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INTERNATIONAL SEMINARPlace: La Casa EncendidaRonda de Valencia 2Dates: 5-8 February 2009

Madrid is growing in an unprecedented pace. Multi disciplinary initiatives are engaged in processes that formulate new possible relationships with the city and its inhabitants, this while revealing complex layers of information. Activities that aim to envision possible futures, beyond the current construction crisis, continue with impressive strength.

Madrid Abierto 2009-10 (previously an annual event of interventions in the city, now biennial) will host a seminar at La Casa Encendida 5-8 February 2009. This edition of Madrid Abierto sets out to investigate the potentials of collaborative socio-cultural and politically engaged work and how such work may perform as catalysts for change in the city. We will also try to activate processes that integrate new bodies of knowledge into the already existing.

The aims for these days are basically two. One is to connect the group of selected Madrid Abierto participants with people in Madrid, but also to keep connecting people in Madrid with each other. The resulting networks we aim to establish will hopefully serve as information base, forum for discussion and exchange in preparation for Madrid Abierto projects that are presented in February 2010.

In an effort to provide the artists visiting from abroad with tools that facilitate exchange with people in Madrid as well as an understanding and engagement with the city, locally based practitioners from various fields have been invited to present their views of Madrid. The seminar also includes a group of additional invited artists with an international profile who presents their context specific works carried out in other parts of the world as springboards for further discussion.



Thursday 5 February6.00-6.15 pm. Welcome speech by Cecilia Andersson, Curator of Madrid Abierto and Jorge Díez, Director of Madrid Abierto.

6.30-7.15 pm.Brief introductions for all invited participants. Open to the public for participation.

7.15-21.00 h.Presentations by Andrés Jaque, Basurama, Ludotek and Wunderkammer. Chaired by Javier Duero.

Friday 6 February 6.00-6.45 pm.Presentations by Studio Kawamura Ganjavian, Uriel Fogué, C.A.S.I.T.A. y Exprimentolimon. Chaired by Luis Úrculo.

7.00-7.45 pm. Presentation by Kyong Park.

8.00-9.00 pm. Presentations by Apolonija Šušteršič + Meike Schalk, Alexander Gerdel y Teddy Cruz. Chaired by Kyong Park.

Saturday 7 February 12.00-2.30 om. One-on-one meeting expert meetings with inivted participants and the attending public.

6.00-6.45 pm. Presentation by International Festival.

7.00-7.45 pm. Presentations by Laurence Bonvin, Susanne Bosch y Josep-Maria Martín. Chaired by STEALTH.

8.00-9.00 pm. Presentations by Jean François Prost, Adriana Salazar y Gustavo Romano. Chaired by International Festival.

Sunday 8 February 6.00-6.45 pm. Presentation by STEALTH.

7.00-7.45 pm. Presentations by Pablo Valbuena, Iñaki Larrimbe y Lisa Cheung. Chaired by STEALTH.

8.00-9.00 pm. Final discussion with all the participants. Chaired by Cecilia Andersson.



Lara Almárcegui (Spain). Her work often explores neglected or overlooked sites, carefully cataloguing and highlighting each location's tendency towards entropy. Her projects range from a guide to ruins in Holland to the display of materials used to construct the cities in which she shows. Her works are simple actions. Behind them are vast research processes.

Cecilia Andersson (Sweden) is curator and founder of Werk Ltd., a curator's studio in Stockholm. Her latest projects include Supersocial; a platform for events organised in different cities and On Cities; an exhibition at the Swedish Museum of Architecture, Stockholm. Curator of Madrid Abierto 2009-10.

Basurama (Spain) focuses its action area in productive processes, the waste such processes generate and the creative possibilities brought about by this contemporary circumstance. It aims to study phenomena that are part of the massive production of real and virtual rubbish in the consumer society, providing new views that act as generators of thoughts and attitudes.

Laurence Bonvin (Switzerland) appraoch her subjects in so-called "documentary style" that implies an exploratory approach, close to objectivity and away from the spectacular. Main fields of exploration are suburban periphery, urban sprawling, the landscape and architecture. Research include discussions with sociologists, urban thinkers, architects and others involved in the shaping of urban contexts.

Susanne Bosch (Germany/United Kingdom) carries out site-specific, gallery and context-based installations, films, drawings, objects, publications and collaborative event-based projects. Her work is usually based on long-term research questions such as the role and potential of art in contested societies and situations.

C.A.S.I.T.A. -on this occasion Diego del Pozo, Eduardo Galvagni and Loreto Alonso- (Spain) carries out projects produced in collaborations that generate time for dialogue simultaneously as they take place in autonomous art spaces. Their current project ( observes the conditions of subjectivity and methods of production.

Lisa Cheung (Great Britain/Canada) is interested in public spaces and in creating environments where social exchange can occur. She is also interested in the temporary structures that constitutes urban landscape.  In recent projects she utilised gardening and cultivating plants as a point of interaction and participation.

Teddy Cruz (United States). The task of contemporary art and architecture today should be to reveal territorial and institutional conflicts as an operational tool to redefine practices of intervention in the public domain. No advances in design can occur without re-organizing existing political structures and economic resources. This in order to promote alternative systems of sociability and activism.

Jorge Díez (Spain), cultural director and curator. Director of Madrid Abierto and co-director of the MBA in Companies and Cultural Institutions of the Santillana/Salamanca University, curator of the 2008-09 program Espai 13 of the Joan Miró Foundation in Barcelona.

Javier Duero (Spain) is an independent curator and cultural producer. He has developed projects and been the curator of exhibitions in different institutions and centres of national and international art. Currently he directs a research group on the cultural tissue of the region of Madrid for the CA2M in Móstoles. He is a member of the Pensart Cultura association.

EXPRIMENTOLIMON (Spain). A non-profit cultural association created with the aim to raise public awareness on the citizen's reading of and engagement with contemporary art. Through different workshops they attempt to make people contemplate and discuss cultural and social topics. Exprimentolimon is a multidisciplinary group involving psychologists, sociologists and art teachers.

