Search Keyword: Total 8 results found.


Discoteca Flaming Star    Discoteca Flaming Star

Johanna Billing    You don’t love me yet

Alfonso Gil + Francis Gomila   Guantanamera

Ben Frost   I lay my ear to furious

Dan Perjovschi    Off

Dirk Vollenbroich    Short circuit / Cortocircuito www.dirkvollebroich

Mandla Reuter Pictures

Susan PhillipszFollow Me

Anikka Ström    The missed concert

Dora García    Rezos/Prayers

Nexus Art Group    Proyecto[NEXUS*]Jose Luis Delgado Guitart Ricardo EchevarríaMajorie KanterAchilleas Kentonis María Papacharalambous

Oswaldo Macià    Cuando los perros ladran

Leopold KesslerAlarm bike





2007. Jorge Díez. PRESENTATION

 MADRID ABIERTO is an international artistic initiatives programme which is held throughout the month of February in the junction Paseo de la Castellana-Recoletos-Prado since 2004. It is an avenue for approaching the interpretation and comprehension of how the public space is constructed from the sphere of art. Since its first open invitation announcement it has received more than 1.200 proposals. Out of all the projects presented, 29 were exhibited in the previous three editions and 13 will be exhibited this year, selected by different juries comprised by international experts.

Organised by the Cultural Association MADRID ABIERTO, the 2007 edition of the programme is promoted by the Altadis Foundation, the Department of Culture and Sport of the Autonomous Community of Madrid and the Governing Department for the Arts of the City Council of Madrid, with the collaboration of the Telefónica Foundation, La Casa Encendida of Obra Social Caja Madrid, the Ministry of Culture, ARCO, Radio 3 of RNE, Círculo de Bellas Artes, Canal Metro, Cemusa, Centro Cultural de la Villa of Madrid, Remo, Mediazero and Metro.

For this fourth edition, which will be held from the 1st to the 28th of February, a total of 658 projects were presented; 471 for the general invitation, 61 for the façade of La Casa de América, 28 for the façade of Círculo de Bellas Artes, 74 works for Canal Metro and 24 sonorous initiatives for Radio 3. The breakdown by countries of the projects presented is as follows: Spain (174), Italy (46), USA (46), Mexico (40), Argentina (33), Germany (28), Colombia (28), France (25), Brazil (18), Canada (16), Cuba (16), Ecuador (14), Chile (13), The Netherlands (13), Portugal (12), Ireland (9), Sweden (9), United Kingdom (9), Venezuela (9), Japan (7), Austria (6), Yugoslavia (6), Australia (5), Peru (5), Belgium (4), Costa Rica (4), Finland (4), Norway (4), Poland (4), Turkey (4), China (3), Croatia (3), Slovenia (3), Russia (3), Switzerland (3), Uruguay (3), Bulgaria (2), El Salvador (2), Georgia (2), Guatemala (2), India (2), Iceland (2), Israel (2), New Zealand (2), Czech Republic (2), Cyprus (1), Denmark (1), Estonia (1), The Philippines (1), Greece (1), Hungary (1), Latvia (1), Lithuania (1), The Dominican Republic (1), Serbia (1) and Singapore (1).

The selection committee was comprised by Juan Antonio Álvarez-Reyes (curator of Madrid Abierto 2007), Ramon Parramon (director of Idensitat), Cecilia Andersson (director of Werk) and Guillaume Désanges (co-ordinator of art projects in Les Laboratoires D’Aubervilliers, Ille de France). We declared the project for the façade of Círculo de Bellas Artes unfulfilled and pre-selected thirty projects, from which the curator finally selected Fernando(We were young. Full of life. None of us prepared to die) by the collective Discoteca Flaming Star; proyecto_nexus* by the collective [nexus*] art group; I Lay My Ear To Furious Latin by Ben Frost; Rezos/Prayers by Dora García;Pictures by Mandla Reuter; Guantanamera by Alonso Gil and Francis Gomila and Short Circuit/Cortocircuito by Dirk Vollenbroich. In addition to these seven selected projects, the current edition is complemented by other projects from artists invited by the curator: Dan Perjovschi, Susan Philipsz, Johanna Billing, Leopold Kessler, Oswaldo Maciá and Annika Ström. Through this mixed selection model our intention is to continue to make progress in our objective of broadening each annual proposal of MADRID ABIERTO.

In this year’s edition, for the first time, two specific invitations for audiovisual and sonorous works were announced, which were selected by the curator, myself, Arturo Rodríguez and José Iges. The following 11 works were selected for projecting on Canal Metro: Rothkovisión 3.0 by Daniel Silvo; Mierda de caballos y príncipes by Fernando Baena; Rest by Carolina Jonsson; Every Word is becoming by Alexander Vaindorf; Alpenflug (Alpine Flight) by Juan Carlos Robles; Himno by Cristian Villavicencio; PlasmaLux06-7 by Tanja Vujinovic-Zvonka Simcic; Mis Quince by Alfredo Pérez; Lucía by Pere Ginard and Laura Ginés; Candy by Mai Yamashita and Naoto Kobayashi and The Toro’s Revenge by María Cañas. For broadcasting on Radio 3, the following 8 works were selected: Am I walking by Jouni Tauriainen; Bendicho juez de la verdad by Eldad Tsabary; Reiterations (Elizabeth Street) by Sonia Leber and David Chesworth; Postal Densa. Postal Sonora. Madrid-Bogotá by Mauricio Bejarano; Alkaline by Paul Devens; Funkenspiel by David Halsell; Poema Jazz (a Clara Gari) by Luis Eligio Pérez and BihotzBi by Zuriñe Gerenabarrena.

Likewise, following on with the work of the previous editions, E451 continues to develop the graphic image and web page and, for the second year running, together with various debate tables on public art, the selected artists will present their work in La Casa Encendida on the 1st and 2nd of February.

We are continuing the process of creating an initiative of a scale manageable by a small team without a permanent or continuous structure, based on an open invitation announcement geared towards the production of ephemeral or temporary projects for the public space of the city of Madrid.

Jorge Díez








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









2007. Oswaldo Macià (Cv)



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.







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)