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

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

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

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

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



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

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

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

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

7.00-7.45 pm. Presentation by Kyong Park.

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

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

6.00-6.45 pm. Presentation by International Festival.

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

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

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

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

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



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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


Director: Jorge DíezCurator: Cecilia AnderssonCoordination: RMS La Asociación

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









2009-2010. EVALUATION MEETING 2010 (report)

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


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


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

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

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

Bellow, different issues brought up in this evaluation session:

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

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

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

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

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

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

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

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

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

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

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

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

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

New issues suggested outside the programmed plan:

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

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

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

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

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

6. Madrid Abierto’s independence is crucial.

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

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

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

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

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

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

Result analysis of the finished projects and new guidelines:

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

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

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

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














2009-2010. Susanne Bosch. HUCHA DE DESEOS: ¡TODOS SOMOS UN BARRIO, MOVILÍZATE! (published text / Madrid Abierto 2009-2012 book)




The public art project Hucha de Deseos started on 12th November 2009 and created over the period of three and a half months a lively dialogue among neighbours of La Latina in what they would like to change and better in their common public space. The project collected left-over and unused money in form of old Pesetas in La Latina and throughout Spain.

512 wishes and proposals were collected (via audio recordings, interviews, postcards, posters, media) via a public multi-media collection site designed and built by the designer collective zoohaus. They can be read on On 27th February 2010, 55 neighbours of La Latina met for a day in el Circulo de Bellas Artes.

Together they decided what would happen with the 512 collected wishes in and for La Latina and with the around 85,000 Pesetas, exchanged into € 513.70. This one day Open Space event led to the selection of two proposals.

The multiple named wish of more green space in La Latina was realised through planting eight plum trees in the Cornisa Park on the 14th March 2010. The Asociación Amigos de la Cornisa-Las Vestillas took care of the realisation of this wish in a collaborative action. The second wish, putting a letterbox on Plaza Puerta de Moros – the previous location of the object – with which all local associations can stay in contact, exchange ideas and inform each other of events, is in the process of being realized. The plan is to put all incoming info on a blog so that the local network will be strengthened. zoohaus agreed to realize this wish.

From 1st – 26th February 2010, the 512 wishes were written a daily action of three hours’ duration, with white chalk on the pavement of el Paseo de Recoletos.

The educational program (Aula Urbana), created by María Molina López, engaged two groups of middle school students from the Sagrado Corazón de Jesús in La Latina in the project for over 4 months. The stu­dents became active participants in the collection of wishes, interviewing their neighbours and in the deci­sion process. Maria and Susanne also engaged with el­derly people from the daycare centres Numancia and Paloma in the neigbourhood to find out more about the history of the site and their take on it today.



S: Was your starting point for the curatorial concept of Madrid Abierto the question of what is needed and missing in Madrid?

C: Definitely. And also by talking to other people I know in the art in Madrid. There was a big concern that things were becoming very conservative and closed down. During dinners I organised I could see people being happy to meet other people locally. Theidea was to work that ‘togetherness’ on a bigger scale within Madrid Abierto. The notion of opening things up a bit. This is how I set out to think about what I could do within Madrid Abierto.

S: ‘Togetherness on a bigger scale’ certainly hap­pened in my project. Although, for me a ‘real’ col­laboration needs more grown and solid relationships. I would say, this was a step towards collaboration via a projects that asked for passionate participation and literally paid services and contributions. In terms of the making of a public participatory project, I am interested who is involved in the making of a project. e.g. my relationship with zoohaus started out of a rec­ommendation to work together. The idea to involve a young, local, but relatively un-experienced team was on one hand brilliant, on the other hand we went through a lot of mistakes together that could have been avoided with more experience and the matter in principle.

C: I think you mainly formed the work and process at the end more than anybody else in this process. Also in the collaboration with the people you worked with in Madrid locally. But obviously I chose your concept because it fitted super-well with my idea of the collab­orative remit. It was a very clear collaborative project.

S: I guess my take on collaboration is - in a pure sense - a concept and work that develops together. Madrid Abierto did not give me the time to develop a piece locally from scratch. How can an idea arrive at a neighborhood that is not proposed by someone who lives there, is one of my questions.

C: I don’t think of your project as ‘external’ nature at all, because you engaged with a lot of people in the neighborhood to make this happen. If you only came across the hucha, that was the object you saw, but the project was much deeper.

S: How do you measure the success of a work like this?

C: I do not have measurements of success, that is the point. This is not why we are doing this, it is not about saying this is a success or not, it also not about sayingit is good or bad, I am not interested in that. But I do think in terms of process it has been really successful. Your project involved so many people into its com­ing alive. It is entirely doing what it was supposed to do and it has taken so many paths. It has taken on so many unanswered questions. It is a complete success for me, I can thrive on these things that lead to new questions. It is not a final piece that comes, lands and is ready as such. I think it is a very dynamic work in that sense and to me that is a success.

S: Maria, living in this neighbourhood, kept on wor­rying: Do the neighbours really come, do they really take part in the decision process?

C: I was really surprised how well attended the Open Space was. But I think it is too narrow to only judge the project on the participation at the Open Space.Neighbours participated already by putting their desire in or recording their wish at the hucha. It can not only be judged by attending the Open Space. It is a fact that the project was installed for 3.5 months and people had the opportunity to engage. During the Open Space, people decided to stay for hours and to sit through these at times rather tedious discus­sions back and forth. But it proved to be a fantastic process. We may or may not like the decisions taken what to do with the collected pesetas. I thought it was impressive.


.....................................................................................................................................................................................................................................................................................AFTER “ROSARIO” WE HEARD THE CHANA GUANAText: Zoohaus

The 1999 movie Magnolia starts with a lot of strange events that are apparently a product chance. After the last of these stories, the narrator tells us his own opinion. “And it is in the humble opinion of this narrator that this is not just something that happened. This cannot be one of those things. This, please, cannot be that. This was not just a matter of chance. No, these strange things happen all the time.”

The day we decided what to do with the pesetas we collected with our “hucha de deseos”, many neighbours of La Latina came to the meeting. After an intense day, an equitable but participated solution equally distributed the money to satisfy two relevant neighbourhood wishes. The first wish was the urgent, realistic and very much discussed need of more trees. But better oriented trees, not to be planted in any arbitrary way, but supporting one of the most important popular causes that are being carried out, some trees destined to reinforce the park of La Cornisa, currently an endangered species. The second wish was never recorded in “Rosario’s” internal memory. It appeared in the debate and consensus, a wish which results from a six month cohabitation of La Latina with the “hucha”. This wish reflected on the availability of a channel for people to be heard, which invited them to participate and decide on how to improve the neighbourhood. Something weird was happening; this new channel had created a hole that transcends the neighbourhood’s framework creating a representative realm. Rosario became a device capable of uniting different realms and the neighbourhood thought this should continue.

Two years later, Rosario’s pesetas were employed to build a door/mailbox for the field of La Cebada, a shared public area which has been recuperated for the people. It is a five thousand square meter plaza congested with citizens that have, somehow, been able to connect two spheres, uniting the gap between those who make decisions and those who are subject to them. The field of La Cebada, citizenship and administration get together in public space to design it and manage it while seeking for new ways.

Two years later, in the square of Los Carros, where the hucha was physically installed, every Saturday since the 15th of May, neighbours get together to discuss how to improve the neighbourhood, in the so called “Asturias Meeting”.

Many of you might consider this to be a matter of chance, that there is no direct relation between these events and “Rosario”, but to me, this humble narrator, this can’t just be something that happened. This can’t just be one of those things, this, please, can’t be that. In my opinion, this can’t be, this can’t just be a matter of chance.



















09-10intc3696, 09-10intc3709


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.











2009-10. AULA URBANA (images)

2009-10. AULA URBANA (images)









SAGRADO CORAZÓN DE JESÚS MIDDLE SCHOOL, students of the 3º year. Susanne Bosch project



SAGRADO CORAZÓN DE JESÚS MIDDLE SCHOOL, students of the 4º year. Susanne Bosch project

Mural entrevistas La Latina


HUCHA DE DESEOS OPENING. Susanne Bosch project













09-10inic2867, 09-10inic2868, 09-10tpid3109, 09-10tptd3110, 09-10tpid3111, 09-10tpid3107

2009-2010. Susanne Bosch (Cv)


SELECTED SOLO EXHIBITIONS2009Themen, die nicht zählen, Orte, die nicht wichtig sind, Kunstverein,Würzburg.

2004Mensch weg/ Insan yitmis / Meri helazbune (human disappeared), sox36, Berlin.

2004ATA, Galerie35, Berlin.

2001 Restpfennigaktion/ Left-over Penny Campaign, SchmidtBank-Gallery, Nürnberg.Installation and Interviews, Left-over Penny Campaign, Gallery sox36, Berlin.

1998Restpfennigaktion/ Left-over Penny Campaign, Gallery Kohlenhof, Nürnberg.

SELECTED GROUP EXHIBITIONS2009Festival della Creatività, Fortezza da Basso di Firenze, Fondazione Sistema Toscana, Florence, Italia.Exhibition of Berlin Senate Sholarship for Istanbul, Künstlerhaus Bethanien,Berlin.The History of Crisis II, curated by Tessa Gibbin and Monica Nunez, Project Room Dublin and Belfast Exposed, Belfast, IrelandExhibition of Berlin Senate Sholarship for Istanbul, BM SUMA CONTEMPORARY ART CENTER Istanbul. 2008THE COMMON GOOD: The Enterprise of Art, PAN | palazzo arti napoli, Napoli.

2007PAN SCREENING, PAN | palazzo arti napoli, Napoli.Rubin, Contemporary Museum of Art & Design, Nürnberg.

2006Daily artist at the XV BIENNALE DE PARIS, online shop with designs by Susanne Bosch, snebtor, María Linares, France.Visa Quartett at Rundgang, Bauhaus-University, Weimar.

2005Institute for experience with the unknown, soundinstallation in the belltower of the Galleria della Provincia de Modena / Chiesa di San Paolo and Chiesa delle Monache, in the frame of The Bauhaus moves / La Bauhaus si muove, artists of the Bauhaus-University Weimar being guests in Modena.

2002Kunstbank, Berlin (together with Marisa Maza/ exhibition of Berlin Senate stipends) Währungswechsel/ change of value, Städtische Gallery Fürth, Deutschland.

2000SomaVision, Art and Media Centre Adlershof, Berlin.Wettbewerb U2 Alexanderplatz (collaboration with Ulrike Dornis and Jens Hanke) competition for subway-station U2, NGBK, Berlin.Goldrausch XI _unterwegs/ Goldrausch XI_on tour, Presentation at Kunstbunker Nuremberg /  Kunstraum Düsseldorf/     halle_für_kunst Lüneburg/art forum, Art Fair Berlin.

1999Wie Macht Kunst?/ What Makes Art?, Fridericianum, Kasseler Kunstverein (collaboration with Vollrad Kutscher), Kassel.Materials, Künstlerhaus Bremen.Sozialmaschine Geld (social-machine money), O.K., Centre for  ContemporaryArt, Linz, Austria (collaboration with V.Kutscher)Klinik, Morphing Systems (.collaboration with Stephan Kurr), Zürich.

1997Germinations 9, Villa Arson, Nice, France  Förderpreisträgerausstellung, Kunsthaus Nürnberg.Germinations 9, Tutesall/ Chateau de Bourglinster, Luxembourg.

1996Germinations 9, Prague, Castle, Czech Republic KunstRaumFranken, Kunsthalle Nürnberg.

PUBLIC ART PROJECTS2009-2010Madrid Abierto 2009-2010, public art intervention in Madrid.

2009Verwunderlich, dass Ihr Euch wundert, aber wir tun es auch. Multimedia Installation in Cafe Kotti, Berlin (contribution to the exhibition of Berlin Senate Sholarship for Istanbul).An·nex, Homage to John Cage "4'33", public intervention, Boyd Park, Belfast, Susanne Bosch in collaboration with Dragan Miloshevski & Michelle Moloney, Northern Ireland.AGENCY, Billboard in public space, Berlin.

2008Art, Media and Contested Space, Billboard in public space, Belfast Biennale 2008, Northern IrelandTHE COMMON GOOD: The Enterprise of Art, PAN | palazzo arti napoli, Napoli.

2007/8WHOSE VOICE IS IT ANYWAY?, Migrant-Media-Project in Belfast with screenings: 2MOVE: IRELAND, Belfast/Navan, NVTV/Belfast, Northern Ireland.

2007IKEA says HOME is the most important place, FIX07 – 7th InternationalPerformance Festival, Belfast, Northern Ireland.A viewing, public intervention in collaboration with Sandra Johnston and Marilyn Arsem, Out Of Site 2007, Dublin, Ireland.Performative event APPROPRIATE in collaboration with Alma Suljevic,(Sarajevo), Marilyn Arsem (Boston) and Sandra Johnston (Belfast), Northern Ireland.Top trumps Polish Migrants at Northbound Conference, Derry/Londonderry, Northern Ireland.

