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2009-2010. URBAN BUDDY SCHEME PROGRAMME 2009

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.

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PROGRAMME

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.

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PARTICIPANTS

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 ( http://www.ganarselavida.net/) 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. 

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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

 

 

 

 

 

 

 

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2009-2010. EVALUATION MEETING 2010 (report)

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

Attendees

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).

Issues

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.

 

 

 

 

 

 

 

 

 

 

 

 

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2009-2010. DISCUSSION PANELS PROGRAMME

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

MEETING AND PRESENTATION OF THE INTERVENTIONS

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

 

PRESENTATION AND SCREENING OF THE AUDIOVISUAL PIECES

6th of February 18.00h

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

 

 

 

 

 

 

 

 

 

 

 

 

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2009-10. ARTISTS / INTERVENTIONS / LINKS

Laurence BonvinGhostownwww.laurencebonvin.com

Lisa CheungHuert-o-Buswww.lisacheung.com Iñaki LarrimbeUnofficial Tourismwww.web.jet.es

Josep-María MartínUna casa digestiva para Lavapiés / A digestive house for Lavapiéswww.josep-mariamartin.org

Adaptive ActionsCampo AA, Madrid / AA Camp, Madrid    www.adaptiveactions.net

Gustavo RomanoTime Notes: Oficina móvil / Time Notes: Mobile Officewww.gustavoromano.org

Pablo ValbuenaTorre / Tower Blockwww.pablovalbuena.com

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

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

 

 

 

 

 

 

 

 

 

09-10prta2502

2009-2010. Gustavo Romano (Cv)

BUENOS AIRES, 1958LIVES AND WORKS IN BUENOS AIRESWWW.GUSTAVOROMANO.ORGWORK EXPOSED IN MADRID ABIERTO: TIME NOTES: OFICINA MÓVIL / TIME NOTES: MOBILE OFFICE

SELECTED SOLO EXHIBITIONS

Utilitarios para un universo inestable, Museo Tamayo, México DF, México.Mercado de futuros, Galería Ruth Benzacar, Buenos Aires, Argentina.Sabotaje en la máquina abstracta (obras de 1998 al 2007) MEIAC, Badajoz, España.Heterotopía, Galería Ruth Benzacar, Buenos Aires, Argentina.Pieza sonora para ser caminada, Centro Cultural Recoleta, Buenos Aires, Argentina.La tarde de un escritor, Museo de Arte Moderno de  Buenos Aires, Argentina.Tres Acciones, Galería Ruth Benzacar, Buenos Aires, Argentina.Evidencias Circunstanciales – con Jorge Macchi -, Museo de Arte Moderno de  Buenos Aires, Argentina.Casos de Identidad,  Centro Cultural España Córdoba, Argentina.Video Instalaciones y Objetos, Centro Cultural España, Buenos Aires, Argentina.

SELECTED GROUP EXHIBITIONS

Variation Time, Galerie der Künstler, München, Deutschland.Sintopías, Instituto Cervantes, New York.Taking Time / Tiempo al Tiempo, MARCO, Vigo, España.Art Goes Heiligendamm, Rostock, Deutschland.Videonale 11, Kunstmuseum, Bonn, Deutschland.Sintopías, Instituto Cervantes, Beijing, China.I Bienal del fin del mundo, Ushuaia, Argentina.I Bienal de SingaporeEn las fronteras / Grenzgänge, Instituto Cervantes, Viena, Austria.Relecturas en la Colección del MAMbA, Museo de Arte Moderno de Buenos Aires, Argentina.Sobre una realidad ineludible, MEIAC, Badajoz, y Centro de Arte Caja de Burgos, España.Mystic, Massachusets College of Arts, Boston, Massachusetts.Cardinales, MARCO - Museo de Arte Contemporánea de Vigo, España.Nueva/Vista Videoarte de Latinoamérica, IFA Gallery, Bonn, Berlin, Stuttgart, Deutschland.Selección de obras de la Colección del New Museum, New Museum, New York.El Final Del Eclipse, Fundación Telefónica, Madrid, Granada y Salamanca, España.VII Bienal de la Habana, Cuba.Interferences, Belfort, France.I Bienal Internacional de Buenos Aires, Museo Nacional de Bellas Artes, Buenos Aires, Argentina.Borges.es, Casa de América, Madrid, España.II Bienal del Mercosur, Porto Alegre, Brasil.I Bienal de Lima, Perú.

PERFORMANCES

Oficina de reintegro del tiempo perdido y Time Waves, MARCO, Vigo.Pieza con globos #2 y #3, Laboratorio Arte Alameda, Ciudad de México.Losing Time y Exchange Office, I Bienal de Singapur, Singapore.Underground Information System, Intervención en el sistema de información y trenes del metro de Buenos Aires, Festival Diálogos Buenos Aires- Berlín.Pieza sonora para ser caminada, Centro de España en Montevideo, Uruguay; Centro Nacional de las Artes, Ciudad de México.

FILM FESTIVALS AND SCREENINGS

Festival Transitio MX, Laboratorio Arte Alameda, DF, México.Festival VAE10, Lima, Perú.Festival FILE, San Pablo, Rio de Janeiro, Brasil.Festival Centro + Media, Centro, DF, México.Videobrasil, San Pablo, Brasil.Net.art CD.art, Casa Encendida, Madrid, España.Transmediale, Berlin, Deutschland.Encuentros Internacionales Paris/Berlín.Festival Ars Electronica, Linz, Austria.

