Search Keyword: Total 15 results found.
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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

 

 

 

 

05prta0366

2005. José Dávila. MIRADOR NÓMADA (location)

Casa de América façade, Linares palace

 

 

 

 

 

 

05intd0585

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. 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

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

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

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

2005. José Dávila. MIRADOR NÓMADA (images)

2005. José Dávila. MIRADOR NÓMADA (images)

 

                 

                 

 

 

 

 

 

 

 

 

05inic0527

2005. José Dávila. MIRADOR NÓMADA (register visits)

 

5.325 people accessed the scaffold

 

 

 

 

 

 

 

08intc0530

2005 / 2005.02. EN LÍNEA (GRUPO RESA). El andamio como obra de arte (José Dávila)

2005 / 2005.02. EN LÍNEA (GRUPO RESA). El andamio como obra de arte (José Dávila)

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

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