2006Mobile economies at Permanent moving, DGB Haus Berlin and public space Berlin-Schöneberg.Top trumps Work Migration at Out Of Site 2006, Performance in public space, Fringe Festival Dublin, Ireland.

2005Institute for experience with the unknown, soundinstallation in the belltower of the Galleria della Provincia de Modena / Chiesa di San  Paolo and Chiesa delle Monache, in the frame of The Bauhaus moves / La Bauhaus si muove, Modena.

2004Hic bir yere gidememek/ Nirgendwo Ankommen/ To arrive nowhere I-III, Café MittenMang and outdoor in Reuterkiez, Berlin.WG/3Zi/K/Bar, Düsseldorf. LOCK YOUR MIND, Apartman Project Space, Istanbul. Káko ßi dúschitschke mója? / How are you, my little soul? Lovesongs for Gropiusstadt, sound installation in an elevator in Gropiusstadt, Berlin.

1998-2002Restpfennigaktion/ Left-over Penny Campaign, art in public space project with collection sites in Wuhlheide, Berlin, centre of Nuremberg, Marienplatz, Munich, Alexanderplatz, Berlin.

1996-97Curriculum Vitae, poster action in Prague, Nuremberg, Nice and Luxembourg

SELECTED CURATORIAL PROJECTS4/2009Open Space Learning Exchange, in collaboration with Dr. Cherie Driver and Jo Töpfer, Connswater, Northern Ireland.

8/2008Summer School Art in Public, Open Space Technology Training, in collaboration with Dr. Cherie Driver, Jo Töpfer, Michael M Pannwitz, Connswater, Northern Ireland.

9/2007Summer School Art in Public, Artistic Communication Forms in Spaces of Social Interaction, Belfast, in collaboration with Catalyst Arts, Francis Zeischegg, Ailbhe Murphy and Ele Carpenter, CatalystArts Gallery, Belfast, Northern Ireland.

200613 Monday Night Lectures, TEMPORARY INTERVENTIONS in cooperation with the ACC Gallery Weimar.

2005/0612 Monday Night Lectures, ART AND COMMEMORATION, in cooperation with the ACC Gallery Weimar.

2004    12 Monday Night Lecture, NEW ARTISTIC STRATEGIES, in Cooperation with the ACC Gallery Weimar.

2001-2002member of Kunstcoop© , in collaboration with the NGBK (Neue Gesellschaft Bildende Kunst, Berlin and the artists Nanna Lüth, Carmen Mörsch, Ana Bilankov, Bill Masuch, Ulrike Stutz, Maria Linares), Berlin.

10/2000-12/2002    Initiator of the sox36 - space in Oranienstrasse 175 in Berlin, Kreuzberg, Deutschland in cooperation with Alessio Trevisani/dancer, Stephan Kurr/artist, Marbo Becker/actor.

1996/97Co-curator with Christina Oberbauer of the yearbook/ Jahrbuchs 1997 walking through society Institute of Modern Art Nürnberg,Germany, 15 positions on site-specific or     interventional artwork: Guerrilla Girls, Olav Westphalen, Ute Meta Bauer/ Fareed Armaly, Sabine Kammerl, Bernard Brunon/Jade Dellinger, Rikrit Tiravanija, Maria Eichhorn, Christine and Irene Hohenbüchler, Iris Häussler, Shedhalle Zürich.

ACADEMIC RELATED ACTIVITIESsince 2006 Lecturer in Fine Art Research, Interface Art and Its Locations /  FOCUS: Art in Contested Spaces and Art & Documentation, University of Ulster, Belfast / Northern Ireland | Course Director of the MA Art in Public.

2005/ 2006         Assistant professor of the international MFA-programme Public Art and New Artistic Strategies at the Bauhaus-University, Weimar.

LECTURES7/2009The Pre-History of Crisis II, round table discussion, Belfast Exposed, Belfast,Northern Ireland.

2/2009Urban Buddy Scheme, Conference, La Casa Encendida, Madrid, Spain.

11/2008Decision committee meeting in PAN, Napoli.

10/2008Art, Media and Contested Space, panel member, MAC, Belfast Biennale, Belfast, Northern Ireland.

2/2008Culture moves, Symposia on Art in Social Context, Evangelische Akademie Tutzing, München.

2/2008Public-Private: Art in Public Space, Symposia in Cultural Theory, Alanus University of Arts and Social Sciences, Bonn.

2000-2002 Artist-talks in Weimar (ACC-Gallery and Bauhaus-University), Nuremberg (University and Städtische Gallery Fürth), Frankfurt a.M., Halle (University), Kunsthaus Bremen, Berlin (NBK and artist-run-gallery Weiss), Gallery KS Würzburg, Deutschland.

7/2007Die pARTizipanten, KOMM, lecture and workshop to develop a public art tender for the city of Nuremberg, Nürnberg.

6/2007Poland in Northern Ireland, lecture, Social Change and Resistance, conference, Gdansk, Poland.

6/2007ART RADIO LIVE, radio talk for Venice Biennale,, invited by PS1, PAN, and the Perna Foundation, Italia. Scientific Committee member for the EU project FUTURE (Future Urban Research in Europe),, Sverige.

4/2007AHH conference CONTESTATIONS: Ex-Jugoslavia: Looking at neighbouring concepts, workshop and lecture, Belfast, Northern Ireland.

1/2007Presentation of paper Human traffic in/from Istanbul and chair of one part of the conference Public sphere Istanbul, Bauhaus University Weimar.Part of roundtable about Sustainable action in relation to culture, Nürnberg, Deutschland.

11/2006Chair at APPROACH, roundtable meeting of international performance artists, I CONFESS, Switch Room, Belfast, Northern Ireland.

10/2006Chair at FAQ, Trauma, memory and counter-memory in relation to space, Culturlann, Belfast, Northern Ireland.

5/2006Performative events in public space, University of Art Berlin-Weissensee in cooperation with office of Public Art Berlin.

4/2006Urban Social Space, Conference of the city development in Jena, Deutschland.

11/2005Art in the social realm, University of Applied Science, Frankfurt/Main, Deutschland.

6/2004Art/Activism/ Civil society, with Lael Klime/Jerusalem, ACC Gallery Weimar.

1/2004The true, good and beautiful, between art and working reality, University assel, Deutschland.

11/2003Introduction of my art practice, Loft, Istanbul.

2003Art is something for rich people, my mother said, symposium art and economy, Werketage Berlin.Working Situation, lecture, Bauhaus-University Weimar, Deutschland.The model of selfgeneration, Goldrausch Künstlerinnen-Projekt, Berlin.

EDUCATION 2004 Four months training course for Civil Conflict Transformation / Civil Peace Service, Academy for Conflict Transformation, ForumZFD.

1999Goldrausch, artist project grant, professionalisation programme for female artists, Berlin.

Since 1996    Working as a freelance artist.

1990-96 University Erlangen / Nuremberg and Academy of Fine Arts Nuremberg, Master Student in Fine Arts. 1993Guest semester at Universidad Complutense, Madrid/Spain, Art and Spanish,Madrid.

AWARDS AND GRANTS2009Self-Arranged Residency to Madrid, Arts Council Northern Ireland.

2008/9Travel grant, Arts Council Northern Ireland to Mae Sot at the Thai BurmeseBorder, Thailand.

2008Pilotproject Gropiusstadt, Berlin. Invitation to AGENCY* to live one week inGropiusstadt to develop a site specific project.

2007Visiting Arts grant, Henry Moore Foundation/ Arts Council Northern Ireland/Scottish Arts Council/ British Council for the one week performative event APPROPRIATE in collaboration with Alma Suljevic, (Sarajevo), Marilyn Arsem (Boston) and Sandra Johnston (Belfast).

2006Percentage of Art Commission, Bezirksamt Tempelhof-Schöneberg, Berlin (invited to submit an idea and model).

2003Cultural exchange grant for Istanbul, Turkey from the Berlin Senate of Science, Research and Culture. Pilotproject Gropiusstadt, Berlin. A project developed by Birgit Anna Schumacher & Uwe Jonas. Invitation, to live one week in Gropiusstadt to develop a site specific project.

2001Working grant from the Berlin Senate of Science, Research and Culture.

2000Project grant from the Berlin Senate of Science, Research and Culture.

1998Residency in Nicaragua, office of international affairs, Nuremberg 3 months in San Carlos, Nicaragua. With Almut Determeyer.

1998Klinik, Morphing Systems (collaboration with Stephan Kurr), Zurich, Swiss (Cat.). Invitation to develop a site-specific work in an abandoned hospital. project curated by Teresa Chen, Dorothea Wimmer and Tristian Kobler.

1997Award of the Foundation Fine Arts Nürnberg.

1995Germinations Europe, residency for European artists in Poland.

1993Summer Academy Salzburg, Austria, workshop with Nan Goldin, financed by the Bavarian Ministry of Culture.

WORKS IN COLLECTIONS2009Brae Art Centre, Ballymena, Northern Ireland.

CATALOGUES 2009Istanbul/Berlin fellows1998-2009, sourcebook, Berlin, pg 82-87 (Cat. Exp.).

2009Yearbook of pilotproject Gropiusstadt, Berlin, pg 12-14 (Cat. Exp.).

2008    Yearbook of Bauhaus University Weimar, pg. 148-163 Preoccupations: Things Artists Do Anyway, 111 Artists Reveal TheirPassion, Published by 泥人laiyanprojects & Studio Bibliothèque, HongKong, Edited by Cornelia Erdmann and Michael Lee Hong HwePublic Istanbul – Spaces and Spheres of the Urban Edited by Prof. Dr. Frank Eckardt and Dr. Kathrin Wildner, Transcript, Frankfurt.Des/IRE, Designing Houses for Contemporary Ireland, Gandon  Editions / National Sculpture Factory Cork, Ireland.

2007Rubin, 40 Years of Institute of Contemprory Art Nürnberg.Istanbul Dergisi, Magazine, edition May 2007Istanbul Dergisi, Magazine, edition Sept. 2007The art of creating the Tomorrow, Spaceshuttle catalogue, BelfastIm Dienst der Sache, stadtkunst magazine, Berlin.Shifting the Stereotypes, Visual Artists' News Sheet, Issue 1.

2006Schnittstelle Kommunikation, book about communication in art, Berlin.Lock your mind, Istanbul-Berlin project in 2004 (Cat. Exp.).

2005     Yearbook of pilotproject Gropiusstadt, Berlin (Cat. Exp.).

2004     Yearbook of pilotproject Gropiusstadt, Berlin (Cat. Exp.).

2002        Sox36, programme 2000-2002, catalogue about the projects URTUX, art as utopia, Yearbook of the Institute of Moderne Art Nürnberg.

2000-2002Kunstcoop©, book about pilotproject artist do art-mediation/-education/communication at the NGBK, Berlin.WährungsTausch, catalogue from exhibition at Städtische Gallery Fürth (Cat. Exp.).

1998Berlin Alexanderplatz U2, catalogue from competition art at the subway, 12 selected projects, (Cat. Exp.).Sozialmaschine Geld, Kunst.Positionen, catalogue from exhibition about money at the O.K. Centre for Contemporary Art Linz, Austria, (Cat. Exp.).Restpfennigaktion, broschure about the project in public spaceMorphing, catalogue from exhibtion in abandonned hospital in Zurich, Suisse.

1996Isswas, Bavarian American Hotel, Nürnberg (Cat. Exp.).Germinations 9 (Cat. Exp.).

1996/97Kunst Raum Franken, Kunsthalle Nürnberg (Cat. Exp.).

REVIEWS2009The Pre-History of Crisis II, Sunday Times, 3rd August 2009The Pre-History of Crisis II, BBC Radio Ulster, 10 min Interview, 7th July 2009CNN Turk, 9.4.2009.Liane Thau, Bilder vom Alltag und ein Jubilaeum, Die Kitzinger, 27.3.2009.Aivers, Aine, A Report on Interface Summer School: Open Space Technology Training, Belfast, 10th - 16th of September 2008,   Visual Artists’ News Sheet, Issue 1, 2009.

2008Scala, radio feature about my work in Belfast, WDR  3, Deutschland.

2007Joan Fowler, High Stakes, Visual Artists’ News Sheet, Issue 6, 2007, pg 23Cherie Driver/ Anne Marie Dillon, On and on, Visual Artists’ News Sheet, Issue 5, 2007, pg 10.

