavated tunnel of the Serrano parking lots will be an occasion to get closer to other infrastructure tunnels of Madrid; but it will also be a visit to that which is primitive and natural in Madrid.

The project deals with the understanding of Madrid’s physical reality, rock-earth, before becoming a city. In this journey into the tunnel, the negative subconscious of the city shall be experienced. Instead of building, it would be interesting to submerge one self in order to learn but also to simply and brutally do the opposite to what architecture does.

The action will consist in inviting the public to watch a space in process that changes every week and will be completely transformed. The machinery at work is constantly functioning and it only stops one day a week, on Sundays. The visits to the excavation will take place on Sundays from the 4th to the 28th of February.

Details and the schedule for the visits will be available at the Information Point of Madrid Abierto placed in xxxx. Registration shall be made there or sending an e-mail to This email address is being protected from spambots. You need JavaScript enabled to view it. until the capacity is fulfilled (the capacity will be limited and the registration shall be made 48 hours before the visit. It will be necessary to receive confirmation from Madrid Abierto).

The visit will be made with a guide that will go down to the excavation with the group, and will explain the works of engineering, the function of the machinery and its progress, but most of all, he will interpret and present the geology of the stratums of materials that will be appearing in the excavation.

The works are being made in order to build three parking lots above the future tunnel that will link the Atocha and Chamartin train stations, this tunnel will be 7km long and will be constructed along the next two years. Both projects are part of a plan to redesign the street of Serrano, it includes the transformation of the public thoroughfare, the construction of parking lots and a tunnel.

The excavation that we will visit, will be the third parking lot, which is beneath Serrano, between the street of Jorge Juan and the Plaza de la Independencia or Puerta de Alcalá. Pedestrians will be able to access through Serrano and vehicles will find entrance in Jorge Juan, the street of Alcala and Salustiano Olozaga.

(December 2009)

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10intb2762

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

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

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

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

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

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

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

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

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

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

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

 

 

 

 

 

 

 

 

08prmc1891

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

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

 

 

 

 

 

 

 

 

 

 

 

08intd2065

2009-2010. Teddy Cruz. TRAFFIC (2009.10 / theoretical data)

 Dear Marta,(hello Jorge, hello Cecilia!!) this is an update…

I am sending a small description of the new version of the project… so you can discuss it with Casa de America… also a pdf with three images to contextualize the intervention…

1. The idea behind this version is to save energy and money… by not having to build the scaffolding, without skin to cover it and the other systems…

2. Instead of completely ignoring the façade, totally covering it… we love the idea of ‘playing’ with the façade, exhibiting it as part of the intervention.

3. Our ideas always have to do with the ‘activation’ of the façade with artistic activities… It is still Felipe Zuñiga’s idea, the artist from Tijuana whom I have invited as ‘facilitator’, and will work with artists from Puente de Vallecas to use the façade as a working space and exhibition site… by the creation of a performance corridor connecting the neighbourhood to Casa de America… as well as triangulation between Vallecas and Tijuana… Felipe is already working on a communication system to link different groups from Tijuana and Vallecas-Madrid… I met with Emilia María and Charo, from the municipality to work on the selection of artists, groups that would be involved…

4. In this case, the idea is, in this new version, to really activate the façade… and propose the ‘penetration’ of the façade itself with two stairways which would enable us to ‘enter’ through the windows of the mobile piano… the floor with the balcony… and create tiny rooms behind the façade… these spaces would be built with very light materials such as wood… and wouldn’t have any physical contact with the internal wall of Casa de America… but our intention is also to record through pictures this ‘parasite workshop’ inside the museum’s official space… that is, making the intervention project external as well as internal…

5. The public would NOT have access to these two spaces… these would only be private spaces for artists who would be allowed to work inside…

6. The work of these artists would be accessible through a projection: the plastic bubble… and also with sound: a duct which would connect the building with the mass of traffic cones that would cover the bench on the sidewalk in front of the building… we love the idea of an intervention that ‘captures’ this bench, creating a ‘shelter’ for the pedestrian and for someone to be able to sit and listen to narratives of Vallecas…

This is the brief summary of our idea!

Thanks! Lets hope that Casa de America will want to collaborate and find this version acceptable… which saves us money but also creates a relation with the museum which is more interesting… of course… we would have to know what is in the mobile piano’s area… to know if it’s possible… we love the idea of having the director’s office there, and for him to share his office with the artists… but separated by a wall, of course… they wouldn’t see each other, but would share the same space…

KissesTeddy

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10intb3601

2009-2010. Pablo Valbuena. TOWER BLOCK (published text)

 “In that Empire, the Art of Cartography reached such level of perfection that the Map of one Province occupied the whole City, and the Map of the Empire, a whole Province. As time passed by, these excessive maps did no longer satisfy and the Schools of Cartography erected a Map of the Empire that was the Size of the Empire and exactly matched up with it”.Del rigor en la ciencia, Jorge Luis Borges

The piece is a specific installation in which, upon an element, its own abstract representation is superimposed. With the drawing of a plane onto the architecture of reference, the real city is extended towards a virtual dimension.

Video-projection is the technique that is used to create such an effect, but apart from technical details, the work is based on tools of such antiquity as perspective or trompe l’oeil that function by manipulating the viewer’s perception.

In this case, the transformation of urban space is achieved by movement and by the interaction of light and shadow. Instead of building architectural structures with palpable materials, it is the projection of lines and planes of light, that create the illusion of new appearing spaces.

‘Real’ and ‘virtual’ elements are overlapped in this type of city. Assisted by already existing architecture, it is about making the inside visible from the outside, transforming solid walls into transparent ones or making it clear to us how time has gone by in the city…

 

 

 

 

 

 

 

 

 

 

 

 

 

08-10intc2829

2005. Óscar Lloveras. ARTIUM, París, 2003

2005. Óscar Lloveras. ARTIUM, París, 2003

           

    

 

           

 

 

 

 

 

 

 

05prid0469, 05prvd0470

2008. Fernando Prats. GRAN SUR (theoretical data)

 

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

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

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

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

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

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

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

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

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

 

 

 

 

 

 

 

 

 

 

08prtc3522

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

 

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

 

 

 

 

 

 

 

 

 

 

 

 

 

08intd2064

2008. LaHostiaFineArts (Cv)

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

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

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

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

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

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

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

 

 

 

 

 

 

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2009-2010. Pablo Valbuena. S/T (2009.09 / project rectification / theoretical data)

 “In that Empire, the Art of Cartography reached such level of perfection that the Map of one Province occupied the whole City, and the Map of the Empire, a whole Province. As time passed by, these excessive maps did no longer satisfy and the Schools of Cartography erected a Map of the Empire that was the Size of the Empire and exactly matched up with it”.Del rigor en la ciencia, Jorge Luis Borges

The piece is a specific installation in which, upon an element, its own abstract representation is superimposed. With the drawing of a plane onto the architecture of reference, the real city is extended towards a virtual dimension.

Video-projection is the technique that is used to create such an effect, but apart from technical details, the work is based on tools of such antiquity as perspective or trompe l’oeil that function by manipulating the viewer’s perception.

In this case, the transformation of urban space is achieved by movement and by the interaction of light and shadow. Instead of building architectural structures with palpable materials, it is the projection of lines and planes of light, that create the illusion of new appearing spaces.

‘Real’ and ‘virtual’ elements are overlapped in this type of city. Assisted by already existing architecture, it is about making the inside visible from the outside, transforming solid walls into transparent ones or making it clear to us how time has gone by in the city…

(PROYECT RECTIFICATION / SEPTEMBER 2009)

 

 

 

 

 

 

 

 

 

 

 

 

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

 

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

 

Starting off with one first launch action developed in Berlin, other actions took place in different cities, Singapore, Rostock, Vigo, Munich, Mexico, Buenos Aires. In each case people started to discuss the different local problems related to the currency system of exchange and how people experience and perceive time.

  The proposal for MADRID ABIERTO engages with the opening of a Mobile Office and a Central Office based in Casa de America.

 

The Mobile Office will travel daily from the central space in Casa de America taking three main routes: 1. the North segment, going from Paseo de Recoletos towards Paseo de la Castellana; 2. the South line, through Paseo del Prado towards Atocha's Station, and 3. the Western line, which will go through Calle Alcalá to Plaza Mayor, eventually drifting down other streets, deviating from the main arteries. 

 

The Mobile Office will offer two types of services that `banks´ commonly render: Reimbursement of time that has been lost, and Loans of time. The Office, through its system of lost time reimbursement, presents itself as a place for reception and classification of time which has been transferred involuntarily, under pressure or for arbitrary reasons. In other words, time wasted attending to an unwanted job, time lost in the wrong relationship, time spent while serving in the army, etc.

 

In the Mobile Office, a Time Notes representative will register descriptions of how the deponents lost their time, and reimburse the deponent with a bill of the corresponding value. The reason for the loss of time will be printed on the back. Also, an online data base with the compiled information will be created.

  In a similar manner, through a Time Loan service, the Office presents its credit line for the concretion of postponed wishes. Starting off with the question: "If you had a minute, an hour, an extra year in your life, ¿what would you do?" it involves a reflection about our use of time and those things we constantly leave for a better moment in the future. All the information delivered by the bank's `clients´, will be daily transmitted to the Time Notes website: 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. 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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2005. Óscar Lloveras. JARDÍN VOBAN

2005. Óscar Lloveras. JARDÍN VOBAN

           

         

 

 

 

 

 

 

 

 

 

05prid0468

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

[ vi video ]Videointervenciones móviles en contextos urbanos específicos

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

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

IT HAS BEEN PRESENTED AT

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

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

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

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

INTRODUCTION

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

DESCRIPTION

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

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

VIDEOINTERVENTIONS

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

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

PORTABILITY OF THE EQUIPMENT

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

MOBILITY

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

CONTENT OF THE PROJECTIONS

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

THE PROCESS

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

 

 

 

 

 

 

 

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

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

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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2009-2010. Gustavo Romano. TIME NOTES: MOBILE OFFICE (2009.12 / fieldwork)

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) 

 

 

 

 

 

 

 

 

 

 

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2009-2010. Adaptive Actions. AA CAMP-MADRID (published text)

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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2005. Óscar Lloveras. KAMIYAMA, Japón, 1999

2005. Óscar Lloveras. KAMIYAMA, Japón, 1999

CHAMPS 

         

COLLINE

         

FOREST

       

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

 

 

 

 

 

 

 

 

 

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2008. Anno Dijstra. MISPLACING (theoretical data)

 MISPLACING. OBLIGED SEEING

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

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

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

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

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

MISPLACEMENT

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

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

PREPARATION

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

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

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

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

 

 

 

 

 

 

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2008. Fernando Prats. GRAN SUR (location)

Casa de América façade

 

 

 

 

 

 

 

 

 

 

 

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2008. Jota Castro (Cv)

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

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

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

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

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

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

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

2008–2007·    Informacion Contra Informacion, CGAC, Spain

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

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

2004·    Kwangju Biennale, Korea

2003·    50th Venice Biennale

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

 

 

 

 

 

 

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2009-2010. Adaptive Actions. AA CAMP-MADRID (2009.11 / fieldwork)

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

 A project by Josep-Maria Martín with Mouhamadou Bamba DiopProduction MADRID ABIERTO Cultural mediation Pensart

Josep-Maria Martín’s artistic projects are focused on creating new intervention strategies that affect established structures of our current society, some of which have fissures. The artist questions and critiques the reality he decides to work on. His work explores concepts such as progress, investigation, participation, involvement, negotiation and proposition. In this process, agents that have been identified for each intervention become the true creators of a common project.

Josep-Maria is interested in forms of art that exceed the purely aesthetic, encouraging a movement from aesthetics towards ethics, life transformed by art and the art of living by transformation. His aim is to use aesthetics in order to visualize situations and try to change them.

These are multidisciplinary projects that are open for appropriation by the different participants involved. For example, that which is a piece of contemporary art for an artist, is, in the mind of a social worker, a community project, etc. As such, the artistic object transforms into a multifunctional object.

PISO PATERA: overcrowded apartment for immigrants

For this edition of MADRID ABIERTO the artist was interested in questioning a ‘piso patera’ as a space for people to live in and to establish an analogy between the human digestive system and the home as an organism that digests collective and personal memories.

After months of investigation and interviews Josep-Maria located Mouhamadou Bamba Diop, a Senegalese citizen who lives in an apartment in the neighborhood of Lavapiés, along with 16 fellow countrymen, all without legal documents. The artist asked them to reflect on their way of living in an overcrowded apartment (‘piso patera’) and, Bamba in particular, to tell the story of his life in Senegal, his journey to Spain on a small boat and the dream that all of them share of returning to their country in order to create a better future for the youth of Kayar (Bamba’s home town). The artist’s original intention of working on the apartment for immigrants materialized itself instead by offering a contract to Bamba in order for him to be part of the project and thus temporarily legalize his status in the country. MADRID ABIERTO 2010 will be the first phase of this proposal. In January Josep-Maria and Bamba traveled to Senegal to develop a socio-economic project in Kayar.

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.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10intc2798

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

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

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

    

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

05inme3680

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

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

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

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

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

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

 

 

 

 

 

 

08prtc1830

2008. Guillaume Ségur. WELCOME ON BOARD (location)

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

 

 

 

 

 

 

 

 

 

 

08intd2061

2009-2010. Adaptive Actions. AA CAMP-MADRID (2010.01 / technical data)

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.

 

 

 

 

 

 

 

 

 

 

 

 

09-10intb2658, 09-10inib3623

2009-2010. Iñaki Larrimbe. UNOFFICIAL TOURISM (published text)

 

With Unoficcial tourism, artist Iñaki Larrimbe seeks to customize a caravan and turn it into an `unofficial´tourist office. By locating it in the streets of Madrid, the aim is to inform foreign cultural consumers (tourists) by offeringmaps and guides containing alternative routes of exploration. Different to those delivered by the `official tourism´, these itineraries have been made by six people livingin Madrid, and who are related to its most alternative culture, its `underground´ or counterculture. Mauro Entrialgo and Adriana Herreros have created a guide to “Advertising neon signs”, Guillermo de Madrid has put together a route of “Urban Art”, Jimina Sabadu shows us public spaces where motion pictures wereshot; John Tones invites us to walk into various arcades and stores that have kept the old school game machines; Santi Otxoa delivers an itinerary to “One hundred year old taverns in Madrid” and the Todo por la praxis collective, encourages us to meet the unheard-of human fauna and urban flora in the neighbourhood of “Cañada Real”.

The Unoficcial tourism project aims to attach itself, through humble resources and with support of `do it yourself´ culture,inside those mechanisms created by cultural economic interests and tourism. In every way this is a parasitic type of activity that creates parallel structures to official versions byusing public spaces and infrastructures, and in this manner intend to create and spread different views and interpretations of Madrid. It involves the idea of transferring the format of a`fanzine´ transmission onto tourism by creating an `underground office´ with the help ofresources available to the ordinarycitizen: a caravan.

To sum up, Unoficcial tourism aims to be a project that responds and tends to the cultural entertainment necessities that, as suggested above, the new cultural policies based on socioeconomic criteria have generated. But Unoficcial tourism does not intend to raise a critical voice. The idea is to participate in reality from a nihilistic point of view. The reason for thisis that institutional critique todayis not possible. A virgin space does not exist, there is no non-institutional realm, which can serve as a basis to generate criticism.

This new project by Larrimbe carries on with the theme of cultural tourism, something he has already been dealing with in his latest productions. In a similar manneras last year, when the artist recreated a `hotel´ in a small private space in his home townVitoria, andwith scarse resources tried to fulfill the needs for accommodation that the Museums, art Centers and cultural venues have created locally Unoficcial tourism is the beginning of an `alternative tourist office´. As the critic Peio Aguirre states in his book Sauna finlandesa o descenso de barrancos “The figure of Larrimbe as a cultural agitator inside the cultural framework of the city situates him in a difficult position in order to assume the role of an artist supported by a representational legitimacy. He is conscious of this satellite position. If, as he himself notices, the critic has already been digested and the auto-sabotages can’t be taken any further, it seems to be a better choice to be playing the game of inscribing himself inside those mechanisms (as oil added to the machine) against which he daily fights. So, knowing the artistic position he holds, it seems to be a good option to try and interrogate, once again, about the nature of the critic and the limits of the institutionalized insides and outsides. Is it the same thing to do, to write a column in a newspaper analyzing the activity of cultural policies or to carry out a project where a whole device of communication and infrastructure is being represented?

Obviously it is not the same thing. However, the message is not too different. Does the caravan-device alibi reinforce or neutralize the critic? Does the content of the statement revolve against its own form of communication? How does having to contribute in any way to Larrimbe’s project affect the institutions?”

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10intc2782

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

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

 

       

       

      

        

        

        

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

 

 

 

 

 

 

 

05inme3679

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

 TREATMENT

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

THE REQUIRED PROFILES ARE

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

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

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

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

DISPLAY

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

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

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

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

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

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

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

TIME

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

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

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

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

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

 

 

 

 

 

 

08prtc1823, 08prtc1825

2008. Fernando Prats (Cv)

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

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

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

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

2005·    Affatus, Galería Joan Prats Artgrafic, Barcelona

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

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

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

2001·    Pathografías, Galería Animal, Santiago de Chile

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

1999·    Synaisthesis Substantiae, Galería Joan Prats Artgráfic, Barcelona

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

1996·    Recent work, Galería Antonio de Bartola, Barcelona

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

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

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

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

2006·    ARCO’06, Galería Joan Prats, Barcelona

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

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

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

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

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

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

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

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

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

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

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

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

2005·    Ideografía, The artist’s studio, Barcelona

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

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

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

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

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

GRANTS AND AWARDS2006·    Scholarship John Simon Guggenheim Memorial Foundation

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

1998·    Scholarship President of the Republic of Santiago de Chile

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

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

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

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

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

 

 

 

 

 

 

08prtb1784

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

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

 

 

 

 

 

 

 

 

 

 

 

 

08intd2060

2009-2010. Josep-María Martín. A DIGESTIVE HOUSE FOR LAVAPIÉS (2009.05 / fieldwork / Bamba´s trip)

 Ever since I was a very young child I had always thought of Europe as offering the best chance of being able to have a nice life. I would still like to believe this to be true, but the reality that my flatmates and I face everyday has, at least for the time being, rendered it almost impossible.

I honestly thought that I would find work I would like when I got to Spain, a position that might allow me to support my family and, above all, to be successful in life. The truth however, despite anything we might say, is that the future for an immigrant and particularly anyone ´without documents´, is very gloomy and difficult in every sense. Harsher and harsher laws are being passed; there seems no end to the continual arrival of immigrants brought in by sea in “pateras” and on top of all that there is a deepening economic crisis… I have now come to believe that it is not worth anymore abandoning your country of origin to come to Europe or risking your life in a “cayuco” for a chance to live in Spain.

I am one of those people who risked their lives to come to Spain. After six fruitless years of trying to get a visa, I decided to achieve my dreams no matter what the cost. There were a multitude of pateras leaving Senegal in the summer of 2006, so many that it would be hard to put a number on it. Those were strange times and it seemed as though absolutely everyone was going crazy trying to get a place on a patera and make it across to Europe. According to the Senegal media, the pateras picked up their passengers in fishing villages. The one I boarded left from Kayar, my mother's village. On the day concerned I left my house at 11 o'clock in the morning after lunch. My mother and brothers were not at home. They had left for a religious ceremony and my wife, my son and I had stayed behind. I was with one of my friends when I took leave of my wife and she asked me where I was going. “Just for a walk to the beach”, I said. Then my friend and I caught the bus to Kayar. The police were carrying out checks when we arrived at Kayar bus station at four in the afternoon. The Senegalese government had decided to mobilise police troops and put an end to the pateras phenomenon, so they were arresting anyone arriving in the village with a travel bag. We were lucky that day because we had no cases or anything else with us that might have made us look suspicious. My uncle had prepared a room ready for us at my grandparents´ residence whilst we waited for the departure time. The same uncle personally knew the head of the criminal gang who organised the trip. He was a man highly sought after by the police…… I never thought we might travel on that particular day. There is so much corruption in Africa that you can pretty much get whatever you want if you have enough money and in all probability the police officials were paid for each patera that actually left. The criminal gangs had the police completely under their control. We finally managed to leave at midnight. I decided beforehand to ring my wife and tell her the truth. I quickly told her that I was getting a patera bound for Spain, and never even gave her any time to reply in case, as she surely would have, she said something that might make me change my mind. I told her to pray for me and to take care of my son, and that I loved her so much. A small cayuco took us from the beach to the patera which sat five kilometres offshore. We were the first to get in. When we boarded they were not many people. There were two engines at the back, a quantity of large containers that must have contained fuel and water. Some planks of wood had been set out across the middle as benches and all the food was out. Our provisions comprised milk, biscuits, rice and sugar. One hour later the patera was completely full of people and you could not even place another foot on the floor. The highly illegal nature of the trip itself meant that being orderly was out of the question and the criminal gangs were just shoving people in as though we were goods in transit. When it got to the point that you just could not even have squeezed another fly onto the patera the captain, who was just a fisherman, decided it was time to leave. That was when the departure speech was given: “this trip is either going to Barça or Barzaq”. This literally meant we were on our way either to Barcelona or further beyond”, and if anyone was not of a mind to achieve that dream or was not prepared to die for it, then they should get off there and then. There was no turning back.” The moments following that talk were very emotional. Some people decided to abandon the boat because a lot of them had already started throwing up. Most people who have actually made the trip have in fact been the victims of false information fed to them by the criminal gangs. They had never been on a patera. So we left for Spain over Saturday night to Sunday 27 August 2006. The first night of our journey was peaceful and there was a full moon. The night was so silent. All you could hear was the noise of the engine and the patera as it slapped against the water. None of us said a thing. You would have thought that our souls had left our bodies. We could see the last lights of the village fading in the distance behind us. We were leaving our lives, our roots, our identity and everything we truly stood for behind. Most people could not eat a thing that night and many threw up so much, to the point of becoming ill and no one wanted to eat. It was crazy. We had just started to realise what we had done. The whole thing had only just begun. The following day, after having slept in a sitting position all night, our bodies ached all over. Some people started to have a temperature, others seemed to be about to faint. The captain and his crew tried to help those who could not cope any more. When midday came, the cook, who had cooked up the rice, handed out food to anyone who could still eat. There was nothing but water all around us, the sky and the sun. There was no way of knowing whether we were travelling towards the North, the South, the East or the West. The trip had ceased to hold any meaning for me, a journey towards sure death. The first four days continued in exactly the same manner until the weather changed. That was when we reached winter. The sea became horribly unpleasant and our patera started to take in water. It was getting so bad that I decided with a friend to organise ourselves into a group and reduce the amount of water. But each time we managed to bail out one lot of water it hardly seemed to make any difference. That was the point when we thought we would drown and most people started to cry. It is difficult to see an adult crying but they were quite right, the situation was desperate. We did not seem to be going anywhere, we were just surrounded by sea and the horizon meant nothing to us. I thought we had been tricked. It was crazy to think that a patera might make it all the way to Spain. All this drove some of my companions crazy and they started having hallucinations. They wanted to throw themselves overboard and some of them, at night, jumped into the sea. They did not intend to commit suicide but just thought they were still on land. They said they could hear their children or their mothers calling to them, waiting for them on the seabed. Some people's skin was peeling off due to the salt and they had deep wounds on their mouths, legs or faces. A lot of my traveling companions did not want to move around at all, not even to attend to their bodily functions and just stayed put, slumped in their own excrement. Others repeated verses from the Koran over and over again. None of this had any effect on any of the fishermen handling the patera. They were used to the sea. The last three days went on like that up until Friday afternoon when we saw some lights on the horizon. It looked as though we were either reaching land or maybe it was another ship…….. it was our salvation. At last we had found what we were seeking, just some dry land, that was all.

Saturday 2 September 2006. I reached Isla del Hierro. I had never seen an island that size. It was nine o'clock in the morning local time when our patera docked with 74 persons on board. We were all male and 9 of us were children. I had never seen so many white men and the smell they gave off made me feel sick. Most of them were wearing a red and white uniform, others were dressed in green and there were also those who had a dark blue colour uniform. They got us out of the cayuco, and sorted us out so they could count how many of us there were. Some of us were hardly able to walk. They took our clothes and gave us new ones. You could make out people in the distance leaning out of their windows and watching what I thought must have been an unusual scene for them.

A man in uniform, who must have been a policeman, stood in front of us and asked us: Do any of you speak Spanish? No one replied. He asked again but this time in French and no one answered again so he asked for a third time in English. After a few moments I decided to speak with him because there was nothing else I could do and, even though I was frightened, I said: “I speak Spanish”. The official, acting surprised, asked me the same question again and I gave him the same answer.

That was how I started my first job in Spain and became an interpreter.

After two days on the Isla de Hierro, we were moved to Tenerife to a reception centre called Las Raíces, which was in fact a military camp. The centre was divided into two parts: one part was for the military and the other for us. Our part was then further divided into two sections called Camp A and Camp B. I was in B, which was larger, nearly twice as big as A. There were 128 tents, two large shower areas, two enormous dining areas, over 20 toilets and the police tent. Each tent held 24 people and had 24 beds. It is easy to imagine the kind of people that were there. It was my job to organise distribution of breakfast, lunch and supper. I lined people up in queues according to which patera they had come in on. Each patera group had to march in two lines like soldiers towards the dining room. When it was your turn to eat the others had to wait standing up until the first people finished. So there was hardly enough time for the 3072 people to finish having breakfast when the lorry carrying lunch would appear, and the same happened again with supper. Whenever any problem arose I was expected to work and I worked without any breaks, without a timetable, and without any remuneration. I had to take about 40 people every morning out to get water from Camp A and take anyone who was sick over to the Red Cross, then clean the entire camp with a group of people hand-picked by the police and who were provided with food in exchange for the work that they did. Some of my work, therefore, also involved resolving fights that broke out between individuals, organising departures and arrivals, attending to people with material needs such as clothes, t-shirts, trousers, shoes, teeth cleaning and shaving materials, etc. That was my daily life in that centre for a period of almost three months.

The normal legally permitted length of time that a person should remain at such a reception centre is 40 days. When I had been there for the regulatory period I was asked to stay on by the Chief of Police in exchange for being provided with legal immigration status. I had not been expecting such a proposal. So I stayed on for another month and a half longer. By then I was not sleeping at the centre any more. An inspector would pick me up every afternoon and take me home, and that was where I lived during the time that I worked for free at the centre. We would get up at dawn to go to work and during the journey I was able, to some extent, to see how wonderful Tenerife was - it was a place of dreams. After they had managed to get me a preliminary contract, however, they said that they could not arrange for my legal status to be approved because this could not, by law, be done until three years had elapsed. That inspector told me I would be better off leaving because they would never fulfil their promises. I managed to get a plane ticket to Malaga through the Red Cross and left Tenerife. I arrived in Malaga at night and caught a bus to Almeria, where a cousin of mine lived.

Once I got to Almeria I found my cousin who had already been in Spain for two years. He picked me up at the Roquetas de Mar bus station. It was a Wednesday in the afternoon. My cousin lived in a suburb called the “suburb of 200 dwellings”. It is very well known because almost 95% of the people who live there are immigrants: Senegalese, Malian, Ghanaian, Nigerian, Moroccan and Romanian. My cousin was living in a two bedroom flat with a dining room occupied by six people, all of whom made their money by selling pirate CDs. After taking a day to get the lie of the land I went off to find work in the agricultural fields, but could not get anything because there were so many people that there was not enough work for everyone. So there was only one option open to me and that was to sell pirate CDs. You would sell these in the street markets that took place in various locations around Almeria. My cousin gave me a rucksack with more than 90 CDs and films and a blanket with strings attached which went on the ground. That kind of work is horrible and is nothing like a normal job because you are always on the lookout in case some police officer catches you and takes you off to the police station. To be honest, I was very ashamed of doing that work. I did not like the way I had to act and felt ridiculous grabbing the blanket and running between people, even though I managed to make a bit of money. A couple of weeks went by and then the day arrived when the police caught me with a car in which we were transporting films, pirate CDs and perfumes. My cousin decided to plead guilty and he was sentenced to eight months imprisonment and a three thousand euros fine. That left me all alone in Spain without any family or friends; I did not know anyone, had no-one to turn to, in a complete vacuum and having to pay for a bedroom every month that my cousin had rented opposite his, with a machine for recording CDs and DVDs, a load of fake copies and blank CDs. I shared that flat with two other people from Nigeria - one man that I did not know how he made his money and a woman with a young daughter who was most certainly a prostitute. After two days of chaos and confusion, trying to find a solicitor who would represent my cousin, I decided to push ahead and substitute my cousin in the CD business which had put him in prison. From then on I just spent my time recording and selling to the people who went out to the street market. I rented a car so I could go to Granada and buy the materials I needed – the blank cds, copies, plastic covers, etc.

Seven months went by and business became less and less profitable. I decided to move area. By now it was June 2007 and I shall never forget that month, just like October 2006 when I had received a phone call on the Tenerife beach ‘Playa de los Cristianos’ telling me that my wife had given birth to a son. She had been seven months pregnant when I left home. That day I was happy and sad at the same time but this time it was bad news: my father had just died. People die each day, all the time, without you realising, but it only has to be one of your close loved ones for you to understand how truly cruel death can be. I loved my father and I would very much have liked to have seen him again and to have spent the last days of his life with him. That man really meant everything to me, he was a reference point, he meant safety, all in all he was a father in every sense of the word. He suffered from an illness that affected his heart. After spending ten days in hospital he came home and then died after supper. It was a Tuesday. I have spoken to him that day on the phone, and when I think back I understand now why he said what he did… he gave a little talk on life, on how short it is. He told me I should always pray and do good deeds as if I might die the next day, but that I should also work and become accustomed to wherever I lived as though I was never going to die. That day I cried the whole night long. Whenever I pictured my two sons and my father in my head I would ask myself whether the life I lead is worth living, so far from home, from my people, from my loved ones. Those were truly the worst days of my life. I really thought about going home then but decided in the end to come to Madrid.

I arrived in Madrid one week after my father had died. There was a new opportunity waiting for me here as well. I arrived on a Friday at 6 o'clock in the morning at the Méndez Álvaro bus station and took a taxi to the suburb of Lavapiés where a childhood friend of mine was living, in Jesus and Mary street. What I found was something I could never have imagined, an apartment exactly like a patera boat. An apartment where loads of people lived. There were twelve people in this one and you were hard pushed to find a corner to sleep the night, a real hole of a place rented to my friend by a Bangladeshi for €1200 a month. This apartment had four bedrooms and a living room and, just like in Almeria, the people living there made their money by selling pirate CDs. The next day I grabbed my rucksack and went off to find some way I could get ahead. After spending some time on the Spanish national Renfe railway I got off at a town called Torrejón de Ardoz. I found people from Ecuador there carrying on the same illegal sales activities in a pedestrianised street near the main square. Truth be known, I did quite well there because I managed to make €50 in that place every afternoon. The higher the rise, however, the greater the fall. After I had been selling CDs for a month the local police arrested me together with a lad from Ecuador and I spent my first night ever in prison. I thought the world had come to halt that night because, after I had been put into the closed room and the iron doors banged shut, I lost all sense of time or what the weather was like, nothing about the world outside and this was a very painful experience for me. They took me to court the next day and the judge ruled on my case. My lawyer told me that I had to sign every month on the first and the 15th day of the month. I went back to my home quite crushed, so depressed that I did not want to hear any more about CDs. I lost the will to live. I could not face doing that work any more. Not a night went by without one of my companions at the apartment spending the night at the police station. I have never seen such high levels of security on the Madrid streets. It would appear now that just about everybody wearing sunglasses on the street is secret police. I just had to find something else to do, whatever it might be.

After doing nothing for a month, the people I was living with decided to change apartment and split up to different locations. We found a flat near Lavapiés Square, with three bedrooms and a living room. The owner was from Pakistan and he required someone with a residence permit to sign the contract and €3600 for the deposit. We gave him part of that money. The gentle man wrote down and acknowledged having received €1000 from us on a piece of paper and signed it with his National Identity Document. He kept one copy and he gave us the other one. However, when we asked him for our money back the following week because we had not been able to put together the remaining portion, that man refused to give it back to us because he said that the date of the preliminary contract had already expired. We argued with him and then the police arrived and the police officers told us that nothing could be done because the preliminary contract was actually not legal and that we did not have sufficient evidence to charge this man. The truth is that the first thing that you learn when you are here is that you cannot trust anybody, not even yourself. This man had stolen our money. We eventually put enough money together to get another apartment with two bedrooms in Lavapiés for €850 per month. There were six of us from the start. By now it was already August 2007.

One month later I managed to find a job at San Martín de la Vega in a scaffolding warehouse. I worked for seven months at that warehouse and received €50 a day for my efforts. I handed over €100 a Ghanaian gentleman for the use of his legal immigration status documents. You can work in this country using other people's legal documents because most white people think that all black people are the same and cannot tell us apart. I would get up every day at five o'clock in the morning to go to work but the truth is that in our apartment you cannot survive if you are working because there is always somebody new arriving and in the end there were 12 of us living in a two-bedroom apartment. My flatmates never slept at night and would argue about stupid things and speak in loud voices that could be heard from the street and in the end could not take it any more so I decided to move. I found a room for €300 in Torrejón de Ardoz which I shared with a fellow national, but seven months went by and then I ran out of work. That was April 2008 just when the economic crisis began. I went back to the same nightmare as before, exactly the same situation that I had been in at the beginning, seeking and not finding work. I hung on for three months but then I had to do something and went back to selling pirate CDs. This time I was selling them at the Legazpi Metro station but sure enough the day came when a security guard chased me to train carriage and wanted to get me out of there. He had not asked to see a ticket or any documents and told me to get out of the carriage. I refused because I had a ticket. After pushing me around for a few minutes he took out his safety baton and hit me twice until two people I did not know had to step in and help me defend myself from him. That night I went home very angry and I just did not know what to do. I went back to Legazpi station and asked that man's boss for an explanation, but when I got there the man did not even have his safety baton and he denied having hit me. I took my shirt off to show him the injuries he had caused me but those people did not want to know anything. They asked me to leave and stop bothering them. I decided to get back on the metro but those gentlemen escorted me out of the station. I decided to go to the police and report the matter, which still has not been ruled on.

I really miss my country, and especially my family, my mother, my two brothers, my two sons and my wife. She is a woman of natural beauty, an African lady. I am really fond of my wife, I love her, I adore her and I would give all the money in the world just to see her again. She is the only person that makes me feel human when I am at her side.

I feel like I have no family, I have nothing, because I never found what I came to Spain looking for and I doubt I ever will. I would really like the African political leaders to review their methods of government, because things just cannot go on like this. It is true that Africa has been the victim of three centuries of slavery, but that it is not a good enough excuse. We have to forge ahead, solutions must be found, we must work and stop deceiving people, stop robbing and put an end to the killing. Europe must also be made aware of what is happening in Africa and why it goes on. Perhaps the fault lies with all of us but we do not all suffer the consequences. The decisions are taken in Europe and the Earth in Africa cracks open.

Immigration is a good thing in one sense, but it must be said that not everybody who arrives from over there has the same opportunities and they certainly do not all have the same skills. It would be crazy to think that all Africa's young people might continue to come over to Europe.

Mouhamadou Bamba Diop

(December 2009 / this text was published in the Madird Abierto 2009-2012 book)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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2009-2010. Lisa Cheung. HUERT-O-BUS (published text)

 Huert-o-Bus is a travelling greenhouse, inviting local residents in Madrid to grow fresh vegetables and plants within the city centre. Huert-o-bus makes use of existing urban public spaces for communal gardens and local food growing.

Like a public city bus, Huert-o-bus will stop in different neighbourhoods and districts in designated plazas, carrying its `passengers´ of seeds and seedlings. Each site will be marked by a `bus stop´ that informs neighbours/visitors of the Huert-o-bus schedule and its activities.

Huert-o-bus will be equipped with required facilities in order to act as a greenhouse as well as a centre of activities. It will house a small library, gardening tools, seating and a kitchen. Neighbours are invited to use the greenhouse to cultivate seeds for their own gardens as well as for sharing plants, food and ideas.

Huert-o-Bus draws on the traditions of allotments in the UK and other European countries. Allotments were a necessity during the war years with food shortages and have recently enjoyed a resurgence due to the greater importance placed on organic and local food production coupled with rising food prices. Often times unwanted unusual spaces in urban centres were utilized for growing food because of their easy accessibility and availability; thus transforming “unused” land into communal spaces. Furthermore the allotment garden is often characterised by a strong community spirit, passionate individuals and a generous sharing of knowledge, work, and of course food!

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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

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

 

      

      

         

        

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

 

 

 

 

 

 

 

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2005. Óscar Lloveras. FAUBOUR BETUNE

2005. Óscar Lloveras. FAUBOUR BETUNE

 

         

         

FAUBOUR BETUNE

 

 

 

 

 

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

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

GENERAL INTRODUCTION

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

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

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

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

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

 

 

 

 

 

 

 

 

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

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

 

 

 

 

 

 

 

 

 

 

 

 

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2009-2010. Lisa Cheung. HUERTO-O-BUS (2010.01 / technical data / informative text)

 Welcome to the Huert-o-bus!

A ‘travelling’ greenhouse that will visit different neighbourhoods of Madrid from the 4th to the 28th of February.

We invite you to participate by planting a seed, taking care of the plants or doing some community activity or workshop… and most of all, to enjoy a green area in the city!

Huert-o-bus is a project by Lisa Cheung for MADRID ABIERTO 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”

 

 

 

 

 

 

 

 

 

 

 

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2009-2010. Laurence Bonvin. GHOSTOWN (published text)

 Ghostown is a photographic project about some of the new neighbourhoods in and around Madrid, mainly Seseña in the South and Valdeluz in the North. The series of photographs looks at the state of these places after the financial crisis severely hit Spain at the end of 2008, triggering the collapse of the real estate sector.

Constructions were either brutally suspended ¬- like in Valdeluz, an unfinished city planned for 30.000 where a mere 400 people live at the present time. Or, as in Seseña, left empty due to speculation as the large majority of owners never intend to live in this remote area and are now unable to sell their flats. Ghostown is a journey through the uncanny vacancy and observes the lifeless, melancholic state of these on-going construction sites.

During MADRID ABIERTO 2010 Ghostown will be showcased in different formats: as a free large format publication, as postcards as well as images published in the newspaper Público.

 

 

 

 

 

 

 

 

 

 

 

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

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

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

     

     

 

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

     

     

 

 

 

 

 

 

 

 

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

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

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

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

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

 

 

 

 

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

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

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

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

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

 

 

 

 

 

 

 

 

 

 

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

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

 

 

 

 

 

 

 

 

 

 

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2008. Guillaume Ségur (Cv)

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

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

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

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

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

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

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

2001·    Sichere freiheit, Lothringer13, Munich, Germany

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

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

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

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

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

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

 

 

 

 

 

 

 

 

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2009-2010. Josep-María Martín. A DIGESTIVE HOUSE FOR LAVAPIÉS (2009.05 / project review / technical data)

 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

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

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

 

       

       

       

          

         

         

 

 

 

 

 

 

 

 

 

05inie3676

2007. Mandla Reuter. TNEMTRAPA (technical data)

 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

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

 

Empty World

www.emptyworld.es

Workshops on Urban resistances,

gentrification and property speculation.

FEBRUARY-2008

Thursday 21, Friday 22 and Saturday 23.

Liquidación Total.

C/San Vicente Ferrer 23 Local 2

Metro Tribunal. Madrid.

 

Thursday 21.18:00 h-21:00 h.

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

Saturday 23.18:00 h-21:00 h.

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

Saturday 30.18:00 h-21:00 h.

Workshop Empty World. (Patio Maravillas) 

 

 

 

 

 

 

 

 

 

 

08intc2046

2009-2010. Josep-María Martín. A DIGESTIVE HOUSE FOR LAVAPIÉS (2009.05 / project review / theoretical data)

 

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

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

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

 

     

    

     

      

        

        

        

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

 

 

 

 

 

 

 

05inme3675

2007. Mandla Reuter. TNEMTRAPA (theoretical data)

 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

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

 EMPTY WORLD. Empty housing real state agency.

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

Empty housing, gentrification and speculation

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

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

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

Empty World

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

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

(October 2007)

 

 

 

 

 

 

 

 

 

 

08intb3549

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

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

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

 

Speculator.www.speculator.es

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

 

 

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

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

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

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

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

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

WORKSHOPS ON URBAN RESISTANCES, GENTRIFICATION AND PROPERTY SPECULATION

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

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

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

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

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

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

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

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

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

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

www.todoporlapraxis.com

www.emptyworld.es

www.speculator.es

 

 

 

 

 

 

 

 

 

 

08intc2044, 08intc2042

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

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

 

 

 

 

 

 

 

 

 

08intd2056

2008. Fernando Llanos (Cv)

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

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

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

“He is fantastic”. Guillermo Arriaga, Writer.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

1998·    VI VIART University Video Festival. Caracas, Venezuela

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

 

 

 

 

 

 

 

 

08prtb1782

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

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

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

       

       

          

          

 

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

       

       

          

          

 

 

 

 

 

 

 

 

 

 

 

05inme3674

2007. Dirk Vollenbroich. SHORT CIRCUIT (technical data)

 

 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

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

Todo por la Praxis: PROJECT LAB

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

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

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

EMPTY WORLD

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

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

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

Empty world in four movements. (Programme)

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

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

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

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

 (January 2008)

 

 

 

 

 

 

 

 

 

08intb3550

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

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

INFORMATION BULLETIN

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Madrid 2007

Signed: The representatives of the community

Mr. Mr.

Mr. Mr.

Mrs. Mrs.

 

Signed: New tenant.                                     Signed: Santiago Cirugeda. Architect

 

 

 

 

 

 

 

 

 

 

 

 

08intc2037, 08intc2035

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

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

 

 

 

 

 

 

 

 

 

 

 

08intd2055

2009-2010. Josep-María Martín. CASA DE LA NEGOCIACIÓN, 2003-2004

2009-2010. Josep-María Martín. CASA DE LA NEGOCIACIÓN, 2003-2004

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

* SEE THE ATTACHED PDF

 

 

 

 

 

 

 

 

 

 

 

 

09-10aama3395

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

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

 

   

    

      

     

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

 

 

 

 

 

 

 

 

05inme3672

2007. Dirk Vollenbroich. SHORT CIRCUIT (theoretical data)

 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

2007. Oswaldo Macià. CUANDO LOS PERROS LADRAN EL CAMELLO LOS IGNORA (location)

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

 

 

 

 

 

 

 

07intd1429

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

 TECHNICAL REQUIREMENTS

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

(January 2008)

 

 

 

 

 

 

 

 

 

 

 

08intb3548

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

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

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

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

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

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

 

 

 

 

 

 

 

 

 

 

08intc2018

2008. Anno Dijstra (Cv)

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

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

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

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

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

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

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

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

2001· Niggendijker, Groningen· Rebus, Alkmaar

2000· De Vest, Alkmaar

1998· Desolaat’ lokatie project, Alkmaar

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

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

2006 · MENS, Leuven

2004 · Nieuwe Domeinen, Amsterdam

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

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

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

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

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

1998· Provadja theater ‘Clone Control’, Alkmaar

PHURCHASES2005· Utopia aan particulieren

2002· ‘Kill your darlings’aan particulieren

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

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

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

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

 

 

 

 

08prtb1778

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

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

  

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

 

 

 

 

 

 

 

 

 

 

 

05inme3671

2007. Ben Frost. POLLINATING THE VERNACULUS (theoretical data)

 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

2007. [Nexus*] Art Group. PROYECTO_NEXUS (location)

 Banco de España and Serrano Metro Stations

 

 

 

 

 

 

07intd1428

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

 CALL: Guide for tapas in Usera

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

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

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

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

(October 2007) 

 

 

 

 

 

 

 

 

 

 

 

 

 

08intb3547

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

 No more no less

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

Most of my work emerges like this.

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

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

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

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

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

A personal problem, in fact.

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

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

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

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

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

 

 

 

 

 

 

 

 

 

08intc2015

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

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

 

    

       

           

     

     

   

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

 

 

 

 

 

 

 

 

 

05inme3670

2007. Alonso Gil + Francis Gomila. GUANTANAMERA (theoretical data)

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

2007. Alonso Gil + Francis Gomila. GUANTANAMERA (2006.12 / fieldwork)

 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

2007. Dora García. REZOS / PRAYERS (location)

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

 

 

 

 

 

 

 

 

07intd1427

2008. Fernando Prats. GRAN SUR (published text)

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

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

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

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

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

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

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

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

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

Fernando PratsBarcelona, 2007

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

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

Justo Pastor MelladoArt critic, Santiago de ChileNovember of 2007.

 

 

 

 

 

 

 

 

 

 

08intc2009

2008. Dier + Noaz (Cv)

WORK EXPOSED IN MADRID ABIERTO: Estado de excepción

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

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

 

 

 

 

 

 

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

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

 

  

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

 

    

   

    

   

    

       

       

 

 

 

 

 

 

 

 

05inme3669

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

  TECHINCAL DETAILS OF THE READYMADE KIOSK

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

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

INSTALLATION REQUIREMENTS

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

FLAMING STAR DISCO TRANSFORMATION

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

 

 

 

 

 

07prtc3486

2007. Johanna Billing. YOU DON´T LOVE ME YET (theoretical data)

  

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

2007. Anikka Ström. THE MISSED CONCERT (location)

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

 

 

 

 

 

 

 

07intd1426

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

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

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

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

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

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

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

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

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

 

 

 

 

 

 

 

 

08intc2005

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

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

  

    

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

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

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

 

 

 

 

 

 

 

 

 

 

 

08inme1854

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

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

 

DID YOU LEAVE MADRID MORE THAN TEN YEARS AGO?

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

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

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

                    WE EXPECT YOUR ANSWER WITH GREAT ANTICIPATION!

Anne Lorenz    &   Rebekka Reich               Artistas (Allemagne)

 

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

QUESTIONNAIRE

Hello XXX (person’s name or nickname)

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

Please, think on each question before answering: 

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

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

123

 

Hugs and kisses from Zürich and thanks for collaborating,

Anne & Rebakka

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

 

(October 2004)

 

 

 

 

 

 

 

05intb3456, 05intb3455

2005. Susan Phillipsz. FOLLOW ME (location)

Paseo de Recoletos, central Boulevard, 11-23H  

 

 

 

 

 

 

 

07intd1425

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

[vi video] Mobile Videointerventions in specific urban contexts.

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

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

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

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

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

www.fllanos.com/vi_video

 

 

 

 

 

 

 

 

 

 

 

 

08intc2000

2008. Annamarie Ho + Inmi Lee (Cv)

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

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

WORK EXPOSED IN MADRID ABIERTO: LA GUERRA ES NUESTRA

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

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

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

 

 

 

 

 

 

 

 

08prtb1774, 08prtb1776

2007. Dirk Vollenbroich. LUFTHANSA. Light, 2004 (press)

2007. Dirk Vollenbroich. LUFTHANSA. Light, 2004 (press)

LUFTHANSA. Light, 2004 Lufthansa headquarter Cologne

 

 

 

 

 

 

 

 

 

 

 

 

 

07inme1298

2008. Anno Dijstra. FRESH FRUIT FOR THE PEOPLE, 2006

2008. Anno Dijstra. FRESH FRUIT FOR THE PEOPLE, 2006

 

FRESH FRUIT FOR THE PEOPLE, 2006Streched limousine _ fruit 2 hours

 

 

 

 

 

 

 

 

 

 

08inme1853

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

 INTRODUCTION

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

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

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

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

BACKGROUND

Hangueando(*) –Periódico con Patas.

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

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

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

So far, the following posters have been published:

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

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

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

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

PROPOSAL

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

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

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

CONCLUSION

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

 

(May 2005)

 

 

 

 

 

 

 

05intb0503

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

 

PRECEDENTS OF PROJECT

DISCOTECA FLAMING STAR

Since 1998 the Discoteca Flaming Star has been staging performances-collaborations with other artists in different artistic contexts. In the last few years, the production of audiovisual projects associated with the performative experience has been on the increase. The group has produced banners or backdrops, carpets, collages, audio projects and video works.

The project proposed here seeks to give a sculptural-physical dimension of a public nature to the search for the group. A search carried out in the fields of spontaneous song expression, understood as an individual response to/in specific historical moments and, through it, investigating methods of organic acting and interpreting in contrast with the global imperatives of the entertainment industry. www.discotecaflamingstar.co

 

BASES OF REFLECTION AND INSPIRATION FOR DEVELOPING THIS PROJECT

THE HUTS OF THE NEW AND SECOND-HAND BOOK FAIR

Since 1925, 30 bookshop-huts have been placed in the Cuesta de Moyano. While small, therefore of a picturesque nature- the outdoor structures are associated with forms of informal economy which, except in their illegal street vendor version, are outside the areas demarcated by the project Madrid Abierto.

Currently, the huts are temporarily situated in Paseo del Prado until they are relocated to the remodelled Cuesta de Moyano – which will become pedestrian- in 2007. We find the issues inherent in this change especially interesting: To what extent and how does culture, as an event, affect urban planning and real estate interests? Will the new ‘Cuesta’ pose a change to the content of the huts?

DESCRIPTION AND GOALS OF THE PROJECT

Creation of a sculpture-stand of similar size and structure as the book stands in Cuesta de Moyano. The sculpture, located near the stands, contains an audio element inside.

The Flaming Star disco will modify and indicate the kiosk-stand-book store so that it seems damaged, strange, abandoned, exposed – externally – to vandalism.

Thanks to the audio equipment – story + music for about 15 minutes – emphasizes the mysterious character of the sculpture-stand. (The audio content will be chosen after researching in the realm of literature and history of the area in which the book stands are (were) located). ---this element gives us an ample margin to explicitly introduce questions of literalness, (i)rationality, passion, dialogue, walks, public context and collective expression through cultural products, enabling us to integrate reflections on the diversity of relations between different ideological and cultural projects of a city.

If the weather conditions are favourable the Flaming Star Disco would like to use its interior for performance activities by “opening the kiosk”.

 

PERSONAL JUSTIFICATION

RELEVANCE OF THE PROJECT

Apart from the points mentioned above, we believe our proposal adds an element of artistic deliberation during the ARCO Contemporary Art Fair. As the book stands are also some type of fair – not only in its structure, but also in defining itself new and second-hand book fair -, they offer a subject to reflect on in which the Flaming Star Disco has been active since its foundation; a reflection on the qualities and relevance of contemporary artistic activity and investigation, and questioning of forms of interaction with the audience.

INSIDE THE ARTISTIC DEVELOPMENT OF THE FLAMING STAR DISCO

In previous occasions we have done projects that have put us in contact with a public that is not specifically into art: performances in clubs and in the village square of Viandar de la Vera. But the opportunity offered by Madrid Abierto enables us to investigate on a rapprochement with the public of passers-by, based on an audiovisual project similar to a performance.

 

 

 

 

07prtc3487

2007. Mandla Reuter. PICTURES (location)

C/ Antonio Acuña, 18 7º Dcha. February 8,15 and 22: 19 H 

 

 

 

 

 

 

 

 

 

07intd1424

2008. Anno Dijstra. PROPOSAL NR. 19 + GIFT (published text)

 Obliged seeing

A witness of the famine in Ethiopia in 1984, 14 years old, I was watching television at home.

A memory of a scene seen on television. An image with which I am not directly related to, immaterial, elusive, without a location, floating through the air. I can’t go back to the place where the drama happened. The television in my living room is the location where it happened, but the television shows already other images and there is nothing in my living room that refers to the drama.

How free is watching without engaging? In other words, can a witness become guilty because of what he sees?

Dislocating

For Madrid Abierto I want to research a new angle of the reconstruction/proposal by investigating misplacement. The misplacement caused by the media. In this context, a well known media icon is moved outside his original context, from the television/internet of our living room to the public space. From the flat public space (tv) to the three-dimensional public space. By the conflict erasing from the misplacement, (I know this image, but what has it to do with this place?) the new situation reveals the viewer’s absurd position, the absurd situation of being witness in the global media age.

 

 

 

 

 

 

 

08intc1983

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

 INVESTIGATIONS: FAMILIES

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

**

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

**

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

**

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

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

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

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

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

**

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

**

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

**

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

**

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

**

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

**

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

**

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

**

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

**

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

**

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

**

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

**

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

**

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

**

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

**

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

**

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

**

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

**

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

**

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

**

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

**

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

**

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

**

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

**

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

**

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

**

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

**

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

**

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

**

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

**

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

**

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

**

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

**

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

**

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

**

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

**

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

**

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

**

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

**

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

**

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

**

(January)

 

 

 

 

 

 

 

 

 

05intb3453

2007. Leopold Kessler. ALARM BIKE (location)

Círculo de Bellas Artes. From Monday to Saturday, 10:00 to 21:00 hours.

 

 

 

 

 

 

 

07intd1423

2008. Dier + Noaz. ESTADO DE EXCEPCIÓN (published text)

 Throughout Europe and the rest of the world, the most conservative political tendencies are re-emerging as part of an attempt to provide answers to a complex world through increasingly simple solutions.

According to the European Forum For Urban Safety, Spain is the European country with more police officers per inhabitant, with 486 for every 100.000 inhabitants. Spain also has the highest rate of prison inmates in Europe, 140 for every 100.000 inhabitants, according to the General Directorate for Penitentiary Institutions (June 2006).

Although the crime figures have not experienced a relevant increase, we are constantly faced with news of local authorities demanding tougher sanctions and more police officers. This request is a constant factor in Madrid, no doubt, to respond to an increasingly frightened society.

To what extent can security and fear be transmitted at the same time? The Paseo de Recoletos is a perfect place to reflect on this, given that, as a result of tourism, it is one of the safest places in Madrid.

We seek to generate a sensation of a maximum security response against an unknown threat by installing a (fake) military check point with signs warning people to be on the alert.

We hope that this initiative will encourage the public, regardless of their political ideology, to reflect on the deterioration that our environment may suffer as a result of an escalation of violence and security.

 

 

 

 

 

 

 

 

08intc1979

2008. Andreas Templin (Cv)

GUNZENHAUSEN, DEUTSCHLAND, 1975 LIVES AND WORKS IN BERLIN WWW.ANDREAS-TEMPLIN.BLOGSPOT.COMWEBSITE PROJECT MADRID ABIERTO: WW.WORLDENDSTODAY.WORDPRESS.COMWORK EXPOSED IN MADRID ABIERTO: HELL IS COMING/WORLD ENDS TODAY

WORK STATEMENTMy work is often built around mainstream idioms- formally, visually and contextually. It is acting from a post-productive atmosphere of art-production and attempts on impulsive use of wide ranging styles and gestures. Taking a creative-direction approach which implements all media and ways of expression (by principle) and is rather guided by a critical idea-based process with a rhetorical ending embedded in the finished artwork/ exhibition seems to me very interesting. It is, from a formal point of view in some tradition with conceptual art, but is also nurtured from “the idea of the perfect surface” as well as irony and humor becoming weapons in the artistic process. I am trying in my work to grasp into the domains of schizoidity, doubleness and irrationality, the shuffles and interplays these domains are able to stage, accompanied by a doubtfulness about methods and approaches that attempt to be very canonical by means of formal or contextual issues. In traditional means, the rhetorical issues have come to a dissociative end as we all know and experience. That, for instance there is always the possibility to swap sides by means of interpreting and re-interpreting facts in a discourse is a strange development. This is of course influencing the discourse happening in the visual arts as well. As I do not see the necessity for a work of art to take sides I “treat the content democrati-cally: there is a matter of interpretation, but the implemented domains are not being directed to a certain outcome - to reformulate issues from and out of an artistic viewpoint in the sense of a democratic blueprint is my foremost intention.

EDUCATION1997-99  ·    Study of Visual Art, Department of Free Direction, Gerrit Rietveld Academy  Amsterdam, The Netherlands 2006-8 ·    Sandberg Institute, Amsterdam, The Netherlands

EXHIBITIONS (selection)2008·    Evolution de l‘Art, groupshow, on immaterial art. Het Blauwe Huis, Amsterdam, The Netherlands·    Olympic OneMinutes, Today Art Museum, Bejijn, China·    Viewing CLub Nice, compiled by Andreas Templin, organized in cooperation with Heike Kelter and Axel Huber·    A couple of texts and critical wrinting (details on request)

2007·    Don't cry- Work!, Dublin, Republic of Ireland. Curated by Padraic Moore www.padraicmoore.4t.com ·    One & the other painting, W129/basement, Amsterdam, The Netherlands. Curated by Tim Chen Chuanxi·    De Ontdekking van de Traagheid, KW 14‘s Hertogenbosch, The Netherlands·    Rotterdam Architecture Biennale, Rotterdam, The Netherlands·    EGOART-prize, BASTART gallery, Bratislava, Slovakia·    Synch-Festival Athens, Greece www.synch.rg    ·    Mobile Institute, Brussels, Belgium·    Dertien Hectare Weiland, Heeswijk, The Netherlands www.dertienhectare.nl for details new text of Andreas Templin titled “Embedded Art” will be published with TEXT-REVUE, Berlin, Germany·    Group exhibition at Chinese- European artcenter Xiamen, China·    Preview Berlin, represented by Curators without borders Berlin, Germany·    “C.A.R.L. Center for the Advancement of Recreation and Leisure“, Eric van Robertson‘s soloshow,  W139 Amsterdam, guest-artist: Andreas Templin

2006 ·    VC “Viewing Club”, London, GB·    Schwarzwaldinstitut, an interdisciplinary project night curated by Martin G. Schmid, Ballhaus Ost theatre, Berlin, Germany·    Andreas Templin plays Bach presented by maksverlag/München, evenings held in Stuttgart and Tübingen·    Luminale 06, Frankfurt, Main Germany, in cooperation with LIC Hamburg and Heinrich Fiedeler Wiesbaden·    Andreas Templin, selected videoworks, 00130gallery, Helsinki Video Library, Helsinki, Finland 00130gallery-video-art.blogs.fi·    PixelDance Festival, Thessaloniki, Greece www.pixeldance.gr·    crashed satellite,  winner of Concours Belluard Bollwerk International, ·    Fribourg CH, with the kind support of the Fondation Nestlé pour l’Art and Canton Fribourg www.belluard.ch·    Viewing Club 6 Berlin, Lovelite, Berlin, Germany www.viewingclub.org·    Festival Summertime, Lyon, France www.asso-summertime.com·    PARKGEWUSEL, Machfeld, International Arts and Culture Society, Venna, Austria www.machfeld.net/studio/parkgewusel·    European Biennale of Contemporary Art, Nimes, France, www.lemanif.org·    Fair play video-price. Play gallery for still and motion pictures, Berlin, Germany www.pushthebuttonplay.com·    Crashed satellite, Kunsthalle Interazioni, Locarno, CH, on the occasion of the International Film Festival www.interazioni.ch·    Impakt Festival Utrecht, Centraal Museum Utrecht, NL www.impakt.nl·    solo-presentation on the occasion of Artforum, Berlin, Germany www.victoriabar.de·    VC 8, in cooperation with Kunstverein Bonn, Germany, details www.bonner-kunstverein.de·    Andreas Templin wins international competition for the realisation of a land-art piece combined with a residency at Paradise International Art Center Iran, In cooperation with Museum of Contemporary Art Teheran www.wwwebart.com/riverart/paradise (on hold)·    Dogville, Helsinki City Town Hall Gallery, Helsinki, Fi. Curated by 00130 gallery·    Fringe Shanghai www.fringeshanghai.com·    Andreas Templin in residence at Pilotprojekt Gropiusstadt, Berlin, Germany www.pilotprojekt-gropiusstadt.de·    TheOneMinutes Festival, Ketelhuis Amsterdam, The Netherlands www.theoneminutes.org·    “Viewing Club 9”, Secession Wichtelgasse, Vienna, Austria·    Benfit-auction for Ballhaus-Ost, Kunsthaus Lempertz Berlin, preview exhibition ·    at Lempertz Berlin www.ballhaus-ost.de, www.lempertz.com

2005·    Jianghu Mobile Video, Kumming, Yunnan Province, China www.lijiangstudio.org ·    Monument for Donatella Versace and the 20th Century on visit in the 21st on show at ·    Version >05 "Invincible Desire" and in conjunction with "Art in the Park/Art Chicago", Chicago, USA www.versionfest.com·    Screening of videoworks, Artists Television Access, San Fransisco, USA www.atasite.org·    Stormscene, an installative work for the public space comissioned by the City Council of Nuremberg, Germany·    ASSO Summertime, Lyon, France www.asso-summertime.com·    Rencontres Internationales de la Photographie, Arles, France ·    Bayennale, Bay Area International  Exhibition, San Fransisco, USA www.bayennale.com·    MAGISTRALE, Berlin, Germany www.magistrale-kulturnacht.de·    Safia Dickersbach (pr-director artfacts.net) presents Andreas Templins Monument for Donatella Versace, Berlin, Germany·    FIELD OF VISION: EXTREMES, Institute for New Media, Frankfurt, Main, Germany·    Artists at Viewing Club, an international groupshow with emerging and established ·    artists, London, GB www.viewingclub.org·    RE-ESCAPE, an international groupshow with emerging and established ·    artists, Hamburg, Germany www.re-escape.com

2004·    Peace team, Atelier asphyxia/ juliettes literatursalon Berlin (single)

2003·    Junge Kunst, Kunstverein Trier (group/website)

2002·    Rush, Wiensowski&Harbord, Berlin (single)·    A Haunted House of Art, Outline-Institute Amsterdam, on invitation of Gabriel Lester (group/ website)·    Junge Kunst 2002, Wilhelm-Hack Museum Ludwigshafen (group/catalogue)·    Kunstraum Günter Braunsberg, Fürth, curated by Günter Braunsberg, Neues Museum Nürnberg (single/ website)

2001·    Prix Nouvelles Images, Galerie Nouvelle Images, Den Haag, (group, on invitation of Jonas Ohlson)·    Reich und berühmt -festival, Podewil Berlin, former Staatsbank of GDR (group/catalogue)·    Visions on the day of German Reunion, participation in competition·    Landesverband Berliner Galerien e.V/ Partner für Berlin (group/ auction Ketterer)

2000·    Exhibition-project M.A.I.S. (www.mais-de.de) Cologne (group/website)

1999·    Swimming tapes, videoart- broadcast PARK4DTV (www.park.nl) Amsterdam, Ber-lin, Rotterdam

1998·    Gruesse aus dem Fernsehland, gallery berlintokyo Berlin (single)

GRANTS, PRICES AND RESIDENTS2007 ·    Winner EGOART-prize 2006, Bratislava/SLO

2006 ·    Winner Concours Belluard Bollwerk International, Fribourg, CH·    Winner international competition for the realisation of a land-art piece combined with a residency at Paradise International Art Center Iran, In cooperation with Museum of Contemporary Art Teheran ·    Residency at Pilotprojekt Gropiusstadt, Berlin, Germany

2005·    Travel-grant, Version Festival Chicago/USA, Senate of the City Berlin

ACTIVITIES/ PUBLICATIONS/ RECENSIONS2007 ·    Guest-docent at Post-St.Joost Academie, s‘Hertogensbosch·    Exhibition catalogue “Don‘t Cry- Work!“ with an essay by Padraic Moore yearbook Pilotprojekt Gropiusstadt, with a text by Andreas Templin·    Catalogue synch festival Athens, with a text by Alexandra Landre·    Docent for OneMinutes Foundation at European Youth Meeting Berlin·    “Andreas Templin wins EGOART-prize“, Slovak Spectator, June

2006·    Docent for UNICEF, workshop in Ruhr-area of Germany·    Berlin Art Info, magazine for contemporaray art Berlin November, “Heißer Herbst“ by Christian Anslinger·    “crashed satellite“, La Liberté, CH, Freiburger Nachrichten, “Der Bund“, June·    “If you die in your dreams your life will be free of worries“, Adnoten zu Arbeiten Andreas Templins, published on the occasion of Kunsthalle Interazioni Locarno·    European Biennale of Contemporary Art (catalogue+ CD-ROM)

2005·    “second – hand experience”, Dr. Andreas L. Hofbauer, complementary publication to stormscene, Cultural Council of the City of Nuremberg·    “Monument for Donatella Versace”, Chicago Reader, Chicago USA, Lumpen, Chicago·    “stormscene”, Nürnberger Nachrichten, May;  Bild, May; Woman, July; Sergej, May; Plärrer, May

2004·    “Endless downloads into the wooden lab“ Andrew Cannon, curator Mr Cannon Pro-jekts Berlin

2003·    Andreas Templins digitales Werk, Dr. Paolo Sanvito, art-historian and curator Rome; Berlin, Virtual Library www.vl-museen.de·    Featured artworks, magazine ph, issue 2, Russian National Center of Contemporary Art, Kaliningrad, Russian Federation

2002·    “Tagestipp”, cultural pages, Der Tagesspiegel, Berlin, February ·    Rheinpfalz; Saarbrücker Zeitung; Leo; September·    Brigitte Werneburg for die Tageszeitung, Berlin, February ·    Günter Braunsberg, art-historian MA, Neues Museum Nürnberg ·    Catalogue Junge Kunst 2002, Wilhelm-Hack Museum Ludwigshafen

1999-2000·    Lectures on contemporary culture, free docent, Filosofisch Fakultaeit in collaboration with Robin Brouwer, University of Amsterdam

1998-99·    Development and realisation of contemporary art- and exhibition project  bUG·    (www.dds.nl/bugsite) in cooperation with Sonja Beijering und Sebastiaan Duong

1998·    Development and realisation of nomadic dialogues (serie of interdisciplinary dialogues on contemporary culture) in cooperation with HTV de Yjsberg, University of Amsterdam and S. Beijering, Amsterdam

 

 

 

 

 

 

 

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

 

INVESTIGATIONS: ANNIVERSARIES 

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

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

***

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

***

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

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

***

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

***

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

***

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

***

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

***

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

- Geoffrey Jackson, English ambassador is kidnapped in Montevideo.

***

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

***

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

***

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

***

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

***

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

***

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

***

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

***

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

***

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

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

***

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

***

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

***

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

***

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

***

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

***

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

***

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

***

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

***

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

***

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

***

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

***

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

***

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

***

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

***

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

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

***

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

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

***

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

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

***

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

***

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

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

***

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

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

***

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

***

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

***

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

- An earthquake in Los Angeles kills 57 people.

***

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

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

***

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

***

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

***

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

***

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

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

***

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

***

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

***

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

***

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

***

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

***

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

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

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

***

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

***

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

***

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

***

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

***

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

***

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

***

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

***

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

***

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

***

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

***

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

***

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

***

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

*** 

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

***

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

***

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

***

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

***

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

***

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

***

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

***

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

***

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

***

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

***

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

***

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

***

(January 2005)

 

 

 

 

 

 

05intb3452  

2006. Wilfredo Prieto. OUROBOROS (theoretical data)

 DESCRIPTION

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

PROCESS

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

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

DISCOURSE

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

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

 

 

 

 

06prtc3484

2008. Anno Dijstra. DISLOCATIONS

2008. Anno Dijstra. DISLOCATIONS

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

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

 

PROPOSAL Nr 17, 2007Site specific160x110x60cm _ polyester/cement

 

 

VOORSTEL 22, 2009Locatie projectSite Specific 130 x 80 cm _brons

 

RECONSTRUCTION – PROPOSAL NR 7, 2005Trinity site, Where the worlds first nuclear divice was exploded on july 16 1945 380 x 90 x 90 _ plaster and woodThe work was made on the location, the citzens could see me work

 

 

 

 

 

 

 

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2009-2010. Gustavo Romano. PSYCHOECONOMY! (published text / Madrid Abierto 2009-2012 book)

2009-2010. Gustavo Romano. PSYCHOECONOMY! (published text / Madrid Abierto 2009-2012 book)

PSYCHOECONOMY!Corporate Summit 2010 

INTRODUCTION

 Psychoeconomy is a platform for discussion and artistic research that suggests an alternative approach on different subjects of global interest, exploiting the specificities in thought and diffusion that the realm of art creates. Among other actions, it promotes the Corporate Summits, which consist of annual forums formed by entities which have been created by artists (for example, banks, technological companies, and even micro-nations).

Psychoeconomy would like to revise the modes of citizen participation on a global scale, in the resolution of conflicts from which they are mainly excluded by not being able to make decisions although later being subject to their consequences. 

 

CORPORATE SUMMIT MADRID 2010

 Fort the first edition it was proposed the organization of a meeting in order to discuss the international financial crisis and prevailing monetary exchange systems among artists who deal with the issue of the economy in their work through the tactical use of the media, the appropriation of corporate strategies or irony.  Banks, technology companies and even micro-nations are just a few examples of the corporations (some fictitious, and others not), created by the artists invited.

The main objective of the meeting was to elaborate a document as a declaration regarding the current state of the crisis. This declaration along other proposals by each “corporation”, were compiled in a publication. The version on paper was presented during the Sevilla 2011 Corporate Summit, while its digital version can be downloaded free of charge from Psychoeconomy’s website.

Taking full advantage of the singular arena for reflection and distribution created by the art field, the meeting attempted to generate dialogue between the participating artists’ projects, which entail propositions that deal with deconstructing everyday practices, social order, individual routine and the routine pertaining to areas of personal interaction and exchange along with their protocols.  This means questioning technological media’s promise of democracy and equality as well as a critique of the will to control that lies concealed beneath their ostensible transparency.

CONTENIDOS DE LA PUBLICACIÓN

The Madrid Declaration.Participating corporations.FUQ: Frequently Unanswered Questions.Psychoeconomy Blog.Advance Sevilla 2011

 

PARTICIPANS

Daniel García Andújar Barcelona Technologies To The People

 With the confirmation that new information and communication technologies transform our everyday experience as his point of departure, Daniel G. Andújar creates a fictional piece (Technologies To The People, 1996) with the aim of making us conscious of the reality that surrounds us and of the deception of certain promises of free choice that inexcusably are converted into new forms of control and injustice.

He is an historical member of irational.org (a point of reference internationally in net art) and the creator of numerous internet projects, such as art-net-dortmund, e-barcelona.org, e-valencia.org, e-seoul.org, e-wac.org, e-sevilla.org, etc. He is participating in the 2009 Venice Biennial in the Catalunyan pavilion.    artiendo de la constatación de que las nuevas tecnologías de la información y la comunicación transforman nuestra experiencia cotidiana, Daniel G. Andújar crea una ficción (Technologies To The People, 1996) con el objetivo de hacernos tomar conciencia de la realidad que nos rodea y del engaño de unas promesas de libre elección que se convierten, irremisiblemente, en nuevas formas de control y desigualdad.

http://www.irational.org/tttp/primera.html www.danielandujar.org

 

Fran Ilich Tijuana Space Bank

True to its slogan, “purify your money”, the Space Bank offers a set of innovative and revolutionary ideas applied to banking, speculation and investments according to the catchphrase of helping you to reach your objectives without harming others.  Among the services they offer are investments in the commodities market by way of Zapatista coffee or corn, or financing art, literary and tactical media projects. 

Fran Ilich is a writer, media artist and digital activist.  He has participated in numerous international events.  Among his projects figure Borderhack, an art camp located on the border between Tijuana and San Diego, and Possible Worlds, an autonomous cooperative server launched on the occasion of the Zapatista Army’s Sixth Declaration of the Lacandona Jungle.

http://spacebank.org/ http://sabotage.tv/ 

 

Gustavo Romano Buenos Aires - Madrid Time Notes / Promoter of the 2010 Summit

The Time Notes project comprises a series of actions carried out in public spaces utilizing a monetary system based on units of time (bills of 1 year, 60 minutes, etc.).  Following an initial action developed and launched in Berlin in 2004, offices have been set up in Singapore, Rostock, Vigo, Buenos Aires and Mexico City, soon to be joined by Madrid and Munich.  One of the services provided is the Reintegration of Time Lost, which is offered as a place for the reception and classification of time ceded on a voluntary basis, under pressure or for arbitrary reasons.

Gustavo Romano is a Buenos Aires-born contemporary artist who works in a variety of media including installations, actions, net art, video and photography.  Many of his projects are presented in various stages of preparation, at times even cross-branching into new projects.  He uses media and technology devices as well as objects that pertain to our everyday life, decontextualizing them in an attempt to oblige us to rethink our familiar routines and preconceived notions. 

He was awarded the Guggenheim Fellowship in 2006. Lives and works in Madrid. 

www.timenoteshouse.org www.gustavoromano.com.ar 

 

Georg Zoche Munich Transnational Republic

The Transnational Republic is a group of artists working to construct the first Transnational Republic, where citizens are defined by the similarity of their beliefs and feelings. The new republic will represent its citizens on a civil level, for the first time not succumbing to national interests but rather concentrating on global concerns.

Founded in 1996 in Munich, Germany, byGeorg and Jakob Zoche, it has grown to include more than 4,700 citizens as of June 2009, and has been represented at international conferences and meetings throughout Europe, Asia, South America, and Australia. The Transnational Republic’s currency is the "payola", emitted by the Central Bank of the United Transnational Republics.

http://www.transnationalrepublic.org/

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10intc3695

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

 INVESTIGATIONS: CULTURE

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

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

**

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

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

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

**

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

**

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

**

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

**

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

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

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

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

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

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

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

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

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

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

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In Meridiano magazine Renato Manzoni reviews the “Masters of Italian Modern Art” exhibition, that took place in the Vicereine Palacae. It had works by Modigliani, De Chirico, Morandi, Bonichi, De Pissis, Mario Marini, Giacomo Manzoni, Arturo Martini and futurists Boccioni, Carrá, Russolo, Balla and Severini.

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Coinciding with the Day of the stamp, a series is released commemorating Ignacio Zuloaga’s birth.

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The Fine Arts’General Management acquires pieces by Rafael García Gómez, Eduardo Maldonado, Amadeo Gabino, Luis Feito and Amador Rodríguez, for more than two and a half million pesetas. These pieces are destined to be shown in the Spanish Museum of Modern Art.

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Venancio Sánchez Marín in his “Chronicle of Madrid”, published in the January-February issue of Goya magazine states that: “.. what quantitatively characterizes the type of art that comes through Madrid is the diversity that’s hard to classify. Diversity based on the artist’s personality more than any tendentious affiliation. From a statistic point of view the information is relevant, because it indicates to what extent personal expression is valued above proposals of programmed art.”

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Vázquez Díaz’s disciples offer a tribute to their master in the Tartessos gallery. Others will participate: Botí, Caballero, Canogar, Clavo, Díaz Caneja, Granado Valdés, Martano, Morales, Olasagasti, Pascual de Lara, Rives, Santos Viana, Vallejo de Urrutia, Vázquez Aggerholm, Vera and Zelaya.

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The Urbis Club in Madrid organizes a collective tribute to D’Ors. They show works by Manolo Hugué, Federico Marés, José Planes, Llorens Artiga, Solana, Vázquez Díaz, Juan de Echevarría, Cossio, Palencia, Ortega, Muñoz, Zabaleta, Lozano, Villá, Vaquero, Álvaro Delgado, Martínez Novillo, Agustín Redondela, Perceval, Caballero, Baeza, Brotat, Tapies, Guinovart, Mampaso, Millares, Aguiar, Rafael Benet, Gómez Cano, Luis Cañadas, Pedro Pruna, Romero Escasi, Sunyer, Uranga, Eduardo Vicente.

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The Hispanic Cultura Institute, with the Argentinian group Generative Art and with the title “Space and Vibration” show pieces by Ari Brizzi, Jorge Edgardo Lezama, Carlos Silva, Rogelio Polesello, Mario Martorell and Adolfo Estrada.

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MEAC organizes a collective exhibit called “Testimony 70” with works by García Ramos, José María Iglresias, José Navarro, Enrique Salamanca, Eduardo Sanz, José María Iturralde, José Luis Fajardo, Martín de Vidales, Ceferino Moreno, Yraola, Vicente Vela, Anzo, Andrés Cillero, Cruz de Castro, Javier Morras, Orcajo, Jordi Pericot and Darío Villalba.

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Opening of the Galería Serie with a collective show of serial art. Pieces by Le Parc, Sempere, Torner, Gerardo Rueda, Guinovart, Eduardo Sanz, Labra, Pablo Serrano, Amador, Soledad Sevilla and Feliciano.

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Exhibitions in Madrid, in the first three months of the year: Club Urbis shows Agustín Hernández; in Galería Amadís, Arturo Heras; in Galería Biosca: they show: Juan Barjola, María Victoria de la Fuente, Martínez Novillo and Cristino de Vera; in Galería Cid is Tauler; in Galería Círculo 2: Francec Gali, Tatiana, Lencero and Brull Carreras; in Galería Cultart: Faik Husen; in Galería Daniel: Jorge Teixidor and Fernando Jesús; in Galería Edaf, José Luis García, Garcés, Sebastián Luca de Tena and Alberto Duce; in Galería Eureka: Juan Luis; in Galería Fauna´s: José Díaz, Onésimo Anciones, Cuyen, Jesús González de la Torre, Juan Haro, Ramiro Tapia; in Galería Frontera: Alberto Duce; in Galería Grosvenor: J.P. Broesset and Javier de Villota; Galería Hípola they have Spanish painting from Fortuny to Vázquez Díaz; in Galería Iolas-Velasco: Maccio, Carola Torres, Ionesco, Arcadio Blasco and a collective one with Leonor Fini, Gette, Juan Hufo, Lalannes and Rushka; in Galería Juana Mordó: Gerardo Rueda, Eugenio Barbieri and Fernando Zobel; in Galería Karma, Magdalena Lozano, Mark Noven Wadstrom, Amelia Jiménez and Jorge Castillo; in Galería Kreisler, Ramiro Ramos, Hidalgo de Caviedes, Álvaro Delgado and Cristina de Baviera; in Galería Macarrón: Elena Lucas; in Galería Seiquer: Elena Asins y Zachrisson; in Galería Sen: Porta Zusch, Yturralde and Isabel Villar; in Galería Skira: Francisco Cruz de Castro, José Dámaso, Cesar Manrique, Tapies, Subirachs, Leopoldo Novoa and a collective “Today’s art”: Amador, Gonzalez Herranz, Le Parc, Marcel Martí, Medina Schöffer, Sobrino and Soto; in Galería Ramón Durán: Vivancos and Gloria Alcahud; in Galería Richelieu, Julio Pérez Torres and Luis Cajal; in Galería Studio: Ina Berndtson; in Galería Tartessos:. Méndez Ruiz, Vazquez Díaz and a collective one with his disciples; in Galería Toison: Cardona Torrandell; in Galería Theo:Vazquez Díaz, Lago, Lara, Valdivieso, Mignoni and Guillermo Delgado; in Galería Vandrés Luis Gordillo, José María de Labra and a collective one: Andrés Cillero, Ortiz Vaccaro, Alexanco, Zachrisson, Miura, Moulia and Valdivieso; in MEAC there are exhibits by Alberto Durero, Julio Antonio, Francisco Peinado, Estuardo Maldonado, Fernando Delapuente, Álvaro Delgado, Agustín Celis and the collective “Testimonio 70”; in Sala Joven of the Ateneo: Rafael Armengol and Antoni Muntadas and in Sala Sta. Catalina: Ignacio Berriobeña; in Sala Repesa: José Sancha, María Antonia Dans and Emilio Prieto, winners of the 4th National Repesa Painting contest

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Exhibitions in Barcelona, in the first three months of the year: In Atenéo Barcelonés: Antonio Aguiló and Xiberta; in Bibioteca Central: Rolf Schlegel; in Camarote Granados: Isabel Pons, Juan Granados and Rosemonde Krbec; in Colegio de Arquitectos de Barcelona: GATEPAC; in Estudio de Arte: Graciella Piccone and Tomás Meca; in Galería Adriá, Rafael Zabaleta and Gaston Chaissac; in Galería Aquitania, August Puig and Elena Parés, in Galería As, Joaquín Capdevilla, Evaristo Guerra, José María García-Llort and Oriol Muntané; in Galería Augusta: Armando Miravalls; in Galería Manila, José Frau, in Galerías Españolas, Neville Woodbury; in Galería Grifé y Escoda, Nuria Llimona, in Galería Mundi Art: 50 female nudes in the “I Salón del Desnudo”; In Galería René Metras: Lucio Fontana, Manuel Bea and the collective “Surrealism” with Works by Arp, Bellmer, Cocteau, Cuixart, Chagall, De Chirico, Dalí, Ernst, Magritte, Massanet, Miró, Picasso, Man Ray, Ponç, Tapies, Wols and Ferrán; in Galería Syra: Cesc, Eduardo Castells and Alberti; in Galería Ten: Paul Caranicas; in Hospital of Santa Cruz, elGrupo Tarot; in Instituto Francés: José Royo and a collective one with old members Guinovart, Rafols Casanmada, Tapies, Tharrats, Cristafol, Subirachs...; in Instituto Franciscano de Apostolado y Cultura: Roser Argell and Jaime Muxart; in La Pinacoteca: J. Garzolini and Luis Montané; in Real Círculo Artístico drawings by Castells, Casané, María Jesús de Sola, Ferré Ferré, Hurtuna, Modolell, Planasdurá and Olga Sánchez, a collective on Socios “Segunda Exposición de Escultura”, a selection of presented pieces II Bienal Nacional de Pintura “Bilbao” and the exhibit “El vino en la pintura catalana” with closet o 50 paintings; in Escuela de Artes y Oficios: LXIII Exposición anual de la Agrupación de Acuarelistas de Cataluña; in Sala de Arte Moderno: Mario Bedini, Guerrero Medina and Dorothy Malloy; in Sala Gaspar: Viladecans y Vilacasas and a collective exhibition by Adamí, Calder, Camacho, Cárdenas, César, Corneille, Erró, Horn, Kowalski, Lam, Miró, Pignon, Robeyrolle, Tapies and Vedova; in Sala Jaimes: Marcelle Herrmann; in Sala Parés: Joan Serra, Gabino, José Amat, a tribute to Mauricio Vilomara y and a collective sculpture exhibit; in Sala Rovira: Antoni Roca, J.Gual and Felipe Brugueras; in Sala Tinell: Alberto; in Sala Vayreda, Josefina Miró. Also in Barcelona Rafael Durán, Tárrega-Viladons, Alve Valdemi, Lola Bech, Stefano Córdova, Elías Garralda, Juan Cardellá, José Margalef, José Luis Turina, Julio Visquerra, José Pomés, Colet Beleys, Gayle...

 

(January 2005)

 

 

 

 

 

 

 

05intb3451

2006. Tere Recarens. REMOLINO (proposed location)

 Technically, “Remolino" should be in an indoor environment or protected from rain or acts of vandalism (due to the fragility of its materials). Anyway, in order to place the piece, I am willing to check different possibilities and adjust it to some suggestive location, like a hall or lobby of a building.

 

 

 

 

 

06prtc3483

2007. Dan Perjovschi. OFF (location)

Muppis Pº del Prado- Pº Castellana

 

 

 

 

 

 

07intd1421

2008. Annamarie Ho + Inmi Lee. LA GUERRA ES NUESTRA (published text)

 Our piece is a large sign with the statement “La guerra es nuestra.” spelled out in black, back-lit lettering, which is attached to the façade of the Círculo de Bellas Artes.

The sign utilizes a format that is most often seen on storefronts—the viewer may initially overlook the sign, as we are often indifferent to new information and media that is constantly being introduced to us, but a second glance may procure a different reaction. Moreover, the placement of such a sign on a well-known cultural building leads to a juxtaposition of the political onto the beautiful and the historical.

The initial reference in the statement “La guerra es nuestra.” is, of course, the war in Iraq. But the statement is also open-ended; the “war” or the “guerra” can refer to anything that incites concern in the viewer. In Madrid, this might be the activities of the Basque group Euskadi Ta Askatasuna or the need for more affordable housing within the city. Our goal is to show that everyone is a voluntary participant in the political. Indifference is a statement, as much as waging a war or being involved in political activism.

 

 

 

 

 

 

 

 

 

 

08intc1976

2008. Alicia Framis + Michael Lin (Cv)

ALICIA FRAMIS MATARÓ, BARCELONA, 1967 LIVES AND WORKS IN SHANGHAI WWW.ALICIAFRAMIS.COM

MICHAEL LIN TOKYO, JAPAN, 1964 LIVES AND WORKS AMONG BRUXELLES, SHANGHAI, TAIPEI

WORK EXPOSED IN MADRID ABIERTO: NOT FOR SALE/NO SE VENDE

 

ALICIA FRAMIS MATARÓEDUCATION·    Fine Arts degree from the Faculty of Sant Jordi, Universidad de Barcelona and Ecole de Beaux Arts, Paris·    Post-graduate course at Institut d'Hautes Etudes, Paris.·    Post-graduate course at Rijksakademie van beelde Kunstende, Amsterdam·    Currently works as Concept Director at MOCA (Museum of Contemporary Art)  Shanghai, under the management of Samuel Kung.

INDIVIDUAL EXHIBITIONS2007·    Desde China con amor, Galería Horach Moya, Palma de Mallorca·    From China with Love, Annet Gelink Gallery, Amsterdam, The Netherlands·    Alicia Framis, PYO Gallery, Seoul, Korea·    Alicia Framis, PYO Gallery, Beijing, China·    CHINA *****, Zendai Museum, Shanghai, China

2006·    Shanghai Duolun Museum of Modern Art, Shanghai, China·    Acciones secretas, Galería Helga de Alvear, Madrid, Spain·    Alicia Framis. Secret Strike, Mireille Mosler, Ltd, New York, USA·    Secret Strike. Archivo momentos, Centro Galego de Arte Contemporáneo·    CGAC, Santiago de Compostela, Spain·    Partages, Musée d'Art Contemporain de Bordeaux CACP, Bordeaux, France

COLLECTIVE EXHIBITIONS2007·    Rightfully Yours, Justina M. Barnicke Gallery University of Toronto, Canada ·    Wouldn't it be nice... wishful thinking in art and design, Centre d'Art Contemporain de Genève, Geneva·    Pensa-Piensa-Think, Centro de Arte Santa Mónica, Barcelona·    Artist Pension Trust, Today Art Museum, Beijing, China, organiser: Dan Cameron·    Montevideo program: Acciona, Observatori-festival, Valencia, Spain·    After the News, BankART1929, Yokohama, Japan·    MOCA Museum, Shanghai, China·    Entreprise du lieu, Pommery, Reims, France, organiser: Daniel Buren

2006·    Big City Lab, Art Forum Berlin, Berlin, organiser: Friederike Nymphius·    On Mobility, CAC, Vilnius, Lithuania·    59º Festival Internazionale del Film Locarno, Locarno, Switzerland ·    Dresscode, Historisches und Voelkerkundemuseum (Borrower), St. Gallen, Switzerland·    Femmes d'Europe, Saint Tropez, France·    Alicia Framis. 8 de junio, las modelos libran. A Life in a Bag, Loewe 160 Years Anniversary, Círculo de Bellas Artes, Madrid, Spain·    Fusión: Aspectos de la Cultura Asiática en la Colección MUSAC, MUSAC, León·    INVIDEO, Milan, Italy·    Victime de la mode-Fashion Victim, CRAC, Alsace, France·    FASHIONS, Center of Contemporary Art in Leipzig, Germany·    Secret Strike Tate Modern, Art Unlimited, Art 38 Basel, Basel, Switzerland

PROJECTS 2008·    Not  For Sale, Rio de Janeiro, Brazil ·    Nenes Amb Sort, Barcelona, Spain·    Secret Strikes Rockeffeler Center, New York, USA·    Woman Solo Shop, London, England

 

..................................................................................................................................................................................................................................................MICHAEL LIN TOKYOEDUCATION1993·    MFA College of Design, Pasadena, USA.1990·    BFA Parsons School of Design, Los Angeles, USA.

SOLO EXHIBITIONS2007·    Nogueras Blanchard, Barcelona, Spain

2006·    Eslite Gallery-Taipei, Taiwan

2005·    Nogueras Blanchard, Barcelona, Spain·    Kunsthalle Wien, Vienna, Austria·    O2 ART 2, The Contemporary Museum, Honolulu, Hawai, USA.

2004·    Eslite Gallery-Taipei, Taiwan·    Asian Art Museum, San Francisco, USA.·    Contemporary Art Museum St. Louis, USA.·    PS1 Contemporary Art Center-Long Island City, USA.

2003·    Palais de Tokyo, Site de Creation Contemporaine, Paris·    Moroso Showroom, Milan·    Galerie Urs Meile, Lucerne, Switzerland

2002·    Galerie Tanit, Munich, Germany·    Den Hagg, City Hall, Stroom, The Hague, The Netherlands·    Galerie Ghislaine Hussenot, Paris·    Palais de Tokyo, Site de Creation Contemporaine, Paris, Contemporaine

2000·    Private Collection, Arstyl.com, Paris

1999·    Here, It Park Gallery, Taipei, Taiwan

1998·    Complimentary, Dimension Endowment of Art, Taipei, Taiwan

1996·    Interior, It Park Gallery, Taipei, Taiwan

1994·    Huh (Meander), It Park Gallery, Taipei, Taiwan

1993·    After, Art Center College of Design, Pasadena, USA.

GRUOP EXHIBITIONS2007·    Through the painting, Special Projects, 2nd Moscow Biennale, Russia·    Schaurausch, O.K.Centrum, Linz, Austria

2006·    Collettiva, Galleria Cesare Manzo, Rome, Italy·    Notre histoire..., Palais de Tokyo, Site de Creation Contemporaine, Paris, France, organisers: Nicolas Bourriaud and Jérôme Sans·    Parcours de Saint Germain-Café de Flore, Paris, France·    Surplus Value, Tang Contemporary Art Center, Beijing, China·    New Space, Pinchuk Art Centre, Kiev, Ukraine·    Once Upon a Time..., Contemporary Fairytale-ARCOS Museum, Benevento, Italy

2005·    8th Lyon Biennale, France, organisers: Nicolas Bourriaud and Jérôme Sans·    About Beauty, Haus der Kulturen der Welt, Berlin, Germany·    The Elegance of Silence, Mori Art Museum, Tokyo, Japan

2004·    The 21st Century Museum of Contemporary Art, Kanazawa, Japan·    Floral Habitat, Bury St. Edmunds Art Gallery, Suffolk, England·    Odyssey, Shanghai Gallery of Art, Shanghai, China

2003·    Flower Power, Lille 2004, Palais des Beaux Art, Lille, France·    The Fifth System, Shenzhen, China·    Tiger´s Eye, Proud Gallery, London·    Painting4, The Rose Art Museum, Waltham, MA, USA.·    Cruzados, CCCB, Barcelona, Spain·    Fundación NMAC, Cádiz, Spain·    Chinese Contemporary Art/Subversion and Poetry, Culturgest, Lisbon, Portugal·    Bibliotherapy (con Remy Markowitsch), Kuntsmuseum, Lucerne, Switzerland

2002·    Urgent Painting, ARC Musée d'Art Moderne de la Ville de París, France·    Synthetic, Gallery Zurcher, Paris, France·    How Big Is The World?, OK Center for Contemporary Art, Linz, Austria·    Gwangju Biennale 2002: Project 1: Pause, Conception, Korea·    Asian Art Triennial, Queensland Art Gallery, Brisbane, Australia·    International 2002, Liverpool Biennial, Liverpool·    The Gravity of the Immaterial, Total Museum, Seoul, Korea·    Asian Vibe, Espai d'Art Contemporani de Castelló, Spain

2001·    Bibliotherapy (with Remy Markowitsch), Villa Merkel, Esslingen, Germany·    Casino 2001, 1st Quadrennial of Contemporary Art, Stedelijk Museum voor·    Actuele Kunst, Gent, Belgium·    ARS 01: Unfolding Perspectives, Museum of Contemporary Art Kiasma, Helsinki, Finland·    Egofugal: Fugue from Ego for the Next Emergence, 7th International Istanbul·    Biennale, Turkey·    49th Biennale di Venezia, Italy·    The Gravity of the Immaterial, Institute of Contemporary Art, Taipei, Taiwan·    Festival of Vision: Berlin in Hong Kong, Tamar Site, Hong Kong·    Sister Space Project, Southern Exposure, San Francisco, USA.·    Very Fun Park: Contemporary Art From Taiwan, It Park Gallery, Taipei, Taiwan·    The Sky is the Limit, 2000 Taipei Biennial, Taipei Fine Arts Museum, Taipei, Taiwan

1999·    Visions of Pluralism: Contemporary Art in Taiwan 1988-1999, China Art Museum, Beijing, China·    Magnet Writing/Marching Ideas, It Park Gallery, Taipei, Taiwan·    1st Fukuoka Asian Art Triennial 1999, Fukuoka Asian Art Museum, Japan·    KHOJ '99: International Artists' Workshop', The British Council Gallery, New Delhi, India

1998·    Tu Parles/J'Ecoute, La Ferme de Buisson Art Centre, Paris; Taiwan·    Back from Home, Bamboo Curtain Studio, Taipei, Taiwan

1997·    It Park Group Exhibition, Taipei Fine Arts Museum, Taiwan·    Allegory and Simulacra, Gallery Pierre, Taichung, Taipei

1996·    Perimeter 4, Gallery 456, New York, USA.

1995·    Transitional Site, It Park Gallery, Taipei, Taiwan

1994·    Conceptual Art Action Under Post-Martial Law, Gate Gallery, Taipei, Taiwan·    Art and Text, National Normal College, Taipei, Taiwan·    The Undescribable Unknown, It Park Gallery, Taipei, Taiwan

1993·    Zuzuglich, Merz Akademie, Stuttgart, Germany·    The 8th Annual Manifesto Night, Baroque Literary Arts Centre, Venice, USA.

1992·    Sharon Lockhart/Michael Lin, Art Center, College of Design, Pasadena, USA.

1991·    Earth, Scott Hanson Gallery, Los Angeles, USA.

1990·    Law of Desire, Future Perfect Gallery, Los Angeles, USA.·    Provisional Proof, Opus Gallery, Los Angeles, USA.·    Oltre il Muro, Accademia di Belle Arti de Brera, Milan, Italy

BIBLIOGRAPHY·    Eugene Tang and Jason Wong, Island Life, Eslite Gallery, Taipei, Taiwan, 2007 ·    Mino Yutaka, Encounters in the 21st Century: Polyphony - Emerging Resonances, 21st, Century Museum of Contemporary Art, Kanazawa, 2005·    Sabine Folie and Matt Gerald, Michael Lin, Kunsthalle Wien, Vienna, Austria, 2005·    Lin Hong-John, Michael Lin, Eslite Gallery, Taipei, Taiwan, 2004·    Shannon Fitzgerald and Frances Stark, Michael Lin, Contemporary Art Museum, St. Louis, USA, 2004·    Pauline J. Yao, Spaces Within, Installations by Michael Lin and Wu Mali, Asian Art·    Museum, San Francisco, USA.·    Jérôme Sans and Vivian Rehberg, Michael Lin's, Palais de Tokyo, Site de Creation Contemporaine, Paris, France, 2003·    Rhana Davenport, Asia Pacific Triennial, Queensland Art Gallery, Brisbane, Australia, 2002, p.70-73·    Hou Hanru, Asian Vibe, Espai d'Art Contemporani de Castelló, Spain, 2002·    Manray Hsu, Urgent Painting, Musée d'Art Moderne de la Ville de París, p.86-89, 2002·    Hou Hanru, ARS 01, Museum of Contemporary Art Kiasma, Helsinki, Finland, p.142-143, 2001·    Mahoney Bronwyn, Egofugal, Istanbul Biennial, Turkey, p.128-129, 2001·    Kao Cien-huí, Living CEI, Venice Biennale, Pabellón de Taiwán, 2001·    Frances Stark, Complimentary, Dimension Endowment of Art, Taipei, Taiwan, 1998

ARTICLES (SELECTION)·    Kanae Hasegawa, "Couleur Locale", Frame, Nº 52, September/October, 2006, p.70·    Christophe Maout, "Lyon Grand Angle", Le Monde 2, Nº 84, September, 2005, p.58·    Hanru Hou, Yishu_Journal of Contemporary Chinese Art, spring, 2005, p.55-62·    James Westcott, Nyartsmagazine, 22 December, 2004·    David Spalding, FlashArt, October, 2004, p.126·    "Michael Lin", Art Asia Pacific, nº 41, summer, 2004·    Annette Tietenberg," Wallflowers", Form,197, July/August, 2004, p.36-43·    Hughes, Jeffrey, Contemporary, Nº65, 2004, p.67·    Lily Van Ginneken, "Made in Taiwan", Bloom, nº11, 2004, p.20-23·    "L'image du mois", Beaux Arts Magazine, November, 2003·    Judicael Lavrador, "Les Artistes s'etalent", Beaux Arts Magazine, 231, August 2003, p.82-89·    Marie-Claire Maison, August, 2003·    Bronwyn Mahoney, "Patterns of Thought: The Installation of Michael Lin", Yishu_Journal Of Contemporary Chinese Art, spring, 2003, p.82-85·    Eugene Tan, "Liverpool Biennial, Pleasant Street Board School", Contemporary, nº 10, October, 2002, p.94·    Sarah S. King, Art in America, June, 2002·    ML, "The art of deco", Art Review, Vol.LIII, February, 2002, pp.50-51·    Rhana Devenport, "The sky is the limit: Taipei Biennale 2000", Art AsiaPacific, nº 30, 2001, p.20-22·    Barbara Casavecchia, "Taipei Biennale", Flash Art, vol. 33, nº 215, November/December, 2000, p.103·    Ann Wilson Lloyd, "Reorienting: Japan rediscovers Asia", Art in America, vol.87, nº 10, October, 1999, p.104-111·    Cecile Bourne, "Reviews: Taipei (Taiwan), Michael Lin", IT Park, Flash Art, vol.30, nº 194, May/June, 1997, p.124·    Sophie McIntyre and Chia Chi Jason Wang, "Taipei in entropy", Flash Art, vol.29, nº 187, March/April, 1996, p.57-60

 

 

 

 

 

 

08prtb1768, 08prtb1770

2005. Fernando Baena. FAMILIAS ENCONTRADAS (2004.11-12 / theoretical data)

 

TEXTS REVISION I (November 2004)

By chance I found a carton box labelled : January 1st 1971 to March 17th. The box contained nearly 100 black and white photo negatives which were apparently taken by an anonymous photographer. Amongst the images, there are photos of families in the typical pose used in those days for the official identity card of large families. That is how we used to pose in the final years of the dictatorship. Does it look like us?

Below the normal publicity posters of the Circle of Fine Arts another five will be placed, each one with an image of one of these unknown families. To give context to the images, five electronic signs will display texts referring to that period of time.

...................................................................................................................................................................................TEXTS REVISION II (December 2004)

ANECDOTE

By chance, I found a cardboard box labelled “1st Janu¬ary to 17th March 1971” containing around 100 black and white negatives supposedly taken by some com-mercial photographer. Among the images, some were of families in the typical pose required for the official large-family card.

DESCRIPTION

Underneath the usual advertising banners placed on the façade of Círculo de Bellas Artes five other ban¬ners are installed, each exhibiting the image of one of those unknown families. Underneath each of those photographs a luminous display shows texts referring to the year 1971, particularly the period 1st January to 17th March:

1. Anniversaries. 2. The family. 3. Art in Spain in 1971. 4. Círculo de Bellas Artes. 5. Updated daily news.

COMMEMORATIVE AND DOCUMENTARY IMAGE

The emergence of photography dealt a death blow to the paintings of history. The commemorative and documentary role of these paintings was replaced with the faster and more reliable photographic report.

History disappears as the subject of works of modern art - possibly El Guernica was the last. The portrait is another area which photography and new image-recording media practically stole from the “fine arts” and if it occasionally continues to be considered art, it is within these modern disciplines.