PROJECTS

IP Poetry Project www.ip-poetry.findelmundo.com.arAzul cielo y blanca www.findelmundo.com.ar/azulcielo/Pieza Privada Nº1 www.findelmundo.com.ar/pp01/Pocketlog www.moblog.findelmundo.com.ar/CyberZoo www.cyberzoo.orgHyperbody  www.hyperbody.org Mi deseo es tu deseo  www.findelmundo.com.ar/mdtd

CURATORIAL PROJECTS

Re/Apropiaciones, MEIAC de Badajoz, España.Desmontajes, MEIAC de Badajoz, España.El video como zona de cruce, Centro Cultural de España en Montevideo.Acciones, Investigaciones y Relecturas, Centro Cultural España Córdoba, Argentina.Net(art)working, Centro Cultural de España en Buenos Aires.Robot Ludens, Centro Cultural de España en Buenos Aires.De camaleones y caballos de Troya, Centro Cultural de España en Buenos Aires.Caleidoscopios, Centro Cultural de España en Buenos Aires.(Re)codificaciones, Centro Cultural de España en Buenos Aires.Itinerarios y Souvenirs, Centro Cultural de España en Buenos Aires.Turbulencias (en el ciberespacio), Centro Cultural San Martín, Buenos Aires.

WRITINGS

2009Desmontajes, Badajoz, MEIAC.

2006Netart.ib, Buenos Aires, CCEBA.

2003Cuadernos del Limbo (ed), Buenos Aires, Limbo Ediciones.

AWARDS AND GRANTS

John Simon Guggenheim Memorial Foundation Fellowship, New York.Incentivo para nuevas producciones del concurso Vida 7.0, Fundación Telefónica de España, Madrid.Premio Konex de Platino, Fundación Konex, Buenos Aires.Primer premio en Buenos Aires Video XII, Premio ICI de Video, Buenos Aires.

WORKS IN MUSEUMS AND COLLECTIONS 

New Museum of Contemporary Art, New York.Fundación Arco, Madrid.MEIAC, Badajoz.Museo de Arte Moderno de Buenos Aires.Museo Nacional de Bellas Artes de Buenos Aires.

BIBLIOGRAPHY

Mercedes Urquiza, “El tiempo no es dinero, quizás”, Diario Perfil, Buenos Aires, 19 de abril de 2009.Eugeni Bonet, “Lógica del contrasentido”. Sabotaje en la máquina abstracta, MEIAC, Badajoz, 2008. (Cat. Exp)Laura Revuelta, “Que no se apague la llama del ingenio”, ABCD, diario ABC, Madrid. 22 de marzo de 2008.Carlos Jiménez, reseña de “Sabotaje en la maquina abstracta”, Babelia, diario El País, 15 de marzo de 2008, Madrid.Nilo Casares. “El «chip» poético”, ABCD, diario ABC. 8 de marzo de 2008, Madrid.Johan Frederik Hartle, “El tiempo es oro… ¿o no?”, Tiempo al tiempo, Vigo, 2007. (Cat. Exp)Eva Grinstein, “El secreto mejor guardado del Net.art”. ARTECONTEXTO, Madrid, agosto de 2007.Belén Gache, “Time Notes”. I Bienal de Singapur, 2006. (Cat. Exp)Laura Baigorri, “Viaje sin destino. Para no olvidar”, Arte y Compromiso, MEIAC, Badajoz, 2004. (Cat. Exp)Jorge López Anaya, “Nuevos y viejos medios”, diario La Nación, Buenos Aires, 3 de junio de 2004.Jorge López Anaya, “Gustavo Romano, la poética tecnológica”, diario La Nación, Buenos Aires, 9 de abril de 2000.Arturo Carrera, Tres Acciones, Buenos Aires, 2000. (Cat. Exp)Belén Gache, “El lado invisible de las cosas”, borges.es, Casa de América, Madrid, 1999. (Cat. Exp)José Tono Martínez, Evidencias circunstanciales, Buenos Aires, 1998. (Cat. Exp)

 

 

 

 

 

 

 

 

 

 

09-10prtb2519

2009-2010. Gustavo Romano. TIME NOTES (technical data)

 ASSEMBLY AND PRODUCTION DESCRIPTION

General production:- Note printing (special issue for Madrid Abierto)- Promotion flyers to post around the streets

Mobile office production:- Construction of a cart upon a tricycle- 2 actors or volunteers to attend the office- 1 printer- 1 laptop (or PDA with portable keyboard)

Main office production (Casa de America) :- 2 actors or volunteers to attend the office- 1 desk or kiosk - 2 chairs- promotion poster showing directions to the office- 1 computer- 1 printer- Electronic connection- Internet connection

If possible, the videos of previous actions and other documents will be exhibited inside the Casa de America space.

 

 

 

 

 

 

 

 

 

 

 

 

09-10prtc3570

2009-2010. Gustavo Romano. TIME NOTES (theoretical data)

 TIME NOTES“Mobile office for the reimbursement of wasted time” and other actions by Gustavo Romano

The Time Notes project involves a series of actions in public spaces using a new monetary system based on time units, 1 year bills, 60 minutes, etc. The back of these bills present different quotes, about money or time, written by philosophers, writers or economists.

