Search Keyword: Total 151 results found.

2008. Alicia Framis + Michael Lin. 100 WAYS TO WEAR A FLAG (technical data)


The architecture and decoration will be done in situ, creating a collapsible structure for travelling purposes.

It will be necessary to hire carpenters to build it.

Materials: wood and tools to work on it.

Acrylic paint DELUX and materials to paint.












2005. Colectivo Tercerunquinto. S/T (technical data)


Being in our case of works which are supported by conceptual architecture and urbanism, look in your own material realization of the construction and use the same systems it occupies, which is why there is a special need, in these projects, extra assembly or technical requirements that are not listed in the list of the next point.


The Enlargement of a green area project consists of extending one of these areas towards the street and the sidewalk, creating, thus, a space between two of the basic order systems in the urban plan.


Technical team for construction:• horizontal cement cutter with disk• pick• spade• wheelbarrow• tape measure• level• construction wood (if necessary)

Gardening material:• rake• instrument to sift the earth• bucket• hose• pick• spade

Construction material:• concrete (if necessary)• block or brick (if necessary)• paint (if necessary)• decorative material • steel for urban elements • rod

Gardening materials:• grass and/or flowers (depending on the ornamental design)• earth for plants• fertilizers

Work force:• operator to cut cement• gardener• bricklayer


Connecting two boxes project: two boxes are connected to the extension from one interrupt urban order system, the street. This interruption is committed by a site bounded and considerate of ornament.


Technical equipment for construction:• horizontal concrete cutter with disc• peak• shovel• truck• tape measure• level• timber (if necessary)

Technical equipment for kindergarten:• rake• ground mesh screen• bucket• hose• peak• Shovel

Building materials:• concrete• block or brick (if necessary)• paint (if necessary)• decorative material (if it exists in the context)• iron street furniture (if it exists in the context)• rod (if necessary)

Landscaping materials:• sod rolls and / or flowers (depending ornamental design features)• potting soil• fertilizer

Labor:• concrete cutter operator• gardener• Bricklayer


In another case, the sidewalks belong to a distribution system and pedestrian traffic, assume an order in delineating routes within urban planning but through the obstruction and other system interrupts extension of the same nature, this system streets are almost exclusive use of vehicles.


Technical equipment for construction:• peak• Shovel• truck• tape measure• level• timber• horizontal concrete cutter disk (if necessary)• Mixer for reinforced concrete

Building materials:• reinforced concrete• block or brick• paint (if necessary)• decorative material (if it exists in the context)• iron street furniture (if it exists in the context)• rod

Labor:• concrete cutter operator• mason












2009-2010. Josep-María Martín. A DIGESTIVE HOUSE FOR LAVAPIÉS (technical data)


December 2009- Begin collaboration with the architect. February 2009.- Choose the family from Lavapies to develop the project.- Identify the main interlocutor of the neighborhood.- Open up a participation process carrying out interviews with specialists, professionals, interested social agents, involved in deep thought on digestive processes, memory and habitat: psychologists, anthropologists, architects, historians, politicians, neighborhood associations, citizens, cultural associations, gastroenterologists, dietician, social workers, educators, etc.

May 2009- Research and reflect on the importance of the habitat to help “digest memory”.- Order the obtained information on the subject.

June 2009- Present the proposals to the family and interlocutors, creating a debate.

June/September 2009- Create the executive modified project, integrating and enriching, the initial proposal of prototype Digestive House.

October 2009- Carry out the necessary administrative actions to develop the project.

December 2009- January 2010- Build the prototype.

February 2010- Spread the project.- Exhibit the Digestive House project.- Presentation of a documentary video and the website about the prototype.- Press release.- Publication.










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. Gustavo Romano. TIME NOTES (technical data)


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

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

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

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














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

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

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

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

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

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

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


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

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


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

















2009-2010. Adaptive Actions. THE ART OF LOITERING (theoretical data)


The Art of Loitering is a new work which will be created specifically for Madrid Abierto. The project consists in documenting, revealing and creating new loitering actions in the city of Madrid. This project explores the possibilities and enablement of loitering – i.e. flânerie, doing nothing, wasting time, staying idle in one place, moving slowly and, through this simple act, assert the public status of urban spaces.


In Liverpool, I asked kids and teenagers what was the most public space in the city for them. Several answered their basement room or sofa. In their reality, the most public space was the most private of spaces: in the comfort of their home far away from any CTTV cameras or from increasingly common monitoring systems. In your living room, you can loiter, sleep with a hood over your head and gather in large groups without being scared of contravening public gathering laws (3 or more). After thought, this astonishing, unanticipated, spontaneous and even at first violent answer appeared the most logical to me. Had widespread forms of control, increased bans, CCTV cameras, exacerbated the boundaries between seen and unseen, inside and outside, private and public? Were usually visible social behaviour, illicit activities, signs of poverty, diversity and creativity pushed underground?

Observing cities around the world as well as my own, one readily realizes that the privatization and normalization of public space has become global. To what degree is Madrid like many other cities caught in this world phenomenon? Is loitering still an active part of Latin (especially in Spain) life and culture and can it inspire others? What is slowness today? Where do loitering acts take place: underground parking lots, parks, basements, underpasses, vacant lands, malls, derelict buildings? How can we describe them, qualify them, talk about them and make them visible? What do these current practices of loitering say about public spaces in general? Where, how and with what tools, devices or tactics can we initiate and develop new areas of flânerie in public spaces, often exclusively dedicated to circulation and consumption?


The project indexes and reports on existing loitering actions in the city and encourages the implementation of new activity in relation to architecture, urban spaces and objects. It unfolds in three overlapping stages: (1) a call for proposals; (2) action, and; (3) its subsequent publication/broadcast.

1. Call for Contributions and ProposalsIn order to document and create an inventory of existing urban loitering acts, a survey is conducted (before and during the event Madrid Abierto). The objective of this project is to document existing or new, marginal, singular or popular, less discussed or highly known forms and places of loitering. The request for proposals accelerates the process. Several existing or proposed loitering actions will be chosen along with an idea for a collective action and a workshop.

2. ActionA space for loitering and submitting proposals will dwell on a busy Madrid street or plaza, or in a public building were people bustle and rarely have the opportunity or time to stop. From this temporary camp (with a large recognizable sign indicating LOITERING in Spanish) combining presence, production and interaction, participants and Madrid visitors will be offered loitering coupons (equivalent or higher to the hourly-rate salary in Spain). They will be paid to do nothing and to loiter with one of the Adaptive Actions Representative to share (discover) and document their existing or proposed act of flânerie. Workshops and acts of collective loitering will also be discussed and elaborated from this space during the event.

Our shared knowledge and expertise will be applied towards accomplishing a creative project the aim of which is to modify the intended or preponderant or limited use of architectural and urban elements. This infiltration of public space highlights such topics as resident adaptive actions and appropriations, creative transformation potential and the multiplicity of users and uses.

3. Publication/broadcastThe selected new and existing loitering actions will be made public through the distribution of multiple examples of a printed document and via the Internet . Dissemination within the community will aim at representing the different forms of loitering (in the workplace, the home or public spaces in general) as a creative means of appropriating shared realities and therefore as a form of adaptation. The presentation of actions (on a greater or lesser scale), be they projected or completed, will create a vocabulary with which the collective imagination may express itself through the use of existing structures, and will encourage the growth of similar actions.

The intervention is based on the repetition of a series of micro-actions, simple gestures imparting and initiating change in our perception and conception of the urban environment.This project wants 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.

Jean-François Prost, 2008Representative for the project

.................................................................................................................................................................................................................................................* The project title and loitering lexicon will be in Spanish. A preliminary linguistic research is in progress, but no definite choices have yet been made.

* A section will be added to the website for the loitering project and a Madrid edition of the Adaptive Actions publication-journal will be produced during and following the event














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


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


Access to water for irrigation systemSunny Public Square within residential community














2009-2010. Iñaki Larrimbe. UNOFFICIAL TOURISM (theoretical data)


Tourism, that great industry, has democratized – and trivialized- experiences. And cultural tourism doesn’t elude this perversion: the administration of culture as a way to create consumer habits in today’s citizens is imposing. This is an already unstoppable phenomenon. Paraphrasing Begout’s words on Las Vegas: “it’s a matter of following one rule: suggest experiences to tourists and visitors”. And in this way local programs on culture strip themselves of content in trying to attract visitors that may generate economic profit for the cities. In such a situation citizens become extras of the film: culture is not an end in itself, but just another economic resource. In the same way as “beach and sun” tourism has destroyed many natural settings, the new cultural tourism damages local cultural ecosystems. The paradox is that this new landscape is motivated and stimulated by the Culture departments of our public institutions.

The “Unoficcial tourism” project intends to embed itself, through the economy of means, the “do it yourself” philosophy, inside the mechanisms created by the cultural industries. But “Unoficcial tourism” doesn’t intend to criticize. The idea is to be part of such reality from a nihilistic point of view, because “Unoficcial tourism” is designed to serve foreign cultural consumers. It tries to respond to the demand of cultural entertainment which, as we have said, new cultural policies (based on a socioeconomic criterion) have created.

The fact that political management of culture has accepted the “public realm” of the cultural experience as just another “resource”, against, not only other ways of perceiving culture – were it considered a value, a lifestyle or a way to interpret difference-, but believing that beyond media attention it has no value, has been an influence in the development of this project. Also, and paradoxically, if we agree with Castell, “the transformation of capitalism, the continuous weakening of the State’s influence, together with social changes originated in the development of new technologies” establishes a whole institutional context where the economic and moral resources of what we call “non profit” is used as a way to legitimize social development, job creation, cultural tourism, etc. The full acceptance of these facts has produced a series of alterations in the art system that must be treated with criticism. A criticism that, by its own logic, private and public cultural institutions (which follow such socioeconomic approach) do not subscribe to.


THE INTERVENTIONThe idea is to customize a caravan, turning it into a “non official” tourist office to be located in the streets of Madrid and thus be able to meet the foreign cultural tourist’s needs. We choose a caravan as formal device due to its attainability: it is economic and easy to transform.

ACCOMPLICESItinerary creatorsIt is necessary to count on different people related in some way to the city of Madrid to elaborate some maps or street plans, showing strange, curious or personal tourist itineraries…

Already created itinerariesA series of artists (Leo Bassi, for example) have developed in some occasions alternative tourist itineraries of Madrid. It would be interesting to study their history, visualize them in maps and integrate them into our project to offer them to foreign cultural consumers.

Tour guide We will need a guide to help and inform tourists.

Graphic designerNecessary to design all the graphic material (maps, brochures,…) and to customize the caravan.














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. Lisa Cheung. VA VA VOOM VEG (theoretical data)

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

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

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

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

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

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









2006. Tao G. Vrhovec. REALITY SOUNDTRAK, 2003-04

2006. Tao G. Vrhovec. REALITY SOUNDTRAK, 2003-04

REALITY SOUNDTRAK. Amsterdam, 2004



REALITY SOUNDTRAK. Ljubljana , 2003



REALITY SOUNDTRAK. Thessaloniki, 2004







2009-2010. Laurence Bonvin. DRAFT (technical data)


Printing of selected images including critical texts by an historian of urbanism, an architect, a sociologist, an art critic in a publication that could take the form of a newspaper.

Printed posters to be placed in the streets of Madrid.

Publication of a postcards set (10 postcards).

Stand in the information booth of the project with free postcards, posters and publication











2009-2010. Laurence Bonvin. DRAFT (theoretical data)

 For Madrid Abierto I intend to realize a project for which I already made locations scouting and first images in December 2007. What interest me most in Madrid is the amazing development that occurred in the last years in the periphery of the city, areas such as Seseña Nuevo, Esquivias, Paracuellos de Jarama (Mira Madrid) where the real estate industry has launched some gigantic satellite cites. The intention is approach the subject with a documentary and a critical point of view. With the crisis surrounding the real estate business the situation must be in a critical state and nobody knows how things will be in the coming 2 years.

My aim for this project is to investigate photographically this issue. Additionally I would like to invite urban planners, architects to write critical texts that will be included in a brochure. To finalize the project printed posters will be placed in the streets in different parts of the city and a set of postcards will be distributed in the information booth of Madrid Abierto. Both presentation turning around the idea of an idealized image of the city and making a selection of images available to everyone.











2008. LaHostiaFineArts (LHFA). EXPLORANDO USERA (technical data)


1. Exploration. September 2007Contact and coexistence in the participants’ area. For a weekend they will reside in a hotel in the area. Intensive exploration by the LHFA group, made up of about 40 artists.

2. Elaboration. September 2007 to February 2008Collective and individual work on the collected material. Confection of various artistic materials from texts, drawings or photographs to audiovisual and audio material, and a website of Exploring Usera.

3. Information. February 2008Opening of a “tourism office” of Usera Madrid with two possible locations demanded by Madrid Abierto to exhibit and give away cd’s, dvd’s, guides, maps, postcards, posters, stickers, pins, triptychs… Staff: Two assistants.

Guided visits during Madrid Abierto: dinner in a Colombian restaurant with guitar players, tea houses, Chinese video clubs, Andalusian tavern, razor-shells in the Galician, visit to a bullfighting circle…












2008. Guillaume Ségur. WELCOME ON BOARD (theoretical data)

The installation has a double function: it is at once a public sculpture and a module for skateboarders to practice their sport. A gigantic Möbius strip (approximately 7 metres in diameter) is made of plywood and metal in the manner of skate park architecture. The materials from which the form is constructed suggest a ramp either for usage or as a recognisable object associated with skateboarding.

The sculpture would ideally be installed on the Plaza Colon, a site already well known for skateboarding. However, it is important for this work to encourage diverse types of usage.

WELCOME ON BOARD is a ‘space prototype’ derived from the consideration of skateboarders in an urban environment. From this important relationship between an environment and a practice, the aim is to rework the effects of this confrontation to produce a new form. I consider the work a ‘space prototype’ in the sense that it materialises the effects of sliding people on an urban environment. The challenge of this project is to produce a very specific object rather than a cultural “ready made” or a simple contextual displacement. The proposed object would have the multi function of public sculpture, visual tool and play space. The aim is to shift the idea of public sculpture from ‘monument’ to ‘motor’. The proposed architectural form becomes a vehicle for re appropriation, for a movement, for an action of the people on their surroundings. It aims to encourage the urban space to be interacted with in a new way: by turning it into a loop, by flipping it upside down, by deforming it in order to better grasp it.

It is impossible to interpret the town in its entirety, to imagine it as a whole. Because the town spreads, slips out of control each time one attempts to imagine it, it is necessary to consider the binding elements in order to grasp it as a single block. In public spaces, skaters start with a selection process. As Ian Borden states: “Skateboarders analyze architecture not for historical, symbolic or authorial content but for how surfaces present themselves as skateable surfaces”1. They fragment the architectural space into useful parts and produce continuity between the elements. It is the study of this decomposed urban space that this project focuses on. Through the sculpture I aim to give a form to the afore mentioned ‘binding elements’.

When I consider skateboarding in terms of the production of forms or spaces, it is the Möbius strip that comes to mind. Looping, twisting, inversion and continuous motion are all figures performed by the skater in the space surrounding him. The form is also of particular interest because it has often been utilised in public sculpture projects. It is one of the stereotypes of 1970s public sculpture. In this particular context, the work acts as a pattern, code, a recognisable symbol.

Similar to urban structures and architecture, public sculpture can be considered on a similar level to the elements in public spaces appropriated by the skateboarding genre. It offers new forms, spaces and surfaces to the skateboarders which in turn encourages the creation of new skateboarding figures. A series of superb examples can be seen in the work «Riding modern art” by Raphael Zarka which classifies the utilisation of public sculpture in skater videos

Skateboard Monument by Dan Graham or Skate Park by Peter Kogler are both works that re-utilise existing forms while celebrating the art of skateboarding. In Welcome on board the proposed module is conceived from skateboarding practice rather than with the intention of practice. The remaining challenge is whether it is in fact skateable.

1 A Performative Critique of the American City: the Urban Practice of Skateboarding, 1958-1998, Iain Borden










2008. Fernando Prats. GRAN SUR (theoretical data)


The project Gran Sur uses the advertisement of the Imperial Trans-Antarctic Expedition led by Ernest Shackleton in 1914. The advertisement was published in a newspaper of that period with the aim of recruiting men to embark on the expedition to Antarctica. According to the legend, with time, the advertisement became famous.

"Men wanted for hazardous journey. Small wages, bitter cold, long months of complete darkness, constant danger, safe return doubtful. Honour and recognition in case of success" 

The aim of the expedition was to cross the Antarctic continent via the South Pole. However, the expedition ship Endurance was beset and hit by pack ice before the crew was even able to disembark. All the members of the expedition managed to survive after an epic ordeal on Elephant Island. Shackleton and five other men crossed the Antarctic Ocean to South Georgia in an open boat called James Caird to sound the alarm at the Grytviken whaling station. After several rescue attempts, all the men on Elephant Island were finally rescued on the small Chilean boat Yelcho captained by Luis Pardo Villalón from Punta Arenas.