Uriel Fogué (Spain) is an architect and teacher of the Architectonical, City and Territory Department at ESAYA (UEM). He is co-editor of the publication UHF. Most recent projects and works of his Agencia de Arquitectura (Agencia de Arquitectura (Architecture Agency) look at the "infra-structuring" of public space as an aesthetic policy practice concerning energy.

Alexander Gerdel (Venezuela). "Shanty" is a recurring topic in Gerdel's work, which resorts to this marginal and periphery architectonic figure - excluded from official history - to analyse the idiosyncrasy of a country and to confront it with its cultural identity.

International Festival (Sweden), initiated by architect Tor Lindstrand and choreographer Marten Spangberg, devises work in a range of cultural contexts and operate at the interface between architecture and performance, and between object and action. Their work facilitates a collective dialogue that aims to dissolve the line between spectator and viewer.

Andrés Jaque Architects (Spain) and the think tank linked to the Political Innovation Office explore the role architecture plays in building societies. They administer the political quality brand Arquitectura Parlamento (Parliament Architecture) and design political transparency plans; urban planning based on the word of mouth or social assemblies based on controversy, among others.    

Kawamura-Ganjavian (Spain). Architecture studio established by Key Portilla-Kawamura and Ali Ganjavian. They have worked in several countries in the fields of urbanism, architecture, stage design and product design. Their projects range from the scale of domestic objects to the territorial scale using a consistent language of concept-materialisation throughout these diverse endeavours. They are founding members of Studio Banana.

Iñaki Larrimbe (Spain) cultural activist. In the field of comic strips he co-founded and co-directs the magazine TMEO. He recently coordinated the device Inmersiones focused on artistic practices emerging from the Basque Country. As an artist his most recent works aim to belong to a "do it yourself" culture situated within the mechanisms of cultural industries.

Ludotek (Spain). Ludotek is a chronotopic, social and physical research lab.Ludotek proposes a critical exploration related to the leisure activities of the contemporary individual.Ludotek researches children's activities, produces tests with children based on video, ludograms, documents and play with children without providing any type of education.

Josep-Maria Martín (Spain). With a subjective and reflective will questions and criticises the reality upon which he decides to work. His pieces emphasise ideas about process, research, participation, involvement and negotiation so that the agents identified for each project become real generators of a common project.

Kyong Park (United States) is associate professor at University of California San Diego (from 2007), a co-curator for Shrinking Cities in Berlin (2002-2004), the founding director of International Center for Urban Ecology, Detroit (1999-2001), a curator of Kwangju Biennale, South Korea (1997), the founder/director of StoreFront for Art and Architecture in New York (1982-1998).

Jean François Prost (Canada). Artist and architect whose work is based on initiating change in our perception and conception of the urban environment. Projects aim to activate uses in public spaces, contribute and begin to rebuild an urban imaginary, show, encourage visible acts of resistance, of sociability and signs of positive antagonism.

Gustavo Romano (Argentina) has carried out his work using different media: action art, installations, video, net art and photography. He favours the concept of "project" over work of art. He participated in the Havana Biennial and the Singapore Biennial, among others. Awarded Guggenheim Fellowship 2006.

Adriana Salazar (Colombia) has observed how our behaviours become a sign of our subjectivity, and despite this they are not normally the object of our reflections. She has then gone to the production of machines that subvert the sense of our actions: doing actions clumsily, repetitively and out of context, turning the ordinary into something absurd.

STEALTH.unlimited -Ana Dzokic and Marc Neelen- (Serbia/The Netherlands). Their practice spans urban research, spatial intervention and cultural activism. STEALTH considers space a tool and agency. Projects like Wild City (Belgrade) or Urban Catalyst (Amsterdam) involve diverse models of collaborative practicing and co-creation. Co-initiators of Lost Highway Expedition (Western Balkans) and co-curators of the Dutch pavilion, Venice (2008).

Apolonija Šušteršič + Meike Schalk (Germany/The Netherlands/Slovenia). Šušteršič's artistic research combines practice and theory to pursue methods for reflection in which the provocation of crisis leads to a scenario of alternatives and spaces for hope. Schalk is an architect and researcher, teaching the Critical Studies Studio at KTH School of Architecture in Stockholm, together with FATALE (Feminist Architecture Theory Analysis Laboratory Education).

Luis Úrculo (Spain), a graduate of the ETSAM and Illinois Institute of Technology in Chicago, carries out projects involving architecture, video, design and illustration, among others for Philippe Starck, Sybilla, Mansilla-Tuñón and BCG. He has exhibited his work recently in the 11th Biennial of Venice, FreshMadrid!, Gallery Dama Aflita (Porto) and JAE (Young Spanish Architects).

Pablo Valbuena (Spain),architect graduated at the ETSAM, he has been linked to the tangent spheres of art and architecture, developing spatial concepts applied to virtual environments, videogames, cinema and digital architecture. He currently develops art projects related to space, time and perception.

WUNDERKAMMER -bblab, G+W gálvez-wieczorek, MISC- (Spain).Team made up of three studios that together develop projects within the field of architecture, urban planning, landscaping, design and teaching. Their collaboration does not fit into a standard studio model, but rather as a laboratory that accommodates a constant exchange of ideas and experiences. 


Director: Jorge DíezCurator: Cecilia AnderssonCoordination: RMS La Asociación

Organize: Asociación Cultural Madrid Abierto y La Casa EncendidaSponsor: Fundación Altadis, Área de Gobierno de las Artes del Ayuntamiento de Madrid, Consejería de Cultura y Turismo de la Comunidad de MadridCollaborator: Casa de América, ARCO, Círculo de Bellas Artes, Fundación Telefónica, Ministerio de Cultura, Radio 3, Canal Metro, Fundación Rodríguez-Centro Cultural Montehermoso









2009-2010. EVALUATION MEETING 2010 (report)

MADRID ABIERTO 2009-2010Evaluation meetingMatadero, 2nf and 3rd of July 2010


Laurence Bonvin, Susanne Bosch, Lisa Cheung, Iñaki Larrimbe, Josep-Maria Martín, Jean-François Prost and Gustavo Romano (participant artists in Madrid Abierto 2009-2010); Pablo España (Democracia), Ramon Parramon and Fito Rodríguez (members of the advisory committee of Madrid Abierto 2007-2009); Jorge Díez and Marta de la Torriente (Asociación Cultural Madrid Abierto); Pilar Acón, María Molina, Mariano Serrano and Manuela Sevilla (collaborators of Madrid Abierto 2009-2010).