Starting with a first opening action in Berlin, other actions took place in different cities (Singapore, Rostock, Vigo) and in each case they were the product of observations related to local problems regarding the system of exchange, the experience of time (as personal or alien) and the thoughts that on these subjects arose in each location.

The proposal for Madrid Abierto is to establish a “mobile office for the reimbursement of wasted time” and carry out at least 2 other actions using these banknotes, with topics that may arouse after field research, and observation of interaction with local issues which take place at the moment of the intervention.

A main office would function in Casa de America where video documents, banknotes and other documents related to the project would be exhibited. The mobile office would follow a route through different places of the city, for as much time as the event takes place.

It will be complemented with a low cost promotion campaign of wide circulation.

DESCRIPTION OF THE ACTION

“MOBILE OFFICE FOR THE REIMBURSEMENT OF WASTED TIME”(Working in an unwanted job, time wasted on the wrong relationship, time in the army, etc.)

The construction of an office based on a tricycle and the use of a portable printer, a PDA with WIFI and a folding keyboard, will enable movement and autonomy regarding interaction with the public as well as collecting information and uploading it to the Internet.

EXHIBITION PROPOSAL

The action will be videotaped, and showed along the recordings of previous Time Notes actions. Copies of the banknotes with written causes for having wasted time will also be exhibited.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10intc3569

 

2009-2010. Gustavo Romano. TIME NOTES: MOBILE OFFICE (location)

Varying places in the city and at Casa de Muñecas, Casa de América

 

 

 

 

 

 

 

 

 

 

 

09-10intd2881

2009-2010. Gustavo Romano. TIME NOTES: OFICINA MÓVIL (2009.05 / project review / technical data)

TIMETABLE

July

Design the notes (Madrid Abierto eidition)Design the flyersDrawing of the cart Print the notesContact and call for possible actorsCall of the international guests for debate sessionFind a place in Madrid to be in August for four days

August and September

Arrival in MadridAcquisition of computers and the rest of technical devicesMeeting with actors, selectionSearch and selection of providers to make the cartContact local guests for the debate session and find a placeFind apartment for January and FebruaryDeparture from MadridDevelopment and installation of software

January

Rent of an apartment in MadridArrival in MadridPrint flyersHire Internet serviceCreation of the cartDistribution of flyersFirst runs with the Mobile OfficeRecord videoEdition of video

February (before the 4th)

Assembly at Casa de AmericaTest Internet connection and communication between Mobile Office and Main Office

From the 4th of February on

Programmed routes of Mobile Office beginMain Office functioningPreparations for debate session

Date still to be established

Debate session

From the 1st of March on

Disassembly

 

DETAILS ON ASSEMBLY AND PRODUCTION

General production

- 3000 note printing (special issue for Madrid Abierto)- Promotion flyers to post around the streets

Mobile office production

- Construction of a cart upon a tricycle- 2 actors or volunteers to attend the office- 1 printer- 1 laptop (with an extra battery charge and webcam)- Wireless Internet 3G

Production for main office (in Casa de America)

- 1 actor or volunteer to take care of the office- 1 desk or kiosk - 2 chairs- 1 reading desk (or reading place with 1 or 2 buckets)- Promotion poster to show the way to the office- 1 computer- 1 printer- Electric connection- Internet connection- 1 DVD player- 1 TV set- Headphones- 1 showcase or desk to exhibit the notes

 

 

 

 

 

 

 

 

 

 

09-10intb3589, 09-10intb3591

2009-2010. URBAN BUDDY SCHEME / 07 feb 2009 (video)

Saturday 7th of February, 2009

1 Cecilia Andersson (presentation of International Festival)00:00 - 00:55

International Festival00:55 - 19:35

              

2International Festival00:00 - 19.39

                

3International Festival00:00 - 06:49

 

PRESENTATIONS, GROUP 1Moderator: STEALTH

4Josep-Maria Martín 00.00 - 16.56

Susanne Bosch18.37 - 19:39

5Susanne Bosch00.00 - 19.51

6Susanne Bosch00.00 - 01:22

Laurence Bonvin 01:40 - 18.35

STEALTH (questions)18:35 - 19:46

7STEALTH (questions)00.00 - 00:45

8STEALTH (discussion with the audience)02:20 - 15:14

PRESENTATIONS, GROUP 2ºModerator: International Festival

International Festival15:14 - 18:50

Jean François Prost18:50 - 26:29

9Jean François Prost00.00 - 05:27

Adriana Salazar 05:27 - 20.41

Gustavo Romano20:41 - 26:13

10Gustavo Romano00:00 - 09:50

 

 

 

 

 

 

 

 

 

 

 

 

09-10mdvc2429-7

2009-2010. Gustavo Romano. TIME NOTES: MOBILE OFFICE (published text)

 

The Time Notes project involves a series of actions in public spaces using a new monetary system based on time units, 1 year bills, 60 minutes, etc. The back of these bills present different quotes, about money or time, written by philosophers, writers or economists. 

 

Starting off with one first launch action developed in Berlin, other actions took place in different cities, Singapore, Rostock, Vigo, Munich, Mexico, Buenos Aires. In each case people started to discuss the different local problems related to the currency system of exchange and how people experience and perceive time.

  The proposal for MADRID ABIERTO engages with the opening of a Mobile Office and a Central Office based in Casa de America.