Shackleton did not lose a single man during the three-year length of the expedition. Shackleton's adventure is possibly the most outstanding of all expeditions to the Poles, and although it failed to offer any material benefit or scientific finding, the personal experience of the protagonists and the survival of the participants are in themselves an enormous triumph, the victory of man against the elements founded on two fundamental principles, solidarity and a fighting spirit.

This advertisement is the driving force and central motivation of the installation. It is comparable with an artistic manifesto or thought. It is a synthesis through the written word that narrates the work. The drawing that traces and synthesises a story.

The compiled documents of the expedition, photographs, films and travel logbooks, reveal an experiential survival journey. The essence of artistic creation also involves an unexplored journey and directs the senses towards objectives that help us understand our own perception of the world around us.

Our own limits highlight the borders that we must cross. Sir Ernest Shackleton's decision to embark on the journey is similar to any artistic idea whose end is to discover and reveal the unprecedented. He had an idea which no one else believed in.

The installation exhibits hidden images behind each illuminated word: a story, a time, a continent; in short, a rereading after 93 years of its first and only appearance in the press.

How many brief stories could be published in the form of an advertisement about the millions of Latin American immigrants who have also travelled and will eternally continue to cross the Atlantic with the aim of fulfilling a dream? We no longer have to look to the South Pole as the destination. The new region is the world. "The great strength of Ernest Shackleton as Explorer resides in that, in the Gran Sur, all mundane worries completely disappear".












2008. Fernando Llanos. [VI VÍDEO] (theoretical data)

[ vi video ]Videointervenciones móviles en contextos urbanos específicos

Videoman is the element that combines residues of urban media supports with the technological world. It is made from fragments and, at the same time, it generates fragmentation.

The project creates new ways (or extrapolated ways) of creating narratives. It ceases to be something where, when at all, mobility takes place on the screen in front of us, to become something that flows with us. The movement lies with the motion of the people, cars and city life.Influenza [Raquel Rennó and Rafael Marchetti]


- 5th Mercosul Biennal, Porto Alegre, Brazil, 2005.- Festival of electronic arts and video TRANSITIO_MX, Centro Nacional de las Artes, Mexico, 2005.- 35th Cervantino International Festival, Guanajuato, 2006.

A project of urban videointerventions carried out by making the most of the artist’s body gear to highlight the dynamics referred to by the author as “urban acupuncture”, generating momentary reflections in parts of the city where he appears as VIDEOMAN. A different harness is generated for each edition to experiment other ways of projecting in the streets of the cities.

Everything is recorded in photographs and videos, and everything is subsequently mounted in the shape of an installation.

On the one hand, this project seeks to bring the specialised public closer to non familiar spaces not specifically reserved for art, and, on the other, to get the people who live and pass through those spaces to question aspects of their everyday life, reassessing its history and/or open the way for interaction between artist and public.


We cannot go on expecting people to visit museums on their own initiative. We must take our reflections to their spaces and gain ground in a decisive way, like graffiti that yells out in the streets, “we are here, and this is what we think!”, like pirate radio stations that don’t wait around to disseminate their ideas, share their findings or spread their beliefs, like some metro and street musicians, poets and performers.


A series of videointerventions will be performed in the junctions of Paseo de la Castellana and Paseo del Prado with Calle de Alcalá and Gran Vía, linking the history or the characteristics of the space to the content of the videos. Afterwards, we propose presenting the results of the videointerventions performed in Madrid, México and Brazil, in La Casa de América.

For more information on the nature of urban videointerventions and how the piece can be mounted, we attach a number of images, but you can see videos


These initiatives captivate the public in a direct and surprising way. Their mobile nature makes them ephemeral, and they are mobile because of a harness that I design to enable me to move around and use all the equipment.

The content of the projections may be related to the history of the place, recent events associated with the place and/or local reflections of popular interest. Passers-by can be involved as part of the act and the piece through a “closed circuit” system.


Taking advantage of the technological advantages of our era, where equipment is increasingly smaller and more portable, I will wear a harness to hold the camera, two miniDVs decks, a video mixer, the projector and the batteries, in order to subsequently make a tour in which I perform the action.


The kit mounted in the harness allows me to move and establish different relations with the space and with the people present. On the one hand, this enables me to generate participative dynamics with projections in motion, causing reactions whilst following a specific action, changing trajectory, measuring the interest, etc. On the other hand, for each video shot or sequence, to search for a changing plane in accordance with the specific discourse of the projected video.


1. The previously produced content related to the area.2. The content generated in situ with the provoking camera (closed circuit) which projects and manipulates the participation of passers-by.


Investigate the locations, part of the history and its contemporary problem issues, analyse the best times and places for carrying out the videointervention based on the flow of people and the significant aspects that may arise from working in that space. I record the images and I start to work on the video to be projected. On the day of the intervention, the material is projected in the previously selected space. The act, the reaction of the people and their relationship with the pieces, if they get involved, is recorded.









2008. Anno Dijstra. MISPLACING (theoretical data)


I was a witness of the famine in Ethiopia in 1984, i was 14 years of age and was watching television at home.

What is a memory of a scene I have seen on television.  A image where I am not  direct related too, immaterial, elusive, with out a location, floating through air. I cant go back too the place where the drama happened. The television in my living room is the location where I was witness of the scene, but the television shows already other images and in my living room is nothing that refers to the drama.

Media turns me in too a passive observer. There is no possibility to make a direct reaction to what I have see on the screen. How free is observing without engagement, in other words can a witness becomes guilty when he sees but remains passive.

The reconstructions- proposals, are a attempt to break trough the passive position of the viewer. With  plasticine, a industrial clay invented to make prototypes for industrial products like cars, I am modeling images that had a great impact on me in my puberty, a moment in my live I became aware of my mortality.

The process of reconstructing process makes it able to have a direct and physical relation to a body or object from the tv image.


For the Madrid Abierto I want to research a new angle of the reconstruction/proposal  by investigating misplacement. The misplacing media caused .  In this concept a well know media icon is placed outside the original context, that is television/internet in our living room in to the public space. From the flat public space (tv) in our private place into the three dimensional public space, the place where national history is gathered through time . By the conflict erasing from the misplacing, ( I know this image but what has it got to do with this place) the new situation reveals the absurd position of the viewer, the absurd situation of being witness in the globalized media age.

In the public space a monument is placed. The monument is a reconstruction of for example the photo of a Vietnamese monk who set himself on fire or a photo taken by a soldier in Abu Ghraib on witch a prisoner is standing on a box his face covert and is connected to electricity wires.


To find the perfect spot for the misplacement and make sure the media icon has no relation with Madrid it is important to make a good observation of the city, its history, the design of the public space and other monuments. From the information of these observations I want to make the decision witch media icon I should reconstruct and where it should be placed.

I will visit Madrid for 3 days and I would like to ask the organization if it is possible to contact me with a historian and a city planner who knows a lot about Madrid and are interested to walk with me trough the neighborhoods of Madrid where the exhibition is held.

I did enclose images of my last works because I never make sketches or Marquette’s of my work, the work itself is a plan a sketch, reconstruction or proposal. And its important for me to keep that kind of discovering energy.   

The project is a new step in my work, but also coming from the reconstruction concept, former works are made from that principal, the new work is connected to these works.








2008. Andreas Templin. HELL IS COMING / WORLD ENDS TODAY (technical data)


The project lasts for one week. 151 people (male & female) from different society backgrounds (all living in the inner city of Madrid) get selected by a casting. They´re contracted to wear the specific cloths for seven days and receive a small compensation fee. The main condition for them to take part in the work is:-    they move around in the City of Madrid (in their daily routine)-    they fit the demanded profiles


-50 joggers/sporty/young/healthy type  red „Paulo Virilio“- sporting dress/ longsleeveT-Shirt

-50 punk/“street level“ „Michel Foucault“- military camouflage jacket with pink „Michel Focault“ -print

-50 hardrocker/tattoo/goth- „Giorgio Agamben“- hooded black sweater

- one doppelganger of Fred Phelps with body sign „Hell is Coming/World Ends Today“ (front/back) and black suit/hat  It is important, that all the characters lead there every day life all in a high visibility. Next to that, the Phelps-doppelganger will be standing around for one week in daytime (six hours daily, in the rush hours) on street corners/public places. The activity of the „Fred Phelps“-doppelganger“ is applied differently than the other elements remaining as a symbolic endpoint to contemporary discourse as a whole (fundamentalism).


The whole activity will be documented in video and photography. Photos are being taken of the selected participants in there daily routine. The whole project will then be published (photographic prints, the cloths and the video on display) on a special website for the project.

In order to make this ephemere piece of visual art more visible to the interested public, the philosopher Dr. Andreas L. Hofbauer offered to accompany the project with a „lecture on the run“. Here is a small text he wrote to accompany this application:

As accompaniment to Andreas Templin’s “Hell is Coming/World Ends Today”. I shall offer video reports, a lecture with discussion panel, as well as escorting, on a case-to-case basis, some of the „mannequins“. The focus of this enterprise is not meant only as a partial documentary of the ongoing events but mainly as a casual mapping of the travels of those badly equipped and uninformed walking warheads/Sprengkörper, which are not at all without aim. With the presentation of fashion-like logos of the names of some important (and also fashionable) thinkers of our days (Virilo, Agamben and Foucault), some fundamental questions of today’s politics present arms: speed, (concentration) camp and power. In confrontation with down to earth fundamentalist statements, this shows nothing less than the weak impact and desperate struggle of some theoretical positions against the takeover of consumer ideology.

If one is most readily able to learn about society by watching its reactions across the spectrum, taking as an example those who would (unknowingly) challenge it by mirroring its own state of the art, one should be ready to accept a not very happy vision. Forms of alienation issuing from the commodity fetishism of modern market relations, i.e. global consumerist capitalism (in disguise of values, brand names, political correctness, religion, success et al.) can only be shown as they come across. This means in no way kritische Aufklärung, but offers resistance by double-crossing bare intellectual second-hand statements and ideological backlash.

Art sets in motion the aspect of Plasticity (or even better workability), instead of representing (or doubling) a commercial and ideologic/politically forced flexibility, which has been the mainstay in all forms of counter-cultural tactics.

Still: We should not forget that plasticity shapes form (form-giving and form-building) but also destroy all form (plastic explosive).

Asked how they’ll destroy dominant culture the Situationists answer: „In two ways: gradually at first, then suddenly“! Let’s start over again – first steps first.


The duration of the project is set for one week. In order to prepare it will be necessary to be there at least two weeks in advance.

I will come to Madrid 14 days in advance before the launch of the project in order to prepare it properly.

Timeline for the realisation of the project: The project needs five weeks to be fully realized

- Week one: preparation of cloths, printing - Week two: Arriving in Madrid, preparation week- Week three: casting- Week four: execution of the project- Week five: postproduction, website-production

The used cloths will be offered in the edition of each 50 via the Internet and through the website of the project. Of each cloth sold, 50 percent of the winst will be returned to Madrid Abierto.







08prtc1823, 08prtc1825

2008. Andreas Templin. HELL IS COMING / WORLD ENDS TODAY (theoretical data)

 "When the going gets weird, the weird turn pro“Contemporary saying, source unknown


As decribed in my work statement, the main drive of my artistic production is characterized by an impulsive use of a wide range of styles and gestures. The last public artworks I was able to realize („stormscene“, comissioned by the City Council of Nuremberg/Germany, „Monument for Donatella Versace“ Chicago/Berlin 2005, „crashed satellite“ 2006, several locations), which were dealing with „second hand experience“ as well as „unwished co-branding“ remain as critical and divers interventions of a distinguished art practice, which intends to be „post-productive“. In the work „Hell is Coming/World Ends Today“ I would like to show reference to the situationist movement, its strong impact and continuous flow and, in relation to that, point to some of the common problems any movement seems to be afflicted by: The moment of its pure realisation by an individual´s mind vs. the competitiveness of styles, attitudes and trendiness of specific concepts in society.   

In this case, the philosophical thesises with, in my opinion, the strongest and most direct impact on the individual in the Western societies -    speed and devastation/ Paul Virilio-    „the camp/ the concentration camp“/Agamben-    „power“/ Foucault-    „hatred/fundamentalism“/ represented by Fred Phelps, right-wing preacher

These are the elements of this ephemere intervention to the public.

I would like to transfer these philosophers into „labels“ by asking inhabitants of selected districts of Madrid to wear urban fashion items with label-prints for one week in their daily routine. While  simply following their daily routine, the artwork itself sinks into the urban space, the philosophical concepts compete face-to-face with the other label concepts in the public domain.

The question this work is raising: Are these names already „labelized“ (or people would simply acclaim them as bing labels) or do they transport meaning? Can such an ephemere intervention survive as an artwork in the eyes of the public?










2008. Alicia Framis + Michael Lin. 100 WAYS TO WEAR A FLAG (theoretical data)

 Alicia has been living for 3 months in Shanghai preparing the project, which consists of the creation of a collection of dresses made out of the Chinese flag, which will be used for a great parade-performance in Madrid. The dresses will be made by a group of Spanish and Chinese designers. Bearing in mind the woman’s situation in China, each designer will give his vision on the subject through the dress.

For this performance I plan to create a special architectonic platform to be used as catwalk in the fashion show. We plan the event to be itinerant and travel to different cities, so the platform will be collapsible.

My collaboration with Alicia on this project has to do with our common interest in the subject, as well as the complementary nature of both proposals. The architectonic structures are a fundamental part of my work. My installations are architectonic processes where I suggest a different way of experimentation with painting in space. I use space (public or private) as an element where “the piece becomes part of space rather than an object in space”. The painting of its installations surrounds and transforms an environment with a clearly aesthetic intention, but, at the same time, with the suggestion of stepping on it, for people to manipulate it, defying the autonomy of art forms and starting work processes on location, with the direct participation of the audience. My work fits the realm of relational practices that define aesthetic values as social relations where communication, interaction and vital experience of the audience within the space conforms the basis of the artistic project. It is important to de-contextualize the piece and integrate it in the sphere of immediate reality, design interiors, furniture, coffee-cups, a tennis court, or, in this case, a catwalk for a fashion show.

The striking patterns that distinguish my paintings are inspired by traditional Asian textiles. These patterns, as well as their industrial fabrication and traditional decorative arts are of major importance in my work; fabric turns into architectonic structures, and dresses are shown on these structures, creating a dialogue between both projects which complement each other. Thus, the architectonic structure with oriental patterns will be the perfect frame for the Chinese flag fashion show.






2007. Mandla Reuter. TNEMTRAPA (technical data)


– private apartment in the center of Madrid

– budget for furnishing the place

– sound system

– video, dvd facilities

– budget for further invitations publications on paper











2007. Mandla Reuter. TNEMTRAPA (theoretical data)

 The project described below is a work I developed and realised in 2005 in the city of Warsaw, Poland.

For Madrid Abierto I propose a variation of this apartment project. It will be similar to the work in Warsaw as it will involve a private apartment in the center of Madrid as the starting point of the project.

As Madrid Abierto is meant as an exhibition in public space I will develop the work outgoing from an apartment within the city, which can be considered as the most private space as such. The apartment will be twisted within the project into a public or semi-public space, as the possibilties of accessing it through the public will be changed, as well as there will be certain things happening, both suitable for the very private as for public space.









2007. Dirk Vollenbroich. SHORT CIRCUIT (technical data)



Especially controlled light sources (40x30x30 cm) will be positioned in each room of the Palacio de Comunicaciones. By an parallel transmitted electronic pulse all light sources inside the building do a short blink. The blinking is random controlled and can be realized trough the windows from outside as an indirect lighting.


- The whole Lighting Equipment needs regular power supply; 230 V AC.- The Lighting modules are stand alone solutions.- It is possible to build up the lighting modules in flexibel positions in each room.- Inside each room of Palacio de Comunicaciones will be one or two lighting modules inuse (each 40x30x30xm).- The Installation usage in the whole building is about 10 kW/h (= 0,2kW/h each module).- The installation needs no special technical requirement.- The installation is build up in between 1-2 days and taken down in 3-4 hours- All components are certified by the Geman TÜV (Technical Supervisory Association)- ...







2007. Dirk Vollenbroich. SHORT CIRCUIT (theoretical data)


My art work is focused for about ten years on kinetic architecture illumination. On the occassion of the coming Madrid Abierto 2007 here the sketch of my work ‚short circuit‘ (‚cortocircuito‘) in consideration of the ‚Palacio de Comunicaciones‘.


