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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

 

 

 

 

 

 

 

09-10mdtb2490

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.

 

 

 

 

 

 

 

 

 

 

 

 

09-10mdtb2421

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. Pablo Valbuena (Cv)

MADRID, 1978LIVES AND WORKS IN: MADRIDWWW.PABLOVALBUENA.COMWORK EXPOSED IN MADRID ABIERTO: TORRE / TOWER BLOCK

EDUCATION2003Architect at Escuela Técnica Superior de Arquitectura de Madrid, Spain. E.T.S.A.M.

SELECTED EXHIBITIONS2010Gallery Max Estrella. Madrid, España. (Upcoming)Sala Parpalló. Valencia, España. (Upcoming)Madrid Abierto. Madrid, España. (Upcoming)Matadero Madrid. Abierto x obras. Madrid, España. (Upcoming)Laboral Centro de Arte. Gijón, España.. (Upcoming)MUAC (Museo Universitario de Arte Contemporáneo). México D.F., México. (Upcoming)

2009CREAM. International Festival for Arts and Media. Yokohama, Japan.DAF09. Museum of Contemporary Arts Taipei. Taipei, Taiwan.Almost Cinema. Vooruit. Gent, Belgique.Alter Arte 09. Murcia, España.Fluid Architectures. Netherlands Media Art Institute. Amsterdam, Nederland.Mostravideo. Belo Horizonte and Vitoria, Brasil.Vrije Academie. Open studio. The Hague, Nederland.Hambre 09. Madrid, España.ARCO 09. Contemporary art fair. Gallery Max Estrella. Madrid, España.Murcia City Hall. Building by Rafael Moneo. Murcia, España.

2008Seoul Museum of Art. 5th International Seoul Media Art Biennale. Seoul, Corea.OK Centrum for Contemporary Art. Linz, Austria.Laboral centro de arte. Nowhere / Now Here. Gijón, España.Todaysart 08. The Hague, Nederland.Photoespaña 08. Barrio de las Letras/Medialab Prado. Madrid, España.Hambre 08. Madrid, España.Centre dʼart Santa Mónica. Sonarama. Barcelona, España.Mois Multi 9. Meduse. Quebec City, Canada.ARCO 08. Contemporary art fair. Area de las artes ayto. Madrid, España.The Hague City Hall. Building by Richard Meier, Nederland.

2007Singapore SC Museum. DAT exhibition. Singapore.Ars Electronica 2007: Goodbye Privacy. Second City exhibition. Linz, Austria.Noche en Blanco 2007. Medialab Prado. Madrid, España.Casa de Velázquez. Madrid, España.Interactivos 2007. Medialab Madrid, Centro Cultural Conde Duque. España.

2006Proyecta 2006. ʻArquitecturasʼ. Madrid, España.Centro Párraga. Arquifoto: Proyecciones Atemporales. Murcia, España.PUBLIC ART PROJECTS

GRANTS AND AWARDSMatadero Madrid. Ayudas a la creación contemporánea. Madrid, Spain.

2009Research and artist in residence program. WBK Vrije Academie / World Wide VisualFactory. The Hague, Nederland.Madrid Abierto. Public Art interventions, Madrid, España.

2008Honorary Mention. Prix Ars Electronica.

2007Artist in Residence. Casa de Velázquez. Madrid, España.

LECTURES2009Bern University. Joint Master of Architecture. Bern, Switzerland. Museo de Arte Abstracto Español. Cuenca, España.Madrid Abierto: Urban Buddy Scheme. La Casa Encendida. Madrid, España.

2008 / 2009Light, Space and Perception. Conducting workshop/research group at Medialab-Prado,Madrid.

2008V2 test_lab: urban play. V2- Noordkaap foundation, Dordrecht, Nederland.Universidad Complutense de Madrid.Arquiset 08. Lightscapes. Architecture week. Barcelona, España.

2007Dorkbot Madrid, España.Interactivos 08. Medialab-Prado. Madrid, España.Entramado. Noche en blanco. Plaza de las Letras - Medialab-Prado, Madrid, España.