 

The Mobile Office will travel daily from the central space in Casa de America taking three main routes: 1. the North segment, going from Paseo de Recoletos towards Paseo de la Castellana; 2. the South line, through Paseo del Prado towards Atocha's Station, and 3. the Western line, which will go through Calle Alcalá to Plaza Mayor, eventually drifting down other streets, deviating from the main arteries. 

 

The Mobile Office will offer two types of services that `banks´ commonly render: Reimbursement of time that has been lost, and Loans of time. The Office, through its system of lost time reimbursement, presents itself as a place for reception and classification of time which has been transferred involuntarily, under pressure or for arbitrary reasons. In other words, time wasted attending to an unwanted job, time lost in the wrong relationship, time spent while serving in the army, etc.

 

In the Mobile Office, a Time Notes representative will register descriptions of how the deponents lost their time, and reimburse the deponent with a bill of the corresponding value. The reason for the loss of time will be printed on the back. Also, an online data base with the compiled information will be created.

  In a similar manner, through a Time Loan service, the Office presents its credit line for the concretion of postponed wishes. Starting off with the question: "If you had a minute, an hour, an extra year in your life, ¿what would you do?" it involves a reflection about our use of time and those things we constantly leave for a better moment in the future. All the information delivered by the bank's `clients´, will be daily transmitted to the Time Notes website: www.timenoteshouse.org 

 

The Central Office, established as an operational base and information centre, which will be situated in the Dolls' Room of Casa de America, will serve for several uses and purposes: thanks to an updated map, it will offer information about the routes, schedules and itineraries of the Mobile Office. Central Office will receive the video signal from the Mobile Office wherever it may be. A customer service section will be installed, offering the same services as the Mobile Office.

 

The Office will also offer documental information, videos, bills and other documents of what has previously occurred in the Mobile Office as well as in other stages of the Time Notes project. A centre will be created for the reception, discussion and bibliographic consultancy of reference material related to problems of money, new alternative exchange systems and other financial theories. This centre will also serve as location for the Mobile Office once it has finished its daily route.  

 

...............................................................................................................................................................................................................................................................................

UPDATE FOR THE MADRID ABIERTO 2009-2012 BOOK

 

Starting off with one first launch action developed in Berlin, other actions took place in different cities, Singapore, Rostock, Vigo, Munich, Mexico, Buenos Aires, Mexico, Madrid, Munich, Mumbay and even so in the World Bank building in Washinington D.C. In each case people started to discuss the different local problems related to the currency system of exchange and how people experience and perceive time. 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10intc2821, 09-10intc3693

2009-2010. Gustavo Romano. TIME NOTES: MOBILE OFFICE (2009.12 / fieldwork)

CALL FOR PARTICIPATION: ACTORS

ACTOR’S PROFILE

For the mobile office we need a young man and a woman, preferably from Madrid, or not to be identified by their foreign accent.

The ideal profile is a jovial person, who enjoys dealing with people, but knows how to listen and lets others speak, someone who understands that the protagonist is the interviewed and not he.

The profile to avoid is someone who is afraid to interact with strangers, an irascible person or someone who is always joking.

For the main office of Casa de America, the gender is irrelevant and it’s not important if they know how to approach people, for, in this case, people will come to the office by their own will.

OPENING HOURS AND FEES

The mobile office will drive around for 4 hours 5 days a week. We should specify when, but for now I think that from Tuesday to Saturday from 11am to 3pm would be fine, but I am open to suggestions.

For 3 or 4 hours the main office can function in Casa de America (the rest of the time it would work as a space). In that case the opening hours will depend on Casa de America.

Two actors will make use of the mobile office.

The planned fees for actors are a total of 2000 euros.

I will be in the mobile office at times, sometimes in the main one.

ACTOR’S TASKS

For those who work in the mobile office, they will daily have to drive a “bike-cart” and then bring it back to Casa de America.

They will have to stop at specific locations and start offering their service of Reimbursement of wasted time and Loans.

In order to do this I will personally explain the operation in detail, but in general, it consists of asking people about their wasted time or what they would do if they had extra time, give them the corresponding bills and upload the information on the computer.

SOME ADVICE FOR THE ACTORS

1- Even the most unusual reasons are welcome. The main role is to collect reasons for wasted time. When a person arrives at the “office”, the actor says this, more or less:“In this office we offer different services, for example, the reimbursement of wasted time. You tell us how you lost your time, due to a bad decision, or something that you had to do without wanting to, and we will give it back to you with our notes. We have 1 minute, 1 day, 1 year,…”

2- Don’t try to force any specific reason. If the person is confused or has doubts and you want to avoid uncomfortable silence, it’s better to ask some open questions instead of helping them with suggestions.For example, you can say… “Don’t you ever waste time? Are you sure?” Or ask something about the person… “Do you work, or do you study?” Or you can say… “Take your time, there’s no hurry”.If the person doesn’t have anything in mind, as a last resource, you can ask him some general information…. “You’re so lucky. Are you happy with your job? Do you always do what you want?”, etc.

3- Avoid the word Art. In my experience, if they become aware that this is an art project… people get disappointed (me too).No one thinks that this situation is for real, but everyone wants to think that it’s true. Everyone enjoys the illusion, and they want to play the game. But if you use the word “art”… the game is over.