The architecture of the Palacio de Comunicaciones stands in opposite to the strengh of the architectures I normally work with. In case of this ninty years old excessive construction by Antonio Palacios, I try to do a work in opposite to my ‚dissolving‘ light installations in high-rise buildings (like for example the LUFTHANSA headquarters in Cologne, the ‚Technisches Rathaus‘ in Frankfurt or the IDUNA NOVA building in Münster).

By a synchronized lightning inside each room of the Palacio de Comunicaciones, I will generate a junction of all spaces. The excessive aesthetics facade of this neo baroque building with its art deco elements will appear in a visual solve of the convoluted interior.


Especially controlled light sources (40x30x30 cm) will be positioned in each room of the Palacio de Comunicaciones. By an parallel transmitted electronic pulse all light sources inside the building do a short blink. The blinking is random controlled and can be realized trough the windows from outside as an indirect lighting.







2007. Ben Frost. POLLINATING THE VERNACULUS (theoretical data)


I am using the insular housing of commercial honey Bees to construct 5 contained sonic environments. The physical Beehive contains a speaker that emits one of 5 concurrent parts of a non-linear score (a series of related loops or random length). Each of these parts will consist primarily of a low frequency tone that will vary subtly in volume and texture from within each box… at close range with an ear to any given hives the viewer will experience a singular experience of that tone and texture…

However at a distance the summed harmonic interplay of all 5 hives will create a nonlinear narrative that ebbs and flows at the looping mercy of infinite algorhythms.

…A muted, singular experience- BUT WHAT DOES IT ‘MEAN’- Conflicting perspectives, both external and internal- Harmony- Dissonance- Cause and Effect- Communication of the vernacular as the sum of the secular

What feedback loops are created in these moments of conflicting perspective and in this case audible melodic movement and its various implied secular introspections?

The Beehive is an incredibly powerful image of passive aggression… the singular harmless insect OR The swarming killer mass… A secular sweetness made in swarming rage and guarded secrecy. I am fascinated by the connotations of the‘Closed box’… I am fascinated by the insinuations that a beehive in a public space makes… about our security? …about the nature of emotion and containment? About our sense of control and personal space- These ideas when addressed musically again play with perception of meaning and conversely actual intentions.

How does preconception about people in their personal ‘hive’, enwrapped in their culture and kind affect the actual experience of them? Are the Bees dangerous or does the collective experience make them so?

Various political and religious divisions dilute the natural empathy of the human condition that is often already strained by geographical separation and language- and this occurs both on a singular and social level. Harmonies and dissonance in sound are relative to a listener just as the reactions to social structures and cultural aspects are relative to the individual and the individual experience.

Distance between the hives- and the transmission of their sound across space presents us with less defined linear structures- and more confusing, perplexing and perhaps scarier perspectives: Ergo: Many boxes raise many questions… So, Namely- Do we fear what we cannot dissect?

This work also references the work ‘Arrival of the Beebox’ by American poet Sylvia Plath whereby she uses the image of the Beehive to explain inner turmoil using external form ‘…The box is locked, it is dangerous…’I am interested in exploring the core idea that this poem suggests… that to open the box (the issue)… is to risk attack by its contents… a universally familiar idea…

And indeed, perhaps it is.







2007. Alonso Gil + Francis Gomila. GUANTANAMERA (theoretical data)

With torture music, our culture is no longer a means of individual expression, instead, it is an actual weapon.” Moustafa Bayoumi. Professor at Brooklyn College, New York


Guantanamera is a multimedia project that reflects on the use of music as a torture instrument. The piece will be located inside one of the air vents of Madrid’s Subway that leads onto the street and will be audio-visually experienced from outside, i.e., from the street.

Our proposals consists of installing a high-amplification sound system inside one of the metro’s air vents that leads onto the street, blasting all the existing versions of the song La guantanamera, including those of Celia Cruz, Los lobos, Compay Segundo, Tito Puente, Nana MousKouri, The Maveriks, and The Fugees, among many others, as well as versions specifically performed by artists and musicians for this project.

The strange development within the American military structure after the Vietnam War made it possible for a number of high rank members of the military intelligence to start thinking in innovative ways, adapting various obscure New Age theories to military strategy activities.

Currently, in the war on terrorism, America’s military forces have used pop music, rap and heavy metal, as a means to torture military prisoners. They have mainly used sleep deprivation, as a form of systematic disorientation that in most cases leads to madness. Songs by Eminem and Doctor Dre, among others, are used in Iraq, Afghanistan or Guantanamo.

During the age of the Inquisition there were different artefacts to torture and obtain confessions, a practice that disappeared in time. Although those machines may not exist, methods have evolved, and to have a sound system and a record is enough material to torture.

If the British used white noise in their interrogations of Irish Republicans, Americans prefer their own music. “Those people have never heard heavy metal. They can’t stand it”, said a Guantanamo interrogator to Newsweek. “Eminem is so alien to them that they go crazy”, added another one in Afghanistan, (quoted in ABC).

According to a report by Human Rights Watch, “prisoners were subject to rap music and heavy metal for extended periods of time at high volume”. In the Guantanamo prison they used Eminem, Britney Spears, Limp Bizkit, Rage Against the Machine, Metallica and even Bruce Springsteen. The song Bodies (cadavers), by the metal band Drowning Pool was used in Afghanistan and Guantanamo. Haj Ali, an Iraqi man tortured in the Abu Ghraib prison, who appeared in an infamous picture having to keep himself on a cross position while hooded, had to listen, hour after hour, day after day, to David Gray’s Babylon, at full blast volume in his cell. It’s ironic because many of Eminem’s and Doctor Dre’s songs encourage victims of social injustice to stand and rebel.

The media has described a series of very aggressive measures used for long. For example, those prisoners who are unwilling to cooperate are stripped, chained to a chair that is attached to the ground and exposed to strobe lights, rock music and deafening rap, repeating songs constantly, about 50000 times, from speakers that are close to the ear. The captives are forced to listen to music at unbearable volume levels 24 hours a day, seven days a week.

La guantanamera is the most internationally rec¬ognised song of the Cuban song book. This catchy tune, which has travelled the world over represent¬ing Cubans as an anthem, was adapted by Julián Orbón based on a poem by José Martí. The melody exists since the 19th century and Joseito Fernández employed in his noticiario cantado (sang news) radio broadcasts during the forties.

The origin of the word Guantanamo comes from the Taino people, the aborigines of that area of Cuba, and means “river of the earth”. It is precisely this geographical area where the American naval base is located..








2007. Johanna Billing. YOU DON´T LOVE ME YET (theoretical data)


YOU DON'T LOVE ME YET, 2003, DVD 07:43Cinematography by: Manne Lindwall(Original song by Roky Erickson, published by R.Erickson 1984)Musical arrangements by Ida Lunden 

The “You Don’t Love Me Yet” project consists of both a film and an ongoing live tour (2002-2006) in which local musicians in different cities were invited to collectively cover the 1984 song “You Don’t Love Me Yet” by the Texan singer-songwriter Roky Erickson. The film “You Don’t Love Me Yet” (2003) depicts a group of musicians performing the song together in a recording studio in Stockholm and exploits a dramatic repetition of melody  and lyrics to unravel popular constructions of love, while presenting  an evaluation of the formation of contemporary subjectivity.

TOUR 2002-2006

Index, Stockholm Oct 4 2002 

Eskilstuna Art Museum, Eskilstuna Aug 23 2003 

Norrköping Art Museum, Norrköping    Sep 27 2003 

Tingshuset, Östersund Oct 4 2003 

Frieze Art Fair, London Oct 8 2003 

Vara Consert House, Vara Nov 9 2003 

Bar Alahuone, Helsingfors Dec 4 2003 

Sjömanskyrkan, Gävle Dec 6 2003 

Ystad Art Museum, Ystad Jan 24 2004 

Vedanta Gallery, Chicago Apr 30 2004 

Milton Keynes Gallery, Milton Keynes UK March 15 2005

Festival a/d Werf, Utrecht, March 19 2005  

Festival Boulevard, Hertogenbosch Aug 5 2005 

De VeenFabriek, Leiden 27/11, 2005

Upcoming: The lab, San Fransisco 16th of November 2006-10-01 



Vedanta Gallery is pleased to present the first solo exhibition of Johanna Billing in the U.S. and the final destination of the film and live tour You Don’t Love Me Yet which has traveled to various institutions in Sweden including Index: The Swedish Contemporary Art Foundation where it originated and at the Frieze Art Fair in London. The opening event will include live performances by local Chicago musicians performing the song 'You Don't Love Me Yet' written by American singer-songwriter Roky Erickson. Also exhibited will be a video of the recording of the song at Atlantis Studios in Stockholm by various Swedish musicians. In both a hopeful and disillusioned way, the song points out the difficulty of being in a relationship and daring to lose control of oneself.

Johanna Billing’s film and live music project You Don't Love Me Yet is a bittersweet convergence between the individual and the audience whose catalyst is the 80's pop song, You Don't Love Me Yet by Roky Erickson. The project commenced in October 2002 including more than twenty participating singers, soloists and bands. Roky Erickson's song was covered again and again, repeated in a wide variety of interpretations each reflecting the participants' own personal style. One performance was followed by another in what increasingly came to resemble a tragi-comic, manic litany about the social demands that weigh heavily on people; for instance the concept of self-fulfillment, or the hazards of entering a relationship with someone and therefore daring to let go. Despite the disillusioned tone of the song, a feeling of trust and hope is discernible between the lines.

The project's second part, Johanna Billing's film You Don't Love Me Yet , produced in June 2003, again invited a group of participants only this time the individual performance is replaced by a collective effort at Atlantis recording studios at Karlbergsvägen in Stockholm, where both a film and audio recording took place. The film lies somewhere between a music video and a documentary, with the emphasis on the common performance by the many protagonists: musicians; singers; music engineers and film photographers. This film was screened at six different locations in Sweden in collaboration with art institutions who have also acted as co-producers. The project also includes an audio CD containing the recorded song, which will be distributed free of charge at each event.

Johanna Billing was born in 1973 and lives and works in Stockholm, Sweden. Selected solo exhibitions include Index, Stockholm; Milch at Gainsborough Studios, London; Bild Museet, Umea; Moderna Museet, Oslo; and has participated in group exhibitions including Peripheries Become the Center, Prague Biennale 1; Delays and Revolutions, Venice Biennale, Italian Pavilion, Venice; and is included in Cream 3 published by Phaidon.

Johanna Billing was also recently featured in the March issue of Frieze Magazine. 


Johanna Billing (Sweden) presents her video installation "You  Don't Love Me Yet" which exploits a dramatic repetition of melody  and lyrics to unravel popular constructions of love, while presenting  an evaluation of the formation of contemporary subjectivity.

The music project and video projection “You Don’t Love Me Yet” by Johanna Billing appropriates the 1984 song of the same title by American singer-songwriter Roky Erickson. Billing first heard this song on the radio in the same moment she was reading in the newspaper that Sweden has the greatest amount of single-dwelling homes in the world. Billing relates the impetus of this project to contemporary problematics of Swedish identity, such as isolation and the institutionalized nature of Swedish social democracy, where consensus tends to be privileged over dissension.All the participants in Billing’s video belong to her generation, a younger demographic that is often accused of indifference and apathy, in contrast to the previous generation who is often (self) heroicized as active in transforming society in the 1960s. Billing focuses on this younger demographic, to employ these characteristics of indifference and apathy as cliché, yet as reality, as assessment, and yet as a means of evoking emotive characteristics that often seem waning in the golem of contemporary youth. The result is very direct – Œwarm as Billing calls it - especially in what she sees as its address to a non-gallery audience – and thus raises a number of complications.

Firstly, this exploration of emotion via a re-rendering of an almost forgotten pop song, while emphasizing repetition, becomes a whirl of affective obsession. The experience of blank, young faces engaged with this mournful, catchy melody that repeats again and again evokes a conundrum of contemporary subjectivity (or subjectivity in general) as an endless, empty spiral around key emotive terms, which are held upon desperately as a means of defining inter-relation and individual consciousness as it glimmers in the spotlight of a ‘thing called love’. The rhapsody of this melody begins as melodrama, transforms into reflexive parody (the indestructible melody of the 1984 Band Aid tearjerker Do They know it's Christmas), then peaks as nightmarish circular coil.

 Billing speaks to this in terms of artists and their competitive egos; especially in terms of their desire to be loved (by seeking successful careers). She contrasts this by pulling together a “harmonious collective of individualists” as a “viable reality”. As such, the work operates as an examination of social behavior, especially in terms of group dynamics within a social whole held together by a ritualistic intervention, repetitive music. However the strange distancing the work enforces from the viewer, and the insufficiency of the music, participants and especially the lyrics both lament and circumnavigate the expectations of being happy and finding love. The work offers no conclusion, but dispels some fantasies, remarks upon others and, like all the work in this exhibition, begins from the ordinary and everyday to create glimpses into profundity, madness, and imaginings of the future.

Altogether, if one can speak of illuminations for contemporary culture, these works in Everyday Every Other Day touch upon testing reality (and the systems that construct it), and speak to an urgency to confront individual and collective mythologies which are often bound up by repressed histories, socio-political and behavioral consensus, and ongoing injustices.

(Every other day, exhibition in Candada 2005)



You Don’t Love Me Yet (interview about project after the last event in 2005, from the book if I cant dance I dont want to be part of your revolution, 2006)

In her long term project You Don’t Love Me Yet, which has been touring to different international cities between 2002 and 2005, Johanna Billing invited musicians to play a live version of a song by Roky Erickson according to their own interpretation. If I Can't Dance… organized the Dutch part of the tour in 2005 which traveled from Utrecht, to ‘s-Hertogenbosch and finally Leiden.

In this project Johanna Billing made herself as an artist almost invisible. Behind the scenes though, she organized the event as precisely as possible. For example, by choosing a location that normally is not used as a music podium, or proposing an afternoon to stage the event instead of an evening, she consciously tried to break through existing patterns of behavior in both the music and the visual arts scene. As an artist she facilitated a collective experience where individuality expressed itself in the different artistic interpretations of the song, where the performing musicians were invited to listen to each others’ presentations and where the audience was witness to the potential of repetition, as the event offered a wide range of versions of this sole song text. Each event had its specific line up of performances by rock bands, choirs, laptop musicians, professionals, amateurs or impromptu get togethers, mainly coming from the local scene. All the concerts ended with the video screening of the studio recording of You Don’t Love Me Yet , a work made by Johanna Billing together with a group of Swedish musicians.

On various occasions Johanna Billing expressed her ideas and thoughts about the project, as well as explaining how this project came into being. The following text is a compilation of quotes extracted from an interview with Helena Holmberg in September 2003, published in the Swedish magazine Nifca Info. The main part comes from a talk Johanna Billing presented on the occasion of the project Radio Days in De Appel in Amsterdam, broadcasted live on Saturday March 30, 2005. The after note stems from email correspondence in April 2006 between Johanna Billing and the curators of If I Can’t Dance… .


“I think I first heard the original version of the song in 2001. It is written and performed by the American singer songwriter - and I guess you can say icon - Roky Erickson in 1984. Roky Erickson is perhaps most known for his work with the psychedelic rock group 13th Floor Elevators in the 60’s. He had a solo career later and released many songs, though this specific one is not the most well known.”

“I happened to hear this Roky Ericksson song, which is about love and relationships in both a hopeful and disillusioned way, about the same time as I heard on the radio that Sweden has the highest number of single-occupancy households in the world. That made me reflect on just how highly we value independence. I've been brought up in an era where it's almost ugly to be dependent on someone. This applies not only to love matters, but in other areas too. It can be exceedingly difficult to let go of oneself and one's own selfish interests.”

“I cannot remember if I liked it very much in particular in the beginning, but it really got stuck in my head. I spend a lot of time wondering about it. I guess it puzzled me a bit. I was really curious to put together an almost manifesto type of event. Coming together around something that was very slippery and vague and ambiguous,  I wanted to see if coming together would help to pin down the core of the song, what it was about, or could be about… .”


“My main idea at the beginning of 2002 was to gather musicians and artists from many different groups to join in a studio for a recording of a version together. (Yes, I know the word Band Aid comes to mind! But for me it was not really about making a project in relation to that.) At that time there was no money to produce such of big project. Index, the institution that had invited me to work on this project, did not have this kind of money. So what I did, to just get some things started, was to invite all these groups to Stockholm to come down to the basement of Index to perform one version of the song after another, twenty bands in a row from four in the afternoon till eight in the evening. It was not meant to be anything more than a kind of a starting point for something else. I never dared to think that this extremely simple set up could actually turn out to be something quite magical in the end because while the concert was going on, and the song after a while started to repeat it self, it created an incredible atmosphere that I still cannot really describe.”


