2008. DISCUSSION PANELS PROGRAMME
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.
THURSDAY 7TH FEBRUARY
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
FRIDAY 8TH FEBRUARY
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
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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 www.artecidade.org.br, 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 /www.tranzit.org/ 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.
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2008. ARTISTS / INTERVENTIONS / LINKS
Alicia Framis + Michael Lin Not for sale/No se vende www.aliciaframis.com Andreas Templin Hell is coming/World ends today www.andreas-templin.blogspot.com www.worldendstoday.wordpress.com
Dier + Noaz Estado de excepción www.vdier.com www.noazmadrid.blogspot.comwww,flirck.com/photos/noazmadrid/
Anno Dijkstra Proposal Nr. 19 + Gift www.annodijkstra.nl
Fernando Llanos Videointervenciones móviles en contextos urbanos específicos www.fllanos.com
Guillaume Ségur Welcome On Board
Fernando Prats Gran Sur www.fernandoprats.cl
Jota Castro No more no less + La hucha de los Incashttp://www.jotacastro.eu/
LaHostiaFineArts (LHFA) Explorando Usera www.lahostiafinearts.es
Santiago Cirugeda Construye tu casa en una azotea www.recetasurbanas.net
Todo por la Praxis Speculator + Empty World www.todoporlapraxis.com
Santiago Sierra Bandera negra de la república españolawww.santiago-sierra.com
Annamarie Ho + Inmi Lee La guerra es nuestra www.annamariecho.comwww.inmilee.net
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2008. Fernando Prats. GRAN SUR (theoretical data)
The project Gran Sur uses the advertisement of the Imperial Trans-Antarctic Expedition led by Ernest Shackleton in 1914. The advertisement was published in a newspaper of that period with the aim of recruiting men to embark on the expedition to Antarctica. According to the legend, with time, the advertisement became famous.
"Men wanted for hazardous journey. Small wages, bitter cold, long months of complete darkness, constant danger, safe return doubtful. Honour and recognition in case of success"
The aim of the expedition was to cross the Antarctic continent via the South Pole. However, the expedition ship Endurance was beset and hit by pack ice before the crew was even able to disembark. All the members of the expedition managed to survive after an epic ordeal on Elephant Island. Shackleton and five other men crossed the Antarctic Ocean to South Georgia in an open boat called James Caird to sound the alarm at the Grytviken whaling station. After several rescue attempts, all the men on Elephant Island were finally rescued on the small Chilean boat Yelcho captained by Luis Pardo Villalón from Punta Arenas.
Shackleton did not lose a single man during the three-year length of the expedition. Shackleton's adventure is possibly the most outstanding of all expeditions to the Poles, and although it failed to offer any material benefit or scientific finding, the personal experience of the protagonists and the survival of the participants are in themselves an enormous triumph, the victory of man against the elements founded on two fundamental principles, solidarity and a fighting spirit.
This advertisement is the driving force and central motivation of the installation. It is comparable with an artistic manifesto or thought. It is a synthesis through the written word that narrates the work. The drawing that traces and synthesises a story.
The compiled documents of the expedition, photographs, films and travel logbooks, reveal an experiential survival journey. The essence of artistic creation also involves an unexplored journey and directs the senses towards objectives that help us understand our own perception of the world around us.
Our own limits highlight the borders that we must cross. Sir Ernest Shackleton's decision to embark on the journey is similar to any artistic idea whose end is to discover and reveal the unprecedented. He had an idea which no one else believed in.
The installation exhibits hidden images behind each illuminated word: a story, a time, a continent; in short, a rereading after 93 years of its first and only appearance in the press.
How many brief stories could be published in the form of an advertisement about the millions of Latin American immigrants who have also travelled and will eternally continue to cross the Atlantic with the aim of fulfilling a dream? We no longer have to look to the South Pole as the destination. The new region is the world. "The great strength of Ernest Shackleton as Explorer resides in that, in the Gran Sur, all mundane worries completely disappear".