The treated issues according to the established programme created by the advisory committee of Madrid Abierto (March 2008):

Fito Rodríguez comments on the reasons for the absence of this edition’s curator, Cecilia Andersson, who should provide an essential perspective for the evaluation. He also stresses that the horizon seems to be predetermined in suggested guidelines.

Jorge Díez states that proper dates to allow the presence of everyone involved were discussed but that it had been impossible for her to come. He says that in a meeting with Cecilia after the presentation of projects in February, they analyzed the difficulties she had to carry out a proper tracking of the production of projects, due to her living in Sweden and the overlap that occurs when making decisions with the production team and headship of Madrid Abierto. Anyhow, the experience of this edition, which covered two years, with a previous preparatory encounter in February of 2009 was considered very positive. Regarding the proposed guidelines for 2011, they are the consequence, on one hand, of the convenience of developing tasks which are impossible to cover following the usual calendar of project development and, on the other hand, the impossibility of compromising the institutional funding for the next edition, bearing in mind the next local and autonomic elections in the first semester of 2011.

Bellow, different issues brought up in this evaluation session:

1. Keep the open call with a maximum of 50% more artists invited by the curators.To Jean-Françis Prost the edition was very interesting and we must keep it this way. Pablo España underlines the fact that the open call is one of the essential features of the project. No discussion on the subject of percentage of guests.

2. Create a biennial periodicity, keeping the debate sessions and presentations of selected artists for the first year. Focus, the first year as well, on working with selected artists and elaboration of projects.Diversity of opinions regarding this issue, which are determined by the type of project each artist is dealing with. Some artists, like Josep-María Martin, consider a two year span very little time and suggest it should be triennial (first year for reflection, second year to conceptualize the idea and third year to develop the project. “I have had very little time to reflect on the project, in 6 months I had to deliver a final project and for my type of work there is not enough time to conceptualize”.) When asked about such periodicity, Iñaki Larrimbe considers two years as too much time. Other participants came up with the option of giving each artist the time he needs and carry out the project at different points in time, respecting the cycles of each project and its process. Josep-María insists on the fact that it depends on the type of project, if it has already been thought about and is a development of some previous concept or if it is a project that needs to comprehend and develop within the city, with the community. Laurence Bonvin thinks that she would have needed a whole year to discover the city and another year to take the pictures, she agrees with the fact that it depends on if the project already exists. Pablo España thinks that the model of this last edition is much more realistic regarding artistic practices, thus it has clearly improved. The model might use one practice or the other, depending on the global project. The 2008 edition was of direct propaganda. He agrees in expanding the time span but questions its viability.We should keep the first year’s encounter, considered by Susanne Bosch, among others, as very important to create contacts, relationships and know the inner workings of Madrid. In such encounter, the Urban Buddy Schemme should prevail by bringing people together and meeting the city’s residents and other agents that might help in the subsequent development, infrastructure and dialogue that the project will need. Josep-María also thinks that the first encounter in February 2009 went very well. He thinks we should keep that first event and create an intermediate work meeting for the artist to get involved in the management of Madrid Abierto and foster collaborations between projects.

Josep-María thinks it is essential to increase the time period in order to find external funding which is necessary for each project. He also believes that Madrid Abierto should become an agency which prolongs the project in time while other projects and things take place during the year and not only during February. He thinks there at two possible models:A- Select projects in open call and start work.B- Offer contexts and relations to the artists and start working on the project at that moment.He thinks the best model would be a synthesis of both. Ramón Parramón thinks that the concentration of projects in time is positive in relation to communication, visibility… and negative for the artist, but it is necessary to keep a common moment in time for all projects. Pablo thinks that we are tending more and more towards the invisibility of the projects therefore he considers it essential to have a date in which they coincide, although there are projects that need more time and continuity. That common moment could be an exhibition.

Josep-María thinks that it’s very important to do something to make the subjective element of each project visible (Are we capable of transforming something subjective? Reveal the work that has been carried out?). Fito believes we should create an accessible device for the public, to explain the projects. He thinks it makes no sense going back to exhibition halls, this would undermine what has already been achieved in public space. There has to be another way to show it, that is the problem. Pablo thinks it is possible to use both platforms; the hall and public space. He doesn’t believe in going back to the institutions or to work in the enclosed space of exhibition halls. Fito and Susanne think the artist himself should take his project from the subjective realm to decide and find the way of showing it; he has to find a solution in order for the external to return to an enclosed space. Laurence thinks there are projects in which we have to discuss not only how they should be shown but also, in projects that have dealt with an external community, to see how such community or communities have been represented and information returns to that community.

Josep-María thinks that technical problems should be shown, why a project has ended up being a certain way and not another, how a project has started, its plan and how it has ended up. Madrid Abierto is a laboratory, with a development in which the artist’s final analysis and delivery of information is essential. It is also essential to arrive to final conclusions, which must be transmitted. Fito dwells on how people can start out from this lab to transcend it and surpass its frontiers into other realms.

3. Continue with February’s interventions In general, people have suggested carrying out projects outside the month of February, for it is not a proper month weather wise, as well as the amount of ARCO related activities, which interfere. Susanne thinks that by changing the intervention month, a different use of space would be activated on the public’s mind. Manuela Sevilla also thinks it is necessary to change the interventions’ month. Josep-María thinks that the interesting side of keeping it in February is that it coincides with ARCO providing affluence of specialized public that is in Madrid in those dates. The possibility of keeping it during ARCO is discussed, but extending the period of exhibition from one month to three. Jorge Díez underlines the fact that, both the common moment in time and its coinciding with ARCO are product of the restructuring of the Open Spaces project carried out by the Altadis Foundation within the Fair itself and on the other hand, the needed visibility both for the public and sponsorship. It is also indisputable that much of the professionals that go to ARCO can discover Madrid Abierto knowing that it would be very difficult to make them come expressly to see it. Also, due to the lack of money that Madrid Abierto invests on promotion, a special time gap has been created in the busy calendar of the city, just before ARCO, which the media has already incorporated. An example is the lack of attention that the media showed for Susanne’s project which started in November.

