2004. CHART. IDENTITY PROJECT Madrid Abierto (451 Studio / published texts)
BOOK PUBLISHED TEXT
451 / Aitor Méndez y Fernando A. Cienfuegos
The text that follows was written in 2004 as justification for the graphic identity design for Madrid Abierto. As in other of our projects, there is a reflection on the client and another on the work process, in this case the process of preparing the explanations given to a client (or to oneself). These are often prepared after the design work, although presented to the client as the guidelines followed. In the best of cases, they are prepared at the same time as the design work, altering the latter and the latter altering the first as one goes along.
From this point of view, the premises set out are not the same and therefore lack relevance in obtaining a high quality project. The work can culminate in good or bad results regardless of these initial ideas and, in this case, we show how this initial inability does not get in the way of obtaining good results.
INTERNAL INCOHERENCE
Public art has two things: art and the public. You might think “what a silly remark, it is public because it is in the fucking street”, and you would be right, although you could curb your language.
Thinking about this tricky issue, the idea of the public began to acquire a certain obsessive insistence.
Why? My psychiatrist might ask himself. And he would also be right in asking this question, after all that’s why he spent long summer hours knuckling down, missing out for ever on some of the most delicious moments of youth.
Let’s leave him alone to come up with the answer while we concentrate on our work. Hence, we see the public behaving as an individual, i.e., the public is one and always the same, just as the river is always the same, even if the water that runs through it is continuously changing.
This public, made up of undifferentiated individuals, of hidden identifies, is omnipresent, like God. Yes my friend, He is everywhere, or practically everywhere. He goes from one end to the other, strolling through the city or talking on the mobile, in the car or the underground, up and down or from the centre to the outskirts and, in the meantime, the little eyes of the undifferentiated individuals act like sensory organs scattered throughout the body like the suction cups of an octopus.
“What a disgusting example” you might think (if you haven’t, do so now before you go on).
It’s not that disgusting. Let’s show more respect for our public. It is a very smart public. It stretches its tentacles wherever it suits it. It establishes traffic flows with surprising speed to places where it can get goods or food for free. It is captivated by any commemorative plaque announcing the location of a work of contemporary art.
“O.K., but that definition is valid for the public in general and not just for our public art public”, you should be thinking. I take that but, for the moment, I will ignore it.
On another front, we have a suggestion by Jorge to use the letter A, present in the words “mAdrid” and “Abierto”, coinciding with the fact that the public space destined for the exhibition of the work is triangular shaped.
This outlandish idea, combined with our no less absurd obsession with the public, has established the basis for the work realised. Let this be a healthy example of reconciliation of interests between the client and the supplier.
Let this also serve as an example of how to produce a serious, fun graphic identify that meets the communication standards and exudes poetry (pity that we have to say this ourselves) from ludicrous, intuitive and contradictory bases.
“You’re going to drive me mad” you might say now.
I said the same to my psychiatrist and it cost me fortune.
Aitor Méndez.
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451 is a group project produced by people working in different fields: music, graphic design, cinema, etc...
For some years, Aitor Méndez and Fernando Cienfuegos have been searching for new graphic languages which aspire to be a reflexion of contemporary thought systems.
For MADRID ABIERTO they have broken away from the classic idea of the stable, unchangeable logo in an attempt to evoke a certain atmosphere by relating the elements of identity in a different way in each case, and according to the expression desired at a given moment.
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2004. PRESS RELEASE. Etoy CORPORATION
etoy.ART-INVASION ON PLAZA COLONTHE LEGENDARY ART CORPORATION "etoy" INVADES HISPANIC MARKET TERRITORYOFFICIAL PRESS RELEASE
In the context of ARCO 04, one of the five most important commercial art fairs in the world, etoy takes its aggressive business model for high risk art investors to the next level. Invited as guest artists in the "Madrid Abierto" program etoy.CORPORATION installs its mobile head quarter, studio and internet node in the heart of Madrid to perform a commercial experiment on the edge of reality.