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2008. Fernando Prats. GRAN SUR (location)
Casa de América façade
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2008. Fernando Prats (Cv)
SANTIAGO DE CHILE, 1967 LIVES AND WORKS IN BARCELONA WWW.FERNANDOPRATS.CLWORK EXPOSED IN MADRID ABIERTO: GRAN SUR
EDUCATION1997-2000· Post-graduate studies at the University of Barcelona. Master’s degree.1996· B.A. degree in Art, University of Chile, Santiago de Chile1990- 1993· Secondary school specialisation in painting, Escola Massana, Barcelona
INDIVIDUAL EXHIBITIONS2007· Peregrinatio, Tríptico en dinamismo, Sagunto, Valencia· Natura Naturans, Galería Álvaro Alcázar, Madrid
2006· Basho: la región salvaje. Workshops Alois M. Hass 2006, Mística y pensamiento contemporáneo (Mysticism and Contemporary Thought), Pompeu y Fabre University, Barcelona
2005· Affatus, Galería Joan Prats Artgrafic, Barcelona
2004· Del Cardener a la Antártica, Installation Hall Central and Sala Matta, Museo Nacional de Bellas Artes, Santiago de Chile
2003· Pou de Llum, Centre Cultural El Casino, Manresa, Barcelona· Hacia el Polo Sur, Kunst-Station Sankt Peter Köln, Germany
2002· Desahogo, Galería Joan Prats Artgrafic, Barcelona· Congelación, art initiative carried out in the Chilean Antarctic continent. From the work Del Cardener a la Antártica, Chile
2001· Pathografías, Galería Animal, Santiago de Chile
2000· New Art Barcelona, Galería Joan Prats, Barcelona· Deambulatoris, intervention in the cathedral Catedral de Vic, Barcelona
1999· Synaisthesis Substantiae, Galería Joan Prats Artgráfic, Barcelona
1997· Anástasis, Intervention Espacio Eclesial at the Church of the Divine Providence, Santiago de Chile
1996· Recent work, Galería Antonio de Bartola, Barcelona
1995· Cripta, Cicle Pandemónium. Espai 13, Fundaciò Joan Miró, Centre d´estudis d`art Contemporani, Barcelona
1994· Serie Exordio y crucifixión, Galería Antonio de Bartola, Barcelona
1993· Serie Exordio y crucifixión, Centre Civic Sant Andreu, Barcelona
COLLECTIVE EXHIBITIONS2007· ARCO’07, Galería Joan Prats, Barcelona
2006· ARCO’06, Galería Joan Prats, Barcelona
2002· Transfiguració, Galería Joan Prats Artgráfic, Barcelona. Tempus Fugit, Galería LLucia Homs, Barcelona
2001· Mirada en Viaje, Centro de Arte Santa Mónica, Barcelona
2000· Art i Religió. Iconografía cristiana contemporánea, Galería LLucia Homs, Barcelona· Chile 100 años. Visual Arts. Third period. Transferencia y Densidad en el campo plástico Chileno (1973 - 2000). Museo Nacional de Bellas Artes, Santiago de Chile· Art Cologne´00, Galería Joan Prats, Cologne, Germany 1999· Art Cologne´99, Galería Joan Prats, Galería Metropolitana de Barcelona, Cologne, Germany
1998· Pasaje de ida, Galería Antonio de Barnola, Barcelona· ARCO’98, Galería Metropolitana de Barcelona
1997· Art Forum’97, Galería Antonio Bartola, Berlin, Germany
1996· Puente Aéreo tres, Museo Moderno, Buenos Aires, Argentina· ARCO’96, Galería Antonio Bartola, Barcelona · Colecció testimoni, Fundació La Caixa, Barcelona· Expanded Collage, Galería Antonio Bartola, Barcelona
1995· ARCO’95, Galería Antonio Barnola, Barcelona· Desplacaments D`Impermanència, Espais D`Arts Contemporani, Girona, Spain· Biennal D`Art Ciutat D`Amposta, Barcelona
1994· XI Biennal Internacional de Arte Iberoamericana, Valparaíso, Chile
1993· Excursus any Miró, Galería Salvador Riera and Associacio Art Barcelona· Es quan tanquem que mostrem el nostre homenatge, any Miró, Galería Berini and Associacio Art Barcelona
1992· Petit Museo Provicional, Universitat Autónoma de Barcelona, Spain· VII premi de pintura Miquel Casablanca, Ayuntamiento de Sant Andreu, Barcelona
PERFORMANCES 2007· Acción Natura naturans, The artist’s studio, Barcelona
2006· Agitación. Geiser del Tatio, Machuca, Chile; Salar de Atacama, Chile; Mina Rajo abierto, Chuquicamata, Chile
2005· Ideografía, The artist’s studio, Barcelona
2003· Pou de Llum, Acción y perforación geológica, La balconada, Manresa Barcelona· Agua a presión abriendo un hoyo en la carne para luego desaparecer. Kunst -Sation Sankt Peter Köln, Germany
2002· Congelación, Continente Antártico chileno. From the work Del Cardener a la Antártica.