Anyhow, as it is a weird situation, people will ask: “What is this? What is it for? Who are you?”.I recommend three strategies.First. Try not to answer, avoid the question. You can try and answer with a question. “What might you use it for? How could it be useful? How would you use it?”Secondly, you could say, “this is a new financial system, and once it becomes global, you’ll be able to pay with these notes, because time is money”. Or… “we are trying to substitute our currencies with this one”, “we are spreading the idea of replacing this money with this”…In the third place, if the person is a real drag, one can say… “I am working for the Time Notes Corporation. Here you can see the website. You can check it out and find out more about it. I really don’t know much more than what I’ve already told you”.And of course, if the situation turns very uncomfortable… you can finish the game by saying:“Ok this is an art project, bla, bla, bla…”

4- Try to make people talk. Don’t try to impose our ideas. Listen. Ask and re-ask. Try to make people give richer information, not only a short version. Request more information: where, when, why…5- Don’t get depressed if you didn’t do it too well with one person. More shall come. Each person is a whole different and independent story (and didn’t listen to what happened previously). The main idea is this should never become a job. It must be fun and playful for everyone. For the public and also for the actors. 6- Go to the website and check some examples, some of the reasons that people gave at the office. http://www.timenoteshouse.org/ltdb.cgi

Here is a video from the previous action:http://www.youtube.com/watch?v=fsJ_8WLGd5s

(December 2009) 

 

 

 

 

 

 

 

 

 

 

09-10intb3593

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)

 

 

 

 

 

 

 

 

 

 

 

 

09-10mdvc2427b

2009-2010 / 2010.07.02. CONTRAINDICACIONES.NET. Psychoeconomy! (Gustavo Romano)

2009-2010 / 2010.07.02. CONTRAINDICACIONES.NET. Psychoeconomy! (Gustavo Romano)

**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

 

 

 

 

 

 

 

 

 

09-10dimd3249

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

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

  

MEETING AND PRESENTATION OF THE INTERVENTIONS. LA CASA ENCENDIDA. 4th and 5th of FEBRUARY 2010

     

        

        

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10mdic2430

2009-2010. Gustavo Romano. PSYCHOECONOMY! (published text / Madrid Abierto 2009-2012 book)

2009-2010. Gustavo Romano. PSYCHOECONOMY! (published text / Madrid Abierto 2009-2012 book)

PSYCHOECONOMY!Corporate Summit 2010 

INTRODUCTION

 Psychoeconomy is a platform for discussion and artistic research that suggests an alternative approach on different subjects of global interest, exploiting the specificities in thought and diffusion that the realm of art creates. Among other actions, it promotes the Corporate Summits, which consist of annual forums formed by entities which have been created by artists (for example, banks, technological companies, and even micro-nations).

Psychoeconomy would like to revise the modes of citizen participation on a global scale, in the resolution of conflicts from which they are mainly excluded by not being able to make decisions although later being subject to their consequences. 

 

CORPORATE SUMMIT MADRID 2010

 Fort the first edition it was proposed the organization of a meeting in order to discuss the international financial crisis and prevailing monetary exchange systems among artists who deal with the issue of the economy in their work through the tactical use of the media, the appropriation of corporate strategies or irony.  Banks, technology companies and even micro-nations are just a few examples of the corporations (some fictitious, and others not), created by the artists invited.

The main objective of the meeting was to elaborate a document as a declaration regarding the current state of the crisis. This declaration along other proposals by each “corporation”, were compiled in a publication. The version on paper was presented during the Sevilla 2011 Corporate Summit, while its digital version can be downloaded free of charge from Psychoeconomy’s website.

Taking full advantage of the singular arena for reflection and distribution created by the art field, the meeting attempted to generate dialogue between the participating artists’ projects, which entail propositions that deal with deconstructing everyday practices, social order, individual routine and the routine pertaining to areas of personal interaction and exchange along with their protocols.  This means questioning technological media’s promise of democracy and equality as well as a critique of the will to control that lies concealed beneath their ostensible transparency.

CONTENIDOS DE LA PUBLICACIÓN

The Madrid Declaration.Participating corporations.FUQ: Frequently Unanswered Questions.Psychoeconomy Blog.Advance Sevilla 2011

 

PARTICIPANS

Daniel García Andújar Barcelona Technologies To The People

 With the confirmation that new information and communication technologies transform our everyday experience as his point of departure, Daniel G. Andújar creates a fictional piece (Technologies To The People, 1996) with the aim of making us conscious of the reality that surrounds us and of the deception of certain promises of free choice that inexcusably are converted into new forms of control and injustice.

He is an historical member of irational.org (a point of reference internationally in net art) and the creator of numerous internet projects, such as art-net-dortmund, e-barcelona.org, e-valencia.org, e-seoul.org, e-wac.org, e-sevilla.org, etc. He is participating in the 2009 Venice Biennial in the Catalunyan pavilion.    artiendo de la constatación de que las nuevas tecnologías de la información y la comunicación transforman nuestra experiencia cotidiana, Daniel G. Andújar crea una ficción (Technologies To The People, 1996) con el objetivo de hacernos tomar conciencia de la realidad que nos rodea y del engaño de unas promesas de libre elección que se convierten, irremisiblemente, en nuevas formas de control y desigualdad.

http://www.irational.org/tttp/primera.html www.danielandujar.org

 

Fran Ilich Tijuana Space Bank

True to its slogan, “purify your money”, the Space Bank offers a set of innovative and revolutionary ideas applied to banking, speculation and investments according to the catchphrase of helping you to reach your objectives without harming others.  Among the services they offer are investments in the commodities market by way of Zapatista coffee or corn, or financing art, literary and tactical media projects. 

