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

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

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

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

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



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

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

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

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

7.00-7.45 pm. Presentation by Kyong Park.

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

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

6.00-6.45 pm. Presentation by International Festival.

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

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

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

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

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



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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


Director: Jorge DíezCurator: Cecilia AnderssonCoordination: RMS La Asociación

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










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


4th of Februaryfrom 18.00 to 21.00h

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

5th of Februaryfrom 18.00 to 21.00h

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



6th of February 18.00h

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
















Lisa Iñaki LarrimbeUnofficial

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

Adaptive ActionsCampo AA, Madrid / AA Camp, Madrid

Gustavo RomanoTime Notes: Oficina móvil / Time Notes: Mobile

Pablo ValbuenaTorre / Tower

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

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











2009-2010. Teddy Cruz. VALLECAS ABIERTO: HOW IS YOUR ART GOING TO HELP US? (location)

Fachada de la Casa de América/Façade of Casa de America (Pº de Recoletos nº 2)












2009-2010. Teddy Cruz. VALLECAS ABIERTO: HOW IS YOUR ART GOING TO HELP US? (published text)

Teddy Cruz with M7Red


Architectural investigation by the artists at the border between Tijuana, Mexico and San Diego, California, has focused on observing the trans-border urban dynamics between these two cities through the current politics of surveillance and immigration , the conflict between formal and informal urbanisms and economies , and the tensions between enclaves of mega wealth and the rings of marginality and poverty that surround them. These critical issues, they argue, characterize the contemporary metropolis everywhere.

The multiple dividing vectors that operate at global scales between geopolitical borders, natural resources and communities end up inscribing themselves locally, at the scale of the contemporary neighborhood.. It is here where global conflict takes on a particular specificity, becoming local crisis characterized by the lack of affordable housing, jobs and public and social infrastructures.

This is the way in which Cruz’ work has focused on the micro scale of the urban neighborhood, understanding it as a site of production, where new conceptions of economic and social sustainability, housing and density may be amplified. This process has motivated the artists to question the role of architecture and art as producers of new interactions between physical space, alternative programs, institutions and communities.


The artists’ proposal for MADRID ABIERTO intends to extend this investigation and adapt it to the context of Madrid and the façade of Casa de America. Beyond a singular and only visually protagonist intervention, their proposal has to do with facilitating triangulations across institutions, social actors and networks, economic resources and a specific neighborhood of Madrid. Instead of intervening upon the façade of Casa de America, their interest is to work inside of it, literally activating it with a work-program, a platform of collaboration with other Spanish and Latin American artists, architects and social activists. Their main intention is to transform the façade into a site of production, within which to conceptualize and generate a parallel project that will be enacted once MADRID ABIERTO ends. To produce and event after the event.

Elements and Sequence of the Project:

A collaborationTeddy Cruz proposes to activate the façade by producing a critical, interdisciplinary collaboration. This project is developed mainly by Cruz in collaboration with the collective M7Red, from Buenos Aires, Argentina, led by architects Mauricio Corbalan and Pio Torroja. Teddy Cruz conceives this initial collaborative process as an ‘artist in residency’ program inside MADRID ABIERTO (a program inside the program), transforming this intervention in Casa de America into a platform for cultural exchange, facilitating and promoting the presence of Latin American architects and artists in order to create contact with local dynamics inside a neighborhood of Madrid.

A neighborhood: Puente de VallecasThe artists have chosen Puente de Vallecas as the neighborhood to operate because of its history as a critical threshold in the margins of the urban structure of Madrid, with a significant amount of immigrant population and because of its associative and activist network. Inside this neighborhood, they have selected a series of agencies and social actors that will be part of the project, including Vallecas Radio, Asociación al Alba and Asociación Cultural de la Kalle.