BIBLIOGRAPHY Van Bogaert, Pieter, Projection-Injection-Incision. About Pablo Valbuenaʼs Extension Series,  Paper for Almost Cinema. Gent, Belgique. 2009Casey Reas. FORM+CODE in Design, Architecture, and Art. Princeton ArchitecturalPress. (to appear).Agotai, Doris (2009), Der Raum im Off. Die Leerstelle als inszenatorisches Gestaltungsmoment, in: Frohne, Ursula; Haberer, Lilian Eds., Kinematographische Räume,München (to appear).Agotai, Doris (2009), Starring Architecture, in: Cultuur en media, 609, Mediafonds, Stimuleringsfonds Nederlandse Culturele Mediaproducties, Amsterdam, p. 8–12.Bea Espejo. ʻArtistas con Hambreʼ. El Cultural. June 6, 2009.R. Klanten, L. Feireiss. ʻBeyond architecture. Imaginative buildings and fictional citiesʼ.Gestalten. February 2009.Hambre 09. Exhibition Catalogue. 2009.Turn and widen. 5th Seoul international biennale. Exhibition Catalogue. 2008.Nowhere / Now here. Laboral Centro de Arte. Exhibition Catalogue. 2008.Graham Coulter-Smith. ʻPablo Valbuena, Augmented sculpture v1.2ʼ. artintelligence.net.January 2, 2008.Jose Luis de Vicente. ʻPablo Valbuena ilumina el barrio de las letrasʼ. El Cultural. March 6, 2008.R.Bosco / S.Caldana. ʻPremios Ars Electronicaʼ. Ciberpaís, El País. July 3, 2008.Beatriz Portinari. ʻLa vanguardia de la vanguardiaʼ. El País. January 26, 2008.ʻEsto es la Plaza de las Letrasʼ. El País. January 26, 2008.Marta Peirano. ʻMenos interés por la tecnología y más por las ideasʼ. ADN.es. September 10, 2007.R.Bosco / S.Caldana. ʻArs Electronica invade el espacio urbano de Linzʼ. El País.September 6, 2007.Carlos Albaladejo / Marta Peirano. ʻArs Electronica ve las estrellasʼ. ADN.es. September 6, 2007.Regine Debatty. ʻAugmented Sculpture v1.0ʼ. We-make-money-not-art.com. June 29, 2007.Sánchez Argilés, Mónica. ʻLa instalación, cómo y por quéʼ y ʻ5x5ʼ, El Cultural. 26 de Junio, 2009.

 

 

 

 

 

 

 

 

 

 

 

 

09-10prtb2520

2009-2010. Pablo Valbuena. TOWER BLOCK (location)

Torre Madrid (Plaza de España) Days: tuesday, 18th of february, and friday, 19th of februarySchedule: from 20.00 to 02.00

 

 

 

 

 

 

 

 

 

 

 

 

09-10intd2882

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

 

 

 

 

 

 

 

 

 

 

 

09-10mdvc2429-8

2009-2010. Pablo Valbuena. TOWER BLOCK (published text)

 “In that Empire, the Art of Cartography reached such level of perfection that the Map of one Province occupied the whole City, and the Map of the Empire, a whole Province. As time passed by, these excessive maps did no longer satisfy and the Schools of Cartography erected a Map of the Empire that was the Size of the Empire and exactly matched up with it”.Del rigor en la ciencia, Jorge Luis Borges

The piece is a specific installation in which, upon an element, its own abstract representation is superimposed. With the drawing of a plane onto the architecture of reference, the real city is extended towards a virtual dimension.

Video-projection is the technique that is used to create such an effect, but apart from technical details, the work is based on tools of such antiquity as perspective or trompe l’oeil that function by manipulating the viewer’s perception.

In this case, the transformation of urban space is achieved by movement and by the interaction of light and shadow. Instead of building architectural structures with palpable materials, it is the projection of lines and planes of light, that create the illusion of new appearing spaces.