Fran Ilich is a writer, media artist and digital activist.  He has participated in numerous international events.  Among his projects figure Borderhack, an art camp located on the border between Tijuana and San Diego, and Possible Worlds, an autonomous cooperative server launched on the occasion of the Zapatista Army’s Sixth Declaration of the Lacandona Jungle.

http://spacebank.org/ http://sabotage.tv/ 

 

Gustavo Romano Buenos Aires - Madrid Time Notes / Promoter of the 2010 Summit

The Time Notes project comprises a series of actions carried out in public spaces utilizing a monetary system based on units of time (bills of 1 year, 60 minutes, etc.).  Following an initial action developed and launched in Berlin in 2004, offices have been set up in Singapore, Rostock, Vigo, Buenos Aires and Mexico City, soon to be joined by Madrid and Munich.  One of the services provided is the Reintegration of Time Lost, which is offered as a place for the reception and classification of time ceded on a voluntary basis, under pressure or for arbitrary reasons.

Gustavo Romano is a Buenos Aires-born contemporary artist who works in a variety of media including installations, actions, net art, video and photography.  Many of his projects are presented in various stages of preparation, at times even cross-branching into new projects.  He uses media and technology devices as well as objects that pertain to our everyday life, decontextualizing them in an attempt to oblige us to rethink our familiar routines and preconceived notions. 

He was awarded the Guggenheim Fellowship in 2006. Lives and works in Madrid. 

www.timenoteshouse.org www.gustavoromano.com.ar 

 

Georg Zoche Munich Transnational Republic

The Transnational Republic is a group of artists working to construct the first Transnational Republic, where citizens are defined by the similarity of their beliefs and feelings. The new republic will represent its citizens on a civil level, for the first time not succumbing to national interests but rather concentrating on global concerns.

Founded in 1996 in Munich, Germany, byGeorg and Jakob Zoche, it has grown to include more than 4,700 citizens as of June 2009, and has been represented at international conferences and meetings throughout Europe, Asia, South America, and Australia. The Transnational Republic’s currency is the "payola", emitted by the Central Bank of the United Transnational Republics.

http://www.transnationalrepublic.org/

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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2009-2010. Gustavo Romano. PSYCHOECONOMY! (postcard)

2009-2010. Gustavo Romano. PSYCHOECONOMY! (postcard)

** SEE THE ATTACHED PDF

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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2009-2010. Gustavo Romano. PSYCHOECONOMY! (brochure)

2009-2010. Gustavo Romano. PSYCHOECONOMY! (brochure)

** SEE THE ATTACHED PDF

 

 

 

 

 

 

 

 

 

 

 

 

09-10inmc3294

2009-2010. Gustavo Romano. EXCHANGE OFFICE, 2006

2009-2010. Gustavo Romano. EXCHANGE OFFICE, 2006

 

 

EXCHANGE OFFICE, 2006Orchard Road, Singapur, August 2006. Actionn, installation, video 10' 33''

The action took place by placing a stand on Orchard Road (in front of the city’s shopping mall) and asking people passing by what they thought about the new money system while they were invited to exchange a note for that which they considered valuable (as a time period)  http://www.gustavoromano.com.ar/timenotes/ExOffspa.htm

 

 

 

 

 

 

 

 

 

 

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2009-2010. Gustavo Romano. LOSING TIME, 2006

2009-2010. Gustavo Romano. LOSING TIME, 2006

 

LOSING TIME, 2006 Orchard Road, Singapur, August 2006. Action, video. 1' 58''

 The action consisted of taking a walk down a pedestrian street in the commercial area of Singapore while throwing time notes.  www.gustavoromano.com.ar/timenotes/LTspa.htm

 

 

 

 

 

 

 

 

 

 

 

 

 

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2009-2010. Gustavo Romano. TIME RELEASE, 2007

2009-2010. Gustavo Romano. TIME RELEASE, 2007

 

TIME RELEASE, 2007 Silver Pearl ,Rostock, June 2007. Action, video. 4' 08''

The action took place in Rostock during the demonstrations against the summit of the G8, an annual meeting that takes place in enclosed locations that are inaccessible overland.

A copy of each banknote that had been delivered to the Office for the Reimbursement of Wasted Time was tied to a balloon and released. www.gustavoromano.com.ar/timenotes/TRspa.htm

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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2009-2010. Gustavo Romano. TIME WAVES, 2007

2009-2010. Gustavo Romano. TIME WAVES, 2007

 

TIME WAVES, 2007 Praia de Patos, Nigrán, Vigo, October 2007. Action, video. 4' 54''

The video unceasingly repeats the image of a 1 year banknote being thrown to the sea, while the sea returns it to the shore. www.gustavoromano.com.ar/timenotes/TWspa.htm

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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2009-2010. Gustavo Romano. TIME NOTES: OFICINA MÓVIL (2009.05 / project review / theoretical data)

2009-2010. Gustavo Romano. TIME NOTES: OFICINA MÓVIL (2009.05 / project review / theoretical data)

 The Time Notes project involves a series of actions in public spaces using a new monetary system based on time units, 1 year bills, 60 minutes, etc. The back of these bills present different quotes, about money or time, written by philosophers, writers or economists.