The subject of the family has been present through¬out the history of western art. We only have to refer to the busts of Roman ancestors, the Sagradas Familias, the royal families painted by Velázquez or Goya, the bourgeois families portrayed by the Dutch, the aris¬tocratic ones by Reynolds and the modern ones by Hockney. Although the images of Familias encontra¬das can be easily framed in this subject, the texts that appear in the five electronic signs that accompany them refer us to the society of the moment those pho¬tos were taken. The concept of the family is extended to encompass Spanish people and the rest of human¬ity. Obviously, what was happening in the world af¬ fected the protagonists of the photographs and all of us already here.

But in this case, the aim is not just to document or commemorate, or make an exhaustive sociological analysis of the situation of the family or Spanish art in the last years of Franco’s dictatorship, nor to nostalgically emphasise those decisive years of our own personal history. The aim is to place a common anchorage point in the collective memories – its election was accidental- from which to stretch our memory to the present. We will realise, if we have the patience to read the different texts, that in thirty-four years we have changed a lot and we haven’t changed at all. Seen from a distance, the red lines of the electronic signs move without advancing.

PUBLIC ART AND INTIMACY

If this piece is not cynic and impatient, if it doesn’t refer to political or citizens’ problems, and doesn’t intend to question customs or abuses, if it tends to be a drag, if it goes against the current and encloses most discredited values of today’s art: historicism, sociology, portrait and literature…, if this work seems inopportune for all these reasons, more so if it intends to deal with personal issues in public space.

In order to achieve objectivism, modern art seems to have left aside, apart from subjectivity, every connection to intimate life. It seems inconvenient, today, for any artistic work to deal with existential issues. As if each person’s inner life were something that others, society or art shouldn’t mind. That’s probably why we tend to think that we have seen it all. Therefore, History being trapped, the personal realm forbidden, and memory withdrawn, a void is created that someone will fill by selling us a cell phone through which we may spend our time talking for hours and hours about things that happen while we speak.

In contrast with the hustle and bustle of Gran Vía, and competing with marketing’s seductions, in a direction opposite to art’s current trends, it is, finally, a work that deals with the concept of time and people. About the passing of.. About the sense of suffocation, the fact that we uselessly agitate and expire, brief microscopic lives that emerge and evaporate while the final texture seems to remain the same. Not much, extremely subtle vibrations. To fix an image in the current of time is but to express the wish for something to have meaning.

 

 

 

 

 

 

05intb3449, 05intb3450

2006. Tere Recarens. REMOLINO (technical data)

 ASSEMBLY SYSTEM AND TECHNICAL REQUIREMENTS

To build “Whirl” we will need a motor similar to the one used in revolving doors, which is activated when people walk through them. This motor would be embedded in the axis of the piece. I would need a technician to do it.

The four doors are united to the axis and the system is thought of as a collapsible piece. The structure of the doors is made of wood and drawings should be made of translucent materials. It is convenient that these stands will be as light as possible.

If “Whirl” should be a piece independent from space (in case we wouldn’t be able to make a hole in the floor or ceiling), in the lower part of the axis there should be a metal piece to provide balance.

The budget that I present has been studied in Barcelona with a specialist in works.

MEASURES

3, 60 m. diameter 2, 50 m. high

 

 

 

 

06prtc3482

2007. Ben Frost. I LAY MY EAR TO FURIOUS LATIN (location)

Paseo de Recoletos, Central Bulevard next to Plaza de Colón

 

 

 

 

 

 

 

07intd1420

2008. Fernando Llanos. [VI VÍDEO] ORGULLO LOCAL (video)

 

Option 8ORGULLO LOCALProyección de iconografía y material histórico de Ciudad Satélite sobre las Torres Satélite

 

 

 

 

 

 

 

 

 

 

 

 

 

08inve1876

2008. Andreas Templin. HELL IS COMING / WORLD ENDS TODAY (published text)

Hell Is Coming / World Ends Today, a situationist play for the inner city of Madrid, is a temporary intervention staged in Madrid. It has a duration of one week and will include a total of 151 participants.

In the work Hell is Coming/World Ends Today, Andreas Templin is showing reference to the Situationist movement, its strong impact and continuous flow and, in relation to that, points at some of the common problems that movements seem to be afflicted by: The moment of its pure realisation by an individuals mind vs. the competitiveness of styles, attitudes and trends of specific concepts in society.

In this artwork, a few of the key philosophical thesis which sum up, from Templin‘s viewpoint, the strongest and most direct impact on the individual in contemporary Western societies culminate in an ephemeral play.

This happens by transferring these philosophers‘ names into daily life by asking 150 inhabitants of Madrid to wear urban fashion items with label-prints for one week in their daily routine. While simply following their daily routine, the artwork itself sinks into the urban space, the philosophical concepts compete face-to-face with the other label concepts and brandings in the public domain.

These concepts and their visual appearance are:

- speed and devastation. Paul Virilio

- the camp / the concentration camp. Giorgio Agamben

- power / Michel Foucault

- hatred / fundamentalism / represented by an re-enactment of fanatic right-wing demonstrations. This will be staged by a doppelganger of a preacher standing around at various street-corners of Madrid

The question this work is raising: Are these names already „labels“ (or do people simply acclaim them as big labels) or do they transport meaning? Can such an ephemeral intervention survive as an artwork in the eyes of the public?“. Andreas Templin

There will be a live-published website available with special contributions by Dr. Andreas L. Hofbauer and Dennis De La Haye.

 

 

 

 

 

 

 

 

08intc1973

2008. Pedro Torres. RETHE

YEAR: 2007

 

Name Play Size Duration
Rethe
Pedro Torres

2.9 MB 3:13 min

Those who fail to re-read are obliged to read the same story everywhere. Roland Barthes, S/Z.

Rethe is a sonorous piece based on re-reading (in English and Portuguese) different poems by Vito Acconci giving shape to an interlacing of sounds. The base of the structure of the work is the poem RE: a poem that causes the spacialisation of the words on the page as well as the location of different verbal positions. Between the parentheses of this poem, inserted in the spaces, sections of other poems come into play in the composition, changing the intensity and deconstruction of the original linearity of the poems in the position of the audio output. These sections have been removed from the poems Contented, Four pages, Twelve minutes and two untitled others. The name rethe already reveals the game of the work: rethe can be read as read and it is also the inversion of the re. Rethe is a litany that envelops the listener and, without being able to clearly distinguish all the words and numbers, moments of overlap are created through which the sonorous space becomes quite dense.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08sotb2077-08sotc2099-08sose2140

2008. Anno Dijstra. VORSCHALG, 2006 (publication)

2008. Anno Dijstra. VORSCHALG, 2006 (publication)

** SEE THE ATTACHED PDF

    

   

Reconstruction - proposal nr 14 // 2006 // childe 45 x 26 x 22, vulture 60 x 53 x 40, podium 730 x 900 cm // plastiline, pufoam, wood, metalstuds (max 7 people on the stage)

 

Reconstruction - proposal nr 14 // detail of the installation

 

 

 

 

 

 

 

 

 

 

 

 

 

f08inme1848

2006. Tere Recarens. REMOLINO (theoretical data)

 "Remolino" is a turning door similar to those we find in airports or shopping centers, which moves with the help of a motor. Self-made, it uses the basic necessary (motor and metal base) materials and the glass has been exchanged for wooden frames and transparent plastic.

I will draw a series on different subjects; everyday experiences, comical and social situations.on each of the 8 sheets of the door: In such a way that the pedestrians will have to follow the pictures to see them, but there will also be other pictures following the pedestrians.

If the pedestrians want to see all the pictures, they will have to go around it at least 4 times.

In this installation, as in others I have already done, the audience is a major factor. We are used to stop in front of one or several drawings, but in this case the drawings will have their own rhythm.

“Remolino” is a project that completes a cycle of works that began when I started living in Berlin. Starting off with “He”, a video in which I invited the Germans to breath out of a helium balloon, “Besenrein” the highest jump I have ever done, cleaning clouds with a broom while skydiving, in “19th of March 2014” two containers will be opened in that same date as if they were the prints of a nose dive landing; then, the rebound, which would be “Shooting star”, a pole vault in an interior patio which is photographed from the top of the building, and last, “Whirl” gets back to the earthly, that is, physical movement more than mental.

One of the qualities that I like to include in my installations is the general public, and that is just what Madrid Abierto offers.

 

 

 

 

06prtc3481

2006. Tanadori Yamaguchi + Maki Portilla-Kawamura + Key Portilla-Kawamura + Ali Ganjavian. LOCUTORIO COLÓN (2006.01 / technical data)

 “Locutorio Colón” is an artistic project with a strong social message (5 booths free of charge to call latin america), but there’s no reason to expect anything that isn’t an order of basic functioning that guarantees citizen’s safety and a quiet use of its services.

The agreed terms with madrid abierto (organizer of the event) and the telefónica foundation (collaborator and provider of technology), is to open everyday between the 1st and the 26th of february 2006, with limited opening hours (from 9 pm to 12 pm). In this way the flux of users is under control.

Likewise, a waiting system of turns will be used by which each visitor will receive a numbered ticket on arrival to be able to use the booth. The duration of each call is limited to 5 minutes to avoid any abuse of the service. We expect users to respect this order.

During the first days its function and flux of users will be objectively evaluated. if problems occurred, measures should be taken. these would consist of, firstly: fence the area to create a stretch and thus control the turns, secondly, to monitor with some security agent, and, as last resort, to close the service.

The authors are aware that a social-artistic project should not involve any altercation or generate insecurity and are ready to assume the measures apointed above.

 

 

 

 

 

06intb3630

2007. Oswaldo Macià. CUANDO LOS PERROS LADRAN EL CAMELLO LOS IGNORA (published text)

 When the dogs barks, but it makes no difference to the camel; we are the dogs the world is the camel(Darfur proverb)

 It would seem that we live in a world in permanent crisis. Although we may not always be fully aware of it, this is due to the fact that crises are the few mechanisms that generate changes in our times. In other words, crises are the indispensable catalysts that determine actions capable of transforming today’s personal, social and political scenes. However, every crisis has a different intensity, iconography and language. We judge and respond to a crisis not only in accordance with our political inclinations and personal tastes but also depending on their immediacy as news and the singularity of its occurrence. Crises compete amongst themselves to gain our attention due to a type of permanent struggle between the innumerable pressure groups of the civil society and the increasingly large financial interests of the global media. Despite the above, and within that semi-apocalyptic global vision that we all currently seem to share, there is a type of crisis that we consider or sense as more serious than any other: the humanitarian crisis. Our ethical being squirms every time we are reminded of our massacre and genocide capacity. We consider them repulsive crimes because with them we are all ontologically degraded and reduced. They are unjustifiable crimes but, nevertheless, they do not cease to take place. It is precisely that indifference, that omission in our duty as human beings, which this piece by Oswaldo Macià refers to. With this symphony – composed of 200 dog barks - he reminds us of our capacity to brutalise ourselves and that the case of Darfur is as present as ignominious. The title itself seems to contain a scathing irony, given that if we say "when the dogs barks, but it makes no difference to the camel; we are the dogs the world is the camel" we invoke that double human possibility of, on the one hand, expressing our disagreement and sense of feeling threatened but, at the same time, of also reducing ourselves to the pack of hounds and to injustice aided by our own indifference. Thus, if the world is really an indifferent camel – such as our leaders and international institutions appear to be- we should then go on barking until that listless nomad beast kneels down and hears our unease.

Juan Toledo, London 2006

 

Technical description: Composition with 200 sounds of dog barks taken from the municipal dog homes of Sardinia. Composition made for 12 sound channels (2 DVD 5.1), programme brochure and billboard with the text: when the dogs barks, but it makes no difference to the camel; we are the dogs the world is the camel (Darfur proverb)

 

 

 

 

 

 

 

 

 

07intc1412

2008. Fernando Llanos. [VI VÍDEO] POTENCIANDO CONTENIDOS (video)

 

 

Option 11POTENCIANDO CONTENIDOS

 

 

 

 

 

 

 

 

 

 

 

 

 

08inve1875

2007. Oswaldo Macià (Cv)

CARTAGENA DE INDIAS, COLOMBIA, 1960 LIVES AND WORKS IN: LONDON WWW.OSWALDOMACIA.COMWORK EXPOSED IN MADRID ABIERTO: CUANDO LOS PERROS LADRAN EL CAMELLO LOS IGNORA

 ...............................................................................................................................................................................................................................................................................................

EDUCATION1993·    Goldsmiths' college, Universidad de Londres, Inglaterra LICENCIADO EN BELLAS ARTES.1990·    Universidad Guild hall de Londres, Inglaterra LICENCIADO EN ESCULTURA.1988·    Escuela Llotja, Barcelona, España  PINTURA MURAL1976·    Escuela de bellas artes, Cartagena De Indias, Colombia LICENCIADO EN BELLAS ARTES

EXHIBITIONS (SELECTION)2007·    This is Tomorrow. Whitechapel Gallery Public Art, Londres 02|07·    Abstraction: extracting from the World. Sheffield Gallery. Sheffield UK 02|07

2006·    Urp! Dieci posizioni tra pubblico e privato. “The dog barks, but it makes no difference to the Camel” Cagliari, Italia 14|11|06·    Museo de ciencias de Oxford  “Smellscape” 23|10|06 - 27|11|06·    Kunstverein Freiburg “Invisible Worlds” “Surrounded in Tears “ 16|6|2006 – 6| 8| 2006·    South London Gallery ”Around the World in Eighty Days” 24|5|2006 -    16|7|2006

2005·    Feria de arte Zoo “Diversion End” Encargo. Londres (cat.)·    Museo de arte moderno, Dublín. “Vesper VI” Irlanda (cat.)·    51ª Bienal de Venecia “Something Going on Above My Head X” Jardín - Palazzo Franchetti .Venecia Italia (cat.)·    Colección Daros:” Cantos Cuentos Colombianos” “Vesper V”, Zurich (cat.)

2004·    Haunch of Venison: ”Animals”. “Something Going on Above My Head IX”, Londres (cat.)·    Tate Liverpool: III Bienal de Liverpool “Surrounded in Tears “ (con Jasper Morrison y Michael Nyman). Liverpool, R.U. (cat.)·    Bienal de Shanghai 2004: ”Techniques of the Visible” “Vesper IV” Sound–Smell Symphony. .Shanghai, China (cat.)·    Premio The Place,  “E2 7SD “ Escultura de sonido (coreógrafo Rafael Bonachela). Presentado en Londres, R.U. (Primero premio)·    Colección Daros: “Cantos Cuentos Colombianos” “Something Going on Above My Head VIII, Zurich (cat.)

2003·    The Power Plant, galería de arte contemporáneo: “Stretch” “Something Going on Above My Head VII., Toronto, Canadá (cat.)·    II Bienal de Lanzarote: “El viaje inútil”; ”Vesper II “ Arrecife, España (cat.)·    VIII Bienal de La Habana: “El arte con la vida” “Vesper III” La Habana, Cuba (cat.)·    VIII Bienal de La Habana “ Es que no me oyen o es que no me ven”  Espacio Aglutinador, La Habana, Cuba·    VTO Gallery “Vesper I ”, Londres, R.U.·    Museo Nacional Centro de Arte Reina Sofía “Something Going on Above My Head VI /Algo pasa por encima de mi cabeza”, Madrid, España·    The Place  “Vesper” (coreógrafo Rafael Bonachela), Londres, R.U.

2002·    AfricAméricA “Something Going on Above My Head V“ Port–au–Prince, Haití·    Artlab   “Provokes/Evokes” (con Jasper Morrison), Colegio Imperial de las Ciencias, la Tecnología y la Medicina, Londres, R.U. (cat.)

2001·    Tercer Festival Internacional de Arte Sonoro “Para mañana tendremos un día nublado”—Sinfonía anal auditiva. México D.F., México·    Bienal de Tirana 1 Tirana “Something Going on Above My Head IV”, Albania (cat.)·    Ventana. Oficina en Madrid, Madrid, España

2000·    Galería Margaret Harvey, St Albans, “John, I'm Only Dancing”.  R.U. Viajó a: Collective Gallery, Edimburgo, R.U. (cat.)·    Ludwig Forum für Internationale Kunst, “Continental Shift. A Voyage Between Cultures”. Aquisgrán, Alemania (cat.)·    Iglesia del siglo XII de Gamla Uppsala “Something Going on Above My Head III”., Uppland, Suecia

1999·    ExTeresa Arte Actual, Cartucho.  “Something Going on Above My Head I”·    México D.F., México·    Whitechapel Art Gallery “Something Going on Above My Head II.”, Londres, R.U.

1998·    Juliet Gallery “From Within”, Trieste, Italia (cat.)

1996·    Museo de arte contemporáneo, “Touch Me”. Londres, R.U. (cat.)·    Museo de Arte Moderno, “Bajando y cayendo”. Bogotá, Colombia (cat.)·    Biblioteca Luis Ángel Arango: Nuevos nombres. La lógica de los sentidos “Familiares anónimos”, Bogotá, Colombia (cat.)

1995·    Lisson Gallery, “Post Script”.  Londres, R.U.·    Lisson Gallery, “Ideal Standard Summertime”.  Londres, R.U.·    Museo de instalaciones, “Memory Skip”.  Londres, R.U. (cat. con CD)·    Museo de instalaciones, “Archive Show”. Londres, R.U.

1994·    Goldsmiths College “1 Woodchurch Rd London NW6 3PL” . MA Show. Londres, R.U.

BIBLIOGRAPHY2006·    Modern Painters Texto de Sally O’Reilly Pág. 56·    Art Nexus Texto de Jiménez, Carlos. Pág. 56. La memoria inagotable de las voces.·    The Hours. (Texto cat.) Sebastián López Pág. 15.  Visual arts of contemporary Latin America IMMA-Museo irlandés de arte moderno, Dublín, y Daros-Latinamerica, Zurich.

2005·    Volatile architectures, Texto de Jim Drobnick. CRIME AND ORNAMENT Pág., 63 ed. de Bernie Miller y Melony Ward YYZ Books.·    Zoo Art Fair, (Texto cat.). Texto de Sally O’Reilly. Diversion End.

2004·    Cantos Cuentos Colombianos. (Texto cat.). Hans-Michael Herzog Pág.113 Arte contemporáneo colombiano Art Daros Latinamerica·    Animals (Texto cat.). Textos de Christiane Schneider y Raymond Gaita. Londres: Haunch of Venison, págs. 32–33, 61.·    Jiménez, Carlos. “Oswaldo Macià. De cómo crear silencios—How to Create Silences.” Lápiz 201, págs. 36–45.·    Bienal de Shanghai 2004 Techniques of the Visible. Texto Sebastián López. Pág.382·    Bienal Internacional de Liverpool 04. Textos de Laura Britton. Pág. 126.

2003·    Artlab 021. Texto de John Slyce. London: Imperial College, pág. 61–65.·    Ciudad, Arte, Ciudadanía: Fotoars 2003: II Bienal de Lanzarote (cat. exp.). Textosde Santiago B. Olmo y otros. Lanzarote: Museo Internacional de Arte Contemporáneo, págs. 76–77.·    Octava Bienal de la Habana: El arte con la vida (cat. exp.). Textos de Hilda María Rodríguez Enríquez y otros. La Habana: Consejo Nacional de Artes Plásticas y Centro Wifredo Lam, págs. 149, 314–315.·    de Oliveira, Nicolas, Nicola Oxley, y Michael Petry. Installation Art in the New Millenium: The Empire of the Senses. London: Thames and Hudson, pág. 1, 4.

2002·    Toposmia art, scent, and interogations of spatiality.  Texto de Jim Drobnick, Journal of the  theoretical humanities Volumen 7 pag 31, ANGELAKI. Routledge. 2002, págs. 36–37.

2001·    Bienal de Tirana 1: Escape (cat. exp.). Textos de Giancarlo Politi y otros. Milán: Giancarlo Politi, págs. 268–269.

2000·    Continental Shift: Eine Reise zwischen den Kulturen (cat. exp.). Textos de Annette Lagler y otros. Freiburg im Breisgau: modo, pp. 96–97, 210·    John I’m Only Dancing: Embarrassment as Aesthetic Experience (cat. exp.). Textos de Sally O’Reily y otros. St Albans: University of Hertfordshire.

1998·    From Within (cat. exp.). Texto de Paulo Cecchetto. Trieste: Juliet Gallery.

1996·    Nuevos nombres: La lógica de los sentidos (cat. exp.). Texto de Ana Socolo. Bogotá: Biblioteca Luis Ángel Arango.·    V Bienal de Bogotá (cat. exp.). Textos de Gloria Zea y otros. Bogotá: Museo de Arte Moderno de Bogotá, págs. 36–37, 70–71.

1995·    Memory Skip (cat. exp. con CD). Londres: Museo de instalaciones.·    The Sound of Smell (CD). Hamburg: Audio Factory/Sony Austria.

 

 

 

 

 

07prtb1218

2006. Tao G. Vrhovec. REALITY SOUNDTRAK (technical data)

 DESCRIPTION OF THE INSTALLATION

Installation consists of a big – 5.5 m (length) x 4.5 m (height) Reality Soundtrack Instruction Score (see documentation) on a wall. In front of the wall, there is small radio transmitter with antenna that is transmitting RS. On the floor, there are 25 radio receivers scattered around, transmitting the sound in moderate loudness. Next to the wall there is a television with video documentation of the previous interventions, and a table with A4 photocopies of previous Intervention Maps.

WEBSITE (under construction)On the Website, there is all the documentation about Reality Soundtrack. It is possible to download sound in MP3 format, and to print out the Reality Soundtrack Instruction Score, which has all the information and instructions necessary for the intervention to be realised – it is some kind of score for the realisation of the intervention.

Website enables global realisation of the sound intervention, which means as well, that my presence as the author of the project is no longer absoloutley necessary for the realisation.

TECHNICAL REQUIREMENTS

For the intervention

- preparation time: 2 full days- 1 FM radio transmitter* with antenna* or collaboration with existing radio station- 25 or more participants that would carry radios- 25 portable FM radio receivers*- 96 batteries for the radios* I have this material

For the installation

- preparation time: 2 full days- white wall 5.5 m (length) x 4.5 m (height)- 20 m2 space in front of that wall- 2 tables 1m x 1m- 1 DVD player- 1 TV monitor

 

 

 

 

 

06prtc0896

2007. [Nexus*] Art Group. PROYECTO_NEXUS (published text)

 Flexible and pervious international artistic group made up by

marjorie kanter (USA, writer)maría papacharalambous (Cyprus, plastic artist)achilleas kentonis (Cyprus, multimedia artist)delgado-guitart (Tanger /Madrid, multimedia artist)ricardo echevarría (Spain, multimedia artist)

project[nexus*]

This project seeks to raise sensitivity on the loss of privacy which we are heading towards and, at the same time, to experiment with the new creative language offered by the new media.

Systems are installed that send sms/mms to all passers-by carrying a mobile terminal and who cross a previously established area, thereby distributing a number of messages/images generated by the [nexus*]artgroup. Each passer-by crossing a hot-spot receives a message/image in his/her terminal.

In this case the artistic subject (images and texts) is transmitted in its purest virtuality to passers-by with mobiles who cross a pre-designated area.

This intervention entails a hybrid adoption of the so-called spam advertising mechanism and of the irruption methods of artistic/political messages used in situationism and urban art. It is a communicative initiative that aims to raise the shock of the message. The mobile terminals are the reception spaces of the artistic discourse and the urban setting makes us witnesses of an art that shifts towards the audience.

The artistic discourse extends to the electronic space making it, together with the personal terminals, the temporary settings of the intervention.

We consider this project an urban experiment as well as an active example of the re-consideration of art work and its multidisciplinary nature.

 

 

 

 

 

 

 

 

 

 

07intc1409

2007. Johanna Billing. YOU DON´T LOVE ME YET (location)

Círculo de Bellas Artes. Sala de columnas. February 12th, 20:00 H

 

 

 

 

 

 

 

07intd1418

2008. Fernando Llanos. [VI VÍDEO] COMPARTIENDO ESCENARIO (video)

 

Option 12COMPARTIENDO ESCENARIO

 

 

 

 

 

 

 

 

 

 

 

 

08inve1874

2004. Bubble Business. EMANCIPATOR BUBBLE (visual data)

2004. Bubble Business. EMANCIPATOR BUBBLE (visual data)

POSTCARD DRAFT

   

 

DRAFTS

            

 

 

 

 

 

 

04inib0031

2006. Tao G. Vrhovec. REALITY SOUNDTRAK (theoretical data)

 CONCEPT

The goal of the intervention is to transpose a real situation in public space onto a plane of fictionality. The sound intervention alters the mode of perception of a random passer-by listener. That which a listener sees becomes a fiction and support for that which he or she hears. The result of such alienation is that the listener no longer perceives reality as something that has any immediate effect on his or her own existence but, rather, accepts it as an aesthetic phenomenon; this, however, may present a direct threat to his or her own existence.

DESCRIPTION OF THE EVENT

RS (REALITY SOUNDTRACK) is sound intervention in public spaces as post offices, passages, shopping malls, streets, …

Sound carriers are people equipped with small radio receivers – 25 or more people, each one having 1 radio receiver.

All these radio receivers transmit the same electronic composition, which is transmitted from a mobile short range radio station, or even better, from an existing radio station.

All the participants – carriers are walking together through parts of a city following a given score of movement. The audible result of the action is a moving cloud of sound, which is traveling through a city.

The duration of the intervention is flexible, best around 2 hours in the afternoon time.

REALITY SOUNDTRACK HAS SO FAR BEEN PRESENTED AT

2003- BREAK 2.2 “Invisible Threat” - International Festival of Contemporary Art, Ljubljana, Slovenija –- INTERVENTION- 4th Triennal of Contemporary Slovene Art “U3” - Museum of Modern Art, Ljubljana, Slovenija – AUDIO PRESENTATION

2004- Gallery “Public Space With a Roof” and Radio Amsterdam FM, Amsterdam – Holland - INTERVENTION AND INSTALLATION- BREAKTROUGH – Perspectives on art from 10 new EU member states, The Hague – Holland – INTERVENTION AND INSTALLATION- EASA 2004 - European Architecture Students Assembly, Rubaix – France – 14 DAYS WORKSHOP WITH STUDENTS OF ARCHITECTURE, different interventions.- SOUNDING OUT 2 - International Symposium on Sound and Media –, University of Nottingham, United Kingdom – LECTURE WITH TITLE: “Reality Soundtrack – transforming the perception of reality by means of sound intervention”- CONTEMPORANEA 2004 - International Festival of Contemporary Music, Udine- Italy – INTERVENTION- INTERVENING URBAN VOID – research project on strategies of intervention in the city, gallery “Public Space With a Roof”, Amsterdam – Holland – LECTURE “... transforming the perception...”- COSMOPOLIS – microcosmosXmacrocosmos, Balkan Biennal of Contemporary Art, State Museum of Contemporary Art, Thessaloniki, Greece – INSTALLATION (intervention).- 7 SINS – LJUBLJANA – MOSCOW, ARTEAST EXHIBITION, Museum of Modern Art, Ljubljana, Slovenija – INSTALLATION (mini version)

2005- RADIODAYS – invsible exhibition, DE APPEL gallery, Amsterdam – RADIO TALK. (www.radiiodays.org go to: program --> day6 --> 18.40)

 

 

 

 

06prtc0895

2007. Dora García. REZOS / PRAYERS (schedule)

 Metro línea 1 Plaza de Castilla - Congosto, 1-2-07 07:00 - 08:00Obras de la M30, 1-2-07 09:00 - 10:00Ministerio del Interior - Audiencia Nacional, 1-2-07 10:00 - 11:00Torre Picasso, 1-2-07 11:00 - 12:00Plaza Cibeles, 1-2-07 12:00 - 13:00Instituto de educación secundaria San isidro, C/ Toledo 39, 1-2-07 13:30 - 14:30Ascensores del Edicificio España, plaza de España, 1-2-07, 14:30 - 15:30Público frente al Guernica, MNCARS, 1-2-07, 18:00 - 19:00Café Gijón y paseo de Recoletos, 1-2-07, 20:00 - 21:00Plaza de Chueca, Infantas, Gran Vía, 1-2-07, 22:00 - 23:00

http://www.rezosprayers.org 

 

 

 

 

 

 

 

 

 

07intc1406

2007. Discoteca Flaming Star. DISCOTECA FALMING STAR (location)

Paseo de Recoletos, central boulevard.Performance February 3, 22:00H

 

 

 

 

 

 

 

 

07intd1417

2008. Fernando Llanos. [VI VÍDEO] Options 13 to 15 (videos)

 

Optionn 13CERVEZANTES

Option 14 NATURALEZA MUERTATomas acuáticas (agua) sobre las paredes de los túneles

Option 15PROYECTAS Y TE VASProyección sin contenido, realizada simultáneamente a la inuaguración del Festival por el presidente Fox

 

 

 

 

 

 

 

 

 

 

08inve1873

2007. [NEXUS*] ART GROUP (Cv)

ACHILLEAS KENTONISNICOSIA, CYPRUS, 1963 LIVES AND WORKS IN NICOSIAWWW.ACHILLEASKENTONIS.BLOGSPOT.COM WWW.ARTOSFOUNDATION.ORG

JOSE LUIS DELGADO GUITARTTANGER, 1947 LIVES AND WORKS IN MADRIDWWW.ELASUNTO.COM

MARIA PAPACHARALAMBOUS NICOSIA, CYPRUS, 1964 LIVES AND WORKS IN NICOSIAWWW.MARIAPAPACHARALAMBOUS.BLOGSPOT.COM WWW.ARTOSFOUNDATION.ORG

MARJORIE KANTER (KASFIR) CINCINNATI, OHIO, 1943 LIVES AND WORKS BETWEEN MADRID, TARIFA, CÁDIZWWW.ELASUNTO.COM/MKD.HTM

RICARDO ECHEVARRÍATOLEDO, 1972 LIVES AND WORKS IN MADRID WWW.HANGAR.ORG/ALMA_MATRIX

WORK EXPOSED IN MADRID ABIERTO: PROYECTO[NEXUS*]

.............................................................................................................................................................................................................................................................................................

ACHILLEAS KENTONIS 

EDUCATION2001·    -todayPhD candidate at dept. of Cultural Technology and Communicationsat the University of the Aegean

1993·    Postgraduate scholarship studies at the Museo Internacional de Electrografia, Cuenca,Spain. Multimedia aesthetics and new technologies

1988·    School of fine arts, University of South Alabama, USA

1987·    Marketing (Minor), University of South Alabama, USA

1983·    Β.Sc Electronic Engineering, University of South Alabama, USA.

INDIVIDUAL EXHIBITIONS2007·    Game NOT Over FUNDACIÓN “LA CAIXA" DE LÉRIDA, Spain

2002·    ·Orientations Diatopos Center of Contemporary Art, Nicosia. ··    Orientations, Museo Terriade, Greece

1998·    From limestone to amethyst, Argo Gallery, Nicosia

1994·    ·The bridge with Maria Papacharalambous, Famagusta Gate, Nicosia.

1992·    ·Hands in action, Centro Cultural Meseta de Orcasitas, Madrid.

1988·    ·The day after, Greenpeace –Soho, New York.

GROUP EXHIBITIONS2005·    Accidental meetings» Municipal Art Center, Nicosia·    «Video Sensitive Postcards» San Marino.·    «Fragility» (short video art) Participated in the Femme Link International Video Collage Project.

2004·    HyperLinks – 20 Cypriot Artists, 20 new signalsFundación Evag. y Kath Lanitis, Limasol

2003·    “Detroit video festival”, Museum Of New Art, Detroit, EE.UU.·6η Triennale Mondiale D’Estampes, Chamalières, Francia·    Paths of Europe Macedonian Museum of Contemporary Art, Thessaloniki, organized by apollonia European art exchanges.··    International Art Expo– NONSTOP.·    Madrid03·International Art Expo– India 03·The C h o r o s Maker, The C h o r o s Maker, Drama short film festival, special distinction by the Hellenic Film Centre.

2002·    The Paths to Europe, selected by Apollonia European art exchanges, Place de la Gare, and European Parliament, Strasburg ·Exposición de arte y vídeo, comisario Lucas Curci, Bari, Italia

2001·    India Trienal The West does not forgive…, …» Installation in space (with Maria Papacharalambous). New Delhi, India.·    Nicosia Days of Culture – Moscow, Russia·    Cyprus through photographs - Palais des Nations, Geneva.

2000·    Exhibition of Sculpture «From the chisel to the electron, Casteliotissa, Nicosia.·    MEDIATERRA 2000, two-way installation in space (with Maria Papacharalambous), Factory of Athens School of Fine Arts. Lights and shadows, Panorama of Greek engraving, Nicosia Municipal Arts Centre and Athens National Gallery.

1998·    Expo ‘98, Lisboa, Portugal··    Estocolmo, European Cultural Capital,Sweeden·    Cyprus, Six Routes, House of Cyprus, Athens·    Young Cypriot Artists » Geneva – Palais des Nations, Geneva, Switzerland.

1997·    Tokyo Today Tokyo Metropolitan Museum of Photography, Japan.··    Bienal of Young Artists from Mediterranean Countries ’97. Torino, architecture with Maria Papacharalambous and Antonia TheodosiouHelsinki 2000, Finland.··    Τοkyo today. Saonica European Cultural Capital.

1996·    Open bridgeHouston, Texas.·    Wonder wall, Copenhague, European Cultural Capital, Denmark·    Alem da Agua, Copiacabana, Museo Extremeño e Iberoamericano de Arte Contemporáneo (MEIAC), Guadiana River, Spain.·    «International Festival of Video and Electronic Arts » FIV Buenos Aires, Argentina,·    Tokyo TodayCopenhague European. Cultural Capital, Denmark

1995·    21st International Engravings Bienal‘95, Lubliana, Eslovenia .··    Open bridgeMuseo de Arte Contemporáneo Carrilio Gil, Μéxico.··    Six Young Cypriot Artists, Athens Municipality Arts Centre

1994·    Bienal of Young Artists from Mediterranean Countries·    ‘94»,Lisbon,Portugal

1992·    Bienal of Young Artists from Mediterranean Countries ‘92», Valencia, Spain·    st International Photography Bienal», Spain

1989·    International Plain Air (FIAP), Plovdiv, Bulgaria.

1988·    East and West», Eurocult cultural exchange Μoscow.·    «At the wall», Eurocult cultural exchange,Berlin.

GRANTS, PRIZES AND AWARDS2002·    The Choros Maker, short film 35mm, 2nd short films and documentary festival, Documentary award, Rialto theatre.

2001·    The Choros Maker, Drama short film festival, special distinction by the·    Hellenic Film Centre

2000·    The Washington, DC International Film Festival 2000. Film An Egg, ·    audience award·    IndieKINO International Film Festival, Seoul, Korea Aug 2000, ·    Film An Egg NETIZEN award

1998·    Τhe Berlin Wall’, 3rd prize, Municipal Arts Centre competition, Nicosia·    Euro-Mediterranean Information Society Multimedia Award 2nd prize ·    with CD- ROM of the Holy Kyykos Monastery (executed by ·    MRDLCyprus University)·    1998Nicosia through the chronicle of Leontios Machairas, installation, Katafygia, 1st prize of Municipal Arts Centre competition, Nicosia

1997·    Europa Nostra Award (with Maria Papacharalambous and Antonia ·    Theodosiou).

1995·    “Mediterranean Woman " Special award from the French Cultural Centre ·    ART Addiction prize (espiral group), Sweden.

 .............................................................................................................................................................................................................................................................................................

JOSE LUIS DELGADO GUITART 

EDUCATION·    1977Holds a degree in Visual Communication from the University of Massachusetts.

EXHIBITIONS1977·    Exhibited paintings and graphic work in numerous art galleries and held personal exhibitions in the USA, Europe and Africa.

GRANTS AND PRIZES·    Awarded prizes in the state of Massachusetts for two consecutive years for his contribution to the Arts

SEMINARS, WORKSHOPS AND OTHER1994·    Academic Director at the Tracor School of Design, Madrid·    Creativity courses for the Association of Hotel Managers of Madrid (AEHM).·    Participant in the Brain-Linning project (On-line brain storming) with Compuserve

1978·    Professor of Creativity, Fine Arts, Design and Visual Communication at:·    The University of Massachusetts (Boston), Mass College of Art (Boston) and Parsons University Altos de Chavon School of Design (NY- Dominican Republic)·    Collaborated in projects with the Kodak Center for Creative Imaging, Graphic Languages Workshop (MIT) and Graphics Center (Harvard).

PUBLIC COLLECTIONS (SELECTION)·    The US Congress Library (Washington)·    The Spanish National Library (Madrid)·    The Forbes collection (Tangier)·    Association of Municipalities of Campo Gibraltar·    Museum of American Legacy Museum of Tangier·    University of Cadiz.·    Artist-in-Residents at the Pratt Graphics Center (New York), the MacDowell Colony for the Arts·    (Peterborough, NH) and the Asilah Museum (Morocco).

 .............................................................................................................................................................................................................................................................................................

MARIA PAPACHARALAMBOUS 

EDUCATION1991·    Facultad de Bellas Artes, Universidad Complutence, Madrid - Painting and engraving, (Matricular de Honor), on a Spanish government scholarship

1984·    School of Fine Arts, Athens - Painting (distinction), In parallel, workshops of sculpture, stage design, fresco and painting techniques of Byzantine icons, on a Cyprus government scholarship.

1982·    Athens National Conservatory, Athens, Greece Conservatorio nacional de Atenas; Grecia

INDIVIDUAL EXHIBITIONS2006·    re-tales. ARTos Foundation, Nicosia

2002·    Gallery Morfi, Limassol

2001·    Horizon: vertical. Contemporary Art Center Diatopos, Nicosia

1999·    Little Forgotten Fairytales. Oktana, Nicosia

1997·    Dream Traps. Diaspro Art Centre, Nicosia

1994·    The bridge with A. Kentonis. Famagusta Gate, Nicosia

1992·    Centro Cultural meseta de Orcasitas, madrid

1991·    House of Cyprus, Athens·    Diaspro Art Centre, Nicosia.

HAPPENINGS/ PERFORMANCES/ PUBLICATIONS /SYMPOSIUMS·    “the other dimension” Multumedia happening, ARTos, Nicosia·    Euro-Mediterranean culture in Barcelona, Spain·    Meeting of artists and institutions of contemporary art from small states of Europe, Republic of San Marino·    Cultural Exchanges, Irish Arts Council, Dublin, Donegal, Ireland·    Aesthetic design and implementation of ARTos Foundation buildings, Nicosia·    «Synesthesia» Multimedia performance and Video, R.I.K. theatre·    Designed and artistically supervised the bilingual art edition “Orientations” of Achilleas Kentonis, ARTos Foundation editions·    Theatre of Nations University- iTi Seoul, Korea·    Symposium «culture in the global economy», Copenhagen, Denmark·    Organized the first international event “internet art” and “Fax art” in Cyprus in the framework of the Eu. Cult. Month, Nicosia·    Organized the «Open Bridge», international Art Project in collaboration with M.I.D.E. museum Spain; Museo de Arte Contemporaneo Carrilio Gil, Μexico; presented at Huston, Texas, Olympic Games Atlanta 96 and at the Carrilio Gil Museum, Mexico City, Mexico·    Designed and published the trilingual edition “Message in a Bottle – Fire Border”·    Organized the «Message in a bottle» International cultural event in ancient tombs (2500 years old) ” in Cyprus in the framework of the Eu. Cult. Month, Nicosia·    Panhellenic Symposium « Gea Aphrodite», Nicosia·    Artistic intervention on San Pablo bridge, Cuenca, Spain·    From 1997 to the present day, collaborates with various theatre companies and with the Cyprus Theatre Organization as a set and costume designer.·    Collaborated with the fashion designer Fotini Lamnissos for creation art and design objects. 2000 “metallaxis” Argo Gallery, Nicosia, 2005 Venice Biennale and ARTos Design Shop·    Most of the happenings, installations, multimedia events, stage and costume design, films/ video, architecture and international projects are done in collaboration with the artist Achilleas Kentonis.

FILMOGRAPHY·    FilmographySelection and approval by the cinema advisory board for funding of the film Once upon a dress…·    Soundless Soundscapes10min,·    Fragility 2 min·    A Stroll 35mm, short animation film, 10min·    Memories after the silence 7min, ·    Finikou 5min·    The choros maker 35mm, 12min·    Greed (perimetric video projection)·    Neighbourhoods of the world, a series of short films (50min)·    An Egg 14 min, video animation

GRANTS AND AWARDS·    Distinction by the Lamia art film fest for the film “a stroll”·    Distinction by the Hellenic center for Cinema at the 26th Short Film and Documentary Festival of Drama, Greece·    Documentary Award - 2nd short film and documentary festival, Cyprus. «Audience award» The Washington DC International Film Festival 2000 «Netizen award» Idiekino International Film Festival, Seoul, Korea «Europa Nostra» award·    «Art Addiction» award, Espiral Group, Stockholm, Sweden·    1992Scholarship Museo Internacional De Electrografia, MIDE, Universidad Castilla la Mancha, Cuenca, Spain

 .............................................................................................................................................................................................................................................................................................

MARJORIE KANTER (Kasfir) 

EDUCATION·    Degrees from Ohio University and the University of Cincinnati, USA

CURRENT PROJECTS·    House Menu·    The Light Traveller·    The Swimming Pool·    Upside Down Movie·    The tables were turned and we all ate upside down (recopilación en un libro)·    The Saddle Stitch Notebooks (an on-going project of working pieces).

SEMINARS, WORKSHOPS AND CLASSES·    Experience as an Intercultural Consultant and Trainer, Faculty member and program director in the area of Bilingual/Intercultural Special Education in Higher Education, Bilingual Speech and Language Pathologist.·    In Spain where she’s working on new writings, and offering readings and training sessions.·    Experience as trainer, workshop leader, conference presentations, public readings·    Since 2004 public readings and workshops at conferences, schools and in numerous bookstores in Madrid, Barcelona, Tarifa, Paris, Morocco and USA

2006·    Asociación Wafae, Tánger, Marruecos, 2006;·    Expat Writers, University of New Orleans, 2006;·    MESEA, The Society for Multiethnic Studies, International Conference on Life Writing and Histories, Pamplona, 2006;·    Hartley's Good Bookshop, Madrid, España, 2006;·    Monroe County Public Library, Florida, 2006;·    College English Association, San Antonio, Texas, 2006;

2005·    International Conference on Contrastive Linguistics, Santiago de Compostela, 2005;·    Shakespeare and Co, París, Francia, 2005;·    Librería Laie, Barcelona, España, 2005;·    International House, Barcelona, España, 2005

2004·    Transacciones/fadaiat tarifa 22+ 23 junio 2004, documentación y proyecciones;·    International Conference on the Short Story in English, Alcalá de Henares, 2004;·    International Conference on Discourse Analysis, Valencia, 2004; Feria del Libro, Madrid, España; Conferencia TESOL, Madrid, 2004;

1985·    Department of Education, Training Coordinator; Regis College, Weston, Massachusetts, Training Coordinator; Bridgewater State College, Massachusetts, Directora de programa; Massachusetts Association of Bilingual Education, EE.UU., Program Director; National Association of Bilingual Education, EE.UU., Chairperson Special Interest Group on Special Education and presentations.

PUBLISHED WORK2006·    The Saddle Stitch Notebooks, Working Pieces Issue Number One: Relationships, Ediciones La Espiral Escrita, marzo 2006.

2005·    Selected pieces included in Blades 39, otoño 2005.

2004·    I displace the air as I walk, a book length collection of pieces culled from journals kept during a period of twenty years from life in Tarifa, Madrid, Morocco, the Caribbean and Boston, Ediciones La Espiral Escrita, marzo 2004.

2000·    The Skirt, The Barcelona Review, marzo 2000.·    El Enano, Mucho Cuento, Editorial Acumán, España, noviembre 2000.·    Text Only Postcards, Ediciones Caracola en Patines, España, 1999.·    Vendaval Magazine, Editor, Tarifa, España, 1988-90.

BIBLIOGRAPHY·    [In the making]Marjorie Kanter, A film by Jose Luis Delgado Guitart and Ricardo Echevarria, May 2006·    Review by Dr. Ángel Amy Moreno, Five Stars, Amazon Reviews, 2005.·    Best pocket poetry book for 2004, Andrew Giles, InMadrid.·    Review by Andrew Giles, InMadrid.·    Reviewed in The Broadsheet, 2004.

 .............................................................................................................................................................................................................................................................................................

RICARDO ECHEVARRÍA 

EDUCATION·    st Cycle of Architecture. CEES

1995·    -97PhD in Fine Arts. UCLM

1990·    -94Faculty of Fine Arts, Cuenca (UCLM)

1990.       -94Electroacoustic Music. Professional Music Conservatory of Cuenca, (GME) and Menendez y Pelayo University (UIMP).

INDIVIDUAL EXHIBITIONS2007·    [SAMPLER] Párraga Center. Murcia. (December 06-February 07)

2005·    Abraham. Espacio Contemporáneo Archivo de Toledo (ECAT),

2004·    Forvm-Chantall Grande Gallery, Tarragona.·    BS-Blanca Soto Gallery, Madrid.·    La Caixa Foundation, Lleida.

2001·    Finaltronics. Alternativa SXXI ,Malaga 2001.

1999·    Net-Pavillion. El Roser, Lleida,·    Tesseract. Centre Cultural, La Caixa Foundation, Lleida,

1997·    Poligrafía .Centre de Lectura de Reus

1996·    Samuel Leví Contemporary Art Museum, Toledo

GROUP EXHIBITIONS (SELECTION)2006·    “Pompas de Jabón”. Künstlerhaus Glogauer, Berlin. December 2006·    st Biennial ONCE Foundation. Circulo de Bellas Artes. Madrid

2004·    Mapa Poètic. Forum Barcelona, 1-26 June 2004·    ARCO 04 – Forvm– Chantall Grande Gallery (Madrid 2004)

2003·    L´Oreal 2003 Contemporary Art Prize. Finalist.

2001·    100 años 100 diseñadores - Reina Sofia Museum (MNCARS) (2001)

2000·    Trasvases, Spanish Artists on Video, Peru, Argentina and Mexico,·    Interzona. Palau de la Virreina, Barcelona·    Cymar -Hannover 2000 Expo, Weimar, Germany.

1999·    Club Arts&Lounge. Art Museum of Granollers·    Visions de Futur – Tech Driven Society ,IMAC-Reus·    Pautas y Contrastes – Reina Sofia Museum (MNCARS)·    Germinations X – (Athens, Greece October 1998, Flanders, Belgium May 1999)

1998·    ARCO 98 – Dels Angels Gallery, Madrid·    Off-Sonic, Contemporary Art Museum of Barcelona (MACBA)

1995·    Spanish Contemporary Art Museum of Madrid (MEAC). XI Young Art Fair·    Otros Mundos Posibles, Cruce Gallery, Madrid

1994·    Los Angeles Center for Photographic Studies, Los Angeles, USA·    Cruce Gallery, Madrid·    Anys 90 Distanzia 0. Santa Monica Art Center, Barcelona

1993·    Radio Fontana Mix (RFM), Faculty of Fine Arts, Cuenca ·    http://www.log-os.com/ of the Spanish Pavilion in the Universal Exhibition Hannover (Germany).

1994·    First Photography and Videocreation Prize. Castilla-La Mancha Plastic Arts Prizes, (Toledo)

1992·    Cannes Film Festival (France) INJUVE, Film Critic Prize. (Madrid)

2000·    Artist-in-Residents Grant -C3 Soros Foundation (Budapest, Hungary)

1999·    Artist-in-Residents Grant –Faculty of Art, Birmingham (UK)

1999·    Artist-in-Residents Grant –Art School of Aix en Provence (France)

1996·    Artist-in-Residents Grant -European Cultural Month (Nicosia, Cyprus).

 

 

 

 

 

 

07prtb1208, 07prtb1210, 07prtb1212, 07prtb1214, 07prtb1216

2005. Compañía de Caracas. ESPACIO MÓVIL (2005.02 / fieldwork)

 RESEARCHES

BUS TOUR THROUGH MONDAY UNTIL FRIDAY FEBRUARY 27

LINE 14From Plaza de Castilla to Atocha10.1811.5313.40From Atocha to Plaza de Castilla 10.3812.1314.00

LINE 459.4410.0410.4211.0211.2011.4112.1512.3512.5413.1413.4514.08

(February 2005)

 

 

 

 

 

 

05intb0494

2006. Tanadori Yamaguchi + Maki Portilla-Kawamura + Key Portilla-Kawamura + Ali Ganjavian. LOCUTORIO COLÓN (theoretical data)

 COLUMBUS, THE FIRST COMMUNICATOR

History says that Christopher Columbus discovered America but we prefer to express ourselves in less Eurocentric terms and believe that Columbus established the first communication channel between the Old and New World, the first string in a net that has grown exponentially along the centuries.

We think that the Square of Colón (Columbus Square) should have that communication element with which we identify the historic figure (ironically the neighbouring gardens are called Gardens of the Discovery). Now, more than five centuries after that first contact, we suggest the use of this downtown Agora as an exponent of the state of relationship between Europe and Latin America.

 

LOCAL NETWORKS, GLOBAL NETWORK

Michel Serres describes the hyper-communicative condition of contemporary life with his brilliant reflection on the hors là in his book Atlas. Hors-là is a state that connects the local context with the global context, community networks and international networks; the tiny and the huge.

Inside the social tangle of Madrid we find new emerging communities, mainly made of groups of immigrants. Among them, the ones corresponding to the Latin American countries are the most populated. In general, a catalyst element of cohesion to work is always necessary. In our society of communication, cyber cafés are used as catalysts among groups of immigrants that have just arrived. They’re physical vortexes of an imprecise and dense net of local relations and allow global relationships; In other words, an epitome of hors là.

 

 PHONE BOOTH COLÓN

The proposal is so simple and practical that it seems to enter the realm of the arguably non-artistic. We are aware of that, and even so we suggest the installation of a free of charge phone booth in the Colón Square for Madrid Abierto.

This project intends to move away from objectivity and cravings for eternity that are characteristic of modern art. However, the project wants to investigate the collateral aspects of a piece (phone booth) itself: on how the rumour about it spreads and how the turns to use it are organized, in the parallel activities that may appear unexpectedly around it, the schedule of its nocturnal use…

We like to think that the square will be the same once the phone booth is dismantled, however, it will have participated in creating a more complex social network between people in one and other side of the Atlantic.

 

 

 

06prtc3477

2007. Dora García. REZOS / PRAYERS (published text)

 On the 1st of February 2007, between 07:00 and 00:00 hours of the following day, ten performers, spread among ten different points of Madrid at different times of the day, uninterruptedly describe everything they see and hear at that time and place, and this endless description, recited like a prayer, is individually recorded by each performer, creating an audio recording of a length of one hour.

The description recited consist of a description of people, situations, attitudes, events, buildings, structures, trajectories, activities, routines, objects, atmospheres, circumstances, sounds, smells and even the impressions, deductions and intuitions of the subject describing or narrating.

It is fundamental that the ‘prayer’ is not interrupted and that the people who happen to be with the performer are aware that they are being integrated into a narrative structure (by the mere fact of hearing how they and what they are doing are being described and knowing that the description is being recorded).

The audio tracks created by the performers or ‘prayers’, may be heard, downloaded and mixed between them in a web page ( http://www.rezosprayers.org/), allowing the visitor to somewhat reproduce the complexity of the experience produced and experienced by the performer.

 

 

 

 

 

 

 

 

 

07intc1404

2008. Fernando Llanos. [VI VÍDEO] APARICIÓN MILAGROSA (video)

 

 

Option 12APARICIÓN MILAGROSA

 

 

 

 

 

 

 

 

 

 

 

08inve1871

2005. Compañía Caracas. ESPACIO MÓVIL (visual data)

2005. Compañía Caracas. ESPACIO MÓVIL (visual data)

 

          

                    

                   

                   

                    

 

 

 

 

 

 

 

05inib0493

2006. Tere Recarens. REMOLINO (location)

Recoletos Renfe´s train station, central hall

 

 

 

 

 

 

06intd1000

2006. Nicole Cousino + Chris Vecchio. SPEAKHERE! (technical data)

DE INSTALLATION INSTRUCTIONS FOR SPEAKHERE! THANK YOU!!!!

POINT A

1- unplug the main electric cable 

2- unscrew the black disk in the middle of the large metal disk 

3- carefully remove the large metal dish - attached with one more screw 

4- carefully open up the box - you can rest the plastic structure on the ground 

5- un hook all of the electrical cables, mic cable and antenna cable from the radio transmitter 

6- close the lid of the box so that the structure is back standing upright 

7- using a small screwdriver unscrew the various sections. The section with the microphone can keep the microphone attached inside, and just pull the cable up with it. The taller section has the antenna. Remove each section starting at the top and you should be able to pull the antenna up. If it does not come easily then you have to remove another section to disconnect two cables that maybe stuck in the curved section 

8- the final section that is attached to the base can be removed by opening the box and undoing the screws that hold a ring in place for one side. The other side is held in by bolts and can also be undone from inside the box 

9- all screws could be put in a bag and shipped inside of the plastic box 

10- you will need a wrench to remove the screws that secured the box to the sidewalk  

11- there are boxes for the ICOM radio and ASTRON power supply these can be wrapped in bubble wrap and shipped inside of the plastic box that forms the base - please make sure that everything is well packed in so that it does not rattle around in the box. 

12- Each of the plastic parts and the metal dish can be wrapped in bubble and should be able to fit in the boxes that they came in

POINT B

1- unplug the main electric cable and pull it up from the ground and perhaps stash it in the bushes so that later Pedro or someone else can disconnect it from the main green box 

2- unlock the box and disconnect all of the wiring from the radio receiver 

3- inside the box you should be able to unscrew the nuts from the gray plastic grommets that attach the speaker hoses to the box and pull out the speaker wires from inside the box 

4- you will need a ladder and heavy duty screw driver to disconnect the wire holding the speakers on the post. Disconnect each speaker 

5- each speaker has a green hose with the speaker wire. The speaker wire will need to be disconnected from the speaker itself before the hose can be removed 

6- the 2 larger speakers have multiple sections. Unscrew the section first where the speaker is and undo the speaker wires from the speaker 

7- the speaker wires in the green hoses can then be disconnected from the speakers by unscrewing the grey connector 

8- the speaker wires in the green hoses get coiled up 

9- the speakers can then be unscrewed and broken down in to separate sections 

10- the smallest speaker that looks like a flower pot – don’t bother trying to disconnect the hose from the speaker – it can stay as one piece 

11- there are boxes for the ICOM radio, ASTRON power supply, and SONY audio amplifier. This equipment can be wrapped in bubble, packed well inside the green box and shipped that way 

12- the speaker parts should be wrapped in bubble and should fit in the boxes or you may need one additional box to fit everything in 

13- the wooden post or “tree” can be removed or lit on fire at the site and the ashes can be taken sprinkled under the shrubs

 

 

 

 

06prtc0889

2007. Anikka Ström. THE MISSED CONCERT (published text)

 Ström’s public performances are short, and this has led to a number of her friends missing them through the tiniest twist or turn of fate. In her 2005 video The Missed Concert, the artist interviews some of these failed attendees, asking them to describe the circumstances behind their no-show. A woman in a floral dress tells of an over-run drink following a surprise meeting with an old friend. A parent reports a panicked call from a babysitter about a dirty nappy. A man in a blue shirt details a breakneck car journey that got him to the venue on time, where he was promptly thwarted by his need to pee. Best and most improbably of all, an Australian woman relates that just prior to a concert in Oslo, she slipped into a museum where she became enchanted by a painting of a woman riding a white bear. Wanting to snap the painting on her new and unfamiliar camera ‘phone, she fiddled with the buttons, finally got the shot, and ended up running to the gig only to find that Ström had just finished performing (‘I felt terrible’). These are the kind of things that befall us all, but they’re also the kind of things that can transform a bruised friendship into a bloodied one, or even (if they happen once too often) cause it to expire completely. Looked at like this, Ström’s video is an exercise in generosity and faith — a confession booth in which the excuses of the unfortunate are believed, and the feckless may find forgiveness. However, The Missed Concert also has a gently censorious undercurrent, one that laps at the feet of both Ström’s friends and the viewer alike. There’s a part of most of us that believes that time is on our side, that we will always win through at the eleventh hour, that we’ll make that million-to-one shot. We believe this because it is a satisfying narrative (how many films have you seen in which the hero doesn’t diffuse the bomb just before it counts down to zero?), and we’re creatures who are prone to turn our every experience into a scene from our own, personal bio-pic. Real life doesn’t work like that, though (ask a philosopher, and he’ll tell you that it’s impossible to satisfactorily prove even simple cause and effect). In real life we miss last trains and golden opportunities, we miss our friends’ concerts and, if we’re unlucky, we miss ever meeting the love of our lives. The Missed Concert presents us with a world — our world — in which time is out of joint, and our only available course of action is to wind our watches, and hope for the best.”

Tom Morton, Meta.paper vol.1.No 4. 2006

 

 

 

 

 

 

 

 

07intc1399

2007. Dora García (Cv)

VALLADOLID, 1965LIVES AND WORKS IN BRUSSELSWWW.DORAGARCIA.NETWORK EXPOSED IN MADRID ABIERTO: PRAYERS

SOLO EXHIBITIONS (since 2000)2006    ·    Code inconnu, SMAK, Gent (B)*·    Rooms, Conversations/ Cellule Cité Lenine, les laboratoires d’Aubervilliers,     Paris (F)*·    Habitaciones, Conversaciones, Galeria Juana de Aizpuru, Madrid (E)·    Múltiples y Colectivos, Museu del Empordá, Figueres, Girona, (E) *

2005    ·    Letters to Other Planets, Galerie Michel Rein, Paris·    Introduction to a Scientific Aesthetics (with Mathew Buckingham), Fundación     Telefónica, Madrid, (E)*·    Arco Project Rooms, ARCO 2005 Madrid, (E)*·    Vibraciones, MUSAC, León (E)*·    Des Messages, des Instructions, des Questions Frac Bourgogne, Dijon (F)·    Dora García: “Festival de Performance y Video” Espacio 1, Museo Nacional     Centro de Arte Reina Sofía, Madrid (E)*

2004    ·    Galería Joan Prats, Barcelona (E)·    Forever, permanent commissioned work for the Frac Lorraine, (F)·    Luz Intolerable & La Esfinge, museo Patio Herreriano, Valladolid (E)

2003    ·    The Kingdom, Macba, Barcelona (B) *·    Galerie Ellen de Bruijne, Amsterdam (NL)

2002    ·    The Breathing Lesson, Galerie Jan Mot, Brussel (B)·    Galería Juana de Aizpuru, Madrid (E)·    Galerie Jan Mot, Brussels (B)

2001    ·    Two Mirrors, Ellen de Bruyne Projects, Amsterdam (NL)*·    Inserts in Real Time, Galerie Jan Mot, Brussels (B)·    1101001000infinito Fundació La Caixa, Barcelona (E)*·    La Pared de Cristal, La Gallera, Valencia (E)*

2000    ·    Choreographies, Etablissement d'en Face, Brussels (B)*·    Sleep (Close Up), Arco Project Rooms, ARCO 2000, Madrid (E)*·    Sleep Project, Ellen de Bruyne Projects, Amsterdam (NL)·    Va a Desaparecer, Photoespaña, Galería Juana de Aizpuru, Madrid (E)*

GROUP EXHIBITIONS (since 2000)2006    ·    Carnets du sous-sol, Galerie Michel Rein, Paris (F)·    Entangled Tongues (aka ‘Langues Emmêlées’).  Centre Culturel François Mitterrand, Périgueux (F)·    Say it Now! performance festival Vooruit, Gent (B)·    Miradas Breves, Casa de España en Buenos Aires, Argentina,·    60 minutes well spent, video screening, Frankfurter Kunstverein (D)·    Festival Trouble Les Halles de Schaerbeek, Brussels (B)·    Untouchable, Villa Arson, Nice (F)*·    Data Mining, Wallspace, N.Y. (US)·    Proxecto Edicion, CGAC, Santiago de Compostela (E)*·    Cyberfem, EACC, Castellón (E)*·    Being in Brussels, Argos, Brussels (B)

2005    ·    Short Stories : Contemporary Selections, Henry Art Foundation, Seattle, Washington (USA)·    Invisible Scripts. Letter To Morel, W139, Amsterdam (NL)·    Ca ne se représentera plus.  Ecole des Beaux-Arts de Rennes, Galerie du cloître, Rennes (F)·    Art Basel, Juana de Aizpuru gallery·    The Art Film Program, Kunsthalle Basel, 13-18 June·    Posthumous Choreographies, White Box Gallery, N.Y. (USA)·    Le Génie du Lieu, Musée des Beaux Arts de Dijon, (F) ·    Libros de Artista, ProjectSD, Barcelona (E)·    Le Tableau des Élements, Mac Grand Hornu, Mons (B)

2004    ·    “Rotterdam Film Festival” (NL)*·    Opening Days, Beurschouwburg, Brussels (B)·    Biennal de Liège (B)*·    1x1xtemps, Frac Bourgogne (F)·    White Spirit, Frac Metz (F)·    Donderdagen, De Singel, Antwerpen, All The Stories (B)·    Procesos Abiertos, Hangar, Barcelona/ Terrassa* (E)·    D_calage, échanges de vidéos et performances de femmes artistes entre Montréal et Bruxelles, Petit Théatre Mercelis, Brussels (B)·    Courtisane film festival, Gent (B)·    “Ann Arbor Film Festival” Michigan (USA)·    Entropy AR/GE Kunst, Bolzano (I)*·    Schöner Wohnen, Be-Part, Waregem, (B) *·    Arte Portugués y Español de los Años 90, Centro Cultural Fonseca(Salamanca), CaixaForum (Barcelona), Centro Atlántico de Arte Moderno (Canarias) (E)

2003    ·    “Rotterdam Film Festival” (NL)*·    Monocanal, Museo Nacional Reina Sofía, Madrid (E)*·    25hrs, international video from the 90s, Barcelona (E)*·    Istanbul Biennial, Istanbul (TR)*·    “Argos Film Festival”, Brussels (B)*·    La Conquista de la Ubicuidad, Centro Párraga (Murcia, E), CAAM (E)*

2002    ·    IN/EX-HIBITION, Galerie Les filles du calvaire, Paris (F)·    Feb. 3. 2002, Muesum Dhondt-Dhaenens, Deurle (B)*·    Do it Yourself, Galerie Jan Mot, Brussels,(B)·    ARCO 2002 Madrid, Galería Juana de Aizpuru (E)·    Action/Replay 2, MC 93, Bobigny, (F) 25-26 mai -1er-2-8 juin 2002·    Art Brussel, Galerie Jan Mot (B)·    Mobiles, Parcours de Saint Gilles, Brussels, (B)*·    Lost Past, Ypres (B)*

2001    ·    ARCO 2001 Madrid, stand Galería Juana de Aizpuru y stand Caja Madrid**·    Vis à vis, video screening FRAC Lorraine (F)·    House of Games, Festival a/d Werf, Utrecht (NL)·    Basel Art Fair, stand Galería Juana de Aizpuru*·    Ici et maintenant, TNT, Bruselas (B)·    Silhouettes and Shadows, Tilburg (NL)·    BIDA, Universidad de Valencia*·    Stromereien, Open Performance Days Zurich (CH)·    Embodiment, De Brakke grond, Amsterdam (NL)*

2000    ·    ARCO 2000 Madrid , Galería Juana de Aizpuru (E)·    “Brussels Art Fair”, Galerie Mot&vanden Boogaard (B)·    “Basel Art Fair”, Galería Juana de Aizpuru (CH)·    Stock, Ellen de Bruyne Projects, Amsterdam (NL)·    El Espacio como Proyecto, Bienal de Pontevedra (E)*·    Trasvases, Museo de Arte Moderno de Buenos Aires (Argentina)*·    Metro>Polis, Brussels Underground (B)*·    “Festival Audiovisual de Navarra”, (E)**Publication

EDUCATION·    Fine Arts at the University of Salamanca, Spain and the Rijksakademie in Amsterdam, Holland.

BIBLIOGRAPHY (Monographies)·    The Prophets, CGAC, Santiago de Compostela, Spain, November 2006·    All The Stories (She/ Mujer), EACC, Castellón, Spain, October 2006·    CCL (cellule cité Lénine), Les Laboratoires d'Aubervilliers, Aubervilliers, Paris, September 2006·    Not for everybody, Frederique Berholtz, Metropolis M No.1 February 2006·    Code inconnu, SMAK, Ghent (B) 2006·    Todas Las Historias, festival de performance y vídeo, MNCARS Espacio Uno, Madrid (E) 2005·    Sí/yes/oui, No/no/non, Musac (León, Spain) and Frac Bourgogne, Dijon (F) 2005·    Chus Martínez, Dora García, Le système subtile, Arte Contexto, Madrid, Núm 5, Febrero 2005, págs 74-85·    Forever, Ediciones CRU (E), 2005·    Various authors, Introducción a Una Estética Científica: Dora García y Matthew Buckingham, Fundación Telefónica, Madrid 2005. ISBN: 84-89884-57-9·    Luz Intolerable y La Esfinge, Patio Herreriano, Valladolid, 2004, ISBN 84-96286-03-7·    Dora García, El Reino/ The Kingdom, Macba, Barcelona, 2003, ISBN 84-89771-03-0·    Dora García, Sala La Gallera, Valencia, Generalitat Valenciana, ISBN 84-482-2945-2·    1101001000infinito, Sala Montcada, Fundació La Caixa, Barcelona 2001, ISBN: 84-7664-747-6·    Pocket, Galería Juana de Aizpuru y Junta de Castilla y León, 2000·    Dora García, de Vleeshal, Middelburg (NL) 1997 ISBN 90-72310-15-2·    Dora García, De Appel, Amsterdam (NL) 1991 ISBN 90-73501-09-1

 

 

 

 

 

07prtb1206

2005. Colectivo Tercerunquinto. S/T (project rectification / 2004.12 / visual + technical data)

2005. Colectivo Tercerunquinto. S/T (project rectification / 2004.12 / visual + technical data)

 

          

Sin tìtulo"Concreto" and metalVariable dimensions

(December 2004)

 

 

 

 

 

 

 

05inib0491, 05intb0489

2006. Tao G. Vrhovec. REALITY SOUNDTRAK (location)

Paseo de Recoletos, Tienda Telefónica (near museo de cera)

 

 

 

 

 

 

06intd0999

2007. Mandla Reuter. VÍDEO CASERO, 1999

2007. Mandla Reuter. VÍDEO CASERO, 1999

 

  

VÍDEO CASERO, 1999FrankfurtEn colaboración con Alexander Wolf.

Un apartamento privado fue alquilado durante un mes en Frankfurt. Durante este tiempo se mostraron 5 o 6 películas diarias de 17:00 a 2:00 de la madrugada. La lista contenía unas 150 películas que eran, de algún modo, típicos videos caseros. Las películas eran reproducidas por orden alfabético como aparecía en la tarjeta de invitación. La programación diaria era transmitida por un contestador telefónico y en un programa de radio local. La situación en el apartamento vacilaba entre ver vídeos de modo privado con amigos y sentarse en el sofá de un apartamento con absolutos desconocidos que se habrían hecho con una invitación.

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

 

 

 

 

 

 

 

07inme3809

2007. Susan Phillipsz. FOLLOW ME (published text)

 Follow Me is a surround sound installation sited in the old military cemetery as part of the 4th Berlin Biennale. I positioned 4 horn speakers where the paths cross so people can walk through the sound as it encircles them. The sound is of me singing an old Yard Birds song called Happenings 10 Years Time Ago which is all about reality versus illusion. I recorded 4 separate renditions of the song and had them follow one another as if sung in a round, each one overlapping the other. Coming across disembodied voices with their echoes and reverberations might suggest spectral figures from the past being caught in time.

 

 

 

 

 

 

 

 

07intc1392

2006. Lorma Marti. BLEND OUT (proposed location)

 Situated in the center of Madrid and along its busiest boulevards, in the midst of representative historical ensembles and public green, the installations would remove sections of public space from the public, making them inaccessible or invisible.

 

 

 

 

06prtc0886

2004. Warren Neidich + Elena Bajo. SILENT (technical data / assembly)

2004. Warren Neidich + Elena Bajo. SILENT (technical data / assembly)

 

 

          

          

            

          

 

 

 

 

 

04inib0101

2006. Lorma Marti. BLEND OUT (theoretical data)

 Our project aims to highlight the erosion and occupation of public space, something happening both at a private level (mostly tolerated illegal construction) and at an institutional level (mostly imposed and invasive measures).

For Abierto we propose to install a series of “construction sites” consisting of full-size scaffolding or safety-fences wrapped in the usual fabrics, plastics and dustsheets.

Situated in the center of Madrid and along its busiest boulevards, in the midst of representative historical ensembles and public green, the installations would remove sections of public space from the public, making them inaccessible or invisible.

The enclosures would hint at something happening from which we are excluded, they could apply to open spaces, public green or existing buildings. They would modify our perception of the context they are inserted into, and our use of it. They would create temporary heterotopias, islands out of bounds, places that could only be regained through transgression. Over the duration of the installation, they would gather that urban driftwood of information: posters, ads, notices, wrappers and flyers - and become an interface, a record or laminate of all other possible cities and spaces.

 

 

 

 

 

06prtc0884

2006. Nicole Cousino + Chris Vecchio. SPEAKHERE! (location)

Transmitter: C/ Alcalá. Reciving end: Parque del Retiro, entrada Plaza de la Independencia

 

 

 

 

 

06intd0997

2007. Mandla Reuter. PICTURES (published text)

 Mandla Reuter’s Pictures is the transformation of a private flat in Madrid into a cinema showing current mainstream movies, which at the same time are also running in blockbuster theatres in Madrid and elsewhere, worldwide. A large light sign on the building’s façade announces the movie being screened, connecting the interior of the flat-turned-movie theatre with the exterior of the city.

Rather than commenting on a lack of space, Pictures negotiates ideas about access and space’s potential. Privacy is erased to make an intimacy in public space possible: you could say that the work does not offer a public service as much as an ‘intimate service’. This intimacy, however, gets a double-edged function in relation to the glamour of Hollywood that the sheer size and particular architecture of multiplex cinemas is meant to convey. What will big Hollywood stars look like when they are squeezed into a small Madrid flat? Will they still be the main attraction of the place, or will the massive projector take centre stage? In this way Reuter is doing a versioning of the movie industry much akin to the way Andy Warhol invented his own ‘small stars’ in films such as Chelsea Girls, a closet drama in which the actors projected their glamorous selves through improvisation. In Reuter’s Pictures what is at stake is again the co-habitation with stardom through a kind of playful parasitism on the illusionism of culture industry.

The transformation of space is aligned with other works of Reuter’s, first and foremost Invitation (with Alexander Wolff), in which together with an invitation card 400 keys were distributed to a flat in Warsaw. His predilection for the movie industry is also apparent in 3105 Cinestar-Original (2006) consisting of a soundtrack of a blockbuster movie played back in an art gallery. Accompanied by the audience’s coughs and crackling of sweets bags, the soundtrack becomes a kind of “polluted readymade”. By lifting the soundtrack a transport of spaces is brought about: the illusory space of the movie industry is added to the gallery, while the memory of a film is at the same time conveyed and withheld.

Reuter’s ambivalent attitude towards the material he appropriates can be framed by Jacques Derrida’s hybrid term ‘hostipitalité’ which denotes an unconditional hospitality that plays on the fact that ‘hospitality’ and ‘hostility’ comes from the same root, ‘hospis’. Based on openness, on total hospitality and inclusiveness, Reuter’s project also becomes a public arena where democratic sentiments can be played out – in peaceful as well as potentially antagonistic ways.

Lars Bang Larsen

 

 

 

 

 

 

 

 

 

07intc1389

2007. Anikka Ström (Cv)

HELSINGBORG, SWEDEN, 1964VIVE Y TRABAJA EN LONDONWWW.ANNIKASTROM.NETOBRA EN MADRID ABIERTO: THE MISSED CONCERT

SOLO EXHIBITIONS2006·    Call for Demonstration, curated by Monica Ross, Meta.gallery Hove, UK·    Sneaklaunch, Stockholm Citywide Billboard project commissioned by Bonniers Konsthall curated by Sara Arrhenius, Stockholm·    The kindest artist in the world, Random gallery, (Project space by Praz Delavallade & Air dParis), Paris

2005·    Jag vill kunna se vad det är, Galleri Charlotte Lund, Stockholm·    The missed concert and the kindest artist in the world, c/o - Atle Gerhardsen, Berlin

2004·    Mary Goldman, Los Angeles, USA·    Det bästa , Galleri Box, Göteborg, Sweden·    I am in love/ all my dreams...Galleria Sonia Rosso, Turin, Italy

2003·    16 minutes  Galerie Drantmann, Brussels·    Everything in this show can be used against me, Casey Kaplan, New York,·    Galleri Charlotte Lund, Stockholm

2001·    Six Songs for a Time Like This, c/o - Atle Gerhardsen, Berlin·    Six Songs for a Time Like This, IASPIS Galleriet, Stockholm·    Six Songs for a Time Like This, Statement Art 32 Basel at c/o - Atle Gerhardsen, Basel

2000·    Grant for revolutionary  Goldman Tevis, Los Angeles, USA·    Ten New Love Songs, Videodrome, Copenhagen·    Annika Ström, c/o Atle Gerhardsen, Oslo

1999·    Manuscript Song, Galleria Sonia Rosso, Pordenone, I (cat.)·    Annika Ström - Ten New Love Songs, Wiener Secession, Vienna, A (cat.)·    Annika Ström at Transmission, Transmission, Glasgow·    Seven Songs, Akershus Kunstnersenter, Akershus·    Fem Skäl, c/o - Atle Gerhardsen, Oslo

1998·    Seven Songs, Casey Kaplan Gallery, New York, USA·    The First Song of Seven, Art Space 1%, Copenhagen, DK

1997·    Windowpillow, Casey Kaplan Gallery, New York, USA·    Videoportrait screening No. X, Rooseum Museum for·    Contemporary Art, Malmö, S·    The Pineapple Project, Malmö, S

1996·    Annika Ström, Rupert Goldsworthy Gallery, Berlin

1995·    Anna Ström & Annika Ström (3 days performance), Rupert·    Goldsworthy Gallery, Berlin (cat.)·    Windowpillow, Gallery Saga Basement with J. Schou, Copenhag

GROUP EXHIBITIONS / SCREENINGS2006·    The Clinic. Berliner Hebbel Am Ufer-Theater curated by Anselm Franke and Hila Peleg·    In a Magical World curated by Juan Antonia Alvarez Reyes, Cala San Vicente, Pollensa, Majorca  Island·    Bastards, curated by Sinasa Mitrovic, White Chapel, London·    I am a victim of this song… and other sung videos, curated by Montse  Badia Centre d´Art Santa Mònica, Barcelona·    Too much love, curated by Amy Adler, Angles Gallery, Santa Monica, USA·    Innenausstattung. Privates Handeln curated by Janneke de Vries and Kerstin Stakemeier,·    Franz West without Franz West, curated by Veit Loers, Centre d'art Santa Mònica, Barcelona and Centro Atlantico de Arte Moderno, Las Palmas de Gran Canaria·    Janssons frestelse/Jansson´s Temptation, curated by Niels Bonde, Overgaden·    Institute of Contemporary Art, Copenhagen·    Franz West without Franz West, curated by Veit Loers, Centre d'art Santa Mònica, Barcelona·    Mobile Screening in La Vidéotheque mobile by Fabrice Gygi, Landowski,Boulogne.·    The Peninsula art and film Anthology, Curated by Heman Chong Singapore History museum,Singapore

2005·    Edstrandska stiftelsen exhibition, Malmö Konstmuseum, Malmö·    Situated Self curated by Branko Dimitrijevic & Mika Hannula, Belgrade Museum of Contemporary Art, Belgrad, Serbia·    Situated Self , Helsinki City Museum, Finland·    Tourist Class, curated by Lars O Ericsson & M von Hausswolff, Malmö Konstmuseum, Malmö·    The 15 min show, curated by Christina Ricupero & Alexis Vaillant at Stedeljik Bureau, Amsterdam·    Lak-ka-pid-lak-ka-perd Invisible landscapes, curated by Miya Yoshida, Chula University, Bangkok, Thailand·    Moderna by night, release of Artist book with ONESTARPRESS, Moderna Museet, Stockholm, Sweden·    The failure, curated by Fanny Gonella & Sabine Schmidt, Korridor, Berlin·    Kyss Frosken, Nasjonalmuseet for Kunst, Oslo, Norway·    Electric Ladyland, Video und Weiblichkeit, curated by Katjy Albers, Neuer Berliner Kunstverein, Berlin·    Funky Lessons, Bawag Foundation, Vienna·    Media in F, from feminist to feminists,Young Kee Kim,Ewha Art center, Seoul

2004·    Made in Berlin . curated by Zdenek Felix, Artforum, Berlin, Germany·    Funky Lessons, Büreau Friedrich curated by Jörg Heiser, Berlin, Germany·    SansPalais de Tokyo, Paris·    Hotel Hollywood, Künstlerhaus Palais Thurn und Taxis, cur. by Svetlana Heger, Bregenz, Österreich·    Density  ±O, curated by Caroline Ferreira & Marainne Lavanere, Ecole Nationale des Beaux-Arts de Paris, F·    Die kleine Biennale, curated by Mark Kremer, De Jaarbeurs, Utrecht, NL·    Video-Film-Documentary Programme , NIFCA, Helsinki, Finland·    ideo Hits, Queensland Art Gallery, South Brisbane, Australia·    Density  ±O, Freiburger Kunstverein e.V., Freiburg, Swiss·    Criss-Cross, Kino, Lunds Konsthall, Lund, Andorra Cinema, Helsinki, followed by an international tour (2004-2006)

2003·    Narcissus , curated by Hilde Teerlink, Crac Alsace, Altkirch, France·    Contingent Living (cur. by Michelle Grabner), Bodybuilder & Sportsman Gallery, Chicago·    Invisible Landscape, curated by Miya Yoshida at Rooseum Center for Contemporary Art Malmö, Sweden·    Paradigm of love, curated by Judith Reichart, Vorarlberger Kunstverein, Bregenz, Österreich·    Inside Outliners, a probable anthology (cur. by Roland Patteeum), Kunsthalle  Lophem Belgium, Belgium·    5 Projects: Contemporary Art from Sweden, Yerba Buena Center for the ArtsSan Francisco, USA·    Piacenza, Milano, Italy, curated  by Paolo Zani·    Annika Ström, Catrin Otto, (Senatsstipendiaten der Stadt Berlin 2003) Kunstbank, Berlin

2002·    Cine y cas cine, Museo Nacional Centro de Arte Reine Sofia, Madrid, E·    Gossip, Konstmuseet Malmö, Malmö, S·    Art costs more than sausages, Moderna Museet, Stockholm, S·    The music in me 1 Gesellschaft für Aktuelle Kunst, Bremen, D·    Gallery Group Show, Goldman Tevis, Los Angeles, USA·    Openvideospace (cur. by Marina Sorbello), Openspace, Milan, I·    Video Lounge (cur. by Maria Rosa Sossai), Fondazione Olivietti, Roma, I·    Documents, Documentaries and Documentation: Artists’ Film and Video Programme, Arnolfini, Bristol, GB·    “Je t’aime……moi non plus”, Kunstmuseum Thun, CH (touring exhibition)·    Göteborg Filmfestival “Artfilm”, Cinema Atalante, Göteborg, S

2001·    Experimental Film Festival BEFF, Project 304, Bangkok·    One Night Stand, (presented by Make), The Lethaby Gallery, London, GB·    Silence of the City, Gwangju City Art Museum, Gwangju, Korea·    WonderWorld, Kleines Helmhaus, Zürich, CH·    The Wedding Show, Casey Kaplan, New York, USA·    Summer Group Show, Galleria S.A.L.E.S., Roma, I·    The Artist’s World, curated by  Ralph Rugoff, CCAC Institute, San Francisco,USA (cat.)·    Monitor Vol. I, Gagosian Gallery, New York, USA·    Berlin_London_2001, ICA London, London, GB·    Pandas and bamboo a new song by Annika Ström I am the Panda, Robin Pruitt at Gavin Brown’s Enterprise, New York, USA·    Bra mot melankoli – Remedy for Melancholy (cur. Anders Kreuger & Evaldas Stankevicius), Edsvik konst och kultur, Sollentuna, S / Baltic Art Center, Visby, S (cat.) / Contemporary Art Centre, Vilnius, LIT

2000·    Filles Modernes, École Superieure d´Art de Perpignan, Perpignan, F·    KS175.com, Kunstforeningen Gammelstrand, Copenhagen, DK·    Wonderful Copenhagen, Stadtgalerie Kiel, Kiel, D (cat.)·    Freeways and Garage, Sparwasser HQ, Berlin, D·    Attraction, Metrónom, Barcelona, ES·    WaterFront. International Art Exhibition in Helsingborg-Helsingør, Kulturhuset Toldkammeret, Helsingør / Helsingborg Museum, DK·    Escape_Space, Ursula Blicke Stiftung, Kraichtal-Unteröwisheim, D (cat.)·    Flakk, or that extraordinary sensation of being abroad, even when at home, The Nordic House, Reykjavik, IS (cat.)·    Artists of the Gallery, Casey Kaplan, New York, USA·    Amateur/ Eldsjäl. Variable Research Initiatives 1900-2000, Konstmuseum, Göteborg, S (cat.)·    Shoot! International Video Festival, Malmö, S

1999·    Exit, Chisenhale, London, GB·    Close-ups, Nikolaj – Copenhagen Contemporary Art Center, Copenhagen, DK (cat.)·    Identität, Halle für Kunst, Lüneburg, D·    Rosa für Jungs/Hellblau für Mädchen, NGBK, Berlin, D (cat.)·    NGBK, Berlin, D (leaflet)·    Level Cinema, W139, Amsterdam, NL·    Nasubi Gallery / Cities On The Move, Louisiana Museum of Modern Art, Humlebæk, DK

1998·    Nordic Nomads, White Columns, New York, USA·    Beige & Sneakers, Concert – Performance – Event, Büro Friedrich, Berlin, D·    Out of the North, Württembergischer Kunstverein, Stuttgart, D (cat.)·    Wrapped, Vestsjællands Kunstmuseum Sorø, DK (cat.)·    Art Club Berlin, Mies van der Rohe Pavillion, Barcelona, ES·    Bicycle Thieves, Beret International Contemporary Art From Copenhagen, Chicago, USA (cat.)·    Pakkhus, Momentum, Nordic Festival of Contemporary Art, Moss, NO (cat.)·    Videorama, Video Screenings, Vienna, A·    Domesticity, Gallery Mehdi Chouakri, Berlin, D·    After the Orgy, Smart Project Space, Amsterdam, NL·    Nuit Blanche - My Room, (Video programme DK), Musée d'Art Moderne de la Ville de Paris, Paris, F (cat.)·    Jubileum Exhibition, Stalke Gallery, Copenhagen, DK·    Undergrund, Gallery Asbæck, Copenhagen, DK·    The Louisiana Exhibition, Louisiana Museum of Modern Art, Humlebæk, DK (cat.)·    Art Calls, Telephone Project, Denmark (cat.)·    Do It, Nikolaj. Copenhagen Contemporary Art Center, Copenhagen, DK (cat.)·    Sitting Up Erect or Reclining, Home Show (cur. M. Goldman), Berlin, D

1997·    Art Club Berlin, Art Forum Berlin, Berlin, D·    What Is A... Do On A Deserted Island?, Middlegrundsfortet, DK·    One Band Stand, concert performance with stand-in, Rockefeller Center, Oslo, NO·    Gallery Stalke, with Recke & Bechmann, Copenhagen, DK (cat.)·    The Museum of Contemporary Art, Roskilde, DK (cat.)·    Shift Kunstverein, Berlin, D·    Splendid Isolation, Osmos Gardenshow, Berlin, D·    Double Bind, Gallery Enkehuset, Stockholm, S (cat.)

1996·    Tidsanda III - Nordisk Konst, Malmö Art Museum, Malmö, S·    When Shit Hits The Fan, (text by Tone O. Nielsen) Overgaden. The Danish Ministry of Culture’s Exhibition Hall for Contemporary Art Copenhagen, DK (cat.)·    Vardagslivets Psykopatologi!, Galleri Struts, Oslo, NO·    Electronic Undercurrent - Video in Europe, The Royal Museum of Fine Arts Copenhagen, DK (cat.)·    Compartments, Video programme: Escape attempts, arranged by Globe, Copenhagen, DK (cat.)

1995·    5 Artists, Galleri Struts, Oslo, NO·    Trans.form.identity, Overgaden, Copenhagen, DK·    Time Slice, Media Art School, The Royal Museum of Fine Arts, CPH, DK

BIBLIOGRAPHY·    Monographs / Booklets, Catalogues on solo exhibitions·    onestar press, France (2005)·    Galleria Sonia Rosso, Pordenone, I (2000)·    Secession, Vienna, A (1999)·    IASPIS GALLERIET, Stockholm, Sweden (2001)·    Metagallery, Hove (2006)

CATALOGUES ON GROUP EXHIBITIONS / BOOKS2006·    Janssons Frestelse, Overgaden, Copenhagen

2005·    Edstrandska stiftelsen art award, Malmö Konstmuseum, Malmö·    VERSION, Coloring Book, edited by Gabriela Vanga, Mircea Cantor, Ciprian Muresan, Version Magazine 0.6, Romania·    Tourist Class, Malmö Konstmuseum, Malmö·    nd International Video-Art Biennial in Israel, Center for Contemporary Art, Tel Aviv, p. 50·    Lakka pid-lakka ped, Invisible Landscapes, Bangkok·    Situated Self, Confused, Compassionate and Conflictual, Museum of Contemporary Art, Belgrade·    Funky Lessons, ( cur. by Jörg Heiser), Revolver, Frankfurt am Main

2004·    Jahresbericht 2004, Künstlerhaus Palais Thurn und Taxis, Bregenz·    Live, Palais de tokyo, Paris·    Video Hits, Queensland Art Gallery, South Brisbane, Australia·    Density  ±O, Ecole Nationale des Beaux-Arts de , Paris·    Die kleine Biennale, De Jaarbeurs, Utrecht, NL·    Criss-Cross Video-Film-Documentary Programme, NIFCA, Helsinki, Finland (Booklet)

2003·    densité ±O, (cur. by curated by Caroline Ferreira), Ecole Nationale Supérieure des Beaux-Arts de  Paris, F·    Vorarlberger Kunstverein, (cur. by Judith Reichart and Wolfgang Fetz),  Bregenz, Österreich Thun, CH·    Christoph Merian Verlag and Helmhaus, Zürich, CH·    Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain·    Büro Friedrich, Berlin·    Kleines Helmhaus, Zürich, CH·    CCAC Institute, San Francisco, USA·    Edsvik konst och kultur, Sollentuna, S / Baltic Art Center, Visby, S·    ed. by Landeshauptstadt Kiel / Stadtgalerie, Kiel·    NIFCA and The Nordic House, Reykjavik, IS·    Danish Filminstitute, Filmhuset Copenhagen, DK·    Göteborgs Konstmuseum, Gothenburg, S·    Ursula Blicke Stiftung (ed. by Ursula Frohne and Christian Katti), Kraichtal, D·    Waterfront International Art Exhibition, Helsingør Museum/Denmark and Helsingborgs Museum/Sweden·    NGBK, Berlin, D·    Nikolaj – Copenhagen Contemporary Art Center, Copenhagen, DK·    NGBK, Berlin, D·    NGBK, Berlin, D·    Nordic Nomads (cur. by Andrea Kroksnes), White Columns, New York·    Beret International Contemporary Art From Copenhagen, Chicago, USA·    Musée d'Art Moderne de la Ville de Paris, Paris, F·    Württembergischer Kunstverein, Stuttgart, D·    Vestsjællands Kunstmuseum, Sorø, DK·    Momentum: Nordic Festival of Contemporary Art, Moss, NO·    Louisiana Museum for Moderne Kunst, Humlebæk, DK·    Stalke Galleri, Copenhagen, DK·    Copenhagen Contemporary Art Center, Copenhagen, DK·    Gallery Enkehuset, Stockholm, S·    The Royal Museum of Fine Arts Copenhagen, DK·    The Danish Ministry of Culture’s Exhibition Hall for Contemporary Art, Copenhagen, DK·    Landspeed Records, London, GB·    Rupert Goldsworthy Gallery, Berlin, D

SELECTED ARTICLES·    Artforum,   anuary 2006, 9. 237·    Higgie, Jennifer Call for demonstration, Events, Frieze, September 2006·    Frenker, Clarence: Kolla in stans konstigaste kåk, Aftonbladet, Stockholm, April 3·    Steen, Paul: Bäst just nu Konst, Nojesguiden, May·    Annika Ström: Für manche Platten bin ich zu sentimental, Monopol, February, p. 28

2005·    Edlinger, Andrea:c/o – Atle Gerhardsen, Erfundene Konzerte und Freunde,·    taz, tazplan, Mi. 16. Nov. 2005, p. 28·    Tate Online, Issue 4·    spike, Art Quarterly, Winter 2005, pp. 109-110·    frieze, issue 78, October 2003, pp. 102-105·    Artforum, Summer 2003, p. 189·    Flash Art, Milan, no. 229, March-April, pp. 76-79·    Tema Celeste, Milan, Jan./Feb.·    Kunst-Bulletin, Zürich, No. 6/2002, pp. 40-43·    Konsten.net, Stockholm, October 22·    Svenska Dagbladet, Stockholm, November 9, p. 7·    NU: The Nordic Art Review, vol. III No.6/01, 2001·    Artforum.com, Oct. 2001·    NU: The Nordic Art Review,vol. III, no. 2, February 2001·    Der Tagesspiegel, 27. Oct. 2001·    Zitty. Illustrierte Stadtzeitung Berlin, no. 22 / 2001, 18.-31. Oct., p. 55·    Flash Art, No. 221, April - May·    Tema Celeste, Milano, no. 78, March – April 2000, p. 111·    New Art Examiner, March 2000, pp. 20-24·    Flash Art, May-June, 2000, p. 74·    LeTravailleur Catalan, 24/30 November 2000·    Danish Filminstitute, no. 8, 2000·    NU: The Nordic Art Review, vol. II, no. 5, 2000, pp. 85-86 ·    La Semaine du Roussillon, 16/22 November 2000·    Flash Art (Italian Edition), Milano, No. 221, April – May 2000, pp. 117-118·    MessaggeroVeneto, 18. January 2000, p. 10·    Arte Tendenze, Milano,  no. 317, February 2000, p. 162·    L’Independant, 6. Nov. 2000·    L’Independant, 12. November 2000·    NU: The Nordic Art Review, vol. I, no. 1, 1999, p. 90·    Art Monthly, no. 225, April 1999·    BilledKunst, no.1, 1999·    Art Papers, March/April 1999·    BillyLiar, no. 2, 1998·    Der Tagesspiegel, Berlin, 2. May 1998·    Out of the North  (catalogue text)·    Kunstmagasinet 1%, Preview Issue, Copenhagen, December 1997 – January 1998, pp. 8-10·    Art/Text, no. 60, February – April 1998·    Øjeblikket, no. 35, 1998·    Flash Art, no. 201, 1998·    AKTUELT, 3. October 1997·    TAZ, 27/4, 1996·    Zitty, October 1996·    Paletten, no. 4/95, 1995

 

 

 

 

 

07prtb1204

2007. Leopold Kessler. ALARM BIKE (published text)

 An unlocked bike stands in front of the exhibition space. If somebody moves the bike, a sirene starts howling and the lights are flashing. The bike is equipped with an alarm system - which can be switched in/out by the owner with the help of a remote control. The typical gesture of showing your power and wealth like unlocking a new BMW.

 

 

 

 

 

 

 

 

07intc1385

2006. Chus García Fraile. POST IT (proposed locations)

 I’ve thought of two possible locations:

- in Alcalá street, covering Puerta de Alcalá, Bank of Spain, the Metrópoli building (bifurcation Alcalá and Gran Vía)

- or the Recoletos artery, Colón Towers and Colón Square.

The organization should decide, depending on permits and other facts, the appropriate location.

 

 

 

 

 

06prtc3469

2006. Chus García Fraile. POST IT (technical data)

 ASSEMBLY AND TECHNICAL REQUIREMENTS FOR THE “POST IT” PROJECT

1. This project would consist of producing and printing 10 polyester outdoor canvases of 400 x 300 cm. The digital prints of contents would be made with special fluorescent ink, so that they could be read also at night without the need of extra light.

2. The assembly system would be integrated in the poster. These great canvases would only need plastic bridles hooked to the canvas with holes on its upper corners.

3. Technically it would need two staff members and a crane operator. In case that the posters were placed from windows we could do this, in case that the internal access to the façade were impossible or difficult, we would place them directly with a crane.

4. Transport would be in need of a van with 4 metres of pilling space, and two people to load, unload and assembly.

PLANNING

Expected time to do everything: 3 working days.

 

 

 

 

06prtc3467-06prtc3468

2006. Lorma Marti. BLEND OUT (location)

Pº del Prado, central boulevard between Plaza de Cánovas del Castillo and Plaza Platería Martínez

 

 

 

 

 

06intd0996

2007. Dirk Vollenbroich. SHORT CIRCUIT / CORTOCIRCUITO (published text)

 TEMPORARY KINETIC LIGHTINSTALLATION‚ SHORT CIRCUIT/CORTOCIRCUITO

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 strength 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.

 

 

 

 

 

 

07intc1381

2007. Susan Phillipsz (Cv)

GLASGOW 1965LIVES AND WORKS IN BERLINWORK EXPOSED IN MADRID ABIERTO: FOLLOW ME

INDIVIDUAL EXHIBITIONS2007·    Kunst-Station, St Peters Church, Köln·    Susan Philiosz, CGAC, Centro Galego de Arte Contemporanea,Santiago·    Susan Philiosz, Centre d'Art Santa Monica, Barcelona·    Susan Philipsz, Mitzuma Gallery, Tokyo·    Imperial War Museum Commission, Duxford, England·    Susan Philiosz ,Centre Pour l'image contemporaine, Geneva

2006·    There Is Nothing Left Here, Isabella Bortolozzi Gallery, Berlin·    Something Better Change ,Special project, ARCO Art Fair, Madrid·    Stay With Me, Malmö Konstall, Malmö·    Ziggy Stardust, Appendiks, Copenhagen

2005·    Reception 3 (with Robert Barry) Bürofriedrich, Berlin

2004·    Susan Philipsz Kunstverein Arnsberg. E.V, Arnsberg·    Susan Philipsz Ellen de Bruijne Projects, Amsterdam·    Let Us Take You There, (with Paul Rooney) Site Gallery, Sheffield

2003·    Susan Philipsz, 38 Langham St, London

2002·    Susan Philipsz Ellen de Bruijne Projects, Amsterdam·    Pledge, Temple Bar Gallery, Dublin

2001·    Tomorrow Belongs To Me, Stadtlabor, Lüneburg

2000·    I Remember You, The Old Museum Arts Centre, Belfast·    Some Place Else, (with Mary McIntyre), Consortium Gallery, Amsterdam

1999·    Red Standard, (with Eoghan McTigue), The New Works Gallery, Chicago

1998·    Strip Tease, The Annual Programme, Manchester GROUP EXHIBITIONS2008·    Folkstone Triennial, Folkstone, Kent

2007·    Sculpture Projects Münster 07, Münster

2006·    The Busan Biennale, Busan, Korea·    The Grand Promenade, Museum of Contemporary Art. Athens·    Berlin Biennale, Berlin·    Undo Redo, Kunsthalle Fridncaum, Kassel·    Tina B, Festival of Contemporary Art, Prague·    Live Radio Project; “Radio Waves Goodbye” Hidden Rythms, Nijmegen·    Ars 06, Museum of Contemporary Art KIASMA, Helsinki

2005·    Gangzhou Triennale, Guangzhou, China·    Turin Triennale, church of Santa Crux, Rivoli·    Argos Festival, Brussels·    Leaps of Faith New Commission, Nicosia, Cyprus·    Our Surroundings, New Commission, Dundee Contemporary Arts, Dundee

2004·    The Stars Are So Big, The Earth is So Small....Stay As You Are,  c/o Esther Schipper, Berlin*·    I Feel mysterious Today, Palm Beach Institute of Contemporary Art, Palm Beach*·    Pass The Time of Day, Maryron Park, London*·    Berlin Art Forum, Ellen De Bruijne Projects·    Platform, Istanbul·    Depicting Love, Kuenstlerhaus Bethanien, Berlin*·    Space to Face, Westfaelischer Kunstverein, Muenster*·    Berlin North, Hamburger Bahnhof, Berlin *·    Beck's Futures 2004, ICA Galleries, London *

2003·    Susan Philipsz, Paul Pfeiffer, Brian Fridge, Art Pace Foundation, San Antonio/Texas*·    The Echo Show, Tramway, Glasgow*·    Days Like These, The Triennial of British Art, Tate Britain, London *·    The Moderns, Museo d’Arte Contemporanea, Castello di Rivoli, Turin *

2001·    The Glen Dimplex Awards, Irish Museum of Modern Art, Dublin *·    The International Language, grassy knoll productions, Belfast·    6th Tirana Biennale, Tirana, Albania *·    Sloan/ Philipsz/ McTigue, The Plug In Gallery, Winnipeg·    Total Object Complete with Missing Parts, Tramway, Glasgow·    Loop, Kunsthalle The Hypo-Kulturstiftung, Munich *·    Islands and Aeroplanes, Sparwasser HQ, Berlin·    New York New Sounds, Musée d’art contemporain de Lyon *

2000·    Manifesta 3, Ljubljana *·    The Internationale, Kunst-Werke, Berlin

1999·    Melbourne International Biennial * RESIDENCIES2003·    Art Pace, San Antonio, Texas.

2002·    Kunst-Werke Berlin

2000·    PS1 Fellowship, New York. EDUCATION1989·    Duncan of Jordanstone College of Art BA Fine Art Sculpture

1993·    University of Ulster, Belfast M.A. Fine Art

1999·    PT Lecturer at the University of Ulster BIBLIOGRAPHY: CATALOGUES2006·    The Grand Promenade’, Museum of Contemporary Art. Athens. Text. Jacob Fabricius·     Mice and Men, 4th Berlin Biennial of Contemporary Art·    Ars 06, Kiasma Museum, Helsinki, text by Carolyn Christov Biekargiev

2005·    Susan Philipsz, Malmo Konsthall. Texts by Carolyn Christov Biekargiev, Francis McKee, Jacob Fabricius, Will Bradley, Andrew Renton·    Pantagruel Syndrome, Turin Triennial

2004·    I Feel Mysterious Today, Palm Beach Institute of Contemporary Art, Palm Beach·    Pass The Time of Day,  Gasworks Gallery, London·    Files, MUSAC Museo de Arte Contemporaneo de Castilla y Leon·    Becks Futures, Institute of Contemporary Arts London·    Susan Philipsz, Kunstverein Arnsberg. Text Lotte Moeller·    Yugoslav Biennal of Young Artists . Centre for Contemp[orary Arts Belgrade.

2003·    Susan Philipsz, 2003. Art Pace Foundation. Text by Carolyn Christov Biekargiev,·    Days Like These, Tate Triennial, Tate Britain. Text by Ben Tufnell,·    Cream 3, Phaidon Press, Curated by Carolyn Christov Biekargiev,·    The Moderns, Castello Di Rivoli Museo d'Arte. Text by Caoimhin MacGiollaLeith

2001·    Tirana Biennale 1, 2001. Giancarlo Politi Editore. Text by Eoghan McTigue·    The Glen Dimplex Artists Award Exhibition. The Irish Museum of Modern Art. Text by Caoimhin MacGiollaLeith

1998·    Resonate, 1998. Grassy Knoll Productions.

