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Place: La Casa Encendida (Ronda de Valencia No. 2, Madrid)Date: 7th and 8th FebruaryTime: From 17.00 to 21.00 h.

Continuing the practice established in the last editions, this year the debate tables are organised once again in collaboration with La Casa Encendida.  As in previous editions, on the one hand, the debate tables will present the projects produced for Madrid Abierto and, on the other, they will introduce different initiatives developed within the sphere of art in the public space.

The round tables will include the active participation of the commission set up last year to debate the model of Madrid Abierto.  The commission's co-ordinator, Rocío Gracia, and its members, Cecilia Anderson, Guillaume Désanges, Jorge Díez, Ramón Parramon, María Inés Rodríguez and Fito Rodríguez, together with this edition's organisers, the collective DEMOCRACIA.

For the artists’ presentations, the event's organisers have established three groups, although aware that the groups may be pervious and that one same project may meet several of the established premises. On the one hand, we will have the projects that make the contemporary class conflict visible, as well as a temporary suspension of the exclusions generated by this conflict, on another hand, those that employ elements or the propagandistic language of the urban scene, and lastly, those more closely associated with forms of urban culture.

The artistic experience developed in the public space faces the complex task of intervening in a saturated and hyper-aesthetized space with few fissures. The temporary and ephemeral nature of these artistic practices often places obstacles in the way of the dissemination and development possibilities of many interesting proposals that would require more time, with respect to the prior investigation and the subsequent production of the interventions as well as the desirable convergence with other projects and other social and cultural agents. In light of this, the opening of new spaces is needed to encourage other forms of production and dissemination, as well as the creation of networks of information and collaboration between this kind of artistic practices. For this reason, every year Madrid Abierto aims to give exposure to other similar experiences. In this edition, Nelson Brissac and Vit Havranek will be responsible for presenting invited projects, offering their experience in the debate on the strategies applied to the city and the territory from an artistic perspective, with more or less emphasis on experimentation, multi-discipline, the process and interaction with the public.


17:00-18:15 Presentation of Madrid Abierto projects

Hell is coming/World ends today. Andreas Templin

Not for sale/No se vende. Alicia Framis

Welcome On Board. Guillaume Ségur

Gran Sur. Fernando Prats

Chaired by: Cecilia Andersson; Democracia

18:15-19:30 Presentation of Madrid Abierto video projects

Arturo-Fito Rodríguez introduced by Rocío Gracia

20:00-21:00 Vít Havránek, introduced by Guillaume Désanges



17:00-18:15 Presentation Madrid Abierto projects

Speculator + Empty World. Todo por la praxis

Construye tu casa en una azotea. Santiago Cirugeda

Explorando Usera. La Hostia Fine Arts

Videointervenciones móviles en contextos urbanos específicos. Fernando Llanos

Moderan: María Inés Rodríguez y Democracia

18:30-19:30 Presentation Madrid Abierto projects

Estado de excepción. Noaz/Dier

Proposal Nr. 19 + Gift. Anno Dijkstra

No more no less + La hucha de los Incas. Jota Castro

La guerra es nuestra. Immi Lee/Annamarie Ho

Moderan: Ramon Parramon y Democracia

20:00-21:00 Nelsson Brissac, introduced by Jorge Díez



Cecilia Andersson is curator and director of Werk Ltd., a curatorial agency established in Stockholm. Werk collaborates internationally in the organisation, production, promotion and publication of contemporary art.

Her recent projects include SuperSocial, social events set up in different cities; a series of conferences and seminars in collaboration with Francesco Jodice; On Cities, an exhibition organised in Stockholm’s Museum of Architecture and an itinerant programme of Chinese video.

Cecilia is an independent consultant for Disonancias, an interchange platform between artists and companies in San Sebastián and is part of the Madrid Abierto Commission.


Nelson Brissac is a philosopher whose works is related to art and urban-planning issues. Since 1994, he is organiser and curator of Arte/Cidade, an urban interventions project in São Paulo.


Guillaume Desange, is curator, art-critic and co-founder of Work Method, an agency based in Paris dedicated to the production of artistic projects. As member of the Trouble publishing committee, he regularly collaborates with the magazines Exit Express and Exit Book (Madrid). From 2001 to 2007 he co-ordinated the artistic projects of Laboratoires d'Aubervilliers. He organised the exhibitions Pick-Up en Public>, Paris 2004, Untouchable, The transparency Ideal in Villa Arson, Nice and the Patio Herreriano Museum, Valladolid, in 2006-2007, Jiri Kovanda Vs rest of the World in the agency gallery gb, Paris; De Appel, Asmterdam; Centre d'Art Santa Monica, Barcelona, and has worked with Thomas Hirschhorn in the projects The 24h Foucault project and Musée Précaire Albinet. In 2007-2008 he is an invited curator at Centre d'Art Contemporain La Tôlerie. He is a lecturer at Ecole des Beaux-Arts de Clermont-Ferrand and is part of the Madrid Abierto Commission.


Vit Havranek is a theorist and a producer established in Prague. Since 2002 he works as Project Manager for the contemporary art initiative tranzit / sponsored by the Erste Bank Group. He has worked as curator in Prague’s Municipal Gallery and National Gallery. He is a lecturer at the Prague College of Applied Arts. His most recent projects, some of which in collaboration with others, include A CDEFGHIJK MNOP  STUV   Z, part of Societe Anonyme, Le Plateau, Paris, 2007; tranzit – Auditorium, Stage Backstage, Frankfurter Kunstverein, Frankfurt 2006; I, series of exhibitions in three acts: Secession Vienna; Futura Prague; tranzit workshops Bratislava, 2006. He has written articles for several magazines, such as, among others, Springerin, Artist and Flash Art.