2004Roswitha Buchner, „Hic bir yer gidememek“, Bayrischer Rundfunk, Sept. 2004.Stefan Strauss, Thailändische Schmusesongs im Neuköllner  Fahrstuhl, Berliner Zeitung, 24.08.2004.Meike Jansen, Einblick (57), TAZ Berlin, S. 28, 04.08.200M. Reichelt Philip Wiegands »Bar« und die Geschichte des sox36, Kunstforum International, pg 263 ff, Köln.

20025,3 Tonnen Pfennige sind 50 0000 Euro, Süddeutsche Zeitung,  28.06.2002, pg 42.Wahjudi, Claudia Die Münzmanagerin, Zitty / Kunst, 9/2002,  pg 83.

2001Falk, Sabine Wunschproduktion, kunststadt, stadtkunst, Nr.  47/2001, Berlin, pg 23.Schmidt, Peter Von der Potenz der Restpfennige, Süddeutsche  Zeitung, 8/2001, pg 56.Wagner, Thomas »Restpfennig«, FAZ, 31.12.2001, Feuilleton.

1999Das Fidericianum Magazin, Kunstverein und Kunsthalle Kassel, Heft 3, Herbst 1999, pg 32 ff

1998Kunstforum International, Bd. 149, S.108-109, Köln.  Blättner, M. »Restpfennigaktion«, Kunstforum International,  S.414-15, Bd. 140, Köln.

BIBLIOGRAPHY2006Weimar Day-to-Day (co-editor with Prof. Liz Bachhuber) Verlag der Bauhaus Universität Weimar. Liebe Mariela, catalogue text for Mariela Limerutti.

2005Schiller goes public (co-editor with Prof. Liz Bachhuber) Verlag der Bauhaus Universität Weimar.

2003Restpfennigaktion, book about the project in public space, including the collection of 1601 wishes, text contributions from Claudia Wahjudi, Dr. Volker Volkholz (sociology), Prof. F.B. Simon (psychology and economist), 314 pages, published by Verlag für moderne Kunst Nürnberg. Restpfennigaktion, poster about the project in public space.

1997Walking through society, Yearbook of the Institute of Moderne Art Nuremberg 1997 in collaboration with Christina Jacoby.














2009-2010. Susanne Bosch. HUCHA DE DESEOS: ¡TODOS SOMOS UN BARRIO, MOVILÍZATE! (location)

12th of November to 22nd of February: Plaza Puerta de Moros.

27th of February: Sala de Columnas, Círculo de Bellas Artes (C/ Alcalá 42). of Casa de America (Pº de Recoletos nº 2)












2009-2010. Susanne Bosch. DREAM-DO-DONE (2009.05 / project review / technical data)

2009-2010. Susanne Bosch. DREAM-DO-DONE (2009.05 / project review / technical data)

MAY 2009 










collection site

public place in

Built by the


Pages 6-




winning groups of










2/2009*, lead by




the Group ecosistema/ Michael Moradiellos, addressing the terms and conditions of an object in public



PR and

public place in

2 student






invigilators and




of the collection


Susanne Bosch






will do regular





clean-outs and neighbourhood activites, postering of wishes in surrounding

of Din A 3 copies (?)


1-28th February 2010

writing of the wishes with white charcoal on the floor of the paseo.

La Castellana

This action will be done for 3 hours every day by 1-2 persons


Page 14-15


publicly sort the

public place in

everyone is

contact to

Page 15


coins and


invited to help,

Banco de





big public event




transport to the Banco de Espana


with benches, catering, info, media,

delivery modus, when and how, usage of bank account from La Coralla



Removal from

public place in

Organized by by



collection site


the winning





groups of urbanaccion 2/2009**, lead by the Group ecosistema**/ Michael Moradiellos,



One day open

In public place

A large number of


Page 14-


space event

in La

participants, basic

speech of





catering and

the event


in close

venue, a


proximity to the



collection site

Open Space


facilitator (e.g.








Web, catalogue,


PR to



evaluation of







the results







The collection object will be built by one of the winning groups of urbanaccion 2/2009**, lead by the Group ecosistema**/ Michael Moradiellos. The group will develop an aesthetic, public, functional object suitable for the site and purpose. They will built it, transport it to the site and put it up.The object will be removed between 22-23th February after emptying it on 20th Febraury 2010. Its future use is open, it can be used by others or will be brought to a public dump.It has to be developed, built, transported and removed with a total budget of 5000 €. Its function has to be: A collection site for Peseta coins and banknotes. A collection site for wishes and desires. The collection has to be as visible as possible to the public. The collection has also to be as save as possible for the duration of 4 months on a public site in Madrid without any security features. The police and neighbours will be asked to pass with attention1. The object has to inform and invite the public about it purpose and how it works. It has to be accessible for a person to enter and clean /empty it. It has to survive a public existence, outdoor for 4 months during the cold season. It has to be made in a way, that people cannot be hurt by the materialused. The size of the object shall not be using more than 4-5 qm floor space. The object and underground has to be able to keep a heavy content, as coins weight. The group will get together in June 2009, built in September and put the object up inmid October 2009.

* urbanaccion 2, see**


The project has some previous developments and experiences in Germany (1998-2002) and Italy (2008). Learning from the previous approaches, my intention in Madrid is to involve a specific group of audience next to the general pass-byaudience in public space. The specific group that will be involved is the neighbourhood accociation called La Corrala2.



The projects functions as a platform inviting people to take part. Participation and engagement in a project in general takes phases:Realizing an offer, thinking about the offer and the conditions (how much time does it take, what is it, why should I take part, is it of any value for me?...), speaking to someone about it, a moment of decision making, action (giving time and engagementinto it).Respecting this process, I am proposing a duration of 4.5 months. 3.5 months (mid October to end of January) will be dedicated to active and passive participation and engagement in the area. The month of February will be dedicated to publish the wishes with some public actions, to count the money publicly as an action and to make an open space event where the participants will collectively decide about the outcome of the project.All stages will be accompanied by massive media work to inform the neighbourhood, the city and the country about the approach.The phase of collecting wishes and coins/banknotes will be accompanied by monthly activities around the collection site. Several cultural centres in the area have already offered their space to the project to organize group discussions, to screen films, to do workshops with invited groups about topics such as: If money exists plenty, what would I change in my environment? How does money work and impact on decisions?Collcetive decisions making and the obstacles…. If I would be the King/Queen of the area, I would… Engaging them in thinking about the area and the improvements, changes, ideas they have for the location. Debates around money and values, swimming in money, visit from a banker to explain money circulations, elderly people speaking about the PESETA times…Once a month I come for 5-7 days to run these kind of events in collaboration with Maria and Virginia (student helpers).We actively invite all the key institutions, key decision makers to events and upcoming Open Space event and inform about the decision process in February 2010.The contact is established with La Corrala, but also with others like: Traficantes de Sueños, La Eskalera Karakola, A.VV., Associacion de Mujeres, Juan Vallebuena (fotographer, NO FOTO), Centro cultural Lavapies, C.A.S.I.T.A.,


1 According to my previous experience in Germany with public collection sites in 3 cities from 2000-2002, the public and also patroling police developed a natural engagement and awaerenss fort

2 http://www.avvlacorrala.orgWhile doing research in February and April 2009, I talked to a number of neighbourhood associations, social and cultural organisations. I also talked to artists / artists groups as well as architects about areas in the inner city district. La Corala is a head organisation that addressed the entire neighbourhood.














2009-2010. Susanne Bosch. LITTLE PIECE - ACTION (theoretical data)


According to the last monthly statistics of Banco de España, there are still 820.000.000 Euros in Peseta coins and 956.000.000 Euros in Peseta banknotes that still remain in peoples private property (July 2008).

The ‘Little piece - ACTION’ would like to collect the Peseta** coins in a certain neighbourhood of Madrid for the period of the public art event.

I would like to collect these worthless coins (unless you carry them to the Banco de España in Calle Alcalá 48 to exchange them) in public space, visibly for all.

Along with the peseta collection, I would like to know from the neighbourhood where the collection site is based, what they would like to realize with this public and worthless money? The project will collect and publish the wishes during the period of the event.

At the end of the period, there will be a rough estimate of the coins collected and everybody who would like to be part of the decision making group, is invited to attend an open space event***. This event will be used to decide collectively by the neighbourhood what will happen to the pesetas and how this will be put into action.

Open Space Technology is an innovative format of organizing gatherings with large groups. ("Technology" in this case means tool — a process; a method.) It represents a self-organising process.Participants construct the agenda and schedule during the meeting itself. Thus it enables the bringing together of all interested parties with their insights, experiences, questions and wisdom. Open Space Technology allows diverse people to address complex and possibly controversial topics. It functions best where more traditional meeting formats fail: in situations involving conflict, complexity, diversity of thought or people, and short decision-times. It supports systems of all kinds and sizes in unfolding the forces of collaboration, cooperation, participation, creativity and spirit required to come to action on the burning issues facing them.

Open Space Technology meetings have a single facilitator who initiates and concludes the meeting and explains the general method. The facilitator has no other role in the meeting and does not control the actual gathering in any way.

The collection of waste money and and leftover ideas in 2 countries and 2 different contexts has been twice a very unique and every time very different experience.

Poeples participation in this project highly depends on their believe and historical background in a participatorial democracy, where people truely have an impact in decision making.

I am interested in the way people engage when they realize they have a chance to make a difference with their contribution and they are invited to make this difference via an action and an idea/hope/dream/aspiration.

With the collection of pesetas the project directly connects to a local/national past. (In Germany and Italy the project collected the current currency (DM and Euro).)

By concentrating on one neighbourhood only, the project tries to empower one group of people that live in close proximity and have a personal relationship, connectedness to the site and eachother.

I would like to propose neighbourhoods like Lavapies, Retiro, Latina, Carabanche, Moncloa-Aravaca.


**The name is believed to have been derived from the Catalan word "peceta", meaning "little piece" (i.e., the diminutive of "peça", "-eta" being the usual feminine diminutive) [1]. However, it is also possible that the name is the diminutive of "peso", an already-existing currency whose name derives from a unit of weight; this is consistent with such other currencies as the British pound. "Peseta" is also the term used in Puerto Rico for a U.S. quarter-dollar coin.

***Antonio Rodriguez from AEC - Actividades Educativas Culturales could be the facilitator of the event as a trained open space facilitator in Madrid. (














2009-2010. Susanne Bosch. HUCHA DE DESEOS: ¡TODOS SOMOS UN BARRIO, MOVILÍZATE! (Open Space / technical data)

......................................................................................................................................................................................................................................................LOGISTICS & MATERIALS DOCUMENTOpen Space on La hucha de deseos27th Feb 2010in Circulo de Bellas Artes Madrid, Spainfor a 1-day Open Space gathering with approx. 60-80 participants(Feb 10th, 2010)



The parameters described here have been developing over the last decade of Open Space practice in more than 250 Open Space Technology events. The collective experiences are transferred into conditions and infrastructure proved to be helpful for self-organized learning and working in Open Space format. The materials and requirements listed below provide the infrastructure for self organizing work and learning. Ideas, suggestions, improvements and other inputs from sponsors and participants in the trainings have been the major contribution to developing these parameters and are very welcome! If you consider alternative options please consult with the training team.



1. Monica Castillo will facilitate the Open Space event.

2. 2 helper (TBN) will assist to set up and maintain the infrastructure, registration of participants, taking digital photos, recording the results, producing the book of proceedings incl. table of content, work on the contact list, etc.

They need to be available one day prior the event for setting up and during some hours after the event for taking everything down.



The entire Sala de Columnas is needed for three days.

No other activities can be organized at the same time.

The central space for the circle will be in the Sala de Columnas.

We identified 5-6 breakout rooms in the Sala de Columnas.

For 50-80 participants 50-80 chairs will be needed, arranged in a circle. 30 additional chairs for the 6-8 break-out spaces. No tables! Daylight is essential! The centre of the circle needs a carpet or 8 cushions for people to kneel on while they write their issues. Make sure that we can stick papers with masking tape to the walls.

Ask for permission!

It is essential that the team will have full access to the facility from 4 pm on Feb 26, 2010 for set up the Open Space infrastructure and until 7 pm on Feb 27, 2010 for taking it down.



1. A high speed copy machine that can enlarge from A4 to A3 format, including extratoner in reserve in the facility, technical support on hand. The copy machine will serve as scanner for the PDF (if possible).2. 8 cushions for the centre of the circle for people to kneel on while they write their issues3. Mobile pin-boards or wall space (Make sure that we can stick papers with masking tape to the walls. Ask for permission!)4. 2 Glue sticks5. 40 black, 20 blue, 20 red and 10 green broad tipped (4 to 5mm) marker6. Red, green, black and blue 2 of each color Trainer Marker (10 mm)7. 80 fine liner felt tip markers (0,4 mm, black)8. 2 packages of crayons9. 1.500 pins, 4 mm head diameter, 15 mm long10. 50 pin cushions11. 12 clip boards A412. 20 material boxes A413. 2 pairs of scissors14. 1 small bottle of TipEx15. Computer and ideally access a printer16. Digital photo camera17. Video camera18. Microphon



1. 100 sheets of flip chart paper (plain, no rules or squares) or similar sheets of paper (A1) 69cm x 99cm3. 200 sheets A3 paper 80g/sqm white4. 200 sheets A3 paper 80g/sqm yellow5. 300 white, 300 yellow and 200 red cards, 99 x 210 mm, 160 g/sqm6. 2 rolls of soft paper masking tape 30 mm wide, Tesa # 43227. Post-its, self-adhesive, size 12,5 cm by 7,5 cm, in 6 different colors (one pack of each)8. 2 sticks of gue

The book of proceedings will be done digitally and will just exist as 1 original copy.