‘Real’ and ‘virtual’ elements are overlapped in this type of city. Assisted by already existing architecture, it is about making the inside visible from the outside, transforming solid walls into transparent ones or making it clear to us how time has gone by in the city…

 

 

 

 

 

 

 

 

 

 

 

 

 

08-10intc2829

2009-2010. Pablo Valbuena. S/T (2009.09 / project rectification / theoretical data)

 “In that Empire, the Art of Cartography reached such level of perfection that the Map of one Province occupied the whole City, and the Map of the Empire, a whole Province. As time passed by, these excessive maps did no longer satisfy and the Schools of Cartography erected a Map of the Empire that was the Size of the Empire and exactly matched up with it”.Del rigor en la ciencia, Jorge Luis Borges

The piece is a specific installation in which, upon an element, its own abstract representation is superimposed. With the drawing of a plane onto the architecture of reference, the real city is extended towards a virtual dimension.

Video-projection is the technique that is used to create such an effect, but apart from technical details, the work is based on tools of such antiquity as perspective or trompe l’oeil that function by manipulating the viewer’s perception.

In this case, the transformation of urban space is achieved by movement and by the interaction of light and shadow. Instead of building architectural structures with palpable materials, it is the projection of lines and planes of light, that create the illusion of new appearing spaces.

‘Real’ and ‘virtual’ elements are overlapped in this type of city. Assisted by already existing architecture, it is about making the inside visible from the outside, transforming solid walls into transparent ones or making it clear to us how time has gone by in the city…

(PROYECT RECTIFICATION / SEPTEMBER 2009)

 

 

 

 

 

 

 

 

 

 

 

 

09-10intb2674

2009-2010. DISCUSSION PANELS / 4 feb 2010 (video)

4th of february 20106pm to 9pm. PRESENTATION OF THE INTERVENTIONS

1Presented and moderated by Cecilia Andersson and Jorge Díez (00:00 - 00:35)

Lara Almarcegui, Going down to the recently excavated underground passage (00:35 - 23:05)

              

 

2Lara Almarcegui, Going down to the recently excavated underground passage (00:00 - 08:30)

Laurence Bonvin, Ghostown(08.30 - 23:05)

          

 

3Laurence Bonvin, Ghostown(00:00 - 18:06)

Pablo Valbuena, Tower block(18:06 - 23:05)

        

 

4Pablo Valbuena, Tower block(00:00 - 14:57)

 Questions(14:57 - 23:05)

 

5Questions(00:00 - 01.23)

 

6Josep-Maria Martín, A digestive house to Lavapiés(00:00 - 23:05)

 

7Josep-Maria Martín, A digestive house fot Lavapiés (00:00 - 16.20)

Teddy Cruz, Vallecas Abierto: How is you art going to help us?(16.20 - 23:05)

 

8Teddy Cruz, Vallecas Abierto: How is you art going to help us?(00:00 - 23:05)

 

9Teddy Cruz, Vallecas Abierto: How is you art going to help us?(00:00 - 02:04)

Debate and questions(02:04 - 15:35)

 

 

 

 

 

 

 

 

 

 

09-10mdvc2427

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. Pablo Valbuena. EXTENSION, Toulouse 2008

2009-2010. Pablo Valbuena. EXTENSION, Toulouse 2008

 

EXTENSION, Toulouse. FR. 2008 Extension Series. Site-specific medium scale installations manipulating indoor space. Video projection on architecture. 2008 - present.

WORKS PART OF THESE SERIESToulouse. Private collection. Toulouse, FR. 2008NIMK. Netherlands Media Art Institute. Amsterdam, NL. 2009Hambre 09. Madrid, ES. 2009Vrije Academie. The Hague, NL. 2009Yokohama. CREAM, BankArt 1929. Yokohama, JP. 2009Almost Cinema. Vooruit. Ghent, BE. 2009Para-Sites. Conformed by three different interventions at Laboral Centro de Arte. Gijón, ES. 2010Vanishing points. Conformed by three different interventions at Galería Max Estrella. Madrid, ES. 2010

Llink videowww.pablovalbuena.com/videos/extension_video.html

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10inme3688

2009-2010. Pablo Valbuena. PROTOTIPO TEATRO, 2008

2009-2010. Pablo Valbuena. PROTOTIPO TEATRO, 2008

 

      

PROTOTIPO TEATRO, 2008Teatro de Alcobendas, Madrid

Instalación experimental para investigar sobre la interacción entre el cuerpo humano e instalaciones espaciales.