2001· Ir, Altum, initiative performed in the artist’s studio in Barcelona (From the work Del Cardener a la Antártica)
2000· Cardener, initiative performed on the river Cardener, From the work Del Cardener a la Antártica. Inside the Manresa cave, Barcelona
1999· K2-Kenôsis. Documentary initiative performed in the artist’s studio, Barcelona 1998· Project Teología del cuerpo. Fundación América, Chile
GRANTS AND AWARDS2006· Scholarship John Simon Guggenheim Memorial Foundation
2003· Prize FONDART 2003, Santiago de Chile· Resident artist at Kunst Station Sank Peter Köln, Germany
1998· Scholarship President of the Republic of Santiago de Chile
1995· Finalist Biennal d´Art, ciutat d´Amposta
1994· Mention of honour Special prize Pilar Juncosa and Sothebey’s. Fundació Pilar y Joan Miró. Palma de Mallorca
1992· First prize. VII Painting Prize Miquel Casablanca, Barcelona
WORK IN COLLECTIONS· Die-Museum, der Diözese, Würzburg, Germany · Museo Nacional de Bellas Artes, Santiago de Chile· Collection Testimoni Fundació la Caixa, Barcelona· Collection Testimoni Fundació la Caixa, Barcelona· Cistercian Monastery Poblet, Tarragona
BIBLIOGRAPHY· Fernando Castro López, Peregrinatio La mirada interior, “Arte en las ermitas de Sagunto”, Edited and published by la Generalitat Valenciana, 2007· Fernando Castro López, Natura naturans, Madrid, 2007· Gerardo Mosquera, Copiar el edén: Arte reciente en Chile, Santiago de Chile, 2007· Amador Vega, Affatus, Barcelona, 2006· Friedhelm Mennekes, Amador Vega and Javier Melloni, Del Cardener a la Antártica, Edited and published by the city council of Manresa, Barcelona, 2003· Teresa Blanch, Desahogo, Barcelona, 2002· Juan Noemí, Teología del Cuerpo, Edited and published by Talleres Experimental Cuerpos Pintados, Santiago de Chile · Luis Francisco Pérez, Pathografias, Annual catalogue, Galería Animal, Santiago de Chile, 2001 · Eva Vilaró, “Deambulatorios de Fernando Prats – Intervention in the cathedral ‘Catedral de Vic’- L`alberguería”, ARS SACRA, Nª 17, Madrid, 2001· Pilar Parcerisas, Joan Torras and Friedhelm Mennekes, Deambulatoris. Fernando Prats, Ediciones Polígrafa y Ediciones Diac, Barcelona, 2000· Friedhelm Mennekes, Substàncies, Barcelona, Spain, 1999· Juan Noemí, “El arte de Fernando Prats. Una aproximación Teológica”, AISTHESIS de Investigaciones Estéticas, Nº 32, Arte Sagrado, Pontificia Universidad Católica de Chile· María Elvira Iriarte, “Fernando Prats. Church of the Divine Providence, Santiago de Chile”, Art Nexus, 1998· Juan Noemi and Justo Pastor Mellados. Fernando Prats, Anastasis. Iglesia de la Divina Providencia, Santiago de Chile, 1997· Mónica Regas, Cripta, Espais 13, Fundació Joan Miró, Barcelona, 1996· Marta Pol, Desplacaments d’impermanència, Espais Centre d’Art Contemporani, Barcelona, 1995· Luis Francisco Pérez, Fernando Prats, Galería Antonio Barnola, Barcelona, 1995· Catálogo Colecció Testimoni, Caixa de Pensions
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2008. VIDEO OF THE EDITION
VIDEO OF THE 2008 MADRID ABIERTO EDITION: INTERVENTIONS + AUDIOVISUAL WORKS + SOUND WORKS
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2008. Fernando Prats. AGITACIÓN, 2006
El año 2006 desarrolle el proyecto titulado Agitación a través del patrocinio de la John Simon Guggenheim Memorial Foundation. El conjunto de las acciones representa una exploración de nuevos medios de expresión y representación a través de la pintura y el trabajo con el humo; en resumidos términos, los objetivos de este proyecto en particular fueron los siguientes:
1. Realizar una investigación que refexione y explore nuevas maneras de aproximación a la pintura. Observar los fenómenos de la naturaleza y ponerlas al servicio de la pintura 2. El objeto del trabajo consistio en captar fuerzas presentes en la naturaleza y que sean “absorbidas” por la superfcie pictórica, desarrollando medios inéditos de registro visual.