ARTICLES2006·    5 Questions, Susan Philipsz, Zitty column, Zitty Magazine,·    Berliner Morgenpost, Von Gabriele Walde, Sonntag, 19 Marz·    Style and the Family Tunes, Rebecca Menzel, June 2006

2005·    Accapella Architecture’, Pernille Albrethsen, NY ARTS·    September/October 2005, Vol. 10

2004·    'Cross Platform', Anne Hilde Neset, The Wire, issue 244,

2003·    'Solo Voice', Niamh Ann Kelly, Art Monthly, Profile, issue 260

2001·    'Breathless', Mike Wilson, ‘Untitled’, issue 26, January 2001

1999·    'Sounds Teasing', Annie Fletcher, Circa magazine, issue 88 June 1999

 

 

 

07prtb1202

2009-2010. Josep-María Martín. THE DIGESTIVE HOUSE, 2007

2009-2010. Josep-María Martín. THE DIGESTIVE HOUSE, 2007

THE DIGESTIVE HOUSE, 2007 Memory and habitat: habitat prototype in Onex.BAC, Bâtiment d’Art Contemporain. Onex y Ginebra, Suiza

 

PRECEDENTS

Josep-Maria Martin was invited to participate in the collective exhibition “Habitat/Variations”, in order to rethink the concept of habitat and different ways of living. To develop the project, the Genevan architect Raphaél Nussbaumer suggested a collaboration to reflect together on the spaces in which we live.

The project focused on the city of Onex, a bedroom community in the suburbs of Geneva, Switzerland. It was built in the sixties, a period in which different solutions were suggested to solve the housing problem. In those days a lot of apartment blocks and collective spaces were built, which no longer answer today’s needs of size and comfort as well as the diversity of the new family structures.

These neighborhoods contain a highly diverse population, ethnically as well as culturally.

The majority of its inhabitants come from countries all over the world, which have had to move for socioeconomic reasons or as political refugees that are running from a war and bring tragic experiences, which are added to the common difficulties of adjusting to a new country.

 

FOUNDATIONS OF THE PROPOSAL

To question the space were we live in and establish an analogy between the digestive system and the home, as an organism that digests personal and collective memory. It is a way to focus on the relationship between spaces that people live in and how it can help individuals manage and face history, personal and collective memory with the cognitive realm of life and the welfare of people. We intend to find answers to the relation habitat-memory:

- How can our own history, our contribution, coexist with the history we find in reality?- Do we experience the legacy of a place’s memory?- What do we contribute to the memory of a certain place?- How do we face our personal and collective memory?- What influence does the habitat have on the individual, the family, community…?- How does space help us digest the events of our lives?- What is a family’s quality of life?- How do family members contribute to it?- How does it affect personal and professional relationships?- How do we face cultural displacement?- How do we live with people belonging to other cultures and backgrounds?- How do we coexist with the memory of war?

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 living in a suburb of Geneva.- Order the obtained information.- Elaborate and conceptualize the proposal.- Design the architectural project.- Debate about the proposal with the family and other previously interviewed interlocutors.- Design the executive project.- Build and open the designed space.- Evaluate the experience.- Build a real-scale model of the apartment in the Bac, Bâtiment d’Art Contemporain of Geneva.- Make a video documentary about the project.- Spread the project.- Search for funding.- Experiment for 3 months with the prototype.

PROCESS

- Begin collaboration with the architect. Raphaél Nussbaumer.- Choose the neighborhood of Onex to develop the project.- Identify the main interlocutor of the Sr. Mercolli neighborhood Service director for Youth and Community Action of Onex.- Open up a participation process carrying out interviews.    - Mr Kurteshi, Caretaker of Onex’s blue tower.    - Mr Mercolli, Service director for Youth and Community Action of Onex.    - Mr Bürgisser, Director of the Housing Office of Geneva’s Canton.    - Mr Pythoud, Architect.    - Mrs Parisod, eco-biologist.    - Mr Armenian, gastroenterologist.    - Mr Ries, Dietician.    - Mrs Quinodoz, Radiologist.

- Research and reflect on the importance of habitat to help “digest memory”.- Interview and suggest the Kurteshi family an intervention in their house of blue tower Avenue du Gros-Chêne 43 in the city of Onex, as beneficiary of the project.- Needs in the habitat identified by Mr Kurteshi.     - Recover the relation between nature and earth.         - Improve the relationship among neighbors and other residents in the city.         - Widen the playing areas for their children and their neighbors’.         - Need to create relational and community areas.

- Josep-Maria Martin’s remarks:    - Multicultural composition of the neighborhood.    - Kosovo-Albanian origin of Mr Kurteshi.    - A design related to his origins and war (memory).    - Being caretaker of the building in which he lived.    - Double role: caretaker and tenant.    - Reluctance to improve his house.    - Recreation of his original Kosovo-Albanian habitat.    - In the neighborhood there is a difficulty in creating areas of transition between public and private space.

- Order the information obtained on the subject.- Present and debate on the proposals to the family and interlocutors of the project.    - Proposals:       - Build a balcony in the West façade.        - Build a garden on the communities’ terrace roof.       - Build a cabin, in the flowerbeds surrounding the building, for the children to play.

    - Findings of the debate:        - Need to create a community area signaling the transition between private and public space.        - Develop a collective area on the terrace roof of the building: garden, vegetable garden, cabin to play, barbeque, etc.        - Mr Kurteshi, caretaker of the building, committed himself to manage the use of this new area.

- Carry out the executive project modifying, integrating and enriching the initial proposal of the Digestive House Prototype.- Elaborate, in collaboration with Mr Kurteshi, the rules of use.- Search for funding.- Carry out the administrative management needed to develop the project.- Build a prototype.     - Spread the project.         - Exhibit the Digestive House project in Geneva’s Bac.         - Create a real-scale model of the Kurteshi family’s apartment.         - Show the plans and photographs.         - Produce a documentary film.- Press release.- Publication.

IMPACT

The Foundation, owner of the building, showed their interest, approval and support in the project by providing the necessary resources needed to carry it out. The intention was to take most of the experience and spread it to other neighboring buildings.The prototype wasn’t finally installed in the terrace roof, for external reasons.Geneva’s fire department didn’t give permission, due to a change in regulation (produced during the project’s development) related to the building’s emergency exits.Onex’s City Hall and Mr Bürgisser, Director of the Housing Office of Geneva’s Canton, keeps working in order for the project to become a reality.The Digestive House enabled them to visualize the need to improve the neighbors’ communications in Onex and, also, the need to treat the transitional areas between private and public spaces.

 

 **  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

 

09-10prmc3392, 09-10prmc3618

2009-2010. Josep-María Martín. A DIGESTIVE HOUSE FOR LAVAPIÉS (related work)

2009-2010. Josep-María Martín. A DIGESTIVE HOUSE FOR LAVAPIÉS (related work)

THE DIGESTIVE HOUSE, 2007 Memory and habitat: habitat prototype in Onex.BAC, Bâtiment d’Art Contemporain. Onex y Ginebra, Suiza

 

PRECEDENTS

Josep-Maria Martin was invited to participate in the collective exhibition “Habitat/Variations”, in order to rethink the concept of habitat and different ways of living. To develop the project, the Genevan architect Raphaél Nussbaumer suggested a collaboration to reflect together on the spaces in which we live.

The project focused on the city of Onex, a bedroom community in the suburbs of Geneva, Switzerland. It was built in the sixties, a period in which different solutions were suggested to solve the housing problem. In those days a lot of apartment blocks and collective spaces were built, which no longer answer today’s needs of size and comfort as well as the diversity of the new family structures.

These neighborhoods contain a highly diverse population, ethnically as well as culturally.

The majority of its inhabitants come from countries all over the world, which have had to move for socioeconomic reasons or as political refugees that are running from a war and bring tragic experiences, which are added to the common difficulties of adjusting to a new country.

 

FOUNDATIONS OF THE PROPOSAL

To question the space were we live in and establish an analogy between the digestive system and the home, as an organism that digests personal and collective memory. It is a way to focus on the relationship between spaces that people live in and how it can help individuals manage and face history, personal and collective memory with the cognitive realm of life and the welfare of people. We intend to find answers to the relation habitat-memory:

- How can our own history, our contribution, coexist with the history we find in reality?- Do we experience the legacy of a place’s memory?- What do we contribute to the memory of a certain place?- How do we face our personal and collective memory?- What influence does the habitat have on the individual, the family, community…?- How does space help us digest the events of our lives?- What is a family’s quality of life?- How do family members contribute to it?- How does it affect personal and professional relationships?- How do we face cultural displacement?- How do we live with people belonging to other cultures and backgrounds?- How do we coexist with the memory of war?

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 living in a suburb of Geneva.- Order the obtained information.- Elaborate and conceptualize the proposal.- Design the architectural project.- Debate about the proposal with the family and other previously interviewed interlocutors.- Design the executive project.- Build and open the designed space.- Evaluate the experience.- Build a real-scale model of the apartment in the Bac, Bâtiment d’Art Contemporain of Geneva.- Make a video documentary about the project.- Spread the project.- Search for funding.- Experiment for 3 months with the prototype.

PROCESS

- Begin collaboration with the architect. Raphaél Nussbaumer.- Choose the neighborhood of Onex to develop the project.- Identify the main interlocutor of the Sr. Mercolli neighborhood Service director for Youth and Community Action of Onex.- Open up a participation process carrying out interviews.    - Mr Kurteshi, Caretaker of Onex’s blue tower.    - Mr Mercolli, Service director for Youth and Community Action of Onex.    - Mr Bürgisser, Director of the Housing Office of Geneva’s Canton.    - Mr Pythoud, Architect.    - Mrs Parisod, eco-biologist.    - Mr Armenian, gastroenterologist.    - Mr Ries, Dietician.    - Mrs Quinodoz, Radiologist.

- Research and reflect on the importance of habitat to help “digest memory”.- Interview and suggest the Kurteshi family an intervention in their house of blue tower Avenue du Gros-Chêne 43 in the city of Onex, as beneficiary of the project.- Needs in the habitat identified by Mr Kurteshi.     - Recover the relation between nature and earth.         - Improve the relationship among neighbors and other residents in the city.         - Widen the playing areas for their children and their neighbors’.         - Need to create relational and community areas.

- Josep-Maria Martin’s remarks:    - Multicultural composition of the neighborhood.    - Kosovo-Albanian origin of Mr Kurteshi.    - A design related to his origins and war (memory).    - Being caretaker of the building in which he lived.    - Double role: caretaker and tenant.    - Reluctance to improve his house.    - Recreation of his original Kosovo-Albanian habitat.    - In the neighborhood there is a difficulty in creating areas of transition between public and private space.

- Order the information obtained on the subject.- Present and debate on the proposals to the family and interlocutors of the project.    - Proposals:       - Build a balcony in the West façade.        - Build a garden on the communities’ terrace roof.       - Build a cabin, in the flowerbeds surrounding the building, for the children to play.

    - Findings of the debate:        - Need to create a community area signaling the transition between private and public space.        - Develop a collective area on the terrace roof of the building: garden, vegetable garden, cabin to play, barbeque, etc.        - Mr Kurteshi, caretaker of the building, committed himself to manage the use of this new area.

- Carry out the executive project modifying, integrating and enriching the initial proposal of the Digestive House Prototype.- Elaborate, in collaboration with Mr Kurteshi, the rules of use.- Search for funding.- Carry out the administrative management needed to develop the project.- Build a prototype.     - Spread the project.         - Exhibit the Digestive House project in Geneva’s Bac.         - Create a real-scale model of the Kurteshi family’s apartment.         - Show the plans and photographs.         - Produce a documentary film.- Press release.- Publication.

IMPACT

The Foundation, owner of the building, showed their interest, approval and support in the project by providing the necessary resources needed to carry it out. The intention was to take most of the experience and spread it to other neighboring buildings.The prototype wasn’t finally installed in the terrace roof, for external reasons.Geneva’s fire department didn’t give permission, due to a change in regulation (produced during the project’s development) related to the building’s emergency exits.Onex’s City Hall and Mr Bürgisser, Director of the Housing Office of Geneva’s Canton, keeps working in order for the project to become a reality.The Digestive House enabled them to visualize the need to improve the neighbors’ communications in Onex and, also, the need to treat the transitional areas between private and public spaces.

 

 **  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

 

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2006. Chus García Fraile. POST IT (theoretical data)

 This project intends to reflect, as all my recent work, on consumer society of today’s Western culture.

10 posters would be shown along specific buildings (named in the assembly note). They are reproductions of the typical POST Its, that we use everyday as a means to remember things, but larger than usual. Made in a large scale and taken out of their normal context, they intend to offer another interpretation while they shock citizens.

They’re notes referring to everyday worries, a way to fix behaviours in our memory that involve a change of attitude, based on the nature of our daily habits.

There are lots of spaces where we could contemplate these post its in our daily habitat (offices, bedrooms, kitchens, bathrooms, etc), places where we spend large amounts of time and would remind us of those everyday sentences.

Go to the gym, follow the diet, choose a product, smoke less, etc, would have added meanings. Often we see how a car, a perfume, etc, assure us more confidence, security or social success. They are signs and symbols that involve social level or distinction. An author said that a citizen in the street would feel safer with a good suit on, than with a good religious conscience. These are consumer habits that make no sense, taking up a lot of time and money that could be used in more important ways.

We go to beauty parlours or walk down shopping malls seeming free and using that which we seem to need, but reality is that we are victims of a great pressure that the mass media places on us, the power of marketing. The “POST IT” project is similar to everyday scenes, such as promotion posters, etc. The invasion of adverts takes up more physical and mental space each time, using strategies that are more aggressive everyday.

The frantic, excessive and irrational forms of consuming only provide ephemeral satisfactions and are rooted in deep dissatisfaction.

Apparently, these notes would refer to small decisions, but those are the most important ones, for they would also affect the people that live around us. They wish to reduce or neutralize some excesses, the myth of welfare. These notes would suggest a new economy and ecology of consumerism in our mental ecosystem.

Without any moral or critical intention, they would simply express some daily worries for current citizens.

 

 

 

 

 

06prtc3466

2006. Gustav Hellberg. PULSING PATH: AMBIGUOUS VISION (location)

Pº del Prado, central boulevard central between Plaza de Cánovas del Castillo and fuente de Apolo

 

 

 

 

 

 

06intd0995

2008. Alicia Framis + Michael Lin. 100 WAYS TO WEAR A FLAG (2007.10 / project review / technical data)

OCTOBER 2007

 

DESCRIPCIÓN DEL SISTEMA DE MONTAJE Y NECESIDADES TÉCNICA DEL PROYECTO

NECESIDADES TÉCNICAS Y LOGÍSTICAS

1.    La locación para la performance debe ser cerrado preferiblemente, pues será en época de invierno. 2.    Será necesario iluminación y sonido (todavía por definir características específicas)3.    Las Modelos serán contratadas previamente a través de agencias de modelos madrileñas. 4.    El peinado y maquillaje de las modelos será organizado por parte del Alicia Framis Studio.5.    El equipo de Alicia Framis Studio se encargará de todas las contracciones. Así como del traslado de los vestidos si fuera necesario.

NECESIDADES TÉCNICAS DE ESTRUCTURA ARQUITECTÓNICA

1.    El sistema de montaje de la estructura arquitectónico estará descrito y detallado en el Dossier presentado por Michael Lin.2.    El sistema de Iluminación y sonido se hará por parte del personal contratado para este fin.

 

 

 

 

 

 

 

 

 

 

 

 

 

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2004. Etoy CORPORATION (technical data / assembly)

2004. Etoy CORPORATION (technical data / assembly)

     

     

     

     

 

 

 

 

 

04inib0099

2006. Arnoud Schuurman. STICKIES (theoretical data)

 

Public space as a given; demands for public comments on how to behave, where to have access to, how to organise a space, how to move through it and in what desired speed. For my project I would like to playfully add notes to the city that emphasise and question these aspects.

DEFINING ‘STICKIES’

Stickies were introduced quite a while ago. The invention was the result of a mistake in producing a paper glue mixture. It turned out to be a big hit and is nowadays widely used throughout the world by office clerks, housewo/man and those with a bad memory.

They function as some kind of message tag that can be put to stick on virtually any surface. The messages generally contained by these usually vary from small remarks as of lists of not to forget items/events/ideas on the personal level.

They won’t fail their task and keep being there in the face. For some they will work, for some a whole wood emerges and consumes little to zero extra attention. PROPOSAL I propose to make a series of oversized notes, or so called stickies, to ad comments and suggestions to public space and mount them at various places along the axis of Paseo de la Castellana.

My intent is to make philosophical remarks on public space, in order to confront the public with ideas/suggestions that sparkle routines and overcome barriers. To stimulate dialogue between people of different backgrounds will be the key issue.

These notes could contain content about matters, spaces, events, taboo’s and things people generally do or intent not to do. The notes will be about its direct surroundings, as well as local and global contemporary tendencies.

The matter of expression will have a slight sense, or suggestion of politics, advertisement and activism. It will be neither of them and all of them in the meantime.

The message could have a geopolitical sense, might sound like commercial and would like to be activist’ demand, but will remain the autonomous artistic realm of a philosophical message.

The content that will be on the notes will be clear beforehand and could be revised. ‘Smile to foreigners’ is a statement I like in particular, since it addresses such a contemporary social/politically issue.

PRESENTATION

The notes could be presented in various ways.

It will be a crucial thing of how they will be conducted to the spectator. It could be a huge sheet mounted on the 7th floor of a large building, a nagging sign in a badly functioning public spot, a square where people hang out but also a humble little note pasted on top of the stairs before entering the metro-tube. All a big difference of look and potential content.

 

 

 

 

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2007. Mandla Reuter (Cv)

GLASGOW, 1965LIVES AND WORKS IN BERLINWORK EXPOSED IN MADRID ABIERTO: PICTURES

SOLO EXHIBITIONS 2007    ·    Flaca, London

2006·    Isolated human particles floating weightlessly through a magnetic field of fabricated Pleasure, occasionally colliding ·    rraum, Frankfurt, c. 1822–Forum, Frankfurt, c. ·    Tirana, Albania ·    Kerstin Cmelka, Kunstraum Doppelzimmer, Gießen ·    Time Has Ceased Space Has Vanished, Four, Dublin ·    Invitation, Warsaw ·    Mandla Reuter, Dresdner Bank Hochhaus, c.

2003     ·    offspace, Vienna ·    Make it New, Frankfurt am Main

2002     ·    Mandla Reuter / Michael Pfrommer, GAK, Bremen

2001     ·    Wohnung Draschan/ Wolff, Grüngasse, Vienna ·    Warteraum, Stellwerk, Kulturbahnhof, Kassel

2000     ·    Frühe Arbeiten, Galerie Slutzky, Frankfurt am Main c.

1999     ·    Homevideo, Frankfurt/ Main

GROUP EXHIBITIONS 2007    ·    Madrid Abierto, Madrid

2006    ·    The Possibility of Being Real Part One, Autocenter, Berlin ·    Société des Nations, Circuit, Lausanne ·    TV as Fireplace, Kunsthalle Wien ·    Für die Ewigkeit, Jet, Berlin, c. ·    Attitude, c/o Atle Gerhardsen, Berlin ·    Oktagon, Dresden, c.

2005     ·    M, Dresden ·    Conquering New Spaces, National Gallery, Prishtina, Kosovo, c.

2004     ·    Deutschland sucht, Kölnischer Kunstverein, Cologne, c. ·    Erklärender Expressionismus, Dresden ·    Sputniza, Kunsthaus Dresden

2003     ·    heute, HMWK Wiesbaden

2002     ·    Kunsthof Zurich ·    Rraum02, Frankfurt am Main ·    Diplomaten der Städelschule, Frankensteinerhof, Frankfurt am Main, c.

2001    ·    Vasistas, Technische Universität Istanbul, Istanbul Biennale ·    Junger Westen, Kunsthalle Recklinghausen, c.

2000     ·    Büropark, Frankfurterstrasse, Neu Isenburg, c.·    Studio Hyäryllistä, Turku, Finland·    Festival Junger Talente, Messe Offenbach, c.

1999     ·    Jailbreak, Phantombüro im Kunstverein Frankfurt, Frankfurt am Main ·    The Academy of Fine Art Gallery, Helsinki, Finland

1998     ·    Nr. 87, Portikus, Frankfurt am Main, c. ·    Videocity , Videocity, Frankfurt am Main c. catalogue

OTHERS2006     ·    Pigment Piano Marble, Buenos Aires, curated group show with Nevin Aladag, Michael Beutler, Wolfgang Breuer, Kerstin Cmelka, Eduardo Costa,Manuel Gorkiewicz, Rodney Graham, Gregor Hildebrandt, Sergej Jensen, Alfred Johansen, Michael Krebber, David Lamelas, Mark Leckey, Maria M. Loboda, Christian Mayer, Yves Mettler, Ariane Mueller, Kim Nekarda, Michael Pfrommer, Kirsten Pieroth, Jay Chung & Q Takeki Maeda, Bernd Ribbeck, Claus Richter, Cecilia Szalkowicz, Jan Timme, Alexander Wolff, X and the Living End, Haegue Yang, Heimo Zobernig, c.2004     ·    Ausstellungen Studio Reuter, Dresden, shows with Peter Lütje/Michael Pfrommer, Kim Nekarda/Alexander Wolff, Sascha Pohle/Barak Reiser, Sabine Reitmeier/Claus Richter, Kerstin Cmelka/Thomas Seidemann, Gregor Hildebrandt/Alicja Kwade, Manuel Gorkiewicz/Christian MayerManuel     Gorkiewicz/Christian Mayer, Michael Part/Taner Tümkaya

GRANTS2005     ·    Kunstfonds Bonn

2004     ·    Hessische Kulturstiftung

2003     ·    Dynamo/Eintracht, Kulturstiftung Dresden

PUBLICATIONS2006     ·    Untitled, 2006, Revolver·    Pigment Piano Marble, 2006, Revolver (ed.)

2004    ·    Tokyo Panda, 2004, Revolver

2001    ·    Frühe Arbeiten, 2001, junto con Michael Pfrommer

 

 

 

 

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2006. Chus García Fraile. POST IT (location)

Several façades: Círculo de Bellas Artes, Casa de América y Palacio de comunicaciones

 

 

 

 

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2006. Arnoud Schuurman. STICKIES (proposed location)

 The notes could be presented in various ways.

It will be a crucial thing of how they will be conducted to the spectator.

It could be a huge sheet mounted on the 7th floor of a large building, a nagging sign in a badly functioning public spot, a square where people hang out but also a humble little note pasted on top of the stairs before entering the metro-tube. All a big difference of look and potential content.

I have not been in the city of Madrid yet, so I wouldn't know what would be possible and 'asking' for a intervention. I think of Madrid as a rather big city with broad squares and large avenues.

According to this reference I am pretty much assured that there must be a potential social setting for some critical note, absurdistic statement or cheerful and positive messages.

 

 

 

 

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2009-2010. Susanne Bosch. INITZIATIVA CENTESIMO AVANZATO, 2008

2009-2010. Susanne Bosch. INITZIATIVA CENTESIMO AVANZATO, 2008

 

     

INITZIATIVA CENTESIMO AVANZATO, 2008Nápoles

Siendo bastante distinto al proyecto alemán de larga duración, en 2008 invité a los ciudadanos de Nápoles a que participasen en un proyecto en y para la ciudad. Duraba 4 meses; un museo se hizo cargo del proyecto.

Los empleados del museo se dedicaron a difundir el proyecto al tiempo que cuidaban las monedas. También fueron muy cuidadosos a la hora de recolectar los deseos. Hasta septiembre de 2008 se habían recogido 460 Deseos.

El proceso de toma de decisiones en Nápoles será diferente del anterior. En Noviembre de 2008 invitaremos a un grupo de jóvenes adultos de entre 8 y 12 años para decidirse por un deseo. Usaremos el método de Espacio Abierto para permitirles tomar su decisión de modo colectivo.

Decidimos invitar a ciudadanos de esta edad con un fuerte sentido ético de lo que significa la verdad, honestidad y aquello que es mejor para la comunidad. Siendo conscientes de que en Nápoles hay una larga tradición de entramados informales de toma de decisiones, la decisión de escoger este tipo de voluntarios fue reforzada. Hasta ahora nadie ha robado ningún dinero del contenedor abierto.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10inte3579, 09-10inie2608

2009-2010. Gustavo Romano. PSYCHOECONOMY! (postcard)

2009-2010. Gustavo Romano. PSYCHOECONOMY! (postcard)

** SEE THE ATTACHED PDF

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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2008. Alicia Framis + Michael Lin. 100 WAYS TO WEAR A FLAG (2007.10 / project review / visual data)

2008. Alicia Framis + Michael Lin. 100 WAYS TO WEAR A FLAG (2007.10 / project review / visual data)

OCTOBER 2007

 

 

 

Ingrid Pastor

 

 Roberto Piqueras

 

   

Copies of Chinese designers designs

 

 

 

 

 

 

 

 

 

 

 

 

 

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2006. Arnoud Schuurman. STICKIES (technical data)

 TECHNICAL REQUIREMENTS

The technical requirements depend strongly on the possibilities that the project offers such as location, amount of space available and conditions for implementing the stickies in a given area. Permission will be needed from municipality and owners of buildings to make this project possible. The project’s shape may vary in material use from a big sheet of cardboard glued onto a surface to hardboard sign mounted onto a construction to support it’s weight and surface onto a wall, signpost or given structure. I have years of experience in making constructions however for this project it might be wise to hire a local craftsman to materialise the stickies. The stickies should be mounted properly. It needs to be wind proof and it will have to be waterproof.

I will coordinate the montage of the stickies myself with the help of a local contractor.

I don’t know if vandalism is such an issue as it is in The Netherlands. As long as something looks good, people would respect it.

To be short I need: -A list of available locations that would like and be suitable for a mounted sticky-A local craftsman to make the signs.-A team of local contractor’s-A scaffold, If a location demands it

I could be no more specific than that this until locations would be clear .

If it will be selected I will make a more elaborate proposal for some specific location in the Madrid Abierto’s framework. It could be a good idea to visit Madrid to look for locations and think about comments/sugestions, depending on the available resources.

 

 

 

 

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2006. Arnoud Schuurman. TRANSLUCID VIEW (location)

Muppies at Paseo del Prado-Recoletos-Castellana. Canal Metro projections

 

 

 

 

 

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2007. Dan Perjovschi. OFF (published text)

 “I will reflect through drawings on the state of Madrid, Spain, Europe and the rest of the World”

Drawing is the tool that Dan Perjovschi employs as method for intervening in the social space, whether the space appropriated in a museum, exhibition hall or public area, on its walls or through media tools: newspapers and, on occasion of Madrid Abierto, street furniture. Perjovschi’s drawing is simple and direct, spontaneous and nearly caricaturist. His work is completely self-connected, being able to establish relations, dialogues and continuities between different works produced by the artist for different projects.

His drawings are observations on the political, social, cultural and artistic situation of wherever he happens to go, establishing a dialogue between those places and his own status of Rumanian artist who has lived through the communist to the capitalist regime transition and finds himself in a type of no-man’s land, somewhat similar to his occupation situation, a type of itinerant commentator who talks about what he sees with large doses of sharpness, simplicity and without qualms. Together with his modest use of resources and the spontaneity of his strokes, his sharp sense of humour stands out in his drawing interventions as one of his most distinguished features.

 

 

 

 

 

 

 

 

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2007. Leopold Kessler (Cv)

MÜNCHEN, 1976LIVES AND WORKS IN WIENWORK EXPOSED IN MADRID ABIERTO: ALARM BIKE

SOLO EXHIBITIONS2006    ·    Graz, Studio/Neue Galerie, Graz·    Interventionen 02-05 Galerie der Stadt Schwaz, Schwaz

2005    ·    Transportable works Gallery Lombard&Freid, Nueva York·    kunstbuero, Viena

2004     ·    Untitled Thomas K. Lang Gallery, Universidad Webster, Viena

2003    ·    Synchronization, espacio alternativo, Viena·    Privatisiert, Galería Corentin Hamel, París

GROUP EXHIBITIONS (Selection)2006    ·    One second one year, Palais de Tokyo, París·    Wien Südbahnhof-Bratislava hl. st., Galería Nadine Gandy·    On mobility, Trafo, Budapest und de Appel, Ámsterdam·    Österreichisches Kulturinstitut, Praga

2005    ·    Lives&works in Vienna, Kunsthalle, Viena·    Galerie Claus Andersen, Copenhague·    OKAY/O.K., Instituto suizo, Nueva York·    Don´t interrupt your activities, Royal College, Londres

2004    ·    Manifesta 05, San Sebastián·    Beuys don´t cry Galleria Zero, Milán·    Personne n'est innocent... Confort Moderne, Poitier·    Niemandsland, Künstlerhaus, Viena

2003    ·    Klimatisch im hoch  Galerie Lisi Hämmerle, Bregenz·    VV2  Biennale di Venezia, Venecia·    Critique is not enough Shedhalle, Zúrich

2002    ·    Haunted by detail Stichting de Appel, Ámsterdam ·    Interim plattform Galerie Kerstin Engholm, Viena·    “Big torino,Biennale internazionale arte giovane”, Turín

 

 

 

 

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2009-2010. Susanne Bosch. LEV-OVER PENNY CAMPAING, 1998-2002

2009-2010. Susanne Bosch. LEV-OVER PENNY CAMPAING, 1998-2002

 

The Left-over Penny Campaign collected unexploited economic and intellectual capital - as well as ideas and wishes - across the whole of Germany in the form of spare change from 1998-2002. Altogether, 13 tons of coins were gathered in the collection sites in public spaces on the Alexanderplatz in Berlin, in Munich (Marienplatz), Nuremberg (Königstrasse), Würzburg (Public Library), Weimar (ACC Gallery), Köpenick (FEZ), as well as thousands of private collection boxes.

1.601 ideas and wishes came in the form of letters, emails and interviews.

A part of the concept was that the participants decide what should happen with the mountain of coins. 1,087 persons applied to be a part of the decision committee. Of these, twelve were randomly selected in early April 2002 and invited to decide which of the 1.601 ideas and wishes should be realized.  

The committee met on the two weekends in May and June of 2002 in the ACC Gallery in Weimar. After they had worked out a list of criteria together, they chose four projects to bring to realization from the idea and wish pool. In June and July of 2002, all of the collection boxes were emptied, publicly sorted and brought to the appropriate national banks for payment. Altogether over the four and one-half years, besides the hundreds of thousands who gave their spare pennies and the 1,601 "Idea Donors", approximately 500 persons actively helped the project. Many institutions, government officials, prize juries, decision makers and private citizens helped to make this project possible.

   

The Left-over Penny Campaign was my artistic attempt to take the responsibility "to make the future, that we want or do not want, an object of civic discourse." (Saage, Richard, 1997: Utopieforschung, eine Bilanz (Utopia Research, an Assessment), Primus Verlag)

LEV-OVER PENNY CAMPAING, 1998-2002Germany

 

 

 

 

 

 

 

 

 

 

 

 

09-10inte2605, 09-10inie2606

2009-2010. Gustavo Romano. PSYCHOECONOMY! (brochure)

2009-2010. Gustavo Romano. PSYCHOECONOMY! (brochure)

** SEE THE ATTACHED PDF

 

 

 

 

 

 

 

 

 

 

 

 

09-10inmc3294

2009-2010. Pablo Valbuena. EXTENSION, Toulouse 2008

2009-2010. Pablo Valbuena. EXTENSION, Toulouse 2008

 

EXTENSION, Toulouse. FR. 2008 Extension Series. Site-specific medium scale installations manipulating indoor space. Video projection on architecture. 2008 - present.

WORKS PART OF THESE SERIESToulouse. Private collection. Toulouse, FR. 2008NIMK. Netherlands Media Art Institute. Amsterdam, NL. 2009Hambre 09. Madrid, ES. 2009Vrije Academie. The Hague, NL. 2009Yokohama. CREAM, BankArt 1929. Yokohama, JP. 2009Almost Cinema. Vooruit. Ghent, BE. 2009Para-Sites. Conformed by three different interventions at Laboral Centro de Arte. Gijón, ES. 2010Vanishing points. Conformed by three different interventions at Galería Max Estrella. Madrid, ES. 2010

Llink videowww.pablovalbuena.com/videos/extension_video.html

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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2007. Ben Frost. I LAY MY EAR TO FURIOUS LATIN (published text)

 The closed boxTo open it is to risk attack by its contentsWe fear what we do not understandThe box is locked and therefore it is dangerous

A beehive in a public spaceThe swarmHidden from viewWhispering languages we don’t understand

Do they want to hurt us?Is this secure?

The singular harmless insectThe swarming killer massRage and AlchemyGuarded secrecy.

 

 

 

 

 

 

 

 

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2007. Dirk Vollenbroich (Cv)

BURGSTEINFURT, DEUTSCHLAND, 1969 LIVES AND WORKS IN KÖLNWWW.DIRKVOLLENBROICH.COMWORK EXPOSED IN MADRID ABIERTO: SHORT CIRCUIT / CORTOCIRCUITO

 

EXHIBITIONS (Selection)2006    ·    Tower lights treptower, Berlin·    Luminale frankfurter büro center, Frankfurt·    Videoarch trento, italy

2005    ·    Lux.us municipal gallery, Lüdenscheid·    Final cut cars & races Kurt gallery, Berlin

2004    ·    Lufthansa light administrative building LUFTHANSA, Cologne Watermusic regionale2004, Ahlen

2003    ·    Coming out museum of contemporary art, Siegen·    Flash chapel, Aulendorf·    The day by the sea salento, Italy

2002    ·    Powers of darkness museum of modern art, Frankfurt·    Bullets on you and me doicese of stuttgart, Stuttgart

2001    ·    Let´s go disco semper depot, Vienna·    Super NOVA iduna nova insurance building, Münster·    Scholarship: ‚cité des arts‘, Paris

2000    ·    Downtown künstlerhaus gallery, Vienna

1999    ·    The man who burned Adolf Hitler Int. filmfestival, Oberhausen

1998    ·    Let‘s go disco european media art festival, Osnabrück

1997    ·    Transform pavillon wewerka, Münster

 

 

 

 

 

 

 07prtb1196

2008. Alicia Framis + Michael Lin. 100 WAYS TO WEAR A FLAG (2007.10 / project review / theoretical data)

OCTOBER 2007

 

100 MANERAS DE VESTIR UNA BANDERA

Desde hace tres meses se está preparando en la ciudad de Shangai 100 WAYS TO WEAR A FLAG, un proyecto que consiste en crear  una colección de cien vestidos  utilizando como material principal o único la bandera China. Estos vestidos, realizados por diseñadores españoles y chinos, servirán para una gran performance que pretendemos realizar en la ciudad de Madrid. Digo queremos por que aunque nos presentemos por separado, Michael Lin y yo pretendemos trabajar juntos en este proyecto.

He invitado a los diseñadores de modas David Delfín, Hugo Gallego, Ingrid Pastor, Roberto Piqueras, El Delgado Buil. (Anna Figuera Delgado y Macarena Ramos Buil), y a todos los miembros de ADÑ Asociación Artística de Diseñadores Nacionales de Moda de España: Locking Shocking (Oscar Oscar y Ana González) Carmen March, Carlos Diez-Diez, Ion Fiz, Juanjo Oliva y  La Casita de Wendy, Antonio Alvarado; Y se les ha propuesto que cada uno diseñe y elabore un vestido con la bandera China, siempre teniendo en cuenta la situación de la mujer en ese país.

Como es de conocimiento común, la populación china, desde hace varias generaciones, es más numerosa en hombres que en mujeres, ya que a cada pareja sólo se le permite tener un hijo, y la preferencia se inclina a tener un varón. Esta situación hace que la posición de la mujer sea inferior, y el papel en la sociedad sea similar. Es por ello que cada diseñador invitado ha dado su versión del tema a través de su vestido.

En el proyecto inicial también participaban diseñadores de moda chinos. Sin embargo, en el proceso de investigación salió a relucir que la ley castiga, con un mes de cárcel y doce mil  euros, a la persona que intervenga o utilice la bandera China de cualquier manera. Aunque en el mundo de la moda se hagan diseños con muchas banderas del occidente como los innumerables diseños que se han realizado con la bandera inglesa, americana, etc. incluso ropa interior; esto en el régimen chino es imposible. Así que después de esta decepción he decidido copiar a los diseñadores chinos: ellos no tocarán la prenda, pero de cualquier modo estarán presentes en este trabajo

Por otra parte, para la realización de la performance Michael Lin creará una plataforma arquitectónica especial echa en material textil, que estará en concordancia con las banderas. También, existe la intención de que esta parte de la obra sea portátil para poder mostrarla en diferentes ciudades, junto a los vestidos. El trabajo de Lin es imprescindible en este proyecto porque el hace del tejido estructuras arquitectónicas, que se armará y pintará In-situ.

Para  MADRID ABIERTO propongo una noche de gran perfomance. Diecisiete modelos de procedencia asiática, preferiblemente chinas,  que llevarán los cien vestidos y los desfilarán por esta estructura arquitectura única, convirtiendo todo en una sola acción.

Es importante destacar, que de este proyecto ya se está editando un catálogo que recogerá todo el proceso de trabajo, desde dónde se compraron las banderas en Shangai, hasta cómo cada diseñador corta la bandera, hasta que la convierte en vestido y el uso de el mismo.

También se está planteando la posibilidad de cómo hacer para que esta acción que conjuga el arte, la moda y la arquitectura, dure más que una noche, aún nos queda tiempo…

Alicia Framis, in collaboration with Michael Lin

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08intb3654

2004. Sans Façon. S/T (technical data / assembly)

2004. Sans Façon. S/T (technical data / assembly)

     

     

     

          

        

 

 

 

 

 

04inib0103

2005. Óscar Lloveras. S/T (theoretical data / Gilbert Lascault text)

 LES STRUCTURES SOUPLES D’OSCAR LLOVERASLES ENERGIES, LES TENSIONS

Les vides, les espacements

Les sculptures, les peintures, les installations de l’artiste constituent , souvent, des structures souples, extensibles, apparemment frêles, presque instables. Elle trouvent leur place dans un terrain qu’elles transforment. Elles s’imposent avec discrétion et force. Elles jouent avec les vides, avec les écarts, avec les lacunes, avec les espacements, avec les intervalles.

Alors, les vides ne sont pas oubliés, ni inertes. Ils sont parcourus par des souffles. Sans les vides, l’espace vibrerait, chanterait. En 1944, dans un texte cour, le poète Paul Valéry met en relation la sensation d’être libre, notre respiration et la respiration de l’univers: «la liberté est une sensation. Cela se respire (…) par une simple, fraîche, profonde prise de souffle à la source universelle où nous puisons de quoi vivre un instant de plus, tout l’être délivré est envahi d’une renaissance délicieuse de ses volontés authentiques».

L’artiste est proche du peintre Henri Matisse qui, en 1908, parle de «la manière de situer les objets: l’air, les vides qui circulent autour d’eux». Dans un tableau, ce sont «la place qu’occupent les corps, les vides qui sont autour d’eux, les proportions»; car Matisse précise: «Je ne peins pas les choses, je ne peins que les différences entre les choses». Ainsi, les installations d’Oscar Lloveras soulignent les vides, les proportions, les différences entre les choses. Elles évitent l’encombrement des choses. Elles les séparent, les écartent. Elles produisent et opèrent les intervalles, l’entre-deux, puisque Marcel Duchamp note «L’écart est une opération».

L’artiste utilise les vides. Il lit peut-être des phrases du Tao-Tö-King de Lao-Tseu (VIe siècle avant J.-C): «Trente rayons se joignent en un moyeu unique; ce vide dans le char en permet l’usage. D’une motte de glaise, on façonne un vase; ce vide dans le vase en permet l’usage. On ménage portes et fenêtres pour une pièce; ce vide dans la pièce en permet l’usage. L’avoir fait l’avantage, mais le non-avoir fait l’usage.» Selon Lao-Tseu, le nœud, l’énergie sont liés aux vides: «Le creux du Ciel-Terre recueille la vie ; c’est le nœud vital, le centre vivant, le lieu de la formation des influx, des échanges» (1).

Alors, les œuvres de l’artiste tressent le monumental et l’intime, les matériaux et l’immatériel, les structures et le mythique, le géométrique et le sensuel. Centaines œuvres s’intitulent La montée des esprits, Colonnes… Les constructions donnent à voir des légendes, des récits, des rites, des cérémonies souvent discrètes, des célébrations souvent modestes, des rêves choisis. Alors l’art devient parfois proche de certains exercices chamaniques, de certains savoirs énigmatiques.

Ces constructions célèbrent la Nature, le cosmos. Le monde (comme l’exprime le philosophe grec, Héraclite d’Ephèse) est une «harmonie de tensions tour à tour tendues et détendues, comme les cordes tendues et détendues de l’arc et de la lyre». Dans le monde, les forces contraires se fondent en unité. Et, selon Héraclite, «l’harmonie cachée surpasse l’harmonie visible».

Cinq éléments

Dans un carnet de l’artiste, il dessine schématiquement un gorin-tô, un pagode «pagode à cinq cercles», qui représente les cinq «éléments». C’est une structure verticale composite, formée par un cube (représentant la terre), une sphère (l’eau), une pyramide (le feu), une demi-sphère (l’air) et une flamme (l’éther). Les gorin-tô sont introduits au Japon vers le IXe siècle et le bouddhisme les adopterait comme le symbole de l’univers. En pierre, ils ornent des mausolées et des petits tumulus (des Kyôzuka); parfois, ils sont en bois et décorent le sommet de poteaux placés entre les cimetières. Selon d’autres interprétations, les cinq éléments du cosmos seraient (dans des textes chinois) la terre, l’eau, le métal, le bois (ou le vent), le feu…Même si les classifications sont différentes, l’artiste privilégie toujours une dizaine d’éléments de l’univers et il tisse les matières et les souffles. Il mêle les toiles et les voiles. Il choisit les bois différents et coupés de diverses formes; les branches nouées; les métaux (des tiges, de fils de fer…); les pierres (parfois noires); les cordes végétales et les nattes «de bonheur»; les papiers; les tissus; le verre; les gaz rares (le néon, l’argon…) qui modifient les lumières ;un coquillage en forme d’une spirale; le feu…

Créer des arbres aériens

Le Philosophe Gaston Bachelard (L’air et les songes, Corti,1943) réfléchit sur l’ «arbre aérien». Il cite le poète André Suarès (1868-1948): «Sans cesse, l’arbre prend son élan et frémit les feuilles, ses innombrables ailes». Jack London évoque, sur un immense arbre, un «nid des hautes cimes». Dans une légende, l’ «arbre d’Adam» atteint l’enfer par ses racines et le ciel par ses branches. Parfois un arbre parle avec les vents et porte les étoiles. Et l’artiste crée des «arbres aériens», pour penser à l’arbre cosmique.

D’ailleurs, le mythologue Mircea Eliade(2) estime que , dans diverses civilisations,« tous les arbres rituels ou les poteaux, que l’on consacre avant ou pendant une cérémonie religieuse quelconque, sont comme projetés magiquement au Centre du Monde». Un texte de l’Inde védique décrit l’arbre comme le pilier cosmique: «De ton sommet tu supportes le Ciel; de ta partie médiane tu emplis les aires; de ton pied tu affermis la Terre.» Ou bien, dans le chamanisme, l’escalade d’un tel arbre par le chaman tatar symbolise son ascension au ciel. Ou encore, certains chamans obtiennent l’extase à l’aide de leurs tambours et « le tambour serait fait du bois même de l’Arbre du Monde». L’artiste suggère des végétaux dressés vers le ciel.

Les feuilles d’érable et les pièges des souffles

L’artiste conserve des feuilles d’érable de divers pays. Il les laisse sécher entre les feuilles de papier journal et les transporte. Il invente des installations dans lesquelles interviennent les feuilles d’érable: à Paris (dans son atelier), à Osaka, à Clamart (au Centre Albert Chanot), à Paris aussi ( dans la galerie Akié Arichi)…La feuille flamboyante d’érable est l’un des emblèmes de l’artiste. Il utilise les feuilles et les fils qui constituent les filets étranges, des nasses énigmatiques, des sortes de pièges pour attraper les souffles, les esprits puissants, les vents, les pensées venues d’on ne sait où. En particulier, dans un village d’une Ile de la Mer de Chine, dans un hangar de pêcheurs, il invente ces premiers filets.Au Japon, dans le Kansaï, en automne, les familles partent en week-end pour «capturer les feuilles et les images», pour contempler le rouge varié des érables.En Australie, dans une forêt, l’artiste, un matin, voit les feuillages encore plus rouges que jamais. C’est le feu dans une splendeur terrifiante, dangereuse.

L’éloge du papier

Les œuvres de l’artiste constituent un éloge du papier. Dans les villes, il trouve des papiers divers, occidentaux ou orientaux, fins ou épais, fragiles ou solides. Il le recueille, les conserve. Il les découpe. Il les modifie. Il les froisse et le repasse. Parfois, il utilise certains papiers insolites: par exemple, des fax de la guerre du Golfe. Souvent, il se sert du papier journal, du papier de soie, du papier qui enveloppe les pizzas. Il les colore avec des pigments naturels.

Au Japon, il fabrique personnellement son papier. Le papier japonais se nomme le Washi. Il le fabrique avec les fibres de l’écorce de trois arbustes. Le papier de mûrier est le plus robuste et rugueux; un autre papier est plus lisse. Le Washi est fort, doux.

Les papier de l’artiste sont des surfaces, des plans, des supports, des subjectiles. Ils interviennent dans les peintures et les installations de l’artiste. Ils sont suspendus.Ainsi, les gohei sont des symboles shintô faits de bandes de papier blanc pliées en zigzag, fixées soit sur un pilier, soit sur un support quelconque ou encore suspendues sur une corde sacrée tendue en travers d’un portique(Torii) de sanctuaire shintô. Les gohei indiqueraient la présence des divinités(les Kami). L’artiste pense souvent aux gohei et aux kami.

Les noeuds, les cordes

Dans les installations de l’artiste, les cordes( sacrées et profanes), les ligatures, les lianes, les noeuds, les tensions, les structures en cordage, les «nattes de bonheur» interviennent. Ancien marin, il manipule les grelins, les élingues.Au Japon, selon les régions, on fabrique des cordes végétales de formes variées. Par exemple, on y suspend de petits oranges amères qui sont autant des offrandes que des décorations. Ici, on note l’existence d’énormes cordes nouées. Ailleurs, les cordes de paille sont souvent remplacées par des nattes de la même paille. Par exemple, les cordes(ou les nattes) délimitent «l’abri du dieu de l’an» et le signalent; elles constituent aussi une barrière, interdisant les accès des aires sacrées aux forces du mal; on y suspend parfois des plaquettes de bois(4)… Vrilles végétales, paille, étoffe et papier sont les matériaux d’élection d’une longue tradition de nouage. Utilitaire, décoratif ou symbolique, le noeud japonais et soumis à des règles strictes; la couleur, la forme et l’emplacement du nœud du vêtement correspondant à des critères d’âge, de sexe, de classe; le nœud qui enserre le rouleau peint témoigne du degré artistique de celui qui l’a noué; les cordelettes de papier coloré sur le paquet-cadeau signifient rigoureusement la raison du présent et la valeur qu’on lui attache. Nouer n’est pas un acte innocent, mais signifiant, voire créateur. Le nœud relie(musubi) et il lie(yui); me est l’œil, la maille, le point de couture qui considère, du noeud, le centre surtout, le vide qu’il enlace et façonne entre les brins; shime est employé en composition et dénote l’idée de fermeture. Des cordes en paille ceignent les enceintes sacrées, balises proposées aux divinités, remparts opposés aux souillures. Le nœud central, suspendu au portique du sanctuaire proclame le sacré et barre la route au mal. Dans certaines cérémonies bouddhiques, le nœud qui lie la corde a perdu son support matériel: c’est une mudrâ, que l’on noue de ses doigts. De ses doigts, l’artiste peut parfois nouer des cordages invisibles et des cordes réelles…Pour assurer la clôture du monde rituel, encerclé de fines cordelettes nouées, le maître des rites ésotériques noue autour de l’autel les sceaux de la terre, des quatre directions.D’autre part, certaines divinités(musubi no kami) peuvent créer toutes choses en liant, susciter la vie en alliant deux matières inertes.Nouer est qu’une des premières techniques de l’industrie humaine: ce fut aussi l’une des premières techniques de création divine. En nouant, les dieux suscitèrent l’énergie de l’univers. Et aussi, nouer serait un acte qui permet d’attacher une parcelle d’esprit à un corps. Le nœud est un principe de vie.

Dans des poèmes japonais du VIIIe siècle, les nœuds symbolisent les liens amoureux, la fidélité et le retour de l’être aimé. Le nœud est l’un des symboles du mariage. Car les divinités du mariage sont noueuses de liens.

Explorer les territoires

L’artiste explore des territoires proches et lointains. Il les examine. Il les inspecte, les visite.Il apprécie et analyse leurs coordonnées, leurs orientation. Ses œuvres les métamorphosent.Les ateliers de l’artiste ( actuellement l’un a Paris et l’autre dans l’île de Shikoku au Japon, ne sont pas seulement des lieux de travail; ils se manifestent comme des espaces modifiés dans lesquels des plantes poussent parmi des pierres, parmi des livres. Sur un mure des structures sont accrochées. Une autre, giganteste, est d’abord couchée sur un plancher; puis l’artiste la dresse, l’érige. Des néons modifient la lumière de l’atelier. Dans un coin, discret, un petit autel est modeste: une pierre trouvée, des graines, une calligraphie, la formule d’une prière bouddhique.Dans le Nord de la France, les installations de l’artiste nous donnent à voir des images neuves de la Mer du Nord, de la lumière des peintres flamands, des villages mélancoliques, des usines désaffectées, des terrils de mines, des amoncellements, des scories. Elles révèlent une règion forte et grave, les traces tragiques des guerres recommencées, et les brouillards. L’artiste collecte les matériaux destinées à ses œuvres: les pierres noires, les tissus blancs des usines, les cordages, les métaux parfois rouillés. Une ferme abandonnée devient son atelier provisoire. Les installations de l’artiste unissent la présent et la mémoire, la nature et les travaux des hommes. Près de la mer, l’artiste dessine sur le sable.Ou bien, dans la ville, au cœur du vieux Lille, l’artiste découvre une église du XVIII ème siècle: La Grande Madeleine. La coupole est haute de 35 mètres. Entre les larges colonnades de marbre noir belge, on distingue trois autels, deux espaces qui servaient aux baptêmes et à l’accueil des moines. Alors, l’artiste présente une vingtaine de peintures de 5 mètres, des installations qui utilisent, entre autres, cordages et papier. Il crée des lumières artificielles dans l’ensemble bleuâtre, dû aux vitraux, sur le marbre noir. Par des tubes de verre, par l’argon, le néon, le mercure, il invente des lumières-couleurs qui donnent la sensation de l’unité de l’espace transfiguré. Il pense s’etre d’abord inspiré, pendant l’adolescence, de l’Arte Povera et du Land Art; puis il crée, dit il, «un objet sans forme» , dans son esprit, comme le «fruit du désir» . La nature y règne dans les lumières et les ombres, au cœur de la cité.Ou aussi, l’artiste inscrit des événements dans le paysage. Vous pouvez alors lire un poème de Charles Baudelaire: «La Nature est un temple ou les vivants piliers/ Laissent parfois sortir des confuses paroles/ L’homme y passe à travers des forêts et des symboles/ Qui l’observent avec des regards familiers.» Comme le précise le mythologue Mircea Eliade, l’installation dans un territoire équivaut à la fondation d’un monde. Pour lui, le temple (templum) et le temps (tempus) se correspondent.

 Pélérinages

A travers cinq continents, en particulier en Argentine, en Australie où il rencontre les Aborigènes, en France ( près de la Mer du Nord et près des mines), en Italie (à Carrare), en Indonésie, dans divers Îles du Japon, l’artiste est un pèlerin permanent, un voyageur voyant. Il ne cherche jamais l’exotisme. Il refuse tout pittoresque bariolé. Si Lanza del Vasto publie, en 1943, Le pèlerinage aux sources, l’artiste cherche à découvrir les sources des rivières, des fleuves et celles invisibles, secrètes, comme des sages, des chamans, des poètes, des rêveurs captent les principes de la vie, cherchent le chiffre des choses. Il erre et il contemple. Il découvre des terres privilégiées, des espaces inespérés, des lieux inattendues. Il écoute le chant des vents, des vagues de la mer, les êtres et des choses. Il découvre des mythes et des rites variés.

Le pèlerinage interminable de l’artiste est une initiation spirituelle. Il choisit ses périples. Souvent il garde des objets témoins (des feuilles d’érable, des pierres, des branches, des pots, des graines…), des traces conservées, des vestiges, des signes de la mémoire. Il cherche la quête de l’âme et de l’art dans un parcourt permanent, par la marche, par la recherche des chemins. Ses structures définissent les sites spirituels d’une géographie. L’artiste se métamorphose tout en modifiant l’espace.

Dans le «temps du rêve» dont parlent les aborigènes, dans le temps primordial des mythes, dans les voyages imaginés des divinités ou des ancêtres, l’artiste trouve son nomadisme spirituel, réglé.

Au cœur de l’Australie, sur les terres rouges et sèches, parsemées des buissons maigres, des centaines de pistes invisibles s’entremêlent. Pour les Aborigènes, pour ces rêveurs du désert, une piste parcourt mille kilomètres, balisée par des collines, des rochers, des arbres isolés, des sources : les sites sacrés d’un itinéraire. Les Aborigènes évoquent alors le voyage d’un peuple ancestral qui, dans l’espace-temps du Rêve, traversa le désert, avant de se transformer en étoiles. Ils peuvent chanter, danser, peindre les Rêves: le Rêve Emeu, le Rêve Perruche Verte, le Rêve Etoiles, le Rêve Bâton à Fouir, le Rêve Varan…Dans le temps du Rêve( «the dream time»), chaque évènement des ancêtres est marqué par une trace dans le paysage(5).

Au Japon, deux types de pèlerinages se pratiquent (6) : l’un, venu de Chine, est à rattacher au bouddhisme; l’autre, plus spécifiquement au Shintô. La pratique est un cheminement, un circuit de dévotions. Les circuits les plus populaires sont celui des «quatre-vingt-huit sanctuaires de Shikoku», le plus ancien et le plus fréquenté, et celui des «trente-trois sanctuaires des Provinces occidentales» (au Shikoku).

Le pèlerin parcourt les quatre-vingt-huit sanctuaires du Shikoku : 1240 kilomètres, au moins une quarantaine de jours. Il porte des cartes entre deux planchettes qu’il dépose à chaque station de son périple, pour attester son passage. Le pèlerinage constitue une géographie spirituelle, la reprise du parcours de Kôbo-Taishi (né en 774), un saint du bouddhisme japonais.

D’une autre façon, l’artiste invente, dans tel territoire qu’il a choisi, un cheminement spirituel. Il crée un pèlerinage modeste, discret, un parcours. Dans l’île de Shikoku, dans la forêt, il conçoit cinq installations en l’honneur de cinq villages, en rapport avec l’eau, le feu, la terre, le bois et le métal. Ces sites sont destinés aux villageois, aux adolescents qui sont des élèves de l’artiste, aux voyageurs. Devant les installations, certains se réunissent, boivent du saké et d’autres se reposent ou méditent.

Dans un paysage, chaque installation de l’artiste est une grande forme qui évoque parfois un immense oiseau; parfois la voile d’un navire ; ou bien une échelle qui se dresse de la terre au ciel ; ou aussi un rideau flottant ; ou encore une maison schématique ; ou peut-être un papillon ; ou aussi une croix ; parfois la silhouette épuisée d’un humain ou d’une divinité… La grande forme est le signal qui indique un terrain élu, un lieu de tension et de recueillement, un pôle d’énergies.

Les divinités de la montagne

Dans la région de la Montagne des divinités (Kami-yama), l’artiste sculpte, en 2000, une construction dressée, proche d’une architecture japonaise, un arbre qui serait l’axe du monde. La région serait bleue ; le ciel, les rochers, les arbres sembleraient bleus. L’artiste rencontre alors des pèlerins habillés de blanc, des prêtres, des sages.

L’artiste célèbre, glorifie les kami, les esprits divin. D’après la tradition, les Kami seraient au nombre de 88 millions. Ils sont vénérés, en particulier, dans des sanctuaires et ils peuvent habiter des sites naturels ; ils protègent les montagnes (yama no kami), les champs (ta no Kami), les chemins (sae no Kami)Dans la conscience japonaise, la terme yama (montagne) ne désigne pas tant les élévations de terrain, montagnes et collines, que les zones non défrichées par opposition aux terres cultivées, soit l’ensemble des zones forestières, souvent montagneuses, où on pratique la chasse et le bûcheronnage (7). Un rite inaugural consiste à aller couper solennellement en montagne pour la première fois de l’année. C’est l’accueil du dieu de la montagne descendant dans la rizière à la veille du début des travaux agraires. Les paysans choisissent un arbre convenable comme support symbolique du dieu de la montagne et ils font des offrandes d’alcool de riz et de gâteau , avant de couper les petites branches de l’arbre ; ils y accrochent un symbole de papier ou de bois.

Et, au début du bûcheronnage, les bûcherons «déterminent le bon arbre», récitent une formule pour s’attirer les bonnes grâces du dieu de la montagne. Sans doute, pour sculpter, l’artiste «détermine le bon arbre».

La montagne est le territoire de la divinité. Elle se loge souvent dans les arbres fourchus ou dans les pierres de forme bizarre. Les arbres et le gibier lui appartiennent. La divinité peut être une femme, un homme, un couple, un loup, un serpent, un renard, unvieillard borgne et unijambiste. Son culte est aussi multiforme que son aspect.

Traces sur le sable

Sable… Au Japon, pour la fête du dieu du sol. La pureté, l’absence de toute souillure est une condition du bon déroulement des rites et le sable ramassé sur la plage est dispersé devant et dans la maison, afin de purifier les lieux et leurs habitants…Parfois, un autel pour certains défunts consiste en un terre-plein parallélépipédique, rectangulaire, en sable de rivière aux quatre coins duquel on place des bambous décorés de feuilles de badiane de Chine. Le sable est maintenu par des bambous placés horizontalement et fixés aux piliers d’angle.

Le jardin du monastère Ryoan-Ji à Kyoto est un «jardin sec», recouvert de sable, meublé de quinze pierres, clos de murs. Les myriades de grains de sable symbolisent le vide entre les quinze rochers. Le sable est proprement balayé peut-être par les moines et les archipels des pierres sont, en quelque sorte, auréolés.

En 1948, dans le Sahara, Jean Dubuffet est fasciné par le sable du désert. Restent les empreintes des pieds nus dans le sable; elles font trace ; puis rien ; elles sont effacées par le vent.

 

Gilbert Lascault(octobre 2001)

(1) Cf. François Cheng, Vide et plein (le langage pictural chinois), Seuil, 1979.(2)Mircea Eliade, Images et symboles (essais sur le symbolisme magico-religieux), Gallimard, 1952(4) Laurence Berthier-Caillet et coll., Fêtes et rites des quatre saisons au Japon, PDF, 1981(5) Cf. Barbara Gowczewski, Les rêveurs du désert, Plon1989(6) Les pélerinages, Sources orientales, Seuil,1960(7) Laurence Berthier-Caillet et coll., Fêtes et rites des quatre saisons au Japon, P.O.F., 1981

 

 

 

 

 

05prtc0473

2005. Raimond Chaves. EL RIO, LAS COSAS QUE PASAN (location)

Urban furnitures and Canal Metro projections   

 

 

 

 

 

05intd0588

2009-2010. Pablo Valbuena. PROTOTIPO TEATRO, 2008

2009-2010. Pablo Valbuena. PROTOTIPO TEATRO, 2008

 

      

PROTOTIPO TEATRO, 2008Teatro de Alcobendas, Madrid

Instalación experimental para investigar sobre la interacción entre el cuerpo humano e instalaciones espaciales.

 

 

 

 

 

 

 

 

 

 

09-10inme2589

2005. Óscar Lloveras. S/T (location)

Pº del Prado, facing Prado museum

 

 

 

 

 

05intd0587

2007. Alonso Gil + Francis Gomila. GUANTANAMERA (published text)

“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.

La guantanamera, is the most internationally recognised song of the Cuban song book. This catchy song, which has travelled the world over representing Cubans as an anthem, was adapted by Julián Orbón based on the poem of José Marti. The melody exists since the 19th century and Joseito Fernández employed in his  noticiario cantado (sang news) radio broadcasts during the forties.

Guantánamo is a word of Taino origin, the aborigines of that area of Cuba, meaning “the river of earth”. It is precisely in this geographical area where the USA naval base is located.

Currently, in the war against terror, the United States’ military forces have used pop, rap and heavy metal music as a means of torture against detainees in military prisons. It has specifically been used in sleep deprivation techniques, as a base for systematic disorientation which, in the majority of cases, leads to madness. 

 

 

 

 

 

07intc1366

2005. María Alos + Nicolás Dumit. MUSEO PEATONAL (technical data)

 DESCRIPTION OF THE ASSEMBLY SYSTEM AND TECHNICAL REQUIREMENTS

The Pedestrian Museum requires a showcase type of space with access to the street, located in a busy public or commercial area. The showcases’ size could be flexible (preferably the size of a shop window) for part of our philosophy is to adjust to any given space and integrate it in an already existent context. The showcases’ interior will be structured as a “white box”, emulating the typical white gallery.

In the external part of the showcase a logo will be installed, with the museum’s philosophy, made in adherent vinyl, easily removable. The audio (with the same text) will be amplified towards the exterior through two computer horns connected to a CD player, located inside the space. For security reasons, these horns will be removed during the closing hours.

PRODUCTION AND ASSEMBLY

Numbered donation sheets (2000 sheets)1000 plastic baggies (ziplock) sandwich size1000 cork studs1000 small labels for laser printingCD PlayerHornsVinyl posters2 UniformsDry cleaner’s for uniformsPaint and other materialsElectric wiresWork assistantsInstallationSpecific space

 

 

 

 

05prtc3445

2007. Dan Perjovschi (Cv)

SIBIU, ROMANIA, 1961 LIVES AND WORKS IN BUCHARESTWWW.PERJOVSCHI.RO | WWW.LOMBARD-FREID.COM | WWW.GREGORPODNAR.COMWORK EXPOSED IN MADRID ABIERTO: OFF

 

INDIVIDUAL EXHIBITIONS2006·    Bartana, Perjovschi, Sasnal Van Abbe Museum Eindhoven NL·    Not me but you, not now but later Innsbruck Kunstraum A·    On the other hand, Portikus Frankfurt D·    Bryce, Borremans, Perjovschi Wurtemberghischer Kunstverein Stuttgart D·    May First Moderna Museet  Stockholm·    The Room Drawing, Tate Modern London·    From Now On, Kunsthalle Budapest·    First Class Montcada Spac, La Caixa Forum Barcelona

2005·    Naked Drawings, Ludwig Museum Koln, D·    Toutes Directions, Le Quartier, Quimper Bretagne, FR

2004·    Attila Protokoll Studio Cluj, RO·    No idea Schnittraum Koln, D

2003·    Ich habe keinnen zeitraum Brukenthal Museum, Sibiu/ Hermannstadt, RO·    Endless Collection Kunsthalle Goppingen (with Lia Perjovschi), D·    th Venice Biennial, Romanian Pavillion (with SubReal), IT

1995·    Anthroprogramming Franklin Furnace, New York, US

GROUP EXHIBITIONS2006·    Give a way, Limerick Biennial, Republic of Ireland IR·    Focusing Iasi/The social Project, Iasi Periferic Biennial RO·    Phantom, Charlottenborg Exhibition Hall Copenhagen  DEN·    Normalization Rooseum Center for Contemporary Art, Malmo·    The Vincent Biennial European Art Award , Stedelijk Museum Amsterdam NL·    The Large Piece of Turf projects in public space Nurnberg D

2005·    New Europe. The Culture of Mixing and Politic of Representation Generali Foundation Wien A·    Istanbul, The 9’th Istanbul Biennial, TR·    I still believe in Miracles. Dessins sans papier ARC Musee d’Art Moderne de la Ville de Paris, Couvent de Cordeliers, Paris FR·    Paradoxes: the embodied city, Gulbenkian Foundation Lisbon, PT·    Buenos Dias Santiago, Museum of Contemporary Art, Santiago de Chile

2004·    Comunaute, Institut d'Art Contemporain, Lyon, FR·    Passage dEurope, Musee d’Art Moderne St Etienne, FR·    Off site Collective Gallery Edinburgh, GB·    Flipside Artist Space New York, US

2003·    Open City-Models for Use Kokerei Zollverein, Zeitgenossische Kunst und Kritik, Essen, D·    In den Schluchten des Balkans Kunsthalle Fridericianum, Kassel, D·    Undesire, Apexart, New York, US

2001·    First Goteborg International Biennial, Kunsthalle Goteborg, SE

2000·    Arteast Collection, 2000+Moderna Galerija Lublijana SL, Orangerie Innsbruck, A and ZKM Karlsruhe, D

2000·    Voila! Le monde dans la tête Musee d’Art Moderne de la Ville de Paris, F

1999·    After the Wall Moderna Museet Stockholm, Ludwig Museum Budapest, Hu·    Hamburger Bahnhoff Berlin, D

1999·    Rondo Ludwig Museum Budapest, HU

1998·    Manifesta 2, Luxembourg

1995·    Beyond Belief', Chicago Museum of Contemporary Art and Institute of Contemporary Art Philadelphia, US

PRIZES2004·    George Maciunas Prize

2002·    Henkel CEE Prize for Contemporary Drawing, Wien

 

 

 

 

07prtb1194

2009-2010. Pablo Valbuena. AUGMENTED SCULPTURE SERIES, 2007-2008

2009-2010. Pablo Valbuena. AUGMENTED SCULPTURE SERIES, 2007-2008

 

AUGMENTED SCULPTURE SERIES, 2007-2008Serie de instalaciones audiovisuales Este proyecto ahonda en las cualidades temporales del espacio, investigando el espacio-tiempo no sólo en el ámbito de las tres dimensiones, sino como espacio en transformación. Con este propósito se producen dos capas que exploran diferentes aspectos de la percepción espacio-temporal. Por un lado una capa física que trabaja con la percepción que tenemos del espacio y que sirve de soporte a otra capa proyectada, que a través de la luz controla la transformación de ese espacio. La unión de los dos niveles provoca la ilusión de una geometría física capaz de ser transformada. Este serie de piezas ha pasado por varios desarrollos y sigue evolucionando, desde su comienzo en Interactivos? 2007 se han expuesto en Canadá, Singapore, Francia, Korea, ARCO, etc. y ha recibido el apoyo de una mención honorífica en Ars Electronica 2008 (Linz, Austria).

 

 

 

 

 

 

 

 

 

 

 

 

09-10inme2588

2005. Henry Eric Hernández García. ZONA VIGILADA (visual data)

2005. Henry Eric Hernández García. ZONA VIGILADA  (visual data)

 

REFERENCES

Archive photos. Frank Hernandez. Images of a military parade in La Havana. 70s.

      

          

Archive photos. Frank Hernandez. Images of a military parade in La Havana. 70s.

 

 

 

 

 

 

 

05intb0501, 05inib0502

2005. María Alos + Nicolás Dumit. MUSEO PEATONAL (location)

Pº de Recoletos, uneven sidewalk, Telefónica´s shop, near Colon square

 

 

 

 

 

05intd0586

2007. Johanna Billing. YOU DON´T LOVE ME YET (published text)

 

You Don't Love Me Yet brings people together in an inviting encounter between the artist, musicians, and audience members; the catalyst of which is an 80's pop song.

In her long term project You don’t love me yet, which has been touring to different international cities between 2002 and 2006, Madrid will be the 16th location, Johanna Billing invites musicians to play a live cover version of a 1984 song by the American singer-songwriter Roky Erickson according to their own interpretation. The idea sprung from a fact the artist heard on the radio that there are more citizens living alone in Sweden than in any other country in the world.

In this project, that plays with the potential of covers and their invitation for subversion and reclamation, Johanna Billing makes herself as an artist almost invisible. Behind the scenes though, she organizes 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 tries to break through existing patterns of behavior in both the music and the visual arts scene. As an artist she facilitates a collective experience where individuality expresses itself in the different artistic interpretations of the song, where the performing musicians are invited to listen to each others’ presentations and where the audience is witness to the potential of repetition, as the event offeres a wide range of versions of this sole song text. Each event has 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 end 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 in Stockholm, 2003.

 

 

 

 

 

 

 

 

07intc1356

2009-2010. Pablo Valbuena. ENTRAMADO, 2007

2009-2010. Pablo Valbuena. ENTRAMADO, 2007

 

   

ENTRAMADO, Medialab, 2007Plaza de las Letras. Medialab - Prado, La Noche en Blanco 07. Madrid. Instalación urbana

Entramado aborda la idea de transformación espacial en el espacio público. La superposición de un nivel de proyección sobre la arquitectura  de una plaza pública permite generar cambios y transformaciones en el sin una alteración física de la plaza, en su lugar se alteran los mecanismos perceptivos con los que experimentamos ese entorno urbano.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10inme2587

2005. Óscar Lloveras. S/T (theoretical data / Duchène Gérard text)

 What surprises me about Oscar Lloveras´ work is his relation with society, and also with nature. He attempts to erase the duality... a duality which exists between some and the others, or between some and the totality of their own surroundings.

His works are tangible headlamps permanently open to all that is monumental, but also towards the infinitely smallness of a trace, of a small branch found in a notebook of memoirs… memories of a journey written from a glance. The insistence on transmitting all that is produced in the field of vision. A curiosity (openness) which is going to move around within this field.

We can imagine a gesture which moves around a space limited by invisible signs. Later, the gesture is translated into a workshop.

The “ everything goes” idea spells the accident, the surprise; the body frees itself from its support. The metal point stresses and translates that which is grasped through plastic writing. An osmotic relation between the presence of the memory and the reality of the gesture. It is all based on adapting this sum of memories to reality.

It is the reason of Oscar Lloveras´ activity, which penetrates in the places and proposes an observation. The gesture takes place in negligible or monumental way. The physical work, which is so important, participates in that which is physical of the environment and he questions it again. The meeting of a direct relation between that which is observed and what is done: that which is lived in the same place. We could say that the place is adapted to an intruder, which is the work.

The terrain is an obligatory step to erasing the absence, or more clearly, to occupy it. Llovera develops other areas, eliminating the voids left in spatial structures, and terraces this with traces, doing a vertical journey.

Oscar Lloveras is a space adventurer. And his successive journeys happen due to a need to grasp an everything without completing it. The act of creating or making is always linked to pleasure. Pleasure is always present, even though its gesture is monastic. Rays of light cross silence. The standing body leaves a place for the body folded in the workshop.

The diversity of techniques and materials are witnesses to this sensitivity which is produced from the grain of sand to the tree, from the arcade of a church to the stone on the path. The journey of the arcade links the ground with the sky.

Lloveras attempts to relate his experience in plastic with the others. “The shape approaches the being and the being approaches the shape”. His work is in no way innocent, but it produces as are the pages of a book. Communication is crucial in his work... language is predominant. In its permanent movement, it moves towards the infinity of us.

Duchène Gérard

 

 

 

05intc0538

2005. Raimond Chaves. EL RÍO. (2005.01 / visual data)

2005. Raimond Chaves. EL RÍO. (2005.01 / visual data)

 

 

             

There are two versions. But I´d prefer for the head El Rio.The sheets would be:

"El Río, las cosas que pasan"Newspaper poster for urban forniture -sketch-Raimond Chaves, Lima 2005

"El Río, las cosas que pasan"Head of the newspaper poster for urban forniture Raimond Chaves, Lima 2005

Victor Jara's happy"El Río las cosas que pasan"Broadcast for Metro ChannelVideo mosaic imagesRaimond Chaves, Lima 2005

Finally the url is:www.lascosasquepasan.netIn a couple of days it will be active, even it will be only with a wellcome pageThe official launch will be on day 3

(January 2005)

 

 

 

 

 

 

 

 

 

05inib0504, 05intb0505

2005. José Dávila. MIRADOR NÓMADA (location)

Casa de América façade, Linares palace

 

 

 

 

 

 

05intd0585

2007. Discoteca Flaming Star. DISCOTECA FALMING STAR (published text)

 DESCRIPTION OF THE PROJECT - - - MOTIVATIONS- - - INTENTIONS

“Fernando. (We were young. Full of life. None of us prepared to die)”.

It is a sculpture –a metallic hut- which the public does not have access to; the passer-by hears music and a voice that comes from inside the hut. The sculpture articulates a presence associated with forms of informal commerce and architecture. The audio element gives way to the mysterious and enormous music box nature of the hut. The audio element was developed with the collaboration of the Chilean composer, Álvaro Peña (biographic data of Álvaro Peña provided below).

-mixing different spatial categories: inside-outside, private-public-artistic, visible, inaccessible, seemingly functional but not in operation. ---generating a space that promises nothing and seeks to offer nothing; thus, in this manner, we hope to encourage a reflection on the political nature of what is public, its vulnerable nature and the confrontational substance of the public space.

- audio element – voice + music --- literality issues, (i)rationality, passion, dialogue, promenade, public framework and collective expression through cultural products. Integrating reflections on the diversity of the relationships of the different cultural and ideological projects of/in the city.

BASES OF REFLECTION and INSPIRATION FOR DEVELOPING THIS PROJECT

-THE HUTS OF THE NEW AND SECOND-HAND BOOK FAIR Since 1925, 30 bookshop-huts have been placed in the Cuesta de Moyano. While small, therefore of a picturesque nature- the outdoor structures are associated with forms of informal economy which, except in their illegal street vendor version, are outside the areas demarcated by the project MADRID ABIERTO.

Currently, the huts are temporarily situated in Paseo del Prado until they are relocated to the remodelled Cuesta de Moyano – which will become pedestrian- in 2007. We find the issues inherent in this change especially interesting: To what extent and how does culture, as an event, affect urban planning and real estate interests? Will the new ‘Cuesta’ pose a change to the content of the huts?

-FERNANDO’S ‘PACHANGA’ ROWDY ESTABLISHMENT IN GUADALIX DE LA SIERRA (Madrid) AND THE CHIC STAND IN POWERS STREET (Brooklyn – NY):As places built for combating loneliness, for establishing themselves as gathering and conversation points based on commercial interchange, both have sought (Fernando died and his rowdy establishment was torn down in 2005) and seek methods of providing offers that go beyond the purely commercial and ignore the aesthetic imperatives established by large companies, generating their own presentation and advertising methods for their ‘products’.

-THE VALPARAISO TRAIN (Chile):Popular public transport of the city of Valparaíso disappeared as a result of its transformation into a subway train.

-THE VERSES, LYRICS, STORIES, ESSAYS and POPULAR SONGS of: ÁLVARO (more information below), Dorothy Parker, W.G. Sebald, Virginia Woolf, Albert Camus, Quentin Crisp, Karl Valentin, Jack Smith, Pasollini, The process of Joan of Arc, Avery F. Gordon, Estrella de Diego, Mary Shelley, Yvonne Rainer, Jorge Semprún, Guy Debord, Ingeborg Bachmann, Ostermayer/Phettberg, the script of C. Th. Dreyer for ‘Joan of Arc’.

FLAMING STAR DISCOTHEQUE

Since 1998 the Flaming Star Discotheque has been staging performances-collaborations with other artists in different artistic contexts. In the last few years, the production of audiovisual projects associated with the performative experience has been on the increase. The group has produced banners or backdrops, carpets, collages, audio projects and video works.

The project proposed here seeks to give a sculptural-physical dimension of a public nature to the search for the group. A search carried out in the fields of spontaneous song expression, understood as an individual response to/in specific historical moments and, through it, investigating methods of organic acting and interpreting in contrast with the global imperatives of the entertainment industry.  http://www.discotecaflamingstar.com/

ALVARO PEÑA

Chilean composer born in Valparaiso in 1943. Already in the decade of the sixties Álvaro Peña was a member of various popular music bands, namely LOS BUMERANGS and LOS CHALLENGERS, in Chile. In London, at the start of the seventies Álvaro formed the now the legendary THE 101'ERS, with Joe Strummer (THE CLASH).

It is worth mentioning that despite all the musical tendencies, from the sixties to now, Alvaro´s TRANSITORY MUSIC continues to remain as fresh and up to date as on the first day, mainly his piano style as well as the strong singularity of his voice. Alvaro currently lives in Germany and regularly tours Europe, Latin America and the USA.  http://www.don-alvaro.net/

 

 

 

 

 

 

 

 

07intc1350

2008. Ben Frost (Cv)

MELBOURNE, AUSTRALIA, 1980 LIVES AND WORKS IN REYKJAVÍKWWW.ETHERMACHINES.COMWORK IN MADRID ABIERTO: I LAY MY EAR TO FURIOUS LATIN

SELECTED EXHIBITIONS, RELEASE AND WORKS FOR PERFORMANCE

CURRENT WORK2006     ·    I Lay my ear to furious Latin. Public sound/sculpture installation ·    “Madrid Abierto”, Spain ·    Theory of Machines 5 new compositions for industrial machinery and guitars ·    Jarðskálftar Tónlist (Earthquake Music) Research and development of a real-time

RECENT WORK2006     ·    Glow, Chunky Move Dance Company Score, Coreographed by Gideon Obarzanek and interactive System Design by Frieder Weiß ·    Singularity, Chunky Move Dance Company Score, Coreographed by Gideon Obarzanek ·    Holli Who? Íslenskí Dansflokkurín (Icelandic Dance Company) Score, Coreographed by Halla Ólafsdottír and concept by Halla Ólafsdottír and Ben Frost ·    Broken Window Theory.  Bus Gallery, Melbourne Australia (Group exhibition) A Non-Linear Audio Installation ·    MOB part 1, North Melbourne Meat Market, Melbourne Australia A/V Installation, Surround sound and Multi-Screen Installation as part of Cicada

2005     ·    Björk, Medúlla Desired Constellation Remix, One little Indian Label/Universal Music International ·    Pyroclastic.  Centre for New Media Arts, Armenia. Sound work with Ai Yamamoto, Exploration of volcanic sound ·    Salt Milk. IASKA, Kellerberrin Western Australia. A/V installation in remote salt lake regions as part of Cicada

PAST WORK2004     ·    Amensal, luminosity exhibition, (ANAT) Adelaide Australia. Large-scale interactive video projection/audio installation with Cicada

2003    ·    Re_Squared, Prima Vera Festival, National Museum of Contemporary Art, Sydney Australia. ·    Commissioned collaboration with video artists Cicada immersive audio-visual performance/installation ·    Sæluhúsið (Safe House), Ny"listasafnið (The Living Arts Museum), Reykjavik Iceland. Commissioned live performance with Icelandic artist Valgeir Sigurðsson ·    Steel Wound, Commissioned new work for the Room40 label. Exploration of the guitar as environment, geography as instrument, created in isolated farmhouse

GROUP EXHIBITIONS2004    ·    Melatonin. “MAAP Festival” Singapore (Group exhibition) Curated by Lawrence English Sound Installation, in public transit tunnel, Exploration of sleep

2003    ·    Melatonin. “Nextwave Festival”, Bus Galleries, Melbourne Australia (Group exhibition) ·    Audio Installation, exploration of sleep, R.E.M, and Psycho-Acoustics

EDUCATION2005     ·    RMIT University-Bachelor of Media Arts, with Distinction (Fine Arts-Sound/Composition) ·    (Under Dr Philip Samartzis and Composer Darrin Verhagen)

1999     ·    North Adelaide School of Art-Advanced Diploma in Fine Arts (Painting, Sculpture) incomplete

GRANTS, AWARDS AND RESIDENCIES (SELECTED)2005    ·    Media Arts Board, Australia Council for the Arts -New Work Grant. Support and development of the work Jarðskálftar (Earthquakes) ·    Music Board, Australia Council for the Arts -New Work Grant. Support and development of the work Theory of Machines ·    Native-Instruments, Germany. Artist Endorsement ·    Foundation For Young Australians-Fund for Individuals Grant. Artist residency at Greenhouse Studios Reykjavik, Iceland

2004     ·    New Media Board, Australia Council for the Arts-Research and Development Grant . Research and development of new work in collaboration of Kirsten Bradley and Nick Ritar (Cicada)

2003     ·    New Media Board, Australia Council For the Arts-International Pathways Grant . International tour of USA, UK, Europe in support of Steel Wound ·    City of Sydney Australia-Art and About program award. For the Artwork Re_Squared in     collaboration of Kirsten Bradley and Nick Ritar (Cicada) ·    BBC Radio, Critics Choice, Top 10 experimental Releases 2003 For the work Steel Wound

2002      ·    Ableton Software, Germany. Artist Endorsement

ASSOCIATIONS2005·    Present Bedroom Community Label, Reykjavik Iceland

2003·    Present Room40 Label, Brisbane Australia

2002·    Present Cicada Arts Collective, Melbourne Australia

 

 

 

 

07prtb1192

2009-2010. Gustavo Romano. EXCHANGE OFFICE, 2006

2009-2010. Gustavo Romano. EXCHANGE OFFICE, 2006

 

 

EXCHANGE OFFICE, 2006Orchard Road, Singapur, August 2006. Actionn, installation, video 10' 33''

The action took place by placing a stand on Orchard Road (in front of the city’s shopping mall) and asking people passing by what they thought about the new money system while they were invited to exchange a note for that which they considered valuable (as a time period)  http://www.gustavoromano.com.ar/timenotes/ExOffspa.htm

 

 

 

 

 

 

 

 

 

 

09-10inme3829

2005. María Alos + Nicolás Dumit. MUSEO PEATONAL (theoretical data)

PHILOSOPHY OF A NOMAD ORGANIZATION

The Pedestrian Museum is an itinerant institution dedicated to present temporary exhibitions in different areas of New York City and in other urban environments in and out of USA. The museum’s collection comes from the donations that visitors, workers or neighbours give.

FORMAT 

Interactive intervention/installation located in the urban environment:

This institution works like an intervention/installation of a specific type that uses busy pedestrian areas; ideally, spaces in buildings that have access to the street, located in public and/or commercial areas of the city. The institution’s interest is to preserve the presence of pedestrians in a specific location due to a collection that is formed once the donators provide the most varied of personal objects, souvenirs and relics. The museum itself materializes together with the objective of the project, during the assembly of the received articles. The donation process is free of charge and the objects are collected, classified, packed and then exhibited. The transactions take place in the street where the museum is installed, taking advantage of the constant flux of people that go from one place to another. This institution’s staff is made up of artists themselves, that are presented to the public (wearing dark blue suits and white shirts) pretending to be curators, guardians of the museum, museologists and installers. In this way, the working hierarchy in cultural organizations is examined.

AUDIO/TEXT TRANSCRIPTION

“The Pedestrian Museum is an itinerant institution dedicated to present temporary exhibitions in different areas of New York City and in other urban environments in and out of USA. The museum’s collection comes from the donations that visitors, workers or neighbours give. The Pedestrian Museum is a physical expression that reflects, through donations, the spirit of the place in which it is located.

The museum is currently accepting donations for this space. Therefore, we invite you to jointly support us, providing an object owned by you. If you wish to remain anonymous as donator, please ask so at the moment of the contribution. For any further information please contact the staff. Every object, from that moment on, will belong to the Pedestrian Museum. Thank you for your cooperation”.

OPEN ROUTE TO THE PEDESTRIAN MUSEUM

In 2001 the Pedestrian Museum opens its doors to the busy 42nd street of New York, in the heart of Times Square, invited by the Chashama organization. That same year, the institution is transferred for three months to the zero zone, where the World Trade Centre used to be, as a part of Looking In, an exhibition organized by the Lower Manhattan Cultural Council. In early 2004, with the support of the Longwood Art Gallery and the Bronx Council of the Arts, the Pedestrian Museum establishes itself in the Bronx district. Currently the institution is transferring to Mexico City. Invited by MUCA Rome, the Pedestrian Museum will install itself in the University Campus (UNAM) for a month.

We hope to have the opportunity of continuing with our itinerary in other cities, including Madrid, with Madrid Abierto, taking advantage of the flux of visitors that go to ARCO 2005.

 

 

 

 

 

05prtc3444

2005. Henry Eric Hernández García. ZONA VIGILADA (ubicación)

Museo de escultura al aire libre, Pº de la Castellana, Eduardo Dato

 

 

 

 

 

05intd0584

2006. Wilfredo Prieto. OUROBOROS (published text)

 Cayendo hacia arriba

From objects, reality; from ideas of repositioning the object and the meanings generated by the space which subverts. Moreover, the gesture of re-contextualising doesn’t appear in the object – new context dialogue, but converts the functionalism and the logical utility into something banal which suggests a chaotic image, and even a lucid one of the structure, a victim of its own functional framework and a reflection on its incapacity to be something autonomous.

Ouroboros, in reference to the mythical image of the snake biting its tail, makes one think about power, the social structure of relationships, whether it be at institutional or personal levels, and the lack of sense shown in the application of these precepts in their own systems. Appealing to the wealth of the monument and visual impact as strategies for integrating the object, now called Ouroboros, and which requires a critical overview of the reverted processes, one is attempting to imply the form and to strengthen multiple meanings from the apparent ingenuity of choice and manipulation of the piece.

The effect of the object is neutralized with extreme subtlety by suggesting a means and aim in itself. The minimum self-intervention demystifies the artist as an object creator and profiles him or her as an archaeologist of present times, the daily events, of realities which blend in to the environment around them and thus easily escape other people’s eyes.

With doubt, the piece ponders a more explicit questioning of power and its most visible actions; this pays tribute to the weight and size of the piece, where formality introduces associations with power and its social crystallization. Nevertheless, the Ouroboros concept leans towards an understanding which privileges the understanding of power as a moral method, a self-consciousness and practical experience. It acts as an underlying state. It is actually close to the very dynamic of the art institution, despite the surreptitious of equally suggestive mechanisms. Not even the artist, nor the piece of art itself, with this aura of cognition can allude or remain distant from the conceptual fundamentals they activate.

Direlia Lazo January 2006

 

 

 

06intc0989

2009-2010. Gustavo Romano. LOSING TIME, 2006

2009-2010. Gustavo Romano. LOSING TIME, 2006

 

LOSING TIME, 2006 Orchard Road, Singapur, August 2006. Action, video. 1' 58''

 The action consisted of taking a walk down a pedestrian street in the commercial area of Singapore while throwing time notes.  www.gustavoromano.com.ar/timenotes/LTspa.htm

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10inme3828

2009-2010. Lara Almarcegui. GOING DOWN TO THE RECENTLY EXCAVATED UNDERGROUND PASSAGE (2010.02 / technical data / risk prevention)

2009-2010. Lara Almarcegui. GOING DOWN TO THE RECENTLY EXCAVATED UNDERGROUND PASSAGE (2010.02 / technical data / risk prevention)

 

RISKS EVALUATION

.............................................................................................................................................................................................................................................................................

RISK PREVENTION INFORMATIVE CARD

.............................................................................................................................................................................................................................................................................

EMERGENCY PLAN

.............................................................................................................................................................................................................................................................................

 ** OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 (FEBRUARY 2010)

 

 

 

 

 

 

 

 

 

 

 

09-10intb2765, 09-10intb2766, 09-10intb2767

2005. José Dávila. MIRADOR NÓMADA (theoretical data)

The idea of this proposal is that participation at the Casa de América is not a piece of work to be mainly observed, but to invest that relation and use the piece of work so that the city of Madrid can be observed from it and the events of its urban daily life can be contemplated.

The aim is that of recognising and using the façade of the Casa de América as a strategic place of great qualities to observe one of the most emblematic urban points of Madrid, as is the Plaza de Cibeles, the paseo de Recoletos and Alcalá street; from a height and visual points which are not usually very easily accessible.

It proposes the temporary construction of (accessible and safe) scaffolding for use by the public in general who will be able to explore the different levels and areas of the structure.

The project is a piece of work which will bring the façade of the Casa de América and surrounding to life through its function and use, modifying the pre-existent relations of the citizens with the place.It offers and proposes a different way of seeing the city and its architecture, a possibility to enter a more active dialogue with the urban landscape of Madrid.The scaffolding covers up and signifies cycles of activity and change. They are sub-used, temporary urban spaces, nomadic viewpoint ( miradores nómadas ) which for a determined period of time offer specific views of the city which could not be seen in any other way, and usually go totally unnoticed.An unnoticed general characteristic of Europe´s large cities is the large amount of scaffolding which stand out on their streets, areas in which they cover a large number of buildings and very frequently, the most emblematic of most historic buildings of the city).Those who go by these areas of scaffolding can only appreciate something similar to the back of a mirror, converting them into places without a place. A building surrounded by scaffolding is usually a visual non-event of which the daily eye usually notices hardly anything.

The production strategy of this piece relates to the character of this programme and its exhibition; it’s made out of materials that can be “rented”, it’s an art work only due to its function and the experiences that it arouses. It’s the result of recycling consumer products. Once Madrid Abierto finishes there won’t be any wasted material, the scaffolding will be dismantled and will continue serving its regular purposes. I consider this piece as an event that provides certain visual, audio and phenomenological experiences, rather than a sculpture of defined, permanent and material characteristics.

Formally the aesthetic of the piece will obey standard construction principles to build and assemble scaffoldings in general.Formed by a group of volumes on different levels and covered by meshes of different colours.

 

 

 

 

05prmc3443

2005. Fernando Baena. FAMILIAS ENCONTRADAS (location)

Círculo de Bellas Artes, Alcalá street façade

 

 

 

 

 

 

 

 

05intd0583

2006. Tere Recarens. REMOLINO (published text)

 Remolino is a turning door similar to those we find in airports. Self-made, it uses the basic necessary materials and the glass has been exchanged for wooden frames and transparent plastic. I will draw a series of drawings on each of the 8 sheets of the door:

3. I ALSO HAD A GOOD FRIEND: SERVULLO4. I BROKE ANOTHER OF CHIS’S SHIRT AGAIN!

In such a way that the pedestrians will have to follow the pictures to see them, but there will also be other pictures following the pedestrians.

5. HE LIKED MY HAM6. IN THE END I THREATENED HIM: EITHER FATHER OR NOTHING!

If the pedestrians want to see all the pictures, they will have to go around it at least 4 times.

7. CHIS GOT A SHOCK8. NINE MONTHS LATER I HAD A SORE BACK

In such a way that the pedestrians will have to follow the pictures to see them, but there will also be other pictures following the pedestrians. 1. IN SUMMER, I FELL IN LOVE WITH CHRIS2. I DESIRED HIM SO MUCH I BROKE HIS SHIRT

Remolino is a turning door similar to those we find in airports. Self-made, it uses the basic necessary materials and the glass has been exchanged for wooden frames and transparent plastic. I will draw a series of drawings on each of the 8 sheets of the door:

3. I ALSO HAD A GOOD FRIEND: SERVULLO4. I BROKE ANOTHER OF CHIS’S SHIRT AGAIN!

In such a way that the pedestrians will have to follow the pictures to see them, but there will also be other pictures following the pedestrians.

5. HE LIKED MY HAM6. IN THE END I THREATENED HIM: EITHER FATHER OR NOTHING!

If the pedestrians want to see all the pictures, they will have to go around it at least 4 times.

7. CHIS GOT A SHOCK8. NINE MONTHS LATER I HAD A SORE BACK

In such a way that the pedestrians will have to follow the pictures to see them, but there will also be other pictures following the pedestrians. 1. IN SUMMER, I FELL IN LOVE WITH CHRIS2. I DESIRED HIM SO MUCH I BROKE HIS SHIRT3. I ALSO HAD A GOOD FRIEND: SERVULLO

 

 

 

 

 

06intc0986

2009-2010. Gustavo Romano. TIME RELEASE, 2007

2009-2010. Gustavo Romano. TIME RELEASE, 2007

 

TIME RELEASE, 2007 Silver Pearl ,Rostock, June 2007. Action, video. 4' 08''

The action took place in Rostock during the demonstrations against the summit of the G8, an annual meeting that takes place in enclosed locations that are inaccessible overland.

A copy of each banknote that had been delivered to the Office for the Reimbursement of Wasted Time was tied to a balloon and released. www.gustavoromano.com.ar/timenotes/TRspa.htm

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10inte3827

2007. Alfonso Gil + Francis Gomila (Cv)

ALFONSO GILBADAJOZ, 1966 LIVES AND WORKS IN SEVILLA WWW.ALONSOGIL.COM

FRANCIS GOMILAGIBRALTAR, 1954 LIVES AND WORKS BETWEEN NEWCASTLE, UNITED KINGDOM; BERLINWWW.DIGITALARTSGALLERY.CO.UK/FG.ARTISTSPAGE.HTML

WORK IN MADRID ABIERTO: GUANTANAMERA

ALFONSO GILSOLO EXHIBITIONS 2006    ·    La Celda Grande MEIAC Badajoz

2002    ·    Incómodo, Sala de eStar, Seville

1998    ·    Cada Cual a su Tirano, Buades Gallery, Madrid

1997    ·    Acceder al interior es necesario, Berini Gallery, Barcelona

1996    ·    Casa de Luces, Cavecanem Gallery, Seville

1989    ·    Alonso Gil Ascan Crone Galerie, Hamburg, Germany.

GROUP EXHIBITIONS2004    ·    La alegría de mis sueños. 1st Contemporary Art Biennial of Seville (BIACS)·    ·    Transacciones / Fadaiat. On-line multimedia archive. Tarifa/Tangier I, UNIA art & thought

2003    ·    Lost boys, Smart Project Space, Amsterdam ·    Flashed out, Instant Cities, Mexican Institute, Paris ·    Seen, Fact, Liverpool

2002    ·    Manifesta 4, Frankfurt ·    The Big Social Game, International Young Art Biennial, Torino, Italy ·    Living Proof, Newcastle ·    Falling on you, London ·    3 VIDEOROM, Gian Carla Zanutti Gallery, Milan

2000    ·    3rd International Sonorous Art Festival, Ex-Teresa Arte Actual, Mexico D.F., Mexico; ·    Punto de Partida. Apuntes para una colección, Andalusian Contemporary Art Center, Seville

1999    ·    Art for Two, Art & Idea, Hotel in San Francisco, Mexico D.F.; I & II Los Refractarios Hall, Buades Gallery, Madrid (1998-1999);

1998    ·    Disappearance Act, Bound & Unbound Gallery, New York (1998);

1997    ·    One of You, Among You, With You (homage to Martin Kippenberger), Juana de Aizpuru Gallery, Madrid ·    Obra al piso,  Vallarta 1085 Gallery, Guadalajara, Mexico ·    Local Cultura, Museum and Archive of the Ceuta Port Authority. Within the multidisciplinary project Almadraba carried out on the shores of the Strait of Gibraltar (1997); ·    Pasarse de la raya (video programme), ExpoArt’97, Guadalajara, Mexico, and Art & Idea, Mexico D.F., Mexico;

1996    ·    Public Secrets. The Knitting Factory, New York ·    Wheel of Fortune, Lombard-Freid Gallery, New York; ·    Multiples at Printed Matter, Printed Matter, New York;

1994    ·    Ida y vuelta. Casa delJoven Creador Gallery (exhibition parallel to the 5th Biennial of Havana, Cuba.

EDUCATION:    ·    Holds a degree in Fine Arts from the University of Seville.

GRANTS AND RESIDENCIES·    Generación 2002, Caja Madrid (2002); ·    Contemporary Artistic Creation, Department of Culture, Regional Government of Andalusia (2000); ·    Pollock-Krasner Foundation, New York (1999); ·    Rodríguez Acosta Foundation, Granada (1989).

PUBLICATIONS·    Promotional Copy (Robin Kahn, editor), New York.·    Sin Dios, ni patria, ni ley, Puerto de las Artes, Provincial Council of Huelva.·    Atlántica International Arts Magazine, No. 25, pages 182-187.

PROJECTS 2001    ·    An Error Occurred. Foro Sur, Cáceres (2001)2000    ·    Domestico 02, Madrid·    Deleitarse en la N y deleitarse en la O, Ex Teresa Arte Actual Museum, Mexico D.F

PUBLICS COLLECTIONS·    Caja Madrid Foundation; ·    Aduana, Rafael Alberti Foundation, ·    Provincial Council of Cadiz; ·    City Council of Utrera, Seville; ·    CAAC, Andalusian Contemporary Art Center, Seville; ·    Testimony Collection, La Caixa Foundation, Barcelona; ·    Congress Centrum Museum, Hamburg, Germany; ·    Provincial Council of  Malaga; ·    Fine Arts Museum of Asturias, Oviedo; ·    MEIAC Extremadura and Latin American Contemporary Art Museum, Badajoz.

FRANCIS GOMILAEXHIBITIONS·    Musee d’Art Moderne de la Ville de Paris. ·    PRAGUE BIENNAL 1. ·    Veletrzni Palace Museum, Prague. ·    Artists Space New York.   ·    XI GRANCIA Sienna, Italy. ·    Expoarte Mexico. ·    Smart Project Space, Amsterdam. ·    Franklin Art Works Minneapolis USA. ·    NGBK Berlin. ·    Museum of Contemporary Art Marseille. ·    Kunstlerwerkstatt, Munich. ·    ICA London.

 

 

 

 

07prtb1188

2005. José Dávila. MIRADOR NÓMADA (technical data)

Technically the structure will be built with a metallic tubular scaffolding system, (that offers great speed for its assembly and disassembly) made of frames, diagonals, poles, handrails and baseboards, held by anchorages, cramp irons and cantilevers. The stairs to access the scaffolding and to move around can be made of metal or wood and the platforms would be made of aluminium or steel, probably covered with pinewood.

The volumes would be covered by plastic mesh with holes in it that are commercially used in scaffolding.

 

 

 

 

 

05prtc3442

2009-2010. Gustavo Romano. TIME WAVES, 2007

2009-2010. Gustavo Romano. TIME WAVES, 2007

 

TIME WAVES, 2007 Praia de Patos, Nigrán, Vigo, October 2007. Action, video. 4' 54''

The video unceasingly repeats the image of a 1 year banknote being thrown to the sea, while the sea returns it to the shore. www.gustavoromano.com.ar/timenotes/TWspa.htm

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10inme2574, 09-10intb3826

2005. Colectivo Tercerunquinto. S/T (location)

 Pº de la Castellana - Eduardo Dato, uneven sidewalk boulevard

 

 

 

 

 

 

05intd0581

2006. Wilfredo Prieto. OUROBOROS (2005.12 / theoretical data)

 This project questions power, as an institution of order and control, from its own scaffolding. Conditioned on appearance, on overlapping camouflage, on correspondence between objects and reality, as an artistically “minimal” operation to detonate and underline its conceptual strategy.

Ouroboros, as the mythical image of a snake biting its tail, recontextualized to challenge today’s social structure from the philosophical order; thereby causing an estrangement, to season interaction from its own symbolic charge; seeking to compact interpretative possibilities, concealing itself in a visual impact, starting from the formal scale itself, and its everyday condition.

(December 2005)

 

 

 

 

 

06intb0934

2007. Johanna Billing (Cv)

JÖNKÖPING, SUECIA, 1973 LIVES AND WORKS IN STOCKHOLMWWW.MAKEITHAPPEN.ORG/JOHANNABILLING.HTMLOBRA EN MADRID ABIERTO: YOU DON’T LOVE ME YET

 

Johanna Billing (born 1973) lives and works in Stockholm, Sweden and works mainly with film, video, music and performance (through the label Make it happen) in which her hands become a medium of exchange, memory and reconstruction. Billings' films portray people in staged, concentrated situations, with emotional charge derived from internal tensions between the individual and the backdrop of society. The participants play themselves and also play a part in a multilayered interpretation of a place and a situation that oscillates between documentary and fiction. Since graduating from Konstfack University College of Arts, Crafts and Design (Stockholm) in 1999, Billing has been the subject of numerous solo shows over the last few years in Europe and the U.S. Recent exhibitions include Magical World, PS.1, New York (2006); More films about Songs, Cities and Circles, Marabouparken, Sundbyberg (2006); Normalization, Rooseum, Malmoe (2006); the 9th Istanbul Biennial (2005); If I can’t dance, I don’t want to be part of your revolution tour, The Netherlands (2005); 1st Moscow Biennale, Moscow (2005); the 50th Venice Biennial (2003); and the 1st Prague Biennial (2003).