 

 

 

 

 

 

 

 

 

 

09-10inme2589

2009-2010. Pablo Valbuena. AUGMENTED SCULPTURE SERIES, 2007-2008

2009-2010. Pablo Valbuena. AUGMENTED SCULPTURE SERIES, 2007-2008

 

AUGMENTED SCULPTURE SERIES, 2007-2008Serie de instalaciones audiovisuales Este proyecto ahonda en las cualidades temporales del espacio, investigando el espacio-tiempo no sólo en el ámbito de las tres dimensiones, sino como espacio en transformación. Con este propósito se producen dos capas que exploran diferentes aspectos de la percepción espacio-temporal. Por un lado una capa física que trabaja con la percepción que tenemos del espacio y que sirve de soporte a otra capa proyectada, que a través de la luz controla la transformación de ese espacio. La unión de los dos niveles provoca la ilusión de una geometría física capaz de ser transformada. Este serie de piezas ha pasado por varios desarrollos y sigue evolucionando, desde su comienzo en Interactivos? 2007 se han expuesto en Canadá, Singapore, Francia, Korea, ARCO, etc. y ha recibido el apoyo de una mención honorífica en Ars Electronica 2008 (Linz, Austria).

 

 

 

 

 

 

 

 

 

 

 

 

09-10inme2588

2009-2010. Pablo Valbuena. ENTRAMADO, 2007

2009-2010. Pablo Valbuena. ENTRAMADO, 2007

 

   

ENTRAMADO, Medialab, 2007Plaza de las Letras. Medialab - Prado, La Noche en Blanco 07. Madrid. Instalación urbana

Entramado aborda la idea de transformación espacial en el espacio público. La superposición de un nivel de proyección sobre la arquitectura  de una plaza pública permite generar cambios y transformaciones en el sin una alteración física de la plaza, en su lugar se alteran los mecanismos perceptivos con los que experimentamos ese entorno urbano.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10inme2587

2009-2010. Pablo Valbuena. TOWER BLOCK (images)

2009-2010. Pablo Valbuena. TOWER BLOCK (images)

 

        

    

Photos: Alfonso Herranz 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10inic2828

2009-2010. Teddy Cruz. TRAFFIC (2009.09 / technical data)

2009-2010. Teddy Cruz. TRAFFIC (2009.09 / technical data)

* see the attached pdf

(September 2009) 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10inmb2687

2009-2010. Pablo Valbuena. S/T (2010.01 / project review / location)

2009-2010. Pablo Valbuena. S/T (2010.01 / project review / location)

 The conditions in order to choose a place are mainly the possibility of three dimension projection (on a corner), the availability of an area to position the projectors with ease and a clear material for the façade.

After reflecting on several options in the Paseo del Prado/Recoletos axis I have chosen the area of El Prado Museum, which enables us to position the projectors, something that in other locations is not possible, considering the necessary angle and distance. We suggest two possible locations.

   

 

Map of the area with two possible locations.

  

 

 

 

 

 

 

 

 

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2009-2010. Pablo Valbuena. S/T (2010.01 / project review / visual data)

2009-2010. Pablo Valbuena. S/T (2010.01 / project review / visual data)

 

INSTALLATION Some sketches that show possible states of the piece

    

    

 

REFERENCESThe guidelines to follow will be similar to these two pieces, in an intermediate scale between these two installations:

The Hague City Hall - videowww.pablovalbuena.com/videos/the_hague_video.html

 

Extension - videowww.pablovalbuena.com/videos/extension_video.html

 

 

 

 

 

 

 

 