4. Include a paragraph in the call to contextualize the edition and another more specific paragraph written by the curator/s.Susanne thinks it is essential because, in her case, she decided to participate only after having read that paragraph.

5. Continue to physically and conceptually exceed the Prado-Recoletos-Castellana axis.Lisa Cheung doesn’t feel the need to keep intervening within those limits.Pablo España thinks that it is necessary to surpass those limits to continue with the more realistic model developed in Madrid Abierto.Jorge considers the transgression of these limits has taken place increasingly and effectively in successive editions. On the other hand, right now institutions would be thrilled by the idea of Madrid Abierto leaving the axis completely. There have been projects (critically oriented) in last editions which have involved very complicated negotiations due to the visibility they had within the axis, and for which other locations entailed no resistance at all.

6. Continue with audiovisual and sound sections and amplify specific means for their broadcast.The issue wasn’t discussed.

7. Maintain the current advisory committee and choose the curators among its members.Jorge explains how in 2009, after some personal resignations, they decided to dissolve the committee created in 2007, after the interesting review of the Madrid Abierto model, as consequence of conflicting interests on the role of the curator and also the bad administration of its participation in the model applied by Cecilia in the preparatory encounter of February of 2009.Once again the role of the curator is discussed, issue on which there is a diversity of opinions. Fito thinks it is important to maintain two values:a. The flexibility proven by Madrid Abierto to constantly review the model.b. He supports the idea of eliminating the curator as individual figure and suggests a collective curatorial position (it’s risky but this wide open policy is a beautiful idea).

On the other hand, like Josep-María, Susanne and Lisa, they support the figure of the individual curator when carrying out their role correctly. It is essential for the curator to be in contact with the artists and never to be “absent”. Josep-María thinks that in this edition the contact with the curator has been very intermittent and might have affected some projects.

Pablo thinks that if the curator is eliminated, Madrid Abierto is under the risk of becoming standard. Josep-María thinks that if we intend to continue with the idea of plurality, and thesis, there must be a curator or curatorial group (for example, maybe the artists of one edition might select the artists of the next), someone to direct the process as an interlocutor in a concrete place, an accessible person who knows the context of Madrid. Susanne thinks it is essential to give each edition a subject or theme; the curator can be international but we also need someone who knows the realities of the city. She suggests the idea of a young person able to create a connection with a foreign curator.

8. Generate documents and publications which expand the experience and the accumulated knowledge of the five editions,Total agreement.

New issues suggested outside the programmed plan:

1. Communication. Essential subject in which there is total agreement. Jean-François, due to his type of project, can’t plan everything beforehand and needs to carry out an action to activate sensibility and participation in the workshop. His intervention in Atocha has been complicated due to the station’s own rhythm and type of people that walk through the area. He would have needed more communication in order to get to people. He suggests the creation of a better and more specific map or plan where each intervention is clearly distinguishable. We have to find and develop new communication channels so the interventions get to the general public.

2. Manuela considers the project has globally gotten to the public after six editions and has been better conceptualized. By taking place in a two year period it becomes more “intriguing” to the public that follows it with more interest.

3. Ramón Parramón thinks Madrid Abierto has found a balance and has grown to relevant dimensions. He finds it complex because it combines a festival with production and residency (distributed in time). To him it also needs contacts and interaction with neighbourhoods and communities. It is important not to have a space or location of reference.

4. Josep-María believes in the importance of evaluation sessions, which must continue to maintain a transparency which he finds essential.

5. Ramón Parramón thinks the team of Madrid Abierto is too small, he also believes dynamic projects need a tracking, both in preproduction and the rest of the process until they develop completely. Fito says the model each time tends more towards a production agency. Therefore he thinks it is fundamental to create a larger team to produce less projects of larger potential. In his mind a team must be created and dedicated to the production, search of interlocutors for dynamic processes and development, as well as another group exclusively dedicated to communicate with the people, communities, media, blogs,… Josep-Maria disagrees with the idea of reducing the number of projects.

6. Madrid Abierto’s independence is crucial.

7. Josep-María and Susanne Bosch think it’s necessary to create residencies for artists.

8. To Josep-María communication and interaction between selected artists is necessary (an initial one and another during the process in order to share the complexity of its development). He claims not to have known the final development of each project, this has frustrated him. Although Laurence thinks it’s very important to bring the artists together during the year, she finds it very difficult, having the timing of each project in mind, to find a date and moment which fits everyone’s agenda. Lisa agrees with the organization of an annual event to specify the needs of each project and to put them in common with the rest of the artists. Jean-François thinks that the lack of communication between artists has been their own responsibility, they are the ones who must create relationships, but they haven’t. He thinks that, for this purpose, certain platforms or already existing tools could be used for this communication. For example, he names places to meet for five days to work on one project, then on another, and then with the rest. Laurence thinks Madrid Abierto is the one who should decide if it wants more interaction among artists.

9. Laurence considers there must be more communication with the Madrid Abierto team which should explain each person’s role in the organization not to get confused when working. Josep- María agrees on this, there must be a curator, a global producer and local producer; this last position would be currently missing. Due to this communication he claims not to have been able to study or see the different possibilities to develop his project, but to have been given very limited options. Jorge says that in the meeting of February 2009 each person’s function was explained, inside the tiny team of Madrid Abierto. He also explains all the options that were gradually given, for example, to Josep-María regarding his project, which, at some point and, in spite of having a local mediator chosen by himself was in a dead end, solutions that turned out to be pretty effective, for example, to locate and access an apartment where immigrants lived.

10. Both Laurence and Jean-François think it is important to make a first payment of fees at the beginning of the edition. Laurence also thinks that part of the fees should be external to the rest of the money used in production, being important to speed up the payment of those fees. Jorge explains that the fees are included in the totality of each project, but clearly separated and quantified; he apologizes once again because the payment still hasn’t been made due to the fact that Madrid Abierto has not received the City Hall’s subsidy yet, something that has never happened before.