“Ok, so the concert was a success! It could have ended there, but the reason why all the groups took part in the concert in the first place, was because they were promised that they could do the big version in the studio later on. So I had to continue and already then I started to feel a bit manic. Should I really take this any further? But apparently it was just the beginning! So in June 2003, eight months after the first live event, we managed to get the funding and were able to enter the wonderful prestigious old Atlantis studio in Stockholm where for example Abba made some of their first recordings. I got help from an extremely talented musician and composer Ida Lundén to arrange the song with strings, horns and choir arrangements. These arrangements were made very flexible and had to be invented in the studio while people were playing basically. This was because we could not control beforehand who would come and what instruments people would bring. I am still amazed that it actually sounds quite planned! The version from the studio, where altogether forty five musicians took part, was put on CD, distributed and handed out for free during the tour. I also made a film from this recording session.”

“But what about this tour? How did it come about? It actually happened because of a major misunderstanding. In order to get funding for the filming and the recording in the studio, Mats Stjernstedt and Helena Holmberg of Index had contacted all these smaller art institutions around Sweden, asking them if they were willing to contribute to the project. And then we would screen the film and make exhibitions with them in all the different cities. Further, my idea was to have a local band or artist to make one more contribution in every city. But many months into the process, I realized that I had totally misunderstood what Mats and Helena had told me: it turned out that all these smaller cities did not want to make anything less or smaller than the event we did in Stockholm, so they were all in for making the huge live event with many bands. I think at first I kind of panicked! We were talking about arranging a really big tour with live events in ten cities within only a couple of months.”

“Knowing how much of an effort it was for me to put together something like this, even though I was used to arranging concerts, the other question was how it would work for an art museum that perhaps had never had any experience of working with music. Luckily it was too late for me to say anything and the whole tour thing was already starting to happen.”


“I had been thinking about the idea of making cover versions a lot and was interested in working with that. Personally I really love cover versions and I have always envied musicians because they can do cover versions. When you do a cover version, you pay a tribute to something, in a loving way; you might even reveal your influences by doing that. This is something that I have found very rare in the art world where you, instead, basically spend all the time creating an aura around yourself that is as unique as possible. The closest thing to cover-versions we have as artists is the paraphrase. This is something often more complex and theoretical and very seldom about something you like, or even worship… .”

“I guess another reason why I like the cover version is that it implicates that you have to step outside of yourself and focus on someone else, enter someone else’s world. You are making something maybe not about yourself, or if it is a tribute, not even for your self, but to me that does not make the result any less personal. On the contrary, I think when you work with cover-versions you sometimes let your self go and experiment even more. And to let go of oneself, no matter if it is in a love relationship or in a collaboration, is I think what this project is about.”

“Working with cover versions as a format for this project has served a bit like a catalyst. Because it is about finding something out while you are doing it, taking part in a project for reasons that are not the most immediate ones in a way. In this case, you are invited to take part not to play your own song, but another persons song, and you might ask yourself for what and for whom? These questions and how you relate to them, are very important ingredients in this project.”

“Related to the idea of the cover version, is this other important element within the initial concept, namely repetition. The fact that You Don't Love Me Yet is repeated time and time again, in different forms, is almost like an incantation. But this repetition cannot just be about doing something again. I hope everyone feels that it's about extending the project and that the new versions work as additions and commentaries.”


“Many of the performers, no matter how established they are, said they had never been as nervous as in these specific concerts. I guess that is because there was this extremely intense listening experience. You sit down, it is totally quiet, no beer drinking and talking, as is normal in other concert situations. And of course you start to listen for the small things that are different in the songs. Or if you are a performer, you might even sit there and compare your own version to the others before going up to play and that is perhaps what made so many of performers so nervous.”


“During these events, the set up worked almost like a trick - even though not deliberate - to get people to listen with equal concentration to different types of music. And that is something that has been so revealing for me working with this project. Since I normally arrange a lot of music concerts with the record label that I also work with, my experience is often that when it comes to music, people are very specific about their taste, and about what kind of music concerts they go to, not quite as open as people who are interested in art and visit art shows.”

“This thing, that it is possible to arrange a concert with the toughest hip hop guys playing together on the same stage with for instance classical guitar students, and that it can feel like a very natural thing, only because you have something else to focus on, that has been a really amazing experience.”

“I think it has helped a lot that the audiences were extremely mixed. The mix of both the performers and the audience came, I guess, out of a very practical set-up we tried to establish in all the cities we went to. In every city we wanted the local art institution to collaborate with a local music institution or venue. And many times this happened for the first time, often with a lot of skepticism and hesitation. Could this be something good? Nobody wanted to loose any of his or her integrity of course in the process. There was a fear sometimes that the music would not be taken seriously enough in the art museum context and vice versa. The funniest thing that actually happened in many of the cities, was not that people came up afterwards and said how good it was but instead they often were a bit surprised that it actually happened at all!” 


“For me it feels natural working with a project for a long time and it is exciting having so many components in a project and at the same time activating something so open and motley. The collaboration between the organizers is also interesting, as they now make 'cover' versions of the first concert in their respective towns. Obviously, there's a double-emotion connected to it, but still that is what the project has been about since the start. I find it exciting - and quite right - that in part even I must relinquish control over the way I work with exhibitions and events. Of all the various parts of this project, I think that is the most exciting: trying to create a more flexible form for how things are shown while maintaining the content.”


“From the cosy candlelit concert place in Östersund, it was a totally different atmosphere setting up the event at the Frieze Art Fair in Regents Park in London in October 2003. When we were doing the sound check in the temporarily built lecture room that the concert was going to take place in, the directors of the fair got a call from the gallery booth next to us where the owner of the gallery was very upset and shouting that he could not hear what his client was saying. So it was all very different, trying to fit something in to a context where you feel like you make a big contrast just by being there - even though this of course was an art project to begin with.”

“After the event at Frieze I think Mats, Helena and I started to feel more confident and relaxed now that the project  had been made in five cities: Stockholm, Eskilstuna, Norrköping, , Östersund and London, it was all going great! We might even have thought that this concept could never go wrong…”

“But then a month later we went to Vara, a very small town in the middle of Sweden. There the project was incorporated into a big cultural youth camp, where young kids from the Baltic countries came to the concert house in Vara and took part in all kinds of cultural workshops for a week. And You Don’t  Love Me Yet was one of the projects they were supposed to work on. What made the whole experience so different (and difficult), was because they were told to do these versions by their teacher, and they had no choice. I think it is very important for this project that it is about choice and that you bring something with you in the process, the fear of what you might loose or the speculation of what you might win, or what ever other reason you might have for taking part. But still it is up to you!”

“Next stop was outside of Sweden again: Helsinki, Finland. There all my prejudices about the Finnish music scene were proven right when all the Finnish performers came to the sound check with their hands full of all kinds of electronic equipment: game boys, synthesizers and homemade computers. There were not even enough electrical outlets in the end to set up everything and the concert was delayed for hours.”

“Coming closer to Roky Erickson, in March 2004 we went to the US, to Chicago, where the event was organized by Kristen Van Deventer, a music enthusiast working at Vedanta Gallery with a lot of contacts to some of the finest musicians in Chicago. When doing the events in smaller cities around Sweden, many of the participating bands had not heard of Roky Erickson before. Still they took part. Some knew of my record label perhaps as some kind of security and some took part for other reasons, for the song itself. But one nice thing with the Chicago event was that this time nobody knew who I was. Instead, everybody knew of Roky Erickson, so the event there got to be a lot about a tribute concert to Roky Erickson which was very beautiful and a bit different from the previous events.”

“The Chicago event was supposed to be the final stop ever. For many, also very practical reasons, I could not work on any new work basically and started to feel a bit trapped. So for the next couple of months no events happened and we turned new proposals down. In Timisoara in Romania though, there was a remix version being made in October 2004 by the Romanian group Makunochi Bento. And while I was in Romania listening to their version, I got a call from Michael Stanley who is working in Milton Keynes, a city outside of London, asking if we could not do it again. Having the song in my head again, I could not say no. So in March 2005 there was another concert held in Middletown Hall, the shopping mall of Milton Keynes, a new city, only 35 years old that you could say basically centers around its shopping mall.”

“Sitting on the floor there in the middle of the shopping mall, for me the event suddenly got to be a bit strange, because right in the middle of the performances, all of a sudden this memory popped into my head from when I was a teenager in the small town of Jönköping and was singing in a religious choir, mostly because there was nothing else to do in your spare time. Anyway, suddenly I saw myself very clearly on this choir trip up to Stockholm and how we were standing in the middle of a big shopping center in the south of Stockholm, singing for people passing by. So to be doing this kind of event in a public place like this, suddenly freaked me out! So maybe, for me it all comes down to this thing again: the choice you have also as an audience member to take part in this or not.”

“It is funny to sit here and talk about this in Amsterdam because as I speak, the plans for setting up three new You Don’t Love Me Yet concerts here in the Netherlands are being made at this very moment and they will happen in Utrecht, on 19th of May, at Festival a/d Werf, then in August at Theaterfestival  Boulevard in Den Bosch and finally at De VeenFabriek in Leiden in November later this year. So for all you listeners in Holland, consider this an open call, if you want to join this project and make a cover version in any of these cities, contact Annie Fletcher, Frederique Bergholtz and Tanja Elstgeest who are organizing these events together.”


“From talking, to doing and now, finally sitting here writing about it. We did make the three events in The Netherlands as I said. It went really well I think. In fact it went so well, the first time in May at Festival a/d Werf in Utrecht, that I almost felt a bit weird about it. Where did all the nervous tension go? The anxious and subdued atmosphere, where you could sense the mixed feelings of reluctance and enthusiasm and the worries in between the songs, about what was going to happen next, was completely gone! The event in Utrecht was so enjoyable and easygoing: it was an atmosphere allowing people to clap their hands, sing along and even make jokes and laugh! I was amazed. I realized later that this was perhaps just my first encounter with the easy and relaxed Dutch way of socializing, doing things together with absolutely no inherent struggle or problem, collaborating for the fun of it! Just like that! It was great, but weird to feel that maybe the functions I was aiming for the project to have, did not really apply here. I started to think that there was maybe not really the same need for doing the project in Holland. But then on a rainy afternoon in August, when the summery festival spirit all of a sudden seemed very far away, I did get back to the more harsh moods together with the smaller and more hesitating crowd on the second floor of the foyer of Theater aan de Parade in ‘s-Hertogenbosch. The atmosphere gradually evolved though, each time asong was performed. And amazingly in the end, people just did not want to stop playing: encores, again and again.

And finally on the 27th of November 2005, what was to be announced as the final stop ever of the You Don’t Love Me Yet tour, took place in Leiden. It was the most massive set up so far with around twenty seven bands performing during a couple of extremely cold hours in the freezing VeenFabriek, that was not yet fully renovated. Before the bands started to perform, in my introductory speech I was stressing the uniqueness of the event, talking about how final it was. At the same time I felt kind of stupid, standing there and saying all this, though knowing that this whole Dutch tour for example never even should have happened, because the stop before, the one in Milton Keynes - no actually, the one in Chicago, or even the one in Ystad was the real final stop originally…! And this is something I have found so striking about the project; to realize  eventually that maybe I just cannot stop it. It is not longer my project, and of course not my song. Anybody can come along and do it, and may be do it even better.

And that was also one of the more interesting conversations we had when talking about whether the You Don’t Love Me Yet project could get this ‘other chance’ again, and be turned into a Dutch tour, after the final stop in Milton Keynes last year. We started talking about the differences in making performance and art projects in the art world compared to the theatre world, or the music scene. A play, a concert or a tour, just gets better the more it is interpreted, played or seen, the more it travels and the more people get the chance to get involved, all over the world. Also in the art world, there is sometimes a kind of feeling that it is ok to repeat some things, in fact, that is good! But just not too many times, then the project can face a risk of loosing its credibility or value, its uniqueness perhaps as an “art object/project”. And so, when discussing the ways of working with art and performance and how to make something that can have a function, a catalyst again, showing the differences and the similarities between these fields, it was just impossible to resist continuing to explore this. One of the other more interesting parts of working with this project in the If I Can’t Dance… frame, was the notion of repetition. To take an already repeating project and repeat it three times within itself almost, and within such a small area, and on top of that, within only a couple of months, turned out to be very fascinating and challenging. And I am so happy also to not only have the same performers coming again and again to the different cities in The Netherlands, like the fabulous fishermen choir De Rotte Herders who the second time around took their version even further and transformed themselves and the song from a traditional folk tune, sung in a specific Den Bosch’ dialect, to the coolest rap version (still in Dutch though!). But, for me, it has also been great to have the opportunity to work with the same fantastic group of people, with for example Joris Tideman and his great way of finding and working with the musicians, not only for one event, as in the other cities, but again and again, and to have the possibility to not only look at things as a one of a kind experiment., but to have the chance to redo things, and work on them, taking the bad experiences into consideration and making them better next time. 

So, now that it is over, and especially since the last event was so nice, I cannot stop thinking of the somewhat vague but intriguing suggestion I heard the other day, which was that somebody told me to “just think about the possibilities” of perhaps setting up a You Don’t Love Me Yet concert in San Francisco and imagine “how many great musicians there are over there. Just one more time… .”








2007. Discoteca Flaming Star. FERNANDO (WE WERE YOUNG. FULL OF LIFE. NONE OF US WERE PREPARED TO DIE) (theoretical data)




Since 1998 the Discoteca Flaming Star has been staging performances-collaborations with other artists in different artistic contexts. In the last few years, the production of audiovisual projects associated with the performative experience has been on the increase. The group has produced banners or backdrops, carpets, collages, audio projects and video works.

The project proposed here seeks to give a sculptural-physical dimension of a public nature to the search for the group. A search carried out in the fields of spontaneous song expression, understood as an individual response to/in specific historical moments and, through it, investigating methods of organic acting and interpreting in contrast with the global imperatives of the entertainment industry.




Since 1925, 30 bookshop-huts have been placed in the Cuesta de Moyano. While small, therefore of a picturesque nature- the outdoor structures are associated with forms of informal economy which, except in their illegal street vendor version, are outside the areas demarcated by the project Madrid Abierto.

Currently, the huts are temporarily situated in Paseo del Prado until they are relocated to the remodelled Cuesta de Moyano – which will become pedestrian- in 2007. We find the issues inherent in this change especially interesting: To what extent and how does culture, as an event, affect urban planning and real estate interests? Will the new ‘Cuesta’ pose a change to the content of the huts?


Creation of a sculpture-stand of similar size and structure as the book stands in Cuesta de Moyano. The sculpture, located near the stands, contains an audio element inside.

The Flaming Star disco will modify and indicate the kiosk-stand-book store so that it seems damaged, strange, abandoned, exposed – externally – to vandalism.

Thanks to the audio equipment – story + music for about 15 minutes – emphasizes the mysterious character of the sculpture-stand. (The audio content will be chosen after researching in the realm of literature and history of the area in which the book stands are (were) located). ---this element gives us an ample margin to explicitly introduce questions of literalness, (i)rationality, passion, dialogue, walks, public context and collective expression through cultural products, enabling us to integrate reflections on the diversity of relations between different ideological and cultural projects of a city.

If the weather conditions are favourable the Flaming Star Disco would like to use its interior for performance activities by “opening the kiosk”.




Apart from the points mentioned above, we believe our proposal adds an element of artistic deliberation during the ARCO Contemporary Art Fair. As the book stands are also some type of fair – not only in its structure, but also in defining itself new and second-hand book fair -, they offer a subject to reflect on in which the Flaming Star Disco has been active since its foundation; a reflection on the qualities and relevance of contemporary artistic activity and investigation, and questioning of forms of interaction with the audience.


In previous occasions we have done projects that have put us in contact with a public that is not specifically into art: performances in clubs and in the village square of Viandar de la Vera. But the opportunity offered by Madrid Abierto enables us to investigate on a rapprochement with the public of passers-by, based on an audiovisual project similar to a performance.






2006. Wilfredo Prieto. OUROBOROS (technical data)

 To carry out the project we need a mobile crane, the lorry-crane type, with stabilizers on each side with an average power of XXX. Likewise, we need appropriate staff to use it, and qualified staff to calculate the forces before its assembly.






2006. Wilfredo Prieto. OUROBOROS (theoretical data)


It’s about building a crane that is attached to itself so that its forces are neutralized and it seems completely static.


A learning process is established to exactly define what type of material is necessary to do the project with the aid of specialized technicians. During that time the necessary material will be chosen and a plan of action will be designed so the piece can be made without harming anyone.

Just as important as the final result will be the whole elaboration process, that is, necessary permits, material adaptation, engineering calculations, etc. Logistic problems that may arouse are as important as the final work.


My piece intends to dwell on the same principal, to say a lot with very little, a formula that may be reversed to project a complex construction to achieve a meagre result. Using minimalism as a reference, the search of balance between forces is my goal for this event. The paradox that is created when the fish bites its own tongue, the yin and yang contradiction, the universal complement of good and bad, life and death, the vicious cycle.