Two etoy.CARGO-TANKS will land on Plaza Colon during the night of January 29th/30th 2004. Touch down is expected for 00:00:00 CET. FOTO OPPORTUNITY: Crew members, etoy.TANKS, giant cranes, police escort and machinery will be available between 23:30:00 and 02:00:00 CET. 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 PAIS etc. Between February 5th and 22nd 2004 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 (Feb 12. to 16. 2004) as well as common people in the city (on Plaza Colon from Feb. 5th to 22nd) 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 use 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 http://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.
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2004. OPENING Madrid Abierto (pictures)
From left to right. Front Row. Jorge Díez. Director of Madrid Abierto. Alicia Moreno. Councillor of Arts of the City of Madrid. Santiago Fisas. Minister of Culture of the Community of Madrid. Maria Teresa Fernandez Talaya. Madrid Nuevo Siglo Foundation Director. Sponsor.
From left to right. Back row. Alberto Sanjuanbenito. Director of Altadis Foundation. Sponsor. Josef Doswald. Swiss Ambassador in Spain
To the right of the photo: Eva Tormo. Managing Director Canal Foundation. Sponsor. ( Blue dressed and sunglasses). Rosina Gómez Baeza. Director of ARCO. Collaborator. (Crouching) Carlos Batzan. Managing Director of Cultural Projects. Madrid City Council.
The work you see behind are the containers of etoy.
Photographs: David Jiménez
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2005. TV2 / Metrópolis (Madrid Abierto)
Video report about the Madrid Abierto´s 2005 Edition made and broadcast by Metropolis on TV2
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2009-2010. INFOMAB. Espacio 28001 + La Casa Encendida
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ESPACIO 28004 (C/ MARQUÉS DE SANTA ANA Nº 4)
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LA CASA ENCENDIDA (RONDA DE VALENCIA Nº 2)
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2004. Studio 451 (Cv)
AITOR MÉNDEZ MADRID, 1966 LIVES AND WORKS IN MADRID WWW.E451.NET
FERNANDO A. CIENFUEGOS GRANADA, 1976 LIVES AND WORKS BETWEEN MADRID, GRANADA WWW.CUAC.EU
MADRID ABIERTO WORK: IDENTITY PROJECT FOR MADRID ABIERTO
451 is a group project produced by people working in different fields: music, graphic design, cinema, etc...
For some years, Aitor Méndez and Fernando Cienfuegos have been searching for new graphic languages which aspire to be a reflexion of contemporary thought systems.
For MADRID ABIERTO they have broken away from the classic idea of the stable, unchangeable logo in an attempt to evoke a certain atmosphere by relating the elements of identity in a different way in each case, and according to the expression desired at a given moment.
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2009-2010. INFOMAB. Paseo de Recoletos (images + published text + cv)
The INFOMAB2010 project originated as a way of promoting the MADRID ABIERTO programme in the centre of Madrid by giving out information in la Plaza de Cibeles. As a temporary visitor, the small and slightly elevated pavilion seems to be in Madrid only for a small period of time.
INFOMAB2010 is a place for people to pass through and to stay at the same time. It hosts small events and also deliver information to the pedestrians that walk along the busy boulevard of Paseo de Recoletos. The project is the product of an ingenious approach that intends to create a representative space with minimal economic and material resources, to welcome visitors.
The pavilion is a cylindrical industrial deposit that has been drilled in order to create two big accesses and multiple small gaps (portholes). Its location, between the ready-made and the urban installation, gives the device a solid and homey image at the same time.
During the day, both accesses create a magical atmosphere of light, and, at dusk, internal light radiate towards the street through dozens of open gaps.
Kawamura-ganjavian has conceived this unique project as an experiment dealing with the architectural possibilities that recycled prefabricated elements of FP (fibreglass polyester) may have.
A Kawamura-ganjavian project
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Key Portilla Kawamura, Oviedo, 1979Ali Ganjavian, Teheran, 1979Live and work in Madrid
FORMACIÓN ACADÉMICA· Key Portilla-Kawamura 2001–2003· Postgraduate Diploma Course , Architectural Association School of Architecture, London.