SOLO EXHIBITIONS     2006    ·    Magical World, PS.1, New York·    Magic & Loss, Kavi Gupta, Chicago·    More films about Songs, Cities and Circles, Marabouparken, Sundbyberg·    Magical World, STANDARD, Oslo·    Knoxville Museum of Art, Knoxville

2005    ·    Magical World, Hollybush Gardens, London

2004    ·    Look Out, Kavi Gupta Gallery, Chicago·    You don’t love me yet, Vedanta Gallery, Chicago

2003    ·    Studio Works, Milch at Gainsborough Studios, London·    You don’t love me yet, Index, Stockholm

2002    ·    Where She Is At, Bild Museet Umeå

2001    ·    Where She Is At, Moderna Museet Projekt/Oslo Kunsthall, Oslo·    Keep On Doing, Sub Bau, Göteborg/Gothenburg

2000    ·    Project for a Revolution, Galleri Flach, Stockholm

1999    ·    Coming Up, 149A, The Royal Academy of Art, Stockholm

1998    ·    Straight from the Hip, Ynglingagatan 1, Stockholm

1996    ·    Är du lik en känd person?, Galleri Service, Stockholm

GROUP EXHIBITIONS2006     ·    Belief, Singapore Biennale, Singapore·    Fail Now, Fail Again, Fail Better, Momentum, Moss·    NIT NIU 06 "In a Magical World", la cala Sant Vicens, Pollenca, Mallorca·    No More Reality, Belef, Center For Cultural Decontamination, Belgrade·    Phantom, Charlottenborg Exhibition hall, Copenhagen·    Setting the Scene, Accademia di Belle Arti, Rome·    Outside the livingroom, GB-Agency, Paris·    Leap into the cold water, Shedhalle, Zürich·    Everyday, Every other day, Blackwood Gallery, University of Toronto·    Group Dynamics, Aspen Art Museum, Aspen·    Don Quijote, Witte de With, Rotterdam·    Normalization, Rooseum, Malmoe·    Biennial Cuvée, OK, Linz, Austria·    Modernautställningen, Moderna Museet, Stockholm

2005    ·    Gravity in Art, de Appel, Amsterdam·    Johanna Billing & Alan Currall, Display, curated by Vit Havranek, Prague·    Art that works, Catch Me, 46th October Salon, Belgrade·    9th Istanbul Biennal, Istanbul·    Rock Music (dedicated to Igor Zabel) Gallery P74, Ljubljana·    Adam, Smart Project Space, Amsterdam·    Becoming Minor, With or without?, Cultural Center, Belgrade·    If I can’t dance I don’t want to be part of your revolution, (Festival a/d Werf, Utrecht, Festival Boulevard,’S-Hertogenbosch)·    Blava Narrow Focus, Tranzit workshops, Bratislava, Slovakia·    Radiodays, ctp programme, De Appel, Amsterdam·    Moscow Biennale at NCCA Nizhnij Novgorod·    Havlandet, The west Norway Museum of Decorative Art, Bergen·    Do Not Interrupt your Activities, Royal College of Art, London·    Dialectics of Hope, Lenin Museum, 1st Moscow Biennale, Moscow·    New Art Event, Ulrich Museum of Art, Wichita, Kansas ·    Revolution is on hold, L’Associazione Isola dell’Arte, Milano

2004     ·    Normalization, Nova Gallery (For What How and for Whom), Zagreb ·    Delayed on Time, Museum of Contemporary Art, Zagreb, Croatia ·    Collect Call, H.arta, Timisoara, Romania ·    The Yugoslav Biennial of Young Artists, Vrsac, Serbia/ Montenegro ·    The Principle of Hope, Three Colts Gallery, London ·    Green Box, Trafo Gallery, Budapest ·    Pipshow #6, Fabrikken, Oslo

2003    ·    The Edstrandska Foundation Prize, Malmö Konsthall, Malmö ·    Socialism - A Love Letter, Fia Backstrom, New York ·    Peripheries become the center, Prague Biennale 1, Prague ·    Delays and Revolutions, Venice Biennale, Italian Pavilion, Venice ·    Vinyl Sky, Intro,Vilnius ·    Kropp Idrott Konster, Blekinge Museum, Karlskrona ·    Perfect Performance, kulturhuset Stockholm ·    2002    ·    Baltic Babel, Rooseum, Malmö ·    Paus, Gwangju Biennale, Gwangju, Korea ·    Vårvideo, Kalmar Konstmuseum

2001    ·    Projects for a Revolution, Le Mois de la photo à Montréal, Montreal ·    Motstånd/The Path of Resistance, Moderna Museet, Stockholm ·    Vi/Intentional Communities, Rooseum, Malmö; Cac, Vilnius ·    I’ll Never Let You Go, Panacea Festival, Moderna Museet, Stockholm

2000    ·    Onufri ”00” In and Out, National Gallery of Tirana ·    Lost in Space, Färgfabriken, Stockholm ·    My Generation, Kulturhuset, Stockholm ·    Viva Scanland, Catalyst Arts, Belfast ·    Swe.de, Rikstutställningar; Uppsala Konstmuseum; Sandvikens Konsthall; ·    Jönköpings Museum; Röda Sten, Göteborg/Gothenburg

1999    ·    Eslövs Julsaga, Eslöv ·    Squash, Göteborgs konstfestival, Göteborg/Gothenburg ·    Light Show, Signal, Malmö ·    Dummy, Catalyst Arts, Belfast

1998     ·    Index Edition Multiple Show, Index, Stockholm ·    Performance, An Art Brothel, Herkulesgatan, Stockholm

VIDEO SCREENINGS 2006     ·    7. Werkleitz Biennale "Happy Believers", Film Program·    Cineboards, Rotterdam, Hague, Eindhoven·    PICA; Time Based Art Festival, PICA, Portland, Oregon ·    19th Annual Dallas Video Festival, Dallas·    Mediterraneo Video Festival, Paestum·    UNCLASSIFIABLE, Künstlerhaus Bethanien, Berlin·    Music Video Art, on the river & under the stars, EAI, New York·    Courtisane festival voor kortfilm, video en nieuwe media, Gent ·    Music for people, Filmscreening, DCA Dundee Contemporary art center Dundee·    The Pennisuela, Singapore

2005     ·    Parallel Play, Sculpture Center, Long Island City, New York

2004     ·    Video Zone, International Video/Art Biennial, Tel Aviv·    Criss-Cross, program by Nifca Kino, Lund Andorra Cinema Helsinki

2003     ·    The Spirit of Portraying, DAE, San Sebastian·    Biennale De L’image, Centre pour l’image contemporaine, Geneve·    Recontres Internationale Berlin and Paris·    Courtisane Filmfestival, Ghent Belgium·    Look of Love, Elverket, Stockholm

2002    ·    Result, videocompilation, KPD, Chicago·    Room for a revolution, Deluxe Projects, Chicago·    Unter Uns, Kunstverein Celle, Celle·    Es ist Schwer das Reale zu Berühren, Kunstverein München·    Uppsala Short Film Festival, Uppsala·    Coming, Swedish Embassy, Tokyo·    Right About Now/Beyond Paradise, National Gallery in Bangkok·    Snowflakes, Göteborg filmfestival, Göteborg/Gothenburg

2001    ·    Snowflakes, Bangkok Experimental Filmfestival, Project 304, Bangkok ·    Zwischenräume der Architektur, Halle für Kunst, Lüneburg ·    Blick – New Nordic Film and Video, Moderna Museet; Nifca, ·    Future Perfect, Adam Street, London·    Le Bonheur, L’Étoile de Belleville, Paris·    N.E.W.S. Exhibition, Roxy Cimema, Visby; Bornholm Museum, Bornholm

EDUCATION94–99 ·    Konstfack International College of Arts, Crafts and Design, Stockholm

Grants and Residencies2005     ·    Oktober Art Salon, Award, Belgrade

2004     ·    West Balkan Air, Nifca Recidency Program, What, How and for Whom, Zagreb

2004     ·    Stockholm Stad Kulturstipendium

2003     ·    The Edstrandska Foundation Prize

2001     ·    Konstnärsnämnden Working Grant

1999    ·    IASPIS International Artists’ Studio Program in Sweden

SEMINARS AND CURATORIAL PROJECTS2006    ·    Konstnärlig ledare för Vita Kuben, Norrlansoperan

2005    ·    Taking the Matters into Common hands, Symposium at IASPIS, put together with Maria Lind & Lars Nilsson

2003     ·    Här och Nu, Moderna Museet

2002     ·    Follow Me -Stockholm Art Fair

PROJECTS2005    ·    Makeover, ”What ever happened to Social Democracy?”, Umeå Konsthögskola·    Project at Rooseum, Malmoe·    Happy Pappy, ”The exchange of the gift”, Publication·    GPB 2005, Pastor Bonus, Publication, Bogota/ Oslo/ Mexico

02-05     ·    You don’t love me yet, Tour, Film and live tour: Index Stockholm,·    Eskilstuna Konstuseum, Norrköpings Konstmuseum, Tingshuset Östersund, ·    Frieze Art Fair, London, Vara Konserthus, Nifca Helsinki, ·    Sjömanskyrkan, Gävle, Ystad Konstmuseum, Vedanta Gallery Chicago, Milton ·    Keynes, UK, If I can’t dance I don’t want to be part of your revolution, Festival a/d Werf,     Utrecht, Den Bosch, Leiden

2004    ·    Slim Volume, Poster Publication 2004·    Tranzit, Magazine Project curated by Vit Havranek, Respekt/ der Standard in collaboration     with Maria Crista

2002    ·    Follow Me -Stockholm Art Fair

2001    ·    Rotation – Utrydningstruet Elefant, Nifca & Morgenbladet, Oslo·    Make It Happen on Tour, Superflex Studio, Copenhagen; Rooseum, Malmö

2000     ·    Park; Park the Bus - Make It Happen on Tour, Event Weekend, Momentum, MossMake It Happen on Tour, Real Work, Werkleitz Biennale* ·    Make It Happen on Tour, Model 4, Büro Friedrich, Berlin·    Make It Happen on Tour, Signal, Malmö

98–00     ·    Make It Happen, Backstage, Stadsteatern, Stockholm

96–98     ·    Musik för mig, kanske för dig, Musslan bar, Stockholm

1998     ·    Index Lounge Special: Make It Happen, Featuring Chihuahua, Index Stockholm

1997     ·    Big City, Bright Lights, Cool Cool People (Everybody I Know Can Be Found Here), K, Stockholm·    How Are You Connected to Me?, Ynglingagatan 1, Stockholm

PUBLIC COLLECTIONS·    The Verbund Collection·    Berezdivin Collection·    Sørlandets Kunstmuseum, Kristiansand·    Van Abbe Museum, Eindhoven·    Ulrich Museum of Art, Wichita, Kansas·    Moderna Museet, Stockholm

 

 

 

 

07prtc1185, 07prtb1186

2005. Henry Eric Hernández García. ZONA VIGILADA ( theoretical data)

 AuthorHenry Eric. 2004/05.

With the collaboration ofDull Janiell, film editor Laura Orizaola, photographer

DESCRIPTIONIn this proposed project, Henry Eric Hernández safeguards one of the fundamental premises of the poetic art of his work regarding creating art interventions in places that he has named as cultural ghettos: individual or group stages (spaces) built on a determined ideology, at a particular time and later transformed until they are forgotten or are overtaken by cultural decadence... to be understood as ideological, economical and social.

This piece of work involves placing two video cameras with different angle movements, which will be handled by three different photographers who will constantly move it around the areas of the museum and record some situations (B/W), previously edited, transmited on one side of the screen, thus reconstructing the place´s environment. Simultaneously, at fixed times, the documentary filmed in La Havana will be screened on the other side of the screen, thus showing the time counterpoint between both security (vigilance) systems.

The project also includes the design and publishing of a poster that will be distributed throughout the city with the following text: El Museo de las Esculturas al Aire Libre/presents /ZONA VIGILADA/a film by henry eric.

 

 

 

 

05prtc3439

2009-2010. Iñaki Larrimbe. SAUNA FINLANDESA O ¿DESCENSO DE BARRANCOS?, 2008

2009-2010. Iñaki Larrimbe. SAUNA FINLANDESA O ¿DESCENSO DE BARRANCOS?, 2008

 

 

SAUNA FINLANDESA O DESCENSO DE BARRANCOS (Finnish sauna or orienteering) 

The intervention entitled “SAUNA FINLANDESA O DESCENSO DE BARRANCOS” a caravan located in the artist’s studio (a rented fish market). The project is offered not so much as a cheap form of housing but as a temporary form of use (one night) for cultural consumers.

The work approaches the cultural industry from a critical point of view, not against it and its consequences, which would be a typical modern stance, but as nihilistic participant in the process.

Addressing cultural tourism as a form of trivialization, if not perversion, of the arguments of public policies on art and culture which have situated the problems of art and society in the economic promotion and strategic planning departments of current governments.

 

PUBLICATIONColletion: Esci Projects 3Edit: Ayuntamiento de vitoria-GasteizEspacio Ciudad (Centro de Arquitectura y Urbanismo para la Ciudad Contemporánea)** see the attached pdf

         

 

 INFORMATION OF THE PROJECT BY THE GALLERY ** see the attached pdf

 

  

     

     

     

    

     

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10inme2544, 09-10inie2545, 09-10inte3567

2004. Sans Façon. S/T (location)

Depósito elevado in Plaza de Castilla

 

 

 

 

 

04intd0143

2006. Tanadori Yamaguchi + Maki Portilla-Kawamura + Key Portilla-Kawamura + Ali Ganjavian. LOCUTORIO COLÓN (published text)

 COLÓN, THE FIRST COMMUNICATOR

According to history, Cristóbal Colón discovered America. We prefer to speak in less Eurocentric terms and to say that Colón established the first channel of communication between the Old and New Worlds, the first thread of a network which over the centuries has grown exponentially.

We believe that Plaza de Colón should maintain the communicative character we attribute to the person it is named after (oddly the park by the square is called Jardines del Descubrimiento). Now, more than five centuries after that first contact, we suggest using this agora to highlight the contemporary state of relationships between Europe and Latin America.

LOCAL NETWORKS, GLOBAL NETWORKS

Michel Serres describes the hypercommunicative contemporary condition with his brilliant reflection on the hors là in his book Atlas. Hors-là is a state that links the local context and the global context, community networks and international networks, the tiny and the huge.

The social jungle of Madrid contains new emerging communities, consisting chiefly of immigrants. The most populous communities are those of Latin Americans. Generally speaking, it is always vital for there to be a catalyst to function as the collagen of social cohesion. In our communication society, this catalytic function in recently arrived communities is performed by call centres. They are the physical vortices of an indefinite but dense mesh of local relationships, and also a medium of global relationships. In other words, an epitome of hors-là.

LOCUTORIO COLÓN

The proposal is so simple and pragmatic that it verges on the debatably (and deliberately) non-artistic. We are aware of this, but even so we propose setting up a free call centre in Plaza de Colón for the duration of Madrid Abierto.

This project eschews the objectuality and aspiration to eternity that often weigh upon contemporary art. Rather it seeks to explore aspects collateral to the object (the call centre) itself: how news of its existence spreads, how its use is organized, parallel activities that may spring up around it, the opening hours it will have (probably nocturnal), and so on...

We like to think the square will be exactly as it was before once the phone booth is removed, though it will have helped build a more complex and intense social network between those who have benefited from it on either side of the Atlantic.

We will develop the above firstly by finding a specific site within the large urban space that is Plaza de Colón. An analysis of public behaviour shows two areas of traffic: the pedestrian stretches along Calle Serrano and Paseo de la Castellana (Jardines del Descubrimiento) and the territory where skateboarders do their tricks. We have chosen the site where these two spheres meet so that the installation may be used and even “appropriated” by the different types of people whose paths cross here and those who will be attracted by the call centre’s presence.

Our intention is to cultivate various types of communication: the invisible spreading of news of the call centre’s existence in the immigrant neighbourhoods of Madrid, the intercontinental communication provided by the telephonic interfaces, social interaction between those waiting their turn to call and those who have already called or even with skateboarders or passers-bay, and also the advertising/graphic communication (illicitly posted adverts, graffiti, etc.) that will surely emerge sooner or later on this new urban feature.

As we do not wish to concentrate all the activity around the feature of the telephone, and in order to facilitate all the forms of expression mentioned, we have proposed a range of possibilities for carrying out the project (such as modules each slightly different), offering a variety of mini-spaces.

We have decided to break up the project into easily erectable, removable and transportable modules. This facilitates construction and will allow the project to be used subsequently in other cities or squares. The structure will be made of wood or fibreboard panels with a wooden frame, which greatly reduces the project’s material cost.

At the times of day when it is advisable for the installation to be closed, it can be turned into a sealed and vandalproof “cabinet”.

 

 

 

 

06intc0973

2005. Compañía de Caracas. ESPACIO MÓVIL (technical data)

 Our project is based on current photographic images of Caracas in bus stops that are in the axis of the edition and also buses that follow this route. The material to be used is adherent transparent vinyl. Budget:

BUS STOPSDimensionsDepends, around 10 square metres per stop.Usable glass: around 2,20 m high and between 3 – 5 metres long.Publicity window: 1,70 x 1,15 m approx.

MaterialsTransparent vinyl for glass.Day aŠaµ–ight material for the bus stop window. This material is perfectly visible at night without any special lighting.

BUSESDimensionsVariable, around 20 square metres per bus (one side).

MaterialExterior transparent vinyl (called windows), which is a specific material for windows. From inside you can see the outside.

MOUNTING COSTSInstalling vinyl on buses and at bus stops by specialist operators.

 

 

 

 

05prtc3436

2008. Fernando Llanos. [VI VÍDEO] BIENAL DO MECOSUL (video)

 

                

[VI VÍDEO] BIENAL DO MERCOSULPorto Alegre, Brasil

Optionn 1TERRORISMO POÉTICOAcciones de aviones proyectados en el aeropuerto

Option 2 VIDEOMAN VS GAÚCHOProyecciones de gaúchos en el monumento Laçador

Option 3SEXO / AMORProyección de un beso en Farrapos (zona roja)

Option 4HOMENAGEM A SEU MADRUGA Proyecciones de Don Ramón (seu Madruga) en lote abandonado

Option 5VIDEO NA RUAProyecciones de arte eb video en una calle del centro

Opción 6 VIEDOARTE O - FUTEBOL 5 Proyecciones de vídeo afuera de un estadio de futbol

Option 7INVADIENDO ESPACIOSProyecciones durante la inuaguración de la V Bienal de Mercosul

 

 

 

 

 

 

 

 

 

08inve1872

2009-2010. Susanne Bosch. HUCHA DE DESEOS: ¡TODOS SOMOS UN BARRIO, MOVILÍZATE! (2009.09-10 / fieldwork / licences)

2009-2010. Susanne Bosch. HUCHA DE DESEOS: ¡TODOS SOMOS UN BARRIO, MOVILÍZATE! (2009.09-10 / fieldwork / licences)

 

DOSSIERS FOR THE MADRID COUNCIL IN ORDEN TO OBTEIN THE LOCATION LICENCE

 DOSSIER I. September2009

 

DOSSIER II. October 2009

 **  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

 

 

 

09-10inmb2750, 09-10inmb2751

2004. Emancipator bubble (theoretical data)

"EMANCIPATOR BUBBLE is the solution to all emancipation problems. It’s an inflatable bubble that enables independence without having to leave your parents’ house. Easy to set up, it offers maximum comfort with a minimum effort, thanks to its irrigation channels, electricity and telephone inlets to directly connect it to the family house, you won’t have expenses. There are many different models. Choose yours!”

 

EMANCIPATOR BUBBLE is young, new and fun. It’s what you need to live as you want. The next trend.

EMANCIPATOR BUBBLE offers the possibility of independence to young people from a young perspective. You can easily install it in your parents’ house and enjoy your own space, reaching the limits of ethical and living conditions.

EMANCIPATOR BUBBLE is not created as an emergency device, but does have a limited time use. These limits are established by the user and his family and the product’s resistance.

 

1. A BRIEF SOCIAL CONTEXTUALIZATION

Housing, as work, is one of those inalienable rights that all of us should have, but each day it seems more of a privilege or luxury, and it delays young people’s independence. A matter in which we are about the last country in Europe and that all of us must try to improve.

2. WHAT IS EMANCIPATOR BUBBLE EMANCIPATOR BUBBLE is a fake new product that imitates the aesthetic of commercial product advertisements that we see everyday on the screen or in our mailbox.

EMANCIPATOR BUBBLE’s approach of independence is ironic and playful, but still realistic. It doesn’t offer a real solution to the problem, but it offers discussion, participation and citizen’s awareness. Its main mission is to generate a more self-critical vision on young people and the administration, to open a discussion to obtain real and imaginative solutions to this problem and promote certain concept of community, “Yes, I’m also emancipator”.

3. EMANCIPATOR PUBLIC EMANCIPATOR BUBBLE is mostly oriented to a heterogeneous public of people from 18 to 34 years of age, that are the great majority of people that are in need of a house and very sensitive to this issue. A group that has been called sociological youth, which being supposedly mature, are forced to delay their independence from family and fully integrate society.

4. EMANCIPATOR ELEMENTSEMANCIPATOR BUBBLE being a fictitious product its materialization as a project is done through different communicative effects as presentations, RR.PP actions, press releases, etc).

4.1. EMANCIPATOR BUBBLE GUM 400.000 chewing gums, as a metaphorical element (inflatable, it remains stuck, youthful, etc), they are the main form of word of mouth promotion of EMANCIPATOR BUBBLE.

4.2. www.emancipator.orgEMANCIPATOR BUBBLE’s main communication platform of contents, information and participation and interaction with the public.

With a corporative image, it presents the product, different models, tests, games, opinions are type-characters, with which possible spectators can identify themselves, etc.

4.3. OTHER PLATFORMSCommunication actions and the rumour effect directed to making EMANCIPATOR BUBBLE a news item and create publicity.• Tele-shopping type of advert to be shown on local TV channels.• Presentation set. • Presence in specialized forum son housing, youth, culture, etc, as in other places it’s possible to contact with the objective public (universities, festivals, in the street, transport, exhibitions...)• Other promotional elements that go with the gum and the web to strengthen the sense of community: adverts, pins, t-shirts, stickers• Etc..

 

 

 

 

 

04prmc3426

2004. Wolfgang Weileder. HOUSE MADRID (location)

Paseo de Recoletos, next to Plaza de Colón

 

 

 

 

 

04intd0142

2006. Nicole Cousino + Chris Vecchio. SPEAKHERE! (2005.12 / theoretical data)

 

BRIEF DESCRIPTION

SPEAKHERE! links bodies across space through sound. By setting up a speaker’s “hole” mounted on a busy intersection of Madrid and a speaker mounted in a park, plaza or alternate public space, personal songs, words, utterances or whispers will be transmitted in real-time to an unsuspecting audience.

 

LONGER EXPLANATION

SPEAKHERE! is an interactive sound installation with two main components. At one location, (on a street or busy public passage way) a small tube will be installed into a wall or free-standing object. Inside the tube will be a GMRS 3 watt radio transmitter and microphone set up to work as a sending device. A small sign will be mounted next to the tube, inviting visitors/passer-byers to speak into the tube/hole. The sound will then be transmitted, in real time, to a public address (PA) speaker that has been mounted on a tree or a post in a park or other suitable public space. Inside the PA speaker will be another GMRS 3 watt radio that will act as the receiver. The radio is attached to a small amplification unit, used to amplify the sound out the PA speaker. What ever is then spoken, uttered, sung, whispered will be amplified out into the public space that may be a location blocks or miles away from the speaker’s “hole”.

Based loosely on the concept of the Speaker’s Corner in Hyde Park, London, SPEAKHERE! differs in that it provides the speaker/participant with anonymity. Its about the liberation and empowerment of expressing one’s self in public without the neurosis of being on view before a listening audience.

Expressing one’s ideas or opinions in a public space can be seen to be a contentious or political act and is often shunned, especially in urban cities. Usually the only voice projected in the public space is that of the state or a religious entity. This project provides an opportunity for a diverse array of individuals of various cultures, languages, perspectives, attitudes and opinions to express themselves to a potential audience.

The receiving end…

The second difference between the Speaker’s Corner and SPEAKHERE! is that the one speaking into the “hole” will not know if there is a listener on the other end. Is one speaking to the wind, the trees, a crowd of elderly hard of hearing, police officers or children or…? But, if there is an audience listening, SPEAKHERE! aims to transform the public space by injecting it with a sense of the unanticipated and spontaneous. The installation also attempts to a link geographical spaces - from the location of the speaker’s “hole” to that of the public space/park where the PA speaker would be mounted.

 

ADDITIONAL OPTIONS

When the piece was installed in Chicago, IL, USA the signage surrounding the Speaker’s “hole” said

Speak freely, rant, rave, articulate, sing, sputter, vocalize your thoughts, ideas, poems, songs, utterances to an audience of pedestrians, commuters, wonderers, lingerers, loiterers, citizens, associates, comrades, friends, sisters, brothers, cats, birds, foliage, inanimate objects, unseen forces, the ether, bread crumbs…

For Madrid the text that invites one to participate could be specific to Madrid or it could also change each week asking passer-byers to speak out about particular topics, questions, etc.

 

(December 2005) 

 

 

 

 

 

 

06intb0920

2006. Nicole Cousino + Chris Vecchio. SPEAKHERE! (published text)

 

SPEAKHERE! links bodies across space through sound.  By setting up a speaker’s “hole” mounted on a busy intersection of Madrid and a sound system mounted in a park, personal songs, words, shouts, utterances and whispers will be transmitted in real-time to an unsuspecting audience.

Based loosely on the concept of the Speaker’s Corner in Hyde Park, London, SPEAKHERE! differs in that it provides the speaker/participant with anonymity. It offers the liberation and empowerment of expressing one’s self in public without the neurosis of being on view before a listening audience.

Expressing one’s ideas or opinions in a public space can be seen to be a contentious or political act and is often shunned, especially in urban cities. Usually the only voice projected in the public space is that of the state or a religious entity. This project provides an opportunity for a diverse array of individuals of various cultures, languages, perspectives, attitudes and opinions to express themselves to a potential audience.

The second difference between the Speaker’s Corner and SPEAKHERE! is that the one speaking into the “hole” will not know if there is a listener on the other end. Is one speaking to the wind, the trees, a crowd of elderly hard of hearing, police officers or children or…? But, if there is an audience listening, SPEAKHERE! aims to transform the public space by injecting it with a sense of the unanticipated and spontaneous.

 

 

 

 

 

 

06intc0969

2008. Alicia Framis + Michael Lin. PAINT ON TENNIS COURT, 2005

2008. Alicia Framis + Michael Lin. PAINT ON TENNIS COURT, 2005

 

Paint on tennis court.View of installation, Contemporary Museum, Honolulu, Hawaii.

 

 

 

 

 

 

 

 

08inme3506

2007. Discoteca Flaming Star (Cv)

LIVE AND WORK IN BERLIN WWW.DISCOTECAFLAMINGSTAR.COMFOUNDED IN 1998

IS FORMED BY:CRISTINA GÓMEZ BARRIO, MADRID, 1973WOLFGANG MAYER, KEMPTEN, DEUTSCHLAND, 1967

WORK EXPOSED IN MADRID ABIERTO: FERNANDO (WE WERE YOUNG. FULL OF LIFE. NONE OF US PREPARED TO DIE)

 

PERFORMANCES / EXHIBITIONS / OTHERS (selection)2006         ·    Terraplane Blues. Curated by Kamen Nedev. La Casa Encendida, Madrid (e,p)·    What a Great Space You Have…. Curated by Marc Glöde. Luxe Gallery, New York (e) Aladlona 2 (I love you green).  The Kitchen, New York (p)·    Whitney Independent Study Program-Exhibition. Chelsea Museum, New York (e)·    À Rebours. Escapism and the Terror of the Sublime. Curated by Michael Schultze. General Public, Berlin (e)

2005     ·    With all our love for the love of Orlando. Artist Space, New York [in partnership with Performa 05] (p)·    'I beg your pardon.' or The Reestablishing of Cordial Relations. Curated by Andrea Geyer. Vera List Center for Art and Politics at The New School. New York (e)·    Videoarte contemporáneo de Berlin. Curated by Kathrin Becker. Museo Tamayo, Mexico-City (e)·    With all our love for the love of Orlando. Ausland, Berlin (p)·    Love Party. Goethe Institute-Ojo Atomico, Madrid (p)

2004     ·    Dance Dance Revolution!. Curated by Matthew Lyons & Lanka Tattersall. Leroy Neiman Gallery, Columbia University, .New York (e)·    Audiovisual Injuve 2003. Sala Amadís, Madrid. (e, c)·    Sexy Bloody Cat. CD. Monsters & Miracles Musikproduktionen. (o)·    Discoteca Guitarrera Funkstorm (DFS + El Arroyo Los Cagaos), Plaza del Pueblo, Viandar de la Vera (p,o)·    Aladlona (I love you green). Ausland. Berlin. (p)·    o.T. Big Eden. Berlin. (p)·    Sexy Bloody Cat (I hope everything you love dies in your arms). Galerie Wieland. Berlin. (e,p)

2003     ·    Sexy Bloody Cat on the occassion of `Public Affairs’. MUMOK. Vienna. (p,c)·    Radio Radio. exhibition. radioprogramm. curated by Mel Brimfield. (CD published by Revolver Verlag) (o)·    AACB/BDAC. Parlour Projects. New York. (e, p)·    Hardcore Karaoke. Studio of  Rita McBride & Glen Rubsamen. Cologne. (p)

2002     ·    DFS plays Kenneth Anger. Praterinsel. Munich. (p)·    o.T. Cheap Club. Berlin. (p)·    Königreich eine andere Welt (DFS + Dorothy Vallens) . Opernpalais. Berlin. (p)·    o.T. (about Rock’n Roll) (DFS + CIB). Circo Interior Brutto. Madrid. (p)·    o.T. at Stardust Deluxe. Lisa Lounge. Berlin. (p)

2001     ·    Roses and Paradise. Kunsthall. Oslo. (p)·    Crossing The Line, Cruel but Fair – Soundtrack for the Installation “Waikiki” by Rita McBride·    Queens Museum. New York. (o)·    Waveform: Teresa Seemann & David Galbraith, Media Z Lounge at New Museum of ·    Contemporary Art. New York (e)·    Discoteca Flaming Star & Ignaz Schick. Take a look at me now. Galerie Wieland. Berlin. (e,p)·    Songs of love and hate. Side A. Bastard. Berlin. (p)·    55. De Sade – Reading. Juliettes Literatursalon. Berlin. (p)·    The Bridal Kiss. Studio of Tom Früchtl. Munich. (p)

2000     ·    Discoteca Flaming Star plays Kenneth Anger. Siberia. New York. (p)·    Discoteca Flaming Star loves to love you baby. Bar XVI. New York. (p)·    Discoteca Flaming Star plays Kenneth Anger in “Arena seatings” by Rita McBride.·    Neuer Aachener Kunstverein. Aachen. (p)·    Discoteca Flaming Star does Electric R’NR. Club 2. Munich. (p)·    Discoteca Flaming Star & Le Oktobre love to love you baby. Kunstverein. Munich. (p)·    Love & Avantgarde. CD. White Label (o)

1999    ·    Flaming Star at Band Wi(d)th 2000. Atomic Café. Munich. (p,o)·    Unter Umständen mit Frank Reinecke und Helge Slaatto. Atelier von Olaf Probst. Munich. (p)·    Forget Me Not #3. Bourbon Street Bar. Munich. (p)·    o.T. (Rote Single). Vinyl-Single. White Label (o)

1998     ·    o.T. Schalterhalle, “Elektro Festival”. Schalterhalle. Ulm. (p)

p=performance, e=exhibition, o=others, c-catalogue

EDUCATION

CRISTINA GÓMEZ BARRIO2005-06         ·    Whitney Independent Study Program, New York

2005        ·    Fundacion Marcelino Botin Grant, Spain.

2003        ·    ISCP. New York (supported by INJUVE. Spain)

1998 - 99     ·    DAAD-Caixa. Grant for the Akademie der Bildenden Kuenste. Munich

1997 – 02    ·    PHD Program. Departamento de Historia del Arte. Bellas Artes. UCM. Madrid.

WOLFGANG MAYER 2006 – 07     ·    Pollock-Krasner Foundation Grant

2005 – 06     ·    Whitney Independent Study Program, New York

2005        ·    Prinzregent Luitpold Scholarship, Munich

1998        ·    Debutant 98, Munich

1996 – 97     ·    DAAD-Scholarship for New York City (School of Visual Arts. Department for Photography and related media)

1993        ·    Scholarship for the Summeracademy in Salzburg to study with Nan Goldin

1990 – 95     ·    Academy of Fine Arts, Munich

 

 

 

 

07prtb1183

2004. Warren Neidich + Elena Bajo. SILENT (location)

Paseo de la Castellana, between Eduardo Dato and Marques de Riscal

 

 

 

 

 

04intd0141

2008. Alicia Framis + Michael Lin. PALAIS DE TOKYO, 2002

2008. Alicia Framis + Michael Lin. PALAIS DE TOKYO, 2002

 

 

 Painted wooden panels and cushions with patterns.View of installation in Palais de Tokyo, Paris.

 

 

 

 

 

 

 

 

08inme3505

2005. Colectivo Tercerunquinto. S/T (theoretical data)

Each of the three projects here proposed seeks to modify urban experience. We have based this case on traffic systems and places that coexist between these systems, such as gardens and green areas. These projects consider analytical arguments that underline the order and approach of the urban system and design. We integrate our projects in this realm, by showing the true nature of a city that is under the constant pressure of social practices that permeate and undermine space, and by trying to modify the urban plan.

 

 

 

 

 

 

05prtc3435

2006. Lorma Marti. BLEND OUT (published texts)

 NEWSPAPER PUBLISHED TEXT

Our project aims to highlight the erosion and occupation of public space, something happening both at a private level (mostly tolerated illegal construction) and at an institutional level (mostly imposed and invasive measures).

Blend-out is a series of construction sites consisting of scaffolding and safety-fences wrapped in the usual fabrics, meshes, plastics and dustsheets. Situated in the center of Madrid and along its busiest boulevards, in the midst of representative historical ensembles and public green, the installations modify our perception of the context they are inserted into and our use of it.

The enclosures hint at something happening from which we are excluded, they apply to open spaces, public green and existing buildings. They remove sections of public space from the public, making them inaccessible or invisible and conversely give over-exposed sites a break from the incessant expectations of visitors. They alter patterns of movement and approaches, creating obstacles but also shifting attention to other, less practiced places. They create temporary heterotopias, islands out of bounds, places that could only be regained through transgression.

Over the duration of Abierto, Blend-out will gather that urban driftwood of information: posters, ads, notices, wrappers and flyers - and become an interface, a record or laminate of all other possible cities and spaces.

..................................................................................................................................................................................................................

BOOK + WEB PUBLISHED TEXT

Our project aims to highlight the erosion and occupation of public space, something happening both at a private level (mostly tolerated illegal construction) and at an institutional level (mostly imposed and invasive measures).

For Madrid Abierto we propose to install a series of “construction sites” consisting of full-size scaffolding or safety-fences wrapped in the usual fabrics, plastics and dustsheets.

Situated in the center of Madrid and along its busiest boulevards, in the midst of representative historical ensembles and public green, the installations would remove sections of public space from the public, making them inaccessible or invisible.

The enclosures would hint at something happening from which we are excluded, they could apply to open spaces, public green or existing buildings. They would modify our perception of the context they are inserted into, and our use of it. They would create temporary heterotopias, islands out of bounds, places that could only be regained through transgression. Over the duration of the installation, they would gather that urban driftwood of information: posters, ads, notices, wrappers and flyers - and become an interface, a record or laminate of all other possible cities and spaces.

 

 

 

 

 

 

06intc0966

2008. Alicia Framis + Michael Lin. GRIND, 2004

2008. Alicia Framis + Michael Lin. GRIND, 2004

 

Painted wooden floor and wallView of installation in PS1 Contemporary Art Centre, New York

 

 

 

 

 

 

 

08inme1817

2006. Wilfredo Prieto (Cv)

ZAZA DEL MEDIO, CUBA, 1978LIVES AND WORKS BETWEEN CIUDAD DE LA HABANA, BARCELONAWWW.WILFREDO-PRIETO.COMWORK EXPOSED IN MADRID ABIERTO: OUROBOROS

EDUCATION2004·    Postgraduate course in performance coordinated between San Francisco Art Institute and Instituto Superior de Arte, Cuba.·    Lecturer at Instituto Superior de Arte, Havana

2002·    Instituto Superior de Arte, Havana

1996·    Escuela Profesional de Artes Plásticas, Trinidad

1992·    Escuela Vocacional de Artes, Santa Clara

SOLO EXHIBITIONS2005·    S.t, Galería Nogueras Blanchard, Barcelona

2004·    Speech, Martín Van Zomerem Gallery, Amsterdam

2003·    Mucho ruido y pocas nueces, Galería Habana, Havana

2002·    Wilfredo Prieto en el Wifredo Lam, Centro de Arte Contemporáneo Wifredo Lam, Havana

2001·    Matriuska, Centro de Desarrollo de las Artes Visuales (CDAV), Havana

2000·    Pie de obra, Co-author James Bonachea, Centro Cultural ICAIC, Fundación Ludwig de  Cuba, Havana

1999·    Conceptualismo aditivo, Co-author James Bonachea, Galería Oscar Fernández Morera, Sancti-Spíritus

GROUP EXHIBITIONS2005·    The hours, Irish Museum of Modern Art, Dublin · FIAC, Paris

2004·    Cordial invitation, Bak and Central Museum, Utrecht·    Island nations, The RISD Museum of Art, Rhode Island·    Just on time, Galería Habana, Havana·    Arco International Art Fair, Madrid

2003·    8th Havana Biennial, Havana·    Stretch, The Power Plant Contemporary Art Gallery, Toronto·    Doble seducción, INJUVE, Madrid·    Sentido común,  Galería Habana, Havana

2002·    El prestamista y el deudor, (music ensemble), Instituto Superior de Arte, Havana·    Identidad, Convento de Santa Clara; Fundación Nicolás Guillén, Havana·    3rd International Banner Biennial, Centro Cultural Tijuana, Tijuana·    Exhibition parallel to the 26th Sao Paulo Biennial, Memorial América Latina, Sao Paulo

2001·    3rd National Contemporary Cuban Art Show, Centro de Desarrollo de las Artes Visuales (CDAV), Havana·    Museu de Arte Contemporânea de Goiás, DUPP, Brazil·    Comtemporary Cuban Art, The Mary Brogan Museum of Art and Science, DUPP, Florida·    ElbArt NN fair, Hamburg

2000·    7th Havana Biennial, DUPP, Havana·    Watamula International Artists’ Workshop, Curaçao·    Con un pensar abstraído, DUPP, Galería Habana, Havana

1999·    2nd Ana Mendieta Performance Festival, Pabellón Cuba, Havana·    El tiempo como espacio, Instituto Superior de Arte, Havana·    Con un mirar abstraído, (intervention), Calle la Rampa, DUPP, Havana·    La Época, (intervention), Época shopping centre, DUPP, Havana

1998·    1st Ana Mendieta Performance Festival, Unión Nacional de Escritores y Artistas de Cuba, DUPP, Havana·    1st National Contemporary Art Theory and Criticism Biennial, Galería Oscar Fernández Morera, Sancti-Spíritus

GRANTS AND AWARDS2005·    Artistic Residence, Kadist Foundation, Paris

2002·    Galería DUPP (Desde Una Pragmática Pedagógica – From A Pragmatic Pedagogy), Instituto Superior de Arte, Havana

2000·    The UNESCO prize for the promotion of the arts, 7th Havana Biennial, DUPP, Havana

1997·    Nubes Verdes Scholarship-Prize, Asociación Hermanos Saíz, Sancti-Spíritus

ARTICLES·    Peran, M. Wilfredo Prieto. Revista Exit Express, no. 9, February 2005·    Molina, Á. Biblioteques i camins que es bifurquen, El País, 20 January 2005·    Rattemayer, C. VIII Bienal de La Habana. Artforum, vol. XLII, no. 6, February 2004·    Salgado, G. 8th Havana Biennial: The Bittersweet Taste of Utopia, FlashArt, January-February 2004·    Noceda, J. M. Un texto infinito, AtlAntica, no. 37, 2004·    Herzberg, J. ArtNexus, no. 52, 2004·    Benítez Dueñas, I. Extracto de ARCO 2004, ArtNexus, no. 53·    Marx, G. Havana, Chicago, Tribune, 20 November 2003·    Gopnik, B. Havana, an Air of Possibility, Washington Post, 16 November 2003·    Mosquera, G. Del arte latinoamericano al arte desde América Latina, ArtNexus no. 48, April 2003

BIBLIOGRAPHY·    Tannenbaum, J. and Morales, R. Islas Naciones: Arte Nuevo de Cuba. La República Dominicana, Puerto Rico y la diáspora, Rhode Island School of Design Museum, Providence, Rhode Island, 2004·    Hlavajova, M. and Mosquera, G. Cordially Invited, BAK, basis voor actuele kunst, 2004·    Pera, R. Doble Seducción, INJUVE, Madrid, 2003.    Mosquera, G. and Francisco, R. Wilfredo Prieto, Centro Cultural Español, Havana, 2002

 

 

 

 

06prtb0838

2004. Etoy CORPORATION (location)

Jardines del descubrimiento, next to Plaza de Colón

 

 

 

 

04intd0139

2005. Colectivo Tercerunquinto. S/T (visual data)

2005. Colectivo Tercerunquinto. S/T (visual data)

DRAFTS

AMPLIACIÓN DE UN ÁREA VERDE

 

CONEXIÓN DE DOS JARDINERAS

 

CONEXIÓN DE DOS BANQUETAS

 

RELATED WORKS

PHOTO SELECTION

   

 

 

 

 

 

 

 

 

 

05pric0390, 05prid0428

2008. Alicia Framis + Michael Lin. ATRIUM STADHUIS, 2002

2008. Alicia Framis + Michael Lin. ATRIUM STADHUIS, 2002

 

 

View of the intervention  in the City Hall of The Hague, Netherlands

 

 

 

 

 

 

 

 

 

08inme1816, 08inme3503

2006. Virginia Corda + Paula Doberti. ACCIDENTES URBANOS (published text)

 URBAN PERFORMANCE ACTIONAccident: Alteration or change that appears in a thing without it losing its essence or nature

The idea is to reflect upon accidents and various other instances so as to obtain records that salvage, symbolize and graphically represent change, overlay and/or urban accidents.

Any contemporary city requires a fleeting moment of attention. Setting out from movement, angst and constant change, we envisaged, by contrast, the aim of this urban action: to pause and cast a salvaging, poetic and distinct and openly resignifying gaze. The saturation of images, deafening noise, multiple icons and glut of sensory stimulation leave the passer-by in an overexposed torpor of brutalized surfeit, evasive introspection or sensory blockade. This overlay of chromatic codes, self-referential metalanguages, universalized symbols and inaccessible dimensions causes what Benjamin calls urban shock.

Memory is a component of time that records the vicissitudes of man’s passage through life.

The highlighted accident is memory, the history of an inhabited place, in whose peculiarities the passer-by participates.

METHODOLOGY

• Highlighting of urban accidents by means of zooming in on them

• Location: Paseo de la Castellana (or environs of the Madrid Abierto circuit)

• Legal discourse shall be used as a methodology

• The artistic work shall unfold in three (3) stages

1st. FIELDWORK

1-A. Observation of the stretch of the avenue most appropriate for performing the action and the highlighting.

1-B. Obtaining of photographic records of urban accidents.

2nd. PERFORMANCE ACTION

2-A. Once the site has been established and a due record taken, the highlightings shall take place with blown-up photographs at the site.

2-B. The action is designed to be executed with a performance, with a photographic record being left at each site.

2-C. Statements on our findings shall be taken from passers-by.

2-D. Minutes shall be drawn up and left at the site once the action is complete, together with the photographic reference, the highlighting. 

3rd. RECORD

As a dossier and due record of the event, an art-book of the action shall be produced containing photos, opinions, minutes, observations and actions.

 

 

 

 

 

06intc0954

2006. Tere Recarens (Cv)

BARCELONA, 1967LIVES AND WORKS IN BERLÍNWWW.TERERECARENS.COMWORK EXPOSED IN MADRID ABIERTO: REMOLINO

SOLO EXHIBITIONS (SELECTED)2005·    T’Team. Galería Toni Tàpies, Barcelona 

2004·    Shooting Star. Galleria Maze, Turin·    Blind Man’s Bluff. Invaliden I, Berlin·    19 mars 2014, Centre Art Santa Monica, Barcelona 

2003·    Finger Flip. Parker’s Box, New York 

2002·    ¿Cuándo vuelves? Galería Toni Tàpies, Barcelona 

2001·    The 8 mistakes. Galleria Maze, Turin 

2000·    I was ready to jump 1999. A/D Werf Festival, Utrecht·    In love. Collaboration with Elena del Rivero. Galería Javier López, Madrid 

1999·    Ethereal. Hal, Antwerpen 

1997·    Prisse de Terre, ART 3. Centre Contemporain d’art, Valencia 

1996·    Terremoto. Capella de l’Antic Hospital, Barcelona

GROUP EXHIBITIONS (SELECTED)2005·    Gravity, De Appel, Amsterdam ·    Sessió Contínua, CCCB, Barcelona·    I'm travellin' light... No, no, you don’t travel light. Tindersticks'95. Gallery Spacement, Melbourne·    La problemática de la producción iberoamericano, Centro Cultural de España, Montevideo·    3rd Biennial Art Show. Arte Lanzarote 2005, Centro Insular de Cultura El Almacén, Lanzarote·    Standards of Reality. Ben Maltz Gallery, Los Angeles·    X Anniversaire Triangle Artist. Friche Belle de Mai, Marseille·    Background II. Galería Horrach Moya, Palma de Majorca·    Throb. Parker’s Box, New York·    La insurrección invisible de un millón de mentes. Sala Rekalde, Bilbao 

2004·    Video-Zone2. 2nd International Video Biennial, Tel Aviv·    Plain Sight. Bloomberg Space, London·    Sur la bonne pente. Galerie Anne Barrault, Paris·    Summer Shorts (Fear of Flying). Parker’s Box, New York·    Looking Further, Thinking Through. Listasafni Reykjavíkur at the Reykjavik Art Museum, Reykjavik 

2003·    Old habits die hard. Sparwasser HQ, Berlin·    SMP. Betanien KunstHaus, Berlin·    Doble Seducción. Sala Amadís, Madrid·    Stand by. Centro de Arte Laboratorio Alameda, Mexico·    Monocanal. Museo Nacional Centro de Arte Reina Sofía, Madrid 

2002·    Projectes 7.2. Centre d’art Santa Mònica, Barcelona·    Open House. Casino Luxembourg, Luxembourg 

2001·    Ironia. Fundació Joan Miró, Barcelona; Koldo Mitxelena, San Sebastián·    ARCO. Caja Madrid, Madrid·    Puntos de encuentro 01. Cruce, Madrid·    BOOM! Play Makers, Manifactura Tabacchi, Florence·    Vostè està aquí. Trienal de Barcelona, Palau de la Virreina, Barcelona2000·    Triangle artists workshop. World Trade Center, New York·    El espacio como proyecto, el espacio como realidad. 26th Pontevedra Art Biennial 

1999·    Program Studio. PS1 & Clock Tower, New York·    Subway outside. Artists Space, Swiss Institute, New York

GRANTS AND AWARDS (SELECTED)2004·    Fundación Marcelino Botín scholarship, Santander 

2003·    Beques a l’estranger per artistas. Scholarship granted by Generalitat de Catalunya, Catalonia 

2002·    Studio Kaus Australis (Hangar), Rotterdam 

1999·    PS1 Contemporary Art Center. Program Studio, New York 

1997·    Art 3. Centre Contemporain d’art, Valencia 

1994·    3eme Cycle Ecole d’Art Luminy. Marseille 

1992·    École d’Art de Grenoble. Generalitat de Catalunya

 

 

 

 

 

06prtb0836

2009-2010. Susanne Bosch. HUCHA DE DESEOS: ¡TODOS SOMOS UN BARRIO, MOVILÍZATE! (poster)

2009-2010. Susanne Bosch. HUCHA DE DESEOS: ¡TODOS SOMOS UN BARRIO, MOVILÍZATE! (poster)

 

DRAFT I

   

 

DRAFT II + ANNOTATIONS

 

DRAFT III + ANNOTATIONS

* SEE THE ATTACHED PDFS

 

 

 

 

 

 

 

 

09-10inmb2742, 09-10inmb2743

2004. El Perro. VIRTUAL DEMOLITION MOBILE (location)

Paseo de Recoletos next to Plaza de CibelesVirtual demolition of the buildings rated online

 

 

 

 

 

04intd0137

2006. Chus García Fraile. POST IT (published text)

 This project sets out from a reflection on consumerism in western culture and our everyday habits, the limits of public and private, and the invasion of the personal sphere by the media pressure to which we are constantly subjected.

The project involves a reproduction of the post-it notes we use every day as reminders. They are notes of our concerns, reminding us to do or refrain from doing certain things as we fix them in our memory, bringing a change of perspective in such everyday phrases. Notes which, magnified and displayed in public, would become advertisements of the everyday, thus acquiring other meanings.

The little concerns of daily life – going to the gym, dieting, smoking less, etc. – would in this new context reflect not our own wishes but the continuous seductive action of commercial advertising.

Incessantly subjected to advertisements, we are free, but free above all to choose between the various products on the market. Often we see how a car, an eau-de-cologne or the like will give us greater confidence, security or social success: they are symbols associated with social status and distinction. If a person on the street can today feel more secure in a good suit than with a good conscience it is because advertising has acquired the importance of an ideology. Our society and culture have absorbed the discourse of advertising, and it is not at all a neutral discourse. People’s needs and demands are (except the basic ones) created at any one time and correspond to the interests of the economy.

According to Pérez Tornero, “it is not going too far to speak of the construction of a model consumer. Advertising discourse, through successive waves of messages, all essentially redundant, helps to model a person concerned about novelty, who longs to possess the object offered and recycles his or her values and habits according to the latest offerings on the market.” For Tornero, advertising, through its strategies of identification with the consumer and projection, makes “each advertisement a kind of journey inside us.”

If this is true, the little private post-its we use to organize our day will essentially coincide with the adverts posted on the streets of our cities, and might even replace them.

 

 

 

 

 

06intc0948

2004. Sans Façon. S/T (theoretical data)

 

Sans Façón is a collaborative practice between an artist and an architect. Our works are defined by their relation to places, incorporating the situation and the qualities of any given environment as an active part of an installation.

We use the interventions as a filter through which one can look differently at a place, Exposing the conditions of this place, the workings, the structure, by the slightest intervention creates a shift that allows the site to be seen anew. We aim to create something that can be celebrated, not for its magnificence but tor what it reveals, what it allows to be seen, enjoyed and thought about: the site. We use interventions as a tool to enrich our perceptions.

«She was te/ling him: "I don't see what you see" and him: "It is possible that I add, I admit it, but the essentiei is in the things, their power to provocate l. .. I. it's indisputable and my sole interest as a guide is to be able to reveal them to you."»Yves Berger, Santa Fé.  

Our proposal for Madrid Abierto is based on the depósito elevado. This building is a very good example of a banal urban object with no pretension, it is technical and useful. It is the kind of structure that passers-by don't look at beca use it is not labelled as worthy, it's just a water tower. But what a water tower and what a setting tor it. Our installation intends to make people look again, not to look at an artwork on the side of it but enjoy and appreciate this emblematic and impressive structure.

We propose to clad the pillars ot the tower with acrylic mirrors. Firstly creating a different experience of this object, the buildings reflected on the pillars present a new reading of the surroundings, the reflections create an ever-changing appearance to the structure.

Furthermore it plays with and expresses the architectonic quality of the building. The reflections create a sort of transparency, the weight of the concrete tank becomes much more present once the holding structure disappears (whilst remembering the unfinished stage the building was in for 7 years because of political turmoil). This big mass of concrete hovering in the air creates a disturbing and uncomfortable vision of the building, this technical construction doesn't seems to fulfil its structural function anymore. The altered aspect of the water tower questions the immutable state of our built envíronment.

The intervention transforms the depósito elevado into a "sculpture" just by renewing temporally the experience of looking at it.

For a period of time the depósito elevado becomes an event. Previously just part of our everyday peripheric observation, it acquires a new existence through memory and imagination once the event has passed.

«Lite itseft has summoned into being this poetic deity which thousands will pass blindly by, but which suddenly become palpable and terribly haunting for those wtio have at last caught a confused glimpse of tt.»Louis Aragon, París Peasant.

 

 

 

 

04prtc0071

2004. Diana Larrea. EL PALACIO ENCANTADO (location)

 Casa de América façade, Plaza de Cibeles

 

 

 

 

04intd0136

2004. Wolfgang Weileder. HOUSE MADRID (proposed location)

 

house-Madrid will be located at the pedestrian area in the middle of Paseo de Recoletos next to Plaza de Colón. The site is accessible for the delivery of materials.

The light weight blocks can be sto red at a fenced off compound area close to the building site.

 

 

 

 

 

04prtc0063

2009-2010. Susanne Bosch. HUCHA DE DESEOS: ¡TODOS SOMOS UN BARRIO, MOVILÍZATE! (registration / coin count)

 REGISTRATION OF THE GATHERED COINS. 3TH JANUARY 2010

PESETAS AFTER 1997- 18 coins of 1 ptas.- 32 coins of 5 ptas.- 6 coins of 10 ptas.- 7 coins of 25 ptas.- 4 coins of 100 ptas.- 1 coin of 500 ptas.

PESETAS BEFORE 1997- 1 coin of 10 cents.- 42 coins of 1 ptas.- 12 coins of 5 ptas.

EUROS- 43 coins of 0,01 €.- 40 coins of 0,02 €.- 78 coins of 0,05 €.- 84 coins of 0,10 €.- 57 coins of 0,20 €.- 38 coins of 0,50 €.-30 coins of 1 €.

FOREING COINS - 2000 pesos chilenos.- 1 real brasileño.- 20 centavos cubanos.- 25 centavos argentinos.- 1 cent of EEUU.- 1 penny of UK (3).- 20 pence of UK (2).-10 pence of UK.

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10intc2866

2006. Tao G. Vrhovec (Cv)

LJUBLJANA, ESLOVENIA, 1972LIVES AND WORKS BETWEEN LJUBLJANA Y ÁMSTERDAMWWW.TAOGVS.ORG | WWW.REALITYSOUNDTRACK.ORGWORK EXPOSED IN MADRID ABIERTO: REALITY SOUNDTRACK – MOVING SOUND INTERVENTION IN PUBLIC SPACES

EDUCATION·    Studies of clarinet, music composition and sonology at The Royal Conservatory in The Hague

SOLO EXHIBITIONS2000·    SCSI bar. The Hague, Holland

2002·    Kapelica Gallery, Ljubljana, Slovenija

2004·    Gallery Public Space With a Roof. Amsterdam, Holland

GROUP EXHIBITIONS2001·    Helium. City Gallery of Ljubljana·    SKUC Gallery, Ljubljana, Slovenija·    MANIFESTA 2002, Frankfurt·    WHAT? A tale in free images. Memlingmuseum, Brugge, Belgium

2003·    Nova Gallery, Zagreb, Croatia·    4th Triennal of Contemporary Slovene Art “U3”. Museum of Modern Art Ljubljana, Slovenija

2004·    Breaktrough. Grote Kerk, The Hague, Holland·    Cosmopolis. MicrocosmosXmacrocosmos. Biennal of Contemporary Art, State Museum of Contemporary Art, Thessaloniki, Greece·    7 Sins. ljubljana, Moscow, arteast exhibition. Museum of Modern Art, Ljubljana, Slovenija

2005·    Radiodays. DE APPEL Gallery, Amsterdam, Holland·    Concerts/Festivals

1993·    Festival The Tower of Bable, Helsinki, Finland

1994·    Festival NORDLYD 94 in Trondheim, Norway·    Biennial of Young Artists of Europe, Lisbon, Portugal

1996·    Performance Art Festival Fly by Wire, Ljubljana, Slovenija·    Festival Break 2.2, Ljubljana, Slovenija·    Festival MUSICA A METRONOM, Barcelona

2004·    Festival Forum neuer Musik 2004, Köln, Germany·    Festival EUROJAZZ, Tomar, Portugal·    Festival CONTEMPORANEA 2004, Udine, Italy

CURATORIAL WORK2001Founder and artistic director of BITSHIFT. International cycle of sound events, in Kapelica Gallery in Ljubljana

 

 

 

 

06prtb0834

2004. Bubble Business. EMANCIPATOR BUBBLE (location)

- Círculo de Bellas Artes- Arco- Zona de intervenciones

 

 

 

 

 

 

 

 

 

 

 

04intd0135

2006. Arnoud Schuurman. TRANSLUCID VIEW (published text)

 The project Translucid view consists of photographic interventions in a series of so called ‘muppies’, where each individual muppi will be loaded with the image of the immediate environment behind it. The interventions will be located in the area of the Paseo de la Castellana, Paseo de Recoletos and Paseo del Prado.

The interventions will be framed views, with just a slight distinction from reality in a subtle way. They allow users of public space to engage as a participant giving them the possibility to observe the change of reality with the work in time.

People that frequent the environment of the interventions more than once will notice these changes. The conditions such as light and weather on the moment when the photo was taken will remain the same, while the surrounding will change with the time of the day and the given weather.

‘Public space is a given thing; we wander through it, we make it our own and witness it change with time. ’

The muppi (Mobilier Urbain pour Publicité et Information; advertisment stands in public space) as an object is originally there to confront the public with information and illusions of things that do not exist in street life.

The commercial use of these objects makes them a dominant factor over the rest of public space.

Because posters are changed frequently, we never get the chance to look at the posters long enough to get the notion “we’ve seen it.” So our eyes in public space keep on being eagerly pulled to what we have not seen before.

The notion that this intervention will not be an advertisement might sparkle people to get to know what it is, for it will not be easily identifiable as art at first sight.

 

 

 

 

06intc0939

2009-2010. Teddy Cruz. VALLECAS ABIERTO: HOW IS YOUR ART GOING TO HELP US? (2010.02 / technical data)

(FEBRUARY 2010)

 

PROGRAMA DE ACTIVIDADES / FEBRERO 2009

LUNES 15 

[18:00-19:00]   Visita a la Casa de América para ver las instalaciones y terminar de organizar las actividades 

 

MIÉRCOLES 17  [15:00-17:00]   Reunión con los colectivos en Radio Vallekas (Puente de Vallecas)

>>> Programa de radio donde se narrarán, a través de relatos y entrevistas, las historias de los colectivos involucrados en este proyecto (Asociación Cultural “Al Alba” + Asociación Cultural “La Kalle” + “Radio Vallekas” + “Abierto Hasta el Amanecer”)

 

JUEVES 18  [11:00-12:00]   Llegada y montaje de la zona de reunión en el Salón Inca de la Casa de América

 >>> Necesidades = 1 mesa + 20 sillas + 1 proyector + 1 pantalla

[12:00-14:00]   Reunión del Foro Socioeducativo / Salón Inca de la Casa de América (20 personas aprox.)

[18:00-20:30]   Reunión de la Mesa de Convivencia / Salón Inca de la Casa de América (20 personas aprox.)

 

LUNES 22  [16:00-17:00]   Llegada y montaje de la zona de emisión en el Salón Inca de la Casa de América

 >>> Necesidades = 1 mesa + 6 sillas + conexión ADSL de subida de datos + electricidad

[17:00-19:30]   Emisión de Radio Vallekas desde la Casa de América

>>> Asociación Escuela de Mujeres del Alto del Arenal (20 personas aprox.)

>>> Coro femenino “KAFE 18” / Asociación Cultural “Al Alba” (10 personas aprox.)

>>> Grupo de mujeres “SEDOAC” / Empresa-cooperativa asesorada por Abierto Hasta el Amanecer S. Coop. Mad.

 

MIÉRCOLES 24  miércoles 24 o viernes 26, dependiendo de unas pre-reservas que hay ahora.

[17:00-17:30]   Batucada: Niñ@s de la (¿? personas aprox.)

[18:00-19:15]   Obra de teatro: “Debajo del pellejo” / Compañía: “Los Perdidos Teatro” (3 intérpretes)

[20:00-20:30]   Actuación: Coral “Al Alba” (40 personas aprox.)

SÁBADO 27 (O SÁBADO 20)

[09:00-10:00]   Llegada y montaje de la zona de emisión en el Salón Inca de la Casa de América

>>> Necesidades = 1 mesa + 6 sillas + conexión ADSL de subida de datos + electricidad

[10:00-12:00]   Emisión de Radio Vallekas desde la Casa de América

> Programación: “El Candelero” + “Fusionando” + “Del cuarto tipo”

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10intb2716

2005. Simon Greenan + Christopher Sperandio. SOY MADRID (published text)

 Everyone has strong feelings about the place they live but what seems exotic to the tourist can be commonplace or even dull to a local. However, tourism can invigorate the local economy. New interest at home for the same old landmarks can be sparked when viewed through the eyes of a visitor. World events and political differences can pale when compared to an important local issue such as “Which restaurant in the Paseo del Prado is the best?”

From tips for tourists to diatribes on politics, SOY MADRID, will be a formal platform for a collaboration between Madrid residents and tourist artists Grennan and Sperandio.

Through newspaper advertisements, word of mouth and a dedicated web site, SOYMADRID.COM, artists Grennan and Sperandio will invite residents of to Madrid to tell their stories about Madrid. The artists will then present selected stories as bright and colorful comic strips written in Spanish and English.

Political or lighthearted, serious or frivolous, fun or just weird, these interventions, when encountered, will give natives and visitors alike the opportunity to reconsider the conflicting issues surrounding notions of local identity, nationalism, politics and tourism.

The resultant comics will be reproduced in a variety of media, including posters, comic strips in local papers and on-line. A main feature of SOY MADRID is a collaboration with a local paper. Stories for the project will be solicited via this paper, and selections from the finalized comic strips will be printed in this paper as well.

 

 

 

 

 

05intc0580

2004. Wolfgang Weileder. HOUSE MADRID (theoretical data)

 

Three stories high, house-Madrid will be constructed during MADRID ABIERTO over a period of four till seven days in an public space in Madrid.

Two groups of builders will simultaneously construct and de-construct the two identical shells of house-Madrid during the four days. 6.3 m high shells will be built out of lightweight blocks up to third floor level and juxtaposed with each other in rotational symmetry. The process will be synchronized so that the construction and de-construction is choreographed sequentially: The opposite segments of the two shells will slowly move around each other until bouse- Madrid is completed. Two separate houses will appear on the same spot at the same time.

house-Madrid becomes a structure of constant movement as walls appear and disappear, its spatiality constantly changing and unstable. This will raise questions about the permanence of architectural structures, their relationship to their surroundings, and the nature of housing. Architecture is re-defined as what we might consider to be a permanent structure becomes animated and temporary.

As a work of collaboration, house-Madrid reveals the process, the labour and skill of building as a visible experience. The construction of the monumental becomes an event, a visible and spatial experience of a process in flux rather than the presentation of a finished architectural structure.

house-Madrid explores the relationship between the temporary and the permanent in architecture as well as investigating the boundaries between process, artwork and documentation.

house-Madrid will be recorded using a unique process. Three specially constructed cameras will be positioned strategically around the sculpture. The photographic plates will be exposed for the duration (four till seven daysl to produce time lapsed black and white photographs. The resulting large-scale photographs will eventually reveal the only complete view of the two separate houses, the overlaid shells, of house-Madrid. Additionally, a time-Iapse video and 16mm movie will be made.

 

 

 

 

 

04prtc0061

2006. Tao G. Vrhovec. REALITY SOUNDTRAK (2006.01-02 / technical data)

2006. Tao G. Vrhovec. REALITY SOUNDTRAK (2006.01-02 / technical data)

 

PERFORMANCE ROUTE PLANNING 

2nd FEBRUARY ITINERARY

 

2nd FEBRUARY ITINERARY(modification)

     

 9th FEBRUARY ITENERARY

  

16th FEBRUARY ITINERARY

 

 

 

 

 

 

06inib0926, 06inib0927, 06inib0928, 06inib0929

2006. Tanadori Yamaguchi + Maki Portilla-Kawamura + Key Portilla-Kawamura + Ali Ganjavian (Cv)

TADANORI YAMAGUCHINAGOYA, OSAKA, JAPÓN, 1970LIVES AND WORKS IN ASTURIAS WWW.TADANORI.DESORDEN.NET

MAKI PORTILLA-KAWAMURAOVIEDO, ESPAÑA, 1982 LIVES AND WORKS IN BASEL

KEY PORTILLA-KAWAMURAOVIEDO, ESPAÑA, 1979 LIVES AND WORKS BETWEEN BASEL, MADRID WWW.STUDIO-KG.COM

ALI GANJAVIANTEHERÁN, 1979 LIVES AND WORKS IN MADRID WWW.STUDIO-KG.COM

WORK EXPOSED IN MADRID ABIERTO: LOCUTORIO COLÓN

TADANORI YAMAGUCHIEDUCATION1999 ·    Oviedo Art School

1996 . Kyoto University Creative Art Centre, Japan

EXHIBITIONS AND PRIZES2005·    Group exhibition at Galería Espacio Líquido, Gijón

2004·    Solo exhibition at Galería Amaga, Avilés

2003·    Racimo de Ecos, honourable mention in the 1st Madrid Abierto·    Selected in the Luarca Art Competition, Asturias·    Selected in the Caja España Art Competition, Zamora·    First Prize in the San Martín del Rey Aurelio Sculpture Biennial, Asturias·    Espejos Recipro-visores, winning project in the competition for artistic projects organized by the Culture Department of the Principality of Asturias·    Alfombra Mágica, winning project in the competition for chair design, organized by the a-mínima magazine (currently in production)

2002·    Mirador bajo la escombrera, winning project in the Espacio Mínimo Habitable competition, organised by Morés-25 Aniversario

1999·    Solo exhibition at Museo Barjola, Gijón

1998·    Scholarship and solo exhibition at Museo Antón, Candás, Asturias

1996·    Selected in the Kobe Stone Sculpture Symposium, Japan

1995·    Selected in the Kasama "Artists’ Camp" Stone Sculpture Symposium, Japan

1994·    Solo exhibition at the Chayamachi Gallery, Osaka, Japan

........................................................................................................................................................................................

MAKI PORTILLA-KAWAMURAEDUCATION2004 ·    Chelsea College of Art, London

2001 . Middlesex University School of Design, London

EXHIBITIONS AND PRIZES2004·    Design and production of public space in the Maya 9 community, Guatemala

2003·    Racimo de Ecos·    Alfombra Mágica·    Espejos Recipro-visores

2002·    Mirador bajo la escombrera

........................................................................................................................................................................................

KEY PORTILLA-KAWAMURAEDUCATION2003 ·    Architectural Association School of Architecture, London

2000 ·    University of East London, School of Architecture, London

EXHIBITIONS AND PRIZES2004·    AA in Slovenia exhibition in Ljubljana, Slovenia·    Summer Course Speaker at Universidad de Oviedo and Universität Kassel, Germany

2003·    Racimo de Ecos·    Espejos Recipro-visores

2002·    Critique is not Enough exhibition·    Speaker at Fondazione Pistolletto, Biella, Italy and Shedhalle, Zurich, Switzerland·    Special Mention in the Fondazione Pistolletto Minimum Prize

2002·    Mirador bajo la escombrera

2002·    Summer Course Speaker at Universidad Rey Juan Carlos, Aranjuez

2001·    Regular participant in the ARCO Art Experts Forum

2001·    Cajastur scholarship for young artists, Oviedo

........................................................................................................................................................................................

ALI GANJAVIANEDUCATION2004 ·    Royal College of Art, School of Architecture, London

2002 ·    Cooper Union, School of Photography, New York, USA

2001 ·    University of East London, School of Architecture, London

2000 ·    TVB School of Habitat, New Delhi, India

EXHIBITIONS AND PRIZES2004·    Speaker at Universität Kassel, Germany·    Bio Land exhibition at the Henry Moore Gallery, London·    Fly Utopia exhibition and conference, Transmidiale, Berlin

2003·    Latent Utopias group exhibition, Gratz

2002·    Critique is not Enough exhibition·    Speaker at Fondazione Pistolletto, Biella, Italy and Shedhalle, Zurich, Switzerland·    Special Mention in the Fondazione Pistolletto Minimum Prize

2001·    Participant in the ARCO Art Experts Forum

2001·    Invited by the TVB School in New Delhi for an Indian rural village refurbishment project

 

 

 

 

06prtb0832

2006. Nicole Cousino + Chris Vecchio (Cv)

NICOLE COUSINOCHULA VISTA, CALIFORNIA, 1966LIVES AND WORKS IN CALIFORNIAWWW.NCOUSINO.COM

CHRIS VECCHIO PHILADELPHIA, USA, 1964LIVES AND WORKS IN PHILADELPHIAWWW.NOISEMANTRA.COM

WORK EXPOSED IN MADRID ABIERTO: SPEAKHERE!

Chris Vecchio is an electrical engineer who began creating sculptural devices and art installations in an effort to better understand the relationship between man and technology. His devices serve as props which precipitate interaction with, and dialog about, technology. He is particularly interested in the narrative potential of electronic circuitry and in the use of ambiguous but suggestive user interfaces to generate new modes of interaction.

Chris holds a PhD in Electrical Engineering and has over 20 years of analog, digital, and software design experience. Over the course of the past 10 years his work has been exhibited frequently in both the US and Europe. He is currently Chairman of the Board at Nexus, Foundation for Today’s Art and the Director of Research and Development for medical instrumentation company Spectrasonics Inc.

Drexel University, Philadelphia

NICOLE COUSINO EDUCATION1997·    MFA. Rutgers University, New Brunswick, New Jersey

1990·    BA. San Francisco State University, San Francisco, California

VISUAL ART 2005·    Detourism Bureau. Contemporary Artists Center, North Adams, MA

2005·    VERSION>05. Public Media Institute, Chicago, IL

2003·    Pretty Lies, Dirty Truths. BC Gallery, Laguna Beach, CA

2002·    Group Photo Show. RAID Projects, Los Angeles, CA·    Democracy When. Los Angeles Contemporary Exhibits, Los Angeles, CA·    Re-Public Relations. Parkhaus, Dusseldorf, Germany 

2001·    Border Hack 2.0. Playas de Tijuana, Tijuana, Mexico·    Violate Nature. Private land, Morongo Valley, CA 

1998·    The Female Gaze: Women Look At Men. Pyramid Art Center, Rochester, NY  

1996·    RUTGERS/YALE Graduate Sculpture Exhibition. Mason Gross School of the Arts Gallery, New Brunswick, NJ 

1994·    Home Base. New Langton Arts, San Francisco, CA 

1992·    Smashing Myths In The Information Age. Paper Tiger TV West collaborative show Walter McBean Gallery, San Francisco, CA 

1991·    Conservative Show. Show n' Tell Gallery, San Francisco, CA 

1990·    Pitstops On The Innerstate. Armpit Gallery, San Francisco, CA

VIDEO DOCUMENTARY2003·    Kalundborg. 12-minute experimental documentary video (2004) VI Cologuio Internacional Arte Digital: Poeticas y Lenguajes, Havana, Cuba; Restcycling Art Festival, Berlin, Germany; LAISLE Video Art Festival, Rio de Janeiro, Brazil

2002·    Concrete & Sunshine. 60-minute documentary (2004 Documental, Santa Monica, CA); 2003 Visualized Film Festival, Denver, CO. New College, San Francisco, CA. Appendix Gallery, Copenhagen, Denmark; 2002 International Film Festival of Documentary Film CRONOGRAF, Chisinau, Republic of Moldova. Ajijic Festival International de Cine, Ajijic, Mexico. Free Speech TV national cablecast

1998·    TALLER P.A.C.A. 15-minute documentary. Produced for CARE International Ecuador and Rutgers University

1995·    Fat Of The Land. 60-minute documentary. SELECTED SCREENINGS: 2001 MACBA, Barcelona, Spain; Selected PBS Stations via Free Speech TV- broadcast nationwide. 2000 Ontario Cinematheque, Ontario, Canada. 1999 Global Visions Festival, Edmonton, AB, Canada. 1998 Yerba Buena Center, San Francisco, CA. 1997 Museum of Modern Art, New York NY. 1996 Atlanta Film Festival, Atlanta, GA; Pacific Film Archives, Berkeley, CA; Melbourne International Film Festival, Melbourne, Australia; Images Film & Video Festival, Toronto, ON; National Educational Film & Video Festival, Oakland, CA; Charlotte Film & Video Festival, Charlotte, NC; Portland Art Museum, Portland, OR; 911, Seattle, WA; The Exploratorium, San Francisco, CA; 1st National Congress for Democratic Media, San Francisco, CA. 1995 Dallas Film Festival, Dallas, TX; Film Arts Foundation Festival, San Francisco, CA; Site, Santa Fe, NM. AWARDS: Bronze Apple National Educational Film & Video Festival, Oakland, CA; 1st Place USA Super 8mm Festival, New Brunswick, NJ; 1st Place-Documentary Sauguro Film and Video Festival, Sauguro, AZ; $200 Award Athens Film and Video Festival, Athens, OH; Honorable Mention Images Festival, Atlanta, GA

1993·    Feminist Trilogy For Paper Tiger TV·    Call It What It Is. 30-minute documentary. 1993 SFCameraworks, San Francisco, CA. “WAC is Watching!” Other Cinema, San Francisco, CA·    Sisterhood TM. 30-minute documentary. 1994 Free Video America, Yerba Buena Center, San Francisco, CA; Women's Resources Film Festival, New York, NY. 1993 SFCameraworks, San Francisco, CA; New Langton Arts, San Francisco, CA·    Wired For Action. 30-minute documentary. SFCameraworks, San Francisco, CA

1992·    Sanguis Semen Christorium. 60-minute documentary. 1992 Public Access TV, San Francisco, CA

SHORTS / EXPERIMENTAL / NARRATIVE2005·    here is neither the this nor the that. 10-minute experimental narrative video. 2005 ACCEA International Experimental Video Festival, Armenia

2002·    The Bird. 3-minute experimental video. 2003 Cinemania[c], Pula Film Festival, Zagreb, Croatia; 2002 Swamp Festival, Pomona, CA. LA Screens, 2012 Gallery, Los Angeles, CA·    2 A-CLIP VIDEOS for A-CLIP III. 2 90-second experimental videos. 2002 Los Angeles/Berlin/London public screenings

1998·    Lovestory. 5-minute experimental narrative video

1997·    6 Of 1. 15-minute experimental video. 1997 Rutgers University, New Brunswick, NJ

1996·    Asteriod. 10-minute experimental video·    Spirit Of A Nation. 5-minute experimental video. 1997 Other Cinema, San Francisco, CA; Images Film & Video Festival, Toronto, ON; College Arts Association MFA Exhibition, Hunter College, New York, NY; Locating Feminism, Pembroke Center, Brown University, Providence, RI. 1996 Fugitive Dyads, Knitting Factory, New York, NY

1990·    Repressed Transactions. 5-minute experimental video. Film Arts Foundation, San Francisco, CA. 1990 Other Cinema, San Francisco, CA

CURATORIAL PROJECTS2001·    Violate Nature. 15 Artists were invited to produce site-specific work, in a 5-acre area of desert, which aimed to disrupt “natural” sites and systems. Private land, Morongo Valley, CA

1997·    6 0f 1 Video Collaboration. 6 video artists created works based on an newspaper article about an action done by a female member of the Weathermen

1988·    Armpit Gallery. Co-Curator/Director of an independent artspace that produced monthly shows of local art, performance, theater, film, music and installation that emphasized the element of “interactivity”·    Irrigate The Media Wasteland. Survey of Independent Media including the Internet, Zines, Billboard Alteration, Pirate Radio and Public Access TV, Armpit Gallery, San Francisco, CA

1990·    Urban Scrawl. Showing of artwork addressing the AIDS Crisis. Armpit Gallery, San Francisco, CA

GRANTS AND AWARDS2005·    Leeway Foundation Art & Change Grant Recipient

2002·    Durfee Foundation Completion Grant Recipient

2000·    LA Freewaves Video Festival Board Member

1997·    USA Super 8 Film & Video Festival Finalist Judge

1996·    Dodge Foundation Grant Recipient for the Flaherty Film Seminar

1995·    MGSA Scholarship, Rutgers University, New Brunswick, NJ·    Member of Artist Committee, San Francisco Art Institute, San Francisco, CA·    San Francisco Independent Film Festival Judge·    National Educational Film & Video Festival Judge, Oakland, CA

1994·    Ben & Jerry's National Grant Recipient·    New Langston Arts Annual Award

1992·    California Council for Humanities Mini-Grant Recipient Panels

1996·    Images Film Festival Panel Discussion: Environment & Technology Toronto, ON, Canada

1995·    Boundaries in Question Conference, UCB, Berkeley, CA·    Diablo Valley College Environmental Technology Association, Diablo Valley, CA

BIBLIOGRAPHY·    Steve Montgomery, The 1st NYC Sierra Club Film & Video Festival, International Documentary, 1997, p. 19-20, Los Angeles, CA.·    Jane Farrow, Low Rent Media and Hi-Fat Message: Culture Jam Meltdown at the Images Festival, POV (Canadian Independent Film Caucus, Toronto), Fall 1996 Issue No. 30, P. 27-29·    John Foyston, Greasy Riders in Fat City, The Oregonian, March 28, 1996·    Roy Chung, Fat of the Land, Los Angeles Times, Sep. 29, 1995·    The Skinny on the Fatmobile, The New York Times Magazine, Feb. 5, 1995·    Kristy O'Rell, Greasy Riders: Cross Country on Fat, Boing Boing, San Francisco, CA, Number 13, 1995·    Kristy O'Rell, “Greasy Riders”, in The Happy Mutant Handbook, Ed. Carla Sinclair, New York: Riverhead Books, 1995, P. 154-57·    Karen Weiner, Greasing Down the Highway: The Making of Fat of the Land, Video Networks, BAVC: San Francisco, CA, Oct.-Nov. 1995·    Giles Whitell, Greasy Riders Finish 3000 Mile Odyssey, London Times, Sep. 3, 1994·    James O. Clifford, Lard Car Oozes into SF After Trek on French Fry Fuel, San Francisco Examiner, Aug. 29, 1994·    Fry Power, USA Today, Aug. 29, 1994·    Van in Fat City: French Fry Oil Fuels Unique Trip, San Jose Mercury News, Aug. 29, 1994·    6 0f 1 Video Collaboration. 6 video artists created works based on an newspaper article about an action done by a female member of the Weathermen

1988·    Armpit Gallery. Co-Curator/Director of an independent artspace that produced monthly shows of local art, performance, theater, film, music and installation that emphasized the element of “interactivity”·    Irrigate The Media Wasteland. Survey of Independent Media including the Internet, Zines, Billboard Alteration, Pirate Radio and Public Access TV, Armpit Gallery, San Francisco, CA

1990·    Urban Scrawl. Showing of artwork addressing the AIDS Crisis. Armpit Gallery, San Francisco, CA

..........................................................................................................................................................CHRIS VECCHIOEDUCATION1992·    Ph.D. in Electrical Engineering

1987·    B.S. in Electrical Engineering

SOLO EXHIBITIONS (SELECTED)2005·    Susquehanna Museum of Art. Harrisburg·    Myers Gallery at the Tulsa Living Arts Center

2003·    Dzyga Institute of Contemporary Art. Lviv, Ukraine

2002·    Evidence of Toolmaking. Nexus, Foundation for Today’s Art, Philadelphia

1999·    Technology Fetish, An exhibition of handmade electronic objects. Nexus, Foundation for Today’s Art, Philadelphiagroup exhibitions (selected)

2004·    Subtle Nothings. Borowsky Gallery, Philadelphia

2002·    Hungarian Sculptural Exchange Exhibition. Janus Pannonius Museum, Pecs, Hungary·    Bio-Tech. DaVinci Art Alliance, Philadelphia·    Building Unique Works. Washington Square, Washington

2001·    Contemporary Philosophie. Bridgette Mayer Gallery, Philadelphia·    New Directions. Main Line Art Center, Haverford·    Future Imperfect. Sharadin Gallery, Kutztown University, Kutztown

2000·    Construction, works that challenge the categorical definitions of art. Painted Bride Art Center, Philadelphia·    Every day I think of you, installation, supported by the Philadelphia Fringe Festival·    Beginnings and Endings. Delaware Center for Contemporary Art, Wilmington·    Place of Memory: an archaeology of site specificity. Temple University Gallery, Philadelphia

1999·    Bridging the Gender Gap, Proximity, and Window to the Past. Visual Fringe Festival in conjunction with Dissentia Curatorial Services, Philadelphia

PUBLICATIONS2005·     "Dorkbot" Lecture·    NPR Radio Interview·    Tool Time. James D. Watts Jr. Tulsa World, 6 January 2005

2003·    ЕксГібіція прИлаДіВ Львівянам сподобалася. Yarena Koval, L’vivska Gazette, 15 August 2003·    мИ маемо про Це поГоВорИТИ..., Natalia Kosmolinska, L’viv Post, 16-17 August 2003

2002·    NPR Radio Interview, Listen. Aries Keck, WHYY FM, 20 June 2002·    Tools of the Trade, Edward Higgins, South Philadelphia Review, 20 June 2002, p. 23·    Bells and Bone Whistles, Roberta Fallon, Philadelphia Weekly, 3 July 2002·    Evidence of Toolmaking, Marisa Mariscotti, www.digitalcity.com/philadelphia, June 2002·    Pick of the Week, Evidence of Toolmaking at Nexus, Nikki Roszko, Philadelphia City Paper, 6 June 2002, p. 47·    Power to the People, Art in Science XVI: Electricity, Nikki Roszko, Philadelphia City Paper, 4 April 2002

2001·    Sharadin Enters the Future of Art, Monica Ortwein, The Kutztown Keystone, 15 February 2001, p. 7·    Exploring Technology’s Human Side, Ron Schira, Reading Eagle Times, 23 February 2001, p. W8·    Perfect Strangers, Roberta Fallon, Philadelphia Weekly, 28 February 2001

1999·    Robot Poetry Radio, Raj Thadani, Sound Collector Magazine, Vol. 4, 1999, pp. 37-40·    Local Color, Edward Higgins, South Philadelphia Review, 27 May 1999, p. 27·    Current Events, Gerard Brown, Philadelphia Weekly, 21 April 1999·    Rubber Soul, Robin Rice, Philadelphia City Paper, 16 April 1999·    Case For Art, Edward Sozanski, Philadelphia Inquirer, 16 April 1999

1998·    Bella Vista’s Poet of the Airwaves, Mark Davis, Philadelphia Inquirer, 3 November 1998, p. B1

 

 

 

 

06prtb0830

2005. María Alos + Nicolás Dumit. MUSEO PEATONAL, FACULTY OF PHILOSOPHY AND LITERATURE, 2004

2005. María Alos + Nicolás Dumit. MUSEO PEATONAL, FACULTY OF PHILOSOPHY AND LITERATURE, 2004

 

    

    

       

       

FACULTY OF PHILOSOPHY AND LITERATURE UNAM, 2004Documentation of intervention in Mexico CitySponsored by MUCA Roma and Dirección de Artes Visuales UNAM

 

 

 

 

 

 

 

 

05inme3673

2005. Raimond Chaves. EL RIO, LAS COSAS QUE PASAN (published text)

 Introduction

Over the past few years I have been basing my work on the preparation of publications with varying levels of public participation in their elaboration and which aim to promote the circulation of those stories, images, ideas, etc. which due to their importance and at the same time the lack of public awareness of them deserve to be known and spread.

Thus, restoring the capacity of people to tell their own experiences to counter these stories to the domineering capacity of the media to create events and set out concrete action to be taken, all in all, to create reality.

A large part of these editorial proposals is the work of processing images, mainly found images, to have a bearing on the willingness to respond from other angles and with other views of that which “is happening”.

Thus, stories, news, echoes, new images, drawings and collage, edited in street newspapers, posters, templates, mural paintings and other supports propose new ways of understanding the world while putting the notions of objectivity, impartiality and the rôles of preparation and receipt of information in doubt.

Why “El Río”?

Apart from the affectionate allusion to the famous sentence of Hercules, there is a dialectic intention in the image of a river to speak of that which we see as inevitable. Reality, that which happens, the event, and this and its recreation and / or construction i.e. that, which we understand as news, are usually presented as inexorable flows.

This is why this project wants to be an invitation to find another way to confront events and the process of reconstruction that takes place when we read them. One can easily be led but if one wants or knows how, one can actually get somewhere.

Description

“El Río, las cosas que pasan” is a project based on the guidelines set out in previous projects (see Background Information at the end of this document) intends on going even further and to be a handmade “newsworthy group” of low intensity divided into three spheres of Madrid´s public life.

“El Río” initially intends to disconcert with an atypical name for a means of communication. Beyond Hangueando –the project it comes from-, El Río wants to respond to the rôle of the media in our society, distancing us from compiling miscellaneous news and questioning it so as to construct a reality through the news.

“El Río” , constituted as a multimedia corporation shall confront the matter from different angles. Firstly considering as news that which a priori is not considered as such, secondly, the news we receive from the traditional means of communications shall be turned inside out and thirdly, great importance will be given to drawing and manipulating images. All ideas of objectivity and a consensus in story telling are forgotten. El Río will convert texts and images into poetic/political tools. El Río is positioned on the thin line between inventing news and analysis events, an unmistakable space which may also be contrary, i.e. that of creating events and that of analysing news. “El Río” will build tables that will always be missing a leg, as while it doesn´t want to be objective nor does it want to tell any “truths”.

Thus each prop in which “El Río” had decided to use, it will attempt to widen the margins of the conventions of use of these. Let´s take a look at the props:

A poster for MUPI “El Río, las cosas que pasan” dispalys a large collage with different texts, testimonies, quotations and images considered relevant regarding events and processes taking place in South America and are hardly covered in Europe. Events which whether local or relevant to certain areas of South America and have consequences for Spain due to globalisation. In this way, MUPI will become a wall “street” newspaper, inviting pedestrians to stop for a moment and read. The poster also publicises the presence of El Río on the Metro channel and the web.

On the programmes of the Metro channel, “El Río, las cosas que pasan” presents simple animations based on drawings and images with the inclusion of short lines of text and a very restrained use of sound. The contents of the animations will have a similar register to that of the posters but will emphasise the most absurd by presenting news that one would not really consider as news. “El Río, las cosas que pasan” poses a third space of presence on the web. A web site created for this will act as a source for broadcasting the project for Madrid Abierto at the same time as containing and showing the contents of the poster and the animations on video. It is planned to work on this more intensely later on

www.lascosasquepasan.net

Conclusion

I would like to take advantage of my being a travelling artist who bases his work on gathering stories and the processing of images to offer versions and “news stories” which I believe to be relevant on local matters which have global implications. As a passer-by, citizen and artist, I offer these stories, on the streets of Madrid, to strengthen its public character and my desire to bring these stories closer to everyone.

Links

www.puiqui.com

 

NOTES

“El Río, las cosas que pasan” - slogans

The newspaper of that which is not considered news. Analysis if events through quotations, testimonies, drawings and images.

El Río of things that happen to attempt to understand a world that is going to change forever.

With the arbitrated story telling of certain things which deserve to be heard about South America, the Caribbean and other places...

“El Río” on this occasion is a unipersonal project, but may later be worked on as a group.

Why the change from Hangueando to El Río? There are numerous reasons. Firstly, what I consider to be the difficulty to explain Hangueando –the very meaning of the word- to an urban public that needs to be approached with less preparation. El Río is understood, and it is disconcerting, and once said that it is a street newspaper, no further explanations need to be given.

Secondly, that which is mentioned above regarding will, above all, in the case of the posters, which is more newspaper and less miscellaneous. To continue attempting to understand the world and at the same time not declining to intervene in it.

Thirdly, the possibility of creating what I have called the press conglomerate “of the three to the quarter” and to better confront the capacity of the media to construct events and set out what is important... to construct reality.

Background

Hangueando(*) –Periódico con Patas.

(*) Hanguear. Spanglish version of the English verb “To Hang Around” and which is used as synonym of to roam without a fixed destination or set aim in Puerto Rico.

Poster newspaper glued to street walls and shown at exhibitions as well as been sold at public presentations which end in a party, it is exchanged, given as a gift.

HANGUEANDO feeds on many different independent initiatives as is the independent and bright elaboration of images, the capacity to refer to its self-existence, the critical sense of the context and symbolic meaning of certain objects, either due to their usefulness or their symbolic power help us to know the world better. HANGUEANDO is a publication based on the recycling of images and senses, on the spreading of stories and points of view which usually get no coverage in other media and in celebrating the joy of life.

So far, the following posters have been published:

N0 0. October 2002, 59,4x84cm. 1500 copies. Four colours. Published and printed in Lima. Distributed in Lima, San Juan de Puerto Rico, Bucaramanga, Bogotá, Barcelona, Madrid, Rotterdam, Berlin and Ljubljana.

N0 1. April 2003, 59,4x84cm. 1500 copies. Four colours. Published in Bogotá and printed in. Distributed in Lima, San Juan de Puerto Rico, Mayagüez, Bucaramanga, Bogotá, Barcelona and Módena.

N0 2. November 2003, 100x140cm. 1500 copies. Digital printing. Published in Puerto Rico and the Dominican Republic. Printed in Barcelona with the backing of 22a. Distributed in Puerto Rico and Barcelona.

N0 3. Spring-Summer 2004, 70x100cm. Published in Terrassa. Printed in Madrid with the backing of El Perro, Distributed in Spain. (Unpublished on October 20th 2004)

“Coca Crónica” (Rotterdam, 2002) See images at the following link: http://www.jstk.org/airport/raimond/index.html

“Veni, Sentate, Contame”(Lima, 2003) and “La Pura Oscura” (Bogotá, 2004) on screen processing of journalistic images of the Colombian conflict. –See attached images-

“Mural Candela" (Terrassa, 2004) Mural painting for street view at a place of meeting and political discussion. -See images attached and the following link: http://www.p-oberts.org/index1.html

Links

http://www.puiqui.com/

http://www.jstk.org/airport/raimond/index.html#

http://www.p-oberts.org/index1.html

 

 

 

 

 

05intc0541

2004. Warren Neidich + Elena Bajo. SILENT (visual data)

2004. Warren Neidich + Elena Bajo. SILENT (visual data)

PHOTOMONTAGE

"Silent"  Paseo de Recoletos render

"Silent" road crossing view rendering, Paseo de Recoletos, Madrid

 

REFERENCES

 

 

 

 

 

 

04prtic0048, 04pric0050

2009.2010. Iñaki Larrimbe. UNOFFICIAL TOURISM (2009.10 / fieldwork)

2009.2010. Iñaki Larrimbe. UNOFFICIAL TOURISM (2009.10 / fieldwork)

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT(OCTOBER 2009)

 

 

 

 

 

 

 

 

 

 

 

09-10inmb2639

2005. Óscar Lloveras. S/T (published text)

 What surprises me about Oscar Lloveras´ work is his relation with society, and also with nature. He attempts to erase the duality... a duality which exists between some and the others, or between some and the totality of their own surroundings.

His works are tangible headlamps permanently open to all that is monumental, but also towards the infinitely smallness of a trace, of a small branch found in a notebook of memoirs… memories of a journey written from a glance. The insistence on transmitting all that is produced in the field of vision. A curiosity (openness) which is going to move around within this field.

We can imagine a gesture which moves around a space limited by invisible signs. Later, the gesture is translated into a workshop.

The “ everything goes” idea spells the accident, the surprise; the body frees itself from its support. The metal point stresses and translates that which is grasped through plastic writing. An osmotic relation between the presence of the memory and the reality of the gesture. It is all based on adapting this sum of memories to reality.

It is the reason of Oscar Lloveras´ activity, which penetrates in the places and proposes an observation. The gesture takes place in negligible or monumental way. The physical work, which is so important, participates in that which is physical of the environment and he questions it again. The meeting of a direct relation between that which is observed and what is done: that which is lived in the same place. We could say that the place is adapted to an intruder, which is the work.

The terrain is an obligatory step to erasing the absence, or more clearly, to occupy it. Llovera develops other areas, eliminating the voids left in spatial structures, and terraces this with traces, doing a vertical journey.

Oscar Lloveras is a space adventurer. And his successive journeys happen due to a need to grasp an everything without completing it. The act of creating or making is always linked to pleasure. Pleasure is always present, even though its gesture is monastic. Rays of light cross silence. The standing body leaves a place for the body folded in the workshop.

The diversity of techniques and materials are witnesses to this sensitivity which is produced from the grain of sand to the tree, from the arcade of a church to the stone on the path. The journey of the arcade links the ground with the sky.

Lloveras attempts to relate his experience in plastic with the others. “The shape approaches the being and the being approaches the shape”. His work is in no way innocent, but it produces as are the pages of a book. Communication is crucial in his work... language is predominant. In its permanent movement, it moves towards the infinity of us.

Duchène Gérard

 

 

 

 

 

05intc0538

2004. Warren Neidich + Elena Bajo. SILENT (theoretical data)

 

PROJECT DESCRIPTION

We are proposing a plexiglass noise barrier/sculpture called "Silent" that would run down Paseo de Recoletos from the Plaza de Cibeles to the Plaza de Colon. This kind of noise barrier has usually been placed along highways as a means of limiting noise pollution for those living near the highway. But urban environments and city dwellers also suffer the effects of insidious noise pollution The purpose of this artwork is to create areas of stillness, silence and quiet within the complex, bustling, congested urban space and to create asculpture which communicates to the other beautiful sculptures already in place.

Instead of being a visual monument linked to the past as the other sculptures in the area are, "Silent" ís about space and process. It is a socially interactive work which creates a place where people can once again enjoy peace and quiet; where they can cogitate, read or engage in intimate conversations at cafés which border the route. This is a normal condition in the countryside where there are many places in the forest or the field in which aman or woman can enjoy such peace but in the city and in places where the urban environment has been reduced and compressed. Spaces such as the one we would like to create are limited, fragile and precious. We want to make this piece as a gift / artwork to the people of Madrid as an act of generosity to improve the quality of their lives , an ephemeral gesture.

Noise Barriers, as the name implies are barriers constructed to deflect dissonant sound waves coming from the interaction of the automobiles with the highway. As highly industrialized nations like those of the European Union out grow their available land mass, marginal spaces along motorways and railroad tracks have begun to be developed for living. Domestic suburban communities have sprung up in these spaces and created new strategies and solutions to counter certain characteristic distasteful qualities like air and sound pollution. Noise barriers are one such recent invention. But the city is also a place where this kind of noise pollution exists. Our project is fundamentally a redesign, reimplementation and relocation of an already available industrial artifact from its primary site along the highway to one embedded in the urban infrastructure and contiguous too a busy thoroughfare, the Paseo de Recoletos. It is a recontextualized readymade configured to align itself with an urban plan to redefine it as a less sibilant place while at the same time creating an artwork as a weaving gesture of pure translucency.

But there are other levels of discourse that act subliminaly yet are just as important in defining the social, politícal, historical and psychological relations of our project which must be addressed. As mentioned before this work of public art will be deeply connected to people who see and interact with it. Its reiteration of the urbanscape will create metaphoric and analogic meanings as a social sculpture which must be crossed and dealt with. This reiteration is visual, acoustic and physical. First its transparency will frame certain scenes anew giving certain structures greater atlention whilst simultaneously decreasing the presence of others. Secondly, urban planners andarchitects who for so long have been part of a culture of spectacle and phaticity are now designing structures to decrease stimulation.

We are all being over stimulated by the random sounds of our technologic culture and need some peace from it. This work of art decreases sound and its random brother noise. Finally, it abruptly starts and stops at pedestrian crossways and these sites are a kind of stage for the reenactment of a crossing that refers to the works proximity to the Christopher Columbus Monument. We are also interested in the way these sound barriers operate in spaces of indeterminacy separating the nomadic culture of the highway from the pristine domesticity of sedentary life; as if the barrier was impenetrable to sound but permeable to other forms of information allowing these very diverse and different cultures to interpenetrate forming morphologies of hybridity. I think that in our changing, fast paced, global world this type of analogous hybridity forms an important analogy for how other very diverse cultures based on very different discourses might intermingle and mutate.

Especially in their most recent manifestation as transparent plexi-glass sheets these sound barriers begin to operate as metaphors of openness as they make it more and more possible for these two extreme but necessary forms of living to coexist in close proximity creating new possibilities a kind of third space, to emerge. We must atso considers this works ties to past sculptural experiments and we can not help but remark on the uncanny morphologic similarities these structures have to the sculptures of Richard Serra with which they also share strong perceptual, phenomenological underpinnings although its emphasis on beauty and its socially positive message are very different concerns then those that interested him.

Together these deeper levels of meaning noat up to interact with the materialist underpinnings of this physical sculpture set in the real, physical world. But by reading the structure in these many ways the work becomes metaphysical and immaterial.

 

 

 

 

 

 

 

04prtc0047

2006. Lorma Marti (Cv)

FOUNDED IN 2002IS FORMED BY STEFANO DE MARTINO (ST. GALLEN, SWEDEN, 1955) Y KAREN LOHRMANN (HAMBURG, 1967)LIVES AND WORKS IN: BERLINWWW.LORMAMARTI.COMWORK EXPOSED IN MADRID ABIERTO: BLEND OUT

Lorma Marti was formed by Karen Lohrmann and Stefano de Martino and are currently based between Berlin and Rome. Their work covers a range of scales and tools, from architecture to installation, photography, video and painting.

Their project Waiting Land observes the escalation of illegal construction that typifies the modern Italian landscape, a phenomenon that, exploited in equal parts by governments and enterprising citizens alike, skirts the edges of populism and anarchy. Waiting Land articulates the distance between ideal values, ambitions, aspirations, dreams, and their actual manifestation, as a series of photo-reportages, sculptures, installations and videos.

Site Surveys is an ongoing documentation in digital media of possible or impending conflicts arising out of the territorialization of landscapes by infrastructures, production processes, settlement policies and consumer patterns.

Other projects include the Dynamic Series, paintings and murals based on fluxes, commenting on means of representation by abstracting the subject/object relation, and CMYKs, a series of paintings on the issue of visualizing latent and implicit information through color separation.

Return to Occupation is an observation on the re-united city and new German capital of Berlin. Implications of international security laws and the ambitious urban densification plans, that locate most embassies within the city center, have made this city once again a place of blocked-off public space, large-scale traffic deviations and extensive surveillance of the individual citizen that the population of Berlin had only just overcome.

Recent exhibitions and publications include 2005/6 Waiting Land, Comune di Napoli (in preparation); 2005 One Minute Wonder, Lighthouse Brighton/UK;  Old Market Hall Film and Digital Media Centre, Shrewsbury/UK; 2004 SSFVF Bilgi’de Sinema, Istanbul; Bath Film Festival/UK; RACA Gallery, Copenhagen; SSFVF 3rd Floor Arts Centre, Portsmouth/UK + publ.; Limiti Chiostro di Santa Chiara, Cutro/I + publ.; Camp for Oppositional Architecture An Architektur, Berlin + publ.; 2003 Mobility Rotterdam Biennale; Waiting Land and Calabria Eden ‘Clear Skies with Patches of Grey’ Berlin, publ.

Projects by Lorma Marti have recently been supported by the Austrian Ministry for Education, Research and the Arts (Bundesministerium für Bildung, Wissenschaft und Kultur, BMBWK), the Istituto Italiano di Cultura, Copenhagen and the German Art Project Grant IFA.