09-10inmb3597

2009-2010. Pablo Valbuena. S/T (2010.01 / project review / theoretical data)

2009-2010. Pablo Valbuena. S/T (2010.01 /  project review / theoretical data)

 My final project consists of a large-scale projection upon a building of Paseo del Prado/Recoletos. The installation intends to alter urban space perceptively creating new spaces thanks to light projection.The guidelines to follow will be similar to these two pieces, in an intermediate scale between these two installations:

The Hague City Hall - videowww.pablovalbuena.com/videos/the_hague_video.html

Extension - videowww.pablovalbuena.com/videos/extension_video.html

 

 

 

 

 

 

 

 

 

 

 

 

09-10intb3595, 09-10inmb3597

2009-2010. Pablo Valbuena. URBAN TACTICS (proposed location)

2009-2010. Pablo Valbuena. URBAN TACTICS (proposed location)

 To stress the global intention of the proposal I think it is important to create it in a city axis or nucleus. Maintaining the independence of each proposal (for Madrid Abierto) but with spatial continuity to be understood as part of something bigger, not just as isolated proposals.

By grouping projects we may stimulate citizens’ participation, knowing that there probably will be someone to guide them in the intervention process.

 

 

 

 

 

 

 

 

 

 

 

 

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2009-2010. Pablo Valbuena. TOWER BLOCK (2010.01 / technical data)

2009-2010. Pablo Valbuena. TOWER BLOCK (2010.01 / technical data)

 

REFERENCES: RELATED WORKS

THE HAGUE CITY HALLhttp://www.pablovalbuena.com/work/public-art/

(January 2010) 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10inib2680

2009-2010. Pablo Valbuena. URBAN TACTICS (visual data)

2009-2010. Pablo Valbuena. URBAN TACTICS (visual data)

 

Installation with scaffolding in Plaza de Colon

 

Installation with cones and tubes in Paseo de Recoletos

 

Terrace furniture readjusted in Plaza de la Paja

Fence installation in Colon square  

 

 

 

 

 

 

 

 

 

 

 

 

09-10pric2580

2009-2010. Pablo Valbuena. URBAN TACTICS (theoretical + visual data)

2009-2010. Pablo Valbuena. URBAN TACTICS (theoretical + visual data)

 

‘a new relationship between space and psychology is needed: what we loose in geometrical space we recover in the form of psychological space’ Constant Nieuwenhuis_New Babylon lecture_Stedelijk Museum_Amsterdam_1960

INTRODUCTION

This project for Madrid Abierto focuses on two main goals:

Promote the creative use of space and urban resources and to take the concept of ‘public’ to every stratum of action.

It is expressed in a series of spatial installations created with standard urban elements of public use, produced en masse.

The temporary re-interpretation of these elements (fences used in urban works, traffic cones, outdoor area furniture, scaffoldings, plastic canalizations,…) which are invasive of the urban environment and participate of the utilitarian city suffer a readjustment to a new use of space able to generate other experiences in public areas.

In the current urban approach we still see part of the modernist conception of the city as a machine à habiter’.  Le Corbusier establishes four functions of the practical city: life, work, entertainment and transport towards and from the workplace. In this proposal I am seeking to reactivate the relational aspect, recreational and generator of experiences in the contemporary city,involving the citizen as a generating element of these experiences and diversifying the intervention in actions on a lower scale.

Le Corbusier_Cité Radiuse_1935

 Following similar conceptual guidelines as those of Constant Nieuwenhuys’ situationism in New Babylon, or other projects by Yona Friedman, I am interested in altering the vision that the citizen has of urban elements.

 

Yona Friedmanr_Ville Spatiale_1958

It is suggested as a proposal with ample perspectives, rather than an isolated intervention. It is necessary to present it in a global way, although later it might have to be adjusted to the available resources. In this way the whole is open to the number of interventions and is scalable.

Formally I work with ideas I am developing in other projects related to the organization of elements in macroscopic and microscopic orders and the formal relations established in these orders, intimately associated to the formal construction of the city in its various scales.