11. Laurence thinks it is important for foreign artists to have a person who mediates with the project and knows the city well. For Lisa’s type of projects, she says she needs an infrastructure-platform to develop them and a different dialogue to that which other projects may need. To her it is basic to have a person in the city where she’s intervening through which she can access the people of different neighbourhoods and to create connections with them. Josep-María thinks that each project needs a support team or an ambassador (it could be done through University students or a teacher or hired person). With time to find funding, such support could be possible. Susanne thinks that the role of an ambassador who works and becomes each project’s spokesman is very important, be it a student or a hired person. Jorge stresses that in different ways all type of possibilities have been experimented, in some cases promoted by the artists and in others by Madrid Abierto. When someone is hired this must be included in the total budget and so it has been done when certain artists have decided to, but volunteers or grant holders have certain degree of uncertainty and lack of professionalism that some artists assume as part of the project and others don’t. The same thing happens with the basic team of Madrid Abierto, which changes with each edition. The reason to this is probably the scale of the whole project and the available budget, which, on the other hand, is dedicated mostly to the projects. It is very possible that the level of voluntarism has exceeded for long any reasonable limit.

12. The search of parallel ways to find funding. Jorge says that this has always been done in different ways for specific projects, but that the global funding has decreased once Altadis Foundation abandoned the project while other alternatives haven’t been found in the private sector, in spite of Telefonica Foundation’s momentarily interest. Also, both the City Hall and Community of Madrid have been reducing the budgets during the last two years, as a consequence of the economic crisis.

Result analysis of the finished projects and new guidelines:

1. Madrid Abierto’s open archive in Matadero.Jorge explains that, after many tries, and thanks to the collaboration of Pablo Berastegui, coordinator of Matadero, Madrid Abierto will share a space with three other projects (architecture, performing arts and visual artists from Madrid) to organize and centralize both the digital and physical contents that have been generated along the six editions. María Díaz and Manuela Sevilla are already structuring the contents and adding them to the archive.Susanne and Lisa think that each artist should provide material from the draft, the project and conclusions. It is also felt that it should be open, for communication (blog type) and for a future international forum. Jorge stresses the fact that, initially, everything will be incorporated, except certain contents due to their characteristics or to lack of permission from the artist to be uploaded. At first, like other archives in Matadero, they will be available for public enquire by having previously arranged a date. Susanne underlines the fact that there are other projects in Europe that are working on this subject. Jorge asks for available information to try and collaborate with them.

2. Educational project.María Molina considers it is possible to keep developing the educational project, in 2011 this year’s pilot experience could be extended.

3. Production of a document based exhibition about the whole of Madrid Abierto in its six editions.Jorge claims that this exhibition would help us review the work that has been done and reinforce the project’s presence both in exhibition halls and different activities to which Madrid Abierto is invited.

Due to lack of time we won’t analyze each project in the current edition, therefore we find both evaluation sessions to have ended.















Location: La Casa Encendida (Ronda de Valencia n 2)Moderated by: Cecilia Andersson and Jorge Díez.


4th of Februaryfrom 18.00 to 21.00h

Participating artists:18.00 to 18.30 Lara Almarcegui18.30 to 19.00 Laurence Bonvin19.00 to 19.30 Teddy Cruz19.30 to 20.00 Josep-Maria Martín20.00 to 20.30 Pablo Valbuena20.30 to 21.00 Debate and questions

5th of Februaryfrom 18.00 to 21.00h

Participating artists:18.00 to 18.30 Susanne Bosch18.30 to 19.00 Lisa Cheung19.00 to 19.30 Inaki Larrimbe19.30 to 20.00 Adaptive Actions20.00 a 20.30 Gustavo Romano20.30 a 21.00 Debate and questions



6th of February 18.00h

Introduction of the audiovisual pieces selected in the 9th and 10th edition of conducted by Fito Rodríguez.
















Lisa Iñaki LarrimbeUnofficial

Josep-María MartínUna casa digestiva para Lavapiés / A digestive house for Lavapié

Adaptive ActionsCampo AA, Madrid / AA Camp, Madrid

Gustavo RomanoTime Notes: Oficina móvil / Time Notes: Mobile

Pablo ValbuenaTorre / Tower

Teddy CruzVallecas Abierto: ¿Cómo nos van a ayudar con su arte? / Vallecas Abierto: How is your art going to help us?

Susanne BoschHucha de desesos: ¡Todos somos un barrio, movilízate!    Lara AlmarceguiBajar al subterráneo recién excavado / Going down to the recently excavated underground passage.











2009-2010. Lisa Cheung (Cv)


SOLO EXHIBITIONS2008Fountain of Clear Ripples, Cliffe Castle, Keighley.

2007New Chandeliers, Hoxton Hall, London.

2006Whispering Roses, Museum of Garden History, London. Fireflies, Seoul Fringe Festival, Seoul.

2005Pique Nique, Firstsite at Minories Art Gallery, Colchester.

2004GWC”, Spacex Gallery, Exeter.

2003New Year, Chinese Arts Centre, Manchester.

2002Twilight Garden, Camden Arts Centre, London. Light Familia”, Derby Museum and Art Gallery, Derby.

2001Lite Bites, Gasworks Gallery, London.

1998Nightlights, Para/Site Central, HK.

1997Eat in or Take-Away, Plymouth Arts Centre, Plymouth.

SELECTED GROUP EXHIBITIONS2009Group Process, Radar Arts Programme, Loughborough University, Loughborough.

2008Contemporary Chinoisere, Collyer Bristow Gallery, London.China Design Now, Liberty Department Store, London.Tatton Park Biennial, curated by Parabola, Tatton Park, Knutsford.

2007Human Cargo, Plymouth Museum and Art Gallery, Plymouth. Boutique, Chinese Arts Centre, Manchester.

2006Close Distance, Plymouth Museum and Art Gallery, Plymouth. Double Six, G Index, Toronto.

2004Homeland, Spacex Gallery, Exeter.Nit Niu 04, Pollenca, Mallorca.Artsparkle, Leeds City Gallery, Leeds.Stranger than Fiction”, ACE Touring Show.