 

 

 

 

 

06prtb0828

2006. Gustav Hellberg (Cv)

ESTOCOLMO, 1967LIVES AND WORKS IN BERLÍNWWW.GUSTAVHELLBERG.COMWORK EXPOSED IN MADRID ABIERTO: PULSING PATH / UNA VISIÓN AMBIGUA

EDUCATION2000 ·    Philosophical Aesthetics, University of Stockholm

1993-98 ·    Kungl. Konsthögskolan, Stockholm (MFA)

1995 ·    Hochschule der Künste, Berlin Prof. Lothar Baumgarten

SOLO EXHIBITIONS 2005 ·    Arnstedt & Kullgren, Båstad, Sweden2003 ·    Hood Gallery, Los Angeles, USA2002 ·    Blinka Malmö stadsbibliotek, Malmö, Sweden2000 ·    Mors Mössa, Gothenburg, Sweden1997 ·    Galleri Mejan, Stockholm, Sweden

GROUP EXHIBITIONS (selected) 2005 ·    Projekt 0047, Berlin, Germany·    Fused Space, Strom, The Hague, Netherlands·    Evolutionäre Zellen Archive NGBK, Berlin, Germany

2004 ·    Arnstedt & Kullgren, Båstad, Sweden·    Momentum 4, Moss, Netherlands·    Zwischen Wasser, Bad Aibling, Germany·    Armory Show, New York, USA

2003 ·    Contemporary Art Cultural Heritage, Antalya, Turkey·    Evolutionäre Zellen, Historisches Museum, Frankfurt, Germany·    LA-International, Raid Projects, Los Angeles, USA·    Arnstedt & Kullgren, Båstad, Sweden·    Evolutionäre Zellen, Freiraum / Transeuropa MQ, Wien, Austria·    Southbound, Leipzigerstrasse 54, Berlin, Germany

2002 ·    Evolutionäre Zellen, NGBK, Berlin, Germany·    Urban Drift, Berlin, Germany·    Reactions, The Library of Congress, Washington DC., USA·    Reactions, The Williamson Gallery,Pasadena               ·    Reactions, Exit Art, New York, USA

2001 ·    Midsummer Night Extravaganza, Kaffee-Burger, Berlin, Germany

2000·    Cave, Konstakuten, Stockholm, Sweden·    1 Maj 2000, Svenska Dagbladet’ Internet-Gallery, Sweden

1999 ·    San Francisco Pin Up Gallery, Stockholm, Sweden·    Galleri Bäckalyckan, Jönköping, Sweden

PUBLICATIONS2003 ·    SITE, Stockholm2002 ·    Publikation (70), Malmö2002 ·    Birthday Paper, New York2001 ·    Publikation (5), Malmö

COMMISSIONS2005·    Com.Öresundskraft, Helsingborg, Sweden

2004 ·    Repr. Region Skåne, Sweden

2002 ·    Repr. The Library of Congress, Washington DC

1999 ·    Repr. Jönköpings kommun, Sweden

1998 ·    Com. Akademiska sjukhuset Uppsala, Sweden·    Com. Studentpalatset, Stockholm, Sweden

1997 ·    Repr. Modern Museum, Cilje, Slovenia

GRANTS AND AWARDS (selection)2003 ·    IASPIS, international exhibition support

2002 ·    Swedish Art Grants Committée, 2 year working grant

2000 ·    Swedish Art Grants Committée

1999 ·    Royal Academy of Arts, Emil Bergh’s Grant

1998 ·    Helge Ax:son Johnson Foundation ·    Royal Academy of Arts, Gustaf Cederström’s Foundation ·    Royal Academy of Arts, Ragnar och Hilma Svensson’s Foundation

1997 ·    Helge Ax:son Johnson Foundation

 

 

 

 

 

06prtb0826

2005. María Alos + Nicolás Dumit. MUSEO PEATONAL (published text)

 The Passer-by Museum is a travelling institution which organises temporary exhibitions in built up urban areas. The museum´s collection comprises objects donated by those who visit it, or by people who work or live in the area in which the museum is set up at any particular time.

The aim of the institution is to preserve the physical presence of the pedestrians in a certain location through a collection which constantly comes together and grows as the donators bring a personal belonging to add to it. The museum, as such, materialises into a museum during the assembly of the acquired objects. It is free to donate objects, and the donated articles are collected, listed on an inventory, packed and then put on exhibition. These transactions (donations) take place on the street where the museum is situated, thus taking advantage of the constant traffic of pedestrians who are going from one part of the city to another. The personnel of this institution is made up of artists who present themselves to the public, dressed in navy blue suits and white shirts, acting out the rôles of curators, museum guards, museologists and technicians. Thus, the actual labour hierarchy of cultural organisations is on show.

To highlight its institutional image, The Passer-by Museum uses a didactic text and cassette to inform the potential donators of its philosophy and how it offers its services.

THE MUSEUM´S MISSION

“The Passer-by Museum is a travelling institution which organises temporary exhibitions in different areas of a city. The museum´s collections come from donations from people just like you, those who visit it, work or live near the museum´s location at a particular time. Through the donations collected, The Passer-by Museum is the physical expression of the spirit of the district it´s located in. The museum is currently accepting donations for this space. This is why we ask you to join our effort and contribute by donating any personal object you own. If you prefer to remain anonymous in your donation, please state this when giving your contribution. For any further information, please don´t hesitate to contact the institution´s personnel. All objects donated to the Passer-by Museum shall become the full property of the same. Thank you for your cooperation”.

HISTORY OF THE PASSER-BY MUSEUM

The Passer-by Museum, founded in 2002, opened its doors on 42nd Street in New York in the heart of Times Square. That same year, the institution moved to the zone of the disappeared World Trade Center for three months as a part of “Looking In”, an exhibition organised by the Lower Manhattan Cultural Council. In early 2004, with the backing of the Longwood Art Gallery and the Bronx Council of the Arts, it set up in the Bronx for two months. During August and September 2004, The Passer-by Museum/El Museo Peatonal, moved to Mexico City where it set up in various different locations of the UNAM University Campus(Universidad Nacional Autónoma de México), sponsored by the UNAM Visual Arts Department and the MUCA Rome.

 

 

 

 

 

 

 

05intc0535

2006. Chus García Fraile. POST IT (2006.01 / visual-technical data)

2006. Chus García Fraile. POST IT (2006.01 / visual-technical data)

 

Círculo de Bellas Artes       Casa de América  

Instituto Cervantes   Círculo Bellas Artes    Palacio Comunicaciones    Casa de América

Casa de América    Palacio Comunicaciones    Instituto Cervantes

Círculo Bellas Artes   Palacio Comunicaciones    Círculo Bellas Artes    Palacio Comunicaciones

 

(January 2006)

 

 

 

 

 

06inib0911

2004. El Perro. VIRTUAL DEMOLITION MOBILE (visual data / draft + related work)

2004. El Perro. VIRTUAL DEMOLITION MOBILE (visual data / draft + related work)

DRAFT

 

RELATED WORK

    

 

 

 

 

 

 

 

 

04pric0038, 04pric0039

2004. Bubble Business. EMANCIPATOR BUBBLE (proposed locations)

2004. Bubble Business. EMANCIPATOR BUBBLE (proposed locations)

       

EMANCIPATOR BUBBLE IN MADRID ABIERTO

We believe that a public space intervention is an interaction with the context and, most of all, the people and their daily worries.

So for MADRID ABIERTO, EMANCIPATOR BUBBLE wants to present itself as a container information stand (location must still be determined) in which to present a product to pedestrians in different ways (web, model, chewing gum, notice-board...), at the same time as we collect information to open.

There is a possibility (according to the budget or the option of establishing some type of agreement), for example, with the use of billboards and promotional video in some of the local televisions or in the subway TV, etc.

 

 

 

 

 

 

 

 

04prmc3427

2005. José Dávila. MIRADOR NÓMADA (published text)

 The idea of this proposal is that participation at the Casa de América is not a piece of work to be mainly observed, but to invest that relation and use the piece of work so that the city of Madrid can be observed from it and the events of its urban daily life can be contemplated.

The aim is that of recognising and using the façade of the Casa de América as a strategic place of great qualities to observe one of the most emblematic urban points of Madrid, as is the Plaza de Cibeles, the paseo de Recoletos and Alcalá street; from a height and visual points which are not usually very easily accessible.

It proposes the temporary construction of (accessible and safe) scaffolding for use by the public in general who will be able to explore the different levels and areas of the structure.

The project is a piece of work which will bring the façade of the Casa de América and surrounding to life through its function and use, modifying the pre-existent relations of the citizens with the place.

It offers and proposes a different way of seeing the city and its architecture, a possibility to enter a more active dialogue with the urban landscape of Madrid.

The scaffolding covers up and signifies cycles of activity and change. They are sub-used, temporary urban spaces, nomadic viewpoint ( miradores nómadas ) which for a determined period of time offer specific views of the city which could not be seen in any other way, and usually go totally unnoticed.

An unnoticed general characteristic of Europe´s large cities is the large amount of scaffolding which stand out on their streets, areas in which they cover a large number of buildings and very frequently, the most emblematic of most historic buildings of the city).

Those who go by these areas of scaffolding can only appreciate something similar to the back of a mirror, converting them into places without a place. A building surrounded by scaffolding is usually a visual non-event of which the daily eye usually notices hardly anything.

 

 

 

 

 

 

05intc0529

2009-2010. Susanne Bosch. DREAM-DO-DONE (2009.05 / project review / fieldwork)

MAY 2009

 

SOME STATISTICAL INFORMATION

 

AGENDA 21 DE LA CULTURA, EL PROGRAMA PARA LOS DISTRITOS

In the Agenda 21 of the city of Madrid I found an interesting alignment with my public art approach to La Latina / Lavapies*:

* source: "programa electoral del candidato a la alcaldía de madrid" Populares Madrid 2007" http://www.agenda21culture.net/index.php?option=com_content&view=article&id=45&Itemid=62&lang=

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10intb3649

2005. Henry Eric Hernández García. ZONA VIGILADA (published text)

 With the collaboration of: Dull Janiell, film editor / Laura Orizaola, photographer

In this proposed project, Henry Eric Hernández safeguards one of the fundamental premises of the poetic art of his work regarding creating art interventions in places that he has named as cultural ghettos: individual or group stages (spaces) built on a determined ideology, at a particular time and later transformed until they are forgotten or are overtaken by cultural decadence... to be understood as ideological, economical and social.

Zona Vigilada reconsiders the counterpoint between two specific cultural spaces with the relentless view as a controlling event in our acts, be they private or public. The first chosen stage is the Museo de las Esculturas…; the second is a documentary filmed for this project in Cuba. It questions vigilance (through personal testimonies, archived images and images taken with cameras in this place) as a means of support and persuasion for maintaining power. Hence, in the first stage chosen, we see his interest in recontextualizing this strategy of survival of status as a “museum piece”.

This piece of work involves placing two video cameras with different angle movements, which will be handled by three different photographers who will constantly move it around the areas of the museum and record some situations (B/W), previously edited, transmited on one side of the screen, thus reconstructing the place’s environment. Simultaneously, at fixed times, the documentary filmed in La Havana will be screened on the other side of the screen, thus showing the time counterpoint between both security (vigilance) systems.

The project also includes the design and publishing of a poster that will be distributed throughout the city with the following text: El Museo de las Esculturas al Aire Libre/presents /ZONA VIGILADA/a film by henry eric.

 

 

 

 

 

 

05intc0525

2006. Virginia Corda + Paula Doberti (Cv)

VIRGINIA CORDA BUENOS AIRES, 1967LIVES AND WORKS IN BUENOS AIRES, ARGENTINAWWW.VIRGINIACORDA.COM.AR

MARÍA PAULA DOBERTIBUENOS AIRES, 1966.LIVES AND WORKS IN BUENOS AIRESWWW.MARIAPAULADOBERTI.COM.AR

WORK EXPOSED IN MADRID ABIERTO: ACCIDENTES URBANOS

VIRGINIA CORDA EDUCATION2005 * Seminar on Photography as Contemporary Art * Marcela Moguilesky Photographic Process Workshop

2004 * J. C. Romero’s Art Clinic * Postgraduate Seminar. Visual Poetry and Book Art

2002 * Critical Graphics Postgraduate Seminar I, II & III * Narratives, actions and highlightings

2001 * Oscar Smoje Workshop

1989 * Prilidiano Pueyrredón National School of Fine Arts * Teacher of Painting. Drawing method and technique at the National University * Institute of Art (IUNA), Buenos Aires, Argentina * Aníbal Carreño Workshop

1988 * Naum Goijman Workshop

1984 * Antonio Oliva Workshop

1980 * Domingo Onofrio Workshop

SOLO EXHIBITIONS2005 * SIART International Biennial, La Paz, Bolivia

2003 * Miami Daniel Azoulay Gallery, USA

2002 * Leslie Hotel, Miami

2001 * Museo de Arte Contemporáneo, Bolivia

1999 * Modern Art Café, Mexico City * El Deco, Mexico City

1998 * Centro Cultural General San Martín, Buenos Aires

1991 * Museo Casa de Yrurtia, Buenos Aires

GROUP EXHIBITIONS2005 * Nodofest. ABC Group Photography Festival

2004 * D.N.I. Caja de Arte 1/1, Buenos Aires * 24 horas en la vida de una mujer. Espacio Esmeralda * Unidos por el mismo vicio. Cátedra Fernícola Exhibition (IUNA). Centro Cultural Borges

2003 * 6th international workshop on visual poetry and book art. Centro Cultural Recoleta, Buenos Aires * Molinos dique 3 este. Grafica Crítica Espacio Esmeralda, Buenos Aires * Dibujo por tres. Escuela Superior de Bellas Artes Regina Pacis

2002 * Violencia. Gráfica crítica. Espacio Esmeralda, Buenos Aires * Russian and Latin American Art FL Private Contemporary Art, Miami, USA * Estandartes de Artistas. Public Art Group. Patio Cubierto. Centro Cultural General San Martín * Día del arte correo. Espacio Vórtice. Stamp Art

2001 * SIART. Museo Nacional de Arte. International Competition, La Paz, Bolivia

2000 * Encontrarte. Casa hispanoamericana, Milan, Italy * Plastic art exhibition for the fight against breast cancer, Mexico * Exhibition of Argentinean artists. Euroamerica Gallery, New York

GRANTS AND AWARDS2005 * La niñez en la Argentina. Selection in the photography competition organized by    Fundación Pedriática, Argentina

2004 * First prize in the PROUNI painting biennial. Universidad Nacional de Pilar * Salón Nacional 2004. New media. National Exhibition Halls, Palais de Glacé

2001 * Salón SIART. Museo de Arte de La Paz, Bolivia

1996 * 97 Salón Imagen Satelital

1993 * Salón Centenario. Argentinean Plastic Arts Society (SAAP) Autumn Drawing   Show

1991 * 93 Salón Gente de Avellaneda

1992 * SAAP Painting Show

1991 * Pre-biennial of Young Art. Drawing and painting section

1990 * SAAP Painting Show. Autumn Drawing Show

1989 * First prize for painting in the Art Week organised by the Ernesto de la Cárcova  University College of Fine Arts

PUBLIC ART PROJECTS * Huellas de la topografía Urbana. SIART * Accidentes Urbanos. Madrid Abierto 2006 * Río-Memoria. Highlightings, videos and slides on the collective memory of the River Plate. Photographic investigation and records * Foundation with Doberti, Kuperman and Zech of the street art group Periferia, with which she has produced urban actions since 2002. www.grupoperiferia.com.ar

......................................................................................................................................................... 

MARÍA PAULA DOBERTIEDUCATION2004 * Juan Carlos Romero’s Art Clinic

2002 * Degree in Visual Arts from the National University Institute of Art (IUNA) * Thought Workshop with Remo Bianchedi

1990 * Naum Goijman Drawing Workshop

1989 * Prilidiano Pueyrredon National School of Fine Arts, Teacher of Painting * Aníbal Carreño Painting Workshop

1985* Luisa Reisner Painting Workshop

COURSES AND SEMINARS 2004 * Postgraduate Seminar: Visual Poetry and Book Art. Ernesto de la Cárcova Visual Arts Postgraduate Course. IUNA. Professor: Juan Carlos Romero

2002 * Postgraduate Seminar: Critical Graphics. Level I, II & III. Ernesto de la Cárcova Visual Arts Postgraduate Course. IUNA. Professor: Juan Carlos Romero * Narratives, actions and highlightings. Professor: Silvia Diehl * Sol LeWitt and Conceptual Art Seminar. FADU (UBA) and PROA Foundation. Professors: Alina Tortosa and Silvia Diehl * Encuentro en La Cumbre. Participation in workshops organised in Cordoba province in January, directed by Remo Bianchedi and Laura Batkis

2003 * Postgraduate Seminars. Colour and Form. Levels I, II & III. Ernesto de la Cárcova Visual Arts Postgraduate Course. IUNA. Professor: Juan Astica

SOLO EXHIBITIONS2000 * Asociación Cultural Pestalozzi

1999 * Alliance Française

1998 * Centro Cultural General San Martín. Sala 1

1996 * Centro Cultural General San Martín. Plaza Cubierta

1995 * Centro Cultural Parque Chacabuco

GROUP EXHIBITIONS2005 * Biblioteca: Libros de artista. Travelling exhibition: Galería 1 / 1 caja de arte, Museo Municipal de Rafaela, Santa Fe / La Caverna. Espacio de Investigación de Arte Contemporáneo. Rosario, Santa Fe / Pasourbano. Espacio de Arte, Bahía Blanca / Museo de Arte Contemporáneo Raúl Lozza, Alberdi * Participation in Arte Correo competitions: 5 international competitions * Nuevas geografías. Art on the net and new media. www.laberintos.org

2004 * Participation in Arte Correo competitions: 5 international competitions * Latinoamérica Arde 1st Experimental Independent Art Competition. Neuquén * Participation in the collective book 24 horas en la vida de una mujer. Espacio Esmeralda * Unidos por el mismo vicio. Cátedra Fernícola Exhibition (IUNA). Centro Cultural Borges * 7th International Visual Poetry Workshop. Centro Cultural Recoleta * Homenaje a Julio Cortázar. Escuela Municipal de Bellas Artes Manuel Belgrano * Proyecto Dominó organized by Rosa Audisio. Necochea Book and Art Fair * D. N. I. Galería 1 / 1 caja de arte * 20 años de Escuelas de Arte. Art Teachers’ Exhibition. Centro Cultural Recoleta * Exposición colectiva. Centro Cultural de la Cooperación

2003 * Bienal Venus. Tandil * Participation in Arte Correo competitions: 10 international shows * Dibujo por tres. Exhibition with Virginia Corda and Ana Fernícola. Escuela Superior de Bellas Artes Regina Pacis * 7th International Visual Poetry Workshop. Centro Cultural Recoleta * Gráfica Crítica. Intervenciones Urbanas. Espacio Esmeralda

2002 * Estandartes de Artistas, Group Public Art Exhibition. Patio Cubierto. Centro Cultural General San Martín * DAEA Teachers’ Exhibition. Centro Cultural General San Martín. Sala Madres de Plaza de Mayo * Homenaje a Olga Orozco. Escuela Municipal de Bellas Artes Manuel Belgrano * Contribution via Arte Correo to the Arenas para la construcción installation by Gabriela Alonso, at Espacio Esmeralda * Violencia. Critical Graphics. Espacio Esmeralda * Día del arte correo. Espacio Vórtice. Stamp Art

2001 * Encontrarte. Espacio Giesso

2000 * Encontrarte. Casa Hispanoamericana. Milan, Italy

GRUPO TRANSIT2004 * Tránsito. Travelling exhibition in Ecuador: Centro Cultural Ecuatoriano Alemán, Guayaquil. Museo Municipal de Arte Moderno, Cuenca. Centro Cultural Pontificia Universidad Católica de Ecuador, Quito. Museo de Arte, Bahía de Caráquez. Museo de Arte, Manta

2002 * Transit. Radolfzell, Germany

2001 * Transit II: Frank-Loebschen-Haus, Landau, Germany. Evangelisches Gemeindehaus. Schamberg, Germany. Artefaht, Tuttlingen, Germany. “In Comunicación”. Pabellón 4. Buenos Aires

2000 * Nietzsche. Museo Ex Casa de la Moneda. Buenos Aires. “1st Buenos Aires Art Biennial”. Museo Nacional de Bellas Artes

SELECTED ACTIONS 2005 * 4th National Street Art Festival. Mina Clavero, Córdoba

2003 * Autopartes / Autoservicio. Urban action as part of the Obra en Tránsito Project. Bahía Blanca

2002 * Urban actions. Inter-Neighbourhood Assemblies in Parque Centenario

2002 * Río-Memoria project. Multiple actions * Foundation with Corda, Kuperman and Zech of the street art group Periferia, with which she has produced urban actions since 2002. www.grupoperiferia.com.ar

WORKS IN COLLECTIONS* Museo Municipal de Arte Contemporáneo, Cuenca, Ecuador* Museo del Banco Central, Bahía de Caráquez, Ecuador

SELECTED PUBLICATIONS2005 * She is currently researching street art in Argentina at the request of the publishers Editorial Asunto Impreso, with Juan Carlos Romero as editor

2004 * Research at the Visual Ideas Department of Centro Cultural de la Cooperación into “New forms and mechanisms of legitimisation. Routes and parameters of artworks and artists” together with Andrea Trotta (ongoing) * Acerca de la noción de autoría y la idea del público en el Arte Callejero. www.grupoperiferia.com.ar * Transit Postal, una experiencia de Arte Correo. Pontificia Universidad Católica de Quito, Ecuador * El público – multitud www.grupoperiferia.com.ar

2003 * Viajes, territorios y otredades. El Arte Correo como ritornelo. Una práctica artística en los límites, los márgenes y los cruces de los cánones tradicionales. CAIA * Arte emergente en Argentina. Pontificia Universidad Católica de Chile * Arte Callejero. Internal university publication. IUNA * Estructura constructiva y conceptualización territorial del arte callejero. www.ardearte.com

2002 * El espacio opresivo. El poder de la mirada. Plastic resignification of concepts setting out from the dominator-dominated relationship: power, knowledge, enclosure, space, vacuum, oppression, control. www.arteuna.com   www.sepiensa.cl * ¿Qué es el Arte Correo y la Poesía Visual?  Internal university publication. IUNA

SELECTED CONFERENCES 2005 * 3rd International Congress on Art Theory and History – 11th Argentinean Art Researchers’ Centre (CAIA) Conference. Museo Nacional de Bellas Artes de Buenos Aires * Buch Objekt International Symposium. Kaiserslautern, Germany * 6th National Congress of the Argentinean Semiotics Association. Centro Cultural General San Martín

2004 * 6th Research Conference of the Argentinean and Latin American Art History Institute. Universidad de Buenos Aires (UBA)

2003 * 2nd International Congress on Art Theory and History – 10th CAIA Conference. Museo Nacional de Bellas Artes de Buenos Aires * National Symposium of the Argentinean Art Critics’ Association. “Argentinean art and critical thought”. Fundación Federico Klemm

TEACHING ACTIVITY (selection) * Lecturer in Audiovisual Media and Culture and Contemporary Aesthetics at the San Miguel Municipal Theatre School * Lecturer in Drawing at the Manuel Belgrano National School of Fine Arts

 

 

 

06prtb0824

2009-2010. Susanne Bosch. DREAM-DO-DONE (2009.05 / project review / location)

2009-2010. Susanne Bosch. DREAM-DO-DONE (2009.05 / project review / location)

MAY 2009

 

THE AREA OF LA LATINA AND LAVAPIES

The area I am interested in is at the border of the inner city district of Palacio and Embajadores. It has a number of schools, cultural and social associations. It is based in the city centre with a vivid market (Rastro), a vidid nightlife and cultural points to attract international tourism.The place chosen is in a neutral neighbourhood with people going to this place for shopping, tourism and entertainment. At the same time people living there are quite accessible and they will participate.

 

THE CHOSEN PLACE (S)

I would like to propose a place along the streets: Plaza de Cebada, or alternatively San Millan, Duque de Alba.

The location has to fulfil the following criteria:• Local citizens as well as tourists and shoppers pass by on a daily basis.• The area is safe enough to keep an object outdoor through day and night andattract people from outside the neighbourhood. The location needs to befound easily by visitors.• The chosen subgrade has to be able to withstand 2-4 tons of weight.• The neighbourhood attract a mixed population in age and nationalities.

1.    Plaza del Humilladero

2.    Plaza de Cebada, in front of the Mercado de Cebada

 

3.    Metro Station La Latina

 

4.    12 Duque de Alba

 

BRINGING THE WISHES ON LA CASTELLANA, 1ST-28TH FEBRUARY 2010

The prefoered space on La Castelan is either Recoletos, between Colon and Plaza de Cibeles or from Plaza de Cibeles to the Museo Thyssen Bormemisza.

 

OPEN SPACE EVENT ON 27TH FEBRUARY 2010

Despite a very interesting offer to use a space in Circulo de Bellas Artes, the venue needs to take place in the project neighbourhood, ideally onsite of the former collection site. It can be held in a one day marquete tent and with break out discussion groups in a number of the surrounding coffee bars. The catering and chairs will be provided also by local businesses.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10inmb3648

2006. Chus García Fraile (Cv)

MADRID, 1965LIVES AND WORKS IN MADRIDWWW.CHUSGARCIAFRAILE.COMWORK EXPOSED IN MADRID ABIERTO: POST IT

SOLO EXHIBITIONS2005·    Galería Fernando Pradilla, Madrid

2004·    Casas Riegner Gallery, Miami·    Galería ADN, Barcelona

2003·    2X1. Centro Municipal de las Artes de Alcorcón, Madrid·    For Sale. Galería Bacelos, Vigo·    Museo Municipal de Valdepeñas, Ciudad Real

2001·    Galería Antonio de Bartola, Barcelona

2000·    Galería Garaje Regium, Madrid

1998·    Galería Pilar Barrio, Madrid

1993·    Galería Fernando Silió, Santander·    Galerie Pierre Birtschansky, Paris

GROUP EXHIBITIONS2005·    Shopped to death. Tuteurhaus, Berlin·    Plotart. Galería Massimo Lupoli, Rome·    Parafraseando al diablo. Harto-Espacio, Montevideo, Uruguay·    The other Europe. Gallerie Se, Bergen, Norway·    PHOTOESPAÑA. Fundación Aena, Barajas Airport, Madrid·    PHOTOESPAÑA. Galería Fernando Pradilla, Madrid·    Subliminal. Art Proyects, Gijón·    D foto. Galería ADN, San Sebastián·    PHOCO Internacional Photography Competition. Centro Cultural Cecilio Muñoz Fillol, Valdepeñas·    ARCO 05. Galería Fernando Pradilla, Madrid·    Unplugged. Gallerie Se, Bergen, Norway·    Antirrealismos. Govett-Brewster Art Gallery, New Zealand·    Antirrealismos. Experimental Art Foundation, Adelaide, Australia

2004·    Solo para las masas. Galería Blanca Soto, Madrid·    Antirrealismos. Fremantle Art Centre, Perth·    Antirrealismos. Institute for Modern Arts (IMA), Brisbane, Australia·    Antirrealismos. Plimsoll Gallery Centre for the Arts, Hobart, Tasmania·    Fiberfib. Public Art, beach intervention, Benicasim·    ADN 1. Galería ADN, Barcelona·    3rd Biennial of Contemporary Representational Art. Galería Clave, Murcia·    ARCO. Galería Bacelos, Madrid

2003·    Arte Lisboa. Bacelos, Vigo·    Antirrealismos. Sydney, Australia·    Art Chicago 03. Casas Riegner Gallery, USA·    Museo Municipal de Orense. Purificación García Photography Collection·    Purificación García Collection. Museo Municipal de Orense·    Salón de Otoño de Madrid. Casa de Vacas·    Galería Arcaute. Monterrey, Mexico  ·    Indisciplinados. Marco, Vigo·    ARCO. Galería Antonio de Bartola, Madrid·    ARCO. Galería Fernando Pradilla, Madrid·    Art Miami Beach. Casas Riegner, Miami, USA·    Deluxe. Monasterio de Nuestra Señora del Prado, Valladolid

GRANTS AND AWARDS2005·    3rd prize in PHOCO. Valdepeñas, Ciudad Real

2004·    Honourable Mention, Focus Abengoa Foundation, Seville·    Fibart. Beach Art Project in Benicasim, Castellón

2003·    Acquisition Prize in the 6th Brocense Plastic Arts Competition. Cáceres Provincial Council·    Reina Sofía Extraordinary Prize. Salón de Otoño, Madrid·    Purificación García Acquisition Prize, Madrid·    Scholarship for Visual Creation. VEGAP, Madrid

2002·    Basketball Fine Arts Biennial, 2nd Prize. Pedro Ferrándiz Foundation, Madrid·    Honourable mention in 3rd Royal Premier Hoteles International Painting Competition, Malaga

WORK IN COLLECTIONS·    Faculty of Fine Arts, Madrid·    Alcorcón Town Hall, Madrid·    Fregenal de la Sierra Town Hall, Badajoz·    Caja de Ahorros de Segovia·    UNED Collection, Madrid·    Alicante Provincial Council·    Regional Government of Extremadura·    Comisiones Obreras Collection. Valdemoro, Madrid·    Brunete Town Hall·    Caja de Ahorros de Ávila·    Postal and Telegraphic Museum, Madrid·    Iberdrola Collection. UCLM, Toledo·    Cáceres Provincial Council·    Municipal Museum of Contemporary Art, Madrid·    Valdepeñas Provincial Council Collection·    Caja Castilla La Mancha Collection, Cuenca·    Hoteles Royal Premier, Malaga·    Lóreal Collection·    Purificación García Collection·    El Brocense Cultural Institute. Cáceres Provincial Council·    Ministery of Culture, Madrid·    Fibart Collection·    Focus-Abengoa Foundation, Seville·    Valdepeñas Town Hall Collection·    AENA Foundation

 

 

 

 

06prtb0822

2007. [Nexus*] Art Group. PROYECTO_NEXUS (2007.01 / visual data II)

2007. [Nexus*] Art Group. PROYECTO_NEXUS (2007.01 / visual data II)

 

DAY 8

          

           

            

 

DAY 9

         

           

               

 

DAY 10

            

             

              

 (January 2007)

 

 

 

 

 

 

 

 

 

 

07inib1339.2

2005. Compañía de Caracas. ESPACIO MÓVIL (theoretical data)

 

PRESENTATION

Project Mobile space

Project’s Authorship La compañía Caracas (founded in April 2004) formed by Ángela Bonadies and Maggy Navarro)Manager We will intervene in the artery of Paseo de la Castellana and Paseo del Prado with photographic images placed in bus stops and buses that follow that route.

Subject of the interventionUrban photographs of Caracas

MaterialsAdherent vinyl for stops and buses. If possible: durantrans Day and night for spaces where adverts are usually stuck

“…cuando pienso en algo, de hecho, pienso en otra cosa. No se puede pensar en algo más que pensando en otra cosa. Por ejemplo, usted ve un paisaje que es nuevo para usted, pero es nuevo para usted porque lo compara en el pensamiento con otro paisaje antiguo, que ya conoce.” Jean-Luc Godard

Referring to Godard´s quote that opens this project, its aim is to create a link between the city involved, Madrid, and the South American city of Caracas through a series of colour photos placed at bus stops and on buses covering the routes on the Madrid Abierto axis.

Espacio móvil plays with the meanings of “circulation” and “mobility” in an urban sense, i.e. transport, and a media orientated meaning, i.e. the circulation of information, to create a visual paradox, a disguise, and to think about “the city” through the movement and presence of both.

A modern South American city par excellence, Caracas was a promise for the “future” based on large urban projects and building in the 50´s which reflected times of economic boom. Fifty years later, today, Caracas is a city which is permanently on the move, suffering daily losses, both in its spatial memory and in its urban and technical concepts which sustain its habitability.

The opening of Madrid enables a visual spatial exploration through photographs of the centre of Caracas (current images of its streets, buildings and transport systems) and at the same time to take a more in-depth look at the public character and the critical possibilities of its urban objects (in this case, bus stops and buses), away from the official institutions and the conventional mediums of art. Likewise, it uses the pictorial intervention on buses by the Venezuelan artist, Carlos Cruz-Diez, during the Visual Arts Biennial in Porto Alegre in 1997 as a conceptual precedent.

La Compañía de Caracas was born from the interest in all that is urban and the need to record old and new phenomena which define “the city”, and from a special interest in our city of origin which is suffering an essential contradiction and is defined between archaisms and the new, between that which is traditional and that which is technological, between a state of permanent mutation and unchanging characteristics.

In the images we show different examples – not definitive – of our intervention, whose spirit is defined between “Venezuela how nice it is” and “Ocaso retirement”, sentences that can be read on the buses that work as alibis.

 

 

 

 

 

05prtc3437

2009-2010. Susanne Bosch. HUCHA DE DESEOS: ¡TODOS SOMOS UN BARRIO, MOVILÍZATE! (images)

2009-2010. Susanne Bosch. HUCHA DE DESEOS: ¡TODOS SOMOS UN BARRIO, MOVILÍZATE! (images)

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PLAZA PUERTA DE LOS MOROS

     

     

     

    

Photos: Alfonso Herranz

 

Hucha de Deseos, Plaza Puerta de Moros /  Photo: Marta de la Torriente / January 2010        Posters in La Latina / Photo: Mario Leal / January 2010

Posters in La Latina / Photo: Mario Leal / January 2010   Posters in La Latina / Photo: Susanne Bosch    Photo: Susanne Bosch / 12 November 2009

Photo: Susanne Bosch / 12 November 2009    Photo: Susanne Bosch / 12 November 2009    Photo: Maria Molina / December 2009 / Interview

Photo: Maria Molina / November 2009 / meeting    Photo: Maria Molina /  November 2009    Photo: ESO student / December 2009 / interview

Mercado de la Cebada / Photo: ESO student / December 2009     Mercado de la Cebada / Photo: ESO student / December 2009    Photo: Susanne Bosch / 12 November 2009

 

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TIZA ACTION

  

  

Photos: Alfonso Herranz

 

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OPEN SPACE. 27th February 2010

      

        

         

       

         

          

Photos: Alfonso Herranz

 

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PLANTING EIGTH PLUM TREES IN THE CORNISA PARK. 14th March 2010

        

                           

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10inic2836, 09-10inic2840, 09-10inic2862, 09-10inic2841

2005. José Dávila. MIRADOR NÓMADA (visual data)

2005. José Dávila. MIRADOR NÓMADA (visual data)

 

 PRELIMINARY STUDY. Sketches for the scaffolding proposal.

     

PROPOSAL. Volumetric view of scaffolding in which the public will be able to walk around and observe the city.

RELATED WORKS. Interior and exterior view of a similar project done in the past for the Camden Arts Centre in London, 2001

 

 

 

 

 

 

 

 

05pric0449, 05pric0453

2007. Dora García. REZOS / PRAYERS (2006.11 / fieldwork)

2007. Dora García. REZOS / PRAYERS (2006.11 / fieldwork)

NOVEMBER 2006CALL FOR PARTICIPATION 

 

THE “MADRID ABIRTO 2007” ART PROGRAMME(www.madridabierto.com) REQUIRES TWO THEATRE STUDENTS FOR AN ART PROJECT AVAILABLE FROM THE 1ST TO THE 28TH OF FEBRUARY 2007 FROM 5 PM TO 9 PM.

REMUNERATED JOB

THOSE INTERESTED CAN CALL ON THE 11TH, 12TH 0R 13TH OF DECEMBER FROM 10:30 AM TO 14:00 PM TO THE TELEPHONE

THANK YOU VERY MUCH

RMS La Asociación

Coordinators of Madrid Abierto

 

 

 

 

 

 

 

 

 

 

 

 

 

 

07intb1338, 07intb3632

2006. Arnoud Schuurman (Cv)

LEIDSCHENDAM, NETHERLANDS, 1976LIVES AND WORKS IN: ROTTERDAM WWW.ARNOUD.IS.DREAMING.ORGWORK EXPOSED IN MADRID ABIERTO: TRANSLUCID VIEW

Arnoud Schuurman’s attempt to incorporate art in public space drives him to seek boundaries of experimental possibilities.

"I look constantly to renew a synergy of media and techniques. By this I get ideas that evolves into something refreshing. To visualize something immaterial such as time and space, light and darkness in an object or entity on itself, is for me the ultimate goal".

Mostly I look to plan my ideas for an application in public space. I find this aspect of our surrounding environment exciting, there evolves  for a public art project the possibility to come in touch with a public that is not necessarily out for being confronted with an artwork. I would like my installations to spin off a dialogue with the surrounding environment and architecture. Herein the work generates in its presence with existing surroundings a confronting imaginative force and is contact with public spontaneously and inevitable.’

He lives and works in Rotterdam, The Netherlands. He has exhibited and worked on various public art projects in The Netherlands and various other countries. Amongst them are: Canada, Mexico, Portugal, Cyprus, Belgium, Serbia and Montenegro.

EDUCATION2000 * Master class: How unique is a city?  By Architect R. Yamamoto / Nai

1999 * Student exchange with Vancouver at Emily Carr Institute, Canada

1996–2000 * Willem De Kooning Academy, R’dam - Visual Art department

Solo exhibitions2005 * Urban Vitrine. Waterloostraat, Rotterdam

2002 * Structures of Interferente. Casa de la cultura  Morelia, Mexico

2001 * Urban Field. Project space Morgen, Rotterdam

1995 * Found Objects. Gallery Keller, The Hague

SOLO EXHIBITIONS 2005 * Composites.Patterns.Outcomes. Voorburgstraat Studios, Rotterdam

2004 * Noise-incident. Noise of Coincidence. Yuart Biënale Vrsac, Serbia&Montenegro * Accidentes Coordinados. Observatorio Morelia, Mexico

2003 * Out of Line. UN-bufferzone between Rep. Cyprus - TKKC * Endless sequence no. 5. Trans_Hábitos from Rotterdam/ MORGEN. Interdisciplinair festival in Porto * Descubrir de Europa. NOC project 5.0 Morelia, Mexico * Noiseobsession’  presentation 3.3.  Noise of Coincidence in Nicoisia, CY

2002 * Send Documents. STROOM, The Hague * Whats happening. CuCoSa, Rotterdam

2001 * Doormat of the Law. Art tour Rotterdam, City Hall

2000 * Perpetuem Mobile. Kunsthal Rotterdam * A hot Welcome. Entrance academy, Rotterdam

1999 * Endless Sequence no. 2. Port Coquitlam City Hall, Canada * Commissions and public art

2005–2006 * Port in the Picture. Katendrecht  - Rotterdam * 2005-2006 * Shadow Monument. Vosmaerstraat, Rotterdam

2003 * Shadow monument. Polderweg, Amsterdam * Noisecrossings. Block area-green line-Nicosia, Cyprus

2001 * Spy mirror Monitoring. Witte de Withstraat, Part of the Art Express route in Rotterdam * Sketch proposal for a work in the new Luxor theatre, Rotterdam

2000 * Confrontation Mirror. A semi-permanent work in Metro station Blaak.  Commissioned by RET, Rotterdam

1999 * Tidal Bed. Public space-project, Vancouver

1997 * Metro-Shelter. Surbröt, Belgium

GRANTS2005 * Robert Wilson's Watermill Center International Summer Arts * Program,Long Island, NY - UNESCO Aschberg bursary and The Netherlands Foundation for Visual Arts, Design and Architecture.

2004 * Internship Edad de Bronce. Morelia, Mexico. CBK Rotterdam bursary

 

 

 

 

 

06prtb0820, 06prtc0840

2005. Henry Eric Hernández García. ZONA VIGILADA (proposed location)

2005. Henry Eric Hernández García. ZONA VIGILADA (proposed location)

 

 SPACE TO INTERVENE IN

Outdoor Sculpture Museum in Castellana (pedestrian way under bridge).

    

Zona Vigilada reconsiders the counterpoint between two specific cultural spaces with the relentless view as a controlling event in our acts, be they private or public. The first chosen stage is the Museo de las Esculturas…; the second is a documentary filmed for this project in Cuba. It questions vigilance (through personal testimonies, archived images and images taken with cameras in this place) as a means of support and persuasion for maintaining power. Hence, in the first stage chosen, we see his interest in recontextualizing this strategy of survival of status as a “museum piece”.

 

 

 

 

 

 

05prtc3441-05prmc3440

2009-2010. Iñaki Larrimbe. UNOFFICIAL TOURISM (publication)

 

FOLLETO

 

PLANO

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

f09-10inmc2784, f09-10inmc2788

2005. Fernando Baena. FAMILIAS ENCONTRADAS (published text: book)

 Anecdote

By chance, I found a cardboard box labelled “1ST JANUARY TO 17TH MARCH 1971” containing around 100 black and white negatives supposedly taken by some commercial photographer.  Among the images, some were of families in the typical pose required for the official large-family card.

  

Description

Underneath the usual advertising banners placed on the façade of Círculo de Bellas Artes five other banners are installed, each exhibiting the image of one of those unknown families.  Underneath each of those photographs a luminous display shows texts referring to the year 1971, particularly the period 1st January to 17th March: 

Anniversaries. The family. Art in Spain in 1971. Círculo de Bellas Artes. Updated daily news.

 

Commemorative and documentary image

The emergence of photography dealt a death blow to the paintings of history. The commemorative and documentary role of these paintings was replaced with the faster and more reliable photographic report. History disappears as the subject of works of modern art - possibly El Guernica was the last. The portrait is another area which photography and new image-recording media practically stole from the “fine arts” and if it occasionally continues to be considered art, it is within these modern disciplines.

The subject of the family has been present throughout the history of western art. We only have to refer to the busts of Roman ancestors, the Sagradas Familias, the royal families painted by Velázquez or Goya, the bourgeois families portrayed by the Dutch, the aristocratic ones by Reynolds and the modern ones by Hockney. Although the images of Familias encontradas can be easily framed in this subject, the texts that appear in the five electronic signs that accompany them refer us to the society of the moment those photos were taken. The concept of the family is extended to encompass Spanish people and the rest of humanity. Obviously, what was happening in the world affected the protagonists of the photographs and all of us already here.

But in this case, the aim is not just to document or commemorate, or make an exhaustive sociological analysis of the situation of the family or Spanish art in the last years of Franco’s dictatorship, nor to nostalgically emphasise those decisive years of our own personal history. The aim is to place a common anchorage point in the collective memories – its election was accidental- from which to stretch our memory to the present. We will realise, if we have the patience to read the different texts, that in thirty-four years we have changed a lot and we haven’t changed at all. Seen from a distance, the red lines of the electronic signs move without advancing.

 

Fragments of the texts that are projected in the luminous signs.

ANNIVERSARIES [1st of January – 17th of March 1971]

9th January– The American Junior Chamber of Commerce presents Elvis as one of the ten most extraordinary young North Americans.10th January– The French designer Gabrielle "Cocó" Chanel dies. 11th January– The Assuan Dam in Egypt is inaugurated. 12th January– The DIA informs that Guatemalan forces have “silently eliminated” hundreds of “terrorists and bandits” in the country side.13th January– 70 Brazilian guerrillas board a plane in Río de Janeiro bound for Allende’s Chile.14th January– Vente a Alemania, Pepe is premiered and seen by 2,078,570 spectators.15th January– Public execution of Ernest Ouandié, leader of the UPC (Cameroon).16th January– The Spanish tennis player, Sergi Bruguera, is born. 17th January– The vision of ETA VI Asamblea prevails, when a commando group kidnaps a well-known industrialist in the Basque Country whose factory was on strike.

 ART IN SPAIN IN 1971

Alexandre Cirici i Pellicer takes part in establishing the Asamblea de Catalunya, and is jailed for one week.Rafael Canogar wins the Grand Prix in the Biennial of Sao Paulo.The Rodríguez Acosta Foundation announces the XII Exhibition-Contest on the subject of “Women”. The prizes range from 100,000 to 25.000 pesetas.The first symptoms appear of the illness that would end the life of Juan Eduardo Cirlot. Later that year he would undergo a pancreas cancer operation.The art collection of the Museo Nacional de Arte Moderno is divided up. The 19th century paintings went to the Museo del Prado. The 20th century paintings went to the newly opened Museo Español de Arte Contemporáneo, in a building designed by the architect, Jaime López de Asiaín, located in Ciudad Universitaria.Last edition of the Salón Femenino de Arte Actual. The project for the Museo de Escultura al Aire Libre de Madrid is approved. The close relationship between Eusebio Sempere and the authors of the works or their families means that all the works are donated to the museum.THE SPANISH FAMILY IN 1971The first baby born in Madrid in 1971 was a girl. She weighed four kilos and was born to Amparo Paloma Ortiz and Francisco Barrado Mateo. When marrying a foreigner, Spanish women automatically lost the Spanish nationality and were considered foreigners. They were given a residence card, their academic qualifications were not longer valid, they could not join the civil service and needed a work permit to be employed in any other job. The Council of Ministers approves a Decree on 8th of January to introduce improvements to family protection by raising the monthly family benefits by 25%: a man receives 375 pesetas for having a wife; 250 pesetas for each child; 6,000 pesetas for getting married; and 3,000 pesetas for each newborn child. After 15 years of marriage, Manuel dies on the 5th January 1971 due to the burns inflicted by his wife when she threw a pan of boiling hot water, to which she had added a corrosive substance, over him whilst he was asleep. The absolute values of Spanish families are the indissolubility of marriage, the procreation of the highest possible number of children, the predominant role of the father as head of the family and the subordinate role of women of biological reproduction and household chores.

CIRCULO DE BELLAS ARTES IN 1971

Extraordinary act in the Teatro de Bellas Artes to present the gold medals and the Silver Minerva, which are awarded since 1965. In total, thirty eight medals were awarded. The act includes the premiered monologue by the President of Círculo de Bellas Artes, Joaquín Calvo Sotelo, with the title Pis. The 1971 Francisco Alcántara award was handed to the sculptor Luis Montoya for his work Cabeza. The Best Poster of the Year Award, with a prize of 100,000 pesetas, was not awarded to anyone. The Gold Medal of Círculo de Bellas Artes was awarded to the billiard player, Avelino Rodríguez Rico. In March 1971 an exhibition was held on La marioneta, together with children and adults’ sessions performed by the group Peralta and Alcaráz. June 1971 Círculo de Bellas Artes organises a Corrida Goyesca fully dedicated to bullfighting on horseback.From 12/04/1971 to 14/04/1971 Círculo de Bellas Artes holds the Spanish Three-cushion Interclub Billiard Championship. 

 

 

 

 

 

 

05intc0520

2007. [Nexus*] Art Group. PROYECTO_NEXUS (2006.11 / visual data)

2007. [Nexus*] Art Group. PROYECTO_NEXUS (2006.11 / visual data)

 

      

     

  

(November 2006)

 

 

 

 

 

 

 

 

 

 

07inib1342

2005. Henry Eric Hernández García. ZONA VIGILADA (technical + visual data)

2005. Henry Eric Hernández García. ZONA VIGILADA (technical + visual data)

 

ASSEMBLY DESCRIPTION

Build a screen with a sound outlet between the two columns that are located in the centre of the sidewalks –just under the bridge –, route of major pedestrian traffic.

The size of the screen will be of 200cm x 450cm. I am interested in installing a screen made of strong synthetic material, attached to the columns with tubes (like scaffolding tubes).

Install two video-projectors, one in front of each side of the screen. One will project the images of the first space (B/W) and the other, the images of the second space (full colour).

The cameras will move on different angles of the Sculpture Museum and over the bridge, connected to a computer (placed also around the museum) and one of the video-projectors.

 

TECHNICAL REQUIREMENTS

- Install a screen with different sizes according to the space and the sound outlet:- Install 2 video-projectors with accessories, one of which has to be connected to a DVD player; the other to be connected to the computer.

 

 

 

 

 

 

 

 

05prmc3440

2005. Fernando Baena. FAMILIAS ENCONTRADAS (published text: web)

 By chance I found a carton box labelled : January 1st 1971 to March 17th. The box contained nearly 100 black and white photo negatives which were apparently taken by an anonymous photographer. Amongst the images, there are photos of families in the typical pose used in those days for the official identity card of large families. That is how we used to pose in the final years of the dictatorship. Are there any similarities with us today?

Below the normal publicity posters of the Circle of Fine Arts another five will be placed, each one with an image of one of these unknown families. To give context to the images, five electronic signs will display texts referring to that period of time.

 

 

 

 

 

 

06intc0522

2005. Compañía de Caracas (Cv)

ÁNGELA BONADIESCARACAS, 1970 LIVES AND WORKS BETWEEN CARACAS Y MADRID WWW.ANGELABONADIES.COM

MAGGY NAVARROCARACAS, 1961 LIVES AND WORKS IN CARACASWWW.MAGGYNAVARRO.COM

WORK EXPOSED IN MADRID ABIERTO:ESPACIO MÓVIL 

ÁNGELA BONADIESEDUCATION2003·    Seminars in Arteleku, Donostia-San Sebastian.1996·    Photography workshop. Manoa Arte, Caracas.·    1988-93 Architecture and urbanism. Universidad Central de Venezuela, Caracas

SOLO EXHIBITIONS  2002·    La gran congelación. Galería 491 Art i Recerca, Barcelona.

GROUP EXHIBITIONS2003·    Contra/sentido. Nueva fotografía venezolana. Sala Mendoza. Caracas.

2002·    Desde lo femenino. PhotoEspaña2002. La Fábrica fotogalería, Madrid; B-Guided magazine, Barcelona.

2001·    Desde fuera. Cuatro fotógrafas. Galería Art al Rec, Barcelona.

2000·    Un oasis en el desierto azul. Espai 13 of the Joan Miró Foundation, Barcelona·    III Salón CANTV   Jóvenes con FIA. Caracas Athenaeum.

1998·    Señales de tránsito . Sala de Arte PDVSA, Puerto La Cruz·    Josune Dorronsoro Latin American Photography Award . Museo de Bellas Artes, Caracas·    V National Art Biennial of Guayana, una selección . Museo Alejandro Otero, Caracas·    Banco de Imágenes award . Centro Nacional de Fotografía, Caracas.

1997·    V Natioanl Art Biennial of Guayana . Museo de Arte Moderno Jesús Soto, Ciudad Bolívar·    Abierto . Espacio alternativo León, Caracas.

GRANTS AND AWARDS2004·    Latin American award for photography “Josune Dorronsoro” 2004 for the series of photos “Inventarios”-Spain.

2003·    Grant for the development of artistic projects 2003 for the series “Inventarios” Caracas. National Council on Culture, Venezuela.

1997·    Honorary mention at the V National Art Biennial of Guayana 1997 for the series “Sur Oriente Medio”. Venezuela.·    Honorary mention. Latin American Award for Photography of Josune Dorronsoro 1997 for the series “Doc.Alzh.II”.

1996·    Banco de Imágenes 1996 award for the series “Los Chinos: la mirada del otro al otro”. National Library – National Council on Culture, Venezuela.

BIBLIOGRAPHY·    Published in María Teresa Boulton's book “ 21 fotógrafas venezolanas” . Caracas, Venezuela, 2003.·    He has cooperated with Spanish, French and Venezuelan magazines such as B-Guided , Eseté , Enser, Lieu-dit, ExtraCámara , Estilo, Exceso and Verbigracia .·    Columnist for the magazine “ Athenea Digital” published by the Universidad Autónoma de Barcelona and collaborator for the daily newspaper in Venezuela “ El Nacional de Venezuela”.

MAGGY NAVARROEDUCATION1994·    Photography workshop. Manoa Arte, Caracas.

1985·    Photography, cinema and video. American University, Washington D.C.

1984·    Degree in International Relations, Latin American Issues. George Washington University,    Washington D.C.

SOLO EXHIBITIONS 1999·    El Miedo . Sala Mendoza, Caracas.

1997·    Serie en Yo. Sala Alternativa, Caracas.

GROUP EXHIBITIONS2004·    Arte contemporáneo venezolano en la Colección Cisneros (Contemporary Venezueal Art in the Cisneros Collection) (1990-2004). Museo Jesús Soto. Ciudad Bolívar, Venezuela

2003·    Retrospectiva Arte Venezolano siglo XX. Década de los 90 . (Retrospective of Venezuelan Art of the XX Century. Decade of the 90's) Museo de Arte Contemporáneo de Caracas

2002·    Políticas de la diferencia. Arte iberoamericano fin de siglo , Recife,·    Brasil. Museo de Arte Latinoamericano de Buenos Aires

2001·    Utópolis . Galeria de Arte Nacional, Caracas·    13 Horas. Sala Mendoza, Caracas

2000·    International Photography Biennial . Museo Alejandro Otero, Caracas·    En el filo. Museo de Arte Moderno Juan Astorga Anta, Mérida, Venezuela·    Frontera, Museo de Arte Contemporáneo, Monterrey, Museo de la Fotografía, Oaxaca

1999·    Frontera. International Photography Biennial, Centro de la Imagen, México D.F·    International festival of Contemporary Art , Brussels. Fifty One Fine Art Photography Gallery.

1998·    Premio Mendoza , Sala Mendoza, Caracas  ·    La Resurrección del Cadáver Exquisito , Sala Mendoza, Caracas·    Una Selección: National Art Biennial of Guayana . Museo Alejandro Otero, Caracas·    Cabaret Digital , Sala Mendoza, Caracas.

1997·    V National Art Biennial of Guayana , Museo de Arte Jesús Soto, Bolívar·    Siete mujeres fotógrafas . Centro de Fotografía, CONAC, Caracas.

1994·    Jóvenes fotógrafos venezolanos . Alianza Francesa, Caracas.

BIBLIOGRAPHY·    Published in María Teresa Boulton's book “ 21 fotógrafas venezolanas” . Caracas, Venezuela, 2003

 

 

 

 

 

05prtb0368

2009-2010. Susanne Bosch. DREAM-DO-DONE (2009.05 / project review / theoretical data)

2009-2010. Susanne Bosch. DREAM-DO-DONE (2009.05 / project review / theoretical data)

MAY 2009

 

‘DREAM-DO-DONE’ for the area of La Latina / Lavapies in Madrid

GENERAL CONCEPT

Every banknote carries a trade value, but also a potential future value (saving for the next holidays, for the desired car, ...). Every conversation carries the potential of a future business, a new invention, a new task, a chance.

Everyone carries an unused potential, an idea in mind, an obervation, an untold story or observation, unused old coins in a drawer at home. The public art project DREAM-DO-DONE seeks to collect as many of these little individual potentials as possible. The art project brings them together to transform them into real things, projects, outcomes in a real world.

DREAM-DO-DONE will collect the Peseta* coins and banknotes in a public collection site in the La Latina / Lavapies neighbourhood for the period of mid October 2009 to Mid February 2010. Along with the peseta collection, the project will ask actively the neighbourhood and the users of the neighbourhood (visitors of the Rastro market and markets, bars, cafes), what they would like to realize with this public and worthless money? The project will collect and publish extensively the wishes during the period of the event on a webpage, in the public media and as posters in the neighbourhood. During the final months of February, the wishes will be presented in a daily public art action on La Castellana. On 20 February 2010, everone is invited to publicly sort the coins and banknotes and transport them to the Banco de Espana. On 27 February 2010 everybody who would like to be part of the decision making group, is invited to attend an open space event***. This one day event will be used to decide collectively what will happen to the pesetas and how this will be put into action.

*The name is believed to have been derived from the Catalan word "peceta", meaning "little piece" (i.e., the diminutive of "peça", "-eta" being the usual feminine diminutive) [1]. However, it is also possible that the name is the diminutive of "peso", an already-existing currency whose name derives from a unit of weight; this is consistent with such other currencies as the British pound. "Peseta" is also the term used in Puerto Rico for a U.S. quarter-dollar coin.

**unless you carry them to the Banco de España in Calle Alcalá 48 to exchange them

***Antonio Rodriguez from AEC - Actividades Educativas Culturales could be the facilitator of the eventas a trained open space facilitator in Madrid. ( http://www.aec-spain.net)

 

AIMS

DREAM-DO-DONE is an artproject that serves as a model to empower people. It offers a creative platform that allows people to work together, to develop a collaborative spirit and inclusion. It offers the exerience of a collective decision process. The art project combines an unusual aethetic appearance with a meaningful public debate. It creates a large forum for potential. By concentrating on one neighbourhood, the project will empower people that live in close proximity and have a personal relationship, connectedness to the site and each other.

 

OUTCOMES/ACTIONS

DREAM-DO-DONE will do this through a number of artistic actions and interventions for a duration of ideally 4.5 months from mid October 2009 to end of February 2010.

A collection site will be on a public place in La Latina/Lavapies for the duration of 4 months to collect coins, banknotes and wishes, also to visualize wishes. For the same duration, an interactive blog or webpage, regular poster actions and PR will be performed. 

During the final months of February, the wishes will be presented in a daily public art action on La Castellana. On 20 February 2010, everyone is invited to publicly sort the coins and banknotes and transport them to the Banco de Espana. On 27th February 2010 everybody who would like to be part of the decision making group, is invited to attend an open space event. This one day event will be used to decide collectively what will happen to the pesetas and how this will be put into action 

 

BRINGING THE WISHES ON LA CASTELLANA, 1ST-28TH FEBRUARY 2010

From the beginning to the end of February, the wishes and desires given by the people over the past 3.5 months will be transformed into a public art event on La Castellana. It will take the following shape:

In a daily public action, 2 persons will write the wishes with white charcoal on the floor of the paseo. This action will be done for 3 hours every day. Every day the writing will be either continued where it stopped the previous day or started again (depending if the rain washed it away).

 

20TH FEBRUARY 2010 – PUBLIC MONEY COUNTING AND SORTING EVENT OF THE COLLECTED COINS AND BANANOTES

On 20th February 2010, the population will be invited to sort the coins in order to bring them to the Banco de Espana. This will be a one day public event with media present. A van will be hired to bring the sorted coins and banknotes to the Banco de Espana. The public will be provided with information, hot drinks and catering (this willbe done in cooperation with the local bars and shops).

 

OPEN SPACE EVENT ON 27TH FEBRUARY 2010

Open Space Technology is an innovative format of organizing gatherings with large groups. ("Technology" in this case means tool — a process; a method.) It represents a self-organising process. Participants construct the agenda and schedule during the meeting itself. Thus it enables the bringing together of all interested parties with their insights, experiences, questions and wisdom. Open Space Technology allows diverse people to address complex and possibly controversial topics. It functions best where more traditional meeting formats fail: in situations involving conflict, complexity, diversity of thought or people, and short decision-times. It supports systems of all kinds and sizes in unfolding the forces of collaboration, cooperation, participation, creativity and spirit required to come to action on the burning issues facing them.4The Open Space Event on 27th February will end with an action plan (including a time schedule) what to do with the accumulated money and wishes. It will also identify who is taking care of the realisation.

4 Antonio Rodriguez from AEC - Actividades Educativas Culturales could be the facilitator of the event as a trained open space facilitator in Madrid. (http://www.aec-spain.net)

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10inmb3644

2005. Simon Greenan + Christopher Sperandio (Cv)

SIMON GRENNANLONDON, 1965 LIVES AND WORKS IN WREXHAM, WALES

CHRISTOPHER SPERANDIOKINGWOOD, WEST VIRGINIA, 1964LIVES AND WORKS IN HOUSTON, TEXAS

SINCE 1990 COOPERATE IN DIFFERENT PROJECTSWWW.KARTOONKINGS.COMWORK EXPOSED IN MADRID ABIERTO: SOY MADRID

SOLO EXHIBITIONS AND PUBLIC ART PROJECTS

2004·    The Hayward Gallery, Londres·    Spacewalk. Videoinstalación digital. The Hatton Gallery, Newcastle

2003·    De La Warr Pavilion, Reino Unido (catálogo)

2002·    Museum of Modern Art y PS1, Nueva York   (catálogo)·    Modern Masters. Proyecto iniciado con Robert Storr en el MoMA, y con Tom Finkelpearl en PS1·    Shifting Gear. Comisariada por Ruth Charity. Manchester Art Gallery e itinerante por ocho museos, Reino Unido (catálogo)·    What in the World?. Arts About Manchester. Canterbury City Council, Reino Unido·    Glazed Looks. Comisariada por Sam Wilkinson. Stafford Museum, Reino Unido ·    Young English. Comisariada por Sarah Black. Catalyst Arts, Belfast, Irlanda ·    Belfast Sky. Catalyst Arts. Hull Time Based Arts, Reino Unido ·    Tales of the River. Hull Time Based Arts. The Gallery, Stratford-upon-Avon, Reino Unido·    Talk of the Town. The Gallery. Itinerante

2001·    Aarhus Kuntsmuseum, Dinamarca·    Danish Pastries. Comisariada por Anders Koldt. Gallery of Modern Art, Glasgow, y Stratford, Reino Unido (catálogo)·    16/25. Comisariada por Victoria Hollows. Turnpike Gallery, Reino Unido ·    Don't Get Me Started. Comisariada por Kerrie Moogan.

2000·    Yerba Buena Center for the Arts, San Francisco·    Nearly There. Comisariada por Renny Pritikin. Art in Hospitals Trust, Reino Unido (catálogo)·    Nurses's Tale. Comisariada por Mary Hooper

1999·    Public Art Fund, Nueva York (catálogo)·    The Invisible City. Comisariada por Tom Eccles

1998·    Seattle Art Museum (catálogo)·    The Peasant and the Devil. Comisariada por Trevor Fairbrother·    American Fine Arts, Nueva York·    One Hundred. Photo '98 e Impressions Gallery, Reino Unido (catálogo)·    Buried Treasures. Comisariada por Andrew Cross. SMFA, Boston (catálogo)·    Art School Superstars. Comisariada por Lelia Amalfatano

1997·    British National Museum of Photography, Film and Television (catálogo)·    The Bradford 100. Comisariada por Greg Hobson

1996·    Museum of Fine Arts, Boston (catálogo)·    Dirt. Comisariada por Trevor Fairbrother. Institute of Contemporary Arts, Londres, Reino Unido (catálogo)·    Cartoon Hits. Comisariada por Katy Sender. Centre for Contemporary Arts, Glasgow·    All 'Round Awesome. Comisariada por Nicola White. American Fine Arts, Nueva York·    Fantastic Sh*t.

1995·    Cornerhouse, Manchester, Reino Unido (catálogo)·    Times like These. Comisariada por Stephen Snoddy. Salisbury Festival. Salisbury, Reino Unido

1994·    Center for the Arts, San Francisco (catálogo)·    Recollections. Comisariada por Renny Pritikin. College of DuPage, Chicago (catálogo)·    Maintenance. Telegraph Magazine, Reino Unido·    Anyone in Britain. Towner Gallery, Eastborne, Reino Unido (catálogo)·    6 Eastborne Dentists. Comisariada por Penny Johnson. James Hockey Gallery, Reino Unido (catálogo)·    Everyone in Farnham. Comisariada por Andrew Cross

1993·    Grey Art Gallery at Nueva York University, Nueva York (catálogo)·    Anyone in Nueva York. Comisariada por Tom Sokolowski

1992·    Lakeview Museum, Peoria (catálogo)·    At Home with the Collection.

1991·    Stadt Museum Fellbach, Stuttgart, Alemania·    Grennan and Sperandio. Astley Cheetham Collection, Reino Unido·    Manchester City Art Galleries, Manchester, Reino Unido

1990·    The Body, Chicago (catálogo)·    Esposiciones colectivas y proyectos

GROUP EXHIBITIONS2004·    Spacemakers. Lothringer Dreizen, Munich, Alemania·    Worthless Protégé. The Suburban, Chicago

2003·    Live Culture. Tate Modern, Londres·    Wild nights: Remembering Colin de Land . CBGB 313 Gallery·    Comic Release. Regina Gouger Miller Gallery, Carnegie Mellon University (catálogo)

2002·    Palais de Tokyo, Paris·    The Armory Show . American Fine Arts, Booth #8145·    Ordinary Icons . Gallery 312, Chicago·    Personal Views . Milton Keynes Council, Milton Keynes

2001·    Rhode Island International Film Festival, Screening·    Tele[Visions]. Kunsthalle Vienna (catálogo)·    24th International Biennial of Graphic Arts, Ljubljana (catálogo)·    Animations . PS1/MoMA, Nueva York·    Milton Keynes Council, Milton Keynes·    Ink Studs . Gallery 10 in 1, Nueva York·    Saints and Sinners. Girifalco Fortress, Cortona, Italia

2000·    Modern Times 3 . Hasselblad Centre, Gottenburg, Suecia·    Up In The Air . Liverpool, Reino Unido (catálogo)·    Moss Side and Hulme Partnership, Manchester

1999·    South London Gallery, Londres, Reino Unido·    Street Wise. Row House Project, Houston·    Conceptual Art, Thread Waxing Space, Nueva York·    Hypervision . Elizabeth Cherry Contemporary Art, Tucson

1998·    Superfreaks : Trash. Greene Naftali Gallery·    Photo98 , Londres / Edinburgo·    Art Transpennine '98. Tate Gallery con Henry Moore Institute (catálogo)

1998·    Revenge. IKON Gallery, Birmingham, Reino Unido (catálogo)·    High Art Hi-jinx. Museum of Fine Arts, Boston

1996·    a/drift. Center for Curatorial Studies, Annendale-on-Hudson (catálogo)·    Shopping. Deitch Projects, Nueva York (catálogo)·    25 Young Artists. John Weber Gallery, Nueva York·    Traffic. CAPC Musée D'Art Contemporain, Burdeos (catálogo)·    Recontes de la photographie. Arles Photography Festival·    Mutant. Galerie Philippe Rizzo, Paris

1995·    Prison Sentences. Philadelphia (catálogo)·    Chocolate. Swiss Institute, Nueva York

1994·    American Fine Arts Co., Nueva York

1993·    Culture in Action. Sculpture Chicago (catálogo)·    Lotus Club. Daniel Bucholz Gallery. Cologne, Alemania·    Vox Pop. Laure Genillard Gallery, Londres·    Contacts/Proof. Jersey City Museum·    Andrea Rosen Gallery, Nueva York

1992·    Comfort and Dissent. Artists Space, Nueva York (catálogo)

1991·    The Fountainhead. Abel Joseph Gallery Chicago & Ewing Gallery, Knoxville·    Profiles. New Work by Chicago Artists, Randolph Street Gallery, Chicago (catálogo)·    Belgrove Station. Glasgow, Escocia

1989·    Modern Love. ARC Gallery, Chicago·    Proyectos de televisión

2003·    Music Television (MTV), Nueva York·    Drop it. Programa de introducción de serie de televisión

2001·    Music Television (MTV), Nueva York·    bloid!. Programa de introducción de serie de televisión·    Channel Four, Reino Unido·    The Liquid Pavilion. BALTIC Centre for Contemporary Art, Reino Unido·    The Hand and the Word. Encargo de Sune Nordgren

2000·    Music Television (MTV), Nueva York·    Reanimate. Programa de introducción de serie de televisión basado en el trabajo de Grennan y Sperandio. Harris Museum, Reino Unido·    Preston. Película animada, encargada por James Green·    Publicaciones·    'Strange Cargo'. The Hatton Gallery, Newcastle, Reino Unido·    'What in the World?'. Arts About Manchester·    'Modern Masters'. DC Comics, Museum of Modern Art/PS1, Nueva York·    '16/25'. Gallery of Modern Art, Glasgow, Escocia·    'Nurse's Tale'. Distribuido por Fantagraphics Books·    'The Invisible City'. Public Art Fund. Distribuido por Fantagraphics Books·    'Art School Superstars'. SMFA, Boston. Distribuido por Fantagraphics Books·    'The Peasant and the Devil'. Seattle Art Museum. Distribuido por Fantagraphics Books·    'Buried Treasures'. Photo '98. Distribuido por Fantagraphics Books·    'Ghost on the Stair'. Tate Gallery Liverpool y Henry Moore Sculpture Trust·    'Revenge'. IKON Gallery. Distribuido por Fantagraphics Books·    '100'. National Museum of Photography. Distribuido por Fantagraphics Books·    'Dirt'. Museum of Fine Arts, Boston. Distribuido por Fantagraphics Books·    'Cartoon Hits'. ICA London. Fantagraphics Books, Printed Matter·    'Life in Prison'. Prison Sentences. Fantagraphics Books, Printed Matter·    'Times Like These...'. Distribuido por Cornerhouse·    'Recollections'. Center for the Arts, Cornerhouse·    'Six Eastborne Dentists'. Towner Gallery, Cornerhouse·    'Everyone in Farnham'. James Hockey Gallery, Cornerhouse·    'Maintenance'. College of DuPage·    'Anyone in Nueva York'. Grey Art Gallery, Distribuido por DAP·    'At Home with the Collection'. Lakeview Museum, Cornerhouse·    'The Body'. 2 CAAP Development Grants, Printed Matter

BIBLIOGRAPHY·    Tom Eccles, Plop: 'Recent Projects from the Public Art Fund', 2004·    Ben Johnston, 'Comics are no laughing matter', The Western Front , 2004.·    James Fuentes, "Colin De Land," Zing Magazine, Mayo 2004·    Rob Clarke, 'Grennan and Sperandio', Guardian , Septiembre 2003.·    Helen   Tither, 'Daisy, 73, is a frock star', Manchester Eve News , Febrero 2003.·    Krainak, Paul. 'Grennan and Sperandio', Art Papers, Oct/Nov. 2002·    Kwon, Miwon. 'One Place after Another', MIT Press, 2002·    Dawson, Mike. 'Young English/Kartoon Kings', Flux Magazine, Ago/Sept. 2002·    Searle, Adrian. 'Pick of the Week: Grennan & Sperandio', Guardian Unlimited, Agosto 2002·    Haynes, Rob. 'Don't get me started',   The Big Issue, Marzo 2002·    Bhaskaran, Lakshmi. 'State of Independents', Graphics International, Jul/Ago 2002·    Colstrup, Tine. 'Wienerbrød for you and for me', Aarhus Kunstmuseum Demo, Junio 2001·    Grabner, Michelle. 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'Tooth Pics...', Independent, Septiembre 1994·    'Bridget meets a spellbinder', Cumberland News, Septiembre 1995·    'Meeting of a lifetime for Megan', Shropshire Star, Agosto 1995·    'Jenny wins a date with a star', Coventry Telegraph, Agosto 1994·    Beringer, Tom. 'Anyone in Britain', Greater London Radio, Agosto 1994·    Grennan / Sperandio. 'Anyone in Britain', Telegraph Magazine, Agosto 1994·    Cross, Andrew. 'Everyone in Farnham', Around Surrey, Julio 1994·    Larby, Corina. 'One moment in Life...', Farnham Herald, Junio 1994·    Ellison, Mike. 'Artists stop traffic...', Guardian, Junio 1994·    'Everyone in Farnham', Kaleidescope Radio 4, Junio 1994·    Krainak, Paul. 'Dream Date', Afterimage, Mayo 1994·    Drake, Nicholas. 'Making Art Happen', Public Art Review, Verano 1994·    Grennan/Sperandio. "Everyone in Farnham,"   Catálogo, Julio 1994·    Princenthal, Nancy. ' The New Realism', Catálogo, Julio 1994·    Larby, Corina. 'Everyone in Farnham', Farnham Herald, Junio 1994·    Tormollan, Carole. 'New Public Art in Chicago', High Performance, Primavera 1994·    Corin, Lisa. 'Mining the Museum', MCA. Baltimore, 1994·    Schleifer, Kristen. 'Trial by Fire', New Art Examiner, Mayo 1994·    Crompton, Sarah. 'A Huge response...', Telegraph Magazine, Abril 1994·    Riley, Corin. 'The Collaborative Art of...', Carnegie Mellon Focus, Primavera 1994·    Corrin/Sangster. 'Culture Is Action - Action in Chicago', Sculpture Magazine, Marzo 1994·    Bush, Kate. 'Vox Pop - Laure Genillard', Untitled Magazine, Primavera 1994·    Grennan/Sperandio. 'Anyone in Britain', Telegraph Magazine, Marzo 1994·    Speiser, Irene. 'Public Art:...', Neve Zurcher Zeitung, Febrero 1994·    Grennan/Sperandio. 'Anyone in Britain', Telegraph Magazine, Febrero 1994·    Miller, Sarah. 'Anyone in Britain', BBC Radio Newcastle, Febrero 1994·    Grennan/Sperandio. 'Anyone in Britain', Telegraph Magazine, Febrero 1994·    Paton, Phillip. 'Design Good Enough to Eat', International Design, Enero 1994·    Gamble, Allison. 'Reframing a Movement', New Art Examiner, Enero 1994·    Haines, Cailey. 'Lunch with a stranger', Soap Opera Weekly, Diciembre 1993·    Seidel, Mitchell. 'Exhibition goes deep into 'The City'', Jersey Star Ledger, Diciembre 1993·    Snodgrass, Susan. 'Culture in Action', Art Papers, Nov/Dic 1993·    Connors, Thomas. 'Culture in Action', Sculpture, Nov/Dic 1993·    Scanlan, Joseph. 'Culture in Action', Frieze, Nov/Dic 1993·    Cameron, Dan. 'Culture in Action', Flash Art, Noviembre 1993·    Cooke, Lynne. 'Arnheim and Chicago...', Burlington Magazine, Noviembre 1993·    Hartney, Eleanor. 'Culture in Action', Art in America, Noviembre 1993·    Grennan, Sperandio. 'Anyone in New York', Catálogo, Nueva York, Noviembre 1993·    Sokolowski, Thomas. 'The happiness thing', Catálogo, Nueva York, Noviembre 1993·    Cross, Andrew. 'Getting things fixed', Catálogo, Nueva York, Noviembre 1993·    Pat Kelly. 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'A Taste for Public Art', Art in America, Julio 1993·    Grennan/Sperandio. 'At Home with the Collection', Creative Camera, Jun/Jul 1993·    Anon. 'Newsmakers', AFL-CIO News, Junio 1993·    Van Maitre, Lynn. 'Carving a niche', Chicago Tribune, Junio 1993·    Radcliff, Mark. 'The Guest List', BBC Radio 1, Mayo 1993·    'Culture in Action', Chicago Reader, Mayo 1993·    Lazare, Lewis. 'Workers: We got it!...', Chicago Reader, Abril 1993·    Silas, Susan. 'The Art of Looking: Contacts/Proofs', The Print World, Primavera 1993·    Seidal, Mitchell. 'Jersey City exhibit...', Jersey City Times, Marzo 1993·    Yngvason, Hafthor. 'The New Public Art', Public Art Review, Primavera 1993·    Hartney, Eleanor. 'The Dematerialization of Public Art', Sculpture Magazine, Marzo 1993·    Lazare, Lewis. 'Workers step up...', Chicago Reader, Enero 1993·    Rowland, Kevin. 'Gallery Chief's focus on Chocolate', Manch.Ev.News, Enero 1993·    Delaney, Kevin. 'Simon Grennan', Manch.E v.News, Diciembre 1992·    Butler, Connie. 'On Moon Rocks and Elgin Marbles', Catálogo, Nueva York, Abril 1992·    Grennan/Sperandio. 'At Home with the Collection'.·    Uphoff, Lyne. 'Interactive art show at museum', Peoria Star, Febrero 1992·    Klein, Jerry. 'Meaning exclusive at Lakeview', Peoria Star. Febrero 1992·    Uphoff, Lyne. 'Museum features contemporary art', Peoria Star, Febrero 1992·    Vincent, Martin. 'Cheetham Collection', City Life No.194, Enero 1992·    Bulka, Michael. 'The Fountainhead', New Art Examiner, Enero 1992·    Middles, Michael. 'Picture this', Manch.Ev.News, Enero 1992·    Robert-Blunn, John. 'Victorian Culture', Manch.Ev.News, Enero 1992·    Howell, Sarah. 'Curation of the Cheetham Collection', World of Interiors, Diciembre 1991·    Butler, Connie. 'Dissent at Home', Catálogo, Nueva York, Noviembre 1991·    Eccles, Tom. 'Out of Necessity', Alba Vol.1 No.5, Noviembre 1991·    Dunn, Alan. 'Bellgrove Station Project', Catálogo, Agosto 1991·    Richardson, Craig. 'Billboard Project', Variant Magazine No.9, 1991·    Gert, Julia. 'Zum Anfassen and Aufessen', Nanhiemer Morgen, Septiembre 1991·    Gertz, Julia. 'Den alten Bauerschrank...', SWP Tubigen, Septiembre 1991.·    Deutsche P-A. 'Gar nicht brotlos...', StuttgNachrichten, Septiembre 1991·    A.K. 'Bootstrap Arts Group', Lift, Septiembre 1991·    BBC Radio 2. 'John Dunn Show', Agosto 1991·    Wittman, Regine. 'Verzucker Rausch...', Fellbacher Zeitung, Agosto 1991·    Junker, Andreas. 'Kunst mit...Beigeschmack', Stuttgarter Zeitung, Agosto 1991·    S.T.N. 'US-Kunstler Arbeiten in Fellbach', StuttgNachrichten, Agosto 1991·    Knubben, Thomas. 'Zuckerguss gegen Monumente', Fellbacher Zeitung, Agosto 1991·    Grennan/Sperandio. 'Cake City', UpTown, Agosto 1991·    Garfield, Simon. 'Sweet dreams in Manchester', The Independent, Agosto 1991·    Foster, Sarah. 'Notes', The Lady, Agosto 1991·    Turner, Richard. 'Sugar Exhibits are good...', Metro News, Agosto 1991·    Anon. 'Tonight', BBC 1 TV, Agosto 1991·    Wilson, Declan. 'Sugar Sweet', S.Manch.Reporter, Agosto 1991·    Robert-Blunn, John . 'Fame is Sweet', Manch.Ev.News. Julio 1991·    Harrison, David. 'Sugar Plums', Manch.Ev.News, Julio 1991·    Spinoza, Andy. 'The Diary', Manch.Ev.News, Junio 1991·    Grennan/Sperandio. 'Verisimilar', Whitewalls, Verano 1991·    Wilk, Deborah. 'Grennan, Sperandio', New Art Examiner, Mayo 1991·    McDonald, Murdo. 'Bellgrove Station Billboard Project', Artscribe No.87 Verano 1991·    Grabner, Michael. 'Chicago Roundup', Artmuscle, Marzo 1991·    Durant, Mark Alice. 'Conspired', New Art Examiner, Marzo 1991·    Slaughter, Martha. 'Confectionaries at Civic Sites', Concentrics Magazine, Invierno 1991·    Bonesteel, Michael. '..sweets and drink', Pioneer Press, Enero 1991·    McCracken, David. 'Evanston picks more winners', Chicago Tribune, Febrero 1991·    Bulka, Michael F. 'Confectionary at Civic Sites', Catálogo, Chicago 1991·    Bulka, Michael F. 'Conspired', Sculpture Magazine, Febrero 1991·    Bulka, Michael F. 'Grennan and Sperandio', New Art Examiner, Noviembre 1990·    Leonard, Michael. 'Nitely News', N.B.C.TV., Julio 1990·    Bulka, Michael F. 'Your Message Here', New Art Examiner Vol.17, 1990·    Lautman, Victoria. 'Artistic Licence', WBEZ 91.5FM, Ju nio 1990·    Barckert, Lynda. 'Sacred and sensual', Chicago Reader, Junio 1990·    Hennein, Mona. 'Artists alter altars in the name of art', Skyline, Junio 1990·    Lee, Nate. 'The Body', New City, Junio 1990·    Figliulo, Susan. 'The Body...beyond church issues', Chicago Sun-Times, Junio 1990·    Fanning, Paul. 'Dialogue: an encounter with the arts', WNIB 97.1FM, Junio 1990·    Krainak, Paul. 'Escorting The Body', Catálogo, Bootstrap Works 1990·    Holbert, Ginney. 'Art links Church and Neighborhood', Chicago Sun-Times, Junio 1990·    McCraken, David. 'Art Notes', Chicago Tribune, Junio 1990·    Porges, Timothy. 'Chicago', Contemporanea, Mayo 1990·    Stevens, Mitchell. 'Detail in the Cottage', New Art Examiner, Mayo 1990·    Tree, Phoebe. 'Gallery showing Grennan's Works', At Chicago, Febrero 1990·    McCraken, David. 'Gallery Scene', Chicago Tribune, Enero 1989.

 

 

 

 

 

05prtb0376

2009-2010. Gustavo Romano. TIME NOTES: OFICINA MÓVIL (2009.05 / project review / theoretical data)

2009-2010. Gustavo Romano. TIME NOTES: OFICINA MÓVIL (2009.05 / project review / theoretical data)

 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 is based on three premises:- The action that will take place in the Mobile Office- The installation of the Central Office in Casa de America- A debate session

These actions will be complemented with a promotion campaign in the streets and through the Internet.

DESCRIPTION OF THE “MOBILE OFFICE”

The office will start to venture through those lines, but might drift through nearby streets diverting from the main arteries. It will also be focused on eventual situations of public concurrence, approaching these events, created by chance or programmed during the month of February in Madrid.

The information given by “clients” of the bank will be collected, and will be transferred daily to the web of Time Notes.

 

 

DESCRIPTION OF THE SERVICES OFFERED BY THE OFFICE

"REIMBURSEMENT OF TIME THAT HAS BEEN LOST"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.

“LOANS OF TIME”.We invite people to reflect on the social exchange system and our preconceptions on value of time and money, and mainly about the future, the Loan Office presents its line of credit for the realization of postponed wishes. If you had an extra minute, hour or day in your life. What would you do with it?

 

DESCRIPTION OF THE Central OFFICE: IN CASA DE AMERICA

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. - It will also serve as location for the Mobile Office once it has finished its daily route.

 

DESCRIPTION OF THE DEBATE SESSION

We suggest the celebration of a debate session on the established systems of exchange and the presentation of alternative models.

The session would be completed with two activities:

- A round table and presentation of projects, in which I would intervene as facilitator, with guests still to be specified, which could be for example, Greorg Zoche, founder of Transnational Republic, (with his Payola currency), or Fran Ilich, director of the SpaceBank (self-administrated entity that handles Mexican Zapatism’s assets), but they can also be local agents which I haven’t identified yet. 1

- The second activity is to generate a dynamic of informal and open chat between the guests and interested groups that have already experimented with various alternative systems of exchange or others who are interested in the assimilation of these types of subjects.

The session could take place in any room that might be available, or in any location that is interested in hosting the event.

1If we don’t find specific international guests to come, we can always carry out a teleconference or previously recorded video.

(MAY 2009)

 

 

 

 

 

 

 

 

 

 

 

 

09-10pric2573, 09-10intb3587

2005. Rebekka Reich + Anne Lorenz (Cv)

REBEKKA REICH HAMBURGO, 1969LIVES AND WORKS IN: KÖLNWWW.REBEKKAREICH.DE

ANNE LORENZ WÜRZBURG, ALEMANIA, 1971LIVES AND WORKS IN: ZÜRICHWWW.ANNELORENZ.CH

WORK EXPOSED IN MADRID ABIERTO: TAXI MADRID

REBEKKA REICH EDUCATION1989·    Arquitectura. Universidad Politécnica de Braunschweig, Alemania

1995·    Arquitectura. Escuela Técnica Superior de Arquitectura Madrid

1999·    Danza moderna, improvisación y ‘tanztheater'. T.A.N.Z. Braunschweig

2000·    Master en escenografía. Hochschule für Gestaltung und Kunst Zürich

PROFESSIONAL EXPERIENCE1995·    Arquitecto·    Viktor Lopéz Cotelo, Madrid·    KSP Kraemer, Sieverts & Partner, Braunschweig and Berlin

2000·    Soung, danza-performance de S. Heyden, Burgplatz OpenAir, Braunschweig

2002·    Assistent stage design·    Odysee 2002, de Homer. Dirigido por Helena Waldmann, Luzerner Theater.·    Der Auftrag, de Heiner Müller. Dirigido por Stefan Nolte, Theater St. Gallen

TEACHING AND WORKSHOPS2003·    Workshop Scenography. IPP Performance and Media Studies Summerschool, Johannes Gutenberg Universität Mainz

2004·    Lectura Field Work , Scenographical Design, Hochschule für Gestaltung u. Kunst Zürich

GRANTS AND AWARDS2004·    Beca de Land Nordrhein-Westfalen and European Union

2002·    Beca para proyecto de Kulturstiftung Appenzell Ausserrhoden2001·    Beca de investigación de Stiftung Lis und Roman Clemens Zürich

2000·    Beca de estudios de Stiftung für Kunst und Kultur Nordrhein Westfalen·    Beca de estudios de Stiftung Lis und Roman Clemens Zürich

1995·    Beca de estudios de Deutscher Akademiascher Austauschdienst DAAD

SOLO PROJECTS2000·    Hotel Konrad. Instalación en Studiobühne HGKZ, Zürich

2001·    Nabokov und Schubert. Video. Studiobühne HGKZ, Zürich·    Chaplin-Ford-Trott, de K.A. Hartmann. Dirigida por Peter Rasky, Concepto, escenografía y vestuario (con Anne Lorenz). Theater an der Sihl, Zürich·    Rosen für Alice...Fr.9,80. Company Delux. Concepto, realización y coreografía (con Noël Fischer). Zürich

2002·    Der Zoobär, de Jost Meier, dirigida por Peter Rasky. Concepto, escenografía y vestuario (con Anne Lorenz). Theater an der Sihl, Zürich·    turntable. Tanzplattform 12 MinMax. Concepto, coreografía (con Christina Sutter) y sonido. Tanzhaus Wasserwerk, Zürich·    BUCHERREICH Scenography, St. Gallen (fundada en 2001 con Karin Bucher)

2001·    Das Zündholzmuseum. Concepto y diseño de exposición. Konrad-Nef-Stiftung, Teufen

2002·    Exposure. Pabellón Suizo. Diseño con Rüdiger Kreiselmayer. Expo 2004 St. Dénis-Paris, Präsenz Schweiz, Berna·    Grubenmannsammlung. Diseño de exposición. Kulturkommission, Teufen·    Zentrum für Bauen und Kultur. Proyecto de reutilización de fábrica. Kulturkommission, Teufen·    Bücherkubus. Instalación. Librería, Teufen·    Roter Pfeil. Intervención. Librería, Teufen

2003·    Brundibàr , de H. Kràsa y A. Hoffmeister, dirigido por Barbara Bucher·    Stadtspaziergang, prólogo de la obra ‘Die Stunde, da wir nichts von einander wussten' de Peter Handkes. Theater St. Gallen, Pico-Pello-Platz, St. Gallen·    Fortschritt. Realización, coreografía y dirección de video danza. Kulturstiftung Appenzell Ausserrhoden

2004·    Ein Hotel verwöhnt sich selbst. Hotel Hof Weissbad, Weissbad

 

ANNE LORENZEDUCATION1991·    Kunstakademie Münster. Wilhelms-Universität, Münster

1993·    Departamento de Escultura. Escuela Superior de Bellas Artes, Barcelona

1994·    Departamento de Escultura. Edinburgh College of Art

1997·    Hochschule für Künste, Bremen

1999·    Master en Escenografía. Central Saint Martin's College of Art & Design, Londres

SOLO, GROUP EXHIBITIONS AND PERFORMANCES2004·    Patterns of Behaviour. Theaterhaus Gessnerallee Zürich, Hope & Glory·    Festival. Escenografía y dirección de performance-instalación.·    Patterns of Behaviour. 5 ch version. Tanzhaus Wasserwerk, Zürich. Escenografía y dirección de performance-instalación.

2003·    Patterns of Behaviour. red + white version. Museum für Gestaltung, Zürich. Escenografía y dirección de performance.

2002·    Gilgamesch . Theater an der Sihl, Zürich. Escenografía para musical, en colaboración con Doug Geers, Maja Cerar·    Standpunkt . Theater Roxy, Basel & Tanzhaus Wasserwerk, Zürich. Video y escenografía para danza-performance de Eva Richterich.·    Der Zoobär. Theater an der Sihl, Zürich. Escenario y vestuario en colaboración con Rebekka Reich.

2000·    EuroSlide . Hoxton Hall, Londres. Escenario y video para performance en colaboración con Cathrine Kahn.·    17.55 . APT Gallery, Greenwich Film Festival, Londres. Video.·    Let's eat Sand. The Museum Of, Londres. Escenografía y dirección de performance.

1999·    Euro-Cowboys. What Everyone Wants Store, Newcastle. Sonido-instalación.·    Dream-Space. DFKU, Odense, Dinamarca. Instalación en colaboración con Marianne Bramsen.·    link-slip-link-slip. St. Nicholas Church, Londres, dentro del Deptford X Festival. Sonido-instalación.

1998·    Kronen für Bremen. KÖNIG/KÖNIG, Kunsthaus Bremen, Alemania.·    Packed Lunch. Santa Monica's Old School, Londres. Instalación.

1997·    summarie . Galerie Dechanatstraße, Bremen, Alemania. Audio-instalación.

1996·    A Spider's Tale. Demarco European Art Foundation, Edimburgo. Performance-Instalación.·    Fadenschein . Edinburgh Festival. Performance en colaboración con Mirella Weingarten.

 

 

 

 

05prtb0375

2005. Compañía de Caracas. ESPACIO MÓVIL (published text)

 … When I think about something, I´m really thinking of something else. When I look at a landscape, I am not actually thinking about it. I am comparing it to other landscapes I have seen before.”Jean-Luc Godard

Referring to Godard´s quote that opens this project, its aim is to create a link between the city involved, Madrid, and the South American city of Caracas through a series of colour photos placed at bus stops and on buses covering the routes on the Madrid Abierto axis.

Espacio móvil plays with the meanings of “circulation” and “mobility” in an urban sense, i.e. transport, and a media orientated meaning, i.e. the circulation of information, to create a visual paradox, a disguise, and to think about “the city” through the movement and presence of both.

A modern South American city par excellence, Caracas was a promise for the “future” based on large urban projects and building in the 50´s which reflected times of economic boom. Fifty years later, today, Caracas is a city which is permanently on the move, suffering daily losses, both in its spatial memory and in its urban and technical concepts which sustain its habitability.

The opening of Madrid enables a visual spatial exploration through photographs of the centre of Caracas (current images of its streets, buildings and transport systems) and at the same time to take a more in-depth look at the public character and the critical possibilities of its urban objects (in this case, bus stops and buses), away from the official institutions and the conventional mediums of art. Likewise, it uses the pictorial intervention on buses by the Venezuelan artist, Carlos Cruz-Diez, during the Visual Arts Biennial in Porto Alegre in 1997 as a conceptual precedent.

La Compañía de Caracas was born from the interest in all that is urban and the need to record old and new phenomena which define “the city”, and from a special interest in our city of origin which is suffering an essential contradiction and is defined between archaisms and the new, between that which is traditional and that which is technological, between a state of permanent mutation and unchanging characteristics.

DEVELOPMENT

When we decided to intervene in Madrid at bus stops and buses our idea was to do so as a game that does not mean to compare both cities but allow one city to travel inside the other, make a symbolic reconquest of the space and subtly raise awareness on the idea of difference. Our intention was to disorient, not orient, to establish the bases of chaos: small bases as small as the intervention in Madrid. Austere, as the idea itself, illegitimate, roguish, an occupation that is dismantled in twenty days. A strategy that is not recognisable in publicity but on its reverse side; that does not mean to be just visual but to capture an image of otherness by transdressing mobile and fixed units of Madrid with photographs of Caracas.

In Venezuela, interest in the urban reality operates, on the one hand, as a way of seizing tradition, memory, before it disappears, transforms itself or dilutes in an urban organism that does not cease to recycle and change the biography of things. On the other hand, it is a symptom in search of a diagnosis that will enable us to assimilate a constantly changing urban territory.

In the interval between the first images we took for the project Espacio móvil, in April 2004, and the last, in December 2004, Caracas experienced big changes, not just in the visibility and mobility of part of the social fabric, such as the proliferation of buhoneros (street sellers) and soldiers, but also in its urban infrastructure, which is evident in the disappearance of public sculptures (for ideological, economic and maintenance reasons), the increase in popular-political mural paintings and the deterioration of architectural icons like the Centro Simón Bolívar or the towers of Parque Central.

In Caracas, the space mobilises itself: the private space to the public territory, the public space closes its doors to the stroller under the roofed corridors. Change and movement become a tradition: a tradition which forms the backdrop to a modernity that drifts between precociousness and premature ageing.

 

 

 

 

 

 

05intc0517

2007. [Nexus*] Art Group. PROYECTO_NEXUS (2007.01 / visual data IV)

2007. [Nexus*] Art Group. PROYECTO_NEXUS (2007.01 / visual data IV)

 

   

Photos non-authorized by Metro’s Management. The reason behind such decision is to prevent the clients to feel offended.

(January 2007) 

 

 

 

 

 

 

 

 

07inib1340

2005. Raimond Chaves. EL RIO, LAS COSAS QUE PASAN (visual data / related work)

2005. Raimond Chaves. EL RIO, LAS COSAS QUE PASAN (visual data / related work)

Support for the public reading L'UnitàModena, Italia 2003

Hangueando in Venecia neighborhood, Bogotá, Colombia, April - May 2003     Hangueando in Cerro, Naranjito, Puerto Rico, October 2002

 

 

       

Hangueando, "newspaper with legs" nº 1,2,3

 

 

 

 

 

 

05pric0474

2005. Colectivo Tercerunquinto. S/T (published text)

This project involves taking an urban element which in this case are the metal boxes placed in certain areas of the city and which are generally used by the telephone companies.

The intention is to take this element and create a series of them, comprising 15 of these objects on the same scale and following the same design. They are then placed next to where a pair of these boxes are generally located.

Invading the pedestrian system of the Paseo de la Castellana to enhance the presence of an anonymous element of urban furnishing, this project aims to measure the sculptural possibilities of these objects by placing them within the same design that contains them but provoking an interruption to the system of urban order.

 

 

 

 

 

 

 

 

05intc0514

2005. Raimond Chaves (Cv)

BOGOTÁ, 1963 LIVES AND WORKS AMONG LIMA, BARCELONA, BOGOTÁ WWW.PUIQUI.COMWORK EXPOSED IN MADRID ABIERTO: EL RÍO, LAS COSAS QUE PASAN

EDUCATION1989·    Licenciado en Bellas Artes por la Universidad de Barcelona, España.

SOLO EXHIBITIONS2004·    La Pura Oscura . Alianza Francesa, Bogotá, Colombia.·    Maestro Plantillero . Punctum, Lima, Perú.

2003·    Vení, Sentate, Contame . Valenzuela y Klenner Arte Contemporáneo, Bogotá, Colombia. 

2002·    Mobile Station . Fundación Kaus Australis, Rotterdam, Holanda. 

2001·    Balcony Panorama Lovers , con Carolina Caycedo.   Flat 37, Londres, Reino Unido. 

1997·    Esto fue lo que trajo el barco . Galería Ferran Cano, Barcelona, España.·    That's what the ship brought . Moderna Galerija, Rijeka, Croacia; Galerija Skuc, Ljubljana, Eslovenia. 

1996·    Tumba la casa . Universidad de Los Andes, Bogotá, Colombia. 

1995·    Guayabo. Espai 13, Fundació Joan Miró, Barcelona, España.

GROUP EXHIBITIONS 2004·    Trienal Poligráfica del Caribe, Instituto de Cultura Puertorriqueña, San Juan, Puerto Rico.·    Diaporama'04 . Primavera Fotográfica, Barcelona, España.·    PR 04 . M&M Proyectos, Rincón, Puerto Rico.·    ARCO, Galería Mirta Demare -Rotterdam- Madrid, España.·    P_O. Processos Oberts . Terrassa, Barcelona, España.·    Quórum . La Capella, Barcelona, España.·    Ambulantes-Cultura Portátil . Centro Andaluz de Arte Contemporáneo, Sevilla, España.·    Errancias: Viajes o virajes . Centro Cultural Comfandi, Cali, Colombia. 

2003·    Centro de Bellas Artes de Santurce, Instituto de Cultura Puertorriqueña, San Juan, Puerto Rico.·    MiamiArtBasel, M&M Proyectos -Puerto Rico- Miami·    Vª Bienal de Arte del Caribe, Santo Domingo, Republica Dominicana.·    Exploracions . La Capella, Barcelona, España.·    Un caballero no se sienta así . Planetario Distrital, Bogotá, Colombia.·    Errancias: Viajes o virajes . Valenzuela y Klenner Arte Contemporáneo, Bogotá, Colombia.·    Going Public. Politics, Subjects and Places . Museo d'Arte Sociale e Territoriale, an aMAZE project, Sassuolo, Modena, Italia.                     ·    Sommer Chou . Valenzuela y Klenner Arte Contemporáneo, Bogotá, Colombia.·    R. Revistes . La Capella, Barcelona, España.·    V Bienal Barrio Venecia, Salón Comunal, Barrio Venecia, Bogotá, Colombia.·    ARCO, Galería Mirta Demare -Rotterdam- Madrid, España.·    Doble Seducción . INJUVE, Madrid, España. 

2002·    Benjaminiana . Centro Cultural de España, AECI, Lima, Perú.·    Organisational Form . Galerija Skuc, Ljubljana, Eslovenia.·    La Guerra . Cruce, Arte y pensamiento contemporáneos, Madrid, España.·    ARCO, Galería Mirta Demare -Rotterdam- Madrid, España.·    Perspectives Creuades . Can Felipa, Barcelona, España.·    Arquitecturas para el Acontecimiento . EACC, Castelló, España.·    El Toque Criollo . Centro Cultural de España, AECI, Lima, Perú.·    Yes, en cualquier lugar puede suceder . Parte de Open Marks- PR'02. Naranjito, Puerto Rico. 

2001·    Oir: Aten al Planetario. Galería Santa Fe, Bogotá, Colombia.·    Istambul Biennal . Estambul, Turquía.·    Capital Confort- Arte Público en Alcorcón . Centro Municipal de las Artes, Alcorcón, España.·    Days of hope . Scoletta di San Zaccaria, off-Bienal de Venecia, Italia.  ·    Antroapologías . Galería Luis Adelantado, Valencia, España.·    Da Adversidade Vivemos . ARC-Museè d'Art Moderne de la Ville, Paris, Francia.·    Rope Walks Artists Residency . Hannover Gallery, Liverpool, Reino Unido.·    The Library Project . Temporary Services, Chicago, USA.·    El Objeto Paradójico . Museo de Arte de la Universidad Nacional, Bogotá, Colombia. 

2000·    Escenarios Domésticos. Koldo Mitxelena Kulturunea, San Sebastián, España.·    Public Inventions and Interventions Part 2-Public Phenomena . Temporary Services. Chicago, EE.UU.·    El Museo de la Calle . Museo de Arte de la Universidad Nacional, Bogotá, Colombia.·    PR OO . Paréntesis en la Ciudad - Intervenciones Urbanas, Fortaleza 302, Galería M. Marchaux. San Juan, Puerto Rico.·    Inter-Zona . Institut de Cultura, Palau de la Virreina, Barcelona, España.·    Lo del Telescopio . Idea y coordinación Nico Nubiola, Puerto de Barcelona, España. 

1999·    Expedición a El Dibujo . Fundación Gilberto Alzate Avendaño, Bogotá, Colombia. 

1998·    Pasaje de Ida . Galería Antonio de Barnola, Barcelona, España. 

1997·    Local Cultura. Parte del proyecto 'Almadraba', Museo Marítimo, Ceuta, España. 

1996·    Bog 25, Arte por para desde y contra Bogotá . Sótanos de la Jiménez, Bogotá, Colombia. 

1995·    Tu parles, J' écoute . Galerie Anne de Villepoix y Espace Société Jet Lag K, París, Francia.·    Bienal de la Europa Mediterránea, Rijeka, Croacia.

