Search Keyword: Total 16 results found.


Compañía de Caracas    Espacio Móvil

Colectivo Tercerunquinto

Fernando Baena Familias encontradas

Henry Eric Hernández García    Zona vigilada

José Dávila    Mirador Nómada

María Alos + Nicolás Dumit    El museo peatonal   

Óscar Lloveras Sin título

Raimond Chaves    El río, las cosas que pasan Rebekka Reich + Anne Lorenz    Taxi Madrid Simon Greenan + Christopher Sperandio    Soy Madrid






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

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




For further information check:

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.


Anne Lorenz    &   Rebekka Reich               Artistas (Allemagne)




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:



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. Rebekka Reich + Anne Lorenz. TAXI MADRID (technical data)


1. Find 10 former inhabitants of Madrid in Europe.2. Interview them via telephone or email with the same set of questions.3. Analyse the answers and construct one episode for each of the 10 taxis in collaboration witha writer and a sound designer4. Transform and edit the found material with our artistic viewpoint into 10 mini-installations5. Produce the installations by the means of sound, language, music, smell, objects andinteraction with the taxi drivers.6. Prepare the taxis7. Rehearsals with the taxi-drivers


Sep-Nov 2004: interviews, first trip to Madrid: contacts to taxi operators, contraction of: actors for sound-recordings, writer, translator and sound-designerDec 2004: design of episodesJan 2005: sound-recordings / post-productionJan/Feb 2005: second trip to Madrid. Installation and rehearsals two weeks prior to the opening







2005. Rebekka Reich + Anne Lorenz. TAXI MADRID (theoretical data)

2005. Rebekka Reich + Anne Lorenz. TAXI MADRID (theoretical data)

To return to a place where we stayed in the past is well possible, but to return to a moment, which we experienced in the past, unfortunately is not. Dr. P. J. Zwart “Het Mysterie Tijd”

WHATTaxi Madrid is a mobile public art intervention addressing issues of perception and the logic of memory. Equipped with stories, sounds, objects, smells and other memorabilia, 10 taxis will serve the main axis of Paseo de la Castellana, Paseo del Prado throughout the duration of Madrid abierto, transporting their passengers into someone else’s mind and view of Madrid from a different perspective: That of the ex-patriot.

WHYHaving lived in Madrid ourselves, respectively 10 and14 years ago, we were interested in how our memory of the place works. What stays vivid? Is it locations in relation to events, to smells or to certain colours or atmospheres?

A mixture of stories and descriptions came to mind and comparing them to the current state of the city a lapse between memory and reality arises.

AIMWe are interested in exploring how the outsiders view* of Madrid works in the current situation andhow a confrontation with someone else’s view can make us see the place we think we know so wellwith different eyes. The aim is to catch the inhabitants of Madrid off guard, unprepared and abductthem for a short amount of time from their everyday business.

TAXIA taxi is not just a means of transport but also an enclosed private space one enters for a certain amount of time:an ‘in-between-space’, a ‘time-out’. Much like in the cinema there is no way of escaping, other than stopping the car, and as such it serves as an interesting platform for a public art intervention. For Taxi Madrid we use this confined space and time to confront the passengers with a reality different to their own.

HOW*By interviewing 10 former inhabitants of Madrid, who now live in different locations all over Europe, we devise 10 taxis dedicated to these people’s memories of Madrid.

The passengers are not briefed that the taxi they are entering is part of an art project, but will notice once they are on their way, that things are slightly different to their normal taxi trip. Maybe a musky smell of cologne is in the air and a ticket to the opera from 1960 lies on the back seat. All of a sudden the music to that opera starts playing through the radio and from the head-rest comes the voice of a lady talking about what she was thinking about when she walked down Paseo de Recolletos one night, when an exhibitionist came running towards her…

When paying for the taxi trip the passenger will receive a receipt with the following information:- The name of the person, whose story he or she just witnessed- The place where he or she currently lives- The date when they left Madrid

PUBLICAs such Taxi Madrid hopes to become a talking point for the duration of Madrid Abierto for the artpublicand a broader public alike. The project works with a sense of mystery or mythology, as thelikelihood to enter one or more of the taxis is quite random, and for many members of the public, theexperience will be unexpected.

The memory of the ex-patriot becomes part of the lived presence of a taxi user from Madrid andtherefore part of his or her own memory.







2005. Rebekka Reich + Anne Lorenz (Cv)




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.






2005. Rebekka Reich + Anne Lorenz. TAXI MADRID (images)

2005. Rebekka Reich + Anne Lorenz. TAXI MADRID (images)













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

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..


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

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.


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

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

2005. Rebekka Reich + Anne Lorenz. TAXI MADRID (postcards)

2005. Rebekka Reich + Anne Lorenz. TAXI MADRID (postcards)

























f05inmc0571, f05inmc0572, f05inmc0574, f05inmc0575, f05inmc0576, f05inmc0577