Starting off with one first launch action developed in Berlin, other actions took place in different cities, Singapore, Rostock, Vigo, Munich, Mexico, Buenos Aires. In each case people started to discuss the different local problems related to the currency system of exchange and how people experience and perceive time.

The proposal for Madrid Abierto is based on three premises:- The action that will take place in the Mobile Office- The installation of the Central Office in Casa de America- A debate session

These actions will be complemented with a promotion campaign in the streets and through the Internet.

DESCRIPTION OF THE “MOBILE OFFICE”

The office will start to venture through those lines, but might drift through nearby streets diverting from the main arteries. It will also be focused on eventual situations of public concurrence, approaching these events, created by chance or programmed during the month of February in Madrid.

The information given by “clients” of the bank will be collected, and will be transferred daily to the web of Time Notes.

 

 

DESCRIPTION OF THE SERVICES OFFERED BY THE OFFICE

"REIMBURSEMENT OF TIME THAT HAS BEEN LOST"The Office, through its system of lost time reimbursement, presents itself as a place for reception and classification of time which has been transferred involuntarily, under pressure or for arbitrary reasons. In other words, time wasted attending to an unwanted job, time lost in the wrong relationship, time spent while serving in the army, etc.

In the Mobile Office, a Time Notes representative will register descriptions of how the deponents lost their time, and reimburse the deponent with a bill of the corresponding value. The reason for the loss of time will be printed on the back. Also, an online data base with the compiled information will be created.

“LOANS OF TIME”.We invite people to reflect on the social exchange system and our preconceptions on value of time and money, and mainly about the future, the Loan Office presents its line of credit for the realization of postponed wishes. If you had an extra minute, hour or day in your life. What would you do with it?

 

DESCRIPTION OF THE Central OFFICE: IN CASA DE AMERICA

The Central Office, established as an operational base and information centre, which will be situated in the Dolls' Room of Casa de America, will serve for several uses and purposes:

- Thanks to an updated map, it will offer information about the routes, schedules and itineraries of the Mobile Office. - Central Office will receive the video signal from the Mobile Office wherever it may be. - A customer service section will be installed, offering the same services as the Mobile Office.- The Office will also offer documental information, videos, bills and other documents of what has previously occurred in the Mobile Office as well as in other stages of the Time Notes project. - A centre will be created for the reception, discussion and bibliographic consultancy of reference material related to problems of money, new alternative exchange systems and other financial theories. - It will also serve as location for the Mobile Office once it has finished its daily route.

 

DESCRIPTION OF THE DEBATE SESSION

We suggest the celebration of a debate session on the established systems of exchange and the presentation of alternative models.

The session would be completed with two activities:

- A round table and presentation of projects, in which I would intervene as facilitator, with guests still to be specified, which could be for example, Greorg Zoche, founder of Transnational Republic, (with his Payola currency), or Fran Ilich, director of the SpaceBank (self-administrated entity that handles Mexican Zapatism’s assets), but they can also be local agents which I haven’t identified yet. 1

- The second activity is to generate a dynamic of informal and open chat between the guests and interested groups that have already experimented with various alternative systems of exchange or others who are interested in the assimilation of these types of subjects.

The session could take place in any room that might be available, or in any location that is interested in hosting the event.

1If we don’t find specific international guests to come, we can always carry out a teleconference or previously recorded video.

(MAY 2009)

 

 

 

 

 

 

 

 

 

 

 

 

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2009-2010. Gustavo Romano. TIME NOTES: MOBILE OFFICE (images)

2009-2010. Gustavo Romano. TIME NOTES: MOBILE OFFICE (images)

 

    

      

    

  

       

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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2009-2010. Gustavo Romano. PSYCHOECONOMY! (theoretical data)

2009-2010. Gustavo Romano. PSYCHOECONOMY! (theoretical data)

PSYCHOECONOMY! Corporate Summit 2010

 

INTRODUCTION

Psychoeconomy is a platform for discussion and artistic research, proposing an alternative approach on various global issues. Each edition will consist in a public event and the publication of the resulting conclusions and texts and graphic materials.

Issue #1: Corporate Summit 2010

Fort the first edition is proposed the organization of a meeting in order to discuss the international financial crisis and prevailing monetary exchange systems among artists who deal with the issue of the economy in their work through the tactical use of the media, the appropriation of corporate strategies or irony.  Banks, technology companies and even micro-nations are just a few examples of the corporations (some fictitious, and others not), created by the artists invited.

The main objective of the meeting will be to elaborate a document as a declaration regarding the current state of the crisis that will include the positions adopted by these “corporations” in the face of the crisis, along with a series of proposals and alternative actions agreed upon by their representatives.  This declaration, along with the proposals set forth by each “corporation” will be compiled in a publication.     

Taking full advantage of the singular arena for reflection and distribution created by the art field, the meeting will attempt to generate dialogue between the participating artists’ projects, which entail propositions that deal with deconstructing everyday practices, social order, individual routine and the routine pertaining to areas of personal interaction and exchange along with their protocols.  This means questioning technological media’s promise of democracy and equality as well as a critique of the will to control that lies concealed beneath their ostensible transparency. 

 

THE PUBLIC EVENT (DESCRIPTION)

The Summit will involve three activities:

Activity 1: Round table and panel discussions

This activity will consist of a round table and panel discussions to present each “corporation’s” projects.  They will be moderated by Gustavo Romano, Director of the Time Notes bank and the promoter of this encounter, including participation by Georg Zoche, founder of the Transnational Republic, Fran Ilich, Director of SpaceBank and Daniel García Andújar, Director of Technologies to the People.