PROJECTS 2004·    Maestro Plantillero Revolú . Trienal Poligráfica del Caribe, Instituto·    de Cultura Puertorriqueña, San Juan, Puerto Rico.·    El Toque Criollo . Diaporama de imágenes y archivos hablados a partir de una colección de carátulas de discos comprados en los mercados de pulgas de América Latina y el Caribe. Primavera Fotográfica, Barcelona, España.·    Talleres Móviles , con Gilda Mantilla. Coordinación y producción de talleres destinados a   difundir y potenciar conocimientos y saberes locales. Taller de fabricación de Yola Aguadillana -embarcación local- dictado por Rafael Vargas y Taller de Injertos dictado por Roberto Rosado. M&M Proyectos PR-04 , Comisión del Instituto de Cultura Puertorriqueña, Puerto Rico.·    El Piernas , con Ramón David-Sala deStar, Sevilla. Periódico callejero de cordel en la Plaza del Altozano, Triana, Sevilla, España.·    Ramal , con Javid Mughal director de 'El Mirador-Informativo Independiente de los Emigrantes'. Colaboraciones gráficas y escritas para El Mirador; elaboración de Rawal-Expres, periódico callejero de cordel y edición del nº 0 de la revista familiar bilingüe: 'Aroma-Khushboo' destinada a la comunidad paquistaní de Barcelona.·    Estació Mòbil Egara , con el Col.lectiu Intercultural de Terrassa-Ateneu Candela. Asistencia a las reuniones, trabajo en las convocatorias, creación de un grupo de trabajo para la realización de la revista Multitud y elaboraciones gráficas varias para sus actividades. Además Biblioteca Callejera en colaboración con Love Pili- Associació Cultural Repensa. Para Procesos_Oberts, Hangar, Ajuntament de Terrassa, Barcelona, España. 

2003·    Maestro Plantillero Revolú . V Bienal de Arte del Caribe, Santo Domingo,   Republica Dominicana.·    ¡Fuera ROTC de RUM!, con Gilda Mantilla. Trabajo de apoyo gráfico   para el campamento colegial del Frente Universitario por la Desmilitarización y la Educación. Acción de desobediencia civil contra la presencia del ejército   de los EE.UU en el Recinto Universitario de Mayagüez, Puerto Rico.·    Pa'Guindarlo , con Gilda Mantilla. Periódico de cordel realizado durante la presentación del catálogo "PR 02- En Ruta". M&M Proyectos, Museo de Arte de Puerto Rico.·    Dove Vai-Giornale sul Binario , con Gilda Mantilla. Periódico callejero de cordel en la Estación Ferroviaria de Sassuolo, Modena, Italia.·    HANGUEANDO-Periódico con Patas , con Gilda Mantilla. Periódico callejero de cordel con los vecinos de las comunidades de Manantial, Villa del Río, El Cerro, Stella y La Perla. M&M Proyectos, Comisión del Instituto de Cultura Puertorriqueña, Puerto Rico.·    Estación Móvil Barrio Venecia , con Gilda Mantilla. 'Descarga' creativa   para difundir la actividad cultural local a la vez que poner a circular   información y conocimiento   latinoamericanos. Barrio   Venecia, Bogotá, Colombia. 

2002·    Para no olvidar - Casas de la Memoria , con Gilda Mantilla. Escenografía y Sesión de dj. Jornada de clausura   de las audiencias de la comisión de la    verdad. Centro Cultural de   la Universidad de San Marcos, Lima, Perú.·    Retratos al Paso . Grabación de descripciones en audio y dibujo en las calles de Castelló, España.·    Unfair Tale , con Alicia Herrero. Pancartas, documentación y acción contra la boda del príncipe Guillermo Alejandro de Holanda y Máxima Zorreguieta, Amsterdam. Holanda. 

2001·    Bruggen Slaan Tusen Talen (Construyendo puentes entre lenguas), con Gilda Mantilla. Día de puertas abiertas The Language Academy, Universidad de Amsterdam, Holanda.·    O Carrinho Brica, O Carrinho Braque , con Carolina Caycedo. En las calles de Venecia, Italia y Lisboa, Portugal.·    El Museo de la Calle . Colectivo Cambalache: con Carolina Caycedo, Adriana García y   Federico Guzmán. Paris, Francia; Alcorcón, España y Estambul, Turquía.·    Diversión , con Carolina Caycedo y residentes del barrio RopeWalks. Year of the Artist Performance Residency for Rope Walks, Liverpool. Reino Unido.·    RadioRetratos , con estudiantes de Bellas Artes y oyentes de la emisora local Radio 9. En colaboración con el Departamento de Escultura, Facultad de Bellas Artes, Universidad Politécnica de Valencia, Agustín Pérez Rubio y   Galería   Luís Adelantado, Valencia, España. 

2000·    El Dibujo 24hs . Las Ramblas, Barcelona, Plaza Arturo Somohano, en el Viejo San Juan, Puerto Rico, y en el Terminal de Autobuses de Bogotá, Colombia. Con voluntarios locales en cada ciudad.·    El Museo de la Calle . Colectivo Cambalache: Carolina Caycedo, Adriana García y Federico Guzmán, en el Viejo San Juan, Puerto Rico y en las calles de Bogotá, Colombia. 

1999·    Expedición a El Dibujo , con Federico Guzmán, Andrés Corredor y Manolo Jaramillo. Bogotá, Colombia,   El Dibujo -Venezuela-, Bogotá, Colombia. 

1997·    Tumba La Casa. Instalación itinerante exhibida en la Universidad de  ·    Los Andes, Bogotá, Colombia; Fundació "La Caixa" Vic, Barcelona, España; Museo Marítimo , Ceuta, España; Hangar-Talleres de Santa Isabel, Barcelona, España; y Galerija Skuc, Ljubljana, Eslovenia.

ARTISTICS RESIDENCIES AND GRANTS2003·    M&M Proyectos-Fortaleza 302, San Juan, Puerto Rico.2001·    Beca Hangar-KausAustralis, Rotterdam, Holanda.·    Year of The Artist /Arts Council Residency. Liverpool, Reino Unido.

TEACHING AND WORKSHOPS 2002·    El Toque Criollo . Centro Cultural de España, AECI, Lima, Perú. 

2001·    El Rayo X . Centro Cultural de España, Agencia Española de Cooperación Iberoamericana, Lima, Perú.·    RadioRetratos , con estudiantes de Bellas Artes y oyentes de la emisora local Radio 9. Departamento de Escultura, Facultad de Bellas Artes, Universidad Politécnica de Valencia. España. 

2000·    Aprendiendo de SuperBarrio y otros Héroes del Vecindario . Taller para artistas y vecinos del barrio Poblenou. Associació d'Artistes Visuals de Catalunya y Tallers Oberts, Barcelona, España. 

1999·    Profesor de Arte en las universidades de Los Andes y Jorge Tadeo·    Lozano, Bogotá·    Talleres para los Salones Departamentales de Arte en Cali y Bucaramanga, Colombia·    Escuela Primaria y Instituto de Bachillerato Agrícola de Paratebueno, Colombia 

1998·    Talleres para el Ministerio de Cultura, Colombia.·    Producción y montaje de la exposición Salón de Objetos para el programa CREA en Girardot, Cundinamarca, Colombia.

LECTURES AND PRESENTATIONS 2004·    El Toque Criollo . Antic Teatre, Diaporama'04, Primavera Fotográfica, Barcelona, España. Sala Aqualung, Madrid y SalaDestar, Barcelona, España. Departamento de Arte, Universidad de los Andes, Bogotá, Colombia.·    Ja arriba l'EME . Sala Muncunill, Terrassa, España.·    DOVE VAI-Giornale sul Binario . ARCO, Galería Mirta Demare, Madrid, España. 

2003·    Últimos Proyectos. Escuela de Artes Plásticas de Puerto Rico, San Juan, Puerto Rico.·    HANGUEANDO-Periódico con Patas . Instituto Universitario de Desarrollo Comunitario, Mayagüez, Universidad de Puerto Rico.·    R. Revistes . La Capella, Barcelona, España·    Últimos Proyectos . Academia Superior de Arte, Bogotá, Colombia.·    V Bienal Internacional de Venecia de Bogotá y Salón Comunal de Nuevo Muzú, Bogotá, Colombia. 

2002·    Hangueando-Periódico con Patas . Gira de presentación en Het Vilde Weten, Rotterdam, Holanda; Künstlerhaus Bethanien, Berlín, Alemania; Cruce, Madrid, España; Galerija Skuc, Ljubljana, Slovenia y espacio la culpable, Lima, Perú.·    Mobile Station . Presentación en la velada 'Nomads and Residents' De Appel, Amsterdam, Holanda.·    En el ciclo 'Las escrituras del Arte', MACBA-Museu d'Art Contemporáni de Barcelona, España.·    Escola Eina, Barcelona, España. 

2001·    Charlas en el Centro Cultural de España, Lima, Perú. Talleres de la·    Quam, Barcelona y Universidad Politécnica de Valencia, España;   John Moores University y Liverpool Institute of Performing Arts, Liverpool, Reino Unido. Universidad de Los Andes, Universidad Jorge Tadeo Lozano y Academia Superior de Arte, Bogotá, Colombia. Museo de Arte Contemporáneo, Sevilla; Facultad de Bellas Artes, Universidad de Barcelona y Cárcel Modelo de Barcelona, España.

PUBLICATIONS2004·    HANGUEANDO-Periódico con Patas   nº 3, Póster, Terrassa. Impreso por El Perro en Madrid, España.·    DOVE VAI- Giornale Sul Binario . Versión tabloide, edición Sassuolo, Módena. Editado por aMAZE Cultural Lab, Milan. Italia. 

2003·    HANGUEANDO-Periódico con Patas nº 2, Póster, Puerto Rico. Impreso   por 22a en Barcelona, España.·    HANGUEANDO-Periódico con Patas . Versión tabloide, edición Barrio Venecia, Bogotá, Colombia.·    HANGUEANDO-Periódico con Patas nº1, Póster, autoedición, Bogotá, Colombia y Lima, Perú. 

2002·    HANGUEANDO-Periódico con Patas nº0, Póster, autoedición, Lima, Perú. 

2000·    Los Ladrones de Dinamita. AR Publicaciones, Barcelona, España. 

1995·    AMÉRICA . Fuego en el 55 ed. Barcelona, España.

COLLABORATIONS2004·    Ciudad Hechiza, para la Revista Rebeca #1, Bogotá, Colombia.·    La Pura Oscura, para la revista Asterisco #7, Bogotá, Colombia.·    Maestro Plantillero, para Revista de Occidente # 273, Madrid, España.·    Los Vivos , para la revista Asterisco #6, Bogotá, Colombia.·    El Dibujante Dibujado, para D is for Drawing, Pilot Issue, Jan van Eyck Academie, Maastricht, Revolver, Frankfurt, June, 2004. 

2003·    Los Vivos , para la revista Casa Tomada #2, Palma de Mallorca, España. 

2002·    Cerros , para Revista Atlántica # 32, CAAM, Islas Canarias, España.·    Here, There and Elsewhere , proyecto editorial de David Blamey, Open Editions, Londres, Reino Unido.·    Liverpool , para la revista B-Guided #11 , Barcelona, España. 

2001·    Cheo, Richi y Bolas , para la revista Transversal, Lleida, España. 

2000·    Los 3 Suramericanos , para la revista gratuita Ginger coordinada por Audrey   Marhlens, Sabadell, Barcelona, España.·    Diktatura Ljubezni , con Carolina Caycedo para la revista Emzin nº 1-2 , Ljubljana, Slovenia.·    Las Ladronas de Dinamita , para la revista B-Guided # 3, Barcelona, España. 

1999·    SINDIOSNIPATRIANILEY , periódico gratuito. Coordinado por Angustias García e Isaías Griñolo Proyecto "Puerto de las Artes" , Muelle de las Carabelas, Forum Latinoamericano de La Rábida, Huelva, España.

BIBLIOGRAPHY·    VV.AA, Calovski Yane ed. 'D is for Drawing', Pilot Issue, Jan van Eyck Academie, Maastricht, Revolver, Frankfurt, June, 2004.·    Serra Catalina, 'Miradas Cómplices sobre el Raval', El País, Barcelona, 24 de junio de 2004.·    Serra Catalina, 'Periódico Instantáneo', El País, Madrid, 16 de febrero de 2004.·    VV.AA. Space Invaders, 'Intervenciones Artísticas en Barcelona', 22a, Barcelona, 2004·    Pera, Rosa.   'Doble Seducción', en el catálogo de la exposición del mismo nombre, INJUVE, Madrid, 2004.·    Parcerisas, Pilar. 'Space Invaders', Avui, Barcelona, 20 de noviembre de 2003.·    Rodríguez, Víctor Manuel. 'The Relation Between Artistic Practices and Location' en el catálogo de la exposición Going Public, Museo di Arte Sociale e Territoriale, Milan, 2003.·    Villamarín. Paola. 'Vení, Sentate, Contame', El Tiempo, Bogotá, 4 de junio de 2003.·    Rodríguez, Víctor Manuel. ' La Relación entre las Prácticas Artísticas y la Localidad' encartado en la edición tabloide de HANGUEANDO-Periódico con Patas, Bienal Barrio Venecia, Bogotá,   2003.·    Villamarín, Paola. 'Las Obras se Quedan en Venecia', El Tiempo, Bogotá, 13 de mayo de 2003.·    Rodríguez, María Inés. Yes, 'En Cualquier Lugar Puede Suceder', en el catálogo de Puerto Rico'02 , M&M Proyectos, San Juan, Puerto Rico, 2003.·    Román, Elida. 'Una Acertada Curadoría', El Comercio, Lima, 18 de enero de 2003.·    Trivelli, Carlo. 'El Sino de Benjamín', El Comercio, Lima, 15 de diciembre de 2002.·    Quijano, Rodrigo. 'El Presente Aludido', en el catálogo de la exposición Benjaminiana, Centro Cultural de España, Lima, 2002.·    Martínez, Chus. 'El Fluir del Acontecimiento', La Vanguardia, Culturas, Barcelona 24 de julio de 2002.·    Pinilla, Benito. 'Exposición', La Luna, Madrid, 12 de julio de 2002.·    Perán, Martí. 'Raimond Chaves', en el catálogo de la exposición Arquitecturas Para El Acontecimiento, Espai d'Art Contemporàni, Castelló, 2002.·    Gili, Jaime. 'Raimond Chaves', LAPIZ, nº 182 , Madrid, abril de 2002.·    Blamey David.(ed.) 'The Street Museum', Colectivo Cambalache en Here, There, Elsewhere: Dialogues on Location and Mobility, Open Editions, London, 2002.·    Serra, Catalina. ' El dibujo consigue arañar protagonismo en una edición de Arco marcada por la fotografía', El País, Madrid 19 de febrero de 2002.·    Rivas, Quico. 'Los viajes de Federico Guzmán', ABC,   Madrid, 4 de agosto de 2001.·    Rivas, Quico y Sordo, Guadalupe. 'El Museo de La Calle Pasito a Pasito', El Plante #1, Sevilla, 2001.·    Rivas, Quico. 'El Laboratorio Colombiano', El Plante #1, Sevilla, 2001.·    Basualdo, Carlos. 'À Propos de l'Adversité', en el catálogo de Adversidade Vivemos. Musée d'Art Moderne de la Ville de Paris, 2001.·    Pérez Rubio, Agustín. 'Antro-a-pologías', en el catálogo de la exposición del mismo nombre, Galería Luis Adelantado, Valencia, 2001.·    Martín Velázquez, Carmen. 'Retratos de la Vida y Se Buscan, dos reseñas inéditas sobre Los Ladrones de Dinamita'. Santiago de Compostela, 2001.·    Gras, Menene. 'Escenarios Domésticos' en el catálogo de la exposición del mismo nombre, Koldo Mitxelena, Donostia, 2001.·    Marxuach, Michy. 'Recuento del Evento' en el catálogo de Puerto Rico'00 [Paréntesis En La Ciudad], M&M Proyectos, San Juan, Puerto Rico, 2001.·    Rodríguez, Jorge. 'Paréntesis en la Ciudad', Escenario, San Juan, Puerto Rico, 7 de octubre de 2000.·    Ferrer, Melba. 'New Contemporary Art Show Seizes The Cultural Moment', The San Juan Star, San Juan, Puerto Rico, 7 de octubre de 2000.·    Varela, Mariana. 'El Museo de la Calle', en el catálogo de la exposición del mismo nombre en el Museo de la Universidad Nacional, Bogotá, 2000.·    Altaió, Vicenç. ' L'Espai 13, el laboratori d'investigació artística' , Barcelona Metrópolis Mediterránea #53, Barcelona, 2000.·    Rodríguez, María Inés. 'Expedición al Dibujo', Revista Valdez #4, Bogotá, 2000.·    Franco, Diana, 'Cambalache por Callejeras'. El Goce #14. El Espectador, Bogotá, 22 de octubre de 2000.·    Franco, Diana. 'Referencias Habladas con Dibujos 24 hrs'. El Goce #13, El Espectador, Bogotá, 15 de octubre de 2000.·    Molina, Margot. 'Sin Pretensión de Belleza', El País, 14 de julio 2001, Madrid, España.·    Serra, Catalina. ' Una exposición en el palacio de la Virreina revisa la "escena artística" de Barcelona', El País, Barcelona, 15 de abril de 2000.·    Uberquoi, Marie Claire. 'Una Casita Roja en la Virreina', El Mundo de Catalunya, Barcelona, 15 de abril de 2000.·    Clot, Manel, 'Raimond Chaves', en el catálogo de la exposición Inter-Zona, Institut de Cultura, Barcelona, 2000.·    Clot, Manel, 'Un Sonido Tremendo y Bestial', en el catálogo de la exposición Pasaje de Ida, Instituto de Cooperación Iberomaericana-Galería Antonio de Barnola, Barcelona, 1998.·    Bardagil, Miquel. 'L'Ombra de l'Arquitecte', en el catálogo de la exposición del mismo nombre, Fundació La Caixa, Vic, 1997.·    Rodríguez, Víctor Manuel. 'La Metáfora del Artista Viajero', en el catálogo de la exposición Tumba La Casa, Universidad de los Andes, Bogotá 1996.·    Botero Thierez, Manuela. 'Viaje a Través de los Mundos de Bogotá', El Tiempo, Bogotá, 21 de noviembre de 1996.·    Pera, Rosa. 'A Jugar!', en el catálogo de la exposición L'Escola Invisible, Tallers de la QUAM, 1988-1994, Barcelona, 1995.·    Fragmento de 'Que Viva la Música de Andrés Caicedo' en el catálogo de la exposición Màquina Íntima, Balmes 21, Barcelona, 1995.·    Regàs, Mónica. 'Balcones', El Guía-Ars Mediterránea #5-6, Barcelona, 1995.·    Regàs, Mónica. 'Raimond Chaves', Paladín de la Vida Moderna, en el catálogo de la exposición Guayabo, Espai 13, Fundació Miró, Barcelona, 1995.·    Portell, Susana, 'Diversión Cruda', El Observador, 27 de julio de 1992·    Clot, Manel, 'Cec, Sord, Mut', en el catálogo de la exposición del mismo nombre, Galería Ferran Cano, Barcelona, 1991.

PUBLICATED ARTICLES ·    'Patraseando Imágenes', en el catálogo de la exposición Doble Seducción, INJUVE, Madrid, 2004.·    'Reivindicación de la Artesanía', en el catálogo de la exposición Going Public, Museo di Arte Sociale e Territoriale, Milano, 2003.·    'Maestro Plantillero Revolú, en ¿Las Ilusiones Perdidas?' catálogo de la selección de artistas colombianos participantes en la Vª Bienal de Arte del Caribe, Santo Domingo, República Dominicana. 2003·    'Vení, Sentate, Contame', editado como póster para la exposición del mismo nombre en el espacio Valenzuela y Klenner-Arte Contemporáneo, Bogotá, Colombia, 2003.·    'Hangueando En El Cerro', en el catálogo de Puerto Rico'02 [En Ruta], M&M Proyectos, San Juan, Puerto Rico, 2003.·    'Trabajando en Movimiento y Working While Moving', para las exposiciones Perspectives Creuades, Can Felipa, Barcelona y Mobile Station, Stichting Kaus Australis, Rótterdam, Beca Hangar, Barcelona, 2001-2002.·    'L'illusión', con Carolina Caycedo y Federico Guzmán en el catálogo de la exposición D'Adversidade Vivemos. Musée d'Art Moderne de la Ville de Paris, 2001.·    'Expedición a El Dibujo', con Federico Guzmán, Andrés Corredor y Manolo Jaramillo, en el catálogo de la exposición del mismo nombre, Fundación Gilberto Alzate Avendaño, Bogotá, 1999.·    'One year and three months later', en el catálogo de la exposición   That's what the ship brought, Galerija Skuc, Ljubljana, 1998.·    ' En el momento de lanzarse, uno ya lleva un tiempo cayendo', en el catálogo de la exposición Tumba La Casa, Universidad de los Andes, Bogotá, 1996.·    'El teléfono, un avión, el mar, dos ciudades, treinta y dos personas y un sotano...', en el catálogo de la exposición Bog25 Arte por para desde y contra Bogotá, Universidad de Los Andes, Bogotá, 1996.·    'Lo Importante... inédito', Barcelona, 1995.·    'Estamos perdiendo desde que empezamos...' en el catálogo de la exposición Guayabo, Espai 13, Fundació Miró, Barcelona, 1995.·    'Existen sólo tres cosas... (parafraseando a Borís Vian)', para la exposición Son las calles más largas de noche que de día, Galería Ferran Cano, Barcelona, 1994.·    ' La Vehemencia y El Relajo', para la exposición Diversión Cruda, Galería Ferran Cano, Barcelona, 1992.

 

 

 

 

 

05prtb0374

2007. [Nexus*] Art Group. PROYECTO_NEXUS (2007.01 / visual data III)

2007. [Nexus*] Art Group. PROYECTO_NEXUS (2007.01 / visual data III)

 

DAY 11

 

 

DAY 12

 

 

DAY 13

 

 

DAY 14

 

 

DAY 15

(January 2007) 

 

 

 

 

 

 

 

 

 

07inib1339.3

2005. Óscar Lloveras. S/T (visual data + videos / related works)

2005. Óscar Lloveras. S/T (visual data + videos / related works)

 RELATED WORKS 

      

BUILLION, PARÍS 2004

 

      

BRETONNEAU, PARÍS 2004 

 

         

         

FAUBOUR BETUNE

 

           

           

       

 

CHAMPS, COLLINE, FOREST

 

KAMIYAMAla Montagne des DieuxIchinosaka, Japón, 1999Installations sur les chemins 

 

 

        

         

JARDÍN VOBAN

 

        

    

ARTIUM 2003

                                                          

      

ATELLIER, LILLE

 

 

 

 

 

 05prid0465, 05prid0466, 05prid0467

2004. Sans Façon. S/T (published text)

 Sans façon is a collaborative practice between an artist (Tristan Surtees) and an architect (Charles Blanc). Theirs works are defined by their relation to places, incorporating the situation and the qualities of any given environment as an active part of an installation.

They use the interventions as a filter through which one can look differently at a place. Exposing the conditions of this place, the workings, the structure, by the slightest intervention creates a shift that allows the site to be seen anew. They aim to create something that can be celebrated, not for its magnificence but for what it reveals, what it allows to be seen, enjoyed an thought about: the site. They use interventions as a tool to enrich our perceptions.

She was telling him: “I don´t see what you see” and him: “It is possible that I add, I admit it, but the essential is in the things, their power to provocate [...], it´s indisputable and my sole interest as a guide is to be able to reveal them to you.Yves Berger, Santa Fe.

Their proposal for Madrid Abierto is based on the Depósito Elevado. This building is a very good examble of a banal urban object with no pretension, it is technical and useful. It is the kind of structure that passers-by don´t look at because it is not labelled as worthy, it´s just a water tower. But what a water tower and what a setting ofr it.

This installation intends to make people look again, not to look at an artwork on the side of it but enjoy and appreciate this emblematic and impressive structure.

The intervention propose to clad the pillars of the tower with acrylic mirrors. Firstly creating a different experience of this object, the buildings reflected on the pillars present a new reading of the surroundings, the reflections create and ever-changing appearance to the structure.

Furthemore it plays with and expresses the architectonic quality of the building. The reflections create a sort of transparency, the weight of the concrete tank becomes much more present once the holding structure disappears (whilst remembering the unfinished stage the building was in for 7 years because of political turmoil). This big mass of concrete hovering in the air creates a disturbing and uncomfortable vision of the building, this technical construction doesn´t seems to fulfil its structural function anymore. The altered aspect of the water tower questions the immutable state of our built environment.

The intervention transforms the depósito elevado into a “sculpture” just by renewing temporally the experience of looking at it.

For a period of time the depósito elevado becomes an event. Previously just part of our every day peripheric observation, it acquires a new existence through memory and imagination once the event has passed.

 

 

 

 

 

 

04intc0134

2005. Oscar Lloveras (Cv)

BUENOS AIRES, 1960 LIVES AND WORKS IN PARISHTTP://OSCARLLOVERAS.COM/

EDUCATION 1986-1990    ·    Escuela Nacional Superior de Bellas Artes, París1994.    Escuela Práctica de Altos Estudios en Ciencias Religiosas (Sorbonne), París

EXHIBITIONS2004    ·    Galería Akié Arichi,Paris (exp.individual)·    Galeria Cité des Arts, Paris (exp.individual)·    Feria internacional Art Paris.·    Escultura pública, Hospital Bretonneau, Montmartre, Paris     ·    Escultura pública, Hospital Buillion, Ile de France  ·    Composición urbana, Lille, Capital europea de la cultura.·    Palacio Rihour, Lille (exp. Individual)·    Composición monumental, Shinrin Koen, Japon ·    Composición monumental, Observatorio de Medon.·    Feria Internacional Estampa, Madrid

2003    ·    Galería Storm, Lille (exp. individual)·    Instalación, Chapelle de la Salpétrière, París·    Homenage al Dalaï-Lama, instalación. Galería de Atrium, Chaville·    Bienal de Grabado, Ile de France, Versalles.·    Galería Pignon, Lille (exp.individual)·    Centro de Arte Faubourg de Betune, Lille (retrospectiva)

2002    ·    Galería Akié Arichi, Paris (exp. individual)·    Galería del Instituto Francés, Madrid (exp. individual)·    Feria Internacional Estampa, Tentaciones, Madrid·    Centro de Arte Contemporáneo Le Vivat, Armentières (exp. individual)·    Museo Nacional de Yokohama, Japón (exp. individual)·    2001    ·    Galería Akié Arichi, París (exp.individual)·    Centro de Arte Contemporáneo de Hanoura, Japón (exp. individual)·    Bienal de Issy-les-Moulineaux2000·    Centro de Arte Contemporáneo Albert Chanot, Paris (exp. individual)·    Centro de Arte Contemporáneo Zokey, Osaka (exp. individual) ·    1999    ·    Centro de Arte Contemporáneo St-Marie Madeleine, Lille (exp. individual)·    Museo Washi, Yamakawa (exp. individual)1998    ·    Centro de Artes gráficas, Hong Kong·    Museo de Locle, Suiza·    SAGA, París1997    ·    Galería Confluences, París·    1996     ·    Galería Bouscayrol, Biarritz·    Galería de Atrium, Chaville (exp. individual)1994    ·    Galería Théorème, Bruselas·    Fundación Charles Chaplin, Estonia1993·    Centro de Arte Contemporáneo La Ferme du Buisson, Marne-la-Vallée·    Galería Vittokiana, Bruselas1989·    Galería Godart, Sydney (exp. individual)·    Galería Horizons, Lille (exp.individual)

GRANTS AND AWARDS2000    ·    Premio de grabado de la Fundación J-One Art, Tokio·    1999    ·    Premio de la ciudad de Kamiyama (KAIR), Japón·    ·    Premio de la Comunidad Europea Strelli, Brusselas·    Premio Nacional de los Estudiantes en Artes, Buenos Aires

ARTISTICS RESIDENCIES KAIR, Japón, 1999. Museo Albert Chanot, Clamart, 2000. Centro de Arte Contemporáneo Le Vivat, Armentieres, 2001. Casa de Velázquez, Madrid, 2001. Lille Capital Europea, 2004.

PUBLIC COLLECTIONS Fundación Bristol, Buenos AiresFundación Miss & Lang, Buenos AiresCiudad de LilleSASEM, ParísMuseo Albert Chanot, ClamartEPSM, LilleKAIR, JapónCiudad de Kamiyama, JapónCiudad de Tokushima, JapónInstituto Francés de MadridFundación Nacional, Hospitales de FranciaBiblioteca Nacional, Paris

PUBLICATIONSOscar Lloveras, Obras recientes, Ciudad de Lille, 1999Artist in residence, Edicion anual del KAIR, Kamiyama, Japón,1999Revista para las Artes, Fundación de la Industria, Tokushima ,Japón, 2000

 

 

 

 

 

05prtb0373

2007. [Nexus*] Art Group. PROYECTO_NEXUS (2007.01 / visual data I)

2007. [Nexus*] Art Group. PROYECTO_NEXUS (2007.01 / visual data I)

 

DAY 1

         

           

              

 

DAY 2

            

            

              

 

DAY 3

          

            

           

 

DAY 4

           

         

             

 

DAY 5

            

            

               

 

DAY 6

           

           

               

 

DAY 7

           

           

              

(January 2007) 

 

 

 

 

 

 

 

 

 

 

 

07inib1339 

2005. María Alos + Nicolás Dumit (Cv)

MARÍA ALÓSCAMBRIDGE, MASSACHUSETTS, USA, 1973LIVES AND WORKS IN MÉXICO D.F

NICOLÁS DUMIT ESTEVEZ SANTIAGO DE LOS TREINTA CABALLEROS, REPÚBLICA DOMINICANA, 1967LIVES AND WORKS IN NEW YORK WWW.IDENSITAT.NET

WORK EXPOSED IN MADRID ABIERTO: EL MUSEO PEATONAL

MARÍA ALÓSEDUCATION2000·    MFA, Art Photography. Art Media Studies Department, Universidad de Siracusa, Nueva York.

1998·    Public Art and Urban Identities. Instituto Americano de Fotografía. Tisch School of the Arts. Universidad de Nueva York.

1995·    Computer Graphics. Diploma Program. Unidad de Posgrado de la Escuela de Diseño del Instituto Nacional de Bellas Artes, Ciudad de Méjico.

1994·    Fotografía. Escuela Activa de Fotografía , Ciudad de Méjico.

1993·    Fotografía. Escuela de Artes Visuales. Nueva York.

SOLO EXHIBITIONS2004·    Incognito: D.F. Collection. nm projects . Galería Nina Menocal, Ciudad de Méjico·    The Passerby Museum . Proyecto de arte público en UNAM. Ciudad de Méjico·    FYI: The Passerby Museum . Window Project. La Lunchonette, Nueva York

2001·    Incognito . Artists Space. Nueva York

2000·    Come Play . Spark Gallery. Syracuse, Nueva York

1999·    In Bloom . Gallery 120. Syracuse, Nueva York·    Open . Gallery 120. Syracuse, Nueva York

1998·    Alter Ego y Ot ros Cuerpos . Centro Médico Nacional Siglo XXI. Fotoseptiembre 98', Ciudad de Méjico·    The Giantess. Gallery 120. Syracuse, Nueva York

1997·    El Ojo . Gallery 120. Syracuse, Nueva York

GROUP EXHIBITIONS 2004·    El Secreto esta en la masa . Cold Creations, Barcelona·    El Museo Peatonal e Indagaciones sobre la Colección MUCA CU . MUCA Roma, Ciudad de Méjico·    ASAP . Daimler Chrysler Building. Bordermates, Ciudad de Méjico·    Resistencia III SITAC . Teatro de los Insurgentes, Ciudad de Méjico·    Rehearsed . Longwood Arts Gallery, Bronx, Nueva York·    Collect/Recollect . ObjectNotFound Project Room. San Pedro, Nuevo Leon, Méjico·    Sunday Anxieties . Local Project, Nueva York

2003·    MHN.02   Modificaciones . Museo de Historia Natural, Ciudad de Méjico.·    La participación fue suspendida se desinstaló la obra tres horas antes de la inauguración. Ver documentación en www.origina.com.mx/mhn·    GO! Liquidación Total, Madrid·    Sexta Bienal de Video y Nuevos Medios, Santiago, Chile·    PrettyThingsPretty . Canzine Festival Programme, Toronto·    The Trespassers . Lyonswier Gallery, Nueva York·    Crossings : Artistic and Curatorial Practice. CAA 2003 Conference, Hilton Hotel, Nueva York·    Vertical Video . The Folsom Library Gallery, Rensselaer Polytechnic Institute, Troy, Nueva York·    Egeszsegedre . BPM Performance Space. Nueva York·    The Love a Commuter Project 2003 . Performance en estación de metro. El Museo del Barrio, Nueva York

·    Windows @ 42nd Street . Performance. Chashama, Nueva York

·    Circles and Squares . Jaraf Video @45 Below, Bleeker Theater, Nueva York

2000·    2000 Everson Biennial . Everson Museum of Art, Syracuse, Nueva York·    Master of Fine Arts Exhibition . Joe and Emily Lowe Gallery, Syracuse University, Nueva York·    The Fruit Show . Gallery 120, Syracuse, Nueva York·    Re-opening Show . Spark gallery, Syracuse, Nueva York·    Second Year Graduates Exhibition. Coyne Gallery, Syracuse University, Nueva York·    Women Art & Change . Wescott Community Center, Syracuse, Nueva York·    Media Blitz . Joe and Emily Lowe Gallery, Syracuse University, Nueva York·    Show-Show. Good Earth Café, Syracuse, Nueva York

1998·    Summer Show . Joe and Emily Lowe Gallery, Syracuse University, Nueva York·    National Graduate Seminar. Gulf & Western Gallery. Tisch School of the Arts, New York University

1997·    Art Photography Graduate Exhibition . Shaffer Art Building, Syracuse University, Nueva York

GRANTS AND AWARDS2002·    Beca Proyecto Independiente. Artists Space.

2001·    Premio ‘Best of Show' de eMotion Pictures: An Exhibition of Orthopaedics in Art. American Academy of Orthopedic Surgeons.

2000·    Programa ‘Artists in the Marketplace'. The Bronx Museum of the Arts.

1999–00·    Beca 3er curso. Universidad de Siracusa.·    Beca de verano. Universidad de Siracusa.·    Beca Investigación/Proyecto Creativo. Universidad de Siracusa.

1998·    American Photography Institute-National Graduate Seminar Fellowship. Tisch School of the Arts, New York University·    Syracuse University Teaching Assistantship and Scholarship

1997·    Syracuse University Scholarship

BIBLIOGRAPHY·    Perea, Barbara. ‘ASAP'. Arte Contexto, Madrid·    Mallet, Ana Elena. ‘nmprojects: María Alós'. DF Magazine nº27. Ciudad de Méjico·    Oriard, Andres. ‘El Museo peatonal'. Exit Express, Madrid·    Mayer, Mónica. ‘El Museo Peatonal'. El Universal newspaper, Ciudad de Méjico·    Camil, Pia. ‘El Museo Peatonal'. Chilango Magazine, Ciudad de Méjico·    Pacho. “Museo Peatonal.” Ruidos de la Calle in the Culture Section. Reforma newspaper. Ciudad de Méjico·    López, Pancho. “Notas desde El Museo Peatonal”. La Crónica newspaper. Ciudad de Méjico Leñero, Isabel. “Artes Visuales—MUCA Roma.” Proceso Magazine. Ciudad de Méjico·    Ceballos, Miguel Angel. “Museo Peatonal”. Culture Section. El Universal newspaper. Ciudad de Méjico·    Núñez, Erika. “Crean museo de peatones”. Culture Section. Milenio newspaper. Ciudad de Méjico·    Blanco, Sergio R. “Toman ‘arte' de la calle”. Culture Section. Reforma newspaper. Ciudad de Méjico·    Terrazas, Kyzza. “El guiño como memorándum. Acercamientos a la obra de María Alos” . Revista Origina. Número Agosto. Ciudad de Méjico.·    Cotter, Holland. Art in Review. The New York Times, Nueva York·    Schmelz, Itala. ‘Acciones Propicias'. Arte Al Día News Mex. Ciudad de Méjico·    Villasmil, Alejandra. ‘ Exposiciones de arte en el Bronx exploran la identidad Latina'. El Híspano Newspaper, Nueva York·    Terrazas, Kyzza. ‘MHN: Recorrido Evaluativo; María Alós'. Catalog. Publicado por Origina. Ciudad de Méjico

2003·    Hernandez, Edgar Alejandro. ‘Denuncia Artista Censura de su Obra'. Reforma, Ciudad de Méjico·    Cotter, Holland. ‘The S Files'. Art in Review. The New York Times, Nueva York·    Helguera, Pablo. NYC Reviews. Art Nexus Magazine.·    Giovanotti, Micaela. ‘The S Files'. Tema Celeste No. 95

2002·    Cullen, Deborah and Noorthoorn, Victoria. ‘The (S) Files'. Catalogue. El Museo del Barrio, Nueva York·    ‘El Museo Peatonal Reabre en Enero'. El Caribe Newspaper. Santo Domingo·    Baptista, Greyza. ‘Bienal de Arte Joven en el Museo del Barrio'. Hoy Newspaper, Nueva York·    ‘El Museo del Barrio's Biennal' . El Caribe Newspaper. Santo Domingo·    Kalita, S. Mitra. ‘ With Touch of Color, Artists Help revive Downtown Block'. Newsday .·    ‘180: Maria Alos' Image Registry Intervention'. Lab 71: International Art Content. Issue 2. www.lab71.org, Nueva York·    Pictures of You Exhibition. El Norte Newspaper. Monterrey, México.·    Hernandez, Sofia. ‘Pictures of You'. Catálogo. The Americas Society. Nueva York·    Laster, Paul. ‘b.kyn 2.0, an online journal of the arts'. www.bkyn.com·    ‘AIM 21'. Catálogo. The Bronx Museum of the Arts. Bronx, Nueva York·    "Bleu&Blanc" Magazine. p. 96, number VIII. Fall issue. Ciudad de Méjico

2000·    Mellor, Carl. ‘Offbeat Art. Everson Biennial's focus on unconventional pieces should entice audiences'. Syracuse New Times.·    Friday, Matthew. ‘The Everson Biennial 2000, Postmodern Sublime'.   Nueva York Art Guide.

PUBLICATED ARTICLES·    Analysis on Panel Discussion. ‘The role of the Audience': Esther Shalev-Gerz, Leslie King Hammond y Krzysztof Wodiczko.·    Analysis on Panel Discussion. ‘New Strategies: Education of Public Artists': Judy Baca, Amalia Mesa-Bains y Susan Lacy.·    Synopsis on Miwon Kwon's lecture: ‘Public Art and Urban Identities'.  ·    ‘Eighth National Graduate Seminar Proceedings Journal: Public Strategies, Public Art and Public Spaces' . Publicado por American Photography Institute. Tisch School of the Arts, Nueva York University. Nueva York

2003·    ‘Morality and the Maker: Conscience as a consideration when creating contemporary art'. Mesa redonda moderada por Amy Goldrich en Mixed Greens, Nueva York·    ‘Visiting Artist. A Contemporary Cadavre Exquis'. Conferencia en SHiNE y Rush Philantropic Arts Foundation, Nueva York

2002·    Mesa redonda para Set in Motion. Apex Art. Nueva York·    Conferencia en The Americas Society for children para el proyecto B.R.A.C.E. (Bronx Region Access to Culture and English), Nueva York·    Conferencia en Thomas Erben Gallery, presentada por Louky Keijsers

2001·    Conferencia en Artists Space, presentada por Barbara Hunt·    ‘On Point: AIM21': conferencia en The Bronx Museum of the Arts, moderada por Edwin Ramoran

WORKS IN COLLECTIONS·    Miriam and Ira D. Wallach Division of Art·    Prints and Photographs·    The Nueva York Public Library·    Astor·    Lenox and Tilden Foundations, Nueva York·    The Everson Museum of Art, Syracuse·    The New Museum of Contemporary Art, Nueva York

NICOLÁS DUMIT ESTEVEZEDUCATION2000·    Master en Bellas Artes. Tyler School of Art, Temple University, Philadelphia

1996·    Licenciatura en Artes cum laude (Studio Art), The City College of the City University of New York

SOLO EXHIBITIONS

2004·    The Passerby Museum . Universidad Autónoma de Mexico (UNAM), Ciudad de Méjico. H ostos Community College, Longwood Art Project/The Bronx Council on the Arts, Bronx, Nueva York.

2001·    Cavum Gloriosum . Dixon Place, Nueva York

GROUP EXHIBITIONS 2004·    Good Enough to Eat . Performance presentada en Rita McBride's Arena at Sculpture Center, Long Island City·    S.O.S (Straight Off the Street): Moment , en colaboración con Mel Chin. Longwood Art Gallery/Project Room, Hostos Community College, Bronx, Nueva York.·    A.S.A.P. Daimler Chrysler Building, Ciudad de Méjico·    Re:source . Performance, Art In General, Nueva York·    Cabaret del Barrio . Heckster Theatre, Museo del Barrio, Nueva York·    CultureFest: Amigo Express , intervención presentada en LMCC's booth, Nueva York·    Freedom Salon, en colaboración con Mel Chin . Deitch Projects, Nueva York.·    The Passerby Museum . Museo de Ciencias y Arte (MUCA/Roma), Ciudad de Méjico·    No Lo Llames Performance/Don't Call It Performance . Museo del Barrio, Nueva York·    Jamaica Flux . Jamaica Center for Arts and Lea rning, Queens, Nueva York·    EA50 . Here Arts Center, Nueva York·    Super Salon . Samson Projects, Boston·    e-Bay-Buy or Sell or Buy . Pace Digital Galley, Pace University, Nueva York

2003·    Immigration and Expectations. Paul Robeson Gallery, Rutgers University, Newark, Nueva Jersey·    Insert . Cuchifritos, Nueva York·    In Practice . The Sculpture Center, Long Island City, Nueva York.·    Recuento de mis 15 . Bronx River Art Center, Bronx, Nueva York·    CultureFest: Not For Sale , intervención presentada en LMCC's booth, Nueva York·    The Caribbean Abroad . Newark Museum, Newark, Nueva Jersey·    Recession 2003, $99 Show , Cynthia Broan Gallery, Nueva York·    Orden Del Día . Museo de Arte Moderno, República Dominicana·    Espacios a la Experimentación II, Museo de Arte y Diseño Contemporáneo, Costa Rica                  ·    Video-Performance, Remote Lounge, Nueva York

2002·    White Box Annual Benefit Auction. White Box Gallery, Nueva York·    Trienal del Tile Cerámico, Museo de Arte Moderno, Santo Domingo·    Press . Southwest School of Arts and Crafts, San Antonio, Texas·    One Fine Day . Block Gallery, Sydney·    The S-Files . Museo del Barrio, Nueva York·    Looking In . Lower Manhattan Cultural Council, Nueva York·    Live from Downtown/Live Performance . Downtown Community Television (DCTV), Nueva York·    Hot Festival . Dixon Place, Nueva York·    The Love a Commuter Project 2002. Estaciones de metro 149th Street y Grand Concourse, Bronx, Nueva York·    Cultural Collaborations: Observations in Time and Space . Henry Street Settlent/Abrons Art Center, Nueva York·    PerfoPuerto/Festival Lationoamericano de Arte de Performance, Valparaiso, Chile

2001·    Peppermint . Smack Mellon Gallery, Brooklyn, Nueva York·    Mini Prints Portfolio . Lower East Side Printshop, Nueva York·    IV Caribbean Bienal. Museo de Arte Moderno, Santo Domingo·    Días Hábiles . Museo del Hombre Dominicano, Santo Domingo·    Spunky . Exit Art, Nueva York·    AIM 21 . The Bronx Mu seum of the Arts, Bronx, Nueva York·    Crossing the Line . The Queens Museum of Art, Queens, Nueva York·    Lecture Lounge Vol. I and II. P.S1/The Clocktower Gallery, Nueva York·    Recuerdos de Mis 15 . P.S.1/The Clocktower Gallery, Nueva York·    The Land Columbus Loved Best . Dixon Place, Nueva York·    The Love a Commuter Project 1999 . Times Square Subway Station, Nueva York

2000·    Super Merengue . Dixon Place, Nueva York·    Donors' Performance Night . Dixon Place, Nueva York·    B.U.M.F. Expo . Jersey City Art Tour 2000, Nueva Jersey·    Avant-Garde-Arama-Thon . P.S.122 Performance Space, Nueva York

1999·    The Y2K Solutions, Maryland Institute College of Art, Baltimore, Maryland and Mason Gross School of the Arts Gallery, Rutgers University, New Brunswick, Nueva Jersey

1995·    AccessZone 02, The Bronx Museum of the Arts, Bronx, NY

GRANTS AND AWARDS1997–02·    Franklin Furnace Fund para Performance Art, Nueva York

2004·    Programa de estudio de Lower Manhattan Cultural Council, New York·    Beca Puffin Foundation, Nueva Jersey·    Longwood Arts Project Cyber Residency, Longwood Arts Project/The Bronx Council on the Arts, Bronx, Nueva York

2003–06·    Lambent Fellowship in the Arts, Tides Foundation, Nueva York

2003·    Beca residencia de Artist Alliance Inc.'s Lower East Side Rotating·    Artists Alliance INC, Nueva York

2002·    Beca proyecto independiente, Artists Space, Nueva York·    Artist in Residence Fellowship, The Vermont Studio Center, Johnson·    2001–02 ·    The National Studio Program, P.S.1/MoMA, Long Island City, Nueva York   ·    Proyecto de colaboración cultural internacional, Snug Harbor, Trace·    Foundation y Henry Street Settlement/Abrons Art Center, Nueva York·    Special Editions Fellowship, The Lower East Side Printshop, Nueva York·    Artist in the Marketplace, The Bronx Museum of the Arts, Bronx, Nueva York·    1998–00 ·    Future Faculty Fellowship, Tyler School of Art, Temple University, Philadelphia, PA

1997·    Programa de residencia, Henry Street Settlement/Abrons Arts Center, Nueva York·    Rita Margrath Scholarship, Potters for Peace, Managua, Nicaragua·    Albert P. D'Andrea Award for Excellence in Art & Scholarship, The City College of the City University of New York

1995·    Connors Award, The City College of the City University of New York

PRESENTATIONS2004·    Hartwick College, Oneonta, Nueva York·    Queens Council on the Arts, Queens, Nueva York·    La Esmeralda, Mexico City·    Here Arts Center, Nueva York·    Educational Alliance, Nueva York·    Pace University, Nueva York ·    Sculpture Center, Nueva York·    Longwood Art Gallery, Bronx, Nueva York

2003·    Rutgers University, Newark NJ·    Aljira A Center for Contemporary Art, Newark, NJ

2002·    Johnson State College, Johnson, Vermont

2001·    The Bronx Museum of the Arts, Bronx, Nueva York·    Instituto de Arte y Cultura (ICA), Santiago, República Dominicana·    Museo de Arte Moderno, República Dominicana·    Universidad Tecnológica de Santiago, Santiago, República Dominicana

PUBLICATED ARTICLES AND BIBLIOGRAPHY (selection)·    ‘Code Red', Tart, Canada 2004·    ‘Fefita al Oleo', Listín Diario, República Dominicana 2000·    ‘A Fuetazo Limpio', El Listín Diario, República Dominicana 2000·    ‘San Expedito se Muda a Manhattan', El Listín Diario, República Dominicana 2000·    ‘Open Wounds', Ceramics Technical, Australia 1999·    ‘Wedging Politics: Traveling the Nicaraguan Pottery Road', The Studio Potter, 1999·    ‘Post-Sandino, Pre-Columbian Pottery', Ceramics Technical, Australia 1999·    ‘The Matriarchal Hand', Contact, Canada 1998·    Mayer, Mónica, ‘El Museo Peatonal', Visual Arts Section, El Universal, Ciudad de Méjico 2004·    Camil, Pia, ‘El Museo Peatonal'. Chilango. Ciudad de Méjico 2004·    Pacho, ‘Museo Peatonal'. Ruidos de la Calle, La Reforma, Ciudad de Méjico 2004·    López, Pancho. ‘Notas desde El Museo Peatonal', La Crónica, Ciudad de Méjico 2004·    Leñero, Isabel. ‘Artes Visuales—MUCA Roma', Proceso, Ciudad de Méjico 2004·    Ceballos, Miguel Angel. ‘Museo Peatonal', El Universal, Méjico 2004·    Núñez, Erika, ‘Crean museo de peatones', El Milenio, Ciudad de Méjico 2004·    Blanco, Sergio R. ‘Toman ‘arte' de la calle', La Reforma, Ciudad de Méjico 2004·    Mandell, Meredith, ‘Artist Cooks Up Hot Performance', The Bronx Beat 2004·    Vega, María, ‘Las Travesuras Artísticas de Dumit Estévez', El Diario 2004·    Cotter, Holand, ‘Art in Review', The New York Times 2004·    Gennocchio, Benjamin, ‘Images of Tropical Lands, Issues of Caribbean Identities', The New York Times 2003·    Martínez, Arturo, ‘Caribbean artists show their visions of America',·    The Star Ledger 2003·    Walter, Robinson, Artnet 2003·    Amado, María del Carmen, ‘Nueva Bienal en el Museo de El Barrio', Hoy 2002·    Vega, María, ‘Abre Bienal del Museo del Barrio', El Diario 2002·    ‘The S-Files', El Museo del Barrio, Nueva York 2002·    ‘Latin American Biennial In New York', Artnet News 2002·    ‘El Museo Peatonal Reabre en Enero', El Caribe, Santo Domingo, República Dominicana 2002·    Baptísta, Greyza, ‘Bienal de Arte Joven en el Museo del Barrio', Hoy,·    Nueva York 2002·    Mitra , Kalita S. ‘With Touch of Color, Artists Help Revive Downtown Block', Newsday, Nueva York 2002·    Laster, Paul ‘bkyn 2.0, An Online Journal of the Arts', wwww.bkyn.com·    P.S.1/MoMA National and International Studio Program, Nueva York 2002·    Available in Large Print, The Lower East Side Printshop, Nueva York 2002·    Zayas, Antonio, ‘The 4th Caribbean Bienial in Santo Domingo', Artnexus no.44/volume 2·    Martínez, Labares, Vivian, ‘Viaje al centro de La Quisqueya: festival de Santo Domingo', Conjunto: Revista de Teatro Latinoamericano # 123, Habana, Cuba 2001·    Decena, Noris, ‘Arte por Doquier', El Listín Diario, República Dominicana 2001·    ‘El Museo del Hombre Exhíbe Días Hábiles', El Listín Diario, República Dominicana 2001·    ‘AIM 21, The Bronx Museum of the Arts', Bronx, Nueva York 2001·    Medína, Grisbel, ‘La Fundación Guaguarey Busca Unidad de los Artesanos del Higüerito',   El Listín Diario, República Dominicana 2000·    Medína, Grisbel, ‘Dumit Estévez', El Listín Diario, República Dominicana 2000

 

 

 

 

 

05prtb0372

2009-2010. Teddy Cruz. VALLECAS ABIERTO: HOW IS YOUR ART GOING TO HELP US? (images)

2009-2010. Teddy Cruz. VALLECAS ABIERTO: HOW IS YOUR ART GOING TO HELP US? (images)

 

    

     

       

    

Photos: Alfonso Herranz

 

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Photos: courtesy of the artist

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10inic2831, 09-10inmc2835, 09-10inic3754

2004. Fernando Sánchez Castillo. PERSPECTIVA CIUDADANA (published text)

 The aim of the project is to reveal to the spectator the qualities of equestrian sculpture which, due to its elevated position, is inaccessible to pedestrians –who are only able to see the sculptures of eminent people at street level when they are knocked down or exchanged for others.

Especially important is the statue of Philip IV in the Plaza de Oriente. City Authority personnel in charge of recent cleaning were amazed by the richness of the detail and invited the casting department of the Royal Academy of San Fernando to make moulds of the most significant parts. Moulds were made of the head and one leg of the horse, the king's gloves and other small details threatened with deterioration from pollution. 

Features and motifs -unknown and therefore uncatalogued- adorning the saddle and reins were discovered. The excellence, opulence and ostentation of the sculpting, chiselling and founding merit both the exhibition of the pieces and a reflection on the expression of power. 

The artwork displays the cast bronze fragments of the statue on a low platform, uses, moreover, the same popular strategies of pseudo-history or romantic ruins revived ad infinitum by postmodernity, and also attempts to encourage a continuous debate on imposed or desired heroes which historically have been eliminated and quickly substituted. Perspectiva ciudadana wishes to recover the ability to think as the essence of contemporary man.

 

 

 

 

 

04intc0122

2006. Lorma Marti. BLEND OUT (visual - technical data)

2006. Lorma Marti. BLEND OUT (visual - technical data)

 

SKETCHES

    

        

 

 

REFERENCES

 

ANALYSIS OF THE LOCATION

    

   

 

PROCEDURE FOR INSTALLATION

With the progress of the project, and in collaboration with the organizers and the city, suitable locations would be clearly identified. Any of the following actions may apply to an optimal location: the fencing-in of trees, vegetation and possibly monuments, the deviation or reduction of highly frequented pedestrian crossings and the limitation of prominent views.

The size and materialization of each intervention would then be decided in detail according to setting, degree of interference and space available.

Installations would consist of building scaffolding and fabrics, security fences and screens. These are all easily installed with the minimum effort. For nighttime illumination with construction site-specific equipment (safety lights) we would need access to electricity supplies.

Most important of all, the sites would need to be set up over night without any previous indication, nor information of what will happen and under whose responsibility.

 

 

 

 

 

 

06pric0882, 06pric0881, 06prtc0885

2005. José Dávila (Cv)

GUADALAJARA, MÉJICO, 1974LIVES AND WORKS IN GUADALAJARA, MÉJICO D.F.WORK EXPOSED IN MADRID ABIERTO:MIRADOR NÓMADA

EDUCATION1993·    Licenciatura en Arquitectura, Instituto Tecnológico y de Estudios·    Superiores de Occidente ITESO, Guadalajara, Jal., México

1997·    Taller de teoría "Nuevos medios/desaparición del objeto"

1994·    Cursos de fotografía y escultura, Academia de Bellas Artes, San Miguel Allende, Gto., México

1993·    Cursos de Arte y Arquitectuta del renacimiento, Academia ARS - Grammatica, Florencia, Italia

SOLO EXHIBITIONS2004·    Jose Dávila. Galería Enrique Guerrero, México D.F.

2003·    Untitled Elevation No 2. Les halles, Valais, Suiza·    ARCO'03. Project Room. Galería Enrique Guerrero, Madrid·    Erasing Memory. Galería Enrique Guerrero, México D.F.

2001·    Temporality is a question of survival. Camden Arts Center, Londres·    Monocromo. Project Room, México D.F.·    45 minute Project. Televicentro, Guadalajara, Jal. México

1998·    Watch your step. Galería 3.90 x 2.40 NAP, Guadalajara, Jal., México

GROUP EXHIBITIONS 2004·    Deconstruction for a construction. Galerie Valerie Cueto, París·    Light and atmosphere. Miami Art Museum, Miami·    Piel Fría /Peau Froide. Museo Carrillo Gil, México D.F.; Instituto de México en Paris

2003·    Cambio de valores. Colección ARCO/Espai de Art contemporani, Castellón·    In the absence of recombination. Bronx River Art Center, Nueva York·    IX Salón de Arte Bancomer. Museo de Arte Moderno, México D.F.; Museo de Arte Contemporáneo Alfredo Zalce, Morelia, Mich., México·    Mexico Iluminado. Freedman Gallery, Albright College, Philadelphia·    Mexico Attacks!. Associazione Prometeo per L'arte Contemporanea, Chiesa di San Matteo, Lucca, Italia·    Jetset. Museum of Installation, Londres·    The translator notes. Café Gallery Projects, Londres

2002·    Fatamorgana. Zero artecontemporanea, Piacenza, Italia·    INTER.PLAY. The Moore Building, Miami; MAPR San Juan, Puerto Rico·    Anonimous. Centro de arte Santa Mónica, Barcelona·    Panorama Emergente. III Iberoamerican Architecture Biennal, Santiago, Chile·    Mexico City: An Exhibition about the Exchange Rates of Bodies and Value. P.S.1 Contemporary, Nueva York; Art Center at Museum of Modern Art, Long Island City, Nueva York; Kunstwerke, Berlín·    Doble Interior. Visite la Casa Muestra, Galería ARTE3, Guanajuato, Gto., México·    Puerto Rico PR02. San Juan, Puerto Rico·    Casa, vestido, sustento. Plaza Carlos Pacheco, México D.F.·    Sauvage. La Panadería, México D.F.·    Teoría del Ocio. La Colección Jumex, Edo. de México

2001·    Asamblaire. Centre Culturel du Mexique, París·    The vanishing city. Programa Art Center, México D.F.; Centro de las Artes, Monterrey·    Recreo: Cuatro Artistas de Guadalajara. Galería Enrique Guerrero Open Studio, International Video Screenings, 291 Gallery, Londres·    Ventanas. Centro de Arte.com, Madrid

2000·    Cuarto de Demostraciones/La casa ideal. Museo Alejandro Otero, Caracas; Apex Art, New York; Gallery 400, Chicago; NICC, Antwerp, Bélgica.·    Artists Workshop, Oxford, R.U.·    Open Studio. Braziers Intl. Oxford, Inglaterra·    Fraccionamiento del terreno/a piece of the action. Galería Emma Molina, Monterrey·    Segundo Festival Internacional de Arte Sonoro, Museo Estudio Diego Rivera, México D.F.·    Propulsión a chorro. Museo de las Artes, Guadalajara, México

1999·    Ciencias In-naturales. Ex Teresa Arte Actual, México D.F.·    Look-Look, 1.Insideout ó Por qué ponerle dos rebanadas de jamón al sandwich cuando se le puede dar una mordida al puerco vivo? 2. Los secretos de victoria 3. Expose, Espacio 16/16, Guadalajara, México·    Yo y mis circunstancias / movilidad en el arte contemporáneo de México. Muestra de Video, Museo de Bellas Artes, Montreal, Canadá·    VIII Muestra Internacional de Performance (utopía/distopía). Ex Teresa Arte Actual, México D.F.·    Desmaterialización en raciones/Objeto de morfología. León, Gto.; Cineteca de Nuevo León, Monterrey, México·    El Arte Ataca. FIAC '99, León, Guanajuato, México·    Televisión Incidental. Grupo Incidental, Televicentro, Guadalajara, México·    En Busca De Un Lugar No Conquistado. Ex Teresa Arte Actual, México D.F.

1998·    Fotografía Incidental. Grupo Incidental, Guadalajara, México·    Doméstica. Grupo Incidental, Guadalajara, México

1997·    Obra al piso. Galería de Arte Contemporáneo, Guadalajara, México

1996·    Cien años de Cine. Universidad de Guadalajara, Guadalajara, México

GRANTS AND AWARDS 2004·    Residencia en Kunswerke, Berlín

2002·    Seleccionado para la III Bienal Iberoamericana de Arquitectura en Santiago de Chile

2001·    Residencia en Camden Arts Centre. Premio de The Andy Warhol Foundation.·    Seleccionado para la Bienal de Monterrey, member of Ediciones el chino·    Premio Jóvenes Creadores, FONCA, México

2000·    Residencia en Braziers Intl. Workshop, Oxford, Inglaterra

1998·    Beca para participar en el seminario 'Estudios de Arte Contemporáneo', FARCO A.C., Guadalajara, México

1996·    Mención Honorífica. Concurso de Arquitectura: 'Vivienda Estudiantil', Semana de Arquitectura,   ITESO, Guadalajara, México·    Mención Honorífica, Semana Cultural ITESO, ITESO, Guadalajara, México

BIBLIOGRAPHY·    Gallo, Ruben, 'Cream 3', Phaidon Press 2003.·    Beith, Malcolm. 'Mexico's New Wave'. Newsweek International, Nueva York 2003·    'Cambio de Valores'. Catálogo de la exhibición. EACC, Castellón, 2003·    Macri, Teresa. 'Mexico Attacks'. Catálogo de la exhibición. Associazione Prometeo per l'Arte Contemporanea, Lucca, 2003.·    Capata, Paola. 'Assael, Caretto, Courbout, Davila'. Arte e Critica No. 33, Roma 2003·    Rivero Lake, Francisca. 'Jose Davila'. Art Nexus Magazine No.46, 2002·    'Interplay'. Catálogo de la exhibición. Moore Space, Miami 2002.·    Biesenbach, Klaus and Martín. 'Mexico City: An Exhibiton about the Exchange Rates of Bodies and Values'. Catálogo de la exhibición. P.S.1-Kunstwerke. Long Island City, Nueva York 2002.·    García, Omar. Periódico Reforma, Sección de Cultura, Méjico D.F. 2002.·    'Jose Davila'. Revista Celeste No. 3, 2001 - 2002·    Gallo, Ruben and Craddock, Sacha. 'Jose Dávila, Temporality is a question of survival'. Catálogo de la exhibición. Camden Arts Centre. Londres 2001.·    Currah, Mark. 'Jose Davila'. Time Out Magazine No. 1626, Londres 2001·    Smith, Dan. 'Jose Davila'. Art Monthly Magazine No. 251, Londres 2001.

 

 

 

 

05prtb0371

2004. Warren Neidich + Elena Bajo. SILENT (published text)

The artists are proposing a plexiglass noise barrier/sculpture called Silent that would run down Castellana Street from the Museo de Escultura al Aire Libre towards Marqués del Riscal Sreet. This kind of noise barrier has usually been placed along highways as a means of limiting noise pollution for those living near the highway. But urban environments and city dwellers also suffer the effects of insidious noise pollution. The purpose of this artwork is to create areas of stillness, silence and quiet within the complex, bustling, congested urban space and to create a sculpture which communicates to the other beautiful sculptures already in place. Instead of being a visual monument linked to the past as the other sculptures in the area are, Silent is about space and process. It is socially interactive work which creates a place where people can once again enjoy peace and quiet; where they can cogitate, read or engage in intimate conversations at cafés which border the route. This is a normal condition in the countryside where there are many places in the forest of the field in which a man or woman can enjoy such peace but in the city and in places where the urban environment has been reduced and compressed. Spaces such as the one the artists would like to create are limited, fragile and precious. They want to make this piece as a gift/artwork to the people of Madrid as an act of generosity to improve the quality of their lives, an ephemeral gesture.

Noise Barriers, as the name implies, are barriers constructed to deflect dissonant sound waves coming from the interaction of the automobiles with the highway. As highly industrialized nations like those of the European Union out grow their available land mass, marginal spaces along motorways and railroad tracks have begun to be developed for living. Domestic suburban communities have sprung up in these spaces and created new strategies and solutions to counter certain characteristic distasteful qualities like air and sound pollution. Noise barriers are one such recent invention. But the city is also a place where this kind of noise pollution exists. This project is fundamentally a redesign, reimplementation and relocation of an already available industrial artifact from its primary site along the highway to one embedded in the urban infrastructure and contiguous too a busy thoroughfare, the Castellana Street. It is a recontextualized readymade configured to align itself with an urban plan to redefine it as a less sibilant place while at the same time creating an artwork as a weaving gesture of pure translucency.

But there are other levels of discourse that act subliminaly yet are just as important in defining the social, political, historical and psychological relations of our project which must be addressed. As mentioned before this work of public art will be deeply connected to people who see and interact with it. Its reiteration of the urbanscape will create metaphoric and analogic meanings as a social sculpture which must be crossed and dealt with. This reiteration is visual, acoustic and physical. First is transparency will frame certain scenes anew giving certain structures greater attention whilst simultaneously decreasing the presence of others. Secondly, urban planners and architects who for so long have been part of a culture of spectacle and phaticity are now designing structures to decrease stimulation. They are all being over stimulated by the random sounds of our technologic culture and need some peace from it. This work of art decreases sound and its random brother noise. We are also interested in the way these sound barriers operate in spaces of indeterminacy separating the nomadic culture of the highway from the pristine domesticity of sedentary life; as if the barrier was impenetrable to sound but permeable to other forms of information allowing these very diverse and different cultures to interpenetrate forming morphologies of hybridity. I think that in our changing, fast paced, global world this type of analogous hybridity forms an important analogy for how other very diverse cultures based on very different discourses might intermingle and mutate. Especially in their most recent manifestation as transparent plexiglass sheets these sound barriers begin to operate as extreme but necessary forms of living to coexist in close proximity creating new possibilities a kind of third space, to emerge.

We must also considers this works ties to past sculptural experiments and we can no help but remark on the uncanny morphologic similarities these structures have to the sculptures of Richard Serra with which they also share strong perceptual, phenomenological underpinnings although its emphasis on beauty and its socially positive message are very different concerns then those than interested him. Together these deeper levels of meaning float up to interact with the materialist underpinnings of this physical sculpture set in the real, physical world. But by reading the structure in these may ways the work becomes metaphysical and immaterial.

 

 

 

 

 

04intc0125

2007. Leopold Kessler. ALARM BIKE (2006.11 / visual data)

2007. Leopold Kessler. ALARM BIKE (2006.11 / visual data)

 

       

(November 2006) 

 

 

 

 

 

 

 

 

07inib1336

2005. Henry Eric Hernández García (Cv)

CAMAGÜEY, 1971LIVES AND WORKS BETWEEN MADRID, CIUDAD DE LA HABANAWORK EXPOSED IN MADRID ABIERTO: ZONA VIGILADA

EDUCATION1993·    Instituto Superior de Arte, La Habana.

1996·    Taller de escultura impartido por Richard Deacon. ISA, La Habana.·    Taller de escultura impartido por Dean Knox. ISA, La Habana.

1995·    Taller de arte contemporáneo. Centro Wifredo Lam, La Habana.

1986·    Escuela Profesional de Arte, Camagüey.

1983·    Escuela Vocacional de Arte, Luis Casas Romero, Camagüey.

SOLO EXHIBITIONS2003·    Vídeo-show. Casa de las Américas. VIII Bienal de La Habana.

2002·    Out to the pagoda. Neutral Ground Gallery. Regina, SK. Canadá.

2001·    Sala transitoria. Fundación Ludwig de Cuba-C.D.A.V. La Habana.

2000·    Vídeo-show. Fundación Ludwig de Cuba, VII Bienal de La Habana.·    Unplugged. Centro de arte 23 y 12. La Habana.·    Vídeo-show. Controversia con el ghetto. C. C. Cinema. ICAIC. La Habana.

1998·    Sin celosías la encomienda va mejor. Centro Wifredo Lam. La Habana.1997·    Leyendas Caseras. Centro Cultural cubano-árabe. La Habana.·    1996 Virilidad Underground. Taller de serigrafía René Portocarrero.   La Habana.

1993·    Edictos. Galería Juan David. La Habana.

1992·    Rumbo al oasis. Galería Alejo Carpentier. Camagüey.

1991·    En pie famélica legión. Museo Ignacio Agramonte. Camagüey.

1990·    Guerrilleros vs Longobardos. Centro de Arte. Camagüey.·    Servidor afilado. Casona del F.C.B.C. Camagüey.

GROUP EXHIBITIONS 2004·    Sin Embargo. Fluid Image. Grenoble, Francia.·    Muestra de Video Creación Iberoamericana. Madrid, España.·    II Muestra Internacional de Documental. Cádiz, España.·    Etats Generaux Du Film Documentaire. Lussas, Francia.

2003·    II Bienal de Cerámica en el Arte Contemporáneo. Albissola Mare, Italia.·    Al final del pasillo. C.6 # 218 Vedado. Censurada durante la VIII Bienal de La Habana.·    Doble Seducción. Sala Amadis. Madrid, España.·    Los Angeles Latino Film Festival. LA, U.S.A.·    Realización de arte y still en el cortometraje Molina´s solarix. Betacam.

2002·    Publicación NERTER no. 3-4. Tenerife, Islas Canarias.·    Arte Contemporáneo de Cuba. Colateral Bienal de Sao Pablo, Galería Martha Traba. Brasil.·    COPYRIGHT. Centro Cultural de España en La Habana.·    OVNI 2002, Muestra de Vídeo Independiente. C.C. Contemporánea de Barcelona.·    Dirección de Arte. Cortometraje The Friedman Castle. 35mm.

2001·    Políticas de la Diferencia, Arte Iberoamericano de Fin de Siglo.·    Internacional itinerante. Museo de Malba Buenos Aires, Museo de Sofia Imber Caracas, Centro Cultural de Sao Paulo, Museo de Arte Contemporáneo de P.R.·    Two Nations, work on paper. White Water Gallery, Canada / CDAV, La Habana.

2001·    III Salón de Arte Contemporáneo. Fototeca de Cuba. La Habana.·    XXI en el 21. GalerÌa Biblioteca Nacional. La Habana.·    Festival Cine Plaza de La Habana.·    Realización de Arte. Cortometraje Molina´s Test. 35mm.

2000·    H.E./V./A. M. Casa de Chile, VII Bienal de La Habana.·    IV Certamen de arte para Jóvenes. Castellón, España.·    Sin fin, sin contén, sin medida.. C.D.A.V. La Habana.·    A la vuelta del transvida. Intervención en la calle D'CLOUET, Cienfuegos.·    22 Festival Internacional del Nuevo Cine Latinoamericano de La Habana.

1999·    While Cuba waits. Art from the nineties. Track 16 Gallery, L.A. USA.·    Llocs Lliures. Séptima Edición, Xabia. España.

1998·    De una isla a otra isla. Habana-París, Fundación Ludwig de Cuba.·    II Salón de arte contemporáneo. C. Wifredo Lam. La Habana.·    Nuevos y Sinceros. C.D.A.V. La Habana.·    V Bienal de cerámica Amelia Peláez. Castillo de la Real Fuerza. La Habana.

1997·    A punto de cosido. C.D.A.V. La Habana.·    Antes de la lluvia. I.S.A. VI Bienal de La Habana.

1996·    Y la nave va. XX años del I.S.A. C.D.A.V. La Habana.

1995·    I Salón de arte contemporáneo. Museo Nacional de Bellas Artes. La Habana.·    El oficio del arte. C.D.A.V. La Habana.·    El rápido. Salón del I.S.A. La Habana.·    Algoritmos. C.D.A.V. La Habana.

1994·    No valen guayabas verdes. V Bienal de La Habana. I.S.A.·    Expo de premiados. Museo Provincial Ignacio Agramonte. Camagüey.

1990·    Salón Fidelio Ponce de León. Camagüey.

1991·    Salón de la Ciudad. Camagüey.

INTERVENTIONS2002·    A la víctima desconocida. Intervención en el patio de una casa de familia (antiguas fosas comunes de las víctimas de la Reconcentración de Weyler 1896-97). San José de las Lajas.

2001·    Kermesse al desengaño. Intervención en el patio de la escuela Manuel Ascunce Domenech, (cementerio de la parroquia, 1788-1841). San José de las Lajas, La Habana.

2000·    Lampo sobre la runa. Intervención en el Cementerio Judío (1906-1910). Guanabacoa. VII Bienal de La Habana.·    ¡A quitarse el antifaz! Intervención en el círculo infantil Conchita Mas Mederos (antigua casa de vivienda de familias pudientes). Ciudad de Cienfuegos.

1999·    Los que cavan su pirámide. Intervención en la Necrópolis Cristóbal·    Colón (1871-1888). Vedado, La Habana.

1999·    Controversia con el ghetto. Intervención en Ciudad Escolar Libertad (antiguo ·    Campamento Militar Columbia). Marianao, La Habana.

GRANTS AND AWARDS2004·    Artist in Residence. Agencia Española de Cooperación Internacional, España. Fluid Image, Francia.

2002·    Beca en John Simon Guggenheim Memorial Foundation, Nueva York.

2002·    Artist in Residence. Neutral Ground Run-Centre for Artist. Regina, California.

2000·    Premio ‘Raúl Martínez'. Fundación Himann, U.S.A. Instituto Superior de Arte, La Habana.·    Premio. Asociación Cultural Saloni. Castellón, España.

1999·    Beca C.O.S.U.D.E. Suiza - La Habana.

1994·    Premio. Salón Fidelio Ponce. Camagüey.

1993·    Premio. UNEAC, Salón de la Ciudad. Camagüey.

1992·    Premio. Salón Fidelio Ponce. Camagüey.·    Beca. Fondo Cubano de Bienes Culturales. Camagüey.

1991·    Premio. A.H.S. Salón de la Ciudad. Camagüey.

LECTURES2004·    Centro de Arte Museo Reina Sofía. Madrid, España.·    Colegio Mayor Sra. de Guadalupe. Madrid, España.

2003·    Stanford University. California, U.S.A.·    University South of Florida. Tampa, U.S.A.

2002·    University of Regina. SK. Canadá.·    Profesor Asesor de Dirección de Arte. Escuela Internacional de Cine y Televisión, La Habana.·    Miembro de la Sociedad General de Autores y Editores de España. SGAE·    Miembro de la Unión Nacional de Escritores y Artistas de Cuba. UNEAC·    Integrante de Producciones Doboch.

FILMOGRAPHY 2004·    Sucedió en la habana (capítulo IV). 73min. Vídeo.·    Sucedió en la habana (capítulo I). 10min. Vídeo.

2003·    Sucedió en la habana (capítulo II). 50min. Vídeo.·    Triduto a Columbia . 5.56min. Vídeo.·    In memoriam . 2.30min. Vídeo.·    Reseña biográfica . 4.47min. Video.

2002·    Match con Indiana Jones . (reduce) 8.38min. Vídeo.

2001·    Sucedió en la habana . 13.20 min. Vídeo.·    Epitafios . 8.00 min. Vídeo.·    Match con Indiana Jones . 14.39 min. Vídeo.·    Almacén . 19.42 min. Vídeo.

2000·    Bocarrosa . 28,51 min. Vídeo.·    Controversia con el ghetto . 21min. Vídeo.

WORKS IN MUSEUMS AND COLLECTIONS·    Colección Tom Pattchet. Los Angeles. USA.·    Neutral Ground Run Centre and Gallery. Regina, SK. Canadá.·    Colección Asociación Cultural Saloni. Castellón. España.·    Museo Provincial Ignacio Agramonte. Camagüey.·    Museo Municipal de San José de las Lajas. La Habana.·    Videoteca Escuela Internacional de Cine. La Habana.·    Videoteca INJUVE. Madrid, España.

 

 

 

 

05prtb0370

2006. Gustav Hellberg. PULSING PATH: AMBIGUOUS VISION (technical data)

 TECHNICAL FACTS

- A chosen segment of street lamps is altered so that the light pulses in a slow cycle.

- If halogen bulbs are used in existing street lamps they have to be changed to normal light bulbs. Lamp bulb effect (watts) depends on effect on existing lamps. Light bulbs need a higher effect number, around 300-400 W to create the same light effect.

- Dimmer control unit connected to the street lamps circuit series.

INSTALLATION

- Connect dimmer control unit to the selected row of lamps, needs to be done with official electrician. The dimmer unit is a common unit with European safety standards, has its on fuses to eliminate all safety risks.

- Change of light bulbs.

 

 

 

 

06prtc0877

2005. Fernando Baena (Cv)

CÓRDOBA, 1962LIVES AND WORKS IN MADRIDHTTP://WWW.FERNANDOBAENA.COM/WORK EXPOSED IN MADRID ABIERTO: FAMILIAS ENCONTRADAS

SOLO EXHIBITIONS

2004    Ligero de equipaje. O Castelinho, Río de Janeiro, Brasil.2003    Caminos de Fernán-Núñez. Galería Magda Bellotti, Madrid.2001   Spanish executives. Bamboo Curtain Studio, Taipei, Taiwan.1999    De la economía. Sala de Arte del Ayuntamiento de Málaga. 606 m. de cuerda deshecha a mano II. Galería Valle Quintana, Tránsito, Toledo.1998    606 m. de cuerda deshecha a mano. Galería Valle Quintana, Madrid.            Desaprovechamiento de 128048580 cm3. de espacio expositivo de ZAT, Madrid.             Escenario. Cruce, Madrid.1997    Trile. Cruce, Madrid.    1996    Estoy aquí. Cruce, Madrid.             No-separados y no-unidos. Palacio de la Merced, Córdoba.1994    Pasillo. El Ojo Atómico, Madrid.1993    Sobre Mallarmé. Museo Municipal de Palma del Río, Córdoba.1992    Haz y envés. Galería Dziekanka, Varsovia,Polonia.1991    Centro de Recursos Culturales, Madrid.1990    Galería Carmen Romero. Marbella, Málaga.1988    Ayuntamiento de Fernán-Núñez, Córdoba.1987    Centro Cultural Huerta de la Salud, Madrid.1986    Colegio de Arquitectos de Córdoba.            Librería-Galería El Alef, Córdoba.1985    Palacio Ducal de Fernán-Núñez, Córdoba.1984    Ayuntamiento de Fernán-Núñez, Córdoba.

GROUP EXHIBITIONS

2004    Caminos de Fernán-Núñez. CO.04: Sala Puerta Nueva, Córdoba; Fundación Vázquez Díaz, Nerva, Huelva;    Museo de Adra, Almería.            In Memoriam. Loop´04, Barcelona. Galería Magda Bellotti, Madrid.            [R] [R] [F] 2004--->XP: Basics Festival, Salzburgo, Austria; Electronic Art Meeting, Pescara, Italia; VI Salon   y Coloquio International de Arte Digital, La Havana, Cuba; The International Festival of New Film/New Media, Split,  Croacia; Public Space_Festival Yerewan, Armenia; West Coast Nomusic & Electronic Arts Festival Stavanger, Noruega; Biennale of Electronic Art Perth, Australia; 1er International Digital Art Exhibition - Orilla'04. Museo de Arte Contemporáneo Art/Foro Universitario Santa Fe, Argentina; FILE - Electronic Language Festival. Sao Paulo,  Brasil; 404 - Electronic Art Festival. Juan B. Castagnino Art Museum, Rosario, Argentina Karaoke. Festival 143 delicias, L'Antic Teatre. Barcelona; Presentación de SOS Emergin Sumergin Art. Doméstico, Madrid; Control Remoto, MUCA-Roma, México D.F.

2003    Inclassificados 0. Espaço Bananeiras. Río de Janeiro, Brasil.            Inclassificados 1. Espacios SESC. Itinerante, Brasil.            Vídeo del deseo III. Barrios creando barrios, Madrid; MAD.03 Alterno, Madrid.            Infra-Lavapiés 03. Barrios creando barrios, Madrid; MAD.03 Alterno, Madrid.            Tres cuadros de corrala. Barrios creando barrios, Madrid; MAD.03 Alterno, Madrid.             36 caídas en Cerro Muriano. MAD.03 Digit, Madrid            Karaoke. Mínima 2003, Gandía             III Festival de Vídeo143 Delicias. Madrid.             Un ejecutivo español, aprox. Art Palace, Madrid            Deshaciendo el camino. Mirador, Berzosa del Lozoya, Madrid2002    Estoy aquí. Desesculturas. Castillo de Santa Bárbara, Alicante; Círculo de BBAA, Madrid.            Negro. A Caixa. Brasilia, Brasil.            Spitting image (con L.H.F.A.). El Papel del Papel. Galería Moriarti, Madrid.            La Ira. Ardearganda, Arganda del Rey, Madrid.            Karaoke. XXXII Festival de Cine de Alcalá de Henares. Madrid; I Festival de Vídeo de Ibi, Alicante.            La fuga. Per amor a l´art, Palma de Mallorca.           Sustitución de doce objetos. Casas y Calles, Madrid.           Passport (con L.H.F.A). Coslart, Coslada, Madrid.           Prácticas de invisibilidad V. Ven y Vino, Galería Chofereta, Madrid.2001   Coma. Sala de Exposiciones de Plaza de España de la Comunidad de Madrid.           El baile de mi Tani (con L.H.F.A.). Érase una vez... Lavapiés, Madrid.           Un ejecutivo español, aprox. III Bienal de Artes Plásticas, Córdoba            Vídeo del Deseo. Festival de Sesenta Piedras, Hualien, Taiwán.2000   Coma. Overgaden, Copenhague, Dinamarca.           19.973.196 cm2 de la Galería Valle Quintana. Galería Valle Quintana, Madrid.           Balones. Llocs Lliures, Xavea.            25 artistas, aproximadamente. Revista caminada nº 8. Ventas, Madrid.           Performance torera VI. Homenaje a José Ángel Valente. Torrelodones, Madrid.1999   Venta El Tigre (con L.H.F.A.). Espacios Cruzados, Univ. Autónoma, Madrid.            Venta El Tigre (con L.H.F.A). La ciudad y la tierra. Cruce, Madrid.           Hogar. Window 99, Madrid.           Monumento a la propiedad privada V. Rehabi(li)tar Lavapiés, Madrid.1998    Línea de azufre. Ex. Facultad de Bellas Artes de Madrid.            Spanish executives, 30 m2, approximately. Overgaden, Copenhague.            Ropa Vieja. Abierto. Cruce, Madrid.            Prácticas de invisibilidad III. Revista caminada nº4. La Latina, Madrid.            Prácticas de invisibilidad IV. IV Encuentro de performance. Pola de Lena, Asturias.            Pídola. Revista caminada nº6. Lavapiés, Madrid.1997    Residuos. Purgatori, Valencia.            Cesta de Navidad. Zona de Acción Temporal, Madrid.            Performances en Fotomatón. De viva veu. ARCO 97, Madrid.            Performance torera IV. Revista Aire. ARCO 97, Madrid.            Espectador. Revista caminada nº1.Tetuán, Madrid.            Muerte violenta (seis versiones). Vélez de Benaudalla, Granada.            Performance torera V. Revista caminada nº2. Atocha, Madrid.            Prácticas de invisibilidad. Per amor a l´art, Palma de Mallorca.            Prácticas de invisibilidad II. Revista caminada nº especial. Palma de Mallorca.            Bucle. Revista caminada nº3. Lavapiés, Madrid.1996      Programa. Sin Número. Arte de Acción. Círculo de BBAA. Madrid.           Movimiento e Inercia. Universidad de Valencia.           Araña. Calefacción y agua caliente en todos los pisos. Círculo de BBAA. Madrid.           Escarabajo pelotero. Arte Algo. Navalagamella, Madrid.           Performance torera I. De Viva Voz. Revista hablada nº2. Gal. Gayo Arte, Madrid.           Performance torera II. Revista caminada nº0. Lavapiés, Madrid.            Performance torera III. Teoría y Práctica de la Acción. Cruce, Madrid.1995    Improvisación. Encrucijadas. Alcázar de los Reyes Cristianos, Córdoba. 1994    Cubo. Islam y Arte Contemporáneo. Palacio de Congresos y Exposiciones, Córdoba.               Vigas. El artista es una abstracción. Cruce, Madrid.            Nichos. Pintar el museo. Museo Provincial de Bellas Artes, Córdoba.1993    II Encuentro y Nuevas formas de creación. Granada.                    Círculo. Estable-cimiento, Madrid.            III Festival Internacional de Arte Raro y Performances. Madrid.            I Beca de Artes Plásticas. Diputación de Córdoba.1992    En el abismo del milenio. Palau de la Música, Valencia.            Córdoba Arte Contemporáneo 1957 - 1990. Córdoba.            Minuesa. II Festival Internacional de Arte Raro y Performance. Madrid.1991    Galería Válgamedios, Madrid.1990    Circuitos de la Comunidad de Madrid. Centro de Recursos Culturales, Madrid.             Galería Carmen Romero. Marbella, Málaga.1989    22 sub 35. Sala de Capitulares. Córdoba.            Galería Carmen Romero. Marbella, Málaga. 1988    7 pintores 7. Diputación de Córdoba y CajaSur, Madrid.            4 Angular. Casa de Cultura de Fuengirola, Málaga.1987    Libros de Cabecera. Librería-Galería El Alef, Córdoba.1986    Colegio de Arquitectos de Sevilla.            Galería Villalar, Madrid.1985    Espacio P, Madrid.            Boulev’art 85. Nîmes.            Pintores de Emergencia. Posada del Potro, Córdoba.1984    Jaima Cultural. Córdoba. Itinerante.            La Carbonería. Sevilla.

SELECTED PUBLICATIONS AND BIBLIOGRAPHY

Álvarez Enjuto, J. M. ‘En el curso del margen’, Catálogo C. R. C. Madrid, 1991 Álvarez Enjuto, J. M. ‘Fernando Baena’,  Revista LÁPIZ  nº 149 -150, 1999 Álvarez Reyes, J. A. ‘La clausura de l'espai d'exposicio’, Papers d´Art nº68, 1996 Álvarez Reyes, J. A. ‘En proceso’, Catálogo CoMa. Comunidad de Madrid, 2001 Castaño A. ‘Fernando Baena’, ABC Cultural nº255, 1996 Castro, Fdo. ‘Un lugar crítico’, Catálogo Ojo Atómico, 1996 Castro, Fdo. ‘Un lugar crítico’, Revista CIMAL nº50, 1998 Castro, Fdo. ‘La épica escultórica de Fernando Baena’, ABC Cultural. nº369, 1998 Castro, Fdo. ‘Chapuzas a domicilio’. Catálogo De la Economía, Sala de Arte del Ayto. de Málaga. 1999 Castro, I. ‘Residencia’. Catálogo Estoy aquí, A. C. Cruce, 1996 Castro de , Mª A. Catálogo Galería Dziekanka, 1992 Cereceda, M. ‘De los diversos modos de desperdiciar la vida’. Catálogo De la Economía, Sala de Arte del Ayto. de Málaga. 1999 Cereceda, M. ‘Desesculturas’. Cat. Desesculturas, Fundación Eduardo Capa, 2002 Clot, M. ‘Extensiones de experiencia’. Catálogo No-separados y no-unidos, 1995 Gabilondo, A. ‘Por los detalles’. Catálogo Escenarios, A. C. Cruce, 1998 García Yelo, M. ‘Koch/Baena’. ABC Cultural nº617. 2003 Herrera. I. ‘¿Hay alguien ahí?’. Catálogo Estoy aquí, A. C. Cruce, 1996 Jurado, M. Catálogo Especulación, A.C.Cruce,1993 Kendzulak, S. ‘A reminder to us all’, Taipei Times, 9 septiembre, 2001 Llorca, P. ‘La escultura desarticulada’. Cat. Desesculturas. Fund. Eduardo Capa, 2002 Olmo, S. ‘Escenarios para una disolución’. Cat. Desesculturas. Fund. Eduardo Capa, 2002 Pérez Villén, A.L. ‘F.B. Proceso artístico y naturaleza’. Revista El Guía nº6, 1990 Pérez Villén, A.L. ‘Sólo pintura’. Catálogo Especulación, 1993 Pérez Villén, A.L. ‘La restauración de la pintura y F.B’. Cuadernos del Sur, 1993 Pérez Villén, A.L. Catálogo Pintar el museo, 1994 Pérez Villén, A.L. ‘Fernando Baena’. Revista Lápiz nº111, 1995 Pérez Villén, A.L. ‘Otra escultura andaluza’. Revista Lápiz nº116, 1995 Pérez Villén, A.L. Catálogo Encrucijadas, 1995 Pérez Villén, A.L. ‘Una mirada retrospectiva’. Cat. No-separados y no-unidos, 1995 Pozuelo, A.H. ‘Eva Koch y Fernando Baena’. El Cultural El Mundo, 27-11-2003. Navarro, M. ‘Escenarios de Mayo y Baena’. ABC Cultural nº335, 1998 Navarro, M. ‘Fernando Baena’. El Cultural La Razón nº7, 1998 VV.AA. Catálogo Córdoba arte contemporáneo, 1990

 

 

 

 

 

05prtb0369

2009-2010. Pablo Valbuena. TOWER BLOCK (images)

2009-2010. Pablo Valbuena. TOWER BLOCK (images)

 

        

    

Photos: Alfonso Herranz 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10inic2828

2004. Sans Façon. S/T (visual-technical data)

2004. Sans Façon. S/T (visual-technical data)

 

    

     

      

     

       

       

       

    

    

 

 

 

 

 

 

 

 

 

 

 

 

04inmb3424

2004. Etoy CORPORATION (published text)

 Invited as guest artists etoy.CORPORATION installed its mobile headquarter, studio and Internet node in the heart of Madrid to perform a commercial experiment on the edge of reality, that answered Madrid Abierto proposal in order to research the art industry. Two etoy.CARGO-TANKS landed on Plaza Colon during the night of January 29th/30th 2004.

etoy, famous for subversive PR stunts like the digital hijack (1,5 million online art hostages in 1996) or the online clash with the American 10 billion dollar corporation eToys inc. In late 1999 (TOYWAR, with 4 billion dollars the most expensive performance in art history), won several international art awards and regularly appears in popular media channels such as CNN, Wired News, Washington Post, NZZ, Tate Publishing, El País etc.

Between February 5th and 22nd 15 etoy.AGENTS from Italy, the USA, Germany, Switzerland, Belgium and Spain aggregate in the physical world to operate a spectacular, living art installation on Plaza Colon. Dressed in their uniforms and equipped with identical high tech tools the etoy.CREW will conduct an art industry analysis to explore the acceptance for a different kind of culture economy. The fundamental question is: are collectors, galleries and the Spanish population ready to move away from traditional object ownership (paintings, photography and sculptures) and authorship (masters / stars) in order to test an alternative art production system? agent.MARCOS / etoy.CFO: “it is time to question the established models of cultureconomical exchange.”

THE EXPERIMENT

etoy.CORPORATION offers to participate in an open artwork that is not defined or produced yet. Collectors visiting the ARCO art fair as well as common people in the city who normally don’t buy art will have the opportunity to purchase etoy.

SHARES

Six different investment packages (from 2 euros to 30.000 euros) allow participation in a very special art work. etoy.CORPORATION will be using all investments acquired in Madrid to create and document concrete cultural value in the Hispanic market within the next 5 years (scale and locations depend on the volume and strategic partners). For their investment the cultural shareholders get the right to vote on project proposals and resolutions. etoy.CORPORATION is organizing the development process and serves as the information hub to coordinate the world wide planning and production. etoy’s advanced internet voting system, specific etoy.BLOGS and etoy.CHATS as well as many years of experience guarantee maximum impact (TRACK RECORD: www.etoy.com).

The new owners of etoy (already 2500 people participate world wide) will finance, produce and control the Spanish etoy.PROJECT. Their contribution and ownership is certified by a shareholder card and/or a unique etoy.SHARE-CERTIFICATE (see samples on www.secure.etoy.com or on www.etoy.com) that gives them access to internal reports and voting procedures for all future etoy.OPERATIONS.

DISCLAIMER

etoy.CORPORATION is a global corporate sculpture to share culture profits instead of maximizing financial wealth. etoy is a registered trade mark of the etoy.VENTURE association. Past success cannot guarantee future performance. Share redemption strictly limited.

MISION

the etoy.CORPORATION is a corporate sculpture officially incorporated 1994 in zurich. etoy is a typical early mover (online since 1994) and developed rapidly into a controversial market leader in the field of experimental internet entertainment and art. actions and services like the digital hijack (1996), etoy.TIMEZONE (1998), TOYWAR (1999/2000) or etoy.DAYCARE (2002) are classics of art. The etoy. CORPORATION is owned by more than 2000 etoy. SHAREHOLDERS: international art collectors, venture capitalists, the etoy.AGENTS, the etoy.MANAGEMENT, fans and a few hundred TOYWAR. soldiers (who protected the etoy.BRAND during the legendary TOYWAR.battle). The etoy.INVESTORS control and own the corporate sculpture etoy.

etoy does not sell isolated art objects. etoy sells, trades and exchanges parts of itself: “etoy.SHARES” represent participation and cultural value. all 640.000 etoy. SHARE-UNITS available on the international art market equal 100% of the etoy.POWER (=100% of the company). Unique and registered etoy.SHARE-CERTIFICATES and etoy.MAGNETIC-CODE-CARDS guarantee the strict limitation of etoy.SHARES.

Since 1998 orange etoy.TANKS (12 and 6 meter long standardized windowless shipping containers - the icons of globalisation) build etoy’s mobile and multifunctional office system including studios, hotels, conference rooms etc. where ever etoy is needed in the physical world, the orange etoy.TANKS pop up or vanish over night to infect the way people think and feel (i.e. in San Diego, San Francisco, New York, Zurich, Tokyo or Torino between 1998 and 2003). Depending on the market situation and projects between 5 and 15 etoy.CORE-AGENTS (currently 4 women and 11 men in switzerland, austria, italy, germany, japan and the usa) build the production and research crew of the etoy.CORPORATION. Day to day business is conducted by the etoy.MANAGEMENT (2 from 3 etoy.DIRECTORS must sign contracts).

etoy won several international art awards (i.e. the golden nica in the .net category / prix ars electronica) and regularly appears on TV (invited and uninvited) as well as in other traditional media channels to injectthe etoy.VIRUS: the New York Times, Silicon Valley Reporter, Washington Post, Wired News, NPR, Le Monde, Der Spiegel, NZZ, WOZ, La Repubblica, Relax Japan etc. etoy.CREW-MEMBERS lectured and spoke at the MIT media lab in Boston, UCSD in San Diego, DASARTS in Amsterdam, ETH Zurich, Gottlieb Duttweiler Institute, Intercommunication Center ICC in Tokyo, the Interactive Institute in Stockholm and at many international festivals.

 

 etoy.DISCLAIMER: etoy.INVESTMENTS are not focused on financial profits.

the etoy.VENTURE is all about cultural revenue, social profit and intellectual capital generated with the invested resources.

 

 

 

 

 

04intc0119

2005. Colectivo Tercerunquinto (Cv)

FOUNDED IN 1998JULIO CASTRO MONTERREY, NUEVO LEÓN, MÉXICO, 1976GABRIEL CÁZARES, MONTERREY, NUEVO LEÓN, MÉXICO, 1978ROLANDO FLORES TOVAR, MONTERREY, NUEVO LEÓN, MÉXICO, 1975LIVE AND WORK IN MÉXICO D.F. WWW.TERCERUNQUINTO.ORG

SOLO EXHIBITIONS 2003Proyecto para la Unidad Belén de la Universidad de Guanajuato, Festival Internacional Cervantino, Unidad Belén (Facultad de Arquitectura y Facultad de Ingeniería), Guanajuato, México.

2000Dibujos, registro de obra y textos del Colectivo 3er 1/5. Ciclo de artistas emergentes, Alianza Francesa de Monterrey, Monterrey, México.

1999La Bf15+Pared. Galería Bf15, Monterrey, México.

1998Pared. Primera Muestra de Creación Contemporánea, Espacio Cultural Voladero, Monterrey, México.

GROUP EXHIBITIONS2004White Noise, REDCAT, Los Angeles, USA.BlueOrange Prize, Martin Gropius Bau, Berlin, Deutschland.Solo los personajes cambian, Museo de Arte Contemporáneo de Monterrey, Monterrey, México.Radicales Libres, Central de arte, Guadalajara, México.Proyectos para MUCA-Roma, Museo Universitario de Ciencias y Arte-Roma, Ciudad de México, México.

20034ª. Bienal do Mercosul, Arqueologías Contemporáneas, Pabellón de México, Porto Alegre, Brasil.In the Abscense of Recombination, Bronx River Art Center and Instituto de México, New York, USA.Instant City, Centre Culturel du Mexique, París, France.Espectacular, Centro Cultural de España, Ciudad de México, México.

2002México: Sensitive Negotiations, Instituto Cultural de México y Consulado General de México en Miami, Miami, USA.Zebra Crossing, Haus der Kulturen der Welt, Berlin, Deutschland.Intangible, Exposición Homenaje a Luis Barragán, Casa ITESO- Clavijero, Guadalajara, México.Architectures Consanguines, Galerie Roger Tator, Lyon, France.Ici Alleurs, Centre Culturel du Mexique, Paris, France.Sala de Recuperación, Museo de Arte Carrillo Gil, Ciudad de México, México.

2001Metropoli Mexique, Musée de Picardie, Amiens, France.Cómo es que los autos no vuelan aún, Centro de las Artes de Nuevo León, Monterrey, México.XXI Reseña de la Plástica Neoleonesa, Casa de la Cultura de Nuevo León, Monterrey, México.

20001er Festival de Arte Público, Festival Cultural Barrio Antiguo, Monterrey, México.Transiciones, Centro de las Artes de Nuevo León, Monterrey, México.XX Reseña de la Plástica Neoleonesa, Casa de la Cultura de Nuevo León, Monterrey, México.

1999Desplazamiento, X Teresa Arte Actual, Ciudad de México, México. Intervenciones-Instalaciones en sitio, Casona Blanca, Montemorelos, México.

19983era Bienal Regional de la Plástica Joven, Casa de la Cultura de Nuevo León, Monterrey, México.2do campamento por la diversidad, la tolerancia y la no violencia, Tepoztlan, México.Homeless, casa particular, Monterrey, México.

 

 

 

 

 

05prtb0367

2006. Gustav Hellberg. PULSING PATH: AMBIGUOUS VISION (proposed location)

 

 A chosen segment of street lamps is altered so that the light pulses in a slow cycle. As both Paseo de la Castellana and Paseo del Prado boulevards are lined with trees on some locations a stretch of these streets with trees can be chosen. It is important that chosen location is normally occupied with pedestrians in the evenings, when it is dark. A stretch dislocated from areas where people move is not suitable as the interaction between artwork and people is crucial.

One also has to consider that the chosen area is not only lit by 'pulsing street lights' as that might create an unsafe feeling with some pedestrians. The main goal with the installation is to create a strange happening rather than to create a scary situation. However, both boulevards street lights for the car traffic will leak light into chosen area.

Lights from nearby shops, cafes and other lit paths surrounding chosen area/stretch of lamps also helps up when the light is in its dark phase.

Just to disconnect a row of six lamp post and make them pulse will create the strangeness that is the foundation for this project and complete darkness is not the main goal.

Version I:A stretch of between six and ten lamp posts is given the pulsing effect.

Version II:Lamp posts surrounding a smaller space, a statue or a fountain will be used.

Version III:If possible, a long stretch of lamp posts (between two crossing streets) is given thepulsing effect.

 

 

 

06prtc0876

2004. Wolfgang Weileder. HOUSE MADRID (published text)

Three stories high, house-Madrid will be constructed during Madrid Abierto over a period of ten days in an public space in Madrid.

Two groups of builders will simultaneosly construct and de-construct the two identical shells of house-Madrid during the ten days. 6,3 meters high shells will be built out of lightweight blocks up to third floor level and juxtaposed with each other in rotational symmetry. The process will be synchronized so that the construction and de-construction is choreographed sequentially: the opposite segments of the two shells will slowly move around each other until house-Madrid is completed. Two separate houses will appear on the same spot at the same time.

house-Madrid becomes a structure of constant movement as walls appear and disappear, its spatiality constantly changing and unstable. This will raise questions about the permanence of architectural structures, their relationship to their surroundings, and the nature of housing. Architecture is re-defined as what might consider to be a permanent structure becomes animated and temporary.

As a work of collaboration, house-Madrid reveals the process, the labour and skill of building as a visible experience. The construction of the monumental becomes an event, a visible and spatial experience of a process in flux rather than the presentation of a finished architectural structure.

The art work explores the relationship between the temporary and the permanent in architecture as well as investigating the boundaries between process, artwork and documentation.

house-Madrid will be recorded using a unique process. Three specially constructed cameras will be positioned strategically around the sculpture. The photographic plates will be exposed for the duration to produce time lapsed black and white photographs. The resulting large-scale photographs will eventually reveal the only complete view of the two separate houses, the overlaid shells. Additionally, a time-lapse video and 16mm movie will be made.

 

 

 

 

 

 

 

04intc0131

2004. Sans Façon (Cv)

CHARLES BLANC / SAINT ETIENNE, FRANCE, 1974TRISTAN SURTEES / UNITED KINGDOM, 1977LIVES AND WORKS IN GLASGOW WWW.SANSFACON.CO.UK

CHARLES BLANC1999· March, Advanced Architectural Design, Universidad Strathclyde, Glasgow.