Before the static machine, one can only be amazed by the visual brutality of its result. Anyhow, I want to explore the role of art in territories of coexistence, therefore as Cuban, I deal with everyday life without forgetting that life itself is a paradox that encourages us to live, to die and, sometimes, to create art.






2006. Tere Recarens. REMOLINO (proposed location)

 Technically, “Remolino" should be in an indoor environment or protected from rain or acts of vandalism (due to the fragility of its materials). Anyway, in order to place the piece, I am willing to check different possibilities and adjust it to some suggestive location, like a hall or lobby of a building.







2006. Tere Recarens. REMOLINO (technical data)


To build “Whirl” we will need a motor similar to the one used in revolving doors, which is activated when people walk through them. This motor would be embedded in the axis of the piece. I would need a technician to do it.

The four doors are united to the axis and the system is thought of as a collapsible piece. The structure of the doors is made of wood and drawings should be made of translucent materials. It is convenient that these stands will be as light as possible.

If “Whirl” should be a piece independent from space (in case we wouldn’t be able to make a hole in the floor or ceiling), in the lower part of the axis there should be a metal piece to provide balance.

The budget that I present has been studied in Barcelona with a specialist in works.


3, 60 m. diameter 2, 50 m. high






2006. Tere Recarens. REMOLINO (theoretical data)

 "Remolino" is a turning door similar to those we find in airports or shopping centers, which moves with the help of a motor. Self-made, it uses the basic necessary (motor and metal base) materials and the glass has been exchanged for wooden frames and transparent plastic.

I will draw a series on different subjects; everyday experiences, comical and social situations.on each of the 8 sheets of the door: In such a way that the pedestrians will have to follow the pictures to see them, but there will also be other pictures following the pedestrians.

If the pedestrians want to see all the pictures, they will have to go around it at least 4 times.

In this installation, as in others I have already done, the audience is a major factor. We are used to stop in front of one or several drawings, but in this case the drawings will have their own rhythm.

“Remolino” is a project that completes a cycle of works that began when I started living in Berlin. Starting off with “He”, a video in which I invited the Germans to breath out of a helium balloon, “Besenrein” the highest jump I have ever done, cleaning clouds with a broom while skydiving, in “19th of March 2014” two containers will be opened in that same date as if they were the prints of a nose dive landing; then, the rebound, which would be “Shooting star”, a pole vault in an interior patio which is photographed from the top of the building, and last, “Whirl” gets back to the earthly, that is, physical movement more than mental.

One of the qualities that I like to include in my installations is the general public, and that is just what Madrid Abierto offers.






2006. Tao G. Vrhovec. REALITY SOUNDTRAK (technical data)


Installation consists of a big – 5.5 m (length) x 4.5 m (height) Reality Soundtrack Instruction Score (see documentation) on a wall. In front of the wall, there is small radio transmitter with antenna that is transmitting RS. On the floor, there are 25 radio receivers scattered around, transmitting the sound in moderate loudness. Next to the wall there is a television with video documentation of the previous interventions, and a table with A4 photocopies of previous Intervention Maps.

WEBSITE (under construction)On the Website, there is all the documentation about Reality Soundtrack. It is possible to download sound in MP3 format, and to print out the Reality Soundtrack Instruction Score, which has all the information and instructions necessary for the intervention to be realised – it is some kind of score for the realisation of the intervention.

Website enables global realisation of the sound intervention, which means as well, that my presence as the author of the project is no longer absoloutley necessary for the realisation.


For the intervention

- preparation time: 2 full days- 1 FM radio transmitter* with antenna* or collaboration with existing radio station- 25 or more participants that would carry radios- 25 portable FM radio receivers*- 96 batteries for the radios* I have this material

For the installation

- preparation time: 2 full days- white wall 5.5 m (length) x 4.5 m (height)- 20 m2 space in front of that wall- 2 tables 1m x 1m- 1 DVD player- 1 TV monitor







2006. Tao G. Vrhovec. REALITY SOUNDTRAK (theoretical data)


The goal of the intervention is to transpose a real situation in public space onto a plane of fictionality. The sound intervention alters the mode of perception of a random passer-by listener. That which a listener sees becomes a fiction and support for that which he or she hears. The result of such alienation is that the listener no longer perceives reality as something that has any immediate effect on his or her own existence but, rather, accepts it as an aesthetic phenomenon; this, however, may present a direct threat to his or her own existence.


RS (REALITY SOUNDTRACK) is sound intervention in public spaces as post offices, passages, shopping malls, streets, …

Sound carriers are people equipped with small radio receivers – 25 or more people, each one having 1 radio receiver.

All these radio receivers transmit the same electronic composition, which is transmitted from a mobile short range radio station, or even better, from an existing radio station.

All the participants – carriers are walking together through parts of a city following a given score of movement. The audible result of the action is a moving cloud of sound, which is traveling through a city.

The duration of the intervention is flexible, best around 2 hours in the afternoon time.


2003- BREAK 2.2 “Invisible Threat” - International Festival of Contemporary Art, Ljubljana, Slovenija –- INTERVENTION- 4th Triennal of Contemporary Slovene Art “U3” - Museum of Modern Art, Ljubljana, Slovenija – AUDIO PRESENTATION

2004- Gallery “Public Space With a Roof” and Radio Amsterdam FM, Amsterdam – Holland - INTERVENTION AND INSTALLATION- BREAKTROUGH – Perspectives on art from 10 new EU member states, The Hague – Holland – INTERVENTION AND INSTALLATION- EASA 2004 - European Architecture Students Assembly, Rubaix – France – 14 DAYS WORKSHOP WITH STUDENTS OF ARCHITECTURE, different interventions.- SOUNDING OUT 2 - International Symposium on Sound and Media –, University of Nottingham, United Kingdom – LECTURE WITH TITLE: “Reality Soundtrack – transforming the perception of reality by means of sound intervention”- CONTEMPORANEA 2004 - International Festival of Contemporary Music, Udine- Italy – INTERVENTION- INTERVENING URBAN VOID – research project on strategies of intervention in the city, gallery “Public Space With a Roof”, Amsterdam – Holland – LECTURE “... transforming the perception...”- COSMOPOLIS – microcosmosXmacrocosmos, Balkan Biennal of Contemporary Art, State Museum of Contemporary Art, Thessaloniki, Greece – INSTALLATION (intervention).- 7 SINS – LJUBLJANA – MOSCOW, ARTEAST EXHIBITION, Museum of Modern Art, Ljubljana, Slovenija – INSTALLATION (mini version)

2005- RADIODAYS – invsible exhibition, DE APPEL gallery, Amsterdam – RADIO TALK. ( go to: program --> day6 --> 18.40)






2006. Tanadori Yamaguchi + Maki Portilla-Kawamura + Key Portilla-Kawamura + Ali Ganjavian. LOCUTORIO COLÓN (theoretical data)


History says that Christopher Columbus discovered America but we prefer to express ourselves in less Eurocentric terms and believe that Columbus established the first communication channel between the Old and New World, the first string in a net that has grown exponentially along the centuries.

We think that the Square of Colón (Columbus Square) should have that communication element with which we identify the historic figure (ironically the neighbouring gardens are called Gardens of the Discovery). Now, more than five centuries after that first contact, we suggest the use of this downtown Agora as an exponent of the state of relationship between Europe and Latin America.



Michel Serres describes the hyper-communicative condition of contemporary life with his brilliant reflection on the hors là in his book Atlas. Hors-là is a state that connects the local context with the global context, community networks and international networks; the tiny and the huge.

Inside the social tangle of Madrid we find new emerging communities, mainly made of groups of immigrants. Among them, the ones corresponding to the Latin American countries are the most populated. In general, a catalyst element of cohesion to work is always necessary. In our society of communication, cyber cafés are used as catalysts among groups of immigrants that have just arrived. They’re physical vortexes of an imprecise and dense net of local relations and allow global relationships; In other words, an epitome of hors là.



The proposal is so simple and practical that it seems to enter the realm of the arguably non-artistic. We are aware of that, and even so we suggest the installation of a free of charge phone booth in the Colón Square for Madrid Abierto.

This project intends to move away from objectivity and cravings for eternity that are characteristic of modern art. However, the project wants to investigate the collateral aspects of a piece (phone booth) itself: on how the rumour about it spreads and how the turns to use it are organized, in the parallel activities that may appear unexpectedly around it, the schedule of its nocturnal use…

We like to think that the square will be the same once the phone booth is dismantled, however, it will have participated in creating a more complex social network between people in one and other side of the Atlantic.





2006. Nicole Cousino + Chris Vecchio. SPEAKHERE! (technical data)



1- unplug the main electric cable 

2- unscrew the black disk in the middle of the large metal disk 

3- carefully remove the large metal dish - attached with one more screw 

4- carefully open up the box - you can rest the plastic structure on the ground 

5- un hook all of the electrical cables, mic cable and antenna cable from the radio transmitter 

6- close the lid of the box so that the structure is back standing upright 

7- using a small screwdriver unscrew the various sections. The section with the microphone can keep the microphone attached inside, and just pull the cable up with it. The taller section has the antenna. Remove each section starting at the top and you should be able to pull the antenna up. If it does not come easily then you have to remove another section to disconnect two cables that maybe stuck in the curved section 

8- the final section that is attached to the base can be removed by opening the box and undoing the screws that hold a ring in place for one side. The other side is held in by bolts and can also be undone from inside the box 

9- all screws could be put in a bag and shipped inside of the plastic box 

10- you will need a wrench to remove the screws that secured the box to the sidewalk  

11- there are boxes for the ICOM radio and ASTRON power supply these can be wrapped in bubble wrap and shipped inside of the plastic box that forms the base - please make sure that everything is well packed in so that it does not rattle around in the box. 

12- Each of the plastic parts and the metal dish can be wrapped in bubble and should be able to fit in the boxes that they came in


1- unplug the main electric cable and pull it up from the ground and perhaps stash it in the bushes so that later Pedro or someone else can disconnect it from the main green box 

2- unlock the box and disconnect all of the wiring from the radio receiver 

3- inside the box you should be able to unscrew the nuts from the gray plastic grommets that attach the speaker hoses to the box and pull out the speaker wires from inside the box 

4- you will need a ladder and heavy duty screw driver to disconnect the wire holding the speakers on the post. Disconnect each speaker 

5- each speaker has a green hose with the speaker wire. The speaker wire will need to be disconnected from the speaker itself before the hose can be removed 

6- the 2 larger speakers have multiple sections. Unscrew the section first where the speaker is and undo the speaker wires from the speaker 

7- the speaker wires in the green hoses can then be disconnected from the speakers by unscrewing the grey connector 

8- the speaker wires in the green hoses get coiled up 

9- the speakers can then be unscrewed and broken down in to separate sections 

10- the smallest speaker that looks like a flower pot – don’t bother trying to disconnect the hose from the speaker – it can stay as one piece 

11- there are boxes for the ICOM radio, ASTRON power supply, and SONY audio amplifier. This equipment can be wrapped in bubble, packed well inside the green box and shipped that way 

12- the speaker parts should be wrapped in bubble and should fit in the boxes or you may need one additional box to fit everything in 

13- the wooden post or “tree” can be removed or lit on fire at the site and the ashes can be taken sprinkled under the shrubs






2006. Lorma Marti. BLEND OUT (proposed location)

 Situated in the center of Madrid and along its busiest boulevards, in the midst of representative historical ensembles and public green, the installations would remove sections of public space from the public, making them inaccessible or invisible.






2006. Lorma Marti. BLEND OUT (theoretical data)

 Our project aims to highlight the erosion and occupation of public space, something happening both at a private level (mostly tolerated illegal construction) and at an institutional level (mostly imposed and invasive measures).

For Abierto we propose to install a series of “construction sites” consisting of full-size scaffolding or safety-fences wrapped in the usual fabrics, plastics and dustsheets.

Situated in the center of Madrid and along its busiest boulevards, in the midst of representative historical ensembles and public green, the installations would remove sections of public space from the public, making them inaccessible or invisible.

The enclosures would hint at something happening from which we are excluded, they could apply to open spaces, public green or existing buildings. They would modify our perception of the context they are inserted into, and our use of it. They would create temporary heterotopias, islands out of bounds, places that could only be regained through transgression. Over the duration of the installation, they would gather that urban driftwood of information: posters, ads, notices, wrappers and flyers - and become an interface, a record or laminate of all other possible cities and spaces.







2006. Chus García Fraile. POST IT (proposed locations)

 I’ve thought of two possible locations:

- in Alcalá street, covering Puerta de Alcalá, Bank of Spain, the Metrópoli building (bifurcation Alcalá and Gran Vía)

- or the Recoletos artery, Colón Towers and Colón Square.

The organization should decide, depending on permits and other facts, the appropriate location.







2006. Chus García Fraile. POST IT (technical data)


1. This project would consist of producing and printing 10 polyester outdoor canvases of 400 x 300 cm. The digital prints of contents would be made with special fluorescent ink, so that they could be read also at night without the need of extra light.

2. The assembly system would be integrated in the poster. These great canvases would only need plastic bridles hooked to the canvas with holes on its upper corners.

3. Technically it would need two staff members and a crane operator. In case that the posters were placed from windows we could do this, in case that the internal access to the façade were impossible or difficult, we would place them directly with a crane.

4. Transport would be in need of a van with 4 metres of pilling space, and two people to load, unload and assembly.


Expected time to do everything: 3 working days.






2009-2010. Josep-María Martín. A DIGESTIVE HOUSE FOR LAVAPIÉS (related work)

2009-2010. Josep-María Martín. A DIGESTIVE HOUSE FOR LAVAPIÉS (related work)

THE DIGESTIVE HOUSE, 2007 Memory and habitat: habitat prototype in Onex.BAC, Bâtiment d’Art Contemporain. Onex y Ginebra, Suiza



Josep-Maria Martin was invited to participate in the collective exhibition “Habitat/Variations”, in order to rethink the concept of habitat and different ways of living. To develop the project, the Genevan architect Raphaél Nussbaumer suggested a collaboration to reflect together on the spaces in which we live.

The project focused on the city of Onex, a bedroom community in the suburbs of Geneva, Switzerland. It was built in the sixties, a period in which different solutions were suggested to solve the housing problem. In those days a lot of apartment blocks and collective spaces were built, which no longer answer today’s needs of size and comfort as well as the diversity of the new family structures.

These neighborhoods contain a highly diverse population, ethnically as well as culturally.

The majority of its inhabitants come from countries all over the world, which have had to move for socioeconomic reasons or as political refugees that are running from a war and bring tragic experiences, which are added to the common difficulties of adjusting to a new country.



To question the space were we live in and establish an analogy between the digestive system and the home, as an organism that digests personal and collective memory. It is a way to focus on the relationship between spaces that people live in and how it can help individuals manage and face history, personal and collective memory with the cognitive realm of life and the welfare of people. We intend to find answers to the relation habitat-memory:

- How can our own history, our contribution, coexist with the history we find in reality?- Do we experience the legacy of a place’s memory?- What do we contribute to the memory of a certain place?- How do we face our personal and collective memory?- What influence does the habitat have on the individual, the family, community…?- How does space help us digest the events of our lives?- What is a family’s quality of life?- How do family members contribute to it?- How does it affect personal and professional relationships?- How do we face cultural displacement?- How do we live with people belonging to other cultures and backgrounds?- How do we coexist with the memory of war?


- Propose the intervention of an architect to develop the project collectively.- Identify a family form the neighborhood of Lavapies to carry out the idea.- Open up a participation process.- Identify and invite different interlocutors linked to the project.- Research on how the habitat helps us face memory.- Carry out interviews with each of the people identified as significant.- Reflect on family living in a suburb of Geneva.- Order the obtained information.- Elaborate and conceptualize the proposal.- Design the architectural project.- Debate about the proposal with the family and other previously interviewed interlocutors.- Design the executive project.- Build and open the designed space.- Evaluate the experience.- Build a real-scale model of the apartment in the Bac, Bâtiment d’Art Contemporain of Geneva.- Make a video documentary about the project.- Spread the project.- Search for funding.- Experiment for 3 months with the prototype.


- Begin collaboration with the architect. Raphaél Nussbaumer.- Choose the neighborhood of Onex to develop the project.- Identify the main interlocutor of the Sr. Mercolli neighborhood Service director for Youth and Community Action of Onex.- Open up a participation process carrying out interviews.    - Mr Kurteshi, Caretaker of Onex’s blue tower.    - Mr Mercolli, Service director for Youth and Community Action of Onex.    - Mr Bürgisser, Director of the Housing Office of Geneva’s Canton.    - Mr Pythoud, Architect.    - Mrs Parisod, eco-biologist.    - Mr Armenian, gastroenterologist.    - Mr Ries, Dietician.    - Mrs Quinodoz, Radiologist.