2004–2005· Madrid Master course in communication, Universidad de Alcalá.
2002–2004· Postgraduate Master in Space and Architecture, Royal College of Art, London.
2001–2002· Out Reach practice and theory of spatial photography, Cooper Union, New York.
1998–2001· BSc in Architecture, University of East London, International School of Architecture, London.
1997–2000· BSc in Architecture, University of East London, International School of Architecture, London. Ali Ganjavian
SELECTED GROUP EXHIBITIONS 2009· Beyond Media, Visions Festival of Architecture, Florence, Italia. · Galp pedestrian and cycle bridge exhibition, Lisboa, Portugal. · Traveling show of architecture design competition. 2008 Nous Gallery, London. · Exhibition of StickingRings, pavilion project Alterpolis, Madrid. · Presentation of Alterpolis project, Matadero, Madrid. · Re-Activate, EACC, Castellón, España. · Exhibition of StickingSticks pavilion and of Locutorio Colón project Perdidos, COAM Foundation, Madrid.
2004· Fly Utopia, Transmediale.04, Berlin, Deutschland.
2003· Space search engine©, Zurich, Suisse. · Exhibition and lecture, Critique is not Enough, Shedhalle Gallery. · La Nuova Agorá, book edited by Dagmar Reichert, Biella-Zurich, Suisse. · Space search engine©, Biella, Italia. · Exhibition and lecture Nuova Agorá, curator Dagmar Reichert Cittadellarte / Fondazione Pistoletto.
2010· Opinno, office refurbishment,· Pregny communal house competition, Geneva, Suisse.
2009–2010· Infomab 2010, information centre for Madrid Abierto, Madrid. · Librairie La Fontaine, interior design of bookstore, Lausanne, Suisse. · PiP exhibition design, LABoral, Gijón.
2009· Galp bridge competition, Lisboa. · Titanic, refurbishment of residential lobby, Madrid. · Azul-lejos, refurbishment of cafeteria, Madrid. · Iniciarte stand, ARCO, Madrid.
2008· Tabakalera competition, San Sebatián-Donosti. · Design of multipurpose kiosk inside a park, Parque de los Pinos, Madrid. · Reflections about the utopian city, Alterpolis, Madrid. · Palace Hotel, Refurbishment of hotel ballroom, Madrid. · Re-Liquido, Gijón. · Heineken offices, Refurbishment of corporate office space, collaboration with Ramiro Losada, Madrid. · Marcau, Ilanz, Suisse. · Psychiatric Clinic, Aravaca, Madrid.
2007–2008· Black Mountains. PSI pavilion. Asturegion Terriotorial Laboratory, Regional mapping and strategic planning, Asturias, España. · LightHouse, single family house in Puerta de Hierro In collaboration with Pedro Quero, Studio Banana, Madrid. · Tank, Transformation of flat into loft and audiovisual workshop, Madrid.
2007· Ahmad-T, architectural consultancy, Southampton, UK. · Rincón Malillo, Transformation of winery into art foundation, Jerez. · Infomab, Information Centre for Madrid Abierto, Madrid. · Cyberspaces, design for a digital art exhibition curated by Ars Electronica,La Laboral Art Centre, Gijón.
2006–2007· Locutorio Colón, public art piece, Madrid.
2006· Smoke House, concept proposal for Planless House compeitition, JA magazine. · Somao, single family house, concept Design, Asturias, España. · Light as you Move, interactive prototype for Phillips illumination competition. · Abierto, Summary book, Madrid. · Rampas, sculpture competition, Navacerrada, España.
2005· Li-Mac, Musac art centre, León. · Le Home 67, transformation of flat, Paris. · Le Home 12, transformation of flat, Paris. · Vista House, Tenzuela, España. · Symmetrical Simulacrum, winning entry in public art competition, not executed, Madrid.