2003Exhumed, curated by Danielle Arnaud, Museum of GardenHistory, London.Did you know Hong Kong was still last night?, Parasite Art Space, HK.Glamour, British Council, Praha.Meinstrastando, El Conde Duque, Madrid.Carioquinha, Espaco Bananeias, Rio de Janeiro.

2002New Releases, Art Gallery of New South Wales, Australia.Diversion, Museum of Garden History, London.Gwangju Biennale, with Parasite Arts Space, Gwangju, Korea.

2000Hong Kong Artscope 2000, Mizuma Gallery, Tokyo.How the West was Lost and Won, British Council, Praha.

1999Gracelands Palace, Sungkok Museum, Seoul (pub.). II@Dogenhaus, Dogenhaus Annex Gallery, Berlin.

1997Fish Out of Water, Curwen Gallery, London (pub.).

SOLO PROJECTS2009Mobile Allotment, Nightingale Estate, Greenwich, London.

2008El Club de los Dedos Verde, Intermediae, Madrid.Summer Palace, A Foundation (off site), Liverpool. Spirit of Gosport, Aspex Gallery (offsite) Portsmouth. 2005I asked her and she said yes, Chinese Arts Centre, Manchester.

COLLABORATIVE PROJECTS2007Blink (with public works), St Peter’s Estate, London.

2006Lassie Come Home (with Ming Wong), Camden Arts Centre, London.

2004TV Dinners (with Ayako Yoshimura), Home, London (pub.).

1999Double Happiness (with Emil Goh). Outdoor project of Hayward Gallery, London.

PERFORMANCES2009Alternative Village Fête, curated by HOME, National Theatre, London.

2007Celebrando, Intermediae, Madrid.Vital 07, Chinese Arts Centre, Manchester.

2003Art and Food, curated by HOME, Victoria & Albert Museum, London.

EDUCATION1989-92Bachelors of Fine Arts, Queen’s University, Kingston, Canada.

1996-97Post Graduate Diploma of Arts, Goldsmiths College, London.

1997-98Master of Arts, Goldsmiths College.

PERMANENT COMISSIONS2006Secret Lives of Hours and Minutes, ACE, London

2004Bliss, Chinese Arts Centre, Manchester.

2003Tradescant’s Ark, Museum of Garden History, London.

GRANTS AND AWARDS2009 & 2007Grants for the Arts, ACE.

2003Travel Grant, British Council.

2001Visual Artists Fund, London Arts Board.

2000Year of the Artist, Northwest Arts Board.

1999Florence Trust Studio Award, Florence Trust, London.

1999Freeman Fellowship, Vermont Studio Centre, Vermont, USA.

1995Project Grant, Hong Kong Arts Development Council.

1992Best in Show & Best Sculpture, Toronto Outdoor Art Exhibition.

PUBLIC COLLECTIONSArts Council of England, UKPlymouth Museum and Art Gallery, UKDerby Museum and Art Gallery, UKAgnes Etherington Arts Centre, Kingston, Canada















2009-2010. Lisa Cheung. VA VA VOOM VEG (technical data)


VAVAVoom Veg is a mobile self-contained unit, transported by tractor/motorcycle that can remain with the unit or used when necessary.


Access to water for irrigation systemSunny Public Square within residential community














2009-2010. URBAN BUDDY SCHEME / 08 feb 2009 (video)

Sunday 8th of February, 2009Moderated by: STEALTH

1  Cecilia Andersson presents STEALTH00:00 - 00:30 STEALTH00:30 - 26:07



2STEALTH00:00 - 23:53



3Pablo Valbuena00:00 - 10:40

Lisa Cheung11:00 - 26:12


4Lisa Cheung00:00 - 00:26

STEALTH (questions and discussion with the audience)00:26 - 18:14


5Jorge Díez + Cecilia Andersson + all the participants (questions and discussion with the audience)00:00 - 21:06


6Jorge Díez + Cecilia Andersson + all the participants (questions and discussion with the audience)00:00 - 21:12


7Jorge Díez + Cecilia Andersson + all the participants (questions and discussion with the audience)00:00 - 20:10













2009-2010. Lisa Cheung. VA VA VOOM VEG (theoretical data)

 VA VA Voom Veg (working title) is a prototype for a mobile, temporary vegetable garden that invites local residents in urban locations to grow fresh vegetables within the city centre. This project shares the pleasures and rewards of gardening with people who do not have the opportunity because they live in an urban environment. As well, it attempts to expand the possibilities of how we use public spaces for communal benefits and the degrees participation and belonging that can be cultivated.

VVVV draws on the traditions of allotments in the UK and other European countries. Allotments were a necessity during the war year food shortages and now have enjoyed a recent resurgence due to the greater importance placed on organic and local production coupled with rising food prices. Often times, unwanted unusual spaces in urban centres were used for allotments because of their easy accessibility and availability; thus transforming “unused” land into communal spaces. Furthermore allotment garden is characterised by a strong community spirit, passionate individuals and a generous sharing of knowledge, work, and of course food!

VVVV attempts to reclaim public space for individuals and the community. It also endeavours to imbue a sense of the “country’ back into urban life by linking the city dweller with the earth fundamentally by growing food in a communal environment. This is especially relevant as more and more people live in small, urban apartments with no private open space and little access to green areas. As well, this project acts as a link to village life, where many once originated from and often long to return.

The structure is in the shape of an idyllic “A-frame” “country” house on a trailer. This will be sited in a neighbourhood in Madrid within a public square where participants can access. One side forms a glass greenhouse for cultivating seeds and small plants. As the plants mature, the glass roof can slide safely under the roof of the house, allowing the vegetables to continue to grow. Vegetables and fruits can be grown in the house itself and within the many window boxes. All materials and equipment necessary are stored inside the little house. In addition, a compact library of gardening books, activity notice board and garden “diary” (to record thoughts, comments and experiences) will be housed within the unit.