GEYSER DEL TATLO, NORTE DE CHILE
Se ubicaron en la zona del Tatio, región geotérmica ubicada a 4.321 metros de altitud, estructuras de soporte para superfcies impregnadas de humo, las que fueron “pintadas” directamente por las erupciones y vapores provenientes de las piletas. Todo el proceso de producción fue registrado en vídeo y fotografía, material que forma parte integral del total de la obra, sumándose a las láminas de humo.
En defnitiva, se trata de avanzar en la acción pictórica -abrir la pintura- a una geologisidad pictórica, pintar las fuerzas que la misma naturaleza, desde sus propios elementos, reorganiza: fuerzas extremas como la erupción, ebullición, oscilación, dinamismo, horizonte, ascenso y descenso, temperatura transitoria, nueva escala, movimiento sísmico, ritmo y tiempo.
Agitación es un proyecto que propone nuevas relaciones entre fenomenología y lenguaje, buscando en la realidad los motivos que nos ayuden a entender que la resistencia en la pintura radica en utilizar nuevas formulas de incisión.
Agitación 24 de Septiembre, 2006. Video 5 mts. de duración
Agitación 24 de Septiembre, 2006. Pintura. Humo y ebullición de agua a 110º de temperatura, sal, rocío y vapor sobre papel. 300 x 420 cm
Agitación 19 de Septiembre, 2006. Video 5 mts. de duración
Agitación 19 de Septiembre, 2006.Pintura. Humo y ebullición de agua a 110º de temperatura, sal, rocío y vapor sobre papel. 200 x 140 cm
Fernando Prats durante la realización de la acción Agitacion Serie individual I. Geiser del Tatio, norte de Chile. 2006.Video de la acción, 1´7” seg. Pieza única.
Agitación Serie individual I, 2006.Humo y ebullición de agua a 102º de temperatura, sal, rocío y vapor sobre papel. 50 x 70 cm.
Fernando Prats durante la realización de la acción Agitacion Serie individual III. Geiser del Tatio, norte de Chile. 2006.Video de la acción, 2´3” seg. Pieza única.
Agitación Serie individual III, 2006.Humo y ebullición de agua a 102º de temperatura, sal, rocío y vapor sobre papel. 50 x 70 cm.
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2008. Fernando Prats. CONGELACIÓN, 2002
CONGELACIÓN, 2002
Foto de la acción realizada sobre el Glaciar Collins en la Antartica, donde el artista enterró todos los materiales, herramientas y otros elementos determinantes para él, declarando: “Allí se encuentran las raíces del que camina hacia el norte y no pierde su propia identidad.
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2008. Fernando Prats. GRAN SUR (technical data)
DESCRIPTION OF ASSEMBLY SYSTEM
The advert will be made of a 40cm high white neon pipe:
More or less 23 iron frames will be made, with the complete sentence in neon, therefore it will be possible to hang it from the frame and rest it against the façade of Casa de América.
THE DRAFT’S TECHNICAL NEEDS
Technical crew specialized in assembly and disassembly of promotional neon pipes. Electrical current to light the advert.
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2008 / 2008.02.24. CONTRAINDICACIONES.NET. Fernado Prats / Gran Sur
** OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT
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2008 / 2008.02.20. ESCRITOENLAPARED.COM. Madrid Abierto 2008. Fernando Prats: Gran Sur
** OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT
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