1998· DPLG, Escuela de Arquitectura de St. Etienne.

TRISTAN SURTEES2000· BA Hon´s, Escuela de Arte de Glasgow.

1997· HND, Leeds College of Art and Design.

PROJECTS ON COURSE2003·    Fish Quay, instalación temporal en North Shield, Newcastle.·    Stories, diseño de instalación en colaboración con Nick Bone, Magnetic North Theatre Company, Scotland.·    Billboards, serie de instalaciones en escaparates comerciales, Glasgow.·    Weeds, serie de instalaciones sobre la vegetación urbana, Glasgow.

2002-2003·    Viewing platform, comisariado de arte público para Valot wetland, Devon. ·    The walled garden, comisariado de arte público en Gorbals, Glasgow. ·    Millennium Award, investigación y diseño de una audio-librería para la ciudad de Glasgow.

PREVIOUS PROJECTS2001·    Stirring the City, comisariado y diseño de exposición de Gorbals Artworks Programme, Lighthouse, Glasgow.

2000·    Zones, programa estudiantil de la Escuela de Arte de Glasgow, 3º year Environmental Art.·    Samples, grabación del la Plaza de la Reina Elizabeth antes de su demolición, Glasgow.

GROUP EXHIBITIONS2002·    Private view. Dun Laoghaire, Irlanda.·    En Passant, Sacy-le-Petit, Francia.·    Traces, exposición colectiva, RK Burt, Londres.

2001·    CATS, exposición colectiva. Dundee Contemporary Arts.·    Stirring the City, exposición colectiva en The Lighthouse, Glasgow.

2000·    Royal Scottish Academy, exposición colectiva, Edimburgo.

·    Clear @ Home, exposición colectiva, Glasgow.

PUBLICATIONS2003·    C.I.P.02, catálogo de exposición, Dun Laoghaire, Irlanda.

2002·    En passant, catálogo de exposición, Sacy-le-Petit, Francia.

2001·    Views of the West Coast of Scotland, producido por Book Lab™, comisariado por Cove Park.·    Sans façon, publicación propia.

2000·    Desire line, publicación colectiva publicada por la Escuela de Arte de Glasgow.

1999·    STARTS, publicación colectiva publicada por la Escuela de Arte de Glasgow.·    Becas

2002·    Sacy-le-Petit, Picardie, Francia.

2001-2002·    Dundee Contemporary Arts, Creative and Technical Skills Training Programme.

2001·    Cove Park, Outside the Box, Escocia.

 

 

 

 

 

04prtb0029

2006. Gustav Hellberg. PULSING PATH: AMBIGUOUS VISION (theoretical data)

 Controlling the street lamps along a path to make its light into a pulsing effect.

A chosen segment of street lamps is altered so that the light pulses in a slow cycle. The normal light is slowly dimmed until the lamps don’t light up the path. After a short while the light rises back to full light effect, thus creating an unexpected situation for passers by, altering the normal function of street lamps.

The oscillating light of the street lamps in Pulsing Path activates the lane and gives it a behaviour separating it from ‘normal’ streets; its expression is transformed and becomes displaced. This raises questions about states of normality and the uncertainty surrounding human existence, even if we have always tried to master the world by structuring it.

The inertia of change, the aging of humans and changes in society, makes it difficult to discover its course or even to be aware of it. Pulsing Path is playing with the awareness of the surroundings, the perception of it and the memory of its appearance. A street and its lighting might not be what you think. Are we always sure where a path is leading? Is seeing an object an evidence of its existence?

Verison I:A stretch of between six and ten lamp posts is given the pulsing effect.

Version II:Lamp posts surrounding a smaller space, a statue or a fountain will be used.

Version III:If possible, a long stretch of lamp posts (between two crossing streets) is given thepulsing effect.

 

ELEMENTES OF THE PROJETS

Light - The light makes things visible in the darkLight can be bright, dim or totally absent. In our contemporary world we are used to artificial light reducing darkness. We somewhat rely on it to always be there. What if it suddenly disappears or if it instead of illuminating creates a visual effect fooling your mind, only creating an image?

Path - A path leads somewhere, it stretches from point A to point BThe path can suddenly become vague and hard to find and it can split into two or more forking paths leaving you to choose which route to take.

 

 

 

 

 

 

06prtc0874

2004. Maider López. CARTELES PUBLICITARIOS Y BANDEROLAS (published text)

In my work I like to focus on the formal occupation of space and the calibration of its physical and objectual dimensions.

I am interested in linguistic reflection on what painting does or doesn’t mean, and also in discovering the complicities arising between painting and architecture in our understanding of the human habitat, and by extension the urban habitat. The site of my project will be two of the capital’s main arteries: Paseo de la Castellana and Calle de Alcalá, serving in turn as a link between the various Madrid Abierto projects.

Accordingly I propose a project in which pictorial works will cross over to unusual media such as advertising streamers or hoardings, and which are at the same time integrated into our collective urban space.

To stroll along a street is to be continually identifying signs. A bombardment of images that our brains have learnt to ignore or to take in only selectively.

Decipherable codes are all around us: traffic lights (green = walk, red = don’t walk, etc.), traffic signals, advertising (with texts and graphic designs that we also identify).

But what happens when traffic signals do not say things we recognize and when advertising hoardings speak to us in a code that we cannot decipher?

ADVERTISING THAT APPARENTLY ADVERTISES NOTHING

ADVERTISING HOARDINGS WHICH, INSTEAD OF REFERRING US TO ANOTHER OBJECT, ARE SELF-REFERENTIAL

HOARDINGS THAT ADVERTISE ONLY THEMSELVES

 

 

 

 

 

 

04intc0116

2004. Wolfgang Weileder (Cv)

MUNICH, 1965LIVES AND WORKS IN NEWCASTLE, REINO UNIDOWWW.WOLFGANGWEILEDER.COM | WWW.FOLD-UP.INFO | WWW.HOUSE-PROJECTS.COM | WWW.TRANSFER-PROJECT.ORGWORK EXPOSED IN MADRID ABIERTO: House-Madrid

EDUCATION1989-1995· Academy of Fine Arts, Munich.· Universidad de Newcastle, Inglaterra.· MFA Photography and Related Media Programme, Escuela de Artes Visuales, New York.

2000–2002· Beca de Investigación en Escultura, Universidad de Newcastle.· Desde 2001· Profesor Fine Art Department, Universidad de Newcastle.

GRANTS AND AWARDS2000·    Ministerio Bávaro de Ciencia y Cultura. Beca de Investigación para EE.UU.

1999·    Premio del Estado Bávaro.

1998·    Residencia en la Fundación Erich Hauser

1995·    Servicio Alemán de Intercambio Académico (DAAD), Beca Debütantenpreis,·    Premio de la Academia de Bellas Artes, Munich.

1991·    Beca de La Fundación Nacional Alemana de Becas.

1990·    Primer Premio Kardinal Wetter.

SOLO PROJECTS 2003·    house-city, instalación efímero, Grainger Town, Newcastle.·    Barriers + dinghies, instalación temporal para Blue River Design, Newcastle.

2002·    Muraiki, instalación sonora en colaboración con Matthew Sansom, t-u-b-e·    Galerie für radiophone Kunst, München y Globe Gallery, North Shields, Reino Unido.

2000·    Jam, Ausstellungsforum FOE 156, Munich.

1998·    Presentación de la obra realizada durante la residencia en la Fundación Erich Hauser, Saline 36, Rottweil.

1996·    Sie zeigten, da?..., con Daniel Tharau, Arena, Berlín.·    Checkmate, con Daniel Tharau, SVA Amphitheater, Nueva York.

1994·    Kunstforum, Städtische Galerie im Lenbachaus, Munich.

1992·    Boat, Hatton Gallery, Universidad de Newcastle, Reino Unido.

GROUP EXHIBITIONS SINCE 1994 (selection)2002·    Connecting principle, Universidad Newcastle, Newcastle.·    Land and the Samling, Sculpture Park at Kielder Reservoir, Northumberland.

2001·    Ceramics, E.P.O. European Patent Office and Rathausgalerie, Munich.·    Premios de la Fundación Erich Hauser Foundation, Saline 36, Rottweil.

2000·    Was geschied bestimmt der Ort, L.A.C. Lieu d´art Contemporain, Sigean, France.·    Premios del Estado Bávaro, Galerie der Künstler, München.

1999·    x-mas, Kent Gallery, New York.

1997·    X Exposición de la Fundación Jürgen Ponto, Kunstverein, Frakfurt.

1996·    Specifics, SVA Gallery, New York·    Junge Kunst 1996, Saar Ferngas Förderpreis, Wilhelm-Hack-Museum, Ludwigshafen.·    Out of Egypt, Ägyptische Staatssammlung, Munich.

1995·    Debütantenpreis 1995, Academy of Fine Arts, Munich.·    Ortung, GSF-Forschungszentrum für Umwelt und Gesundheit, Munich.

1994·    Kunststudenten stellen aus, Kunsthalle der Bundesrepublik Deutschland, Bonn.·    Anvisiert, Deutsches Museum, Munich/Oberschleissheim.

 

 

 

 

 

04prtc0028

2006. Gustav Hellberg. PULSING PATH: AMBIGUOUS VISION (visual data)

2006. Gustav Hellberg. PULSING PATH: AMBIGUOUS VISION (visual data)

 

Oscillating sequence (continuous cycle)Light - dark, dark - light, approximately 30 seconds

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

06pric0875, 06prvc0880

2004. Warren Neidich + Elena Bajo (Cv)

WARREN NEIDICH NEW YORK, 1962LIVES AND WORKS IN BERLÍNWWW.WARRENNEIDICH.COM

ELENA BAJOMADRID, 1975LIVES AND WORKS AMONG MADRID, NEW YORK, BERLÍN, LOS ÁNGELES.WWW.ELENABAJO.COM

WORK EXPOSED IN MADRID ABIERTO: Silent

WARREN NEIDICHTrabaja temporalmente como artista invitado en el Goldsmiths College de Londres y en The Cooper Union for Art and Science de Nueva York. Actualmente disfruta de la beca de investigación ACE-AHRB Arts and Science de British Council. Próximas exposiciones en Kunstverien Potsdam de Alemania, en Buero Fredrich de Berlín y en Edward Mitterand Gallery de Ginebra, Suiza.En 2002 tuvo una exposición individual en el California Museum of Photography de Riverside (California), en Muller de Chiara Gallery de Berlín (Alemania), en The Storefront for Art and Architecture de New York, y en Edward Mitterand Gallery de Ginebra (Suiza). Próximas exposiciones individuales en Kunstverein Potsdam, en Postdam (Alemania), y en Muller de Chiara Gallery.Su libro Blow-up: Photography, Cinema and the Brain, co-producido por Ford Foundation y DAP, presenta una introducción del historiador de arte Norman Bryson. Es miembro co-fundador de artbrain-org, una web site que trata sobre arte, escritos y cine relacionados con el cerebro.

ELENA BAJOLicenciada en Ciencias por la Universidad Complutense de Madrid, obtuvo la titulación superior en Arquitectura en la Universidad Internacional de Cataluña.Su trabajo artístico da prioridad a la experiencia receptiva a través de videos, intalaciones, performances y piezas arquitectónicas-escultóricas con las que investiga la relación entre las personas y el ambiente social en el que viven, cuestionándose sobre el tiempo y la percepción del espacio, y su influencia en el comportamiento humano.En 2003 se presentó un video y una performance titulada Undercovered en lo LMCC Open Studios en Nueva York, así como follow the rabbit hole formando parte de la feria de arte Miami-Basel Art. Próximamente se exhibirá en Nueva York un proyecto para Diesel, Miss Diesel, una instalación-performance que itinerará a Japón. En Septiembre de participará en la exposición Mondo Materialis en el Museo de Arte Moderno de Nueva York.

 

 

 

 

04prtb0027

2004. El Perro. VIRTUAL DEMOLITION MOBILE (published text)

 The ever-greater presence of the image in the street as a new advertising channel requires strategies that will transmit messages with maximum efficiency. The traditional advertising poster is being displaced by the moving image in shop windows and is gradually appearing on canopies and display panels. The concept of the public thoroughfare as an area of continuous conflict, so close to theories associated with the postulates of radical democracy, is certainly true, if we understand such conflict as the struggle to locate messages, whether political or commercial. 

It is some time now since power in the advanced democracies has been associated with the flow of information. Providing the possibility of directly participating in a communication medium also means allowing new discourses. Given the difficulty of placing these in highly controlled media like television —recall the obstacles Addbusters and Media Foundation encountered to broadcast their subversive advertisements in general channels even when they were paying— the public thoroughfare presents itself as an open zone of communication.

VDM is a new technology for the broadcasting of messages, a vehicle with a video projector that operates while the vehicle moves round the city. Virtual Demolition Mobile offers the spectacle of the city in flames, virtual therefore innocuous, a playful extension of the fears of present-day urban society.

The image of the city as the theatre of catastrophe is the spectacular image of our time. An outstanding aesthetic experience is the media spectacle projected by television channels into every living-room, in every home, where the security and comfort with which the information is received contrasts with the catastrophe itself. 

Virtual Demolition Mobile is a product that seeks to commercialize experience. And though, as Ogilvey says, voices are raised against the "commercialization of passion", they should recognize that passion is safer confined to the market than when, sublimated by religion or politics, it begins to erupt. 

The proposal will be developed in Madrid in 3 phases: 

1. A notice will be sent to the residents of Madrid, requesting them to reply by e-mail. They will be asked to choose a building or monument in the city which they would like to subject to a virtual demolition. 

2. A notice stating the date and time of the virtual demolitions which have been democratically elected.

3. Virtual demolitions

 

 

 

 

 

04intc0112

2004. Fernando Sánchez Castillo (Cv)

MADRID, 1970LIVES AND WORKS BETWEEN ENTRE MADRID, AMSTERDAMWORK EXPOSED IN MADRID ABIERTO: Perspectiva ciudadana

EDUCATION2000· Programa de investigación, ENSBA, París.

1995· MA en Filosofía y Estética. Universidad Autónoma, Madrid.

1993· Licenciatura en Bellas Artes. Universidad Complutense, Madrid

SOLO EXHIBITIONS2003· A cada uno lo suyo, Fundaciò Espais, Gerona.· A caballo, Caja San Fernando, Sevilla.· Anamnesis. La casa encendida, Madrid.

2002· NIHIL OBSTAT. Galería Max Estrella, Madrid.· Tremblez Tyrans. Los Castillos, Alcorcón.· A caballo. Caja San Fernando, Jerez.

2000· Galerie Romain. Larivière, París.

1998· Galería Marta Cervera, Madrid.

1996· Desde el cuarto de estar. Galería Marta Cervera, Madrid.

1992· Sala Recursos. Comunidad de Madrid, Madrid.

GROUP EXHIBITIONS2003·    Fundación NMAC, Cádiz.·    Bad Boys. Comisariada por Agustín Pérez Rubio, Venecia.·    Spencer Browstone Gallery, Nueva York.·    Otros Incluidos. Casa de América, Madrid.·    ARCO´03. Art of this Century Gallery. Galería Max Estrella. Stand Caja Madrid. Madrid.·    Monocanal. Centro de Arte Reina Sofía, Madrid.

2002·    París Photo. Galería Juana de Aizpuru, París.·    Doméstico´02, Madrid.·    Madrid al descubierto. Salas de la CAM, Madrid.·    Capital Confort. Alcorcón, Madrid. ·    Extreme Protection. Nit Niu, Pollensa, Mallorca. ·    Plural. Salas del Senado, Madrid.·    ARCO´02. Galería Max Estrella, Madrid.·    Postperformance y otros acontecimientos paralógicos. Fundació Espais, Gerona.·    Burning. MNAC, Marsella.·    Big Torino 2002. Turín.·    Show y basura. Foro Sur, Cáceres.

2001·    Itinerarios. Fundación Marcelino Botín, Santander.·    Appartement, Intervención con Franz West. Deitchtorhallen, Hamburgo, Alemania.·    Art Cologne. Galería Max Estrella, Koln, Alemania.·    GAP. Grandes arquitecturas pequeñas. Asturias.·    OBSORGE. Zug Kunsthaus, con Franz West. CH·    Señales. Parque Ferial Juan Carlos I, Madrid.·    LISTE ’01. Galería Romain Larivière, Basilea.·    Batophare. París.·    Portes ouvertes. Programa de investigación, ENSBa, París.·    ARCO’ 01. Galería Max Estrella. Madrid.·    Open Spaces, ARCO’01.

2000·    Art Cologne. Galería Max Estrella, Alemania.·    Insumisiones. Fundación Marcelino Botín, Santander.·    Toy Stories. Injuve, Sala Amadís, Madrid.·    ARCO´00. Galería Max Estrella, Madrid.

1999·    FuturoPresente. Salas de Exposiciones de la Plaza de España, Madrid.·    Abracadabra. TATE Gallery of Modern Art, Londres.·    ARCO’99. Galería Marta Cervera, Madrid.

1998·    Germinations. The Factory, Atenas.·    Gramercy Park. Galería Marta Cervera, Nueva York.·    ARCO’98. Galería Marta Cervera, Madrid.·    Colección ARCO. CEGAC, Santiago de Compostela.·    Espacios Mentales. Zona de Acción Temporal, Madrid.·    La Voladura del Maine. Sala PEMASA, Madrid.·    Llocs Lliures. Altea, Alicante.·    Conjunto Vacío. Sala PEMASA, Madrid.

1997·    Muestra de Arte Joven. MEAC, Madrid.·    ARCO 97. Galería Marta Cervera, Madrid.·    Crías de Polvo. Facultad Bellas Artes, Madrid.

1996·    Circuitos-Comunidad de Madrid. Itinerante en Madrid e Inglaterra.·    Dibujos. Galería Marta Cervera, Madrid.·    Walking Behind The Glass. LAICPS, Los Ángeles.

1994·    Uno Cada Uno. Galería Juana de Aizpuru, Madrid.

GRANTS AND AWARDS 2002·    Beca para proyecto Generación 2002, Caja Madrid, Madrid.

2000·    Fundación Marcelino Botín, Santander.

1994·    Casa de Velázquez, Madrid.

WORKS IN MUSEUMS AND COLLECTIONS ·    FNAC, Fond National d’Art Contemporain, París.·    Fundación ARCO. Centro Galego de Arte Contemporanea (CGAC), Santiago de Compostela.·    Instituto de la Juventud (Injuve), Ministerio de Trabajo y Asuntos Sociales.·    Ayuntamiento de Alcorcón, Madrid.·    Fundación Jean Marc Salomon, Annency, Francia.·    UNED, Madrid.·    Consejería de Cultura, Cantabria.·    MUSAC, Junta de Castilla y León.·    Obra Social, Caja Madrid.

 

 

 

 

04prtb0026

2006. Nicole Cousino + Chris Vecchio. SPEAKHERE! (visual data)

2006. Nicole Cousino + Chris Vecchio. SPEAKHERE!  (visual data)

 

  

   

SPEAKHERE!, 2006

PSWAR GalleryAmsterdam, Netherlands

 

 

 

 

 

06pric0887

2009-2010. Teddy Cruz. VALLECAS ABIERTO: HOW IS YOUR ART GOING TO HELP US? (2010.01 / visual data)

2009-2010. Teddy Cruz. VALLECAS ABIERTO: HOW IS YOUR ART GOING TO HELP US? (2010.01 / visual data)

** SEE THE ATTACHED PDF(JANUARY 2010)

 

  (I)

 

    

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10inmb2706, 09-10inib2707

2004. Etoy CORPORATION (Cv)

FOUNDED IN IN 1994 iN VIENA, LJUBLJANALIVE AND WORK AMONG ZÜRICH; BERLIN; CAMBRIDGE, UNITED KINGDOM; SAN JOSÉ, COSTA RICAWWW.ETOY.COM

La corporación etoy es un controvertido jugador global que actúa on-line desde 1994. etoy utiliza una estructura corporativa para maximizar el valor cultural. El acceso final en la cadena de valores. Para etoy los dramáticos problemas de la globalización no se solucionan simplemente rechazando los mercados globales, los intercambios económicos o las corporaciones multinacionales, sino que etoy se concentra en los valores que dirigen estas compañías, la cultura, los individuos y los políticos.

Compartiendo riesgos, recursos, manteniendo un fuerte sistema de delegaciones y maximizando el valor de los accionistas, la corporación etoy intenta explorar el valor social, cultural y financiero. Los accionistas de etoy invierten tiempo, conocimiento e ideas (o simplemente financiación). Las operaciones etoy se centran en el solapamiento de los valores del entretenimiento, cultura, sociedad y economía. Los accionistas de etoy participan en una obra de arte dinámica que tiene lugar durante 24 horas al día (on line y offline) en el centro de la sociedad.

 

 

 

 

 

 

04prtb0025

2006. Tao G. Vrhovec. REALITY SOUNDTRAK (visual data)

2006. Tao G. Vrhovec. REALITY SOUNDTRAK (visual data)

 RELATED WORKS

REALITY SOUNDTRAK. Amsterdam, 2004

 

       

REALITY SOUNDTRAK. Ljubljana , 2003

 

       

REALITY SOUNDTRAK. Thessaloniki, 2004

 

 

 

 

 

06pric0893

2009-2010. Gustavo Romano. TIME NOTES: MOBILE OFFICE (images)

2009-2010. Gustavo Romano. TIME NOTES: MOBILE OFFICE (images)

 

    

      

    

  

       

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10inic2818, 09-10inic2819

2004. Emancipator bubble (published text)

 The solution to emancipation problems. What a young person of today needs in order to live as he/she pleases.

DESCRIPTION

This inflatable dwelling in the form of a bubble allows a large amount of independence without having to leave home. Easy to set up, it provides maximum comfort with minimum effort thanks to its water, electricity and telephone terminals which can be directly connected to the family house installation thus reducing expenses to zero.

Besides the BASIC bubble model, there is a wide range of other versions designed for each type of modern young person. Top of the range is EMANCIPATOR DELUXE, equipped with an EMANCIPATOR-CARD which enables the occupier to charge the shopping up to the family account. Another model is XXL which provides an extra 33% independence. The FIRE-WIRE is manufactured with an advanced material that intelligently adapts to light and temperature fluctuations and includes a number of entrance and exit interfaces. The AUTODETERMINATOR is devised for those who want nothing to do with their parents despite living on parental territory. The SEXMANCIPATION, manufactured with a plastic similar to latex and with a permanently lubricated interior, is ideal for taking your partner home. The GARDEN, the ÉTER, the PUNCHETA… Choose one for yourself.

RECOMMENDATIONS

The use of EMANCIPATOR BUBBLE is especially recommended for persons between 18 and 24, who, though regarded as adult, are obliged for various socio-economic reasons (poor jobs, exorbitant housing prices, convenience…) to delay their family emancipation process and their total integration into society.

WARNING

EMANCIPATOR BUBBLE, though not devised as an emergency shelter, does have a limited life. The limits are imposed by the user or his/her family and the resistance of the material itself.

More information and specifications on www.emancipator.org and .org This email address is being protected from spambots. You need JavaScript enabled to view it.

A product of BUBBLE BUSINESS S.A., EMANCIPATOR BUBBLE is based on an original idea by the architects Alex Mitxelena and Hugo Olaizola. It is being developed and directed by Saioa Olmo and produced by AMASTÉ.

SAIOA OLMO (Bilbao 1976) has a Degree in Fine Arts from the Universidad del País Vasco and a Master in Design from DZ. She sees her work as a way of producing experiences and situations in which the spectator plays a very active part. She works in a completely interdisciplinary manner, often in a group. Her recent projects are: the communication and new corporate image of ARTELEKU (with AMASTÉ); Chi-gua-gua, concerning fashion and nightlife; and QUÉJATE_KEXATU, in which a place for complaints etc is provided. At the moment, besides EMANCIPATOR, she is working on projects like PAÍS VASCO TRADE MARK (brand image design); FOYU (a postmusic group), with Leticia Orue; and takes part in LABITACIONES, a laboratory on housing (ARTELEKU).

AMASTÉ (www.amaste.com), directed by Txelu Balboa (Vitoria 1974) and Ricardo Antón (Bilbao, 1974), is dedicated to the production and diffusion of projects related to current society and contemporary culture, culture as a collective space of communication rather than a means of self-expression. They publish ESETÉ magazine, collaborate on various interdisciplinary projects, and are regularly present at events like ARCO, SONAR, LAUS, etc. At the moment , as well as EMANCIPATOR, they are preparing issues of ESETÉ on sex, underground railways, and prohibitions; round tables on new publications for ARCO; and their presence at the Lerida Biennale.

And, besides Alex and Hugo, who are the consultants and Pedro Pérez, the industrial designer who has developed the prototype, there are a number of institutions, etc supporting the project, like ARTELEKU, Montehermoso, the Youth Department of the Basque Government, Madrid Abierto, and Bilbotex, not forgetting lots of other people without whom it would not have been possible.

 

 

 

 

 

04intc0106

2006. Tanadori Yamaguchi + Maki Portilla-Kawamura + Key Portilla-Kawamura + Ali Ganjavian. LOCUTORIO COLÓN (technical data)

2006. Tanadori Yamaguchi + Maki Portilla-Kawamura + Key Portilla-Kawamura + Ali Ganjavian. LOCUTORIO COLÓN (technical data)

 

   

The intervention “phone booth Colón” is very simple and would require the sponsorship of some company, preferably a telecommunication company that would provide us with the equipment, technical assistance and assembly.

Different elements will be open to discussion (how much time, limited/unlimited) as well as the exact terms of use. The knowledge of the booth’s existence among people would be transmitted by spreading a rumour in different cyber cafés around the city.

All these things are open to discussion and negotiation with team o curators as well as possible sponsors.

 

 

 

 

 

 

06prmc3478

2004. Maider López (Cv)

SAN SEBASTIÁN, 1975 LIVES AND WORKS IN SAN SEBASTIÁNWORK EXPOSED IN MADRID ABIERTO: Carteles publicitarios y banderolas

 

EDUCATION · Comienza doctorado en arquitectura. Universidad del País Vasco.

1998–99· Master en Bellas Artes, Chelsea College of Art and Design. Londres.

1998· Licenciada en Bellas Artes. Facultad de Bellas Artes de Bilbao (UPV). Especialidad pintura.

1995· Historia del Arte en Vitoria (UPV), simultaneado con Bellas Artes.

SOLO EXHIBITIONS 2003·    Max Estrella, Madrid.

2002·    Bores & Mallo. Cáceres.·    Torre de Ariz. Basauri.

2001·    65 x 90 cm. Galería DV. San Sebastián.

1997·    Sala Gallarta.

GROUP EXHIBITIONS2003·    Arco´03. Galería DV. Max Estrella. Trayecto. Caja Madrid.

2002·    Ocupaciones. Sala Amadís. Madrid.·    La Caixa. Lleida.·    Zona cero. Canal Isabel II, Madrid.·    Arco´02. Galería Trayecto y Galería DV.

2001·    Doméstico´01. 9 aulas en una academia. Madrid.·    Pasos de cebra. Muestra de Arte Joven Injuve. Círculo de Bellas Artes, Madrid.·    Puntos de Encuentro´01. Galería Cruce, Madrid.·    Itinerarios: Instituto Cervantes, Roma, y Fundación Marcelino Botín, Santander.·    ARCO´01, Galería DV.·    Las Representaciones del andar (1950-2000). Koldo Mitxelena. ·    Gure Artea. Koldo Mitxelena. San Sebastián.

2000·    Itinerarios 1998-99. Fundación Botín.·    El espacio como proyecto. Bienal de Pontevedra.

1999·    Galería Trayecto. Vitoria.·    MA Final Show. Chelsea College of Art and design. Londres.·    Depósito de Aguas. Vitoria. ·    Artistas Noveles de Guipúzcoa. Koldo Mitxelena, Guipúzcoa.

1998·    Gure Artea. Sala Amárica.

1997·    Wimbledon Library Gallery. Dirigida por el artista Richard Wentworth. Londres.·    Artistas Noveles. Koldo Mitxelena, Guipúzcoa.

1996·    Talleres de arte actual. Círculo de Bellas Artes, Madrid. ·    Villa Iris. Fundación Botín. Santander.

1995·    Exposición-taller H. Pijuan. Villa Iris. Fundación Marcelino Botín, Santander.

GRANTS AND AWARDS2002·    Generación 2002. Beca Caja Madrid.

2001·    Beca Juan de Otaolaza y Pérez de Saracho. Basauri.

1999·    Beca de Artes Plásticas de la Diputación de Guipúzcoa.·    2º Premio Artistas Noveles de Guipúzcoa.

1998-99 ·    Beca de Artes Plásticas de la Fundación Botín.

1998·    Premio de pintura formato pequeño. Gayarta.

1997·    Beca de arte Mojácar, Almería.

1996-97 ·    Beca Erasmus. Wimbledon School of Art. Londres.

WORKS IN COLLECTIONS ·    Ayuntamiento de Mojácar, Almería.·    Compañía Talens.·    Universidad del País Vasco (UPV)·    Kutxa. Caja de Ahorros de Gipuzkoa.·    Fundación Marcelino Botín.·    Artium. Museo de Arte Contemporáneo de Vitoria-Gasteiz.·    INJUVE. Ministerio de Cultura.

 

 

 

 

 

04prtb0024

2009-2010. Gustavo Romano. PSYCHOECONOMY! (theoretical data)

2009-2010. Gustavo Romano. PSYCHOECONOMY! (theoretical data)

PSYCHOECONOMY! Corporate Summit 2010

 

INTRODUCTION

Psychoeconomy is a platform for discussion and artistic research, proposing an alternative approach on various global issues. Each edition will consist in a public event and the publication of the resulting conclusions and texts and graphic materials.

Issue #1: Corporate Summit 2010

Fort the first edition is proposed the organization of a meeting in order to discuss the international financial crisis and prevailing monetary exchange systems among artists who deal with the issue of the economy in their work through the tactical use of the media, the appropriation of corporate strategies or irony.  Banks, technology companies and even micro-nations are just a few examples of the corporations (some fictitious, and others not), created by the artists invited.

The main objective of the meeting will be to elaborate a document as a declaration regarding the current state of the crisis that will include the positions adopted by these “corporations” in the face of the crisis, along with a series of proposals and alternative actions agreed upon by their representatives.  This declaration, along with the proposals set forth by each “corporation” will be compiled in a publication.     

Taking full advantage of the singular arena for reflection and distribution created by the art field, the meeting will attempt to generate dialogue between the participating artists’ projects, which entail propositions that deal with deconstructing everyday practices, social order, individual routine and the routine pertaining to areas of personal interaction and exchange along with their protocols.  This means questioning technological media’s promise of democracy and equality as well as a critique of the will to control that lies concealed beneath their ostensible transparency. 

 

THE PUBLIC EVENT (DESCRIPTION)

The Summit will involve three activities:

Activity 1: Round table and panel discussions

This activity will consist of a round table and panel discussions to present each “corporation’s” projects.  They will be moderated by Gustavo Romano, Director of the Time Notes bank and the promoter of this encounter, including participation by Georg Zoche, founder of the Transnational Republic, Fran Ilich, Director of SpaceBank and Daniel García Andújar, Director of Technologies to the People.

Activity 2: Internal Debate 

This activity will consist of debates among the summit’s participants, during which they will work on reaching an agreement on a final declaration.  The text that emerges as a result will be presented the last day of the summit.

Activity 3: Final declaration 

This activity will consist of a public presentation of the declaration, a round table and an open debate.

Agenda

1st Day Morning: Internal discussion on the declaration. Afternoon: Presentations

2nd Day Morning: Internal discussion on the declaration. Afternoon: Presentation of the Declaration. Round table. Closing ceremony.

 

THE PUBLICATION

For this issue, we are planning the following contents:

The declaration on the crisis: The main content of the publication will be the declaration that will emerge from the meetings, based on an agenda of subjects that the artists will discuss in order to arrive to an agreement.  A space for each of the four artistic projects selected: This section will compile each “corporation’s” proposals, and it will be a free graphic space for each of the four invited artist.Frequently Unanswered Questions (FUQ): Each artist will answer five questions asked by the magazine editor.News and reports: Several short reviews about related topics. For example: Silvio Gesell Free Money Theory; the Hell Bank Notes, the Chinese tradition about money for the dead people;Interviews to artists like David Lamelas, Leandro Katz, etc.Advertising: Space offered to each “corporation” to promote some of their products or services.

Editorial: An introduction by Psychoeconomy.

 

PARTICIPANTS

Daniel García Andújar Barcelona Technologies To The People

With the confirmation that new information and communication technologies transform our everyday experience as his point of departure, Daniel G. Andújar creates a fictional piece (Technologies To The People, 1996) with the aim of making us conscious of the reality that surrounds us and of the deception of certain promises of free choice that inexcusably are converted into new forms of control and injustice.

He is an historical member of irational.org (a point of reference internationally in net art) and the creator of numerous internet projects, such as art-net-dortmund, e-barcelona.org, e-valencia.org, e-seoul.org, e-wac.org, e-sevilla.org, etc. He is participating in the 2009 Venice Biennial in the Catalunyan pavilion.    http://www.irational.org/tttp/primera.html www.danielandujar.org

 

Fran Ilich Tijuana Space Bank

True to its slogan, “purify your money”, the Space Bank offers a set of innovative and revolutionary ideas applied to banking, speculation and investments according to the catchphrase of helping you to reach your objectives without harming others.  Among the services they offer are investments in the commodities market by way of Zapatista coffee or corn, or financing art, literary and tactical media projects. 

Fran Ilich is a writer, media artist and digital activist.  He has participated in numerous international events.  Among his projects figure Borderhack, an art camp located on the border between Tijuana and San Diego, and Possible Worlds, an autonomous cooperative server launched on the occasion of the Zapatista Army’s Sixth Declaration of the Lacandona Jungle.

 http://spacebank.org/  http://sabotage.tv/

 

 

Gustavo Romano Buenos Aires - Madrid Time Notes / Promoter of the 2010 Summit

The Time Notes project comprises a series of actions carried out in public spaces utilizing a monetary system based on units of time (bills of 1 year, 60 minutes, etc.).  Following an initial action developed and launched in Berlin in 2004, offices have been set up in Singapore, Rostock, Vigo, Buenos Aires and Mexico City, soon to be joined by Madrid and Munich.  One of the services provided is the Reintegration of Time Lost, which is offered as a place for the reception and classification of time ceded on a voluntary basis, under pressure or for arbitrary reasons.

Gustavo Romano is a Buenos Aires-born contemporary artist who works in a variety of media including installations, actions, net art, video and photography. Many of his projects are presented in various stages of preparation, at times even cross-branching into new projects.  He uses media and technology devices as well as objects that pertain to our everyday life, decontextualizing them in an attempt to oblige us to rethink our familiar routines and preconceived notions.  

He was awarded the Guggenheim Fellowship in 2006. www.timenoteshouse.org www.gustavoromano.com.ar

 

 

Georg Zoche Munich Transnational Republic

The Transnational Republic is a group of artists working to construct the first Transnational Republic, where citizens are defined by the similarity of their beliefs and feelings. The new republic will represent its citizens on a civil level, for the first time not succumbing to national interests but rather concentrating on global concerns.

Founded in 1996 in Munich, Germany, byGeorg and Jakob Zoche, it has grown to include more than 4,700 citizens as of June 2009, and has been represented at international conferences and meetings throughout Europe, Asia, South America, and Australia. The Transnational Republic’s currency is the "payola", emitted by the Central Bank of the United Transnational Republics.  http://www.transnationalrepublic.org/

 

 

 

 

 

 

 

 

 

 

 

 

 

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2004. Diana Larrea (published text)

 The work presented is one of a new series in which the artist have made use of different film myths, recreating them literally, in a deliberate attempt to reproduce them exactly and faithfully.

In this case, her propose to appropriate a mythical image from Alfred Hitchcock’s The Birds and reconstruct it as a tangible reality. In order to do this, Diana Larrea will invade the two main façades of the Casa de América with a horde of black crows made of synthetic material. They will perch on the cornices, window-ledges, balconies etc. of the building in such a way that they will cover practically everything like an enormous swarm of bees. As in the film, the threatening presence of the birds in everyday surroundings will alter our customary perception of everyday reality.

The basis of this work is found at the point when the spectator, on seeing this image omnipresent in our collective memory, immediately identifies and recognizes it, recalling the original model in the film. The artist is very interested in reflecting on the concept of the myth as a cultural image that participates in the integration of individuals. Contrary to what is usually claimed, the more a myth is used the more it perpetuates its essential meaning, affirming its own power in the world of collective illusions. The power of the myth lies in the fact that it gives us a much more intense awareness of reality than reality itself.

The symbolism of this image can be found in the universal myth of divine punishment. Like the episode narrated in the Old Testament of the plagues in Egypt, the occupation by the threatening birds is something we do not expect and cannot explain. When D. Larrea use this artistic replica to repeat a similar event in our current world, she is refering to those dreaded prophecies that are inexorably fulfilled. That an image from the fantasy world of our nightmares can suddenly take on concrete form confers on the work a certain sinister quality that is very disturbing.

 

 

 

 

 

04intc0109

2004. El perro (Cv)

PABLO ESPAÑA, 1970IVÁN LÓPEZ, 1970RAMÓN MATEOS, 1968Fundado en Madrid en 1989 y disuelto en 2006. En la actualidad Pablo España e Iván López siguen trabajando en colectivo bajo el nombre de Democracia (www.democracia.com.es) y Ramón Mateos bajo su propio nombre (www.ramon-mateos.com; www.blackandnoir.com)WORK EXPOSED IN MADRID ABIERTO: Virtual Demolition Mobile

 

SOLO EXHIBITIONS 2001·    Wayaway. Sala Amadís, Injuve. Madrid

2000·    Situación Crítica (en colaboración con PSJM y Aitor Méndez). Mercat de les flors. Barcelona.

GROUP EXHIBITIONS 2003·    Exposición documental La fragua & Centro de arte Párraga, Murcia.·    Advertising. Proyecto de arte público en Sabadell.·    Doble Seducción. Injuve, Sala Amadís, Madrid.·    Public Space/ Legal Space. Établissement dén face. Bruselas, Bélgica.·    Deluxe. Monasterio de Prado, Valladolid.·    Monocanal. Museo Nacional Centro de Arte Reina Sofía, Madrid. Sala Díaz Cassou de Murcia. Centro Galego de Arte Contemporànea de Santiago de Compostela. Museo Patio Herreriano de Valladolid. Art in General, New York, EE.UU.·    Proyecto Boda. MEIAC, Badajoz.·    Arco 2003. Galería Salvador Díaz. Madrid.·    Arco 2003. Las otras galerías, MEIAC, Madrid.

2002·    Deluxe Miami. Casas Reigner Gallery, Miami, EE.UU. Art Basel Miami Beach 2002. Galería Salvador Díaz, Miami, EE.UU.·    Madrid al descubierto. Sala de exposiciones de Alcalá 31, Madrid.·    Arco 2002. Galería Salvador Díaz, Madrid.·    Arco 2002. Becas para Proyectos, Caja Madrid, Madrid.·    Big Torino 2002. Bienal de arte joven, Torino, Italia.·    Ninguna persona es ilegal. INÉDITOS. La casa encendida, Madrid.·    Deluxe. Sala de exposiciones de Plaza de España, Madrid.·    Advertising. Proyecto de arte público, Mataró.·    XXVII Bienal de Pontevedra. Pazo de la Cultura, Pontevedra. 

2001·    Periferias 2001. Sala de exposiciones de la Diputación de Huesca. Huesca.·    Media Ambientes. Mad 2001, Madrid.·    Puntos de encuentro. Cruce. Madrid·    Videometal. Circo Interior Bruto, Madrid.·    Screen Adictions. Dotlight club, Barcelona.·    Arte joven. Programa Nexo. Sala de exposiciones del convenio Andrés Bello, Bogotá. Colombia.·    Open Spaces. Arco 2001. Galería Salvador Díaz. Madrid.·    Programa Nexo. Museo Sofía Imber, Caracas, Venezuela. 

2000·    Oficina de arte público. Evento continuo de Rirkrit Tiravanija. Galería Salvador Díaz, Madrid.·    Operario de ideas. www.operariodeideas.com·    Muestra de Arte Joven Injuve 1999 en Iberoamérica. Itinerancia por Argentina, Uruguay, Paraguay, Guatemala y El Salvador.·    Generación 2000. Premios de Caja Madrid. Itinerancia por Madrid, Barcelona, Valladolid, Sevilla, Valencia.·    Tránsitos. Festival de arte contemporáneo, Toledo.·    Insumisiones. Fundación Marcelino Botín, Santander.·    Capital Confort. Intervenciones en espacios públicos. Alcorcón, Madrid.

SOLO PROJECTS  (Proyectos comisariados por El Perro)2003·    Deluxe (en colaboración con Paco Barragán). Monasterio de Prado, Valladolid.

2002·    Deluxe Miami (en colaboración con Paco Barragán). Casas Reigner Gallery, Miami, EE. UU.·    Quién es el arte. La Fábrica de Pan, Madrid.·    Deluxe (en colaboración con Paco Barragán). Sala de exposiciones de Plaza de España, Madrid.·    Capital confort. Intervenciones en espacios públicos de Alcorcón, Madrid.

2001·    Capital confort. Intervenciones en espacios públicos de Alcorcón, Madrid.

2000·    Capital confort. Intervenciones en espacios públicos de Alcorcón, Madrid..

1999·    Qué hago yo aquí. Espacio de Arte Garaje Pemasa, Madrid.

GRANTS AND AWARDS2001·    Beca para proyectos, nuevas tendencias. Generación 2001. Premio Caja Madrid.

2000·    Generación 2000. Premio Caja Madrid.

SELECTED PUBLICATIONS·    Qué hago yo aquí. Revista Anual. Números: Qué es el arte?, 2001; Quién es el arte?, 2002; Dónde es el arte?, 2003.

 

 

 

 

 

 

 

04prtb0023

2009-2010. Teddy Cruz. VALLECAS ABIERTO: HOW IS YOUR ART GOING TO HELP US? (2010.01 / technical data / Inca room

2009-2010. Teddy Cruz. VALLECAS ABIERTO: HOW IS YOUR ART GOING TO HELP US? (2010.01 / technical data / Inca room

** SEE THE ATTACHED PDF (JANUARY)

 

 

    

 

INCA ROOM IMAGES

     

  

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10inmb2702, 09-10inib2703

2004. Bubble Business. EMANCIPATOR BUBBLE (pictures)

2004. Bubble Business. EMANCIPATOR BUBBLE (pictures)

          

          

                   

                    

                    

 

 

 

 

 

 

04inic0104

2004. Diana Larrea (Cv)

MADRID, 1972LIVES AND WORKS IN MADRIDWWW. DIANALARREA.COMWORK EXPOSED IN MADRID ABIERTO: El palacio encantado

 

EDUCATION1991–96* Licenciada en Bellas Artes. Universidad Complutense. Madrid.

1980–96* Estudios de Música. Real Conservatorio Superior de Música. Madrid.

SOLO EXHIBITIONS2002* Galería Garage Regium. Madrid.

2000* La Ventana de La Fábrica. Madrid.* Espacio F. Mercado de Fuencarral. Madrid.

1999* Doblespacio. Madrid.* Centro de Arte Joven de la Comunidad de Madrid.

GROUP EXHIBITIONS 2003* God. Human and Art. Gallery Kobo Chika. Tokio, Japón.* ARCO’03. Galería Fernando Pradilla. Madrid.* Certamen Audiovisual Injuve 2002. Sala Amadís, Madrid.* Otros incluidos. Casa de América, Madrid.

2002* ARCO’02. Stand Caja Madrid.* Magazine. Sala Amadís, Madrid.* Zona Cero. Sala del Canal de Isabel II, Madrid.* Galería Rina Bouwen. PhotoEspaña’02. Madrid.* 143 Delicias. II Festival de vídeo. Madrid.* Videometal II Muestra de vídeo experimental. C.S.O. El laboratorio 3. Madrid.* Premi Ciutat de Palma d’Arts Plàstiques. Casal Solleric. Palma de Mallorca.* Mujeres. Instituto Cervantes. Tánger, Marruecos.* ARTELISBOA, Stand Galería Bores & Mallo. Lisboa, Portugal.* ARTissima, the International Fair of Contemporary Art in Turin. Galería Garage Regium. Turín, Italia.* III Muestra de Videodanza. Aula de Danza, Universidad de Alcalá.

2001* Pasos de cebra. XVII Muestra de Arte Injuve. Círculo de Bellas Artes. Madrid.* Capital confort. Muestra de Arte Público comisariada por El Perro. Alcorcón.* songs of love and hate- side b. Galerie Wieland. Berlín, Alemania.* VII Bienal de Pamplona. Ciudadela del Ayuntamiento de Pamplona.

2000* ne travaillez jamais. Künstlerwerkstätte. Munich, Alemania.* XXVI Bienal de Arte de Pontevedra. Pontevedra.* Circuitos de Artes plásticas y Fotografía. Centro de Arte Joven de la Comunidad de Madrid. Itinerancia en Pontevedra, Alcalá de Henares y Nueva York.

1999* Paisajes españoles de hoy. Garage Regium. Madrid.* XV Premio de pintura L´orèal. Centro Cultural Conde Duque. Madrid.

GRANTS AND AWARDS 2002* Beca de Creación Plástica. Casa de América. Madrid* Proyecto seleccionado para su producción, II Encuentro de Arte Público Ardearganda’02. Arganda del Rey.* Primer Premio, II Concurso de Fotografía El Cultural. Diario El Mundo.* Proyecto seleccionado para su producción, Certamen audiovisual Injuve.

2001* Adquisición de obra. Muestra de Arte Injuve. Instituto de la Juventud.* Beca para realizar un proyecto, Generación 2001. Obra Social Caja Madrid.

1999* XV Premio de Pintura L´orèal.

1998* Beca de Arte. Ayuntamiento de Mojácar, Almería.* Obra en colecciones/ Works in collections* Ayuntamiento de Mojácar. Almería.* Biblioteca Nacional. Madrid.* Calcografía Nacional. Madrid.* Colección Caja Madrid.* Dirección General de la Mujer. Comunidad de Madrid.* Instituto de la Juventud. Ministerio de Trabajo y Asuntos Sociales.

 

 

 

 

 

 

 

04prtb0022

2009-2010. Teddy Cruz. VALLECAS ABIERTO: HOW IS YOUR ART GOING TO HELP US? (2010.01 / technical data / scaffolding and canvas)

2009-2010. Teddy Cruz. VALLECAS ABIERTO: HOW IS YOUR ART GOING TO HELP US? (2010.01 / technical data / scaffolding and canvas)

** SEE THE ATTACHED PDFS(JANUARY 2010)

    

  (I) 

 

..............................................................................................................................................................................................

   

 

 (II)

 

..............................................................................................................................................................................................

 

 (III) 

 

 

 

 

 

 

 

 

 

 

 

 

09-10inmb2699, 09-10inmb2700, 09-10inmb2701

2004. Emancipator bubble (Cv)

SAIOA OLMO (BILBAO, 1976)TXELU BALBOA (VITORIA, 1974)RICARDO ANTÓN (BILBAO, 1974)WORK EXPOSED IN MADRID ABIERTO: Emancipator bubble

 

 SAIOA OLMO (Bilbao, 1976) es licenciada en Bellas Artes en la UPV y Master de Diseño en DZ. Entiende su trabajo como un modo de producción de experiencias y situaciones de encuentro en las que el espectador tenga una función muy activa. Trabaja de un modo completamente interdisciplinar, muchas veces colectivamente. Sus últimos proyectos son: la comunicación y nueva imagen de ARTELEKU (con AMASTÉ);Chi-gua-gua, alrededor del mundo de la moda y la noche; o QUÉJATE_KEXATU, en el que se proporcionaba un espacio para la queja,etc. Actualmente, además de en EMANCIPATOR, trabaja en proyectos como PAIS VASCO TRADE MARK, un proyecto sobre el diseño de la identidad; FOYU, un grupo de postmúsica junto a Leticia Orue; o forma parte del laboratorio sobre vivienda LABITACIONES en Arteleku.

AMASTÉ (www.amaste.com) está dirigida por Txelu Balboa (Vitoria1974) y Ricardo Antón (Bilbao, 1974). Se dedica a la producción y difusión de proyectos relacionados con la sociedad actual y la cultura contemporánea. Entienden la creatividad, no tanto como un modo de expresión individual, sino como un espacio colectivo de comunicación. Editan la revista ESETÉ, colaboran en numerosos proyectos interdisciplinares y están presentes regularmente en eventos como ARCO, SONAR, LAUS, etc. Actualmente preparan números de ESETÉ dedicados al sexo, el metro o las prohibiciones, unas mesas de debate sobre nuevas publicaciones para ARCO o su presencia en la Bienal de Lleida.

Además, Alex y Hugo participan como consultores, Pedro Pérez es el diseñador industrial que ha desarrollado el prototipo y hay numerosos colaboradores que nos ayudan a sacar el proyecto adelante, como por ejemplo: Arteleku, Montehermoso, el Dpto. de Juventud del Gobierno Vasco, Madrid Abierto, Bilbotex y un montón de gente más sin la que todo esto no hubiese sido posible.

 

 

 

 

 

04prtb0021

2004. El Perro. VIRTUAL DEMOLITION MOBILE (pictures)

2004. El Perro. VIRTUAL DEMOLITION MOBILE (pictures)

 

     

     

     

     

     

     

      

     

                    

                    

 

 

 

 

 

04inic0110

2007. Johanna Billing. YOU DON´T LOVE ME YET (visual data)

2007. Johanna Billing. YOU DON´T LOVE ME YET (visual data)

 

RELATED WORK

      

YOU DON´T LOVE ME YET, ESTOCOLMO 2003, THE FILM

 

YOU DON´T LOVE ME YET. ESTOCOLMO 2003. RECORDING THE FILM

 

YOU DON´T LOVE ME YET, SAN FRANCISCO, 2006

 

POSTER YOU DON´T LOVE ME YET, SAN FRANCISCO, 2006

 

 

 

 

 

 

 

 

 

 

07pric1254, 07prtc1255, 07pric1256, 07prvc1258

2007. Discoteca Flaming Star. DISCOTECA FALMING STAR (2006.11 / visual data)

2007. Discoteca Flaming Star. DISCOTECA FALMING STAR (2006.11 / visual data)

 

PHOTOMONTAGE

 

REFERENCES

Cuesta de Moyano

 

MODEL   

   

(November 2006) 

 

 

 

 

 

 

 

07inib1325

2004. Diana Larrea. PALACIO ENCANTADO (pictures)

2004. Diana Larrea. PALACIO ENCANTADO (pictures)

 

          

          

          

          

 

 

 

 

 

04inic0107

2007. Alonso Gil + Francis Gomila. GUANTANAMERA (visual data)

2007. Alonso Gil + Francis Gomila. GUANTANAMERA (visual data)

 

 

REFERENCES

   

   

 

 

 

 

 

 

 

 

07pric1260, 07pric1261

2008. Guillaume Ségur. WELCOME ON BOARD (2008.01 / technical data)

2008. Guillaume Ségur. WELCOME ON BOARD (2008.01 / technical data)

 

       

       

(January 2008) 

 

 

 

 

 

 

 

 

 

08inib1944

2004. Maider López. CARTELES PUBLICITARIOS Y BANDEROLAS (pictures)

2004. Maider López. CARTELES PUBLICITARIOS Y BANDEROLAS (pictures)

 

     

     

     

       

     

          

                     

                              

 

 

 

 

 

04inic0114

2007. Ben Frost. POLLINATING THE VERNACULUS (technical data)

2007. Ben Frost. POLLINATING THE VERNACULUS (technical data)

  DESCRIPTION OF THE ASSEMBLY SYSTEM AND TECHNICAL REQUIREMENTS

Each prepared beehive will contain a single Mono Speaker and small non directional light. Each Box is sealed except for discreet existing gaps in the construction of the object (This artwork will be WEATHER PROOF and will not require dailydeconstruction in an outdoor environment) which, at night will create a very subtle and yet non-invasive visual effect to accompany the more obvious yet still inherently subtle aural effect. Each Box, placed in a single straight line, separated by a distance of 2m, preferably running parallel to a footpath, wall, or other avenue of foot traffic, containing both speaker and light will chain together creating a single strip of cabling which will require access to a secure (remote) indoor environment where a multi-channel audio interface, basic computer either desktop or laptop*, and amplifier will ‘run’ the piece and feed each channel of audio to its corresponding box.

*note that this computer/interface-based installation could potentially be substituted for 5 single hi quality cd players with a continuous looping function.

The piece will require a single standard power source.

A Very basic figure of proposed installation

All aspects of the production of aural content up until the point of presentation will be self-financed and/or supported by external research funding and in-kind support of the recording studio ‘Greenhouse Studios’, Reykjavik  http://www.greenhouse.is/

 

 

 

 

 

 

 

07prtc1266, 07pric1267

2009-2010. Teddy Cruz. VALLECAS ABIERTO: HOW IS YOUR ART GOING TO HELP US? (2009.12 / technical data)

2009-2010. Teddy Cruz. VALLECAS ABIERTO: HOW IS YOUR ART GOING TO HELP US? (2009.12 / technical data)

** OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT(DECEMBER 2009)

    

     

     

        

 

 

         

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10inmb2695

2007. Dirk Vollenbroich. SHORT CIRCUIT (visual data + video)

2007. Dirk Vollenbroich. SHORT CIRCUIT (visual data + video)

 

 

RELATED WORKS

    

HAUSMUSIK (2006)

 

SUPER NOVA (2001) + LUFTHANSA LIGHT (2004)

 

 

 

 

 

 

07pric1283, 07prvc1289, 07prvc1291

2008. Fernando Prats. GRAN SUR (2008.01 / technical data)

2008. Fernando Prats. GRAN SUR (2008.01 / technical data)

TECHNICAL PLANS

 

ASSEMBLY DETAILS 

         

         

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08inib1949, 08inib1950

2004. Etoy CORPORATION (pictures)

2004. Etoy CORPORATION (pictures)

 

          

          

          

          

          

          

      

 

 

 

 

 

 

04inic0117

2008. Fernando Prats. GRAN SUR (2007.11 / visual data)

2008. Fernando Prats. GRAN SUR (2007.11 / visual data)

 

Without title, 2007. Smoke, air and graphite on paper with printout of Casa de America’s façade. 21 x 29,7cm.

                                                                                                                             (November 2007)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08inib1947, 08intb1948

2004. Fernando Sánchez Castillo. PERSPECTIVA CIUDADANA (pictures)

2004. Fernando Sánchez Castillo. PERSPECTIVA CIUDADANA (pictures)

 

          

          

          

       

       

 

 

 

 

 

 

04inic0120

2007. Mandla Reuter. TNEMTRAPA (related works)

2007. Mandla Reuter. TNEMTRAPA (related works)

 

INVITATION, WARSAW, 2006

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, www.buero-kopernikus.org and e-flux.

 

INVITATION, 2006in 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.

  

HOMEVIDEO,1999in 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

 

 

 

 

 

 

 

 

07prmc1304

2008. Jota Castro. LA HUCHA DE LOS INCAS (2008.01 / visual data)

2008. Jota Castro. LA HUCHA DE LOS INCAS (2008.01 / visual data)

REFERENCES

    

 (January 2008)

 

 

 

 

 

 

 

 

 

08inib1945

2004. Sans Façon. S/T (pictures)

2004. Sans Façon. S/T (pictures)

 

                   

                    

                    

                    

       

       

       

       

 

 

 

 

 

 

04inic0132

2004. Wolfgang Weileder. HOUSE MADRID (pictures)

2004. Wolfgang Weileder. HOUSE MADRID (pictures)

 

        

       

       

      

       

               

                

 

 

 

 

 

 

04inic0126

2007. Susan Phillipsz. FOLLOW ME (visual data)

2007. Susan Phillipsz. FOLLOW ME (visual data)

RELATED WORK

FOLLOW ME, 2006Old Garrison Cemetery, Berlin4th Berlin Biennale Photo Eoghan McTigue4 channel surround sound installation

 

 

 

 

 

 

 

 

07pric1306, 07prte1309

2007. Dora García. PRAYERS (theoretical data)

2007. Dora García. PRAYERS (theoretical data)

 The “rezos” project is a performance that lasts twenty four hours and is collected in a sound piece that has been presented as a video and audio installation, as well as an Internet website.

THE PERFORMANCE

For twenty four hours, thirty performers that take turns every 4 hours, each one of them in five specific locations of the city, both fixed (squares, streets, crossroads, bars) and mobile (buses, metro, pedestrian), continuously describe everything they see and hear in the place and moment where they’re at, and this constant description, recited as a prayer, is individually recorded by each performer.

 

RECORDING THE PERFORMANCE

Each performer will have a sound recording device, the type that fits the situation best, the time, sound quality and comfort of the performer.

 

CONSTRUCTION AND PRESENTATION OF THE SOUND PIECE

The recordings made by performers will be added, in a few hours, to a previously designed flash animation, creating an interface that enables the spectator, Internet user or visitor to combine the recordings of each performance at will and create a kind of “polyphonic prayer” that reflects the “kaleidoscopic” complexity of the different places in which the performances were done, a complexity that performers try to describe, but they could have tried to create (according to the idea that a reality is created once we perceive it and describe it, or, as we could say, “recite” it).

This interface can be presented as an exhibition mode (audio and video installation in the exhibition hall), but also, and in any case, in a website that may be checked in any Internet computer.

 

 

 

 

 

 

07prmc3500

2008. Andreas Templin. HELL IS COMING / WORLD ENDS TODAY (2007.11 / visual data)

2008. Andreas Templin. HELL IS COMING / WORLD ENDS TODAY (2007.11 / visual data)

 

Hatred/fundamentalism/represented by an re-enactment of fanatic right-wing demonstrations.This is staged by a doppelganger.

The camp / the concentration camp. Giorgio Agamben.     Power. Michel Foucault.    Speed and devastation. Paul Virilio.

 

(November 2007)

 

 

 

 

 

 

 

 

 

 

 

08inib1934, 08intb1935

2004. Warren Neidich + Elena Bajo. SILENT (pictures)

2004. Warren Neidich + Elena Bajo. SILENT (pictures)

 

         

         

         

 

 

 

 

 

 

04inic0123

2007. Dora García. PRAYERS (technical + visual data)

2007. Dora García. PRAYERS (technical + visual data)

 PRESENTATION MODELS

First presentation model: the interface/Internet websiteThe interface flash programme will follow the model used in previous works, such as “The Possible” http://www.doragarcia.net/insertos/loposible/htm/loposible.htm

o “heartbeaters.net”www.heartbeaters.net(when entering the flash home page, click on download sound”)

a combination of both modes, in which different entrances would have names such as “Gran Vía, 00:00-04:00”“Gran Vía, 04:00-08:00”“Gran Vía, 08:00-12:00”“Gran Vía, 12:00-16:00”“Gran Vía, 16:00-20:00“Gran Vía, 20:00-24:00”

or others like:

“Autobús 27, 08:00-12:00”“Línea 1, 12:00-16:00”“Castellana/ Prado 16:00-20:00”“Cibeles e.a. 20:00-24:00”

they would be combined with each in a similar way as in “The Possible” and could be downloaded like in “Heartbeaters.net”.

 

 SECOND PRESENTATION MODEL: AUDIO AND VIDEO INSTALLATION EXHIBIT

 It could be done in a similar way to the one done for “The Possible” --- see picture

 

TECHNICAL REQUIREMENTS

- portable sound recording system for performers (mini disc or similar)

- for the presentation as installation: computer (connected to the web or not, depending on the Internet or cd version), video projector, audio installation (amplifier, speakers), mouse system for visitors to interact.

 

 

 

 

 

 

 

 

07prmc3499-07pric1311-07prtc3501

2008. Andreas Templin. HELL IS COMING / WORLD ENDS TODAY (fielwork)

CALL FOR PARTICIPATION

 Se buscan personas para colaborar en proyecto artístico de Madrid Abierto 2008

El artista Andreas Templin busca para su proyecto titulado “Hell is coming/World ends today” seleccionado en Madrid Abierto (www.madridabierto.com; del 7 de febrero al 2 de marzo) gente que quiera participar en la ejecución del mismo a través de dos vías.

-    Por un lado, busca ciudadanos residentes o que estén trabajando en la ciudad de Madrid que ejercería como modelos por una semana, vistiendo prendas de ropa de moda con los nombres de filósofos contemporáneos. Se busca gente a la que le guste el skate, metal, punk, visual kei, goth, Hip Hop o R’n’B. Gente que esté simplemente interesada en la cultura juvenil o involucrada en intervenciones de arte a nivel internacional, será también bienvenida.

-    Por otro lado, busca un actor con disponibilidad para los días 7 al 14 de febrero. Esta persona iría vestida con traje de vestir oscuro y sombrero e iría portando dos carteles por el centro de Madrid durante 4 ó 5 horas al día. Su localización transcurriría en ciertas plazas y calles céntricas de la ciudad, sin hablar con nadie y con cierta actitud de “visionario”

Para conocer honorarios que se retribuirán a los participantes y ampliar información del proyecto, por favor, contacte con Andreas Templin en This email address is being protected from spambots. You need JavaScript enabled to view it.

.............................................................................................................................................................................................................................................

The visual artist Andreas Templin is currently preparing a project for Madrid Abierto, a yearly exhibition in City of Madrid for art in public space. He is doing live-artwork which involves 150 citizens of Madrid. Next to this he is looking for an actor who could play a role in the streets of Madrid.

The actor would walk around in "Sunday-cloths" (black aor dark suit) and a Stetson hat with  two signs through the Inner City of Madrid, always stay at a certain plaza or streetcorner for a while and than walk on to the next spot. He would not talk to anybody and just have a sort of visionary, energetic look. He should be around in the hours when most people are in the street. This would happen 7th till including 14th of February. He is payed  XXX- Euros including tax. If he could do this 4 to 5 hours a day would be perfect. It would pay him around XXX.- Euros an hour including tax. Please forward to people interested in this and have a look at the attached description.

Si quiere saber más del proyecto o inscribirse, por favor, contacte con Andreas Templin en This email address is being protected from spambots. You need JavaScript enabled to view it.

http://worldendstoday.wordpress.com/

http://andreas-templin.blogspot.com/

 

 

 

 

 

 

 

 

 

 

08intb1933

2004. Wolfgang Weileder. HOUSE-MADRID (video-installation)

2004. Wolfgang Weileder. HOUSE-MADRID (video-installation)

 

           

  

       

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

f04invc0128, f04inmc0129

2009-2010. Teddy Cruz. TRAFFIC (2009.09 / technical data)

2009-2010. Teddy Cruz. TRAFFIC (2009.09 / technical data)

* see the attached pdf

(September 2009) 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10inmb2687

2008. Alicia Framis + Michael Lin. NOT FOR SALE (2007.11-2008.01 / visual data)

2008. Alicia Framis + Michael Lin. NOT FOR SALE  (2007.11-2008.01 / visual data)

 

Designed by Jorge Masanet 

 

Designed by Chus Burés      Designed by Chus Burés

 

        

On the Helga de Alvear Galery

(November 2007 - January 2008) 

 

 

 

 

 

 

 

 

 

 

08inib1932

2008. Anno Dijstra. MISPLACING (visual data)

2008. Anno Dijstra. MISPLACING (visual data)

 

 

EMAIL

Dear asociacion...

Thank jou for your mail, i do not have images of the project becouse its not ready made, the project is a new step in my work, but also comming from the reconstruction concept, former works are made from that principal, so the new work is conected to these workes. My description of the plan is about the new step. In the way i work i never make any skeches or maquettes, i hope this is not a problem for commity. I hope i understood the question of the Madrid Abierto well, becouse i thougt its about new work. Best regards Anno Dijkstra

I enclosed a photo of a insitu work for the project Moscow - Bernadette of the SMAK in Belgie, ist a work i make special for people at home.

 

 

 

 

 

 

 

 

 

 

08prtc1845, 08pric1842

2008. Todo por la praxis. SPECULATOR (2007.05 / visual data)

2008. Todo por la praxis. SPECULATOR (2007.05 / visual data)

 

    

    

      

(May 2007)  

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08inib1960

2005. Simon Greenan + Christopher Sperandio. SOY MADRID (images + physical documents)

2005. Simon Greenan + Christopher Sperandio. SOY MADRID (images + physical documents)

PUBLICATIONS IN THE "EL MUNDO" NEWSPAPER

 * EJEMPLARES FÍSICOS DISPONIBLES PARA CONSULTA * VER DIFUSIÓN / IMPRESA

       

       

       

 

................................................................................................................................................................................................................MUPPIS

* PHYSICAL COPIES AVAILABLEMATERIAL: paperUNITS: 2 copies by imageMEASURES: 173'5 x 120 cm

    

       

 

................................................................................................................................................................................................................PICTURES OF SOME LOCATIONS

    

              

 

 

 

 

 

 

 

 

05inic0578, f05inic0511

2008. Annamarie Ho + Inmi Lee. LA GUERRA ES NUESTRA (technical data)

2008. Annamarie Ho + Inmi Lee. LA GUERRA ES NUESTRA (technical data)

 ASSEMBLY SYSTEM AND TECHNICAL NEEDS

The production of our piece occurs in two steps: (1) the fabrication of the sign itself and (2) the installation of the sign onto the Círculo de Bellas Artes.

 

 

FABRICATION OF THE SIGN

Our sign will be made from channel letters, where every letter of the phrase La guerra es nuestra. will be individually constructed in black Plexiglass and lit with LED lights.  Each letter will be 0.6 meters tall, 0.6 meters wide, and 0.5 meter deep.  The letters will then be mounted to a raceway—a long, aluminum channel—which also houses the transformers and the high-voltage wiring for all the letters in a single unit.  The raceway will be painted a color to match the exact color of the building’s façade.  The entire sign, including the raceway, should be approximately 0.6 meters tall, 12.8 meters wide, and 1 meter deep.  Please refer to La_guerra_es_nuestra_04.jpg as a reference.

Our preliminary research in the United States indicates that a sign similar to the one we propose would cost approximately 4000 euros and take three to five days to complete, depending on the vendor. To reduce transportation costs, we plan to have our sign manufactured locally in Madrid.

 

INSTALLATION OF THE SIGN

The raceway of the sign will be attached to the front wall of the Círculo de Bellas Artes. Our research indicates the type of sign we have chosen to make is quite simple to install. First, the vendor manufacturing the sign creates a mounting pattern specific to façade. For safety, we then plan to hire an electrician for half a day for consultation to ensure we use a proper power supply and that we are to code. Next, we would hire a crew to install the sign itself—first they drill holes for hanging the raceway as well as for running electricity through the wall and then they mount the sign using thru-bolts and backer-plates, both which are supplied by the vendor manufacturing the sign.  The actual installation requires two or three men one day to complete.

 

 

 

 

 

 

 

 

 

 

08prmc1831

2008. Todo por la praxis. SPECULATOR (technical data)

2008. Todo por la praxis. SPECULATOR (technical data)

** SEE THE ATTACHED PDF

 

 

SPECULATOR

Dedolight spotlight 150wDedolight spotlight 150w with dimmer incorporated. Stand.Manfrotto included

Standard Billboard Chroming Aluminium Trush 3x5

Digitally printed canvas 3x5 micro-perforated finishes

T Speculator

D The intervention takes places by making a promotional poster with images of the character that as if part of a graphic novel, enables a presentation of him. It will also include a spotlight that will project the word Speculator into the sky of Madrid. Emulating the Batman comics in which the citizens of Gotham City used this resource to contact the superhero. We use this same element so the new Speculator comes to the city Madrid.

A 2008

P Madrid Abierto 2008

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08prmc1923, 08prmc3533

2008. Dier + Noaz. ESTADO DE EXCEPCIÓN (proposed location)

2008. Dier + Noaz. ESTADO DE EXCEPCIÓN (proposed location)

 

EMT Cibeles cornerTo me the ideal place, a visible spot, with paving stones, City Hall…

Small ParkThe sandy floor would be proper, we would have more space. Not very visible.

Small Square in front of the MuseumVisible from moving cars. The floor is not too good. A little isolated

 

 

 

 

 

 

 

 

08prmc1858

2008. Santiago Cirugeda. CONSTRUYE TU CASA EN UNA AZOTEA (2008.02 / visual data)

2008. Santiago Cirugeda. CONSTRUYE TU CASA EN UNA AZOTEA (2008.02 / visual data)

 

   

 

REFERENCES PREVIOUS WORKS

  

  

(February 2008) 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08inib1957, 08inib1958, 08inic2033

2009-2010. Gustavo Romano. PSYCHOECONOMY! (images)

2009-2010. Gustavo Romano. PSYCHOECONOMY! (images)

 

     

      

Photos: Alfonso Herranz

 

 

        

         

         

         

 

 

 

 

 

 

 

 

 

 

 

 

09-10inic2827, 09-10inic3383

2005. Compañía Caracas. ESPACIO MÓVIL (images)

2005. Compañía Caracas. ESPACIO MÓVIL (images)

                

                

                

 

 

 

 

 

 

 

05inic0515

2008. Fernando Llanos. [VI VÍDEO] (technical data)

2008. Fernando Llanos. [VI VÍDEO] (technical data)

 

 LIST OF THINGS NEEDED TO CARRY OUT THE PROJECT (provided entirely by the artist)

1. 1 harness to position the equipment.2. 3 batteries AG. 12 watts, 18 amperes.3. 1 battery charger 29 amperes (min-12).4. 1 stand for video projector, with movable arm.5. 2 camera stand, (one mobile, one fixed).6. 1 voltage transformer from DC to AC 400 watts.7. 2 horns.8. 1 projector of 2 000 lumens.9. 1 portable DVD.10. 1 portable mini-DV deck.

LIST OF THINGS TO USE IN CASA DE AMÉRICA1. 1 DVD player.2. A video projector.3. A computer to show the website to check info. 4. A vinyl with info and image of the project.

WEIGHTThe whole equipment weighs 15 kilos.

MEASURESVarying.

MATERIALSVarious, metal, acrylic and electronic equipment.

LIGHTING CONDITIONSTwo or three mobile spotlights.

LOCATION CONDITIONSIf wanted we can assemble everything on a manikin (check website’s picture). We need an appropriate place. If it’s an urban intervention we could use a store’s showcase, a window containing manikins.

 

 

 

 

 

 

 

08prmc3520

2009-2010. Pablo Valbuena. S/T (2010.01 / project review / location)

2009-2010. Pablo Valbuena. S/T (2010.01 / project review / location)

 The conditions in order to choose a place are mainly the possibility of three dimension projection (on a corner), the availability of an area to position the projectors with ease and a clear material for the façade.

After reflecting on several options in the Paseo del Prado/Recoletos axis I have chosen the area of El Prado Museum, which enables us to position the projectors, something that in other locations is not possible, considering the necessary angle and distance. We suggest two possible locations.

   

 

Map of the area with two possible locations.

  

 

 

 

 

 

 

 

 

09-10inmb3599

2005. Fernando Baena. FAMILIAS ENCONTRADAS (images)

2005. Fernando Baena. FAMILIAS ENCONTRADAS (images)

 

         

         

                  

 

 

 

 

 

 

 

05inic0518

2008. Fernando Prats. GRAN SUR (visual data)

2008. Fernando Prats. GRAN SUR (visual data)

 

Composition and order in the advertisement’s sentences. Height of the typography 40 cm

    Sin título, 2007. Collage using la Vanguardia newspaper. 45 x 30 cm.

 

View of installation on the façade 

 

 

 

 

 

 

 

 

 

 

 

08pric1883

2009-2010. Pablo Valbuena. S/T (2010.01 / project review / visual data)

2009-2010. Pablo Valbuena. S/T (2010.01 / project review / visual data)

 

INSTALLATION Some sketches that show possible states of the piece

    

    

 

REFERENCESThe guidelines to follow will be similar to these two pieces, in an intermediate scale between these two installations:

The Hague City Hall - videowww.pablovalbuena.com/videos/the_hague_video.html

 

Extension - videowww.pablovalbuena.com/videos/extension_video.html

 

 

 

 

 

 

 

 

09-10inmb3597

2008. Fernando Llanos. [VI VÍDEO] (visual data)

2008. Fernando Llanos. [VI VÍDEO] (visual data)

RELATED WORKS

 

        

     

     

    

 ** VER MÁS INFORMACIÓN EN TRABAJOS RELACIONADOS

 

 

 

 

 

08prmc1867

2009-2010. Teddy Cruz. VALLECAS ABIERTO: HOW IS YOUR ART GOING TO HELP US? (2009.12 / visual data)

2009-2010. Teddy Cruz. VALLECAS ABIERTO: HOW IS YOUR ART GOING TO HELP US? (2009.12 / visual data)

 

    

 

   

(December 2009) 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10inib2696, 09-10inib2697

2008. Todo por la praxis. SPECULATOR (theoretical + visual data)

2008. Todo por la praxis. SPECULATOR (theoretical + visual data)

** SEE THE ATTACHED PDF

Todo por la Praxis (TPP) was created as a “laboratory for Projects” which produces a variety of aesthetic and cultural projects. TPP is formalized in an area of design and testing of the most efficient cultural resistance techniques, focusing on testing non conventional tools, forms of organization and action, around specific action projects. Their two basic themes are activist artistic practices or opposition practices as a means to represent social conflict in an effective aesthetic manner and artistic practices in/on public space and its repercussions on the social context in which they inscribe themselves. Those basic themes are themselves divided in three research lines that are represented through their alter egos: establishing a symbolic game which defines each of their working areas.

 

Speculator: Heteronymous of “Todo por la praxis” project. This line of work focuses on the urban concept – public field and the real estate business – the urban theme contains matters that are more felt than comprehended thus the need to unveil the discourses and practices that deal with the structure of the urban environment, focussing on systems of symbolic production, circulation of meaning, social meaning processes. In this sense, every practice that is centred on creating confrontational spaces against ruling structures and to investigate space expropriation strategies will be received as potential projects of SPECULATOR.

The idea is to amplify artistic practices as a means to articulate oneself socially as collective authors of our own experience, witnessing therefore, the construction of confrontational spaces as actors and not mere spectators.

To carry out the job we develop a character (Speculator) with obvious references to comic. This character comes to being as an antihero that incarnates values of the real estate speculator: extortion, blackmail, manipulation, and, of course, speculation. This ironic and symbolic game unveils both urban discourses and practices that prevail in the ruling ideology.

Speculator: Alter ego of Todo por la Praxis, the proposed intervention for Madrid Abierto’s 2008 edition intends to be the presentation of the Speculator character in the city of Madrid.

The project has clear references to the realm of comics. The use of language of comics translates itself in the construction of a character: Speculator, the urban issue, the growing problem of savage urbanism, is the context in which the activity of such unique character inscribes itself. The ironic symbolic game of heroes and antiheroes, present both the draft of the project and in the creation of the character, enables us to perceive contemporary urban practices from a critical standpoint.

  

    

      

 

 

 

 

 

 

 

 

 

 

 

08prmc1922, 08pric1921, 08prmc1924, 08prmc3532, 08prmc3533

2005. José Dávila. MIRADOR NÓMADA (images)

2005. José Dávila. MIRADOR NÓMADA (images)

 

                 

                 

 

 

 

 

 

 

 

 

05inic0527

2008. Fernando Prats. GRAN SUR (technical data)

2008. Fernando Prats. GRAN SUR (technical data)

 

 

 DESCRIPTION OF ASSEMBLY SYSTEM

The advert will be made of a 40cm high white neon pipe:

More or less 23 iron frames will be made, with the complete sentence in neon, therefore it will be possible to hang it from the frame and rest it against the façade of Casa de América.

 

THE DRAFT’S TECHNICAL NEEDS

Technical crew specialized in assembly and disassembly of promotional neon pipes. Electrical current to light the advert.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08prmc1886, 08prtc3523

2009-2010. Pablo Valbuena. S/T (2010.01 / project review / theoretical data)

2009-2010. Pablo Valbuena. S/T (2010.01 /  project review / theoretical data)

 My final project consists of a large-scale projection upon a building of Paseo del Prado/Recoletos. The installation intends to alter urban space perceptively creating new spaces thanks to light projection.The guidelines to follow will be similar to these two pieces, in an intermediate scale between these two installations:

The Hague City Hall - videowww.pablovalbuena.com/videos/the_hague_video.html

Extension - videowww.pablovalbuena.com/videos/extension_video.html

 

 

 

 

 

 

 

 

 

 

 

 

09-10intb3595, 09-10inmb3597

2005. Henry Eric Hernández García. ZONA VIGILADA (video)

 

  

FEATURE PROJECTION VIDEO FILMED IN HAVANA

This piece of work involves placing two video cameras with different angle movements, which will be handled by three different photographers who will constantly move it around the areas of the museum and record some situations (B/W), previously edited, transmited on one side of the screen, thus reconstructing the place´s environment. Simultaneously, at fixed times, the documentary filmed in La Havana will be screened on the other side of the screen, thus showing the time counterpoint between both security (vigilance) systems

 

 

 

 

 

 

 

 

 

 

05invc0526

2005. José Dávila. MIRADOR NÓMADA (register visits)

 

5.325 people accessed the scaffold

 

 

 

 

 

 

 

08intc0530

2008. Guillaume Ségur. WELCOME ON BOARD (technical data)

 

              

 

Plywood, steelDimenssions: 700x600x185 cm

DESCRIPTION OF THE ASSEMBLY SYSTEM AND TECHNICAL NEEDS OF THE PRELIMINARY PROJECT

The piece will be made with the help of a carpenter who is specialized in skate park projects. The carpenter will ensure a strong foundation for the structure. It will be built to hold a large number of people.

As far as the transportation needs, the sculpture will be divided into 8 parts which will be connected and screwed together. Reinforcements would be installed for these parts.

For the Madrid construction, in addition to both the carpenter and I, we need 2 more people to carry and to support the different parts of the structure. The supports used for the fabrication will also be used for the project assembly.

The unit must be installed on a flat and preferably smooth surface to guarantee its “skateabililty”.

The time frame estimated for the assembly of the project is one day.

 

 

 

 

 

 

 

 

 

 

 

08pric1897, 08prmc1892

2008. Santiago Cirugeda. CONSTRUYE TU CASA EN UNA AZOTEA (2008.01 / technical data)

2008. Santiago Cirugeda. CONSTRUYE TU CASA EN UNA AZOTEA (2008.01 / technical data)

** SEE THE ATTACHED PDFS

PROCEDURE FOR INSTALLATION

     

 

 

TECHNICAL PLANS

    

 

ASSEMBLY

     

(January 2008) 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08inib1954, 08inib1955, inib1959

2005. María Alos + Nicolás Dumit. EL MUSEO PEATONAL (images)

2005. María Alos + Nicolás Dumit. EL MUSEO PEATONAL (images)

 

       

       

Photos: Alfonso Herranz

 

     

      

     

      

      

          

          

          

Photos: courtesy of the artists

 

 

 

 

 

 

 

 

 

 

05inic0531, 05inic3668

2008. LaHostiaFineArts (LHFA). EXPLORANDO USERA (theoretical data)

2008. LaHostiaFineArts (LHFA). EXPLORANDO USERA (theoretical data)

EXPLORING USERAA tourism office for Usera in MadridA more open Madrid is possible

 

 The district of Usera was created in the last restructuring of the 28th of March 1987. Currently it’s a social framework where three distinguishable cultures coexist, Chinese, Latin and Spanish in a complex adjustment process.

The district is limited by the Praga bridge, Paseo de Santa María de la Cabeza, Fernández Ladreda square and highway 401 (Madrid-Ciudad Real). In this district you find lots of actions by the Neighbourhood Redesigning Programme, finished in 1989 and several residential developments. Currently we are experiencing an opening of Usera towards the city centre (works to burry the M30, cultural activation in the Legazpi area, expanding line 3 until Villaverde).

Its location as natural projection of the artistic axis Plaza de Castilla – Legazpi and its bordering situation limited by the river and, until not long ago, by the M30, highway 401 and the exit towards Toledo road, turn this district into an interesting place for artistic exploration.

In 2004, LHFA presented Madrid Abierto a project entitled Stories of Madrid 2nd part which received an honourable mention of the jury. In that project we intended to create an imaginary, local and sentimental geography full of historic, political and cultural references. When playing the first sequence of the movie Stories of Madrid, you could see a mobile installation – tableau mouvant – of social condemnation and reinterpretation of history and national culture. A double-decker bus would continuously drive around the Cibeles square informing, as if it were a tourist guide, about the political and historical implications of the area. In the convergence of local colour and international tourism appear spaces of ideological nature and the vacuous poses of political, entrepreneurialand cultural leaders are unveiled. It was, therefore, an ironic action that, while travelling around the “typical” Madrid, reflected on the veiled reality behind the local colour of the municipal policy.

Now, in 2007, we present our project, Exploring Usera, to Madrid Abierto once again, focussing again on the strategies that underlie the majority of cultural initiatives that are presented for high positions. We leave the showcase of the Plaza de Castilla – Legazpi axis, within which Madrid Abierto takes place, to go and explore the artistic and tourist possibilities of the district of Usera.

For Exploring Usera we took advantage of the district’s fiestas that were taking place in the first two weeks of September, to do some field work that will be developed and documented during the next semester. The goals are clear: open Madrid up creating new fluxes of information.

 

 

 

 

 

 

 

 

 

08prtc1903, 08prmc1906

2008. LaHostiaFineArts (LHFA). EXPLORANDO USERA (2007.11 / visual data)

2008. LaHostiaFineArts (LHFA). EXPLORANDO USERA (2007.11 / visual data)

 

          

          

(November 2007) 

 

 

 

 

 

 

 

 

 

 

 

 

 

08inib1953

2005. Óscar Lloveras. S/T (images)

2005. Óscar Lloveras. S/T (images)

 

                  

          

          

 

 

 

 

 

 

 

05inic0536

2008. Todo por la praxis. SPECULATOR + EMPTY WORLD (2008.01 / project review / technical data)

 

 THIS PROGRAMME IS DIVIDED IN DIFFERENT SPECIFIC ACTIONS

2.1. Empty World Housing Real Estate Agency

The real estate market is in “crisis” after almost a decade of obscene profits. The majority of “small amateur agencies”, created for fast money are closing. In this “recession” we find that it’s appropriate to create our own Antagonist Agency. With that end in mind we have created a real estate agency to put empty housing in-the-market; this agency is called: Empty World-Housing Real Estate Agency. The first office will “open” in the Total Liquidation in Madrid Abierto 08. Functioning as a common agency, in the Total Liquidation showcase will have the archetypical image of traditional agencies and empty houses will be offered to potential tenants through the Catalogue of available houses in the neighbourhood. In the agency the future tenant will find the necessary counselling to obtain the rent of their apartment: Location and conditions of the apartment, Access Handbook and Assignment of Contact and housing use, etc.

 

2.2. Virtual-Catalogue Registration

The first requirement to start the agency is to have a “list of properties” to offer our clients. To obtain houses for rent we have decided to create a section in the web (www.emptyworld.es) to collect information with an active participation tool that enables the creation of a Virtual Registration to obtain information on empty real estate (uninhabited) detailing their characteristics (location, state of the apartment, square meters, number of rooms, information about the owner, etc.), on the other hand, offering the possibility of showing this information in a way that the user can find the empty houses with a personal tracker. Our agency uses the method that many other real estate companies use. The main idea is that detournement is still a highly effective tool in the context of fictional democracies. Our Virtual-Catalogue Registration is a tool that intends to show the essential contradiction of the capitalist market; to prove the role that as product-good the house assumes in the real estate market, drifting away from social use that supposedly is one of its features. In the fictional welfare state, where there are more than THREE million empty houses, the great majority of Spanish workers have to pay a mortgage for the rest of their lives.

 

2.3. Physical Signalling

To signpost is a way to “mark”, to limit access. Just as the other agencies, our agency needs to be visible, needs to signal those houses that “belong to all of us”. For that purpose we will invite neighbours to carry out a campaign to mark – using stickers with the Empty World logo – the empty houses in the neighbourhoods. The goal is to limit space, a way to “enter” the inner circle in which agents of gentrification defining ourselves as an opposing force able to potentially abolish them, move them form their ruling position inside the territory of urban space administration. As we have already shown.

 

2.4. Transfer of Operating Contract

In a codified society everything has to be regulated with a “basic” capitalist formula: the Contract. In our case, the proposal of a Contract intends to prove that the Public Administration and different private entities are responsible for introducing empty housing in the market, in those neighbourhoods/cities that suffer serious needs in living conditions. This is nothing but a mere work hypothesis that, although it would involve different judicial and political agents, is not, to us, probable in the current correlations of forces. In fact, the present project suggests the need for legislative reforms that (as it already happens in Catalonia, with the Housing Act) prove its viability in a new and necessary social scenario. We need to pressure the different Administrations to adopt, with minimum social and legal guarantees, the regulations that have been adopted in Catalonia on the issue of empty houses. It obviously isn’t a solution, but it’s a start, a legal precedent that must be widened. We need speculators, the gentrifying agents, to be limited in their “privileges” and submit to the logic of the Social State. Our idea of contract is not to “transform” a document (lacking any legal validity) into a “propaganda” device, but to represent, and symbolically demand, the need to “regulate” a market that is in the hands of speculative capitalist agents: A simulated Contract that involves the legal mechanisms for a possible real Contract.

 

2.5. Locksmith Handbook for beginners

The majority of real estate agencies used the “key in hand” slogan as an advertising ploy. Obviously, we, keep, “renting” off plan. The precariousness of the project forces us to leave the offered house’s access in hands of the tenant. But we can’t afford to give them only the “kick on the door” resource. We sought the help of other groups that have dealt with similar situations and found Okupasa. They will give “new/future tenants” two tools; The Handbook and the participation in a Workshop where they will explain, as “experts”, the 12 possible forms of accessing a home (which appear in the Handbook)

The wire method. 2. Drill a cylinder. 3. Opening card. 4. Sliding sheets TGF. 5. Multipick Hood. 6. Extracting the rotor. 7. Cylinder method. 8. Extract a ring. 9. Picking and Racking. 10. Knock key. 11. Cut padlock. 12. Trap measurer.

 

2.6. Franchise

The Franchise method we use is new version of the virus-cell idea that was developed by the self-managed workers movement of the Twentieth Century: each context is different and needs different tactics. For a further development of EW on a larger scale we have defined an “Action Protocol” based on the general principles of Copyleft. You can’t acquire EW franchises, we can only reproduce EW, everyone can access EW’s methodological contents in the website (www.emptyworld.es) and establish an Empty World Housing Real Estate Agency“office”. But first he must accept the “Action Protocol” and subscribe in the website. The idea is for EW to swiftly expand as a mutating virus that adapts to the organism’s circumstances. By creating franchises in this way that, apart from obtaining material in the website, generate new tools to be passed on freely through the Web, reinforcing the project. It is a way to let the social intellect work by itself around the EW concept. Social creativity doesn’t have formal limits and can redefine any project in real life. The franchises, real “autonomous commandos”, are EW’s social foundation, its strength is the expression of the project’s social potential.

 

2.7. Audiovisual Document. (Interviews)

Interviews as opinion polls are a social construction method of reality. In general when someone is interviewed the process is conducted with the intention of obtaining answers that the interviewer wants or needs. Our intention was to avoid that trend of indirect manipulation using the “open interview” model. The main goal was to analyze the territory to find “friction areas” in the social network of urban areas in which we intended to work. Therefore, we had to let the neighbours speak. The questionnaire was structured on three levels; Neighbours, shopkeepers, and social agents (neighbour associations, social movements, experts, etc). All had to interact with the questionnaire in a friendly way, and therefore, the interview couldn’t be taken to uncomfortable territories. The questionnaire was extended or reduced depending on discard questions, making people feel as comfortable as possible. The postproduction and editing work has followed that same track, trying to contextualize questions and making each discursive detail visible on every interview. The final result is a piece of audiovisual material that is “exhibited” in the Empty Housing Real Estate Agency as part of EW’s visual and social communication campaign. In it you can observe the contradictions that any gentrification process creates on a specific social structure. While owners/shopkeepers find it a positive transformation, neighbours keep demanding for traditional needs as infrastructures, services, etc., the social agents continue asking for social and political-institutional changes. The Audiovisual Document basically wants to show, with certain undeniable influences from British free cinema, how a community is structured in a constant and daily working progress in which each life world finds a legitimating discourse to protect its needs and interests.

 

2.8. Sessions

There is no action without theory. This obvious remark is the motor of the “Posturban scenarios: empty housing and gentrification”. The sessions will be organized around the gentrification phenomenon and real estate speculation (check Empty World Sessions) and its objective is to discuss the different topics surrounding speculation, gentrification and urban segregation. In order to do this, the participation programme has tried to cover different fields in connection with the subject inviting researchers and activists from different fields and disciplines. The programme is structured in three conference-debate sessions with three representatives of each of those points of view. The need to discuss the phenomenon from the architectonic, sociological, artistic point of view, etc., is why we adopt this plan. With the intention of using the results of these three work sessions in the antagonist movement and rest of open fronts created by EW, we will try to edit a publication with all the information.

 

CALENDAR SPECULATOR – EMPTY WORLDMadrid 2008

- The Speculator image is projected as “overture” of Empty World-Madrid. (7/2/08).

- Opening-Presentation Act of Empty Housing Real State Agency -EW. (Total Clearance Sale. 7th of February  2008)

- Project presentation Madrid abierto. 17:00-18:15 Friday 8th of February. Casa Encendida. Ronda de Valencia Nº2

- Activation of the Virtual Registration in www.emptyworld.es (8/2/08)

- Start off  Physical Signalling of Empty Houses.(CCSS. 9/2/08)

- Posturban scenarios: Empty housing y Gentrification. (Conferences: 20, 21 y 22nd of February 2008, Total Clearance Sale.)

- Speculator party. 22.00h. 22nd of February 2008 (Conde de vista Hermosa Nº 3 Local G  Metro Marques de Vadillo)

- Workshop: “Locksmith Handbook for beginners”. (Date and time yet to be defined)

 

EMPTY WORLDwww.emptyworld.esPosturban scenarios: Empty housing and gentrification.

FEBRUARY-2008

Thursday 21st, Friday 22nd y Saturday 23rd.Liquidación Total.C/San Vicente Ferrer 23 Local 2Metro Tribunal. Madrid.

T-21.18:00 h-21:00 h.

Presentation Empty World (Neighbourhood Assoc. Malasaña – Acibu)Basurama. (Urban Action)Group emerge.es (Sustainable unity)Andrés Jaque. (Architect. ETSAM Project teacher)F-22.18:00 h-21:00 h.Fernando Roch.  (Professor of Urbanism ETSAM )Francisco Gil. (Praxis Cooperative)Democracia. ( Welfare State)           

S-23.18:00 h-21:00 h.

V de Vivienda. (Popular assembly for housing rights)Patio Maravillas. Jordi Claramonte - Fiambrera Obrera. ( Okupasa)Santiago Cirugeda. (Architect)

S-30.18:00 h-21:00 h.

 Empty World Workshop. 

(January 2008) 

 

 

 

 

 

 

 

 

 

 

 

08intb3823

2008. Todo por la praxis. SPECULATOR (technical data)

2008. Todo por la praxis. SPECULATOR (technical data)

 

 

SPECULATOR

Dedolight spotlight 150wDedolight spotlight 150w with dimmer incorporated. StandManfrotto included.

Standard Billboard Chroming Aluminium Trush 3x5.

Digitally printed canvas 3x5 micro-perforated finishes

T Speculator

D The intervention takes places by making a promotional poster with images of the character that as if part of a graphic novel, enables a presentation of him. It will also include a spotlight that will project the word Speculator into the sky of Madrid. Emulating the Batman comics in which the citizens of Gotham City used this resource to contact the superhero. We use this same element so the new Speculator comes to the city Madrid.

A 2008

P Madrid Abierto 2008

 

 

 

 

 

 

 

 

 

 

08prmc3534

2009-2010. Josep-María Martín. A DIGESTIVE HOUSE FOR LAVAPIÉS (interview with Susana Cremades)

2009-2010. Josep-María Martín. A DIGESTIVE HOUSE FOR LAVAPIÉS (interview with Susana Cremades)

 

  

An interview by Jorge Díez with Susana Cremades, journalist and editor, she has also worked as labour advisor and social mediator. She is a neighbour of Lavapiés and has allowed Josep María Martin to gain access to the realities behind the neighbourhood’s ‘pisos patera’.

Did you know Madrid Abierto before participating as one of the ‘key’ elements in Josep María Martín’s project? Something that I would like to thank you for, as well as Ana Velasco, the ‘key behind the key’. We also appreciate your willingness to give us this interview.

I knew about Madrid Abierto while reading an article that was published in ‘Revista de Museología’, in which I worked as graphic designer, but I had already seen some of the interventions in calle Alcalá and Casa de América, and I had always thought it was something curious.

And in general, what is your relation to art? Because I see that you have reproductions of great artists of the XX century. Apart from that curiosity that you are talking about, what do you think of current art?

I read about it, check out projects, but I am still not quite aware of where it is going. I have been told that nowadays it is much more connected to social matters, but art…, I don’t know. When I go to an art exhibit I want to learn something, and I enjoy with pieces such as this reproduction of Las señoritas de Aviñón by Picasso, that my two year old son also likes very much. If I had to choose something in particular, I would prefer expressionism. Back to the more social oriented type of art, I think it has to do, overall, with the decisions that these artists make on these issues. But where is art to be found? In the person who is an artist or in the final product? Because there are other people that develop projects with the community, which, sometimes, are difficult to distinguish from what certain artists are doing.

Why do you think that a phenomenon such as ARCO takes place, an event that draws big audiences which are particularly youthful, although there is ample skepticism regarding the value of current art?

I don’t know the reason why people want to see current art, I am sure that some of them want to enjoy, but me, being especially clumsy at drawing or when developing any kind of plastic skill, I like to find out what impression other skilled people in this area can provoke in me. That means, that enjoyment, and the possibility of being moved by any artistic expression, were it a painting, a movie or music, is the essence of my interest, just as well as other people who want to get in touch with art, but being aware that there are also many others that do it for status or because it is a must, an attitude imposed by trends or as a result of marketing, which is probably what is happening with ARCO.

In this sense, as a journalist, as a professional, what do you think of the relationship between the media and culture in general, and art in particular?

The truth is I am a little bit critical with the media, in spite of being a journalist myself although not active at the moment, because I think that right now the media is leaving aside its duty to inform, of encouraging a critical point of view. And most of all the public media, that should defend the basic pillars of information, and is basically focused on the wars of audiences, therefore the supposedly public interest is not materialized in facilitating the access to the complex reality of much of the proposals of contemporary art that deal with the issues of the city, urban landscape, immigration or any kind of social issue. And when any form of public media tries to do it, the truth is that because it barely has any audience, they don’t have the resources to do their job properly. For example, it is a topic that everybody likes La 2, although, in reality, hardly anybody watches it. In fact, there is great unanimity regarding the duties of the media, although some like it and others don’t, but there is also great unanimity regarding the fact that they do not accomplish their aim.

However, in the realm of culture something different takes place to what happens in the media, it maybe has to do with the general idea people have of culture, but, at least apparently, they don’t follow the same editorial guide lines or economic interests, focusing on more liberal type of information or depicting culture as a show.

Culture is very “in”, if you are interested in it you are supposed to be great, but in the media, when dealing with information, culture and sports belong to the last journalists on the line, except in those cases in which the great specialist deals with culture in a supplement or a weekly special, conceived as something that belongs to the elite.

And getting back to the current artistic practices that don’t deal with the production of artistic objects, but with processes, approaching social issues, and taking for granted that they produce some type of result that may be inscribed in the artistic field, do you think that they share some common features or that there is a diversity of approaches and attitudes among artists themselves, in the same level as in activities conventionally understood as common to the realm of art?

From the view point of art, as well as from any other perspective that deals with social issues, I think it is positive, although artists seem to place themselves on another level. Anyway I am speaking without knowledge, for at this point I have only established a direct contact with Josep-María Martín, who has said in several occasions that he, as an artist, reaches a lot more places, or more important places, than many other people can get to. For example, the possibility of meeting the president of a country can propitiate small changes in reality, and I believe that that is something very positive.

But this access to people in power can be seen in another way; that the artist keeps playing the role of someone that goes with power, that entertains and gives prestige to those who rule in politics, economy, etc, and at the same time obtains his prestige and influence as chosen by such power. And although certain artists in no way pursue such aim, but try to instigate these changes on reality, to what extent is that transforming potential of art overestimated? How can the artist handle complex realities and surpass the realm of art, being at once a sociologist, anthropologist, geographer and social worker?

Sometimes I don’t know if that really happens or if in many occasions it’s another form of manifestation of the artist’s ego, only exceeded by that of renown architects, but every case should be taken care of. There’s not a common pattern, we must analyze if an artist in particular is approaching a reality that, in many cases, is the expression of the art of living or surviving in awful conditions, or he is simply trying to reassure his previous conception of that particular reality that nothing has to do with art, and is alien to such an extent that it is very difficult to understand and share in a very brief and short approach as the one that generally takes place in the development of many projects. I am not an artist but I really doubt that, due to being one, you can know and comprehend a different and complex reality. In any case I think it is an interesting and positive approach, beyond specific results.

How do you think this approach of artists towards social realities is perceived?

By the other part it is always perceived as a way of taking advantage. It is very difficult to attain equality in a relationship when the starting point is different. In the tension of the creative process that is seeking to obtain an artistic result, whichever it may be, the artist sometimes forgets he is dealing with people that have no understanding of his interests and that may perceive that they are not receiving anything specific from him, even more when dealing with people who don’t share our codes because they don’t belong to what we wrongfully call the first world. And also the opposite way around, any comment that these people may say can be understood as unlawful. The possibility that they might take advantage of a situation that is oriented towards an artistic goal may create distrust. It’s like those pirates that are so in vogue nowadays; we are horrified by these Somali pirates, but, aren’t we pirates in their sea, their land and people? Their assaults, the rescues, seem to us to be from another time and carry a violence that we detest, but, what does the first world do in that part of Africa? In Ethiopia teff is cultivated, it is a cereal with which injera is made, an elastic type of bread that is the basic food of its population. A Dutch company has found out that it has weight-reducing properties for an overfed first world and has patented several substances derived from it thanks to an agreement with the Ethiopian Government. Consequently there has been a wild rise in the price of teff, that is depriving the country from its basic product, and which is going to contribute to the death of six million people due to hunger, not being able to gain access to the only food that they have. Has any artist thought about such an important issue that affects so many people?

I don’t know, but I am interested in what you are pointing out about an equal relationship and a possible form of mutually taking advantage.

Of course, taking advantage, which in the case of the Senegalese people of Josep María Martin’s project has, at some point, provoked the thought that “here we go again having the whites taking advantage of us”, because the rejection and racism towards the other part is mutual. I have heard that during this project, and we can’t allow it, because it isn’t true. This project is not an opportunity for someone to benefit economically.

This project takes place in Lavapiés, where these Senegalese people live, why do you think so many artists are interested in this neighbourhood?

The concept of Lavapiés that has been promoted by the media and politicians in power is that of a marginal neighbourhood, full of delinquency. But from some years on, in Lavapiés there’s a type of professionals and people working on culture that have nothing to do with a neighbourhood for the old, for immigrants and people who, as myself, didn’t have any money and bought houses at a very low cost because this part of the city was the cheapest in Madrid, as well as Vallecas. I bought my house some eleven or twelve years ago, also, because I liked Lavapiés and I had always lived close. But these people have bought 90 square meter houses for 90 million of the old pesetas, thanks to rehabilitation plans that have promoted the cleanliness of the neighbourhood. A house like my one, that I bought for 9 million and that doesn’t get to 50 square meters, has been sold for forty. What kind of people buy these houses? Why do people like this neighbourhood so much? Maybe at the time of La Movida a lot of the people who came to his neighbourhood came from a similar social background but had a different social and vital approach. Today, those wearing broken pants that cost 200 euros are coming, being a minority within the Spanish minority of the neighbourhood. Anyhow they are very significant, and in reality they don’t coexist with the rest of the neighbourhood, they don’t know their neighbours nor do they relate to them and, in fact, they are contributing to throw out the traditional neighbours and the new immigrant members without even having thought about it and it is not even their intention. Something different happens with the public administration, that wants to turn the centre of Madrid into a place similar to the centre of other great European cities. This is very clear once we analyze how political activity is organized, how the plenary local sessions take place, how the police intervene or how the neighbourhood is now being filled with cameras. This doesn’t respond to an artistic objective at all but to other objectives, which indirectly have created projects, like the Camarón project by Un barrio feliz, that I think is very creative, although I don’t know if it should be called art, social demonstration, or a different way of building a city.