Ramon Parramon, directs and manages projects within the area of contemporary art and creation. Since 1998, he directs the art project IDENSITAT. In addition, he has organised several projects, such as Territorios Ocupados, 2000; Barcelonas, 1999 and Visiones Periféricas, 1994-97. He has given conferences and seminars at the Polytechnic University of Valencia, the Polytechnic of Milan, the University of Vigo, the University of Granada, the International University of Seville, the University of Barcelona and the Barcelona Higher College of Architecture. His work evolves with a marked interest towards interdisciplinary projects and the roles that art can play in specific socio-political contexts. He is part of the Madrid Abierto Commission.


María Inés Rodríguez is an exhibitions curator. She has organised exhibitions and research projects on the public space appropriation strategies in different contemporary art spaces which relate art, design, architecture and urban-planning. In 2004, she created Tropical paper editions to develop the editorial projects of artists. In 2007, she developed the projects Habitat/Variations, BAC Geneva, La Casa Encendida, Madrid, Bermuda Triangle, Êcole de Beaux Arts de París, and was co-curator of MDE 07 Encuentro de Medellín. She is part of the Madrid Abierto Commission.


Arturo-Fito Rodríguez,member of Fundación Rodríguez, an artistic production collective that organises and co-ordinates projects associated with contemporary culture and new media, such as Tester and Intervenciones TV. He is part of the Madrid Abierto Commission.


Rocío Gracia is an art historian, member of RMS La Asociación, an agency established in 1998 in Madrid dedicated to organising, producing, promoting and disseminating contemporary art projects, and which has recently developed such projects as MadridProcesosRedes and ON SITE TOUR/TALK. The agency will shortly present a preview of Archivo VEO within the project Old News of CGAC and is preparing the exhibition Sur le dandysme for the Centro Huarte de Arte Contemporáneo.


Jorge Díez, director of Madrid Abierto and co-director of the MBA in Cultural Management, Santillana/Salamanca University. In 2007 he has co-curated with José Roca (Colombia) Cart[ajena] public art project promoted by SEACEX, developed within the IV Congress of Spanish at Cartagena de Indias, Colombia. He has lectured in the Spain-Japon Forum at Nagasaki, Actual experience in Public Art at the 16º Arts Symposium at Porto Alegre, Brasil and, Contexts and projects in Public Art. Ephemera models of intervention, at the MARCO. 











Alicia Framis + Michael Lin    Not for sale/No se vende Andreas Templin    Hell is coming/World ends today

Dier + Noaz    Estado de excepción www.noazmadrid.blogspot.comwww,

Anno Dijkstra    Proposal Nr. 19 + Gift

Fernando Llanos    Videointervenciones móviles en contextos urbanos específicos

Guillaume Ségur    Welcome On Board

Fernando Prats    Gran Sur

Jota Castro No more no less + La hucha de los Incas

LaHostiaFineArts (LHFA)    Explorando Usera

Santiago Cirugeda    Construye tu casa en una azotea

Todo por la Praxis    Speculator + Empty World

Santiago Sierra    Bandera negra de la república españ

Annamarie Ho + Inmi Lee    La guerra es nuestra








2008. DISCUSSION PANELS / 07 y 08 feb (images)

2008. DISCUSSION PANELS / 07 y 08 feb (images)



Fito Rodríguez, Rocío Gracia     Rafael Tunes, Diego Peris   María inés Rodríguez, Pablo España, Rafael Burillo    Diez, Noaz

Fito Rodríguez, Rocío Gracia    Fernando Llanos    Annamarie Ho, Inmi Lee    Dier, Noaz


Fernando Baena    Jota Castro    Dier     Anno Dijkstra   

Annamarie Ho    Inmi Lee  










2008. Fernando Llanos. [VI VÍDEO] (theoretical data)

[ vi video ]Videointervenciones móviles en contextos urbanos específicos

Videoman is the element that combines residues of urban media supports with the technological world. It is made from fragments and, at the same time, it generates fragmentation.

The project creates new ways (or extrapolated ways) of creating narratives. It ceases to be something where, when at all, mobility takes place on the screen in front of us, to become something that flows with us. The movement lies with the motion of the people, cars and city life.Influenza [Raquel Rennó and Rafael Marchetti]


- 5th Mercosul Biennal, Porto Alegre, Brazil, 2005.- Festival of electronic arts and video TRANSITIO_MX, Centro Nacional de las Artes, Mexico, 2005.- 35th Cervantino International Festival, Guanajuato, 2006.

A project of urban videointerventions carried out by making the most of the artist’s body gear to highlight the dynamics referred to by the author as “urban acupuncture”, generating momentary reflections in parts of the city where he appears as VIDEOMAN. A different harness is generated for each edition to experiment other ways of projecting in the streets of the cities.

Everything is recorded in photographs and videos, and everything is subsequently mounted in the shape of an installation.

On the one hand, this project seeks to bring the specialised public closer to non familiar spaces not specifically reserved for art, and, on the other, to get the people who live and pass through those spaces to question aspects of their everyday life, reassessing its history and/or open the way for interaction between artist and public.


We cannot go on expecting people to visit museums on their own initiative. We must take our reflections to their spaces and gain ground in a decisive way, like graffiti that yells out in the streets, “we are here, and this is what we think!”, like pirate radio stations that don’t wait around to disseminate their ideas, share their findings or spread their beliefs, like some metro and street musicians, poets and performers.


A series of videointerventions will be performed in the junctions of Paseo de la Castellana and Paseo del Prado with Calle de Alcalá and Gran Vía, linking the history or the characteristics of the space to the content of the videos. Afterwards, we propose presenting the results of the videointerventions performed in Madrid, México and Brazil, in La Casa de América.