Local residents are invited to participate, decide the planting, maintain and enjoy the fruits of the garden throughout the period of the project (Feb - July). Their input and dedication are essential for the success of the garden and the project. A core gardening club will be formed (composed of local residents) to regularly maintain the garden, accompanied by monthly gardening workshops and gardening assistance for novices. Communal activities will be organised around the garden (ie communal lunch, strawberry celebration, harvest festival etc) where all are welcome. As well the mobile garden will travel to other parts of the city to hold workshops, demonstrations and other community activities.

This proposal is based on my interest in public spaces and creating social environments where social exchange can occur. I am interested in temporary structures that make up urban landscape. My recent projects have used gardening and cultivating plants as a point of interaction and participation.









2009-2010. Lisa Cheung. HUERT-O-BUS (location)

Moday: closed 

Tuesday: Plaza de la Pilarica, Usera.

Wednesday: Plaza Soledad Torres Acosta (Cinema Luna). CANCEL

Thursday: Plaza de Agustín Lara, Lavapiés (in front of Escuelas Pías).

Friday: Plaza de la Remonta, Tetuán.

Saturday and Sunday: Jardines del Descubrimiento (Plaza de Colón)
















2009-2010. DISCUSSION PANELS / 5 feb 2010 (video)

5th of February 20106pm to 9pm.  PRESENTATION OF THE INTERVENTIONS

1Presented and moderated by Cecilia Andersson and Jorge Díez (00:00 - 00:40)

Iñaki Larrimbe, Unofficial Tourism(00:40 - 20.05)

Adaptive Actions, AA Camp, Madrid(20:05 - 27:05)



2Adaptive Actions, AA Camp, Madrid(00:00 - 26:36)



3Adaptive Actions, AA Camp, Madrid(00:00 - 05.17)

Lisa Cheung, Huert-o-Bus(05:17 - 27:29)



4Lisa Cheung, Huert-o-Bus(00.00 - 01:24)


5Gustavo Romano, Time Notes: Mobile office(00.00 - 05:36)

Susanne Bosch + Zoohaus + María Molina, Hucha de desesos: ¡Todos somos un barrio, movilízate!Susanne Bosch(05.36 - 20:28)


6Susanne Bosch + Zoohaus + María MolinaSusanne Bosch(00.00 - 03:00)

Zoohaus(03:00 - 19:46)

Susanne Bosch + María Molina, Educational ProjectSusanne Bosch(19:46 - 20.29)

7Susanne Bosch(00:00 - 05:33)

María Molina(05:33 - 11:30)

Susanne Bosch + Zoohaus + María Molina(11:30 - 20:29)

8Debate and questions(00:00 - 06.27)














2009-2010. Lisa Cheung. HUERT-O-BUS (published text)

 Huert-o-Bus is a travelling greenhouse, inviting local residents in Madrid to grow fresh vegetables and plants within the city centre. Huert-o-bus makes use of existing urban public spaces for communal gardens and local food growing.

Like a public city bus, Huert-o-bus will stop in different neighbourhoods and districts in designated plazas, carrying its `passengers´ of seeds and seedlings. Each site will be marked by a `bus stop´ that informs neighbours/visitors of the Huert-o-bus schedule and its activities.

Huert-o-bus will be equipped with required facilities in order to act as a greenhouse as well as a centre of activities. It will house a small library, gardening tools, seating and a kitchen. Neighbours are invited to use the greenhouse to cultivate seeds for their own gardens as well as for sharing plants, food and ideas.

Huert-o-Bus draws on the traditions of allotments in the UK and other European countries. Allotments were a necessity during the war years with food shortages and have recently enjoyed a resurgence due to the greater importance placed on organic and local food production coupled with rising food prices. Often times unwanted unusual spaces in urban centres were utilized for growing food because of their easy accessibility and availability; thus transforming “unused” land into communal spaces. Furthermore the allotment garden is often characterised by a strong community spirit, passionate individuals and a generous sharing of knowledge, work, and of course food!
















2009-2010. MESAS DEBATE / 04, 05 feb 2010 (imágenes)

2009-2010. MESAS DEBATE / 04, 05 feb 2010 (imágenes)





















2009-2010. Lisa Cheung. HUERTO-O-BUS (2010.01 / technical data / informative text)

 Welcome to the Huert-o-bus!

A ‘travelling’ greenhouse that will visit different neighbourhoods of Madrid from the 4th to the 28th of February.

We invite you to participate by planting a seed, taking care of the plants or doing some community activity or workshop… and most of all, to enjoy a green area in the city!

Huert-o-bus is a project by Lisa Cheung for MADRID ABIERTO

Datesfrom the 4th to the 28th of February

Timetablefrom 11am to 6pm.


TuesdaysPilarica square in Usera (between Pilarica street and Dolores Barranco street)

WednesdaySoledad Torres Acosta square (Luna Cinema)

ThursdayAgustín Lara square, Lavapiés (in front of the Pious Schools, between Sombrerete street and Meson de Paredes street).

FridaysRemonta square in Tetuán.

Saturdays and SundaysGardens of the Discovery- Plaza Colon.

“Leave your mark by planting a seed”













2009-2010. Lisa Cheung. SUMMER PALACE, 2007

2009-2010. Lisa Cheung. SUMMER PALACE, 2007

SUMMER PALACE 2007Southport Flower Show, A Foundation, Liverpool,

Was a sculpture designed for the Southport Flower Show that invited local community groups, gardening associations, local allotments (in total 56) to exhibit a horticultural display within the sculpture at this profession flower show.  The sculpture acted as display unit, café and meeting point.













2009-2010. Lisa Cheung. IN KITCHEN GODDESS, 2008

2009-2010. Lisa Cheung. IN KITCHEN GODDESS, 2008

IN KITCHEN GODDESS, 2008Tatton Park Biennial, curated by Parabola, Knutsford,

I sited a growing sculpture within the kitchen garden of Tatton Park RHS Gardens. It refers to scarecrows, manor house debutants and the Kitchen God in Chinese culture.  With the assistance of local allotment gardeners, the Goddess grew 15 varieties of vegetables throughout spring and summer, and hosted a feast where visitors where invited to devour her.














