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

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 Thursday, February 2nd 6pm to 9pmPRESENTATION OF THE MADRID ABIERTO 06 PROJECTS

Place: La Casa Encendida (Ronda de Valencia nº2)Selection carried out by Eva González-Sancho, director of FRAC Bourgogne.Moderates: Ramon Parramon

1Ramon Paramon (presentation)00:00 – 03:00

Virginia Corda y Maria Paula Doberti. Accidentes Urbanos.03:00 – 19:00

Nicole Cousino en colaboración con Chris Vecchio. Speakhere¡ 19:00 – 29:50

Gustav Hellberg. Pulsing Path-ambiguous vision. 29:50 – 43:08

Colectivo Lorma Marti. Blend out. 43:08 – 53:30

Tere Recarens. Remolino. 53:30 – 56:06

Arnoud Schuurman. Translucid View56:06 – 1:01:02

2Arnoud Schuurman. Translucid View00.0    – 01:30

3Tao G.Vrhovec. Reality Soundtrack. 00:15 – 09:00

Maki Portilla-Kawamura, Key Portilla-Kawamura, Tadanori Yamaguchi y Ali Ganjavian. Locutorio Colón.09:00 – 26:36

Wilfredo Prieto. Ouroboros. 26: 36 – 29:28

TALKS AND ROUND TABLES

Ramon Paramon (presentation of the interventions by Jorge Díez, El Perro and Javier Avila)32:35 - 34:48

Jorge Díez: Director of Madrid Abierto. From 2004 to 2005 he was General Secretary of Cultural Management and Promotion of Castilla-La Mancha (Secretario General de Dirección y Promoción Cultural de Castilla-La Mancha).34:48 – 47:44

El Perro: Group of visual artists (Pablo España, Iván López y Ramón Mateos). From 1997 to 2002 they organised the public art exhibition, Capital Confort in Alcorcon. Took part in the organisation of MAD 03 - Arte público. 47:44 – 1:01:03

4El Perro: Group of visual artists (Pablo España, Iván López y Ramón Mateos). From 1997 to 2002 they organised the public art exhibition, Capital Confort in Alcorcon. Took part in the organisation of MAD 03 - Arte público. 00:00 - 01:39

5El Perro: Group of visual artists (Pablo España, Iván López y Ramón Mateos). From 1997 to 2002 they organised the public art exhibition, Capital Confort in Alcorcon. Took part in the organisation of MAD 03 - Arte público. 00:00 – 13:30

Javier Avila: Art critic and exhibition organiser. He has promoted and managed numerous editions of the Periferias project in the city of Gijón.d de Gijón.13:30 – 28:00

Round table28:00 – 48:36

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(November 2005)

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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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 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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 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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Muppies at Paseo del Prado-Recoletos-Castellana. Canal Metro projections

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 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.

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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

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AUDIOVISUAL SCREENING ON METRO TV CHANNEL

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AUDIOVISUAL SCREENING ON METRO MADRID TV CHANNEL

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Documentary about the production and inauguration of "Translucid View" by Arnoud Shuurman

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**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

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