For more information on the nature of urban videointerventions and how the piece can be mounted, we attach a number of images, but you can see videos


These initiatives captivate the public in a direct and surprising way. Their mobile nature makes them ephemeral, and they are mobile because of a harness that I design to enable me to move around and use all the equipment.

The content of the projections may be related to the history of the place, recent events associated with the place and/or local reflections of popular interest. Passers-by can be involved as part of the act and the piece through a “closed circuit” system.


Taking advantage of the technological advantages of our era, where equipment is increasingly smaller and more portable, I will wear a harness to hold the camera, two miniDVs decks, a video mixer, the projector and the batteries, in order to subsequently make a tour in which I perform the action.


The kit mounted in the harness allows me to move and establish different relations with the space and with the people present. On the one hand, this enables me to generate participative dynamics with projections in motion, causing reactions whilst following a specific action, changing trajectory, measuring the interest, etc. On the other hand, for each video shot or sequence, to search for a changing plane in accordance with the specific discourse of the projected video.


1. The previously produced content related to the area.2. The content generated in situ with the provoking camera (closed circuit) which projects and manipulates the participation of passers-by.


Investigate the locations, part of the history and its contemporary problem issues, analyse the best times and places for carrying out the videointervention based on the flow of people and the significant aspects that may arise from working in that space. I record the images and I start to work on the video to be projected. On the day of the intervention, the material is projected in the previously selected space. The act, the reaction of the people and their relationship with the pieces, if they get involved, is recorded.









2008. Fernando Llanos. [VI VÍDEO] (location)

Video-interventions different points of the city Exhibition Casa de Muñecas, Casa de Amé














2008. Fernando Llanos (Cv)


“Fernando Llanos is one of the connection nodes between art and video in Mexico, whilst producer and catalyst”. Cuauhtemoc Medina, Curator.

“Fernando Llanos is one of the most interesting experimental artists of contemporary Mexico. His work shifts in several territories and disciplines, including video, robotics, ciberart and performance”. Guillermo Gomez-Peña, Artist.

“He is fantastic”. Guillermo Arriaga, Writer.

“This 29 year-old Mexican is a solid reference of Latin America’s". The newspaper Periódico La Nación, Buenos Aires.

“Fernando Llanos, one of Latin America’s references in the field of video art and”. Centro Cultural de España, Cordoba, Argentina.

Recognised as one of the most distinguished young Mexican artists in the use of  video, Fernando Llanos Jiménez has presented his work in more than twenty countries, including New York’s Guggenheim, Montreal’s Festival of New Cinema and New Means, Amsterdam’s World Wide Video Festival, Berlin’s Transmediale, France’s Interference, Marseille’s Videochroniques, Brazil’s Bienal do Mercosul, etc.

His productions on video range from formal experimentation, non-orthodox documentaries, non-linear interactive projects, live manipulation and mix, to webcinema.

He recently published a book with TRILCE which was presented in Mexico (SITAC), Madrid (Medialab), Valencia (CAM) and Barcelona (Espai Ras). His has worked in cinema in the films Amores Perros and Dancer in the Dark.

He currently teaches “appreciation of digital art” and “video and new technologies”.

EDUCATION1995-2000 ·    B.A. degree in Plastic Arts from the Escuela Nacional de Pintura, Escultura y Grabado La Esmeralda. Specialisation in video. Degree with honourable mention.2000 ·    Maya Transition - 3 D animation, D.E.G.E.S.C.A., U.N.A.M., Mexico 1999 ·    History of Experimental Cinema in Mexico, Centro de la Imagen, Mexico1998 ·    Cinema script workshop, Universidad Andrés Bello, Venezuela, and·    Experimental cinema workshop, Centro de Capacitación Cinematográfica1996 ·    Digital photography: self-portrait, imparted by Gerardo Suter, and Interactive installation and robotics art, imparted by Simon Penny, Centro Multimedia, Centro Nacional de las Artes, Mexico City.

VIDEO PROJECTIONS2007·    Transito_MX 2.0 Electronic Arts and Video Festival, Centro de la Imagen y Centro Nacional de las Artes, Mexico City.·    Close up. Strobe Video Production Festival, Amposta, Tarragona, Spain, Pasagüero, Mexico City and Laboratorio de Arte Alameda, Mexico City·    A viaxe Dislocada, videoviajes y turismo, Museo de Arte Contemporáneo de Vigo, Spain·    Glorieta, exhibition of city videos, X-Teresa, Mexico City.·    La Cooperativa de Arte en Video, Mediateca de Caixa Forum, Barcelona·    El regreso de la Cooperativa de Arte en Video, Videomuros, Centro Cultural Muros, Cuernavaca, Morelos, Mexico, and International Contemporary Cinema Festival of Mexico City, Cinemex Insurgentes, Mexico City.·    Ruido, Mostravideo, Instituto Itaú Cultural, Palácio das artes en Belo Horizonte and Instituto de artes do pará en Belém, Brazil

2006·    Sreenings Honouring Mexican Independent Cinema, Zonema, Chelsea Center for the Arts, New York, USA.·    vídeo_dumbo. 10th annual Art Under the Bridge Festival. D.U.M.B.O. Arts Center, Brooklyn, New York, USA.·    ida y vuelta. Escuela Nacional de Pintura, Escultura y Grabado La Esmeralda, Centro Nacional de las Artes, Mexico·    2nd On The Road. Video Festival Celebrating Jack Kerouac, 119 Gallery, Washington DC, USA.·    35th Cervantino International Festival, Arte Urbe, Guanajuato, Mexico· International Art in Mobile Media Festival. Conservatorio de Música de UFMG. Horizonte, Brazil·    Videomix. Dibujos en vídeo. La Casa Encendida, Madrid·    Digital Setting. Week 01. Fundación de Arte Contemporáneo, Montevideo, Uruguay·    Bolivar 36, una reflexión sobre vibujo y dideo, Bolivar 36, Historical Centre, Mexico City.·    arteBA2006, 15th Contemporary Art Fair, La Rural, Buenos Aires, Argentina·    Pabellón dd. versión final. Centro de Arte Juan Ismael, Fuerteventura, Gran Canaria, Spain·    Videobonus para curiosos. CINEMEX, 3rd International Contemporary Cinema Festival of Mexico City, Mexico