2004–2005· La Nave, Information centre, Madrid
2004· Cranbrook Lighthouse, RIBA residential competition, London.
2002–2004· Mirador bajo la escombrera, Turón, Asturias, España.
2003· Musik didaktik, Shedhalle Gallery, Zurich, Suisse. · Nile Street, London.
2002· Space Search Engine, urban mapping and temporary occupation agency, London. · ARCO art fair project, spatial configuration of art fair, Madrid.
2000–2001· Horizontal archaeology, restoration of Victorain house and attic in the East End, Ham Park Road, London.
CURATORIAL PROJECTS 2007–2009· Directors of Studio Banana Cultural Association. · 6 activities seasons with lectures, exhibitions, film screenings. List of guests: BENJAMIN TORRES, INGRID HORA, MAD PECHA KUCHA, ENRIQUE MOYA ANGELER, JAVIER DE LA TORRE, RENATA SENTKIEWICZ, LEFT HAND ROTATION, LURDES FERNANDEZ/ OFF LIMITS, PATALETA FILMS, OSCAR SHOCKING, EL ULTIMO GRITO, ADAM LOWE, HUSOS, EDGAR GONZALEZ, MIGUEL DE GUZMAN, Z-A INTERACTION, MARCOS GARCIA, ANNA & BENEDIKT PARTENHEIMMER, TAVO PONCE, LA DESPENSA, ZOOHAUS, MMMM..., ANNE BÜRGER, LIDIJA KOLOVRAT, TUÑON + MANSILLA ARQ, BARFUTURA, KAREN M´CLOSKEY, OSCAR SECO, JOSECHU DÁVILA, ACEBOXALONSO ARQ, CISZAK DALMÀS, JUAN HERREROS, ROBERTO CANOGAR, FUTURESHORTS, ADULADORES, NOMONOTONO, PABLO VALBUENA, CARMEN CANTÓN, ANDER AZPIRI, ANDRÉS JAQUE, AGUSTÍN PÉREZ RUBIO, VICTOR NAVARRO, KRISTOFFER ARDEÑA, IVÁN LÓPEZ MUNUERA, RIE OKADA, YARA SONSECA, SPY, KOHEI NAWA, PEPE BALLESTEROS, RAMÓN LÓPEZ DE LUCIO, JOSÉ MARÍA EZQUIAGA, URIEL FOGUÉ, IAN FERGUSON, MARLOES TEN BÖHMER, DARÍO GAZAPO, ESTHER PIZARRO, ESTOESUNAPLAZA, CLARA MATA, ANTONIO MERINERO, THE FR, SEÑOR GARCÍA, CLESS, RAÚL LÁZARO, BLANCA HELGA, CÉSAR FERNÁNDEZ ARIAS, SEAN MACKAOUI, FERNANDO VICENTE, JOHN GALL, JULIO FALAGÁN, PEP CARRIÓ, RUBÉN B, JANE NI DHULCHAOINTIGH, ARTISTAS DE GUARDIA, RANDOM INTERNATIONAL, NIETO-SOBEJANO, DANIEL CANOGAR, PEDRO PABLO ARROYO, AGUSTÍN SERRA, URIEL FOGUE, RAQUEL STOLF, BONUS-EXTRA
2002· Projects Review dip 10 and Departure, London. · Coordinator of exhibitions, Architectural Association, London.
ACADEMIC RELATED ACTIVITIES 2009· Master European Design Labs, Madrid Directors of Course, Istituto Europeo di Design. · DIY Studio, Rosario, Argentina. · Tutors of creative workshop, Centro Cultural Parque de España Pecha Kucha Night, Bilbao. · Conference, Guggenheim Museum, Bilbao. · Art & City Seminar, Istanbul. · Lecture on public art. Mais allá da colpa, Urbanism workshop, Coruña. · Tutors in workshop at Universidade da Coruña. · How Sustainable is Sustainability, Madrid. · Lecture at seminar, Galería Salvador Díaz. · Urban Buddies, lecture at conference, Madrid Abierto, Casa Encendida, Madrid.