The open façadeThe elements that constitute the physical intervention of the façade are minimal: a text and a ladder. 1. The text contextualizes the intervention in an emblematic way, by posting on the façade a question that was made by a Paraguayan immigrant to a group of artists during a dialogue in Villa 31, an informal settlement inside Buenos Aires, in which Teddy Cruz and M7Red participated. “How is your art going to help us?” is the question they have decided to bring from Buenos Aires to place it on the façade of Casa de America and making it the background for their project during this edition of MADRID ABIERTO, suggesting the necessity to investigate a more functional relation between research, artistic intervention and the production of the city. 2. The ladder is the physical element that enables the artists to ‘penetrate’ the façade while activating it internally, using theInca Room as the scenario for a series of working meetings between different publics and activists from the neighborhood.

The architecture of a ConversationThe working meetings will be orchestrated and conceptualized by Teddy Cruz and M7Red, who will suggest a criteria that can give shape to the conversation and, eventually, to an alternative project towards the neighborhood. These are some of the initial topics related to the content and general parameters of the event:

- Questioning the role of artistic practices in relation to the current real estate crisis and the shortage of socio-economic resources and public infrastructure.

- Putting forth the question of the Participative Budget: The idea of generating a seed economic capital that can emerge from MADRID ABIERTO’s budget to support an artistic intervention in Puente de Vallecas, while connecting it to other public resources, processes of action and urban imagination, inside and outside the State.

- Creating a process to locate dispersed resources, without a previous idea of their application, so that the different actors and the public can together configure critical relations between these resources and diverse spatial and temporal dynamics, using the façade as an interface between this way of thinking in ‘real time’ and the city. .

- Apart from the scheduled meetings that will be held inside the façade among the social actors (activist practices) of Vallecas, who, in turn, will generate the intervention in the neighborhood, the artists will also choreograph exchanges with the general public.. During three separated meetings, the Inca Room will be opened from the façade in order to invite a group of people, some of them chosen by the actors, others institutionally affiliated and from diverse sectors. During these three meetings a ‘mini-performance’ will be elaborated inside the Inca Room where actors and M7Red will create a public update of the conversation and the diverse mappings of the neighborhood.

-The façade of Casa de America will potentially a ‘double’ on the Internet, and in some strategic site inside the neighborhood. The artists are interested, for example, in the possibility of duplicating the façade several times.

- For the artists, an essential part of this project is to leave an institutional trace, once MADRID ABIERTO concludes, the foundation towards an architecture of collaboration among activists groups in a critical Madrid neighborhood. It is then when the actual project of MADRID ABIERTO will begin.

















2009-2010. Teddy Cruz. TRAFFIC (2009.10 / theoretical data)

 Dear Marta,(hello Jorge, hello Cecilia!!) this is an update…

I am sending a small description of the new version of the project… so you can discuss it with Casa de America… also a pdf with three images to contextualize the intervention…

1. The idea behind this version is to save energy and money… by not having to build the scaffolding, without skin to cover it and the other systems…

2. Instead of completely ignoring the façade, totally covering it… we love the idea of ‘playing’ with the façade, exhibiting it as part of the intervention.

3. Our ideas always have to do with the ‘activation’ of the façade with artistic activities… It is still Felipe Zuñiga’s idea, the artist from Tijuana whom I have invited as ‘facilitator’, and will work with artists from Puente de Vallecas to use the façade as a working space and exhibition site… by the creation of a performance corridor connecting the neighbourhood to Casa de America… as well as triangulation between Vallecas and Tijuana… Felipe is already working on a communication system to link different groups from Tijuana and Vallecas-Madrid… I met with Emilia María and Charo, from the municipality to work on the selection of artists, groups that would be involved…

4. In this case, the idea is, in this new version, to really activate the façade… and propose the ‘penetration’ of the façade itself with two stairways which would enable us to ‘enter’ through the windows of the mobile piano… the floor with the balcony… and create tiny rooms behind the façade… these spaces would be built with very light materials such as wood… and wouldn’t have any physical contact with the internal wall of Casa de America… but our intention is also to record through pictures this ‘parasite workshop’ inside the museum’s official space… that is, making the intervention project external as well as internal…

5. The public would NOT have access to these two spaces… these would only be private spaces for artists who would be allowed to work inside…

6. The work of these artists would be accessible through a projection: the plastic bubble… and also with sound: a duct which would connect the building with the mass of traffic cones that would cover the bench on the sidewalk in front of the building… we love the idea of an intervention that ‘captures’ this bench, creating a ‘shelter’ for the pedestrian and for someone to be able to sit and listen to narratives of Vallecas…

This is the brief summary of our idea!

Thanks! Lets hope that Casa de America will want to collaborate and find this version acceptable… which saves us money but also creates a relation with the museum which is more interesting… of course… we would have to know what is in the mobile piano’s area… to know if it’s possible… we love the idea of having the director’s office there, and for him to share his office with the artists… but separated by a wall, of course… they wouldn’t see each other, but would share the same space…

















2009-2010. URBAN BUDDY SCHEME / 06 feb 2009 (video)

Friday 6th of February,  2009

1Luis Úrculo (moderator)00:00 - 02:30

Studio Kawamura-Ganjavian02:30 - 21:49


2C.A.S.I.T.A.00:00 - 15:48

Uriel Fogué15:48 - 22:13


3 Uriel Fogué00:00 - 10:59

Exprimentolimon10:59 - 18:22


4 Exprimentolimon00:00 - 05:05

Cecilia Andersson05:05 - 06:39

Kyong Park (moderator)06:39 - 28:18

5Kyong Park00:00 - 08:27

Cecilia Andersson08:27 - 09:24

Alexander Gerdel 09:24 - 27:18

6Apolonija Šušteršič + Meike Schalk00:00 - 13:31

Teddy Cruz13:31 - 23:20


7Teddy Cruz00:00 - 05:40

Kyong Park (questions)05:40 - 24:31

Discussion with the audience23:35 - 24:31

8Discussion with the audience00:00 - 01:30















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)












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

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





















2009-2010. Teddy Cruz. VALLECAS ABIERTO: HOW IS YOUR ART GOING TO HELP US? (2010.02 / technical data)





[18:00-19:00]   Visita a la Casa de América para ver las instalaciones y terminar de organizar las actividades 


MIÉRCOLES 17  [15:00-17:00]   Reunión con los colectivos en Radio Vallekas (Puente de Vallecas)

>>> Programa de radio donde se narrarán, a través de relatos y entrevistas, las historias de los colectivos involucrados en este proyecto (Asociación Cultural “Al Alba” + Asociación Cultural “La Kalle” + “Radio Vallekas” + “Abierto Hasta el Amanecer”)


JUEVES 18  [11:00-12:00]   Llegada y montaje de la zona de reunión en el Salón Inca de la Casa de América

 >>> Necesidades = 1 mesa + 20 sillas + 1 proyector + 1 pantalla

[12:00-14:00]   Reunión del Foro Socioeducativo / Salón Inca de la Casa de América (20 personas aprox.)

[18:00-20:30]   Reunión de la Mesa de Convivencia / Salón Inca de la Casa de América (20 personas aprox.)


LUNES 22  [16:00-17:00]   Llegada y montaje de la zona de emisión en el Salón Inca de la Casa de América

 >>> Necesidades = 1 mesa + 6 sillas + conexión ADSL de subida de datos + electricidad

[17:00-19:30]   Emisión de Radio Vallekas desde la Casa de América

>>> Asociación Escuela de Mujeres del Alto del Arenal (20 personas aprox.)

>>> Coro femenino “KAFE 18” / Asociación Cultural “Al Alba” (10 personas aprox.)

>>> Grupo de mujeres “SEDOAC” / Empresa-cooperativa asesorada por Abierto Hasta el Amanecer S. Coop. Mad.


MIÉRCOLES 24  miércoles 24 o viernes 26, dependiendo de unas pre-reservas que hay ahora.

[17:00-17:30]   Batucada: Niñ@s de la (¿? personas aprox.)

[18:00-19:15]   Obra de teatro: “Debajo del pellejo” / Compañía: “Los Perdidos Teatro” (3 intérpretes)

[20:00-20:30]   Actuación: Coral “Al Alba” (40 personas aprox.)


[09:00-10:00]   Llegada y montaje de la zona de emisión en el Salón Inca de la Casa de América

>>> Necesidades = 1 mesa + 6 sillas + conexión ADSL de subida de datos + electricidad

[10:00-12:00]   Emisión de Radio Vallekas desde la Casa de América

> Programación: “El Candelero” + “Fusionando” + “Del cuarto tipo”

























Photos: Alfonso Herranz












Photos: courtesy of the artist


















09-10inic2831, 09-10inmc2835, 09-10inic3754

2009-2010. Teddy Cruz. VALLECAS ABIERTO: HOW IS YOUR ART GOING TO HELP US? (2010.01 / visual data)

2009-2010. Teddy Cruz. VALLECAS ABIERTO: HOW IS YOUR ART GOING TO HELP US? (2010.01 / visual data)






















09-10inmb2706, 09-10inib2707

2009-2010. Teddy Cruz. VALLECAS ABIERTO: HOW IS YOUR ART GOING TO HELP US? (2010.01 / technical data / Inca room

2009-2010. Teddy Cruz. VALLECAS ABIERTO: HOW IS YOUR ART GOING TO HELP US? (2010.01 / technical data / Inca room

























09-10inmb2702, 09-10inib2703

2009-2010. Teddy Cruz. VALLECAS ABIERTO: HOW IS YOUR ART GOING TO HELP US? (2010.01 / technical data / scaffolding and canvas)

2009-2010. Teddy Cruz. VALLECAS ABIERTO: HOW IS YOUR ART GOING TO HELP US? (2010.01 / technical data / scaffolding and canvas)

























09-10inmb2699, 09-10inmb2700, 09-10inmb2701

2009-2010. Teddy Cruz. VALLECAS ABIERTO: HOW IS YOUR ART GOING TO HELP US? (2009.12 / technical data)

2009-2010. Teddy Cruz. VALLECAS ABIERTO: HOW IS YOUR ART GOING TO HELP US? (2009.12 / technical data)
























2009-2010. Teddy Cruz. VALLECAS ABIERTO: HOW IS YOUR ART GOING TO HELP US? (2009.12 / visual data)

2009-2010. Teddy Cruz. VALLECAS ABIERTO: HOW IS YOUR ART GOING TO HELP US? (2009.12 / visual data)





(December 2009) 















09-10inib2696, 09-10inib2697

2009-2010. Teddy Cruz. TRAFFIC (2009.10 / visual data)

2009-2010. Teddy Cruz. TRAFFIC (2009.10 / visual data)


(October 2009) 















09-10inib2691, 09-10inib2692

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

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


(September 2009) 


















2009-2010. Teddy Cruz. TRÁFICO (thecnical data)

2009-2010. Teddy Cruz. TRÁFICO (thecnical data)


These are some of the topics we should elaborate immediately after we receive a response to this proposal:

1. Begin to work with Felipe Zuñiga to continue researching on which neighborhood is best, which agencies, characters should participate. (Create a list of staff members to be included in the project).

2. Initiate (and continue) contacts with other institutions to create an economic fund needed to develop the project.

3. Continue and verify as accurately as possible the quantity and budget needed for materials and systems needed to carry out the project.

4. Clarify a general budget for the entire project.

5. Consult with our structural engineer for the structural analyses of our project.

6. Research existing restrictions, related to permits and bureaucratic processes in Madrid.



Traffic conesIndustrial plastic curtainsPlywood housePortable toiletReadymade industrial scaffolding



















09-10prtc3575, 09-10prmc3574-09-10prmc2598

2009-2010. Teddy Cruz. TRÁFICO (visual data)

2009-2010. Teddy Cruz. TRÁFICO (visual data)






















09-10pric2594, 09-10pric2596

2009-2010. Teddy Cruz. TRÁFICO (theoretical data)

2009-2010. Teddy Cruz. TRÁFICO (theoretical data)

Teddy Cruz withBrian JaramilloStella RobitailleClaire ShaferMegan Willisand Felipe Zuniga: invited artist


Our research work and urban practice in the border between TJ and SD has focused on researching notions of economic and social sustainability at an urban neighborhood scale, suggesting the creation of new architectural spaces for educational, cultural and social operations, which, at the same time shall amplify the informal economies and policies produced by immigrants from South America in a city of North America.

This process has motivated the design and production of new triangulations between physical alternative cultural programs, institutions and communities. Our work in social housing in San Diego, for example, has focused on creating critical relationships between small infrastructures, communitarian NGO’s, social activists, and, public and private institutions and artists, able to mobilize the flux of cultural, social and economic production that emerges from marginalized neighborhoods in the contemporary city.


For MADRID ABIERTO we would like to extend this research and transfer it to Madrid’s context. Proposing a double project, 2 scaffoldings:

1- Physical scaffolding Formal/physical component: small infrastructure for use, scaffolding convertible into new “habitable façade” for Casa de America.

2- Socio-Cultural scaffoldingSocial component: a system of programs and social interactions able to mobilize, from this infrastructure, the flux of ideas and cultural production between the economic and cultural centre of Madrid (the manifestation of which would be emblematic urban space of Cibeles) and the immigrant neighborhoods in the outskirts of the city.


Invited artistaPedagogyYoung ArtistsMunicipalityWorkshopsSponsorsIndustriesNew ProgramsNew CollaborationsCultural production



We propose a new façade for the Casa de America. This new temporal ‘face’ for the centre is conceived as a habitable façade which can be ‘activated’ through the interaction of diverse social and cultural programs. The façade is made of generic industrial scaffolding, which is covered (lined) by approximately 2,500 traffic cones (generic/orange). The scaffolding and the plastic cones fulfill two basic functions: 1. visually activate the Cibeles square and 2. produce useful spaces ‘hidden’ behind the skin of cones, between the scaffolding and the neoclassical façade of the building.


We propose to activate this façade mainly with the presence of a Mexican artist invited by us, becoming a ‘cultural attaché’ of our project. In some way we can describe this project as a ‘artist in residence’ inside Madrid Abierto’s program (a program inside a program), transforming our intervention in Casa de America in a platform designed for cultural traffic which eases and promotes a young artist from Tijuana to produce an artistic project through a series of social interactions with a specific outlying district of Madrid. We would design the conceptual criterion behind this series of socio-cultural interactions, which would be given to the Mexican artist as parameters for his work. The economic foundation needed to support this ‘program inside the program’ would be part of our intervention, for we would have to research and produce auxiliary economic budgets thanks to cultural institutions of Spain and Mexico.

Felipe Zuñiga is a young artist from Mexico City, who now works and lives in the border city of Tijuana. Felipe would move to Madrid during the exhibition to live and work in the scaffolding. Therefore it is necessary for the scaffolding to contain a small cubicle to accommodate Felipe, as well as spaces to support a variety of activities and long term programs.


The idea is that Felipe should receive from us a ‘work program’ to create triangulations through the community agencies and already existent programs, new cultural activities and different characters, social agents of the community he finally chooses. Some of these activities include the creation of educational programs and urban information, tours between Cibeles and the Neighborhood, a project regarding typical Mexican food, etc. The characters involved in the story can include children, community activists, social workers, etc. The basic tool to start this interface is a document created by the city of Madrid: “Observatory of Migrations and Intercultural Coexistence of the City of Madrid: Resources for the Treatment of Madrid’s Foreign Population”.

An essential desire of this project is to create a trace of institutional collaboration once Madrid Abierto 2010 has ended.