- Research and reflect on the importance of habitat to help “digest memory”.- Interview and suggest the Kurteshi family an intervention in their house of blue tower Avenue du Gros-Chêne 43 in the city of Onex, as beneficiary of the project.- Needs in the habitat identified by Mr Kurteshi.     - Recover the relation between nature and earth.         - Improve the relationship among neighbors and other residents in the city.         - Widen the playing areas for their children and their neighbors’.         - Need to create relational and community areas.

- Josep-Maria Martin’s remarks:    - Multicultural composition of the neighborhood.    - Kosovo-Albanian origin of Mr Kurteshi.    - A design related to his origins and war (memory).    - Being caretaker of the building in which he lived.    - Double role: caretaker and tenant.    - Reluctance to improve his house.    - Recreation of his original Kosovo-Albanian habitat.    - In the neighborhood there is a difficulty in creating areas of transition between public and private space.

- Order the information obtained on the subject.- Present and debate on the proposals to the family and interlocutors of the project.    - Proposals:       - Build a balcony in the West façade.        - Build a garden on the communities’ terrace roof.       - Build a cabin, in the flowerbeds surrounding the building, for the children to play.

    - Findings of the debate:        - Need to create a community area signaling the transition between private and public space.        - Develop a collective area on the terrace roof of the building: garden, vegetable garden, cabin to play, barbeque, etc.        - Mr Kurteshi, caretaker of the building, committed himself to manage the use of this new area.

- Carry out the executive project modifying, integrating and enriching the initial proposal of the Digestive House Prototype.- Elaborate, in collaboration with Mr Kurteshi, the rules of use.- Search for funding.- Carry out the administrative management needed to develop the project.- Build a prototype.     - Spread the project.         - Exhibit the Digestive House project in Geneva’s Bac.         - Create a real-scale model of the Kurteshi family’s apartment.         - Show the plans and photographs.         - Produce a documentary film.- Press release.- Publication.


The Foundation, owner of the building, showed their interest, approval and support in the project by providing the necessary resources needed to carry it out. The intention was to take most of the experience and spread it to other neighboring buildings.The prototype wasn’t finally installed in the terrace roof, for external reasons.Geneva’s fire department didn’t give permission, due to a change in regulation (produced during the project’s development) related to the building’s emergency exits.Onex’s City Hall and Mr Bürgisser, Director of the Housing Office of Geneva’s Canton, keeps working in order for the project to become a reality.The Digestive House enabled them to visualize the need to improve the neighbors’ communications in Onex and, also, the need to treat the transitional areas between private and public spaces.











09-10prmc3392, 09-10prmc3618

2006. Chus García Fraile. POST IT (theoretical data)

 This project intends to reflect, as all my recent work, on consumer society of today’s Western culture.

10 posters would be shown along specific buildings (named in the assembly note). They are reproductions of the typical POST Its, that we use everyday as a means to remember things, but larger than usual. Made in a large scale and taken out of their normal context, they intend to offer another interpretation while they shock citizens.

They’re notes referring to everyday worries, a way to fix behaviours in our memory that involve a change of attitude, based on the nature of our daily habits.

There are lots of spaces where we could contemplate these post its in our daily habitat (offices, bedrooms, kitchens, bathrooms, etc), places where we spend large amounts of time and would remind us of those everyday sentences.

Go to the gym, follow the diet, choose a product, smoke less, etc, would have added meanings. Often we see how a car, a perfume, etc, assure us more confidence, security or social success. They are signs and symbols that involve social level or distinction. An author said that a citizen in the street would feel safer with a good suit on, than with a good religious conscience. These are consumer habits that make no sense, taking up a lot of time and money that could be used in more important ways.

We go to beauty parlours or walk down shopping malls seeming free and using that which we seem to need, but reality is that we are victims of a great pressure that the mass media places on us, the power of marketing. The “POST IT” project is similar to everyday scenes, such as promotion posters, etc. The invasion of adverts takes up more physical and mental space each time, using strategies that are more aggressive everyday.

The frantic, excessive and irrational forms of consuming only provide ephemeral satisfactions and are rooted in deep dissatisfaction.

Apparently, these notes would refer to small decisions, but those are the most important ones, for they would also affect the people that live around us. They wish to reduce or neutralize some excesses, the myth of welfare. These notes would suggest a new economy and ecology of consumerism in our mental ecosystem.

Without any moral or critical intention, they would simply express some daily worries for current citizens.







2006. Arnoud Schuurman. STICKIES (theoretical data)


Public space as a given; demands for public comments on how to behave, where to have access to, how to organise a space, how to move through it and in what desired speed. For my project I would like to playfully add notes to the city that emphasise and question these aspects.


Stickies were introduced quite a while ago. The invention was the result of a mistake in producing a paper glue mixture. It turned out to be a big hit and is nowadays widely used throughout the world by office clerks, housewo/man and those with a bad memory.

They function as some kind of message tag that can be put to stick on virtually any surface. The messages generally contained by these usually vary from small remarks as of lists of not to forget items/events/ideas on the personal level.

They won’t fail their task and keep being there in the face. For some they will work, for some a whole wood emerges and consumes little to zero extra attention. PROPOSAL I propose to make a series of oversized notes, or so called stickies, to ad comments and suggestions to public space and mount them at various places along the axis of Paseo de la Castellana.

My intent is to make philosophical remarks on public space, in order to confront the public with ideas/suggestions that sparkle routines and overcome barriers. To stimulate dialogue between people of different backgrounds will be the key issue.

These notes could contain content about matters, spaces, events, taboo’s and things people generally do or intent not to do. The notes will be about its direct surroundings, as well as local and global contemporary tendencies.

The matter of expression will have a slight sense, or suggestion of politics, advertisement and activism. It will be neither of them and all of them in the meantime.

The message could have a geopolitical sense, might sound like commercial and would like to be activist’ demand, but will remain the autonomous artistic realm of a philosophical message.

The content that will be on the notes will be clear beforehand and could be revised. ‘Smile to foreigners’ is a statement I like in particular, since it addresses such a contemporary social/politically issue.


The notes could be presented in various ways.

It will be a crucial thing of how they will be conducted to the spectator. It could be a huge sheet mounted on the 7th floor of a large building, a nagging sign in a badly functioning public spot, a square where people hang out but also a humble little note pasted on top of the stairs before entering the metro-tube. All a big difference of look and potential content.






2006. Arnoud Schuurman. STICKIES (proposed location)

 The notes could be presented in various ways.

It will be a crucial thing of how they will be conducted to the spectator.

It could be a huge sheet mounted on the 7th floor of a large building, a nagging sign in a badly functioning public spot, a square where people hang out but also a humble little note pasted on top of the stairs before entering the metro-tube. All a big difference of look and potential content.

I have not been in the city of Madrid yet, so I wouldn't know what would be possible and 'asking' for a intervention. I think of Madrid as a rather big city with broad squares and large avenues.

According to this reference I am pretty much assured that there must be a potential social setting for some critical note, absurdistic statement or cheerful and positive messages.






2006. Arnoud Schuurman. STICKIES (technical data)


The technical requirements depend strongly on the possibilities that the project offers such as location, amount of space available and conditions for implementing the stickies in a given area. Permission will be needed from municipality and owners of buildings to make this project possible. The project’s shape may vary in material use from a big sheet of cardboard glued onto a surface to hardboard sign mounted onto a construction to support it’s weight and surface onto a wall, signpost or given structure. I have years of experience in making constructions however for this project it might be wise to hire a local craftsman to materialise the stickies. The stickies should be mounted properly. It needs to be wind proof and it will have to be waterproof.

I will coordinate the montage of the stickies myself with the help of a local contractor.

I don’t know if vandalism is such an issue as it is in The Netherlands. As long as something looks good, people would respect it.

To be short I need: -A list of available locations that would like and be suitable for a mounted sticky-A local craftsman to make the signs.-A team of local contractor’s-A scaffold, If a location demands it

I could be no more specific than that this until locations would be clear .

If it will be selected I will make a more elaborate proposal for some specific location in the Madrid Abierto’s framework. It could be a good idea to visit Madrid to look for locations and think about comments/sugestions, depending on the available resources.






2005. Simon Greenan + Christopher Sperandio. SOY MADRID (theoretical data)

 Everyone has strong feelings about the place they live but what seems exotic to the tourist can be commonplace or even dull to a local. However, tourism can invigorate the local economy. New interest at home for the same old landmarks can be sparked when viewed through the eyes of a visitor. World events and political differences can pale when compared to an important local issue such as “Which restaurant in the Paseo del Prado is the best?”

From tips for tourists to diatribes on world politics, SOY MADRID, will be a formal platform for a collaboration between Madrid residents and tourist artists Grennan and Sperandio.

Through newspaper advertisements, word of mouth and a dedicated web site,, artists Grennan and Sperandio will invite residents of to Madrid to tell their stories about Madrid. The artists will then present selected stories as bright and colorful comic strips written in Spanish and English.

Political or lighthearted, serious or frivolous, fun or just weird, these interventions, when encountered, will give natives and visitors alike the opportunity to reconsider the conflicting issues surrounding notions of local identity, nationalism, politics and tourism.

The resultant comics will be reproduced in a variety of media, including posters, comic strips in local papers and on-line. A main feature of SOY MADRID is a collaboration with a local paper. Stories for the project will be solicited via thispaper, and selections from the finalized comic strips will be printed in this paper as well.



Grennan and Sperandio will establish an attractive and fast loading web site, complete with a message board. Following the production of the web side, and with minimal assistance from the organizers, Sperandio will visit Madrid and solicit stories from people from all walks of life. Prior to, or during this visit, the support of a local newspaper will be secured. This paper will run solicitations, directing interested parties to the site. From personal interviews and responses to the web site, Grennan and Sperandio will make twenty-one different comic strips. During the project launch, Grennan and Sperandio will oversee that seven of the strips produced as posters are legally fly-posted on the streets. Seven of the strips will be published serially over several weeks in the collaborating Madrid newspaper and the remaining seven strips will be viewable online at the SOY MADRID web site, along with an archive of the project as well as a public message board where visitors to the project may interact in an open forum.









2005. Rebekka Reich + Anne Lorenz. TAXI MADRID (technical data)


1. Find 10 former inhabitants of Madrid in Europe.2. Interview them via telephone or email with the same set of questions.3. Analyse the answers and construct one episode for each of the 10 taxis in collaboration witha writer and a sound designer4. Transform and edit the found material with our artistic viewpoint into 10 mini-installations5. Produce the installations by the means of sound, language, music, smell, objects andinteraction with the taxi drivers.6. Prepare the taxis7. Rehearsals with the taxi-drivers


Sep-Nov 2004: interviews, first trip to Madrid: contacts to taxi operators, contraction of: actors for sound-recordings, writer, translator and sound-designerDec 2004: design of episodesJan 2005: sound-recordings / post-productionJan/Feb 2005: second trip to Madrid. Installation and rehearsals two weeks prior to the opening







2005. Óscar Lloveras. S/T (theoretical data / Gilbert Lascault text)


Les vides, les espacements

Les sculptures, les peintures, les installations de l’artiste constituent , souvent, des structures souples, extensibles, apparemment frêles, presque instables. Elle trouvent leur place dans un terrain qu’elles transforment. Elles s’imposent avec discrétion et force. Elles jouent avec les vides, avec les écarts, avec les lacunes, avec les espacements, avec les intervalles.

Alors, les vides ne sont pas oubliés, ni inertes. Ils sont parcourus par des souffles. Sans les vides, l’espace vibrerait, chanterait. En 1944, dans un texte cour, le poète Paul Valéry met en relation la sensation d’être libre, notre respiration et la respiration de l’univers: «la liberté est une sensation. Cela se respire (…) par une simple, fraîche, profonde prise de souffle à la source universelle où nous puisons de quoi vivre un instant de plus, tout l’être délivré est envahi d’une renaissance délicieuse de ses volontés authentiques».

L’artiste est proche du peintre Henri Matisse qui, en 1908, parle de «la manière de situer les objets: l’air, les vides qui circulent autour d’eux». Dans un tableau, ce sont «la place qu’occupent les corps, les vides qui sont autour d’eux, les proportions»; car Matisse précise: «Je ne peins pas les choses, je ne peins que les différences entre les choses». Ainsi, les installations d’Oscar Lloveras soulignent les vides, les proportions, les différences entre les choses. Elles évitent l’encombrement des choses. Elles les séparent, les écartent. Elles produisent et opèrent les intervalles, l’entre-deux, puisque Marcel Duchamp note «L’écart est une opération».

L’artiste utilise les vides. Il lit peut-être des phrases du Tao-Tö-King de Lao-Tseu (VIe siècle avant J.-C): «Trente rayons se joignent en un moyeu unique; ce vide dans le char en permet l’usage. D’une motte de glaise, on façonne un vase; ce vide dans le vase en permet l’usage. On ménage portes et fenêtres pour une pièce; ce vide dans la pièce en permet l’usage. L’avoir fait l’avantage, mais le non-avoir fait l’usage.» Selon Lao-Tseu, le nœud, l’énergie sont liés aux vides: «Le creux du Ciel-Terre recueille la vie ; c’est le nœud vital, le centre vivant, le lieu de la formation des influx, des échanges» (1).

Alors, les œuvres de l’artiste tressent le monumental et l’intime, les matériaux et l’immatériel, les structures et le mythique, le géométrique et le sensuel. Centaines œuvres s’intitulent La montée des esprits, Colonnes… Les constructions donnent à voir des légendes, des récits, des rites, des cérémonies souvent discrètes, des célébrations souvent modestes, des rêves choisis. Alors l’art devient parfois proche de certains exercices chamaniques, de certains savoirs énigmatiques.

Ces constructions célèbrent la Nature, le cosmos. Le monde (comme l’exprime le philosophe grec, Héraclite d’Ephèse) est une «harmonie de tensions tour à tour tendues et détendues, comme les cordes tendues et détendues de l’arc et de la lyre». Dans le monde, les forces contraires se fondent en unité. Et, selon Héraclite, «l’harmonie cachée surpasse l’harmonie visible».

Cinq éléments

Dans un carnet de l’artiste, il dessine schématiquement un gorin-tô, un pagode «pagode à cinq cercles», qui représente les cinq «éléments». C’est une structure verticale composite, formée par un cube (représentant la terre), une sphère (l’eau), une pyramide (le feu), une demi-sphère (l’air) et une flamme (l’éther). Les gorin-tô sont introduits au Japon vers le IXe siècle et le bouddhisme les adopterait comme le symbole de l’univers. En pierre, ils ornent des mausolées et des petits tumulus (des Kyôzuka); parfois, ils sont en bois et décorent le sommet de poteaux placés entre les cimetières. Selon d’autres interprétations, les cinq éléments du cosmos seraient (dans des textes chinois) la terre, l’eau, le métal, le bois (ou le vent), le feu…Même si les classifications sont différentes, l’artiste privilégie toujours une dizaine d’éléments de l’univers et il tisse les matières et les souffles. Il mêle les toiles et les voiles. Il choisit les bois différents et coupés de diverses formes; les branches nouées; les métaux (des tiges, de fils de fer…); les pierres (parfois noires); les cordes végétales et les nattes «de bonheur»; les papiers; les tissus; le verre; les gaz rares (le néon, l’argon…) qui modifient les lumières ;un coquillage en forme d’une spirale; le feu…

Créer des arbres aériens

Le Philosophe Gaston Bachelard (L’air et les songes, Corti,1943) réfléchit sur l’ «arbre aérien». Il cite le poète André Suarès (1868-1948): «Sans cesse, l’arbre prend son élan et frémit les feuilles, ses innombrables ailes». Jack London évoque, sur un immense arbre, un «nid des hautes cimes». Dans une légende, l’ «arbre d’Adam» atteint l’enfer par ses racines et le ciel par ses branches. Parfois un arbre parle avec les vents et porte les étoiles. Et l’artiste crée des «arbres aériens», pour penser à l’arbre cosmique.

D’ailleurs, le mythologue Mircea Eliade(2) estime que , dans diverses civilisations,« tous les arbres rituels ou les poteaux, que l’on consacre avant ou pendant une cérémonie religieuse quelconque, sont comme projetés magiquement au Centre du Monde». Un texte de l’Inde védique décrit l’arbre comme le pilier cosmique: «De ton sommet tu supportes le Ciel; de ta partie médiane tu emplis les aires; de ton pied tu affermis la Terre.» Ou bien, dans le chamanisme, l’escalade d’un tel arbre par le chaman tatar symbolise son ascension au ciel. Ou encore, certains chamans obtiennent l’extase à l’aide de leurs tambours et « le tambour serait fait du bois même de l’Arbre du Monde». L’artiste suggère des végétaux dressés vers le ciel.