2008· Instituto Europeo di Design, Madrid. · Tutors of European Design Lab master course 2008-2009. Re-fresh, Matadero Madrid. · Lecture inside the Madrid Architecture Week agenda. · Un-Defining Architecture, Skopje, Macedonia. · Lecture at Faculty of Architecture, University of Saint Methodius and Saint Cyril. · Forum Skopje, Macedonia. · Lecture and debate in urban seminar.
2007· Universidad Politécnica, Madrid. · Tutors of Master course Self Design. · Accademia di Architettura di Mendrisio, Suisse. · Assistant of Professor Martin Boesch, 4th and 5th year. · Istituto Europeo di Design, Madrid. · Tutors of European Design Lab master course 2007-2008. · Studio Banana, Bregenza, Austria. · Lecture, at Kunsthaus Bregenz, Z Connection summit. · PH 02, Pesoz, Asturias, España. · Landscape and territory workshop, design tutors.
2006· Istituto Europeo di Design, Madrid. · Tutors of Furniture Design master course 2006-2007. · Quito, Retroactive Simulacrum lecture, Las Palmas de Gran Canaria, España. · Lecture, First Architecture, Landscape and Art Biennale of the Canary Islands, España.
2005· Spaces for Art, Madrid. · Round table, Director and moderator, ARCO, Madrid. · The Post-Museum, Coruña, España. · Lecture, International University Menéndez Pelayo Summer School From the Post-Museum to the Post-Industry, Avilés, España. · Opening lecture at the Symposium Contenedores de Arte, Ayuntamiento de Avilés, España.
2004· Cartographic Fantasies, Kassel, Deutschland. · Geography workshop, Kassel University, Deutschland. · Epic landscapes, Avilés, España. Lecture, Oviedo University Summer School on Industrial Heritage, España.
2003· Urban gazes, Urbans rumours, Madrid. · Round table, Director and moderador, ARCO, Madrid.
2002· The dilemma of the exhibition space, Madrid. · Round table, Director and moderator ARCO, Madrid Six artifices, six, Aranjuez, España. · Lecture, Rey Juan Carlos University Summer School.
2008· Inside Information, chapter in the book Slightly Urban about artist Renate Buser. Published by Christoph Merian Verlag, Basel, Suisse.
2007· Locutorio Colón, monographic book on the homonymous project published by Fundación Telefónica and Madrid Abierto, Madrid. · Cabinet, Cage, Stage, chapter in the book Artificialy Deconstructed, about artist Wesley Meuris, published by Dexia and Cultuurcentrum Brugge, Brugge, Belgique.
2005· Almost Nothing, article in Arconoticias magazine, Madrid.
2004· About hybrids, vortexes, what happened and what could have happened, article, Arconoticias magazine, Madrid. · Alai, article, Sublime Art and Contemporary Culture magazine, Gijón, España.
2003· Fields, topologies and surrenders, article on the piece Time Lapse by Francis Alÿs, Arconoticias magazine 26, Madrid.
2002· Urban pentagram, article on the piece Zebra by Juan Carlos Robles, Arconoticias magazine 24, Madrid.
2009· Taylor, S. practice: kawamura-ganjavian, Monocle, no.29, vol.03, London, December09-January10, p.94.· Art and Design Practicds in Reference to City and Art - II, Mimar Sinan University, Istanmbul, 2009, pp.107-· Heat me and Divide It, in Housley L. (ed.), The Independent Design Guide, Thames & Hudson, London, 2009, pp. 299 and 310. · Rivas, R., Arquitectos enredados en un buen plan, El País, Madrid, 2 Junio 2009, p.6. · IX Premios Saloni de Arquitectura 2009, catalogue, Barcelona. · Tadanori Yamaguchi + Maki Portilla-Kawamura + Key Portilla-Kawamura + Ali Ganjavian, Locutorio Colón in Díez, J. (ed.), Madrid Abierto 2004-2008, Madrid, 2008, pp. 314-319. · Read, wherever and whenever..., The Reader, issue 0-1, Taipei, February 2009, pp 37. · Károlyi, E. kawamura-ganjavian, inventeurs, Artravel, no.25, Paris, February 2009, pp. 50-52.