2009-2010. Lisa Cheung. EL CLUB DE LOS DEDOS VERDES, 2008

2009-2010. Lisa Cheung. EL CLUB DE LOS DEDOS VERDES, 2008


EL CLUB DE LOS DEDOS VERDES, 2008Intermediae, Madrid,

A mobile “planting station” was constructed by modifying a supermarket trolley to carry compost, plants, flower pots and travelled to local public squares and street corners.  It invited local residents to help plant flowerpots with flowers of their choice for a communal hanging garden located within the walls of the Matadero.













2009-2010. Lisa Cheung. HUERTO-O-BUS (2010.01 / fieldwork)



Asociación de Vecinos Salud y AhorroC/ Cestona, 5

Asociación de Vecinos La IncoloraC/ Gregorio Ortiz, 12 Local

Fundación Secretariado General GitanoC/ Antonio Salvador, 97 (local bajo)

Asociación Colectivo La CalleC/ Censo, 6 lateral

Asociación KandilC/ Amor Hermoso, 60

Asociación SERSO-PANGEAAvda. Cerro de los Ángeles, 17

Asociación de Mujeres del Poblado de OrcasitasC/ Cestona, 5

Asociación de cooperación y apoyo a la integración ICEASC/ Deva, 76

Asociación Colectivo AlucinosC/ Adora, 5-7 y 9

Fundación Iniciativas SurPlaza de la Asociación, 1-3

Asociación Cultural Salud y AhorroC/ Cuesta, 13

Asociación Universidad Popular de MadridC/ Ricardo Beltrán y Rozpide, 1

Asociación Juvenil LambdaC/ Silvio Abad, 42

Asociación de Chilenos en España (ACHES)C/ Eduardo Caxes, 10. 7º A

Centro Cultural La NatividadC/ Torrox, 4

Asociación Cívico Cultural Tetuan TeatroCalle Cristo de la Victoria s.n

A.P. A  I.E.S. Enrique Tierno GalvánAvda Andalucia Km 6,200

Asociacion de padres de alumnos colegio Nuestra Señora de MontserratCl Trevelez s/n, 28041

Asociacion de padres de alumnos colegio obra social Maria ReinaAv Orcasur 42 b, 28041

Asociacion de madres y padres de alumnos colegio San ViatorPz Fernandez Ladreda 2, 28026

Asociacion de padres de alumnos colegio luz casanovaCl Madridejos 34, 28026

Asociacion de padres de alumnos colegio de educacion infantil y primaria pradolongoCl Parque de la paloma 9, 28026

Asociacion de padres de alumnos Daoiz y VelardeCl Antonio Velasco zazo 34, 2º, 28026

Asociacion de padres de alumnos instituto de educacion secundaria ciudad de JaénCl Camino del rio 25, 28041

Asociacion de madres y padres de alumnos colegio de educacion infantil y primaria Jorge ManriquePz pintor Lucas 17, 28026

Asociacion de padres de alumnos colegio San FerminCl Estafeta 17, 28041

Asociacion de madres y padres de alumnos escuela infantil la jaraCl Hijas de Jesus 30, 28026

Asociacion de madres y padres de alumnos colegio de educacion infantil y primaria Juan Sebastian El CanoCl Mirasierra 29, 28026

Asociacion de padres de alumnos colegio publico Nuestra Señora de la FuencislaCl Tomelloso 40, 28026

Asociacion de padres de alumnos colegio santa maria - marianistasCl Tolosa 6, 28041

Asociacion de padres de alumnos colegio publico Ciudad de JaenCl Camino del rio s/n 28041

Asociacion de padres de alumnos escuela infantil ZofioCl Fornillos 3, 28026

Asociacion de padres de alumnos conservatorio escuela de música Maestro BarbieriCl Cestona 5, 28041

Asociacion de madres y padres de alumnos escuela infantil AlbaicinCl Albaicin s/n 28041

Asociacion de padres de alumnos colegio Nuestra Señora de FátimaCl Manuel Muñoz 30, 28026

Asociacion de madres y padres de alumnos colegio publico Meseta de OrcasitasCl Camino viejo de Villaverde 1, 28041

Asociacion de madres y padres de alumnos escuela infantil La cornisaCl Cristo de la Victoria s/n 28026

Asociacion de padres de alumnos colegio publico educacion especial Joan MiróAv Poblados 183, 28024

Asociacion de madres y padres de alumnos colegio publico Marcelo UseraCl Perales de Tajuña 1, 28026

Asociacion de madres y padres de alumnos colegio de educacion infantil y primaria Republica del BrasilAv Fueros 34, 28041

Asociacion de madres y padres de alumnos instituto de educacion secundaria Pio BarojaCl General Marva s/n

(January 2010) 


















2009-2010. Lisa Cheung. HUERTO-O-BUS (2010.01 / technical data / assembly)

2009-2010. Lisa Cheung. HUERTO-O-BUS (2010.01 / technical data / assembly)




(January 2010) 















2009-2010. Lisa Cheung. HUERTO-O-BUS (2009.05 / project review / proposed locations)

2009-2010. Lisa Cheung. HUERTO-O-BUS (2009.05 / project review / proposed locations)

Huert-o-bus can assess all locations and all are concrete surfaces and public spaces.

1. Paseo de Recoletos (in front of National Library)

2. Plaza de la Luna , C/ de la Luna, Centro

3. Plaza de la Corrala, Lavapiés (in front of new library, front entrance) & Doktor Fourquet 24, Lavapiés*

Plaza de la Corrala, Lavapies

Doctor Fourquet 24, Lavapiés


4. Plaza de la Remonta, Tetuán

5. Plaza de Pilarica? (entre c/ Pilarica & c/ Dolores Barranco), Usera or Plaza Andreas Arteaga (next to c/ Andreas Arteaga), Usera*

Plaza de Pilarica, Usera

Plaza Andreas Arteaga, Usera

*Where two locations are indicated, one or the other will be sufficient.

(MAY 2009) 











2009-2010. Lisa Cheung. HUERT-O-BUS (images)

2009-2010. Lisa Cheung. HUERT-O-BUS (images)




















Photos: Alfonso Herranz















09-10inic2777, 09-10inic2776