2005·    Transitio_MX Electronic Art and Video Festival, Centro Nacional de las Artes, Mexico City.·    Videomix - Videojournal.1, La Casa Encendida, Madrid·    The KO First Video Art Festival, Ekhaya Media Centre in Kwa-Mashu, Durban, South Africa·    5th Mercosul Biennale, Porto Alegre, Brazil·    Fotografest, Alberca Artes A. C., Cuernavaca, Mexico·    Videomails, MADC Video library, Museo de Arte y Diseño Contemporáneo, San José, Costa Rica·    Ciclo de Audio Visuales Iberoamericanos, Centro Cultural de España, Córdoba, Argentina·    Derive mental, Video Collective within the programme Panorámica, Museo Tamayo Arte Contemporáneo, Mexico City.·    DIGITAL STORYTELLERS (net art), Piamonte Share Festival, Torino, Italy·    México 70, disciplinas varias/estrategias múltiples, Casa del Lago, Chapultepec, Mexico City.·    ¡ARRÁNCAME EL CORAZÓN!, 14 Mexican audiovisual pieces on love, La Casa Encendida, Madrid·    In the Air, Projections of Mexico, Guggenheim Museum, New York, USA.

2004·    Unzipping codes, Art Centre Nabi, Seoul, South Korea·    De Chile, de mole y de dulce (three Mexican contemporary videoart programmes), Doshisha University, Kyoto, Japan·    VideoFest24K, Video and Contemporary Cinema Biennale, Centro Estatal de las Artes, Mexicali, Mexico·    Festival Off Loop’04, FNAC L’Illa, Barcelona·    Áreas verdes. Sala del deseo, Centro de la Imagen, Mexico City.·    Transmitiendo Trazos. Festival Todos o Nadie, Museo Taller Erasto Cortés, Puebla, Mexico·    Esmeralda X. Galería Central, Centro Nacional de las Artes, Mexico City.·    TOP TEN, Restrospective Monochannel Video Exhibition, Galería Animal, Santiago de Chile; Centro Cultural España, Montevideo, Uruguay; Auditorio Un perro Andaluz del Centro Cultural España, Argentina·    VideoVIAJES. Monochannel Video Exhibition, Centro Cultural Parque de España/AECI de Rosario, Argentina·    Un, dos, tres por mí y por todos mis compañeros, Espacio Fundación Telefónica, Buenos Aires, Argentina·    D_video_urbano, within the exhibition “centro + media”, Centro de Diseño cine y televisión, Mexico City.·    Videomails y Transmitiendo Trazos, El Ojo Atómico, Madrid·    Videoviajes. Mexican video-creation projections, Vitoria Territorio Visual, Centro Cultural Montehermoso, Vitoria·    Contra el Silencio Todas las Voces. III Latin American Festival of Independent Documentary Videos. Competition “Carlos Velo”, Casa Jaime Sabines, Mexico City.·    ...esto es tech-mex, within the programme “Áreas Verdes”, Instituto de México, Paris, France·    FFWD Video Art Festival, Cholula, Puebla·    Handmade (hecho a mano), Galería Laboratorio Arte Binaria, Centro Nacional de las Artes, Mexico City.·    Just a Kiss, Art Addict, McCallen, Texas, USA.·    Un, dos, tres por mí y por todos mis compañeros. Centro Cultural España, Mexico City.

2003·    Festival Ruido Digital, Belo Horizonte, Brazil·    Tequila con Charanda, Videos with denomination of origin, Private Gallery, Mexico City.·    Project room of the Paris Photo 2003 Fair, Paris, France·    8th National Video Festival Imagem em 5 minutos, Salvador de Bahía, Brazil·    4th Valencia International Artistic Research Festival: Observatori 2003, inside the Valencia pavilion, Spain·    Museo de Arte Moderno de Buenos Aires, Argentina·    Museo Nacional de Artes Visuales, Montevideo, Uruguay·    Escuela de Cine de la Cinemateca Uruguaya / ECU, Montevideo Uruguay·    Justicia. Documentary. Within the project “Este corto si se ve”, Projection of videos in the open air in the district of Condesa, Mexico City·    Electronic Art Festival “Interactiva'03”, Mérida, Yucatán, Mexico·    Cooperativa Arte en Video. Mexican video marathon, Museo Tamayo de Arte Contemporáneo·    >wartime<. Collective anti-war exhibition, Galería del Centro Multimedia and parking area of the Centro Nacional de las Artes, Mexico

2002·    Creation in Motion. Generation 2000-2001, Galería Central del Centro Nacional de las Artes, Mexico City.·    Open_digi_party (latino venue), Bradys, Brixton, London·    MEXARTFEST, Kyoto, Japan·    Moov2002, White Box, New York, USA.·    Dis + Art + Tec 4 (Diseño + Arte + Tecnología); International Videoart Exhibition “Contaminados. (Ex)Tensiones de lo audiovisual”, Museo de Arte y Diseño Contemporáneo, Costa Rica·    Audiovisual Festival Zemos98, Viso del Alcor, Sevilla