2008· Casas, F., Kawamura-Ganjavian, Diseño interior, no. 196, Madrid, November 2008, pp. 50-54.· Bogoeva, K., Arhitektite treba da rabotat vo poveke zemji, Utrinski vesnik, Skopje, 23 April 2008, p. 16.· Predavanje na arhitektot Kej Portila Kavamura, Utrinski vesnik, Skopje, 17 April 2008, p. 16. · Huellas de Abecedario: 12 diseñadores, 12 objetos, 12 reflexiones, Anuario del diseño, no.2, 2008, pp. 52-54. · Perdidos 3, las "carras B" de la arquitectura, Arquitectos de Madrid, no. 1, March 2008, p. 33. · Tres exposiciones en el COAM, 2008, ON DISEÑO, no. 289, January, p. 48.
2007· Locutorio Colón, in Swiss Architecture Museum (ed.) 2007. · Reactivate!!: Espacios remodelados e intervenciones mínimas, Christoph Merian Verlag, Basel, p. 106. · Díaz J., Madrid Abierto, in Arte, Experiencias y Territorios en Proceso, Idensitat, Manresa, 2007, p. 31.· Merry-Kawamura-Ganjavian, 2007, Plug on, Designers Light: Ingo Maurer Poet of Light, catalogue, Gwangju.· Design Biennale Foundation, Gwangju Espinosa de los Monteros, P. 2007, Diseño: Ideas de sobra, ABC, 9th June, p. S6-5. · Quero Motto, P., Portilla-Kawamura, K. y Ganjavian Afshar, A. 2007. · Spaces for cyberspaces, LAB_ciberspacios, catalogue, LABoral Centro de Arte y Creación Industrial, Gijón, pp. 66-69. · Vozmediano, E. 2007, En busca del receptor fugaz, El Cultural, 15 February, pp. 77-80. · Light as you move, in Transitions: light on the move, catalogue of exhibition, COAM, Madrid, 2007, p. 60-61.
2006· Yamaguchi, T., Portilla-Kawamura, M., Portilla-Kawamura, K. y Ganjavian, A. 2006, Locutorio Colón, in Creus, J., Gallego-Picard, P. y Quesada, F. (ed.), O monografías: Cidade I, Santiago de Compostela· Primera Bienial de arquitectura, arte y paisaje de Canarias, catálogo, Gobierno de Canarias, Islas Canarias, 2006, pp. 270-271. · Ganjavian, A. 2006, Postcard from... Madrid, in Injection, no. 1, May, London, p. 7. · Yamaguchi, T., Portilla-Kawamura, M., Portilla-Kawamura, K. y Ganjavian, A. 2006, Locutorio Colón, Madrid abierto 06, Art interventions 1-26 February 2006. · De la Villa, R. 2006, Madrid se abre al arte, El Cultural, 9 February, Madrid, p. 60.
2005· Hansen, F., Urban Dispersion: To map the unmappable; An interview with Ali Ganjavian and Key Portilla-Kawamura, in Heim Again; Identity, Ideology & Geography, KHiB, Bergen, 2005, pp. 48-53.
2004· Hansen, F. and Mehler, S.; Programm 2003 bis Mitte 2004, Verlag Shedhalle, Zürich, 2004.
2002· Portilla-Kawamura, K. & Ganjavian, A. 2002, Space Search Engine, La nuova agorá, catalogue, Cittadelarte - Fondazione Pistoletto, Biella, pp. 145-147.
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2004. CHART. MUPPI Madrid Abierto (451 Studio
451 DESIGN STUDIO
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2008. VIDEO OF THE EDITION
VIDEO OF THE 2008 MADRID ABIERTO EDITION: INTERVENTIONS + AUDIOVISUAL WORKS + SOUND WORKS
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