The agenda needs to be amended the closer we get to the event.





Monica and 2helpers

Friday 26th


10 h

Setting up the space, unpacking, control material list, setting up the office, making the signs, last questions

Monica and 2 helpers



Saturday 27th 2010



Registration, check in, cup of coffee, break

Monica and 2 helpers,

1 person for buffet

1 person for documentacion



Susanne / Madrid Abierto


Introduction OS



1. Break-out session



2. Break-out session



3. Break-out session



Wall of Proceedings



Action Planning


16.30-17 h

Closing Circle




During an Open Space with 50-80 participants the book of proceedings contains about 80 pages incl. table of content, cover page, contact list and photos. Each participant should get her/his personal PDF of the book.

This should be delivered digitally. One assistant will be busy with the production of the PDF. This can be done directly while the 30 minutes of Closing Circle and taken home on a memory stick or send via e-mail /downloaded from webpages when participants leave.

If this doesn’t work out the organiser must find a possibility to send this to each participant shortly after the gathering (by E-mail, download or if not possible, as a print out).



Open Space is an Institutionalized Coffee Break. Therefore, it is important to have a permanent buffet style catering near the main room during the entire time of the event. It consists of mineral water, fruit juice, coffee, tea, fresh milk for tea and coffee, fruits, vegetable sticks (carrots, turnip, cucumbers, whatever in season) with thick yoghurt dips, nuts. This substitutes for the traditional coffee breaks which are not provided for, breaks are self organized.

This kind of non-stop buffet also requires non-stop attention: fresh dishes, refills,

etc. with much attention by the food service staff.



The invitation should contain time and place of the meeting, the organizer, the title and the context of the actual Open Space gathering. Furthermore it contains some information about Open Space Technology and the way, in which the meeting will be held. The following list of aspects can help to formulate the letter. But it is up to the organizer and the invited what will actually be put in.

In case of any doubt: less is more!



The Contact List contains the contact data of the participants and will become part of the Book of Proceedings. The Contact List will contain the last name, the first name, the postal address, telephone number(s), and email….other items such as organization, web address, etc. are optional. The list is set up with the last names in alphabetical order in the first column.

The Contact List will be started as a separate document before the Open Space event.

The preliminary list will be produced in Excel or Word as the participants are signing up for the event. The files will be available at the beginning of the event. The list will be printed, enlarged on A3-paper and posted on the wall in the main room. Participants may than add, remove or edit their own data. The corrected list will be printed and enlarged again for cross checking the data. The final version will than be included into the Book of Proceedings that every participant will take home.

It enables the participant to stay in contact and to work together on their plans and projects created during the event.










2009-2010. Susanne Bosch. S/T (2009.10 / theoretical data)

 Public art project for Madrid Abierto 2009-2010 in La Latina / Plaza del Humilladero.Starting date: 29 October 2009Location: Plaza del Humilladero and entire La Latina neighborhood

Every banknote carries a trade value, but also a potential future value (saving for the next holidays, for the desired car, ...). Every conversation carries the potential of a future business, a new invention, a new task, a chance.

Everyone carries an unused potential, an idea in mind, an observation, an untold story or observation, unused old coins in a drawer at home. The public art project TITLE seeks to collect as many of these little individual potentials as possible. The art project brings them together to transform them into real things, projects and outcomes in the real world.

More than 136 436 519 996,32 Peseta coins and 159 065 015 995.71 Pesetabanknotes remain in peoples private property. TITLE will collect the Peseta* coins and banknotes in a public collection site in Plaza del Humilladero, La Latina neighborhood for the period of October 2009 to Mid February 2010. Along with the peseta collection, the project will ask the neighborhood and the users of the neighborhood (visitors of the Rastro market and markets, bars, cafes) actively, what they would like to realize with this public and worthless money in and for La Latina? The project will collect and publish extensively the wishes during the period of the event on a webpage, in the public media and in the neighborhood. During the final months of February, the wishes will be presented in a daily public art action on La Castellana.

On 20 February 2010, everyone is invited to publicly sort the coins and banknotes before the transport on 22nd February 2010 to the Banco de Espana.

On 27 February 2010 everybody who would like to be part of the decision making group, is invited to attend an Open Space event at Circulo de Bellas Artes. This one day event will be used to decide collectively what will happen to the pesetas and how this will be put into action.

TITLE is an artproject that serves as a model to empower people. It offers a creative platform that allows people to work together, to develop a collaborative spirit and inclusion. It offers the experience of a collective decision process. The art project combines an aesthetic appearance with a meaningful public debate. It creates a large forum for potential. By concentrating on one neighborhood, the project will empower people that live in close proximity and have a personal relationship, connectedness to the site and each other.

TITLE will do this through a number of artistic actions and interventions for a duration of 4 months from the end of October 2009 to end of February 2010.

A multi-media collection site will be on a public place on Plaza del Humilladero for the duration of 4 months to collect coins, banknotes and wishes, also to visualize wishes.

For the same duration, an interactive blog and regular actions in the neighborhood will introduce the project. Action dates are: 29.10.-1.11.2009, 12.11.-16.11.2009 , 12.12.-20.12. 2009 and 31.1.- 28.2. 2010.

During the final months of February, the wishes will be presented in a daily public art action on La Castellana. On 20 February 2010, everyone is invited to publicly sort the coins and banknotes and transport them to the Banco de Espana. On 27th February 2010 everybody who would like to be part of the decision making group, is invited to attend an Open Space event. This one day event will be used to decide collectively what will happen to the pesetas and how this will be put into action.

Web info: xxxx.xxThe multi-medial collection site was designed and built by **The name is believed to have been derived from the Catalan word "peceta", meaning "little piece" (i.e., the diminutive of "peça", "-eta" being the usual feminine diminutive). However, it is also possible that the name is the diminutive of "peso", an already-existing currency whose name derives from a unit of weight; this is consistent with such other currencies as the British pound.

(October 2009)








2009-2010. Susanne Bosch. HUCHA DE DESEOS: ¡TODOS SOMOS UN BARRIO, MOVILÍZATE! (wishes / postcards transcription)

Wish 1- Leisure centre.- A shelter where the neighborhoods’ indigents can sleep.- A symbolic monument of La Latina.- Street safety.- Green area.Author: school of sagrado Corazon (Don Pedro).

Wish 2A park to let the dogs freeAuthor: Rosa

Wish 3From La Latina, we support you! We think it is an excellent initiative! We will closely follow all the information on the project. Greetings!

A1Improve La Latina’s facilities. I wouldn’t change anything I would just improve it

A2Make politicians aware of the importance of art. Long live art!

A3Mi wish, my idea is to lower housing prices

A4Not to have so much noise in the street


A6A new sports centre

A7To find ourselves in any country in which we areFor La Latina to continue as it isTo keep things as they are

A8A rain of wine (Jumilla 2010)

A9To promote poetry readings, book stores and cultural activities

A10Reduce usual criminal activity in the neighborhood (always the same people)Reduce noises at nightMore public children centersMore green areas(a neighbor)

A11Local sports center. Before we had one but now there’s nothing. Municipal pool

A12We want theatre in the streets-squares! Culture for everybody!

A13Regular surveillance

A14Remove the benches off the façade of building numer 8 of Gran Vía de San Francisco; increase lighting to avoid homeless people from peeing on the walls of the building and cleaning to end bad odors.

A15Recover the Castilian spirit of the neighborhood; more security; improvement in the streets and businesses of La Latina.

A16Vacant apartments and premises of La Latina should be recovered for the neighbors.

A17Turn it into an amusement park.

A18I want a sports center.

A19Steady policemen.

A20I would love to have more green areas, more plants in our squares (which are of sand only). More color!

A21Buy as much books by Daniel Estulin on The Bilderberg club and give them away for free.The book on the CIA in Spain by Alfredo Grimaldos can also be included

A22Pigs should stop pissing on the doors and corners of the neighborhood

A23A decent market should be created so we don’t have to go to other neighborhoods to buy.

A24A time machine

A25To open a leisure centre

A26Create a mobile disco

A27A football pitch in Las Vistillas

A28Walls to practice graffiti legally

A29Benefits for the homeless

A30Create a foundation to help immigrants

A31Open a disco for minors

A32Open a shopping mall

A33A residence for the homeless

A34Green areas

A35Intelligence please!

A36Leisure centre

A37Leisure centre

A38Demolish the school. Very important!

A39Leisure centre

A40Mobile disco

A41A football pitch in Las Vistillas

A42Win a Mac Grimon prize

A43A shopping mall

A44A sports centre

A45A swimming pool

A46A shopping mall

A47A cinema

A48Support a foundation that truly needs it or schools so they can have school material

A49Open a shopping mall

A50A place for the homeless

A51A sports centre

A52A monument

A53A place for the homeless to sleep better or a place to live

A54A film school for free

A55A school for disabled children

A56An adoption centre

A57A shopping mall

A58A place the homeless to sleep

A59A sports centre

A60A shopping mall

A61A place for the homeless

A 62A disco

A63A sports centre

A64A museum about the past of the Latina and things like that

A65A Japanese restaurant

A66A museum of antiquity in La Latina and things like that

A67A leisure centre

A68A sports centre

A69A monument symbolizing La Latina

A70More security

A71A Japanese restaurant

A72A Break Dance school

A73A Japanese restaurant

A74A Break Dance school

A75A club

A76A leisure centre

A77A leisure centre

A78Support a foundation that truly needs it or some public school so they can have books and material

A79A shelter for the homeless

A80A sports centre

A81A monument

A82A sports centre

A83Demolish the school

A84A football pitch for Las Vistillas

A85A shelter for those who live in the street

A86Create a bicycle lane

A87Improve La Latina neighbourhood with more security

A88More money, more cleanliness in the neighbourhoods

A89A market or supermarket

A90I want public bathhouses for the pigs that come and piss in the street on weekends

A91A proper bathhouse in the neighbourhood

A92More parks, more green areas… More public kindergartens, more space for children

A93Public toilets and community centres

A94A cinema free of charge in the square for the summer

A95More musicians and troubadours in the squareFor dogs not to wash themselves in the fountain

A96For the neighbourhood to be as it was 10 years ago (or before)Down with the noise, down with the excess of bars, eject rich kids that piss here and not in their beautiful neighbourhoodsMore cleaningOur swimming pool has been destroyed They’re going to destroy my Market of La CebadaOur Vistillas which will disappear No to speculation- no to degradationHELP! HELP! HELP, help, help, …!

A97Security and cleaning up the neighbourhood

A98More love for the neighbourhoodMore car parks

A99More green areas

A100A parking lot for residents

A101For closing down bars

A102My fondest wish, a Corte Inglés

A103A theatre and street entertainment

A104Concerts and theatrical shows every weekend in the square, thanks!

A105Less peopleStreet theatre and music

A106Adjust the Plaza de Carros and cleaning once a week

A107My wish: the city hall shouldn’t ruin the Park of Cornisa and give to the Church. It’s our park!

A108Clean the Plaza de Carros 2 or 3 times a week

A109To clean Park la Cornisa so we can sit down without fear. Respect the park of las Dolices more and eliminate the mattresses. To take care of the lighting for there are dark areas

A110I wish a dream: that my neighbourhood, la Latina, became as it was years agoI wish speculation and degradation disappeared from itI wish we had the Latina swimming poolI wish my beloved market of la Cebada wouldn’t disappear I wish for cleanlinessI wish there were no noise, to limit the number of barsI wish the alternative stupid thing for spoiled brats would forget about usI wish for another neighbourhood, the one we had before, for the Latins of always to be able to liveIf you’re the three wise men please, do it!