Constant_New Babylon_Kllein Labyr [Small Labyrinth]

 

INTERVENTIONS

I will now describe some interventions belonging to this proposal:

- CONSTRUCTION FENCE

Reutilize fences used to enclose urban works’ areas, demonstrations and public events.

These fences are taken out of their usual access prohibition context in order to create a labyrinth type of installation which invites the observer to explore and enter it.

They are supported by their own anchorage system, plastic bridles or cramps used in scaffoldings. 

 

- TRAFFIC CONES

Plastic elements used in the city to control traffic, to limit lanes, prohibiting traffic, etc.

The shape of these objects enables the creation of interesting geometrical patterns.

 

      

 

 

Fence installation in Colon square 

 

- OUTDOOR AREA FURNITURE

In the summer, public space is temporarily privatized by the commercial use that some bars make to install tables in sidewalks, parks, etc. These areas are used only for consumer oriented purposes, in spite of exploiting a common space.

Sidewalk cafes in Alcala street / Sidewalk cafes in Plaza Mayor / Types of furniture for sidewalk bars

I set out to change the function of this type of furniture, recovering public space which is made private during the summer, in order to create spatial installations in winter, when the furniture is stored and given no specific use.

Multiple elements all of which are stackable and connectable using bridles that enable the design of a great variety of configurations. 

Terrace furniture readjusted in Plaza de la Paja. 

 

-  SCAFFOLDING

Scaffolding for facades is another element that usually invades public space. In this case I use the modular structure made of tubes and anchorages to create abstract structures without a specific function.

 

 

- PLASTIC CONDUCTS

The conducts used to put cables underground are flexible, light and connectable to each other.

It is a non visible element which is always present. I am interested in making visible a massively used but undetected element.

 

 

- OTHER ELEMENTS

Considering the scalability of the proposal and its global intention, it is open to be completed by other interventions created with other elements which are present in the city, such as containers, trash cans, etc.

Installation with scaffolding in Plaza de Colon

 

TACTICS

In order to articulate these interventions I suggest the following strategies:

Means of action used in ‘urban art’- use of the city as working platform- ephemeral- fast installation- cheap and accessible means of production- generated by the citizens

Use of previously existing elements in the city- change the functions of these objects, from practical to creative- standard properties, production en masse- qualities adequate for use in public space: durability, easy to load for transport, clean assembly, easy and fast to assemble and disassemble

Involve every layer of what is called ‘public’- give the passive citizen the possibility to reflect on his urban environment and its components- the use of public elements as means of involving administrative strata

I find it interesting to place the craftsman of ‘public art’ as generator of structures and situations which activate experiences and change in urban conception. Therefore the social reach of a proposal can be broader and influential on different levels, compared to an individual action located on a precise place.

The idea of creating a public art project in public space turns more coherent when the substance that conforms it, is public property and is provided by a public institution as well.

Following the same guideline I suggest some interventions to be created by citizens, themselves. It would be interesting for citizens to participate actively in those installations which are built with simple and safe elements.

A feature of the proposal which I find interesting is the project’s adjustment to different areas and urban contexts, as a conceptual proposal it can adjust itself to elements of public use that can be found in different cities.

To stress the global intention of the proposal I think it is important to create it in a city axis or nucleus. Maintaining the independence of each proposal (for Madrid Abierto) but with spatial continuity to be understood as part of something bigger, not just as isolated proposals.

By grouping projects we may stimulate citizens’ participation, knowing that there probably will be someone to guide them in the intervention process.

 

 Installation with cones and tubes in Paseo de Recoletos

 

 

 

 

 

 

 

 

 

09-10prtc3572, 09-10pric2582, 09-10pric2580

2009-2010. Pablo Valbuena. TOWER BLOCK (2010.01 / analysis of the location)

2009-2010. Pablo Valbuena. TOWER BLOCK  (2010.01 / analysis of the location)

 

LOCATIONS FOR THE SCREENING

 

OPTION A

 

OPTION B

 

 

 

 

 

 

 

 

 

 

 

 

 

09-10inib2679