2001·    World Wide Video Festival, 19th edition, Amsterdam, the Netherlands·    Arte 01, Videoinstallation Teatro Julio Castillo and, within the videoart programme, the magazine, Glicerina, Mexico City.·    Assemblée, De chrysanthèmes en chrysanthèmes…, Centre Culturel du Mexique, Paris·    Panorama, III Videoart Section, International Festival of Buenos Aires, Argentina·    Video-mails. Sala del Cielo, Centro de la Imagen, Mexico City.·    Cuatro, California Photography Museum, USA.·    Interactiva' 01, Museo de Arte Contemporáneo Ateneo, Mérida, Yucatán, Mexico·    Video Lounge B3, New York, USA.·    INPUT. Panamá

2000·    Video do Minuto, Sao Paulo, Brazil·    VIDEOCRHONIQUES, Marseille, France·    Viper Festival, on-line competition, Switzerland·    INTERFERENCE, France·    Festival Mediterra 2000, Athens, Greece·    International Festival of Short Films, Santiago de Chile·    Museo de Bellas Artes de Caracas, Venezuela·    TRANSMEDIALE Festival, Berlin, Germany·    II Cinema Video Festival Sociedad, Mérida, Mexico·    VIART, Caracas, Venezuela

1999·    International Performance Exhibition (utopía/distopía), Museo de Historia Natural, Mexico City.·    Me and my circumstance, Montreal Fine Arts Museum, Canada·    Dematerialisation in rations; Cineteca-Fototeca Nuevo León, Mexico ·    Vidarte, Video and Electronic Arts Festival. Documentary category. Centro Nacional de las Artes, Mexico City.

1998·    VI VIART University Video Festival. Caracas, Venezuela

1997·    IV Independent Video Exhibition of Leon, Guanajuato, Mexico

PRIZES AND GRANTS2005·    Honourable mention, Transitio mx Electronic Arts and Video Festival, Mexico2003·    Winner of the artist-in-residence interchange programme between Mexico and Canada. Centro Banff para las Artes2000-2001 ·    Young artists’ grant from the National Culture and Video Arts Fund (FONCA)2000·    Education support grant, Support programme for education, research and dissemination of the arts, Mexico1998·    Best experimental video prize. Competition “VIART”, Caracas, Venezuela

CURATORSHIPS AND DISSEMINATION PROJECTS2008-2007·    General Co-ordinator and designer of the Contemporary Animation Forum "Animasivo", Mexico Festival held in the Historical Centre, Mexico

2007·    Manchuria- visión periférica. Retrospective exhibition on Felipe Ehrenberg, Centro Cultura Universitario de la Universidad Autónoma de Nuevo León, Mexico·    La Cooperativa de Arte en Video, Mediateca de Caixa Forum, Barcelona·    Madrid, Madrid, Madrid. Reflexiones urbanas en video. Espacio Menosuno, Madrid·    El regreso de la Cooperativa de Arte en Video. International Festival of Contemporary Cinema of Mexico City, Cinemex Insurgentes, Mexico City; Videomuros, Centro Cultural Muros, Cuernavaca, Morelos, Mexico

2006·    Bolívar 36, una reflexión sobre vibujo y dideo, Bolivar 36, Historical Centre, Mexico City.·    Curator of the programme "videobonus para curiosos", 3rd International Festival of Contemporary Cinema of Mexico City, CINEMEX·    In the Air. La Máquina. Monterrey, Mexico

2005·    General Co-ordinator of “Conciencia Concéntrica”, 1st Video Competition of the Historical Centre, Laboratorio Arte Alameda, Mexico City; Centro Cultural de España, Córdoba; Museo de Arte Moderno de Buenos Aires, Argentina·    In the Air, Guggenheim Museum, New York, USA; Museo Nacional De Antropología y Auditorio Torres Bodet, Mexico City.

2004·    Pinche Malinche (o 7 historias de amor videográfico, HUESCA Imagen 04, Mexico. Tendencias, Museo de Huesca, Sala del Matadero, Madrid. 2 de Galería Animal, Santiago de Chile

2003·    Tequila con Charanda, Videos with denomination of origin. Private Gallery, Mexico City.·    Hecho en México. Escuela de Cine de la Cinemateca Uruguaya, Montevideo, Uruguay, Museo de Arte Moderno de Buenos Aires, Argentina; VIII National Video Festival, Salvador Bahía, Brazil; Festival Ruido Digital, Belo Horizonte, Brazil; Mexican Video-Creation Projections, Vitoria Territorio Visual, Centro Cultural Montehermoso, Vitoria.·    Cooperativa Arte en Video, Mexican video marathon, Museo Tamayo de Arte Contemporáneo·    Wartime. Collective anti-war exhibition. Centro Nacional de las Artes, Madrid

2002·    Hecho en México. Contemporary Mexican videoart, Lunes de la Fabrica, Madrid; ·    Video curator of the 1st Latin American Video Art Festival in Bogota, Museo de Arte Moderno, Bogota, Colombia·    Martes de video, weekly projection in the bar REXO, Mexico City.·    Project México. Selection of 9 non-Mexican on-line video artists, Mexico·    Curator of a Mexican contemporary videoart programme for the Festival MexArtFest, Mexico

TEACHING2007·    Video para llevar. Mobile phone video workshop within the framework of Transitio_MX Electronic Arts and Video Festival, Centro de la Imagen and Centro Nacional de las Artes, Mexico City.·    Theory and practical videoart workshop, Museo de la Ciudad de México and Centro de la Imagen, Mexico·    Classes in basic drawing skills, CENTRO, Mexico City.·    Del grabar y listo. Mobile phone video workshop, Sala Parpalló - Nuevos Medios, Valencia·    Theory and practical videoart workshop, La Casa Encendida, Madrid

2006·    Lecturer of Multimedia techniques in Contemporary Art. Universidad del Claustro de Sor Juana, Mexico