Les feuilles d’érable et les pièges des souffles

L’artiste conserve des feuilles d’érable de divers pays. Il les laisse sécher entre les feuilles de papier journal et les transporte. Il invente des installations dans lesquelles interviennent les feuilles d’érable: à Paris (dans son atelier), à Osaka, à Clamart (au Centre Albert Chanot), à Paris aussi ( dans la galerie Akié Arichi)…La feuille flamboyante d’érable est l’un des emblèmes de l’artiste. Il utilise les feuilles et les fils qui constituent les filets étranges, des nasses énigmatiques, des sortes de pièges pour attraper les souffles, les esprits puissants, les vents, les pensées venues d’on ne sait où. En particulier, dans un village d’une Ile de la Mer de Chine, dans un hangar de pêcheurs, il invente ces premiers filets.Au Japon, dans le Kansaï, en automne, les familles partent en week-end pour «capturer les feuilles et les images», pour contempler le rouge varié des érables.En Australie, dans une forêt, l’artiste, un matin, voit les feuillages encore plus rouges que jamais. C’est le feu dans une splendeur terrifiante, dangereuse.

L’éloge du papier

Les œuvres de l’artiste constituent un éloge du papier. Dans les villes, il trouve des papiers divers, occidentaux ou orientaux, fins ou épais, fragiles ou solides. Il le recueille, les conserve. Il les découpe. Il les modifie. Il les froisse et le repasse. Parfois, il utilise certains papiers insolites: par exemple, des fax de la guerre du Golfe. Souvent, il se sert du papier journal, du papier de soie, du papier qui enveloppe les pizzas. Il les colore avec des pigments naturels.

Au Japon, il fabrique personnellement son papier. Le papier japonais se nomme le Washi. Il le fabrique avec les fibres de l’écorce de trois arbustes. Le papier de mûrier est le plus robuste et rugueux; un autre papier est plus lisse. Le Washi est fort, doux.

Les papier de l’artiste sont des surfaces, des plans, des supports, des subjectiles. Ils interviennent dans les peintures et les installations de l’artiste. Ils sont suspendus.Ainsi, les gohei sont des symboles shintô faits de bandes de papier blanc pliées en zigzag, fixées soit sur un pilier, soit sur un support quelconque ou encore suspendues sur une corde sacrée tendue en travers d’un portique(Torii) de sanctuaire shintô. Les gohei indiqueraient la présence des divinités(les Kami). L’artiste pense souvent aux gohei et aux kami.

Les noeuds, les cordes

Dans les installations de l’artiste, les cordes( sacrées et profanes), les ligatures, les lianes, les noeuds, les tensions, les structures en cordage, les «nattes de bonheur» interviennent. Ancien marin, il manipule les grelins, les élingues.Au Japon, selon les régions, on fabrique des cordes végétales de formes variées. Par exemple, on y suspend de petits oranges amères qui sont autant des offrandes que des décorations. Ici, on note l’existence d’énormes cordes nouées. Ailleurs, les cordes de paille sont souvent remplacées par des nattes de la même paille. Par exemple, les cordes(ou les nattes) délimitent «l’abri du dieu de l’an» et le signalent; elles constituent aussi une barrière, interdisant les accès des aires sacrées aux forces du mal; on y suspend parfois des plaquettes de bois(4)… Vrilles végétales, paille, étoffe et papier sont les matériaux d’élection d’une longue tradition de nouage. Utilitaire, décoratif ou symbolique, le noeud japonais et soumis à des règles strictes; la couleur, la forme et l’emplacement du nœud du vêtement correspondant à des critères d’âge, de sexe, de classe; le nœud qui enserre le rouleau peint témoigne du degré artistique de celui qui l’a noué; les cordelettes de papier coloré sur le paquet-cadeau signifient rigoureusement la raison du présent et la valeur qu’on lui attache. Nouer n’est pas un acte innocent, mais signifiant, voire créateur. Le nœud relie(musubi) et il lie(yui); me est l’œil, la maille, le point de couture qui considère, du noeud, le centre surtout, le vide qu’il enlace et façonne entre les brins; shime est employé en composition et dénote l’idée de fermeture. Des cordes en paille ceignent les enceintes sacrées, balises proposées aux divinités, remparts opposés aux souillures. Le nœud central, suspendu au portique du sanctuaire proclame le sacré et barre la route au mal. Dans certaines cérémonies bouddhiques, le nœud qui lie la corde a perdu son support matériel: c’est une mudrâ, que l’on noue de ses doigts. De ses doigts, l’artiste peut parfois nouer des cordages invisibles et des cordes réelles…Pour assurer la clôture du monde rituel, encerclé de fines cordelettes nouées, le maître des rites ésotériques noue autour de l’autel les sceaux de la terre, des quatre directions.D’autre part, certaines divinités(musubi no kami) peuvent créer toutes choses en liant, susciter la vie en alliant deux matières inertes.Nouer est qu’une des premières techniques de l’industrie humaine: ce fut aussi l’une des premières techniques de création divine. En nouant, les dieux suscitèrent l’énergie de l’univers. Et aussi, nouer serait un acte qui permet d’attacher une parcelle d’esprit à un corps. Le nœud est un principe de vie.

Dans des poèmes japonais du VIIIe siècle, les nœuds symbolisent les liens amoureux, la fidélité et le retour de l’être aimé. Le nœud est l’un des symboles du mariage. Car les divinités du mariage sont noueuses de liens.

Explorer les territoires

L’artiste explore des territoires proches et lointains. Il les examine. Il les inspecte, les visite.Il apprécie et analyse leurs coordonnées, leurs orientation. Ses œuvres les métamorphosent.Les ateliers de l’artiste ( actuellement l’un a Paris et l’autre dans l’île de Shikoku au Japon, ne sont pas seulement des lieux de travail; ils se manifestent comme des espaces modifiés dans lesquels des plantes poussent parmi des pierres, parmi des livres. Sur un mure des structures sont accrochées. Une autre, giganteste, est d’abord couchée sur un plancher; puis l’artiste la dresse, l’érige. Des néons modifient la lumière de l’atelier. Dans un coin, discret, un petit autel est modeste: une pierre trouvée, des graines, une calligraphie, la formule d’une prière bouddhique.Dans le Nord de la France, les installations de l’artiste nous donnent à voir des images neuves de la Mer du Nord, de la lumière des peintres flamands, des villages mélancoliques, des usines désaffectées, des terrils de mines, des amoncellements, des scories. Elles révèlent une règion forte et grave, les traces tragiques des guerres recommencées, et les brouillards. L’artiste collecte les matériaux destinées à ses œuvres: les pierres noires, les tissus blancs des usines, les cordages, les métaux parfois rouillés. Une ferme abandonnée devient son atelier provisoire. Les installations de l’artiste unissent la présent et la mémoire, la nature et les travaux des hommes. Près de la mer, l’artiste dessine sur le sable.Ou bien, dans la ville, au cœur du vieux Lille, l’artiste découvre une église du XVIII ème siècle: La Grande Madeleine. La coupole est haute de 35 mètres. Entre les larges colonnades de marbre noir belge, on distingue trois autels, deux espaces qui servaient aux baptêmes et à l’accueil des moines. Alors, l’artiste présente une vingtaine de peintures de 5 mètres, des installations qui utilisent, entre autres, cordages et papier. Il crée des lumières artificielles dans l’ensemble bleuâtre, dû aux vitraux, sur le marbre noir. Par des tubes de verre, par l’argon, le néon, le mercure, il invente des lumières-couleurs qui donnent la sensation de l’unité de l’espace transfiguré. Il pense s’etre d’abord inspiré, pendant l’adolescence, de l’Arte Povera et du Land Art; puis il crée, dit il, «un objet sans forme» , dans son esprit, comme le «fruit du désir» . La nature y règne dans les lumières et les ombres, au cœur de la cité.Ou aussi, l’artiste inscrit des événements dans le paysage. Vous pouvez alors lire un poème de Charles Baudelaire: «La Nature est un temple ou les vivants piliers/ Laissent parfois sortir des confuses paroles/ L’homme y passe à travers des forêts et des symboles/ Qui l’observent avec des regards familiers.» Comme le précise le mythologue Mircea Eliade, l’installation dans un territoire équivaut à la fondation d’un monde. Pour lui, le temple (templum) et le temps (tempus) se correspondent.


A travers cinq continents, en particulier en Argentine, en Australie où il rencontre les Aborigènes, en France ( près de la Mer du Nord et près des mines), en Italie (à Carrare), en Indonésie, dans divers Îles du Japon, l’artiste est un pèlerin permanent, un voyageur voyant. Il ne cherche jamais l’exotisme. Il refuse tout pittoresque bariolé. Si Lanza del Vasto publie, en 1943, Le pèlerinage aux sources, l’artiste cherche à découvrir les sources des rivières, des fleuves et celles invisibles, secrètes, comme des sages, des chamans, des poètes, des rêveurs captent les principes de la vie, cherchent le chiffre des choses. Il erre et il contemple. Il découvre des terres privilégiées, des espaces inespérés, des lieux inattendues. Il écoute le chant des vents, des vagues de la mer, les êtres et des choses. Il découvre des mythes et des rites variés.

Le pèlerinage interminable de l’artiste est une initiation spirituelle. Il choisit ses périples. Souvent il garde des objets témoins (des feuilles d’érable, des pierres, des branches, des pots, des graines…), des traces conservées, des vestiges, des signes de la mémoire. Il cherche la quête de l’âme et de l’art dans un parcourt permanent, par la marche, par la recherche des chemins. Ses structures définissent les sites spirituels d’une géographie. L’artiste se métamorphose tout en modifiant l’espace.

Dans le «temps du rêve» dont parlent les aborigènes, dans le temps primordial des mythes, dans les voyages imaginés des divinités ou des ancêtres, l’artiste trouve son nomadisme spirituel, réglé.

Au cœur de l’Australie, sur les terres rouges et sèches, parsemées des buissons maigres, des centaines de pistes invisibles s’entremêlent. Pour les Aborigènes, pour ces rêveurs du désert, une piste parcourt mille kilomètres, balisée par des collines, des rochers, des arbres isolés, des sources : les sites sacrés d’un itinéraire. Les Aborigènes évoquent alors le voyage d’un peuple ancestral qui, dans l’espace-temps du Rêve, traversa le désert, avant de se transformer en étoiles. Ils peuvent chanter, danser, peindre les Rêves: le Rêve Emeu, le Rêve Perruche Verte, le Rêve Etoiles, le Rêve Bâton à Fouir, le Rêve Varan…Dans le temps du Rêve( «the dream time»), chaque évènement des ancêtres est marqué par une trace dans le paysage(5).

Au Japon, deux types de pèlerinages se pratiquent (6) : l’un, venu de Chine, est à rattacher au bouddhisme; l’autre, plus spécifiquement au Shintô. La pratique est un cheminement, un circuit de dévotions. Les circuits les plus populaires sont celui des «quatre-vingt-huit sanctuaires de Shikoku», le plus ancien et le plus fréquenté, et celui des «trente-trois sanctuaires des Provinces occidentales» (au Shikoku).

Le pèlerin parcourt les quatre-vingt-huit sanctuaires du Shikoku : 1240 kilomètres, au moins une quarantaine de jours. Il porte des cartes entre deux planchettes qu’il dépose à chaque station de son périple, pour attester son passage. Le pèlerinage constitue une géographie spirituelle, la reprise du parcours de Kôbo-Taishi (né en 774), un saint du bouddhisme japonais.

D’une autre façon, l’artiste invente, dans tel territoire qu’il a choisi, un cheminement spirituel. Il crée un pèlerinage modeste, discret, un parcours. Dans l’île de Shikoku, dans la forêt, il conçoit cinq installations en l’honneur de cinq villages, en rapport avec l’eau, le feu, la terre, le bois et le métal. Ces sites sont destinés aux villageois, aux adolescents qui sont des élèves de l’artiste, aux voyageurs. Devant les installations, certains se réunissent, boivent du saké et d’autres se reposent ou méditent.

Dans un paysage, chaque installation de l’artiste est une grande forme qui évoque parfois un immense oiseau; parfois la voile d’un navire ; ou bien une échelle qui se dresse de la terre au ciel ; ou aussi un rideau flottant ; ou encore une maison schématique ; ou peut-être un papillon ; ou aussi une croix ; parfois la silhouette épuisée d’un humain ou d’une divinité… La grande forme est le signal qui indique un terrain élu, un lieu de tension et de recueillement, un pôle d’énergies.

Les divinités de la montagne

Dans la région de la Montagne des divinités (Kami-yama), l’artiste sculpte, en 2000, une construction dressée, proche d’une architecture japonaise, un arbre qui serait l’axe du monde. La région serait bleue ; le ciel, les rochers, les arbres sembleraient bleus. L’artiste rencontre alors des pèlerins habillés de blanc, des prêtres, des sages.

L’artiste célèbre, glorifie les kami, les esprits divin. D’après la tradition, les Kami seraient au nombre de 88 millions. Ils sont vénérés, en particulier, dans des sanctuaires et ils peuvent habiter des sites naturels ; ils protègent les montagnes (yama no kami), les champs (ta no Kami), les chemins (sae no Kami)Dans la conscience japonaise, la terme yama (montagne) ne désigne pas tant les élévations de terrain, montagnes et collines, que les zones non défrichées par opposition aux terres cultivées, soit l’ensemble des zones forestières, souvent montagneuses, où on pratique la chasse et le bûcheronnage (7). Un rite inaugural consiste à aller couper solennellement en montagne pour la première fois de l’année. C’est l’accueil du dieu de la montagne descendant dans la rizière à la veille du début des travaux agraires. Les paysans choisissent un arbre convenable comme support symbolique du dieu de la montagne et ils font des offrandes d’alcool de riz et de gâteau , avant de couper les petites branches de l’arbre ; ils y accrochent un symbole de papier ou de bois.

Et, au début du bûcheronnage, les bûcherons «déterminent le bon arbre», récitent une formule pour s’attirer les bonnes grâces du dieu de la montagne. Sans doute, pour sculpter, l’artiste «détermine le bon arbre».

La montagne est le territoire de la divinité. Elle se loge souvent dans les arbres fourchus ou dans les pierres de forme bizarre. Les arbres et le gibier lui appartiennent. La divinité peut être une femme, un homme, un couple, un loup, un serpent, un renard, unvieillard borgne et unijambiste. Son culte est aussi multiforme que son aspect.

Traces sur le sable

Sable… Au Japon, pour la fête du dieu du sol. La pureté, l’absence de toute souillure est une condition du bon déroulement des rites et le sable ramassé sur la plage est dispersé devant et dans la maison, afin de purifier les lieux et leurs habitants…Parfois, un autel pour certains défunts consiste en un terre-plein parallélépipédique, rectangulaire, en sable de rivière aux quatre coins duquel on place des bambous décorés de feuilles de badiane de Chine. Le sable est maintenu par des bambous placés horizontalement et fixés aux piliers d’angle.

Le jardin du monastère Ryoan-Ji à Kyoto est un «jardin sec», recouvert de sable, meublé de quinze pierres, clos de murs. Les myriades de grains de sable symbolisent le vide entre les quinze rochers. Le sable est proprement balayé peut-être par les moines et les archipels des pierres sont, en quelque sorte, auréolés.

En 1948, dans le Sahara, Jean Dubuffet est fasciné par le sable du désert. Restent les empreintes des pieds nus dans le sable; elles font trace ; puis rien ; elles sont effacées par le vent.


Gilbert Lascault(octobre 2001)

(1) Cf. François Cheng, Vide et plein (le langage pictural chinois), Seuil, 1979.(2)Mircea Eliade, Images et symboles (essais sur le symbolisme magico-religieux), Gallimard, 1952(4) Laurence Berthier-Caillet et coll., Fêtes et rites des quatre saisons au Japon, PDF, 1981(5) Cf. Barbara Gowczewski, Les rêveurs du désert, Plon1989(6) Les pélerinages, Sources orientales, Seuil,1960(7) Laurence Berthier-Caillet et coll., Fêtes et rites des quatre saisons au Japon, P.O.F., 1981







2005. María Alos + Nicolás Dumit. MUSEO PEATONAL (technical data)


The Pedestrian Museum requires a showcase type of space with access to the street, located in a busy public or commercial area. The showcases’ size could be flexible (preferably the size of a shop window) for part of our philosophy is to adjust to any given space and integrate it in an already existent context. The showcases’ interior will be structured as a “white box”, emulating the typical white gallery.

In the external part of the showcase a logo will be installed, with the museum’s philosophy, made in adherent vinyl, easily removable. The audio (with the same text) will be amplified towards the exterior through two computer horns connected to a CD player, located inside the space. For security reasons, these horns will be removed during the closing hours.