What do you think of some of the projects that have been made in the neighbourhood like the Offlimits space?

They are different from the project that I was talking about, which emerges from social networks, although the social network of Lavapiés is no longer active. Initiatives like the housing table and others don’t function anymore. The pressure to change and throw out the members of the neighbourhood also has to do with issues such as the drug problem and the lack of political will to solve it. However, other social networks have emerged, like one that helps support immigrants in their adaptation process once they have been thrown out of the Canary Islands. Obviously they are not artistic interventions but social ones, very necessary for the neighbourhood. Their aim is not to create art, but they have an enormous creative potential as a form of developing the neighbourhood and creating another type of city. I wonder if something could be done from the artistic point of view without using the neighbourhood as a medium to reaffirm previous ideas that some artists have of Lavapiés.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10intc2794, 09-10inic2796

2005. Rebekka Reich + Anne Lorenz. TAXI MADRID (images)

2005. Rebekka Reich + Anne Lorenz. TAXI MADRID (images)

 

         

         

          

         

 

 

 

 

 

 

05inic0555

2008. Todo por la praxis. SPECULATOR (theoretical data + visual)

2008. Todo por la praxis. SPECULATOR (theoretical data + visual)

 

 

Todo por la Praxis (TPP) was created as a “laboratory for Projects” which produces a variety of aesthetic and cultural projects. TPP is formalized in an area of design and testing of the most efficient cultural resistance techniques, focusing on testing non conventional tools, forms of organization and action, around specific action projects. Their two basic themes are activist artistic practices or opposition practices as a means to represent social conflict in an effective aesthetic manner and artistic practices in/on public space and its repercussions on the social context in which they inscribe themselves. Those basic themes are themselves divided in three research lines that are represented through their alter egos: establishing a symbolic game which defines each of their working areas.

 

 

 Speculator: Heteronymous of “Todo por la praxis” project. This line of work focuses on the urban concept – public field and the real estate business – the urban theme contains matters that are more felt than comprehended thus the need to unveil the discourses and practices that deal with the structure of the urban environment, focussing on systems of symbolic production, circulation of meaning, social meaning processes. In this sense, every practice that is centred on creating confrontational spaces against ruling structures and to investigate space expropriation strategies will be received as potential projects of SPECULATOR.

The idea is to amplify artistic practices as a means to articulate oneself socially as collective authors of our own experience, witnessing therefore, the construction of confrontational spaces as actors and not mere spectators.

To carry out the job we develop a character (Speculator) with obvious references to comic. This character comes to being as an antihero that incarnates values of the real estate speculator: extortion, blackmail, manipulation, and, of course, speculation. This ironic and symbolic game unveils both urban discourses and practices that prevail in the ruling ideology.

Speculator: Alter ego of Todo por la Praxis, the proposed intervention for Madrid Abierto’s 2008 edition intends to be the presentation of the Speculator character in the city of Madrid.

The project has clear references to the realm of comics. The use of language of comics translates itself in the construction of a character: Speculator, the urban issue, the growing problem of savage urbanism, is the context in which the activity of such unique character inscribes itself. The ironic symbolic game of heroes and antiheroes, present both the draft of the project and in the creation of the character, enables us to perceive contemporary urban practices from a critical standpoint.

 

    

      

 

 

 

 

 

 

 

 

 

 

 

08prmc3532, 08pric1921, 08prmc3533

2009-2010. Lara Almarcegui. GOING DOWN TO THE RECENTLY EXCAVATED UNDERGROUND PASSAGE (2009.12 / fieldwork)

(DECEMBER 2009)

 

APARCAMIENTO 1Situado entre las calles Hermanos Bécquer y Marqués de Villamejor. Cuenta con un total de 1.118 plazas de aparcamiento: 24 destinadas a discapacitados, 293 de rotación y 825 para residentes.

APARCAMIENTO 2Situado entre las calles Ortega y Gasset y Hermosilla. Cuenta con un total de 1.153 plazas de aparcamiento: 24 destinadas a discapacitados, 384 de rotación y 769 para residentes. APARCAMIENTO 3Situado entre la calle Jorge Juan y la Plaza de la Independencia. Cuenta con un total de 1.026 plazas de aparcamiento: 24 destinadas a discapacitados, 270 de rotación y 756 para residentes.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10intb2768

2005. Raimond Chaves. EL RIO, LAS COSAS QUE PASAN (videos Metro Channel)

 On the programmes of the Metro channel, “El Río, las cosas que pasan” presents simple animations based on drawings and images with the inclusion of short lines of text and a very restrained use of sound. The contents of the animations will have a similar register to that of the posters but will emphasise the most absurd by presenting news that one would not really consider as news.

                        

                       

                        

                        

                        

                        

 

 

 

 

 

05invc0543 / 05invc0544 / 05invc0545 / 05invc0546 / 05invc0547 / 05invc0548 / 05invc0549 / 05invc0550 / 05invc0551  / 05invc0552 / 05invc0553 / 05invc0554

2009-2010. Iñaki Larrimbe. UNOFFICIAL TOURISM (proposed locations)

2009-2010. Iñaki Larrimbe. UNOFFICIAL TOURISM (proposed locations)

 

TO PROBABLE DEVICES, THREE TYPES OF ITINERARIES

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10pric2541

2009-2010. Teddy Cruz. TRAFFIC (2009.10 / visual data)

2009-2010. Teddy Cruz. TRAFFIC (2009.10 / visual data)

 

(October 2009) 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10inib2691, 09-10inib2692

2005. Rebekka Reich + Anne Lorenz. TAXI MADRID (Dagmar / transcription - audio - postcard)

2005. Rebekka Reich + Anne Lorenz. TAXI MADRID (Dagmar / transcription - audio - postcard)

 

   

Name Play Size Duration
Pista 6
8 MB 8:43 min

Once, when I returned from… returned from Germany.. with… I got a cab in the airport with my then boyfriend, from Germany, we talked German all the time and the taxi driver thought we were foreigners and he took us on a tour around Madrid…

2 people speaking in German – man and woman (very low, in the backseat)

so, instead of taking us directly to the address that I had given in a direct manner, he drove around making outrages circles, no, because he thought that we were foreigners and couldn’t tell…

Taxi driver tells me the price of the trip in pesetas, very loud

When I return to Madrid I always… get goose bumps… (positive, thoughtful)

Most of all when I’m the area of Puerta del Sol.

Sound when entering the sol subway station – air vent? – lottery sellers

Puerta del Sol has a lot to do with me, most of all the subway station… each time, each time I come back to Madrid, the smell of the subway, which is something, that I think only exists in Madrid… that smell of paper… it’s a bit like the newspaper smell, the newspaper in Spain, El País, smells a lot like the subway (she laughs)

Rustle the newspaper – opening a page

(using a newsreader’s tone)…. the most horrible place in the world is Puerta del Sol or downtown Madrid, the old Madrid in Christmas…

The heat that comes out of the subway in winter when you’re walking around, or when you’re in font of the Mallorquina cake shop… And the smell of the subway comes out and I say, oh great, this is Madrid! (laughter)

Spanish music – song about Madrid (for example: caminando por la calle – ojos de brujo)

On Sunday mornings, in the morning, alter breakfast I went for a walk with my grandfather, I went to by the newspaper, sunbathe in the winter, so that the sun hit our faces, and he took me to the Café Central… in Bilbao… to have chocolate and strips of fried dough… and I remember these… it’s like a beautiful thing of mine, it’s something that remains in my heart.

Something that I also loved about Madrid that I buy every time I go, are Madrid’s violet flowers. In Sevilla there’s a shop, it’s called the violetera, I think, they sell violet flowers that are like pills, like sweets, with violet flavour…

Sound inside the shop, slowly crossfades into the post office in Cibeles

… I sent a package, no wait I take.. how was it, I don’t remember very well… I had a problem with a package and started to fight with a lady that was behind the counter… there was trouble, I shouted at her and she shouted at me

two dogs or two roosters fighting

in the end I went home without my package.. without paper.. with nothing – completely enraged.. but I remember, that the building is beautiful inside, but the customer service was terrible, awful, then, in the eighties, no

Love song 80’

Oh, yes, the botanic garden (laughs) I had a German friend, a German boyfriend, and he gave me a beautiful kiss (she laughs) under a palm tree.

Sound of garden, sitting on a bench, saying the following to someone

….it made me very envious that Mr Thyssen had that private collection in his home.. in his favourite villa in Switzerland… What a luck to be so rich and have those fabulous paintings..

(the park sound continues)

yes, had a lot, ähm ‘guter geschmack’,… how do you say it in Spanish? Good taste?

Well I left Madrid, because I fell in love with a man from Hamburg

Sound of a street at night, without much traffic, undistinguishable voices, maybe a dog barking (lavapies)

Maybe this is my city.

You never feel alone.. there are always voices.. you hear voices

Voices from afar, the garbage collectors approaching

…there’s something strange … the neighbours hear sounds, and… really, it was in the newspapers, they said there was a ghost inside.. and there’s something very strange, I must have heard about it somewhere, what’s happening with, I think it has to do with Casa de America… they say there are ghosts or zombies living inside..

sound of garbage collectors at night – leaving with their truck. 

...................................................................................Objects:DIE ZEIT: German newspaper (the taxi driver has to buy it every Thursday)Violets: the taxi driver offers it to the client when getting off the taxi

 Photo: Reading the newspaper – newspaper, jeans, Jesus type sandals

 

 

 

 

 

05intc3462, 05insc0570, 05inmc0577

2009-2010. Laurence Bonvin. DRAFT (visual data)

2009-2010. Laurence Bonvin. DRAFT (visual data)

 

      

     

 

 

 

 

 

 

 

 

 

 

 

09-10pric2525

2009-2010. Susanne Bosch. HUCHA DE DESEOS: ¡TODOS SOMOS UN BARRIO, MOVILÍZATE! (Open Space / fieldwork / investigation)

http://www.agile-spain.com/que-es-como-hacer-open-space 

  

QUÉ ES UN OPEN SPACELa técnica del Open Space permite conseguir, de un grupo numeroso de personas y en un mínimo tiempo, las mejores ideas alrededor de una o varias grandes materias (“tracks") sobre un gran tema. En un Open Space los asistentes se autoorganizan proponiendo los temas y programando una serie de reuniones que van a tener lugar justo a continuación. Suele durar entre medio día y hasta dos días completos. Las reuniones pueden tener lugar simultáneamente y los asistentes son libres de decidir a qué sesiones quieren asistir y de cambiar de reunión en cualquier momento.

 

LOS CUATRO PRINCIPIOS1. Cualquier persona que se presente en una reunión es la persona adecuada (cualquier participante en una reunión es correcto simplemente por que se ha preocupado en venir).

2. Cualquier cosa que esté sucediendo es la única cosa que podremos llegar a tener (estate atento a lo que está pasando ahora, en lugar de preocuparte sobre lo que podría pasar).

3. Sea cual sea el momento en que comience, es el momento correcto (este principio ayuda a superar la falta de un horario o agendas previo al Open Space y enfatiza la creatividad y la innovación).

4. Cuando se acabó, se acabó (fomenta que los participantes no desperdicien el tiempo y, por el contrario, que cambien a otro tema cuando una discusión fructífera deja de serlo).

 

LA ÚNICA LEY: “LA LEY DE LOS DOS PIES”Si en algún momento sientes que no estás aprendiendo o contribuyendo en nada, usa tus dos pies. Vete a otra reunión donde puedas aprender o contribuir. (Nadie debería estar en una reunión que considera aburrida, sólo las personas que estén genuinamente interesadas en el tema deberían asistir a una reunión).

http://www.openspaceworld.org/cgi/iberia.cgi?EspacioAbierto

 

ESPACIO ABIERTOLa metodología de reunión en Espacio Abierto (Open Space Technology) ha sido iniciada por Harrison Owen, cuyos sitio y libros son referencias primordiales de la metodología. El autor ha definido la metodología como no propietaria y que no necesita de cualquier "certificación". Un conjunto muy amplio de facilitadores de la metodología se fue organizando a través de reuniones locales, regionales e internacionales, de discusiones en mailing lists y de la creación de Institutos (que son organizaciones no lucrativas de facilitadores de Espacio Abierto, establecidas en el trabajo voluntario). Hasta el momento, los facilitadores de Espacio Abierto que se expresan en portugués o español son en número reducido, siendo una de nuestros intentos promover la metodología en los países de lenguas ibéricas en todo el mundo.

Este sitio web es una invitación para ponerse en contacto con las prácticas, personas, visiones y experiencias que formam el Espacio Abierto. Ha sido creado en comunión con el espíritu funcional, sencillo y poderoso de la metodología de Espacio Abierto -- brindar acceso fácil a organizaciones, facilitadores (practitioners) y recursos de Espacio Abierto provenientes de todo el mundo.

 

 

 

 

 

 

 

 

 

09-10intb2756

2005. Rebekka Reich + Anne Lorenz. TAXI MADRID (Marta / transcription - audio - postcard)

2005. Rebekka Reich + Anne Lorenz. TAXI MADRID (Marta / transcription - audio - postcard)

  

   

Name Play Size Duration
Pista 5
7.5 MB 8:14 min

Play the horn, caravan, paseo de la castellana

You see, I remember once, there was a lot of traffic, no.. like always… I was with… I always remember my brother with a mini… he had a tiny mini… and where there… they never respected him, because the car was so small, then the buses always got in front of him… or they through him out of the road for being so small.

We were close to the Corte Inglés of Castellana and a bomb exploded in one of the Ministries, I don’t remember which one, but…

I think one year they took off a lion’s head or something like that! And Cibeles.. was..

Silence

I would always want to go… with a tank around Madrid (laughter) to climb over all those cars that don’t respect me..

I don’t know, I escaped a bit from myself, maybe because I was half tormented due to my age.

Musical trip to the past – as if I were looking for something in the radio. First, back to the 60’s and later to – I think I finished in 81 with the song?

Annnnndddd… ah, I have something… now I’m in another time, sorry (she laughs)… I am in a previous era.

It happened in 81 or 82? Well, I do remember this, because they sent us to school, to our house… or, I don’t know if it was the same day, but my feeling was that there was a lot of police when I was getting out of school and beside the school in a little corner a military man must have lived or someone important… I remember having crossed the corner to get the bus and there were… policemen with machineguns, no… then, it was like passing over the corner and finding a machinegun pointing at your face.

School playground – Girls that laugh

…we waited… with some friends… I don’t know for what reason, but we have never been very… practicing, no – but it was like a great event, then we to watch how the pope passed by… ahh, the memory I have of an interminable wait, and we were three or four friends… hmmm… really waiting… and talking… and laughing and then the pope went by and it was a question of two seconds.. he passed by on a car with a, in its umit? And then (she laughs). That was all.

Fast sound of a car that goes from left to right…zzzzoooooommmmm

…I didn’t know what to do… with my life. I didn’t know, I didn’t plan to go to University, didn’t know what.. I was going to do.

(Then, to gain some time)… I left Madrid to study English in USA for six months, six months… and I stayed for seventeen years… (laughter)

The image is of… I don’t know if it’s an image that I have now more than anything, you know, like very dry… very hot and dry…

Crickets at night

Aannnnddd like dusty… I think that’s the image I now have, no, because where I now live is very green, very wet,

Crossfade to Castellana, to I was talking about in the beginning

 Then, my impression of Madrid is like.. there aren’t enough trees….

 

..........................................................................................................................................................................Objects:American Magazine with a psychologic test, Military style bag

 Photo:Filling the test (magazine – pen – my waterseablue sweater)

 

 

 

 

 

 

05intc3461, 05insc0569, 05inmc0576

2008. Santiago Cirugeda. CONSTRUYE TU CASA EN UNA AZOTEA (visual data)

2008. Santiago Cirugeda. CONSTRUYE TU CASA EN UNA AZOTEA (visual data)

 

RELATED WORK

     

     

     

 

 

 

 

 

 

 

 

 

 

08pric1919

2009-2010. Susanne Bosch. HUCHA DE DESEOS: ¡TODOS SOMOS UN BARRIO, MOVILÍZATE! (postcard)

2009-2010. Susanne Bosch. HUCHA DE DESEOS: ¡TODOS SOMOS UN BARRIO, MOVILÍZATE! (postcard)

 

DRAFT I

    

 

DRAFT II

 

DRAFT III

 

DARFT IV + ANNOTATIONS

* SEE THE ATTACHED PDFS 

 

 

 

 

 

 

 

 

09-10inmb2738, 09-10inmb2739, 09-10inmb2740, 09-10inmb2741

2009-2010. Susanne Bosch. HUCHA DE DESEOS: ¡TODOS SOMOS UN BARRIO, MOVILÍZATE! (2009.09-12 / visual data)

2009-2010. Susanne Bosch. HUCHA DE DESEOS: ¡TODOS SOMOS UN BARRIO, MOVILÍZATE! (2009.09-12 / visual data)

 

SEPTEMBER 2009

 

 

DECEMBER 2009

REFERENCES

     

  

 

 

 

 

 

 

 

 

 

 

 

09-10inib2729, 09-10inmb2728

2008. LaHostiaFineArts (LHFA). EXPLORANDO USERA (proposed location)

2008. LaHostiaFineArts (LHFA). EXPLORANDO USERA (proposed location)

 

The district of Usera was created in the last restructuring of the 28th of March 1987. Currently it’s a social framework where three distinguishable cultures coexist, Chinese, Latin and Spanish in a complex adjustment process.

The district is limited by the Praga bridge, Paseo de Santa María de la Cabeza, Fernández Ladreda square and highway 401 (Madrid-Ciudad Real). In this district you find lots of actions by the Neighbourhood Redesigning Programme, finished in 1989 and several residential developments. Currently we are experiencing an opening of Usera towards the city centre (works to burry the M30, cultural activation in the Legazpi area, expanding line 3 until Villaverde).

Its location as natural projection of the artistic axis Plaza de Castilla – Legazpi and its bordering situation limited by the river and, until not long ago, by the M30, highway 401 and the exit towards Toledo road, turn this district into an interesting place for artistic exploration.

 

 

 

 

 

 

 

 

 

 

 

 

08prmc3530

2009-2010. Lisa Cheung. HUERTO-O-BUS (2010.01 / fieldwork)

 

ASSOCIATIONS AND POINTS OF INTEREST IN USERA

Asociación de Vecinos Salud y AhorroC/ Cestona, 5

Asociación de Vecinos La IncoloraC/ Gregorio Ortiz, 12 Local

Fundación Secretariado General GitanoC/ Antonio Salvador, 97 (local bajo)

Asociación Colectivo La CalleC/ Censo, 6 lateral

Asociación KandilC/ Amor Hermoso, 60

Asociación SERSO-PANGEAAvda. Cerro de los Ángeles, 17

Asociación de Mujeres del Poblado de OrcasitasC/ Cestona, 5

Asociación de cooperación y apoyo a la integración ICEASC/ Deva, 76

Asociación Colectivo AlucinosC/ Adora, 5-7 y 9

Fundación Iniciativas SurPlaza de la Asociación, 1-3

Asociación Cultural Salud y AhorroC/ Cuesta, 13

Asociación Universidad Popular de MadridC/ Ricardo Beltrán y Rozpide, 1

Asociación Juvenil LambdaC/ Silvio Abad, 42

Asociación de Chilenos en España (ACHES)C/ Eduardo Caxes, 10. 7º A

Centro Cultural La NatividadC/ Torrox, 4

Asociación Cívico Cultural Tetuan TeatroCalle Cristo de la Victoria s.n

A.P. A  I.E.S. Enrique Tierno GalvánAvda Andalucia Km 6,200

Asociacion de padres de alumnos colegio Nuestra Señora de MontserratCl Trevelez s/n, 28041

Asociacion de padres de alumnos colegio obra social Maria ReinaAv Orcasur 42 b, 28041

Asociacion de madres y padres de alumnos colegio San ViatorPz Fernandez Ladreda 2, 28026

Asociacion de padres de alumnos colegio luz casanovaCl Madridejos 34, 28026

Asociacion de padres de alumnos colegio de educacion infantil y primaria pradolongoCl Parque de la paloma 9, 28026

Asociacion de padres de alumnos Daoiz y VelardeCl Antonio Velasco zazo 34, 2º, 28026

Asociacion de padres de alumnos instituto de educacion secundaria ciudad de JaénCl Camino del rio 25, 28041

Asociacion de madres y padres de alumnos colegio de educacion infantil y primaria Jorge ManriquePz pintor Lucas 17, 28026

Asociacion de padres de alumnos colegio San FerminCl Estafeta 17, 28041

Asociacion de madres y padres de alumnos escuela infantil la jaraCl Hijas de Jesus 30, 28026

Asociacion de madres y padres de alumnos colegio de educacion infantil y primaria Juan Sebastian El CanoCl Mirasierra 29, 28026

Asociacion de padres de alumnos colegio publico Nuestra Señora de la FuencislaCl Tomelloso 40, 28026

Asociacion de padres de alumnos colegio santa maria - marianistasCl Tolosa 6, 28041

Asociacion de padres de alumnos colegio publico Ciudad de JaenCl Camino del rio s/n 28041

Asociacion de padres de alumnos escuela infantil ZofioCl Fornillos 3, 28026

Asociacion de padres de alumnos conservatorio escuela de música Maestro BarbieriCl Cestona 5, 28041

Asociacion de madres y padres de alumnos escuela infantil AlbaicinCl Albaicin s/n 28041

Asociacion de padres de alumnos colegio Nuestra Señora de FátimaCl Manuel Muñoz 30, 28026

Asociacion de madres y padres de alumnos colegio publico Meseta de OrcasitasCl Camino viejo de Villaverde 1, 28041

Asociacion de madres y padres de alumnos escuela infantil La cornisaCl Cristo de la Victoria s/n 28026

Asociacion de padres de alumnos colegio publico educacion especial Joan MiróAv Poblados 183, 28024

Asociacion de madres y padres de alumnos colegio publico Marcelo UseraCl Perales de Tajuña 1, 28026

Asociacion de madres y padres de alumnos colegio de educacion infantil y primaria Republica del BrasilAv Fueros 34, 28041

Asociacion de madres y padres de alumnos instituto de educacion secundaria Pio BarojaCl General Marva s/n

(January 2010) 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10intb2633

2005. Rebekka Reich + Anne Lorenz. TAXI MADRID (Emily / transcription - audio - postcard)

2005. Rebekka Reich + Anne Lorenz. TAXI MADRID (Emily /  transcription - audio - postcard)

 

   

 

Name Play Size Duration
Pista 3
9.5 MB 10:22 min
 

 The studio was behind sepu (¿), in Desengaño street, and I saw the Telefonica building from, from the balcony because it was on the sixth floor.

Everyone thought, i would just stay there for ever.

< jazz music

When I was alone I put jazz.In the sculpture department, which was very small and pretty old teachers and with conservative ideas, they told me, that sculpture was not for women and that they didn’t recommend it, to study that, and that well, they didn’t help a lot and also, they, ah, encouraged me to leave the Faculty and working on sculpture on my own.

I always went up Gran Vía and… (?)… there, behind the Telefónica building to get to the studio. And as the surrounding buildings are very high (??), the street was always in the shade. Then I left the sun in Gran Vía to enter in this narrow and dark street, I went up the six floor on a very old lift, when it was working, if not I walked, to the studio, which was pretty sunny. This, I clearly remember. Apart from probably being my favourite spot in Madrid.

Twenty years already, you know. Then, what remains is like pictures, pictures engraved in my mind…

You hear a lift coming down, the door to the lift opens, street sounds, steps, stop

…cibeles, how the water splashed and the sun shined,

steps continue, stop

… and the post office and (?) covering the façade with smoke from the cars

steps continue, stop

the smell, of, of, of circulo de bellas artes, a very old building.

Sounds in the street >

… sidewalks are tough, and streets, …, I walked a lot, and…(?).. due to so much walking.I didn’t have many clothes, (…) I had a, like a vest, not a vest, like a coat, half coat, light, black, cotton made. Ahh that I put on a lot until it turned grey like chocolate in the sun. I had a grey skirt with little pink and yellow flowers and they same, I put it on until, I, I, I couldn’t put it on any more.

She laughs x people that laugh in a caféIt was in winter with one of those white suns that you see in winter and we went to the crystal palace, I don’t know if it’s still called that way, and it had the Cy Twombly exhibition and everything was white. That, with the sun, the glass, Cy Twombly’s white, that was, a dream (?). Ah later we went to have some Martinis in a square, there is, a café in (?) the retiro with friends and that day stayed with me. With the taste of Martini and, ah, crystal light. No. (lachen)

In the café, a toast with glasses, laughterTo someone else: So many memories, but most of all the literary circles with people, no. And the places, were people gathered. And as time seemed, the days were so long, and there was always time for everything. Ah, you didn’t need something to amuse oneself, the conversation, with conversation it was enough.I also speak English, yes, when ever you want.Ah, Ehm, i was really glad that you called, because, ehm, im still having trouble putting it away. Really. And, ehm and let him go. Because for me it was also,was also, when i was starting finding myself. And sometimes its hard to say, to let that go. You know you cant go back again. You cant go back to being 19 or 22. Or free like that. Ehm. (...) And i was very, very involved with the people (...) Putting it all away has been very difficult for me. And yea, i need to.

Silence

The subway arrives at the station, people come in and the subway leaves. Silence in the subway station.

Once I, I arrived at night, ah, I lived in the rastro, but then I was working for a lady as interpreter, and her hotel was around Recoletos (…) Then I returned to get in the subway, and ah, a youngster mugged me, a type of gypsy youth, ah, he had a knife and wanted to take my wallet. And I don’t quiet remember because the first that (?) it was a physical aggression, direct. And my reaction was to fight, not to run, but to defend myself. And he wasn’t expecting that. And I remember thinking, I’m friendly of (?) kid, no, and sure he’s my neighbour in the rastro and how ridiculous it was, that, for being, in a rich neighbourhood I become a victim, but when Im at home close to where he lives, he doesn’t even look at me.All of that crossed my mind while he was in front of me with the knife, and I fought with him, and in the end the wallet broke and things fell on the floor and he took the wallet (porse?) and he left, but I had nothing in my wallet, I had everything in my pockets, no, no I didn’t lose much (lachen) but yes, I laugh because I can (?) the things, that crossed my mind, iat, at that moment.

The next subway comes around, she gets on:In the subway (driving)

And the conversation with the taxi driver ah when, we were on way, and of course always when I speak in Spanish and was a foreigner and they spoke with me, yes, everybody talks to you, tell you things and tried to, and jabber (lachen) and all that stuff. Those conversations while going to the airport mixed will sadness, no, to, to, leave behind, my life, my world, no, for a while. And the coming back, when I returned to Madrid, got a taxi and, and, returned to the centre. The happiness of returning and finding those places. And I spoke happily to the taxi driver, very happy because I was coming back, no, returned. To a place where I felt very good.

Jazz music

And now if one returns twenty years later, ah, your not going to find what you’re looking for.

..........................................................................................................................................................................Objects: gallery guide, card of the retiro café

 

 

 

 

 

 

 

 

 

 

05intc3459, 05inmc0574, 05insc0567

2008. Dier + Noaz. ESTADO DE EXCEPCIÓN (technical data)

2008. Dier + Noaz. ESTADO DE EXCEPCIÓN (technical data)

The platform will be installed in front of the Fountain of Apollo.

In the grey plan you can see a pink mark that signals the area we would occupy, always centred. The direction of the ladder of the tower would go on one or other direction depending on its closeness to el Paseo of el Prado. (A-B).

The spotlights should illuminate an area of 360º around the tower. C

The warning sign would be facing the fountain. On the other three sides we would paint army identification signs or belonging to a private surveillance company.

If the budget isn’t enough we could use metallic tripods to prevent cars from driving into the tower. The tripods would be two, three or four.

 

 

 

 

 

 

 

 

 

08prmc3518, , 08prmc3519

2005. Rebekka Reich + Anne Lorenz. TAXI MADRID (Bárbara / transcription - audio - postcard)

2005. Rebekka Reich + Anne Lorenz. TAXI MADRID (Bárbara / transcription - audio - postcard)

 

   

 

Name Play Size Duration
Pista 1
7.2 MB 7:52 min

  

Look for the station in the Radio, The Cure, Killing an Arab”, Liedansage – fade out

Just before turning eighteen I always wore black. And so, a bit punk. So I had a period – like in painting – a black period.

I don’t remember anything. I remember a lot of traffic jams. I remember lots of cars.

It’s funny. I’m attract/attracted to seeing it again, because I remember it like gloomy, sinister. Like they were on a dark place without windows… a room full of black paintings, and therefore, like, I remember them dark, but probably not.

Voice of a guide in El Prado (man), talking about the black paintings. In the background you can hear birds and traffic, as if the windows were open. 

I think of green in trees and, space.There was a place in Madrid, that before they finished the Almudena, the Cathedral, ah, it was half finished, it unfinished for a long time. It was like some ruins, and next to it there was a, nice square, and you could see all the, the, the, what is in front, the casa de campo and so a lot of green, very far away, and I don’t know, a place with a lot of, a lot of charm. The other day I went and there was no charm (laughs). Because the cathedral is finished and they have put some lines and they have closed it (?), but it’s a place I remember well, I don’t, nice. 

Birds - crossfade – crowd – saying demonstration slogans (of the 80’s) 

I lived around (?), Ciudad Lineal, my father was a diplomat. 

It’s funny.Oh god!I remember the demonstrations, but not in specific places. 

I remember when the Guernica was in the Casón de buen retiro…I know the Guernica was taken away, but I remember seeing it in a place, that was around, that only had the Guernica, which impressed a lot, because it was there alone. 

Notice in the airport for Barbara Sela

I was two years in, in, in Rome, and I returned, three years in England and then I returned, then I studied in Holland, from, well, from eighteen to twenty one, twenty two. 

Skid, brake, a car door opens, you can hear The Cure inside, voice of a taxi driver: to the airport? Inside a taxi with The Cure 

I remember one, that was very fast, that happens a lot, but I specially remember one, I was scared, no, with taxi drivers, for how fast they go. Once, when, when one was with a television on, running a lot (?). I was very scared. He, he came speeding and, I don’t know, he saw me and stopped. And, and when I got in, I saw he was watching TV and I thought to myself, we’re going to get killed. 

Sweet flute – baroque music of the black period 

Well, I left to study and then, when I came here, because I found work as flautist here in Sevilla. I am from Madrid. All my family is from Madrid. They’re all there, but I don’t have the feeling of being from Madrid. 

Sevillanas (ojos de brujo – no 9)

 

..........................................................................................................................................................................Objects:Ticket to el prado with a picture of a black paintingMusic sheets for sweet flute in the baroque, used

Photo: headphones – black sweater – punk style black scarf – music sheets for sweet flute in the baroque, used

 

 

 

 

 

 

05intc3457, 05inmc0572, 05insc0565

2009-2010. Lisa Cheung. HUERTO-O-BUS (2010.01 / technical data / assembly)

2009-2010. Lisa Cheung. HUERTO-O-BUS (2010.01 / technical data / assembly)

 

     

     

(January 2010) 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10inib2631

2009-2010. Susanne Bosch. LITTLE PIECE - ACTION (technical and visual data)

2009-2010. Susanne Bosch. LITTLE PIECE - ACTION (technical and visual data)

 SKETCHES OR IMAGES OF THE PROJECT AND TECHNICAL SET UP

The final form of the collection box depends very much on the site.

Various forms could be:

This container collects coins and ideas. It serves as a writing table as well as a collection box. The frame and back are made out of metal, the sides and front is made out of glass.

The weight per cubic meter of pesetas needs to be measured to measure that the frame and the bottom will carry the weight.

The container is 150 cm high and 50 cm wide. The back is up to 200 cm high and serves as info board. Several of these can be installed in one neighbourhood.

Din A1 Posters will inform on a weekly basis about the latest incoming ideas. The posters will be posted around the neighbourhood.

This container is a bigger collection site, 200 x 200 x 200 cm high, wide anddeep. It is made out of the industrial metal container with a glass front. It serves as collection site for wishes and coins and the electricity for illumination at night will be powered by solar panels.

THEFT

Pesetas have no value anymore unless one exchanges them into Euros. The proejct will exclusively collect coins.I potential thief would have to carry buckets to the bank to get a reasonable amount of money out of the site.This protects the project from being attacked.

 

 

 

 

 

 

 

 

 

 

09-10prmc2600

2009-2010. Laurence Bonvin. GHOSTOWN (images of the publication)

2009-2010. Laurence Bonvin. GHOSTOWN (images of the publication)

 

R-4, Seseña, Toledo

Extrarradio de Ciempozuelos, Seseña      Arroyomolinos

Rivas Vaciamadrid      Alcobendas   

Residencial Francisco Hernando, Seseña, Toledo    Vallecas    Arroyomolinos

Vallecas    Valdeluz, Guadalajara    Arroyomolinos   Arroyomolinos 

Valdeluz, Guadalajara    Valdeluz, Guadalajara    Valdeluz, Guadalajara   Vallecas

Las Rozas    Rivas Vaciamadrid    Cañada Real, Pinto    Valdeluz, Guadalajara

Residencial Francisco Hernando, Seseña, Toledo    Residencial Francisco Hernando, Seseña, Toledo   Residencial Francisco Hernando, Seseña, Toledo    Residencial Francisco Hernando, Seseña, Toledo

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10inic2623, 09-10intb2624

2009-2010. Teddy Cruz. TRAFFIC (2009.09 / visual data)

2009-2010. Teddy Cruz. TRAFFIC (2009.09 / visual data)

 

(September 2009) 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10inib2688

2009-2010. Teddy Cruz. TRÁFICO (thecnical data)

2009-2010. Teddy Cruz. TRÁFICO (thecnical data)

 SCHEDULE

These are some of the topics we should elaborate immediately after we receive a response to this proposal:

1. Begin to work with Felipe Zuñiga to continue researching on which neighborhood is best, which agencies, characters should participate. (Create a list of staff members to be included in the project).

2. Initiate (and continue) contacts with other institutions to create an economic fund needed to develop the project.

3. Continue and verify as accurately as possible the quantity and budget needed for materials and systems needed to carry out the project.

4. Clarify a general budget for the entire project.

5. Consult with our structural engineer for the structural analyses of our project.

6. Research existing restrictions, related to permits and bureaucratic processes in Madrid.

 

DRAFT

Traffic conesIndustrial plastic curtainsPlywood housePortable toiletReadymade industrial scaffolding

 

 

 

SKETCH

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10prtc3575, 09-10prmc3574-09-10prmc2598

2005. Rebekka Reich + Anne Lorenz. TAXI MADRID (postcards)

2005. Rebekka Reich + Anne Lorenz. TAXI MADRID (postcards)

 

    

Yolanda

 

              

Bárbara

 

    

Emily

 

    

Ana

 

    

Marta

 

    

Dagmar

** PHYSICAL DOCUMENTS AVAILABLE FOR CONSULTATION

 

 

 

 

 

f05inmc0571, f05inmc0572, f05inmc0574, f05inmc0575, f05inmc0576, f05inmc0577

2009-2010. Susanne Bosch. HUCHA DE DESEOS: ¡TODOS SOMOS UN BARRIO, MOVILÍZATE! (technical data)

2009-2010. Susanne Bosch. HUCHA DE DESEOS: ¡TODOS SOMOS UN BARRIO, MOVILÍZATE! (technical data)

 

TECHNICAL FACTS

   

         

 

TECHNICAL PLANS

 

TECHNICAL SOLUTIONS: ELECTRICITY CONNECTION

    

 

 

 

 

 

 

 

 

 

09-10inmb2730, 09-10inmb2731, 09-10INIB2732

2009-2010. Teddy Cruz. TRÁFICO (visual data)

2009-2010. Teddy Cruz. TRÁFICO (visual data)

 

PHOTOMONTAGES

     

 

REFERENCES

  

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10pric2594, 09-10pric2596

2005. Compañía de Caracas. ESPACIO MÓVIL (location)

Intervention on public buses, Castellana-Recoletos-Prado

 

 

 

 

 

 

 

05intd0582

2009-2010. Teddy Cruz. TRÁFICO (theoretical data)

2009-2010. Teddy Cruz. TRÁFICO (theoretical data)

Teddy Cruz withBrian JaramilloStella RobitailleClaire ShaferMegan Willisand Felipe Zuniga: invited artist

INTRODUCTION

Our research work and urban practice in the border between TJ and SD has focused on researching notions of economic and social sustainability at an urban neighborhood scale, suggesting the creation of new architectural spaces for educational, cultural and social operations, which, at the same time shall amplify the informal economies and policies produced by immigrants from South America in a city of North America.

This process has motivated the design and production of new triangulations between physical alternative cultural programs, institutions and communities. Our work in social housing in San Diego, for example, has focused on creating critical relationships between small infrastructures, communitarian NGO’s, social activists, and, public and private institutions and artists, able to mobilize the flux of cultural, social and economic production that emerges from marginalized neighborhoods in the contemporary city.

PROPOSAL

For MADRID ABIERTO we would like to extend this research and transfer it to Madrid’s context. Proposing a double project, 2 scaffoldings:

1- Physical scaffolding Formal/physical component: small infrastructure for use, scaffolding convertible into new “habitable façade” for Casa de America.

2- Socio-Cultural scaffoldingSocial component: a system of programs and social interactions able to mobilize, from this infrastructure, the flux of ideas and cultural production between the economic and cultural centre of Madrid (the manifestation of which would be emblematic urban space of Cibeles) and the immigrant neighborhoods in the outskirts of the city.

 

Invited artistaPedagogyYoung ArtistsMunicipalityWorkshopsSponsorsIndustriesNew ProgramsNew CollaborationsCultural production

 

PHYSICAL SCAFFOLDING

We propose a new façade for the Casa de America. This new temporal ‘face’ for the centre is conceived as a habitable façade which can be ‘activated’ through the interaction of diverse social and cultural programs. The façade is made of generic industrial scaffolding, which is covered (lined) by approximately 2,500 traffic cones (generic/orange). The scaffolding and the plastic cones fulfill two basic functions: 1. visually activate the Cibeles square and 2. produce useful spaces ‘hidden’ behind the skin of cones, between the scaffolding and the neoclassical façade of the building.

SOCIO-CULTURAL SCAFFOLDINGFelipe Zuñiga (artist).

We propose to activate this façade mainly with the presence of a Mexican artist invited by us, becoming a ‘cultural attaché’ of our project. In some way we can describe this project as a ‘artist in residence’ inside Madrid Abierto’s program (a program inside a program), transforming our intervention in Casa de America in a platform designed for cultural traffic which eases and promotes a young artist from Tijuana to produce an artistic project through a series of social interactions with a specific outlying district of Madrid. We would design the conceptual criterion behind this series of socio-cultural interactions, which would be given to the Mexican artist as parameters for his work. The economic foundation needed to support this ‘program inside the program’ would be part of our intervention, for we would have to research and produce auxiliary economic budgets thanks to cultural institutions of Spain and Mexico.

Felipe Zuñiga is a young artist from Mexico City, who now works and lives in the border city of Tijuana. Felipe would move to Madrid during the exhibition to live and work in the scaffolding. Therefore it is necessary for the scaffolding to contain a small cubicle to accommodate Felipe, as well as spaces to support a variety of activities and long term programs.

SOCIO-CULTURAL PROGRAMS

The idea is that Felipe should receive from us a ‘work program’ to create triangulations through the community agencies and already existent programs, new cultural activities and different characters, social agents of the community he finally chooses. Some of these activities include the creation of educational programs and urban information, tours between Cibeles and the Neighborhood, a project regarding typical Mexican food, etc. The characters involved in the story can include children, community activists, social workers, etc. The basic tool to start this interface is a document created by the city of Madrid: “Observatory of Migrations and Intercultural Coexistence of the City of Madrid: Resources for the Treatment of Madrid’s Foreign Population”.

An essential desire of this project is to create a trace of institutional collaboration once Madrid Abierto 2010 has ended.

 

 

 

 

 

 

 

 

 

 

 

 

09-10prmc3573

2006. Arnoud Schuurman. TRANSLUCID VIEW (images)

2006. Arnoud Schuurman. TRANSLUCID VIEW (images)

 

           

          

           

 

AUDIOVISUAL SCREENING ON METRO TV CHANNEL

    

   

 

 

 

 

 

 

06inic0935

2009-2010. Laurence Bonvin. GHOSTOWN (2009.11 / visual data)

2009-2010. Laurence Bonvin. GHOSTOWN (2009.11 / visual data)

 

     

     

(November 2009) 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10inib2622

2009-2010. Pablo Valbuena. URBAN TACTICS (proposed location)

2009-2010. Pablo Valbuena. URBAN TACTICS (proposed location)

 To stress the global intention of the proposal I think it is important to create it in a city axis or nucleus. Maintaining the independence of each proposal (for Madrid Abierto) but with spatial continuity to be understood as part of something bigger, not just as isolated proposals.

By grouping projects we may stimulate citizens’ participation, knowing that there probably will be someone to guide them in the intervention process.

 

 

 

 

 

 

 

 

 

 

 

 

09-10prmc2584

2006. Chus García Fraile. POST IT (images)

2006. Chus García Fraile. POST IT (images)

 

            

          

            

        

            

     

 

 

 

 

 

 

06inic0946

2009-2010. Pablo Valbuena. TOWER BLOCK (2010.01 / technical data)

2009-2010. Pablo Valbuena. TOWER BLOCK (2010.01 / technical data)

 

REFERENCES: RELATED WORKS

THE HAGUE CITY HALLhttp://www.pablovalbuena.com/work/public-art/

(January 2010) 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10inib2680

2009-2010. Pablo Valbuena. URBAN TACTICS (visual data)

2009-2010. Pablo Valbuena. URBAN TACTICS (visual data)

 

Installation with scaffolding in Plaza de Colon

 

Installation with cones and tubes in Paseo de Recoletos

 

Terrace furniture readjusted in Plaza de la Paja

Fence installation in Colon square  

 

 

 

 

 

 

 

 

 

 

 

 

09-10pric2580

2006. Arnoud Schuurman. TRANSLUCID VIEW - METRO CHANNEL (video)

 

AUDIOVISUAL SCREENING ON METRO MADRID TV CHANNEL

 

 

 

 

 

 

06invc0941

2009-2010. Laurence Bonvin. GHOSTOWN (2009.06 / proposed location)

2009-2010. Laurence Bonvin. GHOSTOWN (2009.06 / proposed location)

 

TOURISM OFFICE COLÓN 

    

          

          

   

 

 

(June 2009) 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10inib2621

2009-2010. Pablo Valbuena. URBAN TACTICS (theoretical + visual data)

2009-2010. Pablo Valbuena. URBAN TACTICS (theoretical + visual data)

 

‘a new relationship between space and psychology is needed: what we loose in geometrical space we recover in the form of psychological space’ Constant Nieuwenhuis_New Babylon lecture_Stedelijk Museum_Amsterdam_1960

INTRODUCTION

This project for Madrid Abierto focuses on two main goals:

Promote the creative use of space and urban resources and to take the concept of ‘public’ to every stratum of action.

It is expressed in a series of spatial installations created with standard urban elements of public use, produced en masse.

The temporary re-interpretation of these elements (fences used in urban works, traffic cones, outdoor area furniture, scaffoldings, plastic canalizations,…) which are invasive of the urban environment and participate of the utilitarian city suffer a readjustment to a new use of space able to generate other experiences in public areas.

In the current urban approach we still see part of the modernist conception of the city as a machine à habiter’.  Le Corbusier establishes four functions of the practical city: life, work, entertainment and transport towards and from the workplace. In this proposal I am seeking to reactivate the relational aspect, recreational and generator of experiences in the contemporary city,involving the citizen as a generating element of these experiences and diversifying the intervention in actions on a lower scale.

Le Corbusier_Cité Radiuse_1935

 Following similar conceptual guidelines as those of Constant Nieuwenhuys’ situationism in New Babylon, or other projects by Yona Friedman, I am interested in altering the vision that the citizen has of urban elements.

 

Yona Friedmanr_Ville Spatiale_1958

It is suggested as a proposal with ample perspectives, rather than an isolated intervention. It is necessary to present it in a global way, although later it might have to be adjusted to the available resources. In this way the whole is open to the number of interventions and is scalable.

Formally I work with ideas I am developing in other projects related to the organization of elements in macroscopic and microscopic orders and the formal relations established in these orders, intimately associated to the formal construction of the city in its various scales.

Constant_New Babylon_Kllein Labyr [Small Labyrinth]

 

INTERVENTIONS

I will now describe some interventions belonging to this proposal:

- CONSTRUCTION FENCE

Reutilize fences used to enclose urban works’ areas, demonstrations and public events.

These fences are taken out of their usual access prohibition context in order to create a labyrinth type of installation which invites the observer to explore and enter it.

They are supported by their own anchorage system, plastic bridles or cramps used in scaffoldings. 

 

- TRAFFIC CONES

Plastic elements used in the city to control traffic, to limit lanes, prohibiting traffic, etc.

The shape of these objects enables the creation of interesting geometrical patterns.

 

      

 

 

Fence installation in Colon square 

 

- OUTDOOR AREA FURNITURE

In the summer, public space is temporarily privatized by the commercial use that some bars make to install tables in sidewalks, parks, etc. These areas are used only for consumer oriented purposes, in spite of exploiting a common space.

Sidewalk cafes in Alcala street / Sidewalk cafes in Plaza Mayor / Types of furniture for sidewalk bars

I set out to change the function of this type of furniture, recovering public space which is made private during the summer, in order to create spatial installations in winter, when the furniture is stored and given no specific use.

Multiple elements all of which are stackable and connectable using bridles that enable the design of a great variety of configurations. 

Terrace furniture readjusted in Plaza de la Paja. 

 

-  SCAFFOLDING

Scaffolding for facades is another element that usually invades public space. In this case I use the modular structure made of tubes and anchorages to create abstract structures without a specific function.

 

 

- PLASTIC CONDUCTS

The conducts used to put cables underground are flexible, light and connectable to each other.

It is a non visible element which is always present. I am interested in making visible a massively used but undetected element.

 

 

- OTHER ELEMENTS

Considering the scalability of the proposal and its global intention, it is open to be completed by other interventions created with other elements which are present in the city, such as containers, trash cans, etc.

Installation with scaffolding in Plaza de Colon

 

TACTICS

In order to articulate these interventions I suggest the following strategies:

Means of action used in ‘urban art’- use of the city as working platform- ephemeral- fast installation- cheap and accessible means of production- generated by the citizens

Use of previously existing elements in the city- change the functions of these objects, from practical to creative- standard properties, production en masse- qualities adequate for use in public space: durability, easy to load for transport, clean assembly, easy and fast to assemble and disassemble

Involve every layer of what is called ‘public’- give the passive citizen the possibility to reflect on his urban environment and its components- the use of public elements as means of involving administrative strata

I find it interesting to place the craftsman of ‘public art’ as generator of structures and situations which activate experiences and change in urban conception. Therefore the social reach of a proposal can be broader and influential on different levels, compared to an individual action located on a precise place.

The idea of creating a public art project in public space turns more coherent when the substance that conforms it, is public property and is provided by a public institution as well.

Following the same guideline I suggest some interventions to be created by citizens, themselves. It would be interesting for citizens to participate actively in those installations which are built with simple and safe elements.

A feature of the proposal which I find interesting is the project’s adjustment to different areas and urban contexts, as a conceptual proposal it can adjust itself to elements of public use that can be found in different cities.

To stress the global intention of the proposal I think it is important to create it in a city axis or nucleus. Maintaining the independence of each proposal (for Madrid Abierto) but with spatial continuity to be understood as part of something bigger, not just as isolated proposals.

By grouping projects we may stimulate citizens’ participation, knowing that there probably will be someone to guide them in the intervention process.

 

 Installation with cones and tubes in Paseo de Recoletos

 

 

 

 

 

 

 

 

 

09-10prtc3572, 09-10pric2582, 09-10pric2580

2005. Henry Eric Hernández García. ZONA VIGILADA (texto publicado)

 Colaboración: Dull Janiell, editor de cine / Laura Orizaola, fotógrafa

Propone este proyecto, resguardando una de las premisas fundamentales de la poética de su obra, en cuanto a realizar art interventions en recintos que ha llamado ghettos culturales: espacios individuales o colectivos construidos por una ideología determinada, en una época determinada y luego transformados hasta quedar en el olvido o sumergidos en la decadencia cultural —entiéndase ideológica, económica, social—.

Zona Vigilada replantea el contrapunto entre dos espacios culturales específicos, desde la visión del acoso como evento controlador de nuestros actos sean privados o públicos. El primer espacio seleccionado, es el Museo de las Esculturas; el segundo espacio es un reportaje filmado en Cuba, para este proyecto. Que cuestione la vigilancia —desde testimonios personales, imágenes de archivo e imágenes grabadas in situ— como medio de soporte y persuasión para mantener el poder. De ahí su interés por recontextualizar dentro del primer espacio, esta estrategia de sobre vivencia del status como una “pieza museable”.

La obra funciona al situar dos videocámaras con diferentes movimientos de ángulos, manipuladas por tres fotógrafos que se moverán constantemente, en las áreas abiertas del museo grabando una serie de situaciones (B/W) que luego se retransmitirán sobre una de las caras de una pantalla, previamente editadas, para reconstruir el environment del sitio. Simultáneamente sobre la otra cara de la misma pantalla, se proyectará -sólo en horas puntuales- el reportaje filmado en La Habana, logrando el contrapunto temporal entre ambos sistemas de vigilancia.

El proyecto incluye además el diseño y la edición de un Cartel que será distribuido por toda la ciudad anunciando la intervención: El Museo de las Esculturas al Aire Libre/presenta /ZONA VIGILADA/a film by henry eric.

 

 

 

 

 

 

05intc0524

2006. Arnoud Schuurman. TRANSLUCID VIEW (documentary video)

2006. Arnoud Schuurman. TRANSLUCID VIEW (documentary video)

 

             

Documentary about the production and inauguration of "Translucid View" by Arnoud Shuurman

          

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

06invc0943-06inic0944

2009-2010. Pablo Valbuena. TOWER BLOCK (2010.01 / analysis of the location)

2009-2010. Pablo Valbuena. TOWER BLOCK  (2010.01 / analysis of the location)

 

LOCATIONS FOR THE SCREENING

 

OPTION A

 

OPTION B

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10inib2679

2009-2010. Gustavo Romano. TIME NOTES (visual data)

2009-2010. Gustavo Romano. TIME NOTES (visual data)

 

 

 

REFERENCES: RELATED WORKS

TIME NOTES     OFICINA TIEMPO PERDIDO

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10pric2573

2006. Virginia Corda + Paula Doberti. ACCIDENTES URBANOS (images)

2006. Virginia Corda + Paula Doberti. ACCIDENTES URBANOS (images)

 

     

           

Photos: Alfonso Herranz

 

            

Photos: Gabriel Andrés

 

 

 

 

 

06inic0949, 06inic0950

2009-2010. Josep-María Martín. A DIGESTIVE HOUSE FOR LAVAPIÉS (2009.12 / technical data)

2009-2010. Josep-María Martín. A DIGESTIVE HOUSE FOR LAVAPIÉS (2009.12 / technical data)

 CHRONOGRAM FOR THE DIGESTIVE HOUSE EVENT

7pm Attendees start arriving

7:05pmResidents in the overcrowded house for immigrants with other Senegalese people will walk for Valencia street to LCE with banners built my youth from Kayar (Senegal), as a legacy or relay of transferred worries from Senegal.

7:10pmWe try to attract people to watch how the Senegalese arrive with the banners from the inner patio of LCE to the upstairs terrace.

7:15pmThe banners are situated as installation in the terrace (floor or stuck in the window boxes).

7:20pmPlay the documentary.

8:10pmThe documentary ends.

8:20pmAn act of interaction begins between residents in the apartment and attendees.Senegalese dinner and hot tea. Wine?

 

 (December 2009)

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10intb3584, 09-10inib2646

2009-2010. Lara Almarcegui. GOING DOWN TO THE RECENTLY EXCAVATED TUNNEL (theoretical and visual data)

2009-2010. Lara Almarcegui. GOING DOWN TO THE RECENTLY EXCAVATED TUNNEL (theoretical and visual data)

 

 

GOING DOWN TO THE RECENTLY EXCAVATED TUNNEL

The project consists of organising visits to the tunnel that will be excavated 40 meters under the street of Serrano. As the tunnel hasn’t been finished and it won’t have been covered with concrete, the rocky layers of Madrid’s subsoil will be visible. The city, just as it truly is underground.

DETAILS

The visit will take place in the new 7km long tunnel of the AVE that will be excavated during the next two years under Serrano to link Atocha with Chamartin.

The Tunnel boring machines are always active and only stop once a week, therefore visits will take place that same day.

The entrance to the tunnel will be as close to our axis as possible, because there are entrances near Colon and Puerta de Alcalá, but I will have to adapt to the companies’ works, for until we don’t speak to them we won’t be able to define where the entrance will be; But the application as well as its advertising will take place in the Information Service of Madrid Abierto.

Several details such as how many people shall participate and how many visits will take place every day, timetable, the route and otherwise, will depend on the companies and City Hall; I have to adapt to them and I can’t define them yet. The project is unfinished, due to its need to adapt to the works’ reality. We will need a guide that must know as much about Geology and this specific tunnel as possible- we will also collaborate with companies to locate him.

TOPICS

The project has to do with the physical reality of the city, earth, rock, before being a city.

I have always been curious about the many layers that Madrid contains underground (metro, trains, telephone, piping, underground rivers, parking lots, bunkers). The descent into this new underground tunnel is a visit to that which is primitive and to the nature that constitutes the city, but also a rapprochement to Madrid’s other underground facilities.

The project offers the experience of visiting a unique place in process that only exists temporarily and will transform.

The tunnel of Serrano is an important engineering work for the city; a project in the middle of downtown Madrid, using the latest technologies, decentralization…

In the descent to the underground we have the negative side of the city. It’s subconscious. I find very interesting an action that, instead of building, descents, in order to learn more but also to do, simply and brutally, the opposite to what architects do.

Plano de todo el túnel proyectado.

 

PRACTICAL INFORMATION

The railroad tunnel that, under Serrano, will link the Atocha and Chamartin stations will be destined to give service to High Velocity trains.

The works will last two years. They will take place at the same time as the remodelling works of Serrano, done by the City Hall, which include a parking lot: Serranopark.

The tunnel is a project done by Adif (Administrator of Rail Road Infrastructures), Organism that depends on public funding.

The Council of Ministers awarded the works to the UTE, a part of Dragados, FCC Constructions, Copisa and Tecsa.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10prmc2610, 09-10prtc3580

2009-2010. Adaptive Actions. AA CAMP-MADRID (2009.05 / proyect review / proposed locations)

2009-2010. Adaptive Actions. AA CAMP-MADRID (2009.05 / proyect review / proposed locations)

 Options (see images of different Madrid locations for references)

The choice of the location for the Adaptive Actions camp is crucial to the success of the project. I did not have time to identify a location last time in Madrid during our preparatory trip, but I was planning on travelling to Madrid 3 or 4 days when I will be back in London to find a relevant place for the project. Meanwhile, before my return, maybe you would have some suggestions.

I would need about 60 to 80 m2 for the tent and outside space for gathering, information panels and a large banner (could be less or more depending on location and visibility).

1- Vacant lot On which I could put the AA tent (Red-Cross type tent) Considerations: visibility, security when not there and tent temperature (it was colder in Madrid then I initially thought, especially for long activities).

2- A space with a garage door which opens on a busy street Considerations: visibility

3- An indoor public space in which I can install a tent (ex: Madrid train station) Considerations: who are the regular users of the space and are they diversified…?

Estación de Atocha    Estación de Atocha

Patio de la Casa Encendida

Patio Museo Reina sofía

 

PROJECT REVIEW MAY 2009Jean-François Prost, representative for the project

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10intb3421, 09-10inib2657

2006. Gustav Hellberg. PULSING PATH: AMBIGUOUS VISION (published text: newspaper)

 

Controlling the street-lamps along a street or lane means the light takes on a pulsing effect. The light is dimmed in a slow sequence, slowly disappearing and reappearing in an ongoing cycle.

The oscillating light of the lamp-posts in Pulsing Path – ambiguous vision activates a park lane and gives it a behaviour separating it from ‘normal’ lanes. Its expression is transformed and becomes displaced, thus raising questions about states of normality, and the uncertainty surrounding human existence.

 Man tries to master the world by structuring it. Societies are created through various power structures, which are never, however, either complete or solid. Because the characteristics of every individual creating a society differ, imperfection becomes the (disregarded) nature of these imposed social structures. The inertia of change, combined with ongoing human life-cycles and developments in society, makes it difficult to trace its course or even to be aware of it. Pulsing Path – ambiguous vision deals with awareness of our environment, our perception of this environment, and the memory of its appearance. A lighted street may not be what you perceive it to be on first sight. Are we always sure where a path is leading? Is seeing an object evidence of its existence?

 

 CREATING AN UNUSUAL SITUATION - CONTRADICTING "NORMALITY"

 The project Pulsing Path - ambiguous vision operates by changing an everyday situation, with a focus on vision. It plays with reality as we are accustomed to seeing it. Vision can be defined simply as what we take in with our eyes: the physical phenomenon that occurs when light is transformed, through seeing, into comprehensible mental images. But vision can also be what is ‘seen’ with our imagination: that is, an immaterial and completely abstract occurrence. And this can lead to new ways of thinking and planning for the future; in this way vision becomes a lingual element.

Once clear thoughts blur and assumed descriptions are thrown into doubt, our already complex world becomes more so. Yet because this is the world in which we must function day-to-day, we must necessarily simplify it in order to make sense of it. We are able to choose which fraction of our ‘world factors’ to use and which to leave out; many are left out because they have not been registered by our minds, or have simply been forgotten. Most of this reality is abstract and locked in our minds as thoughts or images. Some of these become realised as societal constructions or  political agendas, deriving from the diffuse images in our minds – or the ambiguous visions.

The images we have of our surroundings are an intricate mixture of images we see directly and those stored in our memory.  It is not a matter of course that the two correspond: some of our mental images are able to be modified, perhaps being built up into a picture of how we would prefer our surroundings to look, or alternatively distorted images of how we don’t want them to be. Different people see different things; depending on what is registered by the individual, the same thing can be seen in a multitude of ways. Thus following a path, and seeing a clear direction, can become something uncertain. Manipulated by the Pulsing Path - ambiguous vision project, a path normally lit by street lamps slides out of visual focus and then returns as brightly as ever, just like the Cheshire Cat in Lewis Carroll’s Alice’s Adventures in Wonderland. Your mind begins to query what it knows as ‘normality’: what if light assumed to be there suddenly disappears, or if that light, instead of illuminating, creates a visual effect that tricks your mind and conjures up different visions?

In this way, the Pulsing Path project radically alters an ordinary situation. As the light dims and temporarily disappears, our usual apprehension of an environment also slides away. One question is raised: does the lack of light create doubt and fear, or does it free our dulled perceptions by changing a norm or an assumed condition?

 

 

 

 

 

06intc0962

2008. Santiago Cirugeda. CONSTRUYE TU CASA EN UNA AZOTEA (schedule)

 

CUSTOMER

SERVICE

SCHEDULE

10:00 am

to

14:00  am

From 18th to 24th of February

 

 

 

 

 

 

 

 

 

 

08intc2038

2009-2010. Josep-María Martín. A DIGESTIVE HOUSE FOR LAVAPIÉS (2009.12 / visual data)

2009-2010. Josep-María Martín.  A DIGESTIVE HOUSE FOR LAVAPIÉS (2009.12 / visual data)

 

     

        

(Fotos: Enrique Pacheco / December 2009)

 

 

 

 

 

 

 

 

 

 

 

 

09-10inib2647, 09-10intb2648

2006. Gustav Hellberg. PULSING PATH: AMBIGUOUS VISION (images)

2006. Gustav Hellberg. PULSING PATH: AMBIGUOUS VISION (images)

 

     

              

          

 

                                                        

 

 

 

 

 

06inic0958

2006. Gustav Hellberg. PULSING PATH: AMBIGUOUS VISION (texto publicado)

 Controlling the street lamps along a street to make its light into a pulsing effect.

The oscillating light of the street lamps in Pulsing Path activates the lane and gives it a behaviour separating it from ‘normal’ lanes; its expression is transformed and becomes displaced. This raises questions about states of normality and the uncertainty surrounding human existence, even if we have always tried to master the world by structuring it.

The inertia of change, the aging of humans and changes in society, makes it difficult to discover its course or even to be aware of it. Pulsing Path is playing with the awareness of the surroundings, the perception of it and the memory of its appearance. A street and its lighting might not be what you think. Are we always sure where a path is leading? Is seeing an object an evidence of its existence?

LIGHT MAKES THINGS VISIBLE IN THE DARK

Light can be bright, dim or totally absent. In our contemporary world we are used to artificial light reducing darkness. We somewhat rely on it to always be there. What if it suddenly disappears or if it instead of illuminating creates a visual effect fooling your mind, creating different visions?

VISION

Following the path and seeing a clear direction can become uncertain. Like the Cheshire Cat from Lewis Carroll’s novel Alice’s Adventures in Wonderland the path normaly lit up by street lamps slides out of visual focus just to get back as bright as ever. “`In THAT direction,- the Cat said, waving its right paw round- lives a Hatter: and in THAT direction- waving the other paw- lives a March Hare. Visit either you like: they're both mad.”

 

 

 

 

 

06intc0960

2007. Johanna Billing. YOU DON´T LOVE ME YET (video)

 

        

 

    

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

07invc1353, 07invc1354

2008. LaHostiaFineArts (LHFA). EXPLORANDO USERA (bus schedule)

DAYS:From 11 to 18 (7 days)

SCHEDULE:Every day at 12pm and 5pm, unless the 7th morning when the bus will leave at 13.30

 

 

 

 

 

 

 

 

 

08intc2032

2009-2010. Susanne Bosch. HUCHA DE DESEOS: ¡TODOS SOMOS UN BARRIO, MOVILÍZATE! / TIZA ACTION (2010.02 / documentación técnica)

 

SCHEDULE FOR TIZA ACTION

FEB 2010: Calendar of people responsible

1

3-6 pm la castellana

ELENA 

2

3-6 pm la castellana

NATALIA 

3

3-6 pm la castellana

MARIO

4

3-6 pm la castellana

MARIO

5

3-6 pm la castellana 

ELENA 

 

6

3-6 pm la castellana 

ELENA

7

3-6 pm la castellana

NATALIA 

WEEK 1

8

3-6 pm la castellana

ELENA 

9

3-6 pm la castellana

NATALIA 

 

10

3-6 pm la castellana

MARIO 

11

3-6 pm la castellana

MARIO 

12

3-6 pm la castellana

ELENA

13

3-6 pm la castellana

Ignacio

14

3-6 pm la castellana

Ignacio

WEEK 2

15

3-6 pm la castellana

Ignacio

16

3-6 pm la castellana

Ignacio

 

17

3-6 pm la castellana

MARIO 

 

18 

3-6 pm la castellana

MARIO 

19 

3-6 pm la castellana

ELENA 

20

3-6 pm la castellana

ELENA 

21

3-6 pm la castellana

NATALIA 

WEEK 3

22

3-6 pm la castellana

ELENA

 

 

 

23

3-6 pm la castellana

NATALIA 

24

3-6 pm la castellana

MARIO 

25 

3-6 pm la castellana

MARIO 

26

3-6 pm la castellana

ELENA

 

 

 

27

 

28 

 

WEEK 4

 

 

 

 

 

 

 (Febraury 2010)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10intb2727

2007. Ben Frost. I MY EAR TO FURIOUS LATIN (sound recording)

Name Play Size Duration
I lay my ear 1
25.3 MB 27:35 min
I lay my ear 2
25.5 MB 27:49 min
I lay my ear 3
27.3 MB 29:46 min

** PLAY THE TRAKS ALL TOGETHER

 

 

 

 

 

 

 

 

07insc1371

2009-2010. Lisa Cheung. HUERTO-O-BUS (2009.05 / project review / proposed locations)

2009-2010. Lisa Cheung. HUERTO-O-BUS (2009.05 / project review / proposed locations)

Huert-o-bus can assess all locations and all are concrete surfaces and public spaces.

1. Paseo de Recoletos (in front of National Library)

2. Plaza de la Luna , C/ de la Luna, Centro

3. Plaza de la Corrala, Lavapiés (in front of new library, front entrance) & Doktor Fourquet 24, Lavapiés*

Plaza de la Corrala, Lavapies

Doctor Fourquet 24, Lavapiés

 

4. Plaza de la Remonta, Tetuán

5. Plaza de Pilarica? (entre c/ Pilarica & c/ Dolores Barranco), Usera or Plaza Andreas Arteaga (next to c/ Andreas Arteaga), Usera*

Plaza de Pilarica, Usera

Plaza Andreas Arteaga, Usera

*Where two locations are indicated, one or the other will be sufficient.

(MAY 2009) 

 

 

 

 

 

 

 

 

 

09-10inmb3409

2006. Tao G. Vrhovec. REALITY SOUNDTRAK (images)

2006. Tao G. Vrhovec. REALITY SOUNDTRAK (images)

 

VINILO

 

INSTALACIÓN

         

 

PERFORMANCE

   

      

         

Photos: Alfonso Herranz

 

        

         

           

          

Photos: Gabriel Andrés

 

 

 

 

 

 

 

 

 

06inic0977, 06inic0980, 06inic0978

  

2008. Alicia Framis + Michael Lin. NOT FOR SALE (2008.01 / technical data)

2008. Alicia Framis + Michael Lin. NOT FOR SALE  (2008.01 / technical data)

 

TECHNICAL REQUIREMENTS

- LIGHTING (spotlights are necessary to lighten 10 meters of catwalk. No filters or movable lights are needed. Just one light focused on the catwalk.)- Camera and tripod to record the performance.- Screen.- Projector.- SOUND: A double CD with sound mixer and amplifier attached to the speakers (at least 2 speakers).

 

 (January 2008) 

 

 

 

 

 

 

 

 

 

 

 

08inib1931, 08intb3541

2006. Gustav Hellberg. PULSING PATH: AMBIGUOUS VISION (2005.12 / proposed locations)

2006. Gustav Hellberg. PULSING PATH: AMBIGUOUS VISION (2005.12 / proposed locations)

DECEMBER 2005

 

Site for Pulsing Path - ambiguous vision (Madrid 2006) Gustav Hellberg

I would like to use the path that runs in the park like area in the middle of Paseo del Prado between Plaza de Canovas del Castillo and Plaza de Cibeles. I am giving two alternatives as I am not sure about how the lampposts are connected.

I've chosen this area because its park like feeling, where the idea of the path is in focus, also suggested by the title. This area's lampposts' old fashion design make them suitable as generic lamp posts. This is also the type of lamp posts I had in mind during the development of the work.

The area is interesting as it is not only a passage way for pedestrians but also a recreational area with benches for people to rest and playgrounds for children. It is an urban site with activity and stillness always surrounded by heavy traffic. In that surrounding the effect of a strange behaving set of lampposts will get its best impact.

I would suggest A before B if no technical or other problem favours B.

Version A:

Using the nine first lampposts along the middle path, counting from Pza. de Canovas del Castillo towards Fuenta de Apolo, for pulsing. The following lampposts, continuing northwards, need to be fitted with the same light bulbs as the pulsing ones if the light is not the same.

The northern part of this path gets to much light from the street which make me want that part to be 'normal', lights always on.

This part of the path is the darkest and the best effect will be able to reach here. It is also the most 'path like' stretch. The quieter part of this area could make it less visible.

Version B:

Using the 8 northern lampposts along the east path north of Fuente de Apolo .The 5 lights on the east side (play ground side) need to be fitted with the same light bulbs as the pulsing ones.

The playground area south of Fuente de Apolo is more used by children, also has more play equipment and should be left as it is. It is probably no use to change light bulbs.

This part is closer to the busier part of the street and the work might be seen by more people, even by people that are not waling down the Paseo del Prado. I am a little bit concerned that the 'playgroundarea' will disturb the path feeling.

 

Note, concerning both version A and B:If there's a too obvious difference in light strength and light temperature from the original lamps to the pulsing ones, it might be necessary to considering changing the closest ones.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

06inmb0918, 06intb3821

2007. Johanna Billing. YOU DON´T LOVE ME YET (sound recording)

Name Play Size Duration
You dont let me yet 1
10.7 MB 11:42 min
You dont let me yet 2
101.7 MB 1:51:07 min

 

 

 

 

 

 

07insc1352

2008. Fernando Llanos. VI VÍDEO (analysis of the location)

2008. Fernando Llanos. VI VÍDEO (analysis of the location)

**  OPEN THE ATTACHED PDF TO SEE THE ORIGINAL DOCUMENT

 

           

INTRODUCTION TEXT IN SELF-ADHERENT VINYL

INTRODUCTION

Urban video-intervention project done by exploiting the artist’s corporal infrastructure and underline a dynamic that the author likes to call “urban acupuncture”, creating punctual thoughts in some parts of the city where he appears as VIDEOMAN. For each edition he makes a different harness to experiment using new ways of projecting on the city streets.

Everything is recorded on video and photos, and then is edited as installation to be projected in Casa de America.

Firstly, this project tries to bring the specialized public closer to unconventional locations that are not used specifically for artistic purposes and, secondly, to make people that live or pass by these areas question aspects of daily life. 

VIDEOMANBy Mauricio Alejo

Unlike other beings, Videoman has a superpower: to make himself noticed. This ability, that is a drag if you want to fight evil, is one of the strong points of his project. By this prominence, which is implicit but also assumed and fabricated, he achieves the dissolution of projection’s traditional space. He takes over the centre and makes it mobile. This nomadism is the key to dissolve the authority that any projection imposes on space, the attention of the spectator is necessarily focused on that which is projected.

For the accidental “audience” that takes part in the area that this “superhero” proposes there is no front, nor behind. There is no hierarchy of attention; the projector and that which is projected are equally unusual. There isn’t any privileged spot to attend the event, no established beginning or end. But there is the awareness of a projection that includes the man that generates it. For Fernando this involves the responsibility of the message on an earthly level. It’s not vain to notice that you don’t attend what Videoman’s produces; it’s part of him. He invents along with everyone present.

The bicycle is a natural extension of this nomadism. A prosthesis that symbolises the awareness he has of transport and its environmental cost. To pedal and generate the necessary energy to project is an attitude that suggests certain responsibility, necessary nowadays even in electronic arts.

In this video-intervention project there is also a reformulation of the concept of audience. Videoman is mobile but also the ones who witness the projections; location is temporary. So the one who takes part is responsible; first, to identify himself as audience and, later, to define the experience he has had.

This is a revitalization of public space; an intervention that makes it ductile; an experience to criticize and a collective reconstruction.

* Due to the nature of the project, of surprise interventions in the city at night, it’s important to have a place to continuously show a construction process and report of the project. This is the function of this space.

 

THINGS THAT TRAVELLED IN SUITCASES AND CARDBOARD BOXES

In the box- A Dahon collapsible bicycle with separate seat.

In the black cloth suitcase- 1 Videoman suit custom made suit. - 2 Pair of short cloth gloves CAT. - 5 Videoman sculptures. - 1 sony stereo microphone. - Portable DVD player DVP-FX810 (8”)

In the big plastic suitcase - 3 Barrels.- 1 Motorcycle battery. - 6 lights for bicycle. - 2 rear-view mirrors. - 1 Customized bicycle helmet with two video cameras, one for surveillance and another for an apple web. - 1 rechargeable battery.- 1 dynamo with triplicator.

 

PROPOSAL FOR THE SPACE AND EXHIBITION ELEMENTS

 

SHOWCASE- videoman action toys- Sergio Alcalá’s presentation collage: 23 x 18.5 cm. - Drawings 5 letter sheets. - Videoman postcards. - Postcard to promote toys, one 14.5 x 9.5 cm.

DRAWINGS TO FRAME- Drawing: 56.5 cm high x 76.5 cm wide, a marialuisa (paspartu) 10 cm on each side. - Drawing on the table, size of table 76 cm x 96 cm. - Frame two 15 x 10 cm drawings. - Frame a 12.5 x 18 cm drawing.

     

 

 

RENTComputer: - Any model with Internet incorporated. Projector: - Any model, but must be big.

 

 

ENTRANCE WALLEntrance wall: 3.22 m high x 4.10 m wide.It has a vinyl text y 3 printed photographs with matt finish 50 x 50 cm each. Framed in the same way as the drawings: Flat wood sin without paint or varnish. Straight angles, with a marialuisa (paspartu) 10 cm.

 

 

PRINT PRESS RELEASES ON PAPER*Original size.

     

 

 

 

 

 

 

 

 

 

 

 

 

 

08inib1940, 08inib1941, inib1942, 08inmb1939, 08inmb3545

2006. Tere Recarens. REMOLINO (images)

2006. Tere Recarens. REMOLINO (images)

 

       

       

Photos: Alfonso Herranz

 

          

          

Photos: Gabriel Andrés

 

 

 

 

 

 

06inic0983, 06inic0984

2006. Wilfredo Prieto. OUROBOROS (images)

2006. Wilfredo Prieto. OUROBOROS (images)

 

        

         

          

 

 

 

 

 

06inic0987

2007. Discoteca Flaming Star. DISCOTECA FALMING STAR (audio - transcription)

HATE-SCRIPT (KIOSK)

 

 

I pity the young fascists,

and the old ones, whom I consider forms

of the most horrible evil, I oppose

only with the violence of reason.

 

I hate people removing the dust from houses. They make my world unbearable.

I hate translations from French, which notoriously loses its flavour in translation.

I hate people saying “I was meant to be a ballet dancer,” while running a pig farm.

I hate not knowing whether a non-smoker, not smoking is a smoker or a non smoker.

I hate those who always know where they are.

I hate people dying a natural death;  I paid to much for them.

I hate knowledge; it cherishes hope.

I hate Women; They get on my nerves.

I hate Men; They irritate me.

I hate Actresses; they get on my nerves.

I hate Relatives; They cramp my style.

I hate order; it cheats on the apokalypse.

I hate Slackers; They get on my nerves.

I hate Bohemians; They shatter my morale.

I hate the Office; It cuts in on my social life.

I hate Actors; They ruin my evenings.

I hate Bores; They take the joy out of my life.

I hate the Drama; It cuts in on my sleep.

I hate Parties; They bring out the worst in me.

I hate Movies; They lower my vitality.

I hate Books; They tire my eyes.

I hate fat corpses; they have no ghosts.

I hate rich people; they are in my way.

I hate the Younger Set; They harden my arteries.

I hate Summer Resorts; They ruin my vacation.

I hate wash; it’s the beginning of dictatorship, without wash no hitler.

I hate the tongues of  the slanderer, they poison my kitchen.

I hate Wives; Too many people have them.

I hate Husbands; They narrow my scope.

I hate College Boys; They get under my feet.

I hate praise; its brutal and an obligation.

I hate people without gardens; they water my weed.

I hate people who do not bath their frogs; they dry my politics.

I hate readers; they read so that a lot might stick in their minds.

I hate charts; they make me dissappear.

I hate fences, they all look the same.

I hate newspapers, they pretend to have a lot to say.

I hate interviewers, they always want to know what my opinion is.

I hate the internet, it brings out all the boredom in me.

I hate schools, they are full of children.

I hate security, it speaks all the time.

I hate professors, the all want to teach me something.

I hate cosmetic products, the oversize my luggage.

I hate illegal sellers, they get in my way.

I hate tourists, they narrow my scope.

I hate the future, it is too based on promises.

I hate investors, the constantly need new markets.

I hate the rain, it washes my make up away.

I hate militars, the move too constantly.

I hate diagrams, the insist on relationships.

I hate buses, they let me wait.

I hate exhibitions, they tyre my feet.

I hate restaurants, they smell like candles.

I hate buildings, they are too big.

I hate speculants, they want my interest.

I hate the suburbs, they miss the center.

I hate the subway, it darkness my perspectives.

I hate cakes, they enlarge my size.

I hate boutiques, they are not able to protect their maniquies.

I hate bars, they bring out my lust.

I hate dogs, their smell is too strong.

I hate the police, they insist on being in movies.

I hate cars, they make me look out of 6 windows.

I hate menus, they make me confused.

I hate graffities, they all look the same.

I hate politicians, they narrow my scope.

I hate growth; it’s too vulgar.

I hate wonders; they freeze my possibilities.

I hate chewinggum; it brings out my contempt for others.

I hate stars; they do not smell.

 

Inspiriert durch:

Dorothy Parker “Hate Verses”W.G. Sebald “Die Ausgewanderten”Virginia Woolf “Orlando”Albert Camus “Die Pest”Quentin Crisp “The Wit and Wisdom of Quentin Crisp”Karl ValentinJack Smith “Wait for me at the bottom of the pool”Pasolini “I work all day…”W.G. Sebald “Die Ringe des Saturn”Jeanne d’Arc “Der Prozess der Jeanne d’Arc”Drehbuch zu “Jeanne d’Arc” von Joseph Delteil und C.Th. DreyerMary Shelley “Frankenstein”Guy Debord, preface to “Jorn / Le jardin d’Albisola”Das Bilderbuch vom Karl ValentinIngeborg Bachmann “Malina”Ostermayer/Phettberg “Hermes Phettberg räumt seine Wohnung zamm”Franzobel “Phettberg”Gregg Bordowitz “The AIDS crisis is ridiculous and other writings”Avery F. Gordon “Ghostly Matters”Estrella de Diego “Travesias por la incertidumbre”Yvonne Rainer “Feelings are facts”

------------------------------------------------------------------------------------------------------ Zweite Wahl:

I hate those who apply the rules established by previous successes by others.

I hate women dressing like women while they are with men.

I hate destiny with its it little jokes. It makes me throw up with its stupid  cheerfullness.

I hate comfortableness; it produces recidivists.

I hate societies made by and for creatures who, when they are not grim and depressing are utter bores.

I hate computers, they tyre my wrists.

I  hate smiles, I do not bear to see all those teeth.

I hate risk, it makes me feel desea.

I hate cellphone ring tones, they get on my nerves.

I hate cities, they have too many windows.

I hate loneliness, it leaves me alone with myself.

I hate museums, they are too clean.

I hate speculants, they want my interest.

I hate the suburbs, they miss the center.

I hate menus, they make me confused.

I hate cancer, it attacks people I love.

I hate autobiographies, they are pretencious about the truth.

I hate wonders; they freeze my possibilities.

I hate people who cannot decide what makes them happy; they poison my blood.

I hate ambulances; they remind me of my fathers death.

I hate birds; they eat my crumbs.

I hate repetition; it kills.

I hate taxis; they all look the same.

 

 

 

 

 

 

 

 

07intc1348, 07insc1346

2007. Discoteca Flaming Star. DISCOTECA FALMING STAR (images)

2007. Discoteca Flaming Star. DISCOTECA FALMING STAR (images)

 

    

       

    

     

    

       

       

   

     

 

 

 

 

 

 

 

07inic1345

2007. Johanna Billing. YOU DON´T LOVE ME YET (images)

2007. Johanna Billing. YOU DON´T LOVE ME YET (images)

 

     

     

        

    

     

                   

          

      

 PLEASE NOTE: please credit Johanna Billing for taking photo

 

 

 

 

 

 

 

 

07inic1351, 07intc1400

2007. Alonso Gil + Francis Gomila. GUANTANAMERA (cd sound recording)

2007. Alonso Gil + Francis Gomila. GUANTANAMERA (cd sound recording)

 

     

1 Feten2 Jimena y Dirk3 Adriana Tijeras4 Moakara5 Trisexual Band6 Smokes Pleasure7 Silnave & R. Positiva8 Bettina Semmer y Dirk Busch9 Bala10 Ea7_dmZ11 Santiago Caiced12 Los Guantalibanes13 Arbol14 Pepe Narvona y Pililly15 Francis Gomilla16 Pseudjo17 S.A.Y.18 Azucar Letal19 Claudia Sacher

Name Play Size Duration
01 Feten
Alonso Gil + Francis Gomila

2.9 MB 3:12 min
02 Jimena y Dirk
Alonso Gil + Francis Gomila

3 MB 3:17 min
03 Adriana Tijeras
Alonso Gil + Francis Gomila

1.9 MB 2:07 min
04 Moakara
Alonso Gil + Francis Gomila

5.7 MB 6:14 min
05 Trisexual Band
Alonso Gil + Francis Gomila

3.9 MB 4:19 min
06 Smokes Pleasure
Alonso Gil + Francis Gomila

2.8 MB 3:03 min
07 Silnave & R. Positiva
Alonso Gil + Francis Gomila

6.6 MB 7:13 min
08 Bettina Semmer y Dirk Busch
Alonso Gil + Francis Gomila

3.7 MB 4:00 min
09 Bala
Alonso Gil + Francis Gomila

2.3 MB 2:31 min
10 Ea7_dmZ
Alonso Gil + Francis Gomila

6.8 MB 7:25 min
11 Santiago Caiced
Alonso Gil + Francis Gomila

3.9 MB 4:13 min
12 Los Guantalibanes
Alonso Gil + Francis Gomila

6 MB 6:36 min
13 Arbol
Alonso Gil + Francis Gomila

4.8 MB 5:15 min
14 Pepe Narvona y Pililly
Alonso Gil + Francis Gomila

4.4 MB 4:50 min
15 Francis Gomilla
Alonso Gil + Francis Gomila

3.8 MB 4:07 min
16 Pseudjo
Alonso Gil + Francis Gomila

4.1 MB 4:27 min
17 S.A.Y.
Alonso Gil + Francis Gomila

1 MB 1:03 min
18 Azucar Letal
Alonso Gil + Francis Gomila

2.9 MB 3:11 min
19 Claudia Sacher
Alonso Gil + Francis Gomila

0.9 MB 0:58 min

 

 

 

 

 

 

 

07insc1361,07inic1362

2007. Ben Frost. I LAY MY EAR TO FURIOUS LATIN (images)

2007. Ben Frost. I LAY MY EAR TO FURIOUS LATIN (images)

 

     

        

    

   

 

 

 

 

 

 

 

07inic1369

2007. Alonso Gil + Francis Gomila. GUANTANAMERA (images)

 

       

        

        

            

            

         

 

 

 

 

 

 

 

 

07inic1358

2007. Dan Perjovschi. OFF (images + physical documents)

2007. Dan Perjovschi. OFF (images + physical documents)

 

Paseo del Prado - Museo del Prado

Castellana - Colón nº 150    Castellana - General Oraá   Castellana - Pinar

Castellana - General Oraá    Castellana - María de Molina

Castellana - Ortega y Gasset    Castellana - San Juan de la Cruz

Castellana - Vitruvio    Glorieta Carlos V - Cuesta de Moyano

Castillo - Paseo del Prado    Doctor Marañón - José Abascal   Emilio Castelar - Gral M Campos

Paseo del Prado - Lope de Vega   ** Recoletos - Cibeles    Recoletos - Colón

Recoletos - Prim    **Raimundo Fernández Villaverde

 

** MUPPIS: PHYSICAL DOCUMENTSMATERIAL: paperUNITS: 2 original drawingsMEASURES: 173'5 x 120 cm

 

 

 

 

 

 

 

 

 

07inic1374, f07inic3376, f07inc3425

2007. Leopold Kessler. ALARM BIKE (images)

2007. Leopold Kessler. ALARM BIKE (images)

 

       

       

 

 

 

 

 

 

 

 

07inic1382

2007. Susan Phillipsz. FOLLOW ME (images)

2007. Susan Phillipsz. FOLLOW ME (images)

 

         

       

                     

       

 

 

 

 

 

 

 

 

07inic1390

2009-2010. Lara Almarcegui. BAJAR AL TÚNEL RECIÉN EXCAVADO (technical data)

 

CALENDARIO

-    Sé que la tuneladora para solo una vez por semana;

-    Entonces bajariamos una vez a la semana ;

-    Estimo, aunque aún no lo sé que ese día fuera domingo ;

-    Entonces bajariamos al túnel :

.    Domingo 7 Febrero.    Domingo 14 Febrero.    Domingo 21 Febrero.    Domingo 28 Febrero

PREPARACIÓN

-    Iré a Madrid cuando sea necesario para hablar con encargados del tunnel para decidir juntos el plan de trabajo, las condiciones etc…-    Estimo estar en las dos primeras bajadas. -  Este calendario y todos los planes de preparación de viajes y bajadas al tunel y mi partcipación son completamente flexibles: me adpataré por supuesto a lo que la tuneladora necesite.

 

 

 

 

 

 

 

 

 

 

 

09-10prtc2758

2007. Anikka Ström. THE MISSED CONCERT (images)

2007. Anikka Ström. THE MISSED CONCERT (images)

 

      

          

© La Casa Encendida / Enrique Escorza

 

 

 

 

 

 

 

 

07inic1393, 07intc1394

2007. Dora García. REZOS / PRAYERS (actors)

Actors who did the performanceLucia NapalClemente GarcíaMarcos GarcíaAna Petite Eduardo Cárcamo María Brea Juan Antonio Bottaro Paula Rodríguez Martín Alicia Torres Pablo Martínez Dilvio

Actors at Café Gijón De Miércoles a Sábados de 17.00 a 21.00 horasJuan Antonio Bottaro Clemente GarcíaPaula Rodríguez Martín

Actors at Arco De Miércoles a Sábado de 17.00 a 21.00 horasRebeca Tebar Nacho Diaz de Heredia

 

 

 

 

 

 

 

 

 

 

07intc1405

2007. Anikka Ström. THE MISSED CONCERT (video)

 

  

© LA CASA ENCENDIDA

 

 

 

 

 

 

 

 

 

07invc1396, 07intc1397

2007. [Nexus*] Art Group. PROYECTO_NEXUS (images)

2007. [Nexus*] Art Group. PROYECTO_NEXUS (images)

 

        

       

      

    

 

 

 

 

 

 

 

 

 

 

07inic1407

2008. Jota Castro. NO MORE NO LESS + LA HUCHA DE LOS INCAS (images)

2008. Jota Castro. NO MORE NO LESS + LA HUCHA DE LOS INCAS (images)

NO MORE NO LESS

       

         

         

       

         

............................................................................................................................................................................................................................................ 

LA HUCHA DE LOS INCAS

            

       

 

 

 

 

 

 

 

 

 

 

 

08inic2010, 08inic1946

2008. Alicia Framis + Michael Lin. NOT FOR SALE / NO SE VENDE (published texts)

NEWSPAPER

NOT FOR SALE (2007)is a work in progress which analyses the situation of children sold all over the world.

The project began in the city of Bangkok, Thailand, where Alicia Framis produced the first portrait of a naked boy wearing nothing but a collar that read “Not for Sale.” This image gave rise to a series of photographs which, at first glance, seem light but nevertheless reflect the reality of the fragile and dangerous situation in which many children find themselves, threatened by the real risk of becoming just another market commodity.

In NOT FOR SALE MADRID ABIERTO 2008, Framis continues to expand on the same idea together with the artist, Michael Lin, although in another format: this time, they present a grand performance, a parade staged by sixty children of different ages wearing collars with the inscription “Not For Sale”, although with the peculiarity that each collar is specially designed by different Spanish jewellers, gold and silversmiths and designers who have collaborated in the project.

Michael Lin is responsible for the architectural structure on which the performance unfolds, designed in a textile painted with the bright prints that characterise all his work and that serve as the platform for the action.

.............................................................................................................................................................................................................................................BOOK (MADRID ABIERTO 2004-2008) + WEB 

NOT FOR SALE. A project by Alicia Framis and Michael Lin

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 of Not 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 Sale is a work in progress that 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 of Mao Sedong or Thailand’s king, Bhumibol Adulyadej, both normally exhibited throughout the city. Not For Sale employs 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 grand performance night: 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 the Not For Sale necklaces.

 

 

 

 

 

 

 

 

08intc1968, 08intc1970

2008. Alicia Framis + Michael Lin. NOT FOR SALE / NO SE VENDE (images)

2008. Alicia Framis + Michael Lin. NOT FOR SALE / NO SE VENDE (images)

 

    

         

         

           

           

                 

        

 

 

 

 

 

 

 

 

 

 

 

08inic1965

2008. Annamarie Ho + Inmi Lee. LA GUERRA ES NUESTRA (images)

2008. Annamarie Ho + Inmi Lee. LA GUERRA ES NUESTRA (images)

 

         

         

 

 

 

 

 

 

 

 

 

 

 

08inic1974

2008. Dier + Noaz. ESTADO DE EXCEPCIÓN (images + link viedo)

2008. Dier + Noaz. ESTADO DE EXCEPCIÓN (images + link viedo)

 

         

         

         

         

 http://www.youtube.com/watch?v=B3qLb3gEkMk 

 

 

 

 

 

 

 

 

 

 

 

 

 

08inic1977, 08intc1980

2008. Anno Dijstra. PROPOSAL NR. 19 + GIFT (images)

2008. Anno Dijstra. PROPOSAL NR. 19 + GIFT (images)

 

      

          

         

PHOTOS: Alfonso Herranz

 

.............................................................................................................................................................................................................................................

      

      

         

         

        

        

PHOTOS: Anno Dijstra

 

 

 

 

 

 

 

 

 

 

 

 

 

08inic1981, 08inic3732

2008. Fernando Llanos. [VI VÍDEO] (images)

2008. Fernando Llanos. [VI VÍDEO] (images)

 

    

         

         

         

     

  

 

 

 

 

 

 

 

 

 

 

08inic1984

2008. Guillaume Ségur. WELCOME ON BOARD (images)

2008. Guillaume Ségur. WELCOME ON BOARD (images)

 

       

       

          

 

 

 

 

 

 

 

 

 

 

 

08inic2003

2008. Fernando Prats. GRAN SUR (images)

2008. Fernando Prats. GRAN SUR (images)

 

     

      

       

Photos: Alfonso Herranz

 

    

    

Photos: Fernando Prats

 

 

 

 

 

 

 

 

 

 

 

 

08inic2006, 08inic2007 

2008. Santiago Cirugeda. CONSTRUYE TU CASA EN UNA AZOTEA (images)

2008. Santiago Cirugeda. CONSTRUYE TU CASA EN UNA AZOTEA (images)

 

     

    

           

 

 

 

 

 

 

 

 

 

 

 

 

08inic2033

2008. LaHostiaFineArts (LHFA). EXPLORANDO USERA (Canal Usera Vídeo)

2008. LaHostiaFineArts (LHFA). EXPLORANDO USERA (Canal Usera Vídeo)

 

   

* PHYSICAL DOCUMENTS AVAILABLE FOR CONSULTATION

 

         

 

 

 

 

 

 

 

 

 

 

 

08invc2021-f08inmc2022

2008. Todo por la praxis. SPECULATOR (images)

2008. Todo por la praxis. SPECULATOR (images)

 

       

           

             

           

            

Photos: Alfonso Herranz

 

.................................................................................................................................................................................................................................................

EMPTY WORLD

Empty Property State Agency -Empty World-      Workshops (gentrification and property speculation)

Empty Property State Agency -Empty World- 

      

        

Workshops on urban resistances, gentrification and property speculation 

            

SPECULATOR

       

          

             

Photos: Todo por la Praxis

 

 

 

 

 

 

 

 

 

08inic2039, 08inic2040

2008. Santiago Sierra. BANDERA NEGRA DE LA REPÚBLICA ESPAÑOLA (images)

2008. Santiago Sierra. BANDERA NEGRA DE LA REPÚBLICA ESPAÑOLA (images)

 

Schellmann Edition, Munich, Germany. December 2007

           

           

          

       

       

    

 

PRESENTATION

         

Jorge Díez, José Luis Corazón, Pablo España 

 

 

 

 

 

 

 

 

 

 

 

 

 

08inic2050-08inic2051

2008. Todo por la praxis. EMPTY WORLD (postcard)

2008. Todo por la praxis. EMPTY WORLD (postcard)

 

* PHYSICAL DOCUMENTS AVAILABLE FOR CONSULTATION

 

 

 

 

 

 

 

 

 

 

 

08inic2049

2009-2010. Laurence Bonvin. GHOSTOWN (images)

2009-2010. Laurence Bonvin. GHOSTOWN (images)

 PRINTED PHOTOGRAPHS

      

 

.......................................................................................................................................................................................................................................................................EXHIBITION AT THE ESPACIO 28001 (INFOMAB)

     

      

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10inic2771-f09-10inmc3852

2009-2010. Lisa Cheung. HUERT-O-BUS (images)

2009-2010. Lisa Cheung. HUERT-O-BUS (images)

 

     

        

         

 

COLÓN

    

 

LAVAPIÉS

   

      

 

TETUÁN

     

  

 

USERA

    

  

Photos: Alfonso Herranz

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10inic2777, 09-10inic2776

2009-2010. Iñaki Larrimbe. UNOFFICIAL TOURISM (images)

2009-2010. Iñaki Larrimbe. UNOFFICIAL TOURISM (images)

 

                    

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10inic2780

2008. LaHostiaFineArts (LHFA). EXPLORANDO USERA (Kit)

2008. LaHostiaFineArts (LHFA). EXPLORANDO USERA (Kit)

 

KIT EXPLORANDO USERA Composed by: calendars, bookmarks, postcards and a map that contains a tapas, wines and spirits guide.

      

 

CALENDARS

         

    

       

       

        

 

POSTCARDS

      

       

          

           

     

 

BOOKMARKS

 

USERA TAPAS, WINES AND SPIRITS GUIDE

     

        

        

         

 

 

 

 

 

 

 

 

 

 

 

 

08inmc2026, 08inmc2027, 08inmc2028, 08inmc2029, 08inmc2030, 08inmc2031

2009-2010. Josep María Martín. A DIGESTIVE HOUSE FOR LAVAPIÉS (images)

2009-2010. Josep María Martín. A DIGESTIVE HOUSE FOR LAVAPIÉS (images)

 

           

       

Photos: Alfonso Herranz 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10inic2790, 09-10inic2791

2009-2010. Adaptive Actions. AA CAMP-MADRID (images)

2009-2010. Adaptive Actions. AA CAMP-MADRID (images)

 

ADAPTIVE ACTIONS CAMP, LA ESTACIÓN DE TREN ATOCHA, MADRIDPhotos: Adaptive Actions

 

TALK AND WORKSHOPFrom Context to Situation: Micropolitics and Adaptive Actions By Marie-Pier BoucherPhoto: Adaptive Actions

 

     

WORKSHOP / URBAN WALKScan, Script, SupplementBy Jean-Maxime DufresnePhotos: Madrid Abierto / Alfonso Herranz

  

       

       

Photos: Alfonso Herranz

 

.............................................................................................................................................................................................................................................................................. 

ACTIONS SUBMITTED DURING THE AA CAMP IN MADRID

OPENING (AA147)Actor: AACreated by: unknownLocation: Madrid Photo: Adaptive Actionswww.adaptiveactions.net/action/147/

 

FREE LOUNGE (AA231)Actor: AACreated by: unknownLocation: Madrid BarajasPhoto: Adaptive Actionswww.adaptiveactions.net/action/231/

 

      

LA CASA Y LOS SUEÑOS (AA207)Actor: Paco SánchezCreated by: Paco SánchezLocation: Gran Canaria CP 35250Photos: Paco Sánchezwww.adaptiveactions.net/action/207/

 

THE BRIDGE (AA224)Actor: gemeraldsCreated by: Familia Melgar- MolineroLocation: Villatuelda, BurgosPhoto: Melgar Molinerowww.adaptiveactions.net/action/224/

 

    

CUPS (AA203)Actor: AACreated by: unknownLocation: LondonPhotos: Adaptive Actionswww.adaptiveactions.net/action/203/

 

  

FREE PHONE (AA193)Actor: michacardenasCreated by: Micha Cárdenas, Elle Mehrmand, Chris Head, Katherine Sweetman, Felipe ZuñigaLocation: Tijuana Mexico/San Diego Ca.Photo: unknownwww.adaptiveactions.net/action/193/

 

MONSTERS (AA226)Actor: TintaCreated by: E1000inkLocation: MadridPhoto: E1000ink www.adaptiveactions.net/action/226/

 

     

AM HERE (AA148)Actor: AACreated by: Lasse Johansson & Andrea ZimmermanLocation: Hackney east LondonPhotos: E1000ink www.adaptiveactions.net/action/148/

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10inic2800, 09-10inmc2804, 09-10inic3382

2008. Fernando Llanos. [VI VÍDEO] (record of the video-projections)

2008. Fernando Llanos. [VI VÍDEO] (record of the video-projections)

Video-intervention number 16

Name: Discovery of the colon.Situation: Underlining the grotesque: projection of gay porno films (macho type) on the map that shows Colon’s route to America.Place: Monument to Colon.

    

     

 

Video-intervention number 17

Name: Supporting moral (o botellón mestizo).Situation: Videoman proyects Ecuatorian karaokes songs in a Madrid "botellón" (a gruop of young people dinking on the street).Place: Plaza Vázquez de Mella (Chueca)

     

 

Video-intervention 18

Name: Artistic solidaritySituation: Supporting colleagues: Santiago Cirugeda’s video was downloaded from Internet and we projected on his piece, then we tried to project Jota Castro’s “Incas’ moneybox” on the facade of the Spanish Bank. This piece wants to reimburse the gold that was stolen to the Incas and has been retired because it was vandalized. Unfortunately, and for technical reasons that I ignore we couldn’t project it, and we couldn’t demand the money. It seems like they don’t want to give it back. Place: Paseo de Recoletos and Banco de España.

      

 

Video-intervention 19

Name: Parasitic projection (or “mexicaning” the neighbour).Situation: During a cocktail in Casa de América for a Brazilian photographer that is exhibiting in the next room, Videoman projected the history of his own piece to take advantage of event’s mass appeal. In this case, without electrical autonomy, using the place’s light.Place: Casa de América.

      

 

Video-intervention 20

Name: Demonstrating opinionsSituation: The Partido Popular (right wing conservative party- in Spain) made some very controversial statements about reducing the penal age to 12 years, increase surveillance and more police presence. During the day the opinions of some citizens were recorded reflecting on such statements and at night they were projected on the PP’s headquarters. Place: Génova street.

       

 

Video-intervention 21

Name: Without sub-titlesSituation: A Caribbean sunset is projected upon a museum. Possible interpretations: a tribute to Felipe Ehrenberg, or to future cities that will be covered by water or simply a creative visual act: a liquid invocation to thirsty Madrid.Place: Reina Sofía Museum.

   

      

  

Video-intervention 22

Name: Love serenadeSituation: Projection of An open heart surgery, with Basque laptop live musician in the background.Date and place: 14th of February in Plaza de la Lealtad.

     

 

 

 

 

 

 

 

 

 

 

 

 

08inic1985, 08intc3551, 08inic1987, 08intc3552, 08inic1989, 08intc3553, 08inic1991, 08intc3554, 08inic1993, 08intc3555, 08inic1995, 08intc3556, 08inic1997, 08itc3557

2008 / 2008.01.21. W3ART.ES. Madrid Abierto 2008

2008 / 2008.01.21. W3ART.ES. Madrid Abierto 2008

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT 

 

 

 

 

 

 

 

 

 

 

 

 

 

08dimd2265

2004 / 2004.winter. ESETÉ. Madrid Abierto

2004 / 2004.winter. ESETÉ. Madrid Abierto

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

04dima0167