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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







2007 / 2007.02.27. RN3. La ciudad invisible (Zurine Gerenaberria, Sonia Leber + David Chesworth)

Name Play Size Duration
La ciudad invisible. Zurine Gerenaberria, Bihotzbi. Sonia Leber y David Chesworth, Reiterations (26.02.2007)
54.9 MB 1:00:00 min









2007. Sonia Leber + David Chesworth. REITERATIONS (ELIZABETH STREET)

Format: 2-channel binaural audio

Name Play Size Duration
Sonia Leber, David Chesworth. REITERATIONS
4 MB 9:54 min

A sound work made in the city-spaces of Melbourne, Australia. We follow a series of Africans who are now living in Melbourne, inhabiting their listening perspectives as they sing and move about the city. Our starting point is Elizabeth Street, a major transport node.

Reiterations was commissioned as part of +Plus Factors, a series of exhibitions curated by Australian Centre for Contemporary Art for the Melbourne 2006 Commonwealth Games.

Reiterations are things that are said or done again - but not always in the same way, in the same place. A reiteration can be a repetition with difference.

Voices: Mmapelo Malatji (Botswana), Habib Chanzi (Tanzania), Zweli Tlhabane (Swaziland), Carlos Panguana (Mozambique), Francess Kalon (Sierra Leone), Valanga Khoza (South Africa), Prisca Cradick (Kenya)

The following is an extract from Juliana Engberg, Artistic Director, ACCA.

'My chicken is missing', essay for the +Plus Factors exhibition catalogue, Australian Centre for Contemporary Art, 2006 (

'Certain sounds are unique to places. However, world cities have increasingly become a medley of sounds. A sort of acoustic mélange of everywhere and nowhere: the ambient equivalent of Marc Agué’s non-places. The same hip-hop songs hurl themselves out at you from the same chain stores, whether you are in London or LA, Changi or Moscow. The same bing-bongs announce security alerts, hot specials and transit information...

Sonia Leber and David Chesworth use this urban polyphony of sounds as a membrane through which the singular sound of the embodied voice must push and pass its way; as a kind of landscape of the generic, surrounding the story of the specific.

Leber and Chesworth’s Reiterations (Elizabeth Street) is a sampled, then produced sound-space of recorded sounds that are unmistakably urban and general: loud speakers, train horns, guitar riffs, squeaky sounds, walking, hubbub, chatter (school girls, shop keepers…), voices, car horns, throaty motorbikes...

Leber and Chesworth’s sounds are grabbed from the urban bustle of Elizabeth Street, Melbourne, a typical ‘transit’ zone of the city, with its convenience stores and Chem-marts, take-outs and mobile outlets, luggage shops and bookstores, sports retailers, pubs and hair salons. Elizabeth Street is a place of particular intersection for inter-urban travellers who use the Western, and North Western tram lines that stretch out to, and bring people in from, the suburbs of Maribyrnong, Essendon, Coburg, and Airport West. Places which, over the past few years have become the cluster suburbs for immigrants, mostly refugees, from the African countries of Zambia, Nigeria, Botswana, Tanzania, Swaziland, Mozambique, Kenya, South Africa and Sierra Leone.

Into this hub of urban noise Leber and Chesworth have sent their individual travellers to walk and sing their way through the city. Songs that once described the pulverising of corn, or the happy return of mothers from the field, or the disappearance of a chicken from the village; lullabies, love songs and laments; songs of marriage and loss enter into the urban village of Melbourne through the power of voice and breath made round and cogent in the drum of the body.

Unlike the city’s urban sounds with their artificial veneer, these African voices seem authentic and exuberant – resonant and strong. The rhythm of the voice is matched to the tempo of the walking along the street, which makes the respiration of the singer seem percussive and urgent. This sense of urgency perhaps represents the larger struggle that accompanies the condition of those caught up in the diaspora, and the reserve of strength it takes to enter a new place and space while keeping a cultural memory and life intact...

These are grounded, earthy voices with feet and legs, and arms and bodies, and chests with air pumping. These are private voices made public. For most people music is generally internalised, either in their memory repertoire, or from their iPods, to assist them to individuate amidst the generalised, conglomerated experience of life in the fast lane.'








07sotb1437, 07sitc1452, 07sose1484

2007. Sonia Leber + David Chesworth (Cv)

SONIA LEBER / MELBOURNE, AUSTRALIA, 1959DAVID CHESWORTH / STROKE, UNITED KINGDOM,1958LIVES AND WORKS IN MELBOURNE, AUSTRALIAWWW.WAXSM.COM.AUWORK EXPOSED IN MADRID ABIERTO: REITERATIONS (ELIZABETH STREET)Sonia Leber and David Chesworth have collaborated since 1996, creating multi-channel sound and multimedia installations for a diverse range of arts and public spaces. A particular focus is the creation of ‘sonic event spaces’ in the public domain.

Public artworks include 5000 Calls, commissioned for Sydney Olympic Park (2000) and The Master's Voice, soundscape installation in Canberra, commissioned by ACT Public Art Program (2001).

Leber and Chesworth recently completed Proximities: local histories / global entanglements in collaboration with Simeon Nelson, a major built-in soundscape artwork to mark the 2006 Commonwealth Games in Melbourne.

Exhibitions include 5000 Calls, soundscape installation along Millennium Riverwalk, Cardiff, organised by Chapter Arts Centre, and 5000 Calls, soundscape installation along Shoemaker’s Footbridge, Ljubljana, organised by Cankarjev Dom Arts Centre (2003).

They were invited to create The Gordon Assumption for Melbourne International Festival of the Arts (2004). A video installation, The Persuaders, was commissioned for the Australian Centre for the Moving Image in Melbourne (2003).

Sonia Leber started focusing on the use of sound as a creative medium after more than a decade of working in film and video. Her films have been exhibited widely at film festivals and contemporary art spaces including Germany’s Oberhausen International Film Festival, Madrid Week of Experimental Cinema, the Aurora Australis tour of galleries in Canada, Museum of Contemporary Art in Sydney and Australian Perspecta at Art Gallery of New South Wales. In 1994, Leber curated the major sound art event Earwitness: Excursions in Sound for Melbourne’s Contemporary Music Events.

David Chesworth’s distinctive music compositions and sound installations have been performed and exhibited extensively around Australia as well as the Americas, Europe and Japan. Major festivals which have featured his work include Ars Electronica, Festival d’Automne de Paris, Edinburgh International Festival, Adelaide Festival, Sydney Biennale, SoundCulture, Brooklyn Academy of Music’s Next Wave Festival. Chesworth’s awards include a Churchill Fellowship and an honourable mention in Prix Ars Electronica.