2005·    Conciencia histórica Versión Montevideo. Intensive workshop to make videos of Montevideo’s city centre, Centro Cultural España, Montevideo, Uruguay·    Workshop-Competition Un día en la vida II, 24 horas para pensar, diseñar y producir un website, Espacio Fundación Telefónica, Buenos Aires, Argentina·    El arte en medios. Centro de Arte Mexicano, Mexico

2004·    Workshop-Competition Un día en la vida. In collaboration with Martín Groisman, Espacio Fundación Telefónica, Buenos Aires, Argentina·    Lecturer of Video and New Technologies in La Esmeralda, Centro Nacional de las Artes, Mexico City and Appreciation of Digital Art at the Universidad Iberoamericana, Department of Art History, Mexico·    Theory and practical workshop on videoart Videomeopatía within the framework of the VIII National Video Festival, Imagem em 5 minutos, Salvador Bahía, Brazil

2003·    Introduction to videoart course, INES espacio para la Reflexión, Mexico·    Summer workshop Del Satélite a la Uña. Museo Tamayo de Arte Contemporáneo, “Art and computing” section, Mexico·    Simultaneous audio and video construction course, in collaboration with  Enrique Greiner, Centro Multimedia, Centro Nacional de las Artes, Mexico

2002-2001·    Lecturer of Digital Art at the Universidad Iberoamericana, Communication department, Mexico

2001-2000·    Audiovisual media script and cinema production. Associate Lecturer of Guillermo Arriaga, Communication Sciences, Tecnológico de Monterrey, Campus Sur of Mexico City

2000-1997·    Technical assistant and non-linear editor of the video workshop E.N.P.E.G. La Esmeralda, Centro Nacional de las Artes, Mexico City.

JURY2007·    Jury in audiovisual media for the artist-in-residence interchange programme, FONCA, Mexico

2006·    Web page competition for the “Tlalocan” Water International Festival, as part of the IV World Water Summit, Mexico

2005·    Support for Artistic and Cultural Projects, IMJUVE, Mexico·    4th Central American Video Production and Digital Art Exhibition “Inquieta Imagen”, Museo de Arte y Diseño Contemporáneo, San José, Costa Rica

2005·    Competition “Conciencia Concéntrica”. 1st video competition on the Historical Centre, Mexico City.

2004·    KINOKI Short Film Festival, Universidad Latinoamericana, Mexico City.

2002·    Environment, City and Nature. International Competition, Colombia











2008. Fernando Llanos. [VI VÍDEO] (published text)

[vi video] Mobile Videointerventions in specific urban contexts.

“Fernando Llanos is one of the most interesting experimental artists in contemporary Mexico. His work shifts between several territories and disciplines, including video, robotics, ciberart and performance.” Guillermo Goméz-Peña. Artist.

Videoman captures the collective subconscious precisely where culture and counterculture meet. The stage is the street, a laboratory where people make their way without noticing how they transform their environment and create new models of coexistence.

The artist makes us reflect on the type of conscious which can be generated by a society where the masses obstruct, uniform and ignore but nevertheless create certain voids where the human being can flow individually - voids employed by Llanos to change both our routine and our spaces.

His reflections are projected in video format in different, previously analysed points of the city. The ephemeral and mobile nature of the project involves the public through a closed-circuit system that records the reactions to this participative action defined by its creator as “urban acupuncture”.

The new intervention is projected in the junction of Paseo de la Castellana, Calle de Alcalá and Gran Vía and it is presented together with those presented in Casa de América in Brazil and Mexico.














2008. Fernando Llanos. [VI VÍDEO] ORGULLO LOCAL (video)


Option 8ORGULLO LOCALProyección de iconografía y material histórico de Ciudad Satélite sobre las Torres Satélite















2008. Fernando Llanos. [VI VÍDEO] POTENCIANDO CONTENIDOS (video)


















2008. Fernando Llanos. [VI VÍDEO] COMPARTIENDO ESCENARIO (video)
















2008. Fernando Llanos. [VI VÍDEO] Options 13 to 15 (videos)



Option 14 NATURALEZA MUERTATomas acuáticas (agua) sobre las paredes de los túneles

Option 15PROYECTAS Y TE VASProyección sin contenido, realizada simultáneamente a la inuaguración del Festival por el presidente Fox












2008. Fernando Llanos. [VI VÍDEO] APARICIÓN MILAGROSA (video)
















2008. Fernando Llanos. [VI VÍDEO] BIENAL DO MECOSUL (video)




Optionn 1TERRORISMO POÉTICOAcciones de aviones proyectados en el aeropuerto

Option 2 VIDEOMAN VS GAÚCHOProyecciones de gaúchos en el monumento Laçador

Option 3SEXO / AMORProyección de un beso en Farrapos (zona roja)

Option 4HOMENAGEM A SEU MADRUGA Proyecciones de Don Ramón (seu Madruga) en lote abandonado

Option 5VIDEO NA RUAProyecciones de arte eb video en una calle del centro

Opción 6 VIEDOARTE O - FUTEBOL 5 Proyecciones de vídeo afuera de un estadio de futbol

Option 7INVADIENDO ESPACIOSProyecciones durante la inuaguración de la V Bienal de Mercosul











2008. Fernando Llanos. CURSIAGRIDUALCE, 2007

2008. Fernando Llanos. CURSIAGRIDUALCE, 2007



CURSI AGRIDULCEProyecto editorial que recopila los dibujos de Fernando















2008. Fernando Llanos. [VI VÍDEO] (technical data)

2008. Fernando Llanos. [VI VÍDEO] (technical data)


 LIST OF THINGS NEEDED TO CARRY OUT THE PROJECT (provided entirely by the artist)

1. 1 harness to position the equipment.2. 3 batteries AG. 12 watts, 18 amperes.3. 1 battery charger 29 amperes (min-12).4. 1 stand for video projector, with movable arm.5. 2 camera stand, (one mobile, one fixed).6. 1 voltage transformer from DC to AC 400 watts.7. 2 horns.8. 1 projector of 2 000 lumens.9. 1 portable DVD.10. 1 portable mini-DV deck.