Numbered donation sheets (2000 sheets)1000 plastic baggies (ziplock) sandwich size1000 cork studs1000 small labels for laser printingCD PlayerHornsVinyl posters2 UniformsDry cleaner’s for uniformsPaint and other materialsElectric wiresWork assistantsInstallationSpecific space






2005. Óscar Lloveras. S/T (theoretical data / Óscar Lloveras text)

 Je travaille dans l’intimité de mon atelier, où je conçois mon œuvre et l’ensemble de mes projets, ce qui me donne une vision des choses.

C’est à partir du dessin que je découvre mon écriture. Elle se traduit en espace, en couleur, en volume.Les matériaux m’inspirent par leur force, un langage plastique. J’ai pu faire émerger par exemple par le papier, une image qui est propre à sa constitution. J’ai pu mettre en situation des compositions spatiales avec le matériel , lui donnant d’autres possibilités à l’égard de la lumière.C’est finalement dans une composition que j’ai installée dans la forêt de Meudon que j’ai vu l’orientation de mon travail. Mes structures en papier et cordes se sont adaptées très positivement dans un environnement naturel.

L’utilisation du papier dans mon travail a toujours été présent. J’ai expérimenté différentes façons d’utiliser la couleur et la matière sur toutes qualités de papier. J’ai éprouvé un amour pour chercher des papiers sur mon chemin et les collectionner, les découper, ou les acheter : le papier journal, le papier dont on se sert pour envelopper le pain, les pizzas, le papier de soie. Des papiers divers, des plus pauvres au plus riches.

Par la façon d’utiliser les matériaux, on peint déjà par le choix, on parle déjà (Toroni).Par exemple, durant la guerre du Golfe, j’ai pu obtenir des fax de guerre contenant les nouvelles provenant de là-bas. J’ai construit une série de formes très aériennes entre des voilages ou des essais aéronautiques, ou des blasons.

Par l’assemblage d’autres matières, tels que le bois, la pierre, le métal, j’ai pu aller vers une évolution constante, qui me pousse à faire intervenir aussi des matériaux manufacturés, toujours à l’état brut.Par une vision sur la mer du Nord, en rapport avec les volumes produits par la lumière sur les terres, je me suis déplacé pour travailler sur les régions du Nord de la France et la Belgique.

Le contraste entre la ville et la nature m’a toujours touché. Il génère en moi la douleur et la joie de me sentir entre ces deux mondes.Dans le passé, j’ai eu cette sensation dans le Nord de l’Italie où j’ai travaillé la pierre. La force de la terre, le paysage, la lumière se transforment subitement dans l’urbanisation. Je me rappelle de jours de travail sur les collines en regardant la mer au fond du paysage, à droite, en contre jour, les usines, au pied d’une rivière splendide et polluée. Je faisais la taille de pierre, tout simplement.

La sensation était similaire dans le Nord de la France alors que le paysage était autre. Les terrils (faites par les déchets des mines), les villages abandonnés des ouvriers et plus loin, le champ, pur d’une lumière éclatante comme chez les peintres flamands. Et tout en tombant par la Belgique sur la mer, la lumière se diffuse sur les épaisseurs d’un brouillard latent.

Un passé fort, une terre forte où les guerres ont laissé des traces.Mon atelier dans une ferme abandonnée était un quartier anglais. Au loin les mines, les immigrés polonais, la richesse, la pauvreté.Dans mes reconnaissances de terrains, j’ai collecté aussi des objets et des matériaux qui ont fait mon oeuvre : les pierres noires, les tissus blancs des usines, les cordage, les métaux, se sont intégrés dans mes compositions .

J’ai conçu des installations avec des pierres noires. J’ai aussi assemblé des pierres avec du fil de fer en constituant de grandes installations spatiales suspendues.

Comme dans le déplacement du regard, le champ visuel se prolonge dans la mémoire, la nature dans un parallèle de vie infinie se transforme dans les structures du mouvement. Il est gravé dans chaque millimètre d’existence, le passage d’une trace sur une autre. Comme dans la croissance d’une plante, on retrouve sa structure évolutive, « le tout » est l’évidence d’un ensemble géométrique divin qui se déplace dans l’illusion du temps. Les nervures d’une feuille, un coquillage, le zénith céleste ; on pourrait dire que l’art représente dans le fond abstrait de son essence, les structures parfaites de la pensée par la pureté de l’inattendu, comme les traces que le temps accumule dans tout.

Dans l’introspection des années d’analyse des structures de la nature, dans le travail constant pour faire renaître au plus profond des sens ce qui est en moi et qui par la force de la pensée se traduit en langage, je trouve la vie qui commence.

J’ai travaillé pour la première fois en conscience sur le sable, sur les champs. Je suis retourné pour constater l’action du temps sur ce qui devenait autre chose. Le travail partagé entre ce qui réveille par mon action sur la matière en confluence avec les phénomènes naturels.

Sur mes installations spatiales avec les pierres noires, j’ai pu rendre intemporelle cette action car elle a été exposée plus tard dans le Centre d’Art Contemporain « Frontières » dans la région du Nord.

Le contact que j’éprouve avec l’espace, l’action de ma pensée sur les objets ainsi qu’un partage sensible, actif avec les phénomènes de la nature tels que le vent, la pluie ou les marées, m’ont lié plus tard à d’autres expériences plus poussées encore sur ce langage.

Depuis mes premières expériences en Italie avec les grandes pierres que je trouais et que je suspendais ensuite dans la forêt, j’ai du passer au plus rationnel dans mon atelier en cherchant des solutions pratiques.

Comment faire pour trouver dans la ville une symbolique visuelle qui représente ma pensée ?Mon atelier au troisième étage m’empêchait de travailler avec des matières lourdes, (les portes et couloirs me limitent à des réalisations d’un mètre soixante de diamètre). J’ai pensé à des structures très grandes qu’on puisse regarder de loin comme des signes situés dans des lieux publics qui nous attirent, pour penser, discuter autour.Alors, j’ai découvert un système de cordage qui me permettait d’accéder à de grandes dimensions. J’ai utilisé du papier qui, renforcé par des structures en cordage, devenait très solide. Finalement, avec des structures légères je pouvais trouver la densité visuelle de la pierre et sur des dimensions inimaginables.

J’ai appliqué le principe des « structures évolutives » de la nature. Ce qui permet de constituer une composition sur le point de fuite en forme de croix. De cette façon, on constitue une structure qui tend vers un macrocosme avec un noyau de tension qui génère le mouvement. C’est ainsi que j’ai conçu ma première installation dans le Parc de la Maison Blanche à Clamart, par hasard, mais en pur conscience des faits.

Oscar Lloveras







2005. Óscar Lloveras. S/T (theoretical data / Duchène Gérard text)

 What surprises me about Oscar Lloveras´ work is his relation with society, and also with nature. He attempts to erase the duality... a duality which exists between some and the others, or between some and the totality of their own surroundings.

His works are tangible headlamps permanently open to all that is monumental, but also towards the infinitely smallness of a trace, of a small branch found in a notebook of memoirs… memories of a journey written from a glance. The insistence on transmitting all that is produced in the field of vision. A curiosity (openness) which is going to move around within this field.

We can imagine a gesture which moves around a space limited by invisible signs. Later, the gesture is translated into a workshop.

The “ everything goes” idea spells the accident, the surprise; the body frees itself from its support. The metal point stresses and translates that which is grasped through plastic writing. An osmotic relation between the presence of the memory and the reality of the gesture. It is all based on adapting this sum of memories to reality.

It is the reason of Oscar Lloveras´ activity, which penetrates in the places and proposes an observation. The gesture takes place in negligible or monumental way. The physical work, which is so important, participates in that which is physical of the environment and he questions it again. The meeting of a direct relation between that which is observed and what is done: that which is lived in the same place. We could say that the place is adapted to an intruder, which is the work.

The terrain is an obligatory step to erasing the absence, or more clearly, to occupy it. Llovera develops other areas, eliminating the voids left in spatial structures, and terraces this with traces, doing a vertical journey.

Oscar Lloveras is a space adventurer. And his successive journeys happen due to a need to grasp an everything without completing it. The act of creating or making is always linked to pleasure. Pleasure is always present, even though its gesture is monastic. Rays of light cross silence. The standing body leaves a place for the body folded in the workshop.

The diversity of techniques and materials are witnesses to this sensitivity which is produced from the grain of sand to the tree, from the arcade of a church to the stone on the path. The journey of the arcade links the ground with the sky.

Lloveras attempts to relate his experience in plastic with the others. “The shape approaches the being and the being approaches the shape”. His work is in no way innocent, but it produces as are the pages of a book. Communication is crucial in his work... language is predominant. In its permanent movement, it moves towards the infinity of us.

Duchène Gérard





2005. María Alos + Nicolás Dumit. MUSEO PEATONAL (theoretical data)


The Pedestrian Museum is an itinerant institution dedicated to present temporary exhibitions in different areas of New York City and in other urban environments in and out of USA. The museum’s collection comes from the donations that visitors, workers or neighbours give.


Interactive intervention/installation located in the urban environment:

This institution works like an intervention/installation of a specific type that uses busy pedestrian areas; ideally, spaces in buildings that have access to the street, located in public and/or commercial areas of the city. The institution’s interest is to preserve the presence of pedestrians in a specific location due to a collection that is formed once the donators provide the most varied of personal objects, souvenirs and relics. The museum itself materializes together with the objective of the project, during the assembly of the received articles. The donation process is free of charge and the objects are collected, classified, packed and then exhibited. The transactions take place in the street where the museum is installed, taking advantage of the constant flux of people that go from one place to another. This institution’s staff is made up of artists themselves, that are presented to the public (wearing dark blue suits and white shirts) pretending to be curators, guardians of the museum, museologists and installers. In this way, the working hierarchy in cultural organizations is examined.


“The Pedestrian Museum is an itinerant institution dedicated to present temporary exhibitions in different areas of New York City and in other urban environments in and out of USA. The museum’s collection comes from the donations that visitors, workers or neighbours give. The Pedestrian Museum is a physical expression that reflects, through donations, the spirit of the place in which it is located.

The museum is currently accepting donations for this space. Therefore, we invite you to jointly support us, providing an object owned by you. If you wish to remain anonymous as donator, please ask so at the moment of the contribution. For any further information please contact the staff. Every object, from that moment on, will belong to the Pedestrian Museum. Thank you for your cooperation”.


In 2001 the Pedestrian Museum opens its doors to the busy 42nd street of New York, in the heart of Times Square, invited by the Chashama organization. That same year, the institution is transferred for three months to the zero zone, where the World Trade Centre used to be, as a part of Looking In, an exhibition organized by the Lower Manhattan Cultural Council. In early 2004, with the support of the Longwood Art Gallery and the Bronx Council of the Arts, the Pedestrian Museum establishes itself in the Bronx district. Currently the institution is transferring to Mexico City. Invited by MUCA Rome, the Pedestrian Museum will install itself in the University Campus (UNAM) for a month.

We hope to have the opportunity of continuing with our itinerary in other cities, including Madrid, with Madrid Abierto, taking advantage of the flux of visitors that go to ARCO 2005.







2005. José Dávila. MIRADOR NÓMADA (theoretical data)

The idea of this proposal is that participation at the Casa de América is not a piece of work to be mainly observed, but to invest that relation and use the piece of work so that the city of Madrid can be observed from it and the events of its urban daily life can be contemplated.

The aim is that of recognising and using the façade of the Casa de América as a strategic place of great qualities to observe one of the most emblematic urban points of Madrid, as is the Plaza de Cibeles, the paseo de Recoletos and Alcalá street; from a height and visual points which are not usually very easily accessible.

It proposes the temporary construction of (accessible and safe) scaffolding for use by the public in general who will be able to explore the different levels and areas of the structure.

The project is a piece of work which will bring the façade of the Casa de América and surrounding to life through its function and use, modifying the pre-existent relations of the citizens with the place.It offers and proposes a different way of seeing the city and its architecture, a possibility to enter a more active dialogue with the urban landscape of Madrid.The scaffolding covers up and signifies cycles of activity and change. They are sub-used, temporary urban spaces, nomadic viewpoint ( miradores nómadas ) which for a determined period of time offer specific views of the city which could not be seen in any other way, and usually go totally unnoticed.An unnoticed general characteristic of Europe´s large cities is the large amount of scaffolding which stand out on their streets, areas in which they cover a large number of buildings and very frequently, the most emblematic of most historic buildings of the city).Those who go by these areas of scaffolding can only appreciate something similar to the back of a mirror, converting them into places without a place. A building surrounded by scaffolding is usually a visual non-event of which the daily eye usually notices hardly anything.

The production strategy of this piece relates to the character of this programme and its exhibition; it’s made out of materials that can be “rented”, it’s an art work only due to its function and the experiences that it arouses. It’s the result of recycling consumer products. Once Madrid Abierto finishes there won’t be any wasted material, the scaffolding will be dismantled and will continue serving its regular purposes. I consider this piece as an event that provides certain visual, audio and phenomenological experiences, rather than a sculpture of defined, permanent and material characteristics.

Formally the aesthetic of the piece will obey standard construction principles to build and assemble scaffoldings in general.Formed by a group of volumes on different levels and covered by meshes of different colours.






2006. Tere Recarens. REMOLINO (published text)

 Remolino is a turning door similar to those we find in airports. Self-made, it uses the basic necessary materials and the glass has been exchanged for wooden frames and transparent plastic. I will draw a series of drawings on each of the 8 sheets of the door:


In such a way that the pedestrians will have to follow the pictures to see them, but there will also be other pictures following the pedestrians.


If the pedestrians want to see all the pictures, they will have to go around it at least 4 times.


In such a way that the pedestrians will have to follow the pictures to see them, but there will also be other pictures following the pedestrians. 1. IN SUMMER, I FELL IN LOVE WITH CHRIS2. I DESIRED HIM SO MUCH I BROKE HIS SHIRT

Remolino is a turning door similar to those we find in airports. Self-made, it uses the basic necessary materials and the glass has been exchanged for wooden frames and transparent plastic. I will draw a series of drawings on each of the 8 sheets of the door:


In such a way that the pedestrians will have to follow the pictures to see them, but there will also be other pictures following the pedestrians.


If the pedestrians want to see all the pictures, they will have to go around it at least 4 times.


In such a way that the pedestrians will have to follow the pictures to see them, but there will also be other pictures following the pedestrians. 1. IN SUMMER, I FELL IN LOVE WITH CHRIS2. I DESIRED HIM SO MUCH I BROKE HIS SHIRT3. I ALSO HAD A GOOD FRIEND: SERVULLO







2005. José Dávila. MIRADOR NÓMADA (technical data)

Technically the structure will be built with a metallic tubular scaffolding system, (that offers great speed for its assembly and disassembly) made of frames, diagonals, poles, handrails and baseboards, held by anchorages, cramp irons and cantilevers. The stairs to access the scaffolding and to move around can be made of metal or wood and the platforms would be made of aluminium or steel, probably covered with pinewood.

The volumes would be covered by plastic mesh with holes in it that are commercially used in scaffolding.







2005. Henry Eric Hernández García. ZONA VIGILADA ( theoretical data)

 AuthorHenry Eric. 2004/05.

With the collaboration ofDull Janiell, film editor Laura Orizaola, photographer

DESCRIPTIONIn this proposed project, Henry Eric Hernández safeguards one of the fundamental premises of the poetic art of his work regarding creating art interventions in places that he has named as cultural ghettos: individual or group stages (spaces) built on a determined ideology, at a particular time and later transformed until they are forgotten or are overtaken by cultural decadence... to be understood as ideological, economical and social.

This piece of work involves placing two video cameras with different angle movements, which will be handled by three different photographers who will constantly move it around the areas of the museum and record some situations (B/W), previously edited, transmited on one side of the screen, thus reconstructing the place´s environment. Simultaneously, at fixed times, the documentary filmed in La Havana will be screened on the other side of the screen, thus showing the time counterpoint between both security (vigilance) systems.

The project also includes the design and publishing of a poster that will be distributed throughout the city with the following text: El Museo de las Esculturas al Aire Libre/presents /ZONA VIGILADA/a film by henry eric.






2005. Compañía de Caracas. ESPACIO MÓVIL (technical data)

 Our project is based on current photographic images of Caracas in bus stops that are in the axis of the edition and also buses that follow this route. The material to be used is adherent transparent vinyl. Budget:

BUS STOPSDimensionsDepends, around 10 square metres per stop.Usable glass: around 2,20 m high and between 3 – 5 metres long.Publicity window: 1,70 x 1,15 m approx.

MaterialsTransparent vinyl for glass.Day aŠaµ–ight material for the bus stop window. This material is perfectly visible at night without any special lighting.

BUSESDimensionsVariable, around 20 square metres per bus (one side).

MaterialExterior transparent vinyl (called windows), which is a specific material for windows. From inside you can see the outside.

MOUNTING COSTSInstalling vinyl on buses and at bus stops by specialist operators.






2005. Colectivo Tercerunquinto. S/T (theoretical data)

Each of the three projects here