A111For a neighbourhood with bars that obey the regulations

A112(Written by a child)To equip the squares for children

A113Create some place for young people and don’t change the park of Cornisa

A114I wish they made football pitches in some old sports centre

A115Create more places for sport and shopping malls

A116Cinemas, Burger king, MacDonalds, sports centre

A117My wish is for the neighbourhood to remain as it is

A118To create football and basketball pitches in the old sports centre

A119To improve the park of la Cornisa

A120Maintain the park of la Cornisa

A121I would like the neighbourhood to have sport facilities and a meeting centre for youth and associations

A122I wish they created more places to hold events for youngsters and an economic dancing school

A123A centre for young people’s activities

A124I wish there were more places for young people (stores, restaurants, bars,…)

A125I want a shopping mall and a sports centre

A126To keep the park of la Cornisa

A127I wish the park of Cornisa remained the sameA sports centre A dancing academy or a park where the sports centre used to beBicycle lane

A128To build a big sports centre and a bicycle lane

A129More places for young people

A130To keep the Plaza de Carros and San AndresCreate a bicycle lane and a sports centre

A131To build a new big sports centre

A132To keep the park of la CornisaTo build a new sports centreBicycle lane

A133Sports centrePreserve the park of la Cornisa

A134For the church of la Paloma and the park of la Cornisa to remain the same

A135I want a Corte Inglés

A136 (Mar, girl)I want more nature, more flowers, more trees

A137A real nice park, with an area to protect oneself from the rain, with grass, trees, benches, tables,…

A138 (Nicole, 10 years)Please, we need a park in La Latina neighbourhood

A139 (boy)A Corte Inglés

A140For a cleaner neighborhood!

A141 (boy)I want a Corte Inglés

A142We want more trees and greenness in the city. Here works are taking place, widening sidewalks and trees are not being plantedThose places where there were are now cement squares. Madrid is becoming stifling. PLANTS, TREES OR PUT HUGE FLOWERPOTS WITH BUSHES!

A143An exhaustive control of bars that might open without license

A144I want more activities and cultural variety in the neighborhood. Thanks

A145 (boy)I would like a Corte Inglés

A146My dream would be a Corte Inglés

A147A park with gardens

A148We need a free public car park in the neighborhood/for residents. IT’S IMPOSSIBLE TO PARK IN THE AREA!

A148.1To create a simple football pitch in las Vistillas, 2 goals, the lines of the pitch and that’s it

A149More parks and less dogs that use the street as toilet without cleaning it afterwards

A150More green areas

A151Green areas

A152More green areas

A153Finish the sports centre

A154To change the type of stores in the shopping centre of Puerta de Toledo

A155More festivals

A156A music festival and a free concert

A157A festival

A158Build apartments for young people at a good price

A159I am a 6 year old boy and I am tired of seeing my neighborhood full of dog pooh and garbage

A1601- Bicycles and bicycle lanes all around the neighborhood2- Freedom in the streets3- Pedestrian areas

A161A Corte Inglés

A162 (boy)Please let the park of la Cornisa remain

A163Help the homeless people in the neighborhood

A164An amusement park

A165I wish they would build the sports centre of la Latina again. Sport is health!

A166Please, clean the neighborhood and don’t let the dogs pooh in the park of las Vistillas, which is a disgrace and children can’t get in. Thanks.

A167Food for the poor

A168Forbid accordions and parks

A169To build a film theatre

A170Buy tents for people who live in the streetFood for the homelessA very good meal for Christmas or, depending on the money collected, several meals during the year

A171My wish is for la Latina to be cleaner

A172 (a girl)I wish dad and I never separated

A173Thousands of picture cards of the League to exchange

A174I don’t want to get angry with my family or with my sisterI don’t want to lie to anyone

A175 (boy)I love my puppy and her knees to be cured

A176 (boy)I want my mom to come home as soon as possible

A177 (boy)To destroy the school

A176 (boy)For you to be very happy and for me to see it

A177 (boy)A rollercoaster for everyone

A178 (niño)For the kings’ wishes to come true

A179A clean neighbourhood

A180Our wish is a location with a drinking fountain and benches to sit or lay down (without a bar) and a fenced area for dogs

A181Don’t take the park of La Cornisa away from us

A182 (niño)I want a cat. I want a parrot

A183 (niño)I want a nativity scene

A184I want Madrid to remain as clean and beautiful; not one politician should damage it

A185For a cleaner neighbourhood, without odours

A186A football pitch

A187A football pitch; to know each other; a time machine

A188Don’t take the park of la Cornisa away from us

A189More clearing less drinking in the street

A190A swimming pool. Our swimming pool

A191A football pitch

A193Leave the park of la Cornisa and don’t bring the dogs down to the garden

A194To create a pedestrian pasaje for the La Paloma residence to cross to the cafeteria

A195A free hostel to sleep to visit la Latina

A196More security

A197More green areas

A198More taxi signs

A199A new market for La Latina.

A200A new market. Less noise in the neighbourhood. A sports centre. Cleanliness in the street.

A201I would the Project for park la Cornisa to never happen. I would also want the streets to be cleaner

A202My wish is to remodel (at last!) the Market of la Cebada, giving the neighborhood new impulse and easing shopping for everyone (most of all mothers) in the neighborhood

A203A newmarket for La Latina and peace and happiness for everyone

A204More security, less mafia

A205Modernize the neighborhood

A206More security for the neighbourhood. Less persecution and raids of immigrants

A207I wish La Latina was a safer neighbourhood, for youngsters to have more programmes and education, and more integration

A208A sustainable park of la Cornisa (self-sufficient irrigation system)

A209An ecologic vegetable garden for the neighborhood in the park of la Cornisa

A210Rehabilitate the gardens of seminario and open it for the public, for the nighbour’s and tourist’s enjoyment!

A211To take out the slope of Toledo street and put the old businesses

A212To keep the stores (grocery stores, butcher’s shop,…) and inns (León de Oro, Cava Baja)

A213Put a bus stop in the residence for excursions (La Paloma)

A214To keep maintain the few old stores that still remain in the neighborhood of La Latina

A215To modernize some stores

A216I want to eliminate the slope of Toledo street, because the people living in La Paloma residence can’t climb it

A217Take the slope of Toledo street, make it flatter

A218Not to end the Numancia centre and make more centres for elderly people

A219Security, it is necessary for the neighbourhood

A220More security for Gil and Mon streets, and more streetlamps

A221To keep park of la Cornisa and plant more trees

A222Not to end the Numancia centre

A223Keep park of la Cornisa A224For Mercado de la Cebada to remain

A225To feed people in Numancia centre

A226For streetcars to be replaced, more secure and eliminate cars

A227Keep la Cornisa. Not to destroy the barquillero, roasted potatoes, sweet potatoes, chestnuts in a railway machine

A228For turkeys and the kid with the bar to continue (behind closed doors). Babtisms in which coins were thrown

A229For the fiesta of la Paloma to continue

A230For kermes to continue in las Vistillas.

A231To fix Paseo de Extremadura.

A232Mi wish is to fix Paseo de Extremadura.

A233A streetcar from Puerta de Toledo that “broke” the stone bridge not to pass again. “In the prime of my life and without being able to win it” (Pierra).

A234Would it be posible to create a cartoon (fun) which induced children and youngsters not to stick chewing gum on the floor and preserve buildings and businesses form graffiti?

A235My wish is for this neighbourhood Downtown-la Latina to be cleaner. I live here since the 70’s, and it has never been so full of graffiti, it’s a shame, such a beautiful historic neighbourhood in which anyone can buy a spray (which they sell in any store) is owner of the street and can dirty façades, stones, which although cleaned will never look the same. I also wish outdoor bars to clean paper napkins that falla to the ground, if they have a business the street doesn’t have to be full of garbage. And, last, to find housing for the homeless. This is a tourist and historic neighbourhood and we give an impression of a dodgy and dirty city… not of a modern capital.

A236To keep streets of Madrid free from graffiti

A237To restore every historic monument in Madrid

A238I wish Madrid was clean and for pigs not to exist

A239Give us back las Vistillas

A240Take las Vistillas Hawai from the church

A241Wi-fi for free in all the neighbourhoods

A242Weekly activities every Saturday morning: fen sui, aerobic, belly dance, drum circle… Money to pay the teachers

A243Organize a playing/educational group for the kids in the neighbourhood

A244More green areas

A245To be able to park closet o my house

A246My wish is to create leisure areas for people in the neighbourhood to play sports, to practice street dance, areas to be able to express yourself…

A247More green areas for children, car parks. Garbage and recycling containers

A248Ana rea open to the people to Saint, as well as parks and libraries. I would like a place to receive artists of all ages

A249Meetings for neighbours on terraces (use terraces as a common area)

A250More plants in the streets or even, plantations (gardens and orchards) of the neighbours

A251No to the Church, no to the ‘mini-Vatican’

A252My wish to have less police in the neighbourhood on Sunday afternoons

A253Public space for cultural activities, workshops, exhibitions

A254Free car parks

A255More recycling containers

A256I want more supermarkets

A257Shelters and mess halls for the homeless

A258Better cleaning service

A259Christmas lighting all year

A260To promote traditional businesses

A261Greater investment in small businesses of the neighbourhood

A262New asphalt

A263 More public cultural facilities in the neighbourhood

A264Less real estate speculation in the neighbourhood

A265No to the ‘mini-Vatican’! To give us back las Vistillas. The neighbourhood needs more green areas and less pollution

A266Veranos de la Villa for free.. but for real!

A267A good athletics track, a sports centre

A268To improve line 6 of Metro. To reduce the price of Metro tickets in the neighborhood of La Latina

A269I want a zebra crossing. Some kilos of paint = a great service for the neighbourhood. In a place where there are three schools and children’s education centre. When crossing the road of San Francisco we throw ourselves to the cars…. Why? Because from Tabernillas street to the square of San Francisco el Grande there’s a great distance. SOLUTION: a zebra crossing with two options: Las Aguas street with Carrera de San FranciscoSan Isidro with Carrera of San Francisco

A270To eliminate the mini-Vatican

A271To rebuild the old market of la Latina which was demolished, instead of the current market which has no proper imageAnd thus recover an architectonic work that should have never been lost

A272Mixed toilets

A273More green areas, less graffiti

A274Less traffic, more parks

A275More green areas and less graffiti

A276More green areas and less graffiti

A277I wish Madrid remained as clean and Beautiful

A278Build a park for children

A279I want pollution to disappear

A280To recycle more and for this world to be a better place

A281I don’t want dog pooh in every street of the neighbourhood, and if given the choice, municipal sports centres with swimming pools

A282Enlargement of the children’s area of la Cornisa park and rehabilitate and open to the public, without building anything

A283No to the mini-Vatican (areas for leisure)

A284For houses to be for free, please

A285My wish is to plant trees in the park of la Dalia

A286Fountains for everyone to drink and for the cattlePreserve the parks

A287Improve accesses for elderly people

A288To build a hospital where the prison was before

A289I want a better neighbourhood of la Latina

A300To build a bigger swimming pool and a sports centre

A301To put turkeys and quails in the parks. To put streetcars again

A302To take Hawai the street market at the end of Arganzuela. To build a huge swimming pool

A303To create more toilets in the neighbourhood; more surveillance. It’s frightening to go out

A304Don’t destroy the park

A305Better security

A306A Hospital

A307Happiness, more employment and holidays

A308More green areas

A309To put more benches

A310Build a new Hospital

A311More green areas for my puppy

A312I would want a hospital

A313A Day Centre for disabled youth and people with alzheimer

A314To fix the bridge of Segovia and put more police in the streets

A315Don’t take Hawai the park of la Cornisa and more surveillance for dogs and to put trees in the Dalia Park to give shade when we are out on a walk. (An old woman is writing this, thanks)

A316To bring streetcars back

A317There shouldn’t be so many people. To be more calm

A318Good quality community areas

A319Hygiene indications (for people who drink in the streetPosts of historical information with maps (what is el Rastro, square of la Paja,…)

A320For traffic agents to receive a salary in accordance with their duties (pay rise now!)

A321A cheaper theatre to invite my girl

A322To legalize Marihuana

A323Not so many Chinese, Indian or Arab businesses in the neighbourhood

A324To improve the Faculty of Fine Arts at least a little bit

A325I would like a shelter or place t olive for the homeless people in the Church

A326Grass in the square of los Carros ando of la Paja

A327I think that our neighbors of the Church of San Andrés shouldn’t live there. It is insalubrious for them and for the neighbors that live around. Everyone that visits the neighborhood, which is a lot, is astounded and impressed with them. I think the members of the City Hall and the Social Brigades shouldn’t permit it and should take them to a more appropriate place

A328A statue made of the coins themselves. Which? As there are theatres around I thought of a mask

A329To put exhibition halls for new artists, independently form their age

A330I would like more parking areas, and green areas

A331A Corte Inglés

A332A park for children and a car park for people in the neighborhood

A333Fill the park of la Cornisa with trees and more green areas

A334Lots of parks! The Cornisa for ever!