LIST OF THINGS TO USE IN CASA DE AMÉRICA1. 1 DVD player.2. A video projector.3. A computer to show the website to check info. 4. A vinyl with info and image of the project.

WEIGHTThe whole equipment weighs 15 kilos.


MATERIALSVarious, metal, acrylic and electronic equipment.

LIGHTING CONDITIONSTwo or three mobile spotlights.

LOCATION CONDITIONSIf wanted we can assemble everything on a manikin (check website’s picture). We need an appropriate place. If it’s an urban intervention we could use a store’s showcase, a window containing manikins.









2008. Fernando Llanos. [VI VÍDEO] (visual data)

2008. Fernando Llanos. [VI VÍDEO] (visual data)














2008. Fernando Llanos. SELECTED LINKS


HANDMADEhandmade (hecho a mano)Exposición con ceramica y video para reflexionar sobre el quehacer del video en el tercer

VIDEOMAIL PROJECTvideomailprojectEnvío de videos por correo-e todos los martes durante un añ

MEMORY FULL / MEMORY FOOLManipulación de audio y video para reconstruir un

CURSIAGRIDULCEProyecto editorial que recopila los dibujos de Fernando















2008. Fernando Llanos. DEJÀ VU, 2005

2008. Fernando Llanos. DEJÀ VU, 2005


DEJÀ VU, 2005Vídeo-instalación-lowetech-caseraPresented in the Casa del Lago, Ciudad de México

A.Casa del Lago (House in the lake) is a historic monument with a very rich past: in 1908 the first lacustrine area in the old Mexican Venice is created as seat of the Automobile Club. Later, it hosted literary gatherings and dances for the Mexican aristocracy as well as elegant parties during the celebrations for the centenary of Independence. At one point it was even the private residence of the ex-president Adolfo de la Huerta, the Agricultural Ministry and Headquarters of the National University’s Biological Studies. In 1959 it becomes a Cultural Centre outside the UNAM, turning into the biggest educational institution for new public, a nationwide model of Arts Centre and a landmark for the rest of Latin America at that time. It is there where, many years later, Andrea di Castro will present his first tele-installation and where Sarah Minter would teach her first video-art workshop. Nowadays it averages about 4000 visits a week.

2. “Dejà vu” literally means “already seen” in French. It’s an experience that psychiatrists define as “any inappropriate subjective impression of a present, which is familiar to an indeterminate past”. Some theories state that it has to do with unfulfilled wishes, that it’s the expression of the wish to repeat a past experience, but this time with better results. 70% of the population has experienced, at some point, a dejà vu.

III.This is a piece that deals with memory, or, in other words “about the lack of…”About one’s will in relation to past (or yet to come) situations and events.

Ernst Kapp reflected on the idea that every machine is an extension of the body and that in their construction is reflected, in a direct or veiled manner, a way of conceiving nature. The video camera enables us to visualize and better interpret how the act of remembrance works, by generating a temporal route of images captured to recreate an experience. The act of bringing something to memory is intimate; the camera exemplifies that way of grasping that which is ungraspable and brings forth its ephemeral nature.

The materiality of a memory is similar to an image in movement, it’s a collection of captured data, by the human-mind, or camera-mind; only that the video creates a collective experience, where intimacy is captured in a massive gesture, to alter the course of the memory, for at the moment the images are captured by the eye-camera they become a series of past moments that are conserved.

Thus, Fernando Llanos extends his body to a time machine, in a coarse artefact where delayed moments are apprehended. The game consists of decoding and showing the moment it takes to bring what is captured, in some way it makes the mechanism’s process evident, to open up the access to human factor in technology.

The project serves as impulse to activate awareness on the complexity of technique and focus on the facts, in the past that remains impregnated upon a place to hear it’s own chronic. By investigating the inside of each place we will find the echo of a thousand events, where the mind of the artist can recreate, re-signify and offer an open interpretation so that memories with a dejà vu scent may emerge from a tape.

Liliana Quintero*Fragment of a text published in the catalogue of the Mexico 70 exhibition.

*See more photos, texts and video about this work in:












2008 / 2008.02.12. CONTRAINDICACIONES.NET. Fernando Llanos

2008 / 2008.02.12. CONTRAINDICACIONES.NET. Fernando Llanos














2008 / 2008.02.08. AGRANEL.ZOOMBLOG.COM. Madrid Abierto (Fernando Llanos)

2008 / 2008.02.08. AGRANEL.ZOOMBLOG.COM. Madrid Abierto (Fernando Llanos)















2008. Fernando Llanos. VI VÍDEO (analysis of the location)

2008. Fernando Llanos. VI VÍDEO (analysis of the location)






Urban video-intervention project done by exploiting the artist’s corporal infrastructure and underline a dynamic that the author likes to call “urban acupuncture”, creating punctual thoughts in some parts of the city where he appears as VIDEOMAN. For each edition he makes a different harness to experiment using new ways of projecting on the city streets.

Everything is recorded on video and photos, and then is edited as installation to be projected in Casa de America.

Firstly, this project tries to bring the specialized public closer to unconventional locations that are not used specifically for artistic purposes and, secondly, to make people that live or pass by these areas question aspects of daily life. 