Activity 2: Internal Debate 

This activity will consist of debates among the summit’s participants, during which they will work on reaching an agreement on a final declaration.  The text that emerges as a result will be presented the last day of the summit.

Activity 3: Final declaration 

This activity will consist of a public presentation of the declaration, a round table and an open debate.

Agenda

1st Day Morning: Internal discussion on the declaration. Afternoon: Presentations

2nd Day Morning: Internal discussion on the declaration. Afternoon: Presentation of the Declaration. Round table. Closing ceremony.

 

THE PUBLICATION

For this issue, we are planning the following contents:

The declaration on the crisis: The main content of the publication will be the declaration that will emerge from the meetings, based on an agenda of subjects that the artists will discuss in order to arrive to an agreement.  A space for each of the four artistic projects selected: This section will compile each “corporation’s” proposals, and it will be a free graphic space for each of the four invited artist.Frequently Unanswered Questions (FUQ): Each artist will answer five questions asked by the magazine editor.News and reports: Several short reviews about related topics. For example: Silvio Gesell Free Money Theory; the Hell Bank Notes, the Chinese tradition about money for the dead people;Interviews to artists like David Lamelas, Leandro Katz, etc.Advertising: Space offered to each “corporation” to promote some of their products or services.

Editorial: An introduction by Psychoeconomy.

 

PARTICIPANTS

Daniel García Andújar Barcelona Technologies To The People

With the confirmation that new information and communication technologies transform our everyday experience as his point of departure, Daniel G. Andújar creates a fictional piece (Technologies To The People, 1996) with the aim of making us conscious of the reality that surrounds us and of the deception of certain promises of free choice that inexcusably are converted into new forms of control and injustice.

He is an historical member of irational.org (a point of reference internationally in net art) and the creator of numerous internet projects, such as art-net-dortmund, e-barcelona.org, e-valencia.org, e-seoul.org, e-wac.org, e-sevilla.org, etc. He is participating in the 2009 Venice Biennial in the Catalunyan pavilion.    http://www.irational.org/tttp/primera.html www.danielandujar.org

 

Fran Ilich Tijuana Space Bank

True to its slogan, “purify your money”, the Space Bank offers a set of innovative and revolutionary ideas applied to banking, speculation and investments according to the catchphrase of helping you to reach your objectives without harming others.  Among the services they offer are investments in the commodities market by way of Zapatista coffee or corn, or financing art, literary and tactical media projects. 

Fran Ilich is a writer, media artist and digital activist.  He has participated in numerous international events.  Among his projects figure Borderhack, an art camp located on the border between Tijuana and San Diego, and Possible Worlds, an autonomous cooperative server launched on the occasion of the Zapatista Army’s Sixth Declaration of the Lacandona Jungle.

 http://spacebank.org/  http://sabotage.tv/

 

 

Gustavo Romano Buenos Aires - Madrid Time Notes / Promoter of the 2010 Summit

The Time Notes project comprises a series of actions carried out in public spaces utilizing a monetary system based on units of time (bills of 1 year, 60 minutes, etc.).  Following an initial action developed and launched in Berlin in 2004, offices have been set up in Singapore, Rostock, Vigo, Buenos Aires and Mexico City, soon to be joined by Madrid and Munich.  One of the services provided is the Reintegration of Time Lost, which is offered as a place for the reception and classification of time ceded on a voluntary basis, under pressure or for arbitrary reasons.

Gustavo Romano is a Buenos Aires-born contemporary artist who works in a variety of media including installations, actions, net art, video and photography. Many of his projects are presented in various stages of preparation, at times even cross-branching into new projects.  He uses media and technology devices as well as objects that pertain to our everyday life, decontextualizing them in an attempt to oblige us to rethink our familiar routines and preconceived notions.  

He was awarded the Guggenheim Fellowship in 2006. www.timenoteshouse.org www.gustavoromano.com.ar

 

 

Georg Zoche Munich Transnational Republic

The Transnational Republic is a group of artists working to construct the first Transnational Republic, where citizens are defined by the similarity of their beliefs and feelings. The new republic will represent its citizens on a civil level, for the first time not succumbing to national interests but rather concentrating on global concerns.

Founded in 1996 in Munich, Germany, byGeorg and Jakob Zoche, it has grown to include more than 4,700 citizens as of June 2009, and has been represented at international conferences and meetings throughout Europe, Asia, South America, and Australia. The Transnational Republic’s currency is the "payola", emitted by the Central Bank of the United Transnational Republics.  http://www.transnationalrepublic.org/

 

 

 

 

 

 

 

 

 

 

 

 

 

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2009-2010. Gustavo Romano. PSYCHOECONOMY! (images)

2009-2010. Gustavo Romano. PSYCHOECONOMY! (images)

 

     

      

Photos: Alfonso Herranz

 

 

        

         

         

         

 

 

 

 

 

 

 

 

 

 

 

 

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2009-2010. Gustavo Romano. TIME NOTES (visual data)

2009-2010. Gustavo Romano. TIME NOTES (visual data)

 

 

 

REFERENCES: RELATED WORKS

TIME NOTES     OFICINA TIEMPO PERDIDO

 

 

 

 

 

 

 

 

 

 

 

 

 

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