A335More surveillance for the “dog people”, the dog poohs are a disgrace; and a hospital and less Vatican, “but with the Church we have bumped, Don Quixote”

A336To create more areas for walking

A337Our wish is ana rea with a drinking fountain and benches to sit or lay down (without a bar in the middle), and a fenced area for dogs

A338For people not to piss in my street, thanks

A339My wish is for la Latina to be cleaner

A340A football pitch

A341(To still have the love of my family and the love of the ones we live with). I would like to invest money in free kindergartens for the neighbors. Thanks for the iniciative, a kiss and a hug

A342More flowers and rainbows, friend and games at park of la Cornisa

A343To respect the park of la Cornisa, because the centre has few green areas. To clean the street more frequently , as well as “poops”. This area has a great density of population and needs more cleaning. The neighbourhood of Salamanca is always clean. Why?

A344Unquestionably, improve the green areas and creating more. It would also be necessary to do something to reduce the noise (cars, etc)

A345 (boy)I want pollution not to exist and to keep the park of la Cornisa

A346 (boy)To clean dog pooh every day

A347 (boy)Cute little trees, little trees in my neighborhood

A348 (boy)I am Daniel and I don’t want garbage in the streets

A349Put grass around the trees of Plaza de Carros

A350For Gallardón and la Vria to forget the terrible idea of destroying Cornisa-Vistillas to create buildings that cool well be somewhere else

A351I build the sports centre of la Cebada once again and not to move the park of la Cornisa

A352To organize weekly outdoors concerts in the park of la Cornisa

C1La Latina is synonymous with music, art, joy, people, in one word; with life, my wish is we never lose it

C2To buy a pair of roller skates for Mr Mayor for him to go through the neighbourhood and see how abandoned such a noble area is. For the taxes we pay to be reflected on improvements in the neighborhood

C3 (boy)To reduce the smoke in streets and bars

C4For the neighborhood not to lose its identity and preserve its light. THANK YOU, LA LATINA!!!

C5A spaceship A dragon park

C6Everyone to be happy

C7I just want welfare and peace for the neighbors and proper coexistence with people who come everyday to enjoy the neighborhood

C8To know each other right now! (And to let me know the day when it will happen: This email address is being protected from spambots. You need JavaScript enabled to view it.)

C9 (boy)For things to go better in school and playground

C10Streets for the peopleA life with of light and color, peace and love. And all the prisoners to the streets

C11For everything to improve, society, Africa, those with no name…

C12For things to change, yes! For better and never for worse

C13More honesty

C14To be better “for” others. Carlos Castella

C15More jobs. A good environment

C16A neighbor's assembly. Migrations integration

C17The best for the neighborhood

C18For youngsters of today to learn the chotis and dance in the verbena of la Paloma

C19For my grandchildren to learn to dance the chotis

C20For people in the neighbourhood to be friendlier

C21For the neighbourhood to be what it once was; verbenas, dances, fun with organs in the patios. To do chain stitches

C22For everyone to be happy and a peaceful world

C23I want peace for the world, for everyone to be able to eat and drink without begging

C24Such good fortune!

C25To respect the cultural centres in squad houses of the neighborhood

C26To achieve communication and knowledge without social, cultural or money barriers. Thus I want for everyone to share the same things, love and peace

C27No to police oppression

C28I want to feel good with myself, with those who are around me and those who are not

C29My wish is for young people to have jobs

C30I want, for the neighborhood’s good, to end mortgages

C31Love, consolation and affection for God, saviour of the whole world

C32I would like proposals like this one

C33I want world peace. (A citizen of the world)

C34For love to invade every human being

C35I want a loto f peace in the world

C36For the world to become aware that what we need is solidarity, love, common sense… peace and love for all, for the world at large

C37For my family to be fine

C38A dog for my brother

C39Health for my brothers, thank you very much

C40Tranquility and friendship in this neighborhood

C41Get to be a good person to make people happy and do good things

C42I wish my mother returned home as soon as possible, I love you

C43I wish to live in Europe someday!

C44For everyone to be happy

C45I want to be a good girl and most of all to have fun on my birthday and to receive a lot of presents

C46Love and peace

C47 (boy)I wish candy would rain from a giant crane

C48 (boy)For toys to rain and anything we want

C49 (boy)For evil people not to exist

C50 (boy)Money and chocolate raining














2009-2010. Susanne Bosch. HUCHA DE DESEOS: ¡TODOS SOMOS UN BARRIO, MOVILÍZATE! (wishes / audio transcription)


2A house for the homeless.

3A monument that represents La Latina and a sports centre.

4A green area.

6A sports centre.

9A green area.

19Fix Jesús el Pobre street because it’s in real bad condition. They have fixed all the adjacent streets where there are outdoor bars.

22I would like the garbage in the containers to be picked up more frequently, there are rats and a lot of filth

23I would like public toilets in the bar areas, because if not people pee in the street and it smells really bad.

25We want more drinking fountains in the street. Thanks.

28To remove the benches from Gran Vía of San Francisco number 8 and put more light, please.

31Fresh squares not deserts, we don’t want deserts. Please, Gallardon!

75Don’t take away Vistillas’ park.

89Don’t take park of la Cornisa from us.

94Leave Vistillas and la Cornisa without priests.

102I want to recover the swimming pool of La Latina, because now, each time I want to go swimming I have to go to Pacifico, please.

149Saconia became an independent neighborhood. I want a free, united and unique Saconia. I want a special Saconia of Spain.

154Fix Travesía de las Vistillas, which is paved and in bad condition.

160For the Vatican to leave the hill of Vistillas.

161I want the empty premises of la Latina were used for neighbourhood activities.

162Public toilets so people don’t piss on the street.

177For 2010 to bring much joy to the neighbourhood of La Latina.

243Never take away the park of Vistillas, and everything surrounding it which San Francisco the Great.

283I very much desire, very much, that in our fountain of La Latina, there were a drinking fountain.

284I want more moneyboxes such as this one, so we can give people in the neighbourhood a chance to speak up.

287Hi, I’m David, , I’m not from this neighbourhood, but if it were my neighbourhood I would like a bicycle lane. Thanks.

289I very much desire, very much, to plant rosemary and thyme in the square’s basins.

292Public toilets in the street so people don’t piss on the doors of houses.

308I want a lot of moneyboxes because it’s the coolest thing in Madrid, no doubt.

323I want to wipe the dog poops out of the neighbourhood.

331We want a livelier neighbourhood, of cultural ways of life.

346I want more parks in the neighbourhood, there are none. Please.

353I don’t know what I want for this neighbourhood; free rooms for rent, at a good price, around 300 euros.

354I want the old houses of the neighbourhood refurbished and make proper windows so that living rooms have more light, and not a weird bedroom.

359A lot of work for everyone in the neighbourhood.

366I wish Julia was my best friend. But if this is for the neighbourhood, I want the streets to be as nice as they already are.

367Children’s areas and parks.

370I want the neighbourhood to be cleaner…, I want the neighbourhood to look prettier… I want… so many things.

417It would be great to have more cleanliness in the streets.

419There a lot of dog shit.

426Beers at one euro.

430Bicycle lane for all Madrid and for the neighbourhood.

432A park to drink.

446I want the neighbourhood to stop smelling like piss because of the Mayor, that doesn’t take care of the neighbourhood at all. Thanks.

453To turn Toledo street into a pedestrian lane.

454I want the prices of the rent to decrease and to put terraces in every house so there is plenty of light.

461I wish they didn’t break the moneybox anymore and I hope it truly worked and for this project, which is so much fun, made this neighbourhood really improve.

470A golf course.

471I wish there were no drunks.

515I want the public library to remain. And to make it pedestrian. Pedestrian Latina now!

524Benches for everyone.

530We want less traffic in the neighbourhood.

552Only park in la Cornisa.

554Only park in la Cornisa.

563I want a park in the square and not so many drunks because they do bad things to us.

570I would love this neighbourhood to be hyper-civilized and for people to like things that are done, they would take care of them and were friendly to strange objects.

572I want 400000 trees in my neighbourhood so that we all have shade in the summer and so it’s very green.

574We want a park for the children to play every afternoon.

596I want a statue of Gallardon here.

602I would like a removable swimming pool for summer here, in this square.

607A swimming pool for children.

612I want more terraces.

623I want a clean neighbourhood.

627More signs showing the way.

631Hi, first I would like to congratulate you, the project, and well, and wish you would do something in Granados street, in the steps there are.

643Less police and let the good looking people around here sing and play.

645To clean the piss.

648Hi, my wish to clean the neighbourhood and Granados street.

649A graffiti wall for the neighbourhood.

699For the moneybox to remain for a long time.

700For La Latina to have orchards.

701For the moneybox to remain in La Latina.

704We want cheaper housing in La Latina, this beautiful neighbourhood.

705Don’t take the park of la Cornisa.

707A bus line that comes from Moncloa. We almost don’t have public transport around here.




Sagrado Corazon 1SC- La Latina swimming pool?I-Yes, they have demolished it, to renovate it, but we don’t know what they are going to do.SC- Let them renovate it then.I-Yes, let them do it and leave it because there are people that if they want to go. And if it’s not ready, well…. They have to go to another place that is more… besides, it is something that’s been there for a long time, as far as I know. It doesn’t mean that it’s been there long before I was born.

Sagrado Corazon 2I- What do I want for La Latina?, tranquillity.SC- Tranquillity?I-Tranquillity, I’m going to move (laughter). I wish it was quieter.SC- Something that can be made, something to build… a park…I-No, no, they shouldn’t film so many movies down there where I live because the breakdown van has taken my car a couple of times.

Sagrado Corazon 3A wish for the neighbourhood of La Latina is not to change the market of la Cebada. If they’re going to do it they should leave the old structures.

Sagrado Corazon 4I want less expensive apartments, to keep the market of la Cebada, the old sports centre and more parks as well.

Sagrado Corazon 5We want many more parks than just la Cornisa… yes, yes, the park of la Cornisa.

Sagrado Corazon 6I come from Jerez, I’m a tourist, but I wish they made a park in La Latina.

Sagrado Corazon 7I want such a lively and happy neighbourhood, and less drugs and less crime.

Sagrado Corazon 8Well, nothing, lets see, I will ask a wish for the people in the neighbourhood, because they want a swimming pool for the summer, lets see if it can come true.

Sagrado Corazon 9To reduce the rate of beggars, which as we can see, are taking over the streets day by day. More shelters and support from public institutions.

Sagrado Corazon 10Everything, be good, and hey, the neighbourhood should be cleaner, looking good, let there be no robberies, lets all be good, ok? That’s my wish.

Sagrado Corazon 11Well, I live in Holland but I’ve been coming here for a long time now, and I always find people without a house over there, I feel sorry for them, and I have just given them a euro, but of course, that is not a good solution. Look, that man is putting out the bucket that works as kitchen and we should solve such awful situations by opening a shelter and giving them the services they need, and I think that would be a great measure for the neighbourhood.

Sagrado Corazon 12More surveillance over people with dogs, and to build a hospital, not a Vatican.

Sagrado Corazon 13Savings book.

Sagrado Corazon 14I-They should build a huge swimming pool.SC- For you and for your grandchildren.I- For everyone.

Sagrado Corazon 15I want an alternative theatre because it’s a necessity to be fulfilled in Madrid, because alternative theatres of today, the most different was Cuarta Pared but now everyone gets into fights and do things that are, typical of elites you know, there’s no alternative and the other tiny ones, in order to eat use commercial material such as monologues like the ones by Manolo Manola talking about pooh, butt, fart, piss and there’s no alternative theatre.

Sagrado Corazon 16We would like a supermarket there, bigger, which delivered to the houses, because elderly people don’t have a single store with home delivery. They could make a shopping mall instead of that, with home delivery service to help elderly people, because this neighbourhood is full of them.

Sagrado Corazon 17I1- Social action for the underprivileged, no? for underprivileged people.I2- But it’s complicated Nacho.I1- I wouldn’t use the money to install a streetlight, for example, because City Hall should do that, but there are lots of associations that need material support or that type of thing, places that work with kids, which need pencils o that type of… lets say, I wouldn’t use it to install a crystal balloon that will last one month and which I don’t, don’t think… I would use it for a social purpose…, yes, yes.

Sagrado Corazon 18I1- What I would do, for example, would be a chotis dancehall, for older people to teach youngsters, in that way you can attract the elderly public which is in possession of the pesetas, to teach a traditional dance from Madrid that many of us youngsters don’t know how to dance and chotis is speakers, chotis, and on the floor people dance and it could be a good interaction between different generations, the elderly person putting the pesetas, exchanging information related to the old Madrid, that has to do with pesetas, with the youngster.I2- Nacho, maybe it would be better to practice zarzuela, because chotis,…I1- Well, any dance they might know, the old people, older than 55 or 60, ha?

Sagrado Corazon 19The first thing is, to me, that people knew what they really desire, I’m sure people can think, there is a lot of people saying “I want to help others” and don’t understand that first of all they have to help themselves because of their type of job or type of life they have due to lack of care for their children. I would promote something to bring awareness about what is truly valuable in life. Make people aware, I don’t know, to promote conferences but not on an intellectual level but for everyday people. Do you want to know how to improve family life? Or, do you want…? I once heard of a man that tried to make rich people happy and he was greatly criticized because they said “you have to help poor people” and he said “no, no, rich people have their own problems… because they only collect money and we have to show them to live, right?” well it’s a bit…, because now in Madrid people say “I don’t have money” but we all have, all. This month I can’t pay the rent, but next month I will have more than I need and… I don’t know. I don’t how to do that.

Sagrado Corazon 20To clean the neighbourhood up, ok?

Sagrado Corazon 21I think the best thing would be to create more parks and an underground car park so there wouldn’t be so many cars in the streets.

Sagrado Corazon 22There’s a lot, ha? we have many wishes. Clean streets; less noise; bars to close their doors so we don’t hear; apart, the market is in terrible condition. We want a new market, a new sports centre.

Sagrado Corazon 23- Hey, hello. We are members of school Sagrado Corazon and we are participating in the Moneybox of Wishes project, we’re asking people about their wishes for La Latina and we wanted to know if you could tell us yours.- I, having been born in this neighbourhood, want all of us to be able to be in the streets. I want the street to be, apart from a way to collect taxes, a place where lots of children play, with night watchmen, it doesn’t matter we can all enjoy our neighbourhood. Because we are always paying and we receive very little.

Sagrado Corazon 24I have several wishes. Lets see, first I would want the market to be renewed, it is a project that has been discussed for many years now. I would like the streets to be clean. I would like the park of la Cornisa to remain as it is, and to preserve the small business model. These are, in the meantime, all the wishes I remember.

Sagrado Corazon 26My wishes the neighbourhood of La Latina are, well they are great and wide. First and foremost, I want a new market, this one is really old, it’s in very bad condition, and a sports centre, of course. The area needs it, as well as a bit of development in its streets, a bit like in other neighbourhoods. This one is very much abandoned in that sense. These are my wishes.

Sagrado Corazon 27I-Well! I ask for health, you see. SC- This was the neighbourhood, that is, something you would like to have in the neighbourhood of La Latina but there isn’t.I- Something there isn’t, well gosh,. Well the big thing, what they haven’t done, leave the market like that, a modern market.Of course…SC- Warmer.I-Better equipped. You guys, as youngsters. Do you want the market as it is?SC- No.I- Well, you’ve said it all.

Sagrado Corazon 28My wish? A new market. Someone should build a new market, please, we really need it.






2009-2010. PRESS RELEASE. Hucha de deseos invitation (Susanne Bosch)

2009-2010. PRESS RELEASE. Hucha de deseos invitation (Susanne Bosch)















2009-2010. Susanne Bosch. HUCHA DE DESEOS: ¡TODOS SOMOS UN BARRIO, MOVILÍZATE! (published text)


Starting date: 12 November 2009Location: Plaza Puerta de Moros and entire La Latina neighborhood

Every banknote carries a trade value, but also a potential future value (saving for the next holidays, for the desired car...). Every conversation carries the potential of a future business, a new invention, a new task, a chance.

Everyone carries an unused potential, an idea in mind, an observation, an untold story or observation, unused old coins in a drawer at home. The public art project Hucha de deseos: ¡Todos somos un barrio, movilízate! seeks to collect as many of these little individual potentials as possible. The art project brings them together to transform them into real things, collective projects and outcomes in the real world.

More than Peseta coins and Peseta banknotes remain in people’s private property. Hucha de deseos: ¡Todos somos un barrio, movilízate! collects the Peseta1 coins and banknotes in a public collection site in Plaza Puerta de Moros, La Latina neighborhood for the period of October 2009 to Mid February 2010. Along with the peseta collection, the project asks the neighborhood and the users of the neighborhood (visitors of the Rastro market and markets, bars, cafes) actively, what they would like to realize with this public and worthless money in and for La Latina? The project collects and publishes extensively the wishes during the period of the event on a webpage, in the public media and in the neighborhood. During the final days of February, the wishes are presented in a daily public art action from 15-18 h on Paseo de la Castellana. On 20 February 2010, everyone is invited to publicly sort the coins and banknotes before the transport on 22nd February 2010 to the Banco de España.

On 27 February 2010 everybody who would like to be part of the decision making group, is invited to attend an Open Space event at Círculo de Bellas Artes. This one day event is used to decide collectively what will happen to the pesetas and how this will be put into action.

Hucha de deseos: ¡Todos somos un barrio, movilízate! is an artproject that serves as a model to empower people. It offers a creative platform that allows people to work together, to develop a collaborative spirit and inclusion. It offers the experience of a collective decision making process. The art project combines an aesthetic appearance in form of a multi-medial collection site, a blog, posters and public interventions with a meaningful public debate. It creates a large forum for potential. By concentrating on one neighborhood, the project empowers people that live in close proximity and have a personal relationship, connectedness to the site and each other.

Hucha de deseos: ¡Todos somos un barrio, movilízate! is doing this through a number of artistic actions and interventions for a duration of 4 months from the end of October 2009 to end of February 2010. A multi-media collection is on a public place on Plaza Puerta de Moros for the duration of 4 months to collect coins, banknotes and wishes, also to record and listen to wishes.

For the same duration, an interactive blog and regular actions in the neighborhood are introducing the project.

Action dates are: 29.10.-1.11.2009, 12.11.-16.11.2009, 12.12.-20.12. 2009 and 31.1.- 28.2. 2010.

During the final days of February, the wishes are presented in a daily public art action on Paseo de la Castellana. On 20 February 2010, everyone is invited to publicly the coins and banknotes and transport them to the Banco de España. On 27th February 2010 everybody who would like to be part of the decision making group, is invited to attend an Open Space event. This one day event will be used to decide collectively what will happen to the pesetas and how this will be put into action.

Web info:

The multi-medial collection site was designed and built by


1. The name is believed to have been derived from the Catalan word `peceta´, meaning `little piece´ (i.e., the diminutive of `peça´, `-eta´ being the usual feminine diminutive) [1]. However, it is also possible that the name is the diminutive of `peso´, an already-existing currency whose name derives from a unit of weight, this is consistent with such other currencies as the British pound.
















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



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














2009-2010 / 2009.12. NOTA DE PRENSA. Hucha de deseos project (Susanne Bosch)

2009-2010 / 2009.12. NOTA DE PRENSA. Hucha de deseos project (Susanne Bosch)














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

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

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

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

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



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



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

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



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


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

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


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

Zoohaus(03:00 - 19:46)

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

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

María Molina(05:33 - 11:30)

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

8Debate and questions(00:00 - 06.27)














2009-2010 / 2010.01.03. RN3. Fluido Rosa (Susanne Bosch)

Name Play Size Duration
Fluido Rosa. Susanne Bosch (03.01.10)
109.4 MB 1:59:32 min

Visualizamos la obra de John Daley, hablamos del proyecto artitsico de Susanne Bosch, presentamos el colectivo Mano de Santo, mostramos un dosier sonoro sobre Israel y nos introducimos en el DA2 de Salamanca. (03/01/10)








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

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





















2009-2010. Susanne Bosch. INITZIATIVA CENTESIMO AVANZATO, 2008

2009-2010. Susanne Bosch. INITZIATIVA CENTESIMO AVANZATO, 2008




Siendo bastante distinto al proyecto alemán de larga duración, en 2008 invité a los ciudadanos de Nápoles a que participasen en un proyecto en y para la ciudad. Duraba 4 meses; un museo se hizo cargo del proyecto.

Los empleados del museo se dedicaron a difundir el proyecto al tiempo que cuidaban las monedas. También fueron muy cuidadosos a la hora de recolectar los deseos. Hasta septiembre de 2008 se habían recogido 460 Deseos.

El proceso de toma de decisiones en Nápoles será diferente del anterior. En Noviembre de 2008 invitaremos a un grupo de jóvenes adultos de entre 8 y 12 años para decidirse por un deseo. Usaremos el método de Espacio Abierto para permitirles tomar su decisión de modo colectivo.

Decidimos invitar a ciudadanos de esta edad con un fuerte sentido ético de lo que significa la verdad, honestidad y aquello que es mejor para la comunidad. Siendo conscientes de que en Nápoles hay una larga tradición de entramados informales de toma de decisiones, la decisión de escoger este tipo de voluntarios fue reforzada. Hasta ahora nadie ha robado ningún dinero del contenedor abierto.


















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2009-2010. Susanne Bosch. LEV-OVER PENNY CAMPAING, 1998-2002

2009-2010. Susanne Bosch. LEV-OVER PENNY CAMPAING, 1998-2002


The Left-over Penny Campaign collected unexploited economic and intellectual capital - as well as ideas and wishes - across the whole of Germany in the form of spare change from 1998-2002. Altogether, 13 tons of coins were gathered in the collection sites in public spaces on the Alexanderplatz in Berlin, in Munich (Marienplatz), Nuremberg (Königstrasse), Würzburg (Public Library), Weimar (ACC Gallery), Köpenick (FEZ), as well as thousands of private collection boxes.

1.601 ideas and wishes came in the form of letters, emails and interviews.

A part of the concept was that the participants decide what should happen with the mountain of coins. 1,087 persons applied to be a part of the decision committee. Of these, twelve were randomly selected in early April 2002 and invited to decide which of the 1.601 ideas and wishes should be realized.  

The committee met on the two weekends in May and June of 2002 in the ACC Gallery in Weimar. After they had worked out a list of criteria together, they chose four projects to bring to realization from the idea and wish pool. In June and July of 2002, all of the collection boxes were emptied, publicly sorted and brought to the appropriate national banks for payment. Altogether over the four and one-half years, besides the hundreds of thousands who gave their spare pennies and the 1,601 "Idea Donors", approximately 500 persons actively helped the project. Many institutions, government officials, prize juries, decision makers and private citizens helped to make this project possible.


The Left-over Penny Campaign was my artistic attempt to take the responsibility "to make the future, that we want or do not want, an object of civic discourse." (Saage, Richard, 1997: Utopieforschung, eine Bilanz (Utopia Research, an Assessment), Primus Verlag)














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2009-2010. Susanne Bosch. HUCHA DE DESEOS: ¡TODOS SOMOS UN BARRIO, MOVILÍZATE! (2009.09-10 / fieldwork / licences)

2009-2010. Susanne Bosch. HUCHA DE DESEOS: ¡TODOS SOMOS UN BARRIO, MOVILÍZATE! (2009.09-10 / fieldwork / licences)



 DOSSIER I. September2009


DOSSIER II. October 2009












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2009-2010. Susanne Bosch. HUCHA DE DESEOS: ¡TODOS SOMOS UN BARRIO, MOVILÍZATE! (poster)

2009-2010. Susanne Bosch. HUCHA DE DESEOS: ¡TODOS SOMOS UN BARRIO, MOVILÍZATE! (poster)

















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2009-2010. Susanne Bosch. HUCHA DE DESEOS: ¡TODOS SOMOS UN BARRIO, MOVILÍZATE! (registration / coin count)


PESETAS AFTER 1997- 18 coins of 1 ptas.- 32 coins of 5 ptas.- 6 coins of 10 ptas.- 7 coins of 25 ptas.- 4 coins of 100 ptas.- 1 coin of 500 ptas.

PESETAS BEFORE 1997- 1 coin of 10 cents.- 42 coins of 1 ptas.- 12 coins of 5 ptas.

EUROS- 43 coins of 0,01 €.- 40 coins of 0,02 €.- 78 coins of 0,05 €.- 84 coins of 0,10 €.- 57 coins of 0,20 €.- 38 coins of 0,50 €.-30 coins of 1 €.

FOREING COINS - 2000 pesos chilenos.- 1 real brasileño.- 20 centavos cubanos.- 25 centavos argentinos.- 1 cent of EEUU.- 1 penny of UK (3).- 20 pence of UK (2).-10 pence of UK.















2009-2010. Susanne Bosch. DREAM-DO-DONE (2009.05 / project review / fieldwork)

MAY 2009





In the Agenda 21 of the city of Madrid I found an interesting alignment with my public art approach to La Latina / Lavapies*:

* source: "programa electoral del candidato a la alcaldía de madrid" Populares Madrid 2007"

















2009-2010. Susanne Bosch. DREAM-DO-DONE (2009.05 / project review / location)

2009-2010. Susanne Bosch. DREAM-DO-DONE (2009.05 / project review / location)

MAY 2009



The area I am interested in is at the border of the inner city district of Palacio and Embajadores. It has a number of schools, cultural and social associations. It is based in the city centre with a vivid market (Rastro), a vidid nightlife and cultural points to attract international tourism.The place chosen is in a neutral neighbourhood with people going to this place for shopping, tourism and entertainment. At the same time people living there are quite accessible and they will participate.



I would like to propose a place along the streets: Plaza de Cebada, or alternatively San Millan, Duque de Alba.

The location has to fulfil the following criteria:• Local citizens as well as tourists and shoppers pass by on a daily basis.• The area is safe enough to keep an object outdoor through day and night andattract people from outside the neighbourhood. The location needs to befound easily by visitors.• The chosen subgrade has to be able to withstand 2-4 tons of weight.• The neighbourhood attract a mixed population in age and nationalities.

1.    Plaza del Humilladero

2.    Plaza de Cebada, in front of the Mercado de Cebada


3.    Metro Station La Latina


4.    12 Duque de Alba



The prefoered space on La Castelan is either Recoletos, between Colon and Plaza de Cibeles or from Plaza de Cibeles to the Museo Thyssen Bormemisza.



Despite a very interesting offer to use a space in Circulo de Bellas Artes, the venue needs to take place in the project neighbourhood, ideally onsite of the former collection site. It can be held in a one day marquete tent and with break out discussion groups in a number of the surrounding coffee bars. The catering and chairs will be provided also by local businesses.

















2009-2010. Susanne Bosch. HUCHA DE DESEOS: ¡TODOS SOMOS UN BARRIO, MOVILÍZATE! (images)

2009-2010. Susanne Bosch. HUCHA DE DESEOS: ¡TODOS SOMOS UN BARRIO, MOVILÍZATE! (images)







Photos: Alfonso Herranz


Hucha de Deseos, Plaza Puerta de Moros /  Photo: Marta de la Torriente / January 2010        Posters in La Latina / Photo: Mario Leal / January 2010

Posters in La Latina / Photo: Mario Leal / January 2010   Posters in La Latina / Photo: Susanne Bosch    Photo: Susanne Bosch / 12 November 2009

Photo: Susanne Bosch / 12 November 2009    Photo: Susanne Bosch / 12 November 2009    Photo: Maria Molina / December 2009 / Interview

Photo: Maria Molina / November 2009 / meeting    Photo: Maria Molina /  November 2009    Photo: ESO student / December 2009 / interview

Mercado de la Cebada / Photo: ESO student / December 2009     Mercado de la Cebada / Photo: ESO student / December 2009    Photo: Susanne Bosch / 12 November 2009






Photos: Alfonso Herranz



OPEN SPACE. 27th February 2010







Photos: Alfonso Herranz























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2009-2010. Susanne Bosch. DREAM-DO-DONE (2009.05 / project review / theoretical data)

2009-2010. Susanne Bosch. DREAM-DO-DONE (2009.05 / project review / theoretical data)

MAY 2009


‘DREAM-DO-DONE’ for the area of La Latina / Lavapies in Madrid


Every banknote carries a trade value, but also a potential future value (saving for the next holidays, for the desired car, ...). Every conversation carries the potential of a future business, a new invention, a new task, a chance.

Everyone carries an unused potential, an idea in mind, an obervation, an untold story or observation, unused old coins in a drawer at home. The public art project DREAM-DO-DONE seeks to collect as many of these little individual potentials as possible. The art project brings them together to transform them into real things, projects, outcomes in a real world.

DREAM-DO-DONE will collect the Peseta* coins and banknotes in a public collection site in the La Latina / Lavapies neighbourhood for the period of mid October 2009 to Mid February 2010. Along with the peseta collection, the project will ask actively the neighbourhood and the users of the neighbourhood (visitors of the Rastro market and markets, bars, cafes), what they would like to realize with this public and worthless money? The project will collect and publish extensively the wishes during the period of the event on a webpage, in the public media and as posters in the neighbourhood. During the final months of February, the wishes will be presented in a daily public art action on La Castellana. On 20 February 2010, everone is invited to publicly sort the coins and banknotes and transport them to the Banco de Espana. On 27 February 2010 everybody who would like to be part of the decision making group, is invited to attend an open space event***. This one day event will be used to decide collectively what will happen to the pesetas and how this will be put into action.

*The name is believed to have been derived from the Catalan word "peceta", meaning "little piece" (i.e., the diminutive of "peça", "-eta" being the usual feminine diminutive) [1]. However, it is also possible that the name is the diminutive of "peso", an already-existing currency whose name derives from a unit of weight; this is consistent with such other currencies as the British pound. "Peseta" is also the term used in Puerto Rico for a U.S. quarter-dollar coin.

**unless you carry them to the Banco de España in Calle Alcalá 48 to exchange them

***Antonio Rodriguez from AEC - Actividades Educativas Culturales could be the facilitator of the eventas a trained open space facilitator in Madrid. (



DREAM-DO-DONE is an artproject that serves as a model to empower people. It offers a creative platform that allows people to work together, to develop a collaborative spirit and inclusion. It offers the exerience of a collective decision process. The art project combines an unusual aethetic appearance with a meaningful public debate. It creates a large forum for potential. By concentrating on one neighbourhood, the project will empower people that live in close proximity and have a personal relationship, connectedness to the site and each other.



DREAM-DO-DONE will do this through a number of artistic actions and interventions for a duration of ideally 4.5 months from mid October 2009 to end of February 2010.

A collection site will be on a public place in La Latina/Lavapies for the duration of 4 months to collect coins, banknotes and wishes, also to visualize wishes. For the same duration, an interactive blog or webpage, regular poster actions and PR will be performed. 

During the final months of February, the wishes will be presented in a daily public art action on La Castellana. On 20 February 2010, everyone is invited to publicly sort the coins and banknotes and transport them to the Banco de Espana. On 27th February 2010 everybody who would like to be part of the decision making group, is invited to attend an open space event. This one day event will be used to decide collectively what will happen to the pesetas and how this will be put into action 



From the beginning to the end of February, the wishes and desires given by the people over the past 3.5 months will be transformed into a public art event on La Castellana. It will take the following shape:

In a daily public action, 2 persons will write the wishes with white charcoal on the floor of the paseo. This action will be done for 3 hours every day. Every day the writing will be either continued where it stopped the previous day or started again (depending if the rain washed it away).



On 20th February 2010, the population will be invited to sort the coins in order to bring them to the Banco de Espana. This will be a one day public event with media present. A van will be hired to bring the sorted coins and banknotes to the Banco de Espana. The public will be provided with information, hot drinks and catering (this willbe done in cooperation with the local bars and shops).



Open Space Technology is an innovative format of organizing gatherings with large groups. ("Technology" in this case means tool — a process; a method.) It represents a self-organising process. Participants construct the agenda and schedule during the meeting itself. Thus it enables the bringing together of all interested parties with their insights, experiences, questions and wisdom. Open Space Technology allows diverse people to address complex and possibly controversial topics. It functions best where more traditional meeting formats fail: in situations involving conflict, complexity, diversity of thought or people, and short decision-times. It supports systems of all kinds and sizes in unfolding the forces of collaboration, cooperation, participation, creativity and spirit required to come to action on the burning issues facing them.4The Open Space Event on 27th February will end with an action plan (including a time schedule) what to do with the accumulated money and wishes. It will also identify who is taking care of the realisation.

4 Antonio Rodriguez from AEC - Actividades Educativas Culturales could be the facilitator of the event as a trained open space facilitator in Madrid. (















2009-2010 / 2009.11.18. CONTRAINDICACIONES. Hucha de deseos (Susanne Bosch)

2009-2010 / 2009.11.18. CONTRAINDICACIONES. Hucha de deseos (Susanne Bosch)














2009-2010. Susanne Bosch. HUCHA DE DESEOS: ¡TODOS SOMOS UN BARRIO, MOVILÍZATE! (Open Space / fieldwork / investigation) 


QUÉ ES UN OPEN SPACELa técnica del Open Space permite conseguir, de un grupo numeroso de personas y en un mínimo tiempo, las mejores ideas alrededor de una o varias grandes materias (“tracks") sobre un gran tema. En un Open Space los asistentes se autoorganizan proponiendo los temas y programando una serie de reuniones que van a tener lugar justo a continuación. Suele durar entre medio día y hasta dos días completos. Las reuniones pueden tener lugar simultáneamente y los asistentes son libres de decidir a qué sesiones quieren asistir y de cambiar de reunión en cualquier momento.


LOS CUATRO PRINCIPIOS1. Cualquier persona que se presente en una reunión es la persona adecuada (cualquier participante en una reunión es correcto simplemente por que se ha preocupado en venir).

2. Cualquier cosa que esté sucediendo es la única cosa que podremos llegar a tener (estate atento a lo que está pasando ahora, en lugar de preocuparte sobre lo que podría pasar).

3. Sea cual sea el momento en que comience, es el momento correcto (este principio ayuda a superar la falta de un horario o agendas previo al Open Space y enfatiza la creatividad y la innovación).

4. Cuando se acabó, se acabó (fomenta que los participantes no desperdicien el tiempo y, por el contrario, que cambien a otro tema cuando una discusión fructífera deja de serlo).


LA ÚNICA LEY: “LA LEY DE LOS DOS PIES”Si en algún momento sientes que no estás aprendiendo o contribuyendo en nada, usa tus dos pies. Vete a otra reunión donde puedas aprender o contribuir. (Nadie debería estar en una reunión que considera aburrida, sólo las personas que estén genuinamente interesadas en el tema deberían asistir a una reunión).


ESPACIO ABIERTOLa metodología de reunión en Espacio Abierto (Open Space Technology) ha sido iniciada por Harrison Owen, cuyos sitio y libros son referencias primordiales de la metodología. El autor ha definido la metodología como no propietaria y que no necesita de cualquier "certificación". Un conjunto muy amplio de facilitadores de la metodología se fue organizando a través de reuniones locales, regionales e internacionales, de discusiones en mailing lists y de la creación de Institutos (que son organizaciones no lucrativas de facilitadores de Espacio Abierto, establecidas en el trabajo voluntario). Hasta el momento, los facilitadores de Espacio Abierto que se expresan en portugués o español son en número reducido, siendo una de nuestros intentos promover la metodología en los países de lenguas ibéricas en todo el mundo.

Este sitio web es una invitación para ponerse en contacto con las prácticas, personas, visiones y experiencias que formam el Espacio Abierto. Ha sido creado en comunión con el espíritu funcional, sencillo y poderoso de la metodología de Espacio Abierto -- brindar acceso fácil a organizaciones, facilitadores (practitioners) y recursos de Espacio Abierto provenientes de todo el mundo.











2009-2010. Susanne Bosch. HUCHA DE DESEOS: ¡TODOS SOMOS UN BARRIO, MOVILÍZATE! (postcard)

2009-2010. Susanne Bosch. HUCHA DE DESEOS: ¡TODOS SOMOS UN BARRIO, MOVILÍZATE! (postcard)



















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2009-2010. Susanne Bosch. HUCHA DE DESEOS: ¡TODOS SOMOS UN BARRIO, MOVILÍZATE! (2009.09-12 / visual data)

2009-2010. Susanne Bosch. HUCHA DE DESEOS: ¡TODOS SOMOS UN BARRIO, MOVILÍZATE! (2009.09-12 / visual data)




















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2009-2010. Susanne Bosch. LITTLE PIECE - ACTION (technical and visual data)

2009-2010. Susanne Bosch. LITTLE PIECE - ACTION (technical and visual data)


The final form of the collection box depends very much on the site.

Various forms could be:

This container collects coins and ideas. It serves as a writing table as well as a collection box. The frame and back are made out of metal, the sides and front is made out of glass.

The weight per cubic meter of pesetas needs to be measured to measure that the frame and the bottom will carry the weight.

The container is 150 cm high and 50 cm wide. The back is up to 200 cm high and serves as info board. Several of these can be installed in one neighbourhood.

Din A1 Posters will inform on a weekly basis about the latest incoming ideas. The posters will be posted around the neighbourhood.

This container is a bigger collection site, 200 x 200 x 200 cm high, wide anddeep. It is made out of the industrial metal container with a glass front. It serves as collection site for wishes and coins and the electricity for illumination at night will be powered by solar panels.


Pesetas have no value anymore unless one exchanges them into Euros. The proejct will exclusively collect coins.I potential thief would have to carry buckets to the bank to get a reasonable amount of money out of the site.This protects the project from being attacked.












2009-2010. Susanne Bosch. HUCHA DE DESEOS: ¡TODOS SOMOS UN BARRIO, MOVILÍZATE! (technical data)

2009-2010. Susanne Bosch. HUCHA DE DESEOS: ¡TODOS SOMOS UN BARRIO, MOVILÍZATE! (technical data)



















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2009-2010. Susanne Bosch. HUCHA DE DESEOS: ¡TODOS SOMOS UN BARRIO, MOVILÍZATE! / TIZA ACTION (2010.02 / documentación técnica)



FEB 2010: Calendar of people responsible


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3-6 pm la castellana
















 (Febraury 2010)