VIDEOMANBy Mauricio Alejo

Unlike other beings, Videoman has a superpower: to make himself noticed. This ability, that is a drag if you want to fight evil, is one of the strong points of his project. By this prominence, which is implicit but also assumed and fabricated, he achieves the dissolution of projection’s traditional space. He takes over the centre and makes it mobile. This nomadism is the key to dissolve the authority that any projection imposes on space, the attention of the spectator is necessarily focused on that which is projected.

For the accidental “audience” that takes part in the area that this “superhero” proposes there is no front, nor behind. There is no hierarchy of attention; the projector and that which is projected are equally unusual. There isn’t any privileged spot to attend the event, no established beginning or end. But there is the awareness of a projection that includes the man that generates it. For Fernando this involves the responsibility of the message on an earthly level. It’s not vain to notice that you don’t attend what Videoman’s produces; it’s part of him. He invents along with everyone present.

The bicycle is a natural extension of this nomadism. A prosthesis that symbolises the awareness he has of transport and its environmental cost. To pedal and generate the necessary energy to project is an attitude that suggests certain responsibility, necessary nowadays even in electronic arts.

In this video-intervention project there is also a reformulation of the concept of audience. Videoman is mobile but also the ones who witness the projections; location is temporary. So the one who takes part is responsible; first, to identify himself as audience and, later, to define the experience he has had.

This is a revitalization of public space; an intervention that makes it ductile; an experience to criticize and a collective reconstruction.

* Due to the nature of the project, of surprise interventions in the city at night, it’s important to have a place to continuously show a construction process and report of the project. This is the function of this space.



In the box- A Dahon collapsible bicycle with separate seat.

In the black cloth suitcase- 1 Videoman suit custom made suit. - 2 Pair of short cloth gloves CAT. - 5 Videoman sculptures. - 1 sony stereo microphone. - Portable DVD player DVP-FX810 (8”)

In the big plastic suitcase - 3 Barrels.- 1 Motorcycle battery. - 6 lights for bicycle. - 2 rear-view mirrors. - 1 Customized bicycle helmet with two video cameras, one for surveillance and another for an apple web. - 1 rechargeable battery.- 1 dynamo with triplicator.




SHOWCASE- videoman action toys- Sergio Alcalá’s presentation collage: 23 x 18.5 cm. - Drawings 5 letter sheets. - Videoman postcards. - Postcard to promote toys, one 14.5 x 9.5 cm.

DRAWINGS TO FRAME- Drawing: 56.5 cm high x 76.5 cm wide, a marialuisa (paspartu) 10 cm on each side. - Drawing on the table, size of table 76 cm x 96 cm. - Frame two 15 x 10 cm drawings. - Frame a 12.5 x 18 cm drawing.




RENTComputer: - Any model with Internet incorporated. Projector: - Any model, but must be big.



ENTRANCE WALLEntrance wall: 3.22 m high x 4.10 m wide.It has a vinyl text y 3 printed photographs with matt finish 50 x 50 cm each. Framed in the same way as the drawings: Flat wood sin without paint or varnish. Straight angles, with a marialuisa (paspartu) 10 cm.


















08inib1940, 08inib1941, inib1942, 08inmb1939, 08inmb3545

2008. Fernando Llanos. [VI VÍDEO] (images)

2008. Fernando Llanos. [VI VÍDEO] (images)



















2008. Fernando Llanos. [VI VÍDEO] (record of the video-projections)

2008. Fernando Llanos. [VI VÍDEO] (record of the video-projections)

Video-intervention number 16

Name: Discovery of the colon.Situation: Underlining the grotesque: projection of gay porno films (macho type) on the map that shows Colon’s route to America.Place: Monument to Colon.




Video-intervention number 17

Name: Supporting moral (o botellón mestizo).Situation: Videoman proyects Ecuatorian karaokes songs in a Madrid "botellón" (a gruop of young people dinking on the street).Place: Plaza Vázquez de Mella (Chueca)



Video-intervention 18

Name: Artistic solidaritySituation: Supporting colleagues: Santiago Cirugeda’s video was downloaded from Internet and we projected on his piece, then we tried to project Jota Castro’s “Incas’ moneybox” on the facade of the Spanish Bank. This piece wants to reimburse the gold that was stolen to the Incas and has been retired because it was vandalized. Unfortunately, and for technical reasons that I ignore we couldn’t project it, and we couldn’t demand the money. It seems like they don’t want to give it back. Place: Paseo de Recoletos and Banco de España.



Video-intervention 19

Name: Parasitic projection (or “mexicaning” the neighbour).Situation: During a cocktail in Casa de América for a Brazilian photographer that is exhibiting in the next room, Videoman projected the history of his own piece to take advantage of event’s mass appeal. In this case, without electrical autonomy, using the place’s light.Place: Casa de América.



Video-intervention 20

Name: Demonstrating opinionsSituation: The Partido Popular (right wing conservative party- in Spain) made some very controversial statements about reducing the penal age to 12 years, increase surveillance and more police presence. During the day the opinions of some citizens were recorded reflecting on such statements and at night they were projected on the PP’s headquarters. Place: Génova street.



Video-intervention 21

Name: Without sub-titlesSituation: A Caribbean sunset is projected upon a museum. Possible interpretations: a tribute to Felipe Ehrenberg, or to future cities that will be covered by water or simply a creative visual act: a liquid invocation to thirsty Madrid.Place: Reina Sofía Museum.




Video-intervention 22

Name: Love serenadeSituation: Projection of An open heart surgery, with Basque laptop live musician in the background.Date and place: 14th of February in Plaza de la Lealtad.














08inic1985, 08intc3551, 08inic1987, 08intc3552, 08inic1989, 08intc3553, 08inic1991, 08intc3554, 08inic1993, 08intc3555, 08inic1995, 08intc3556, 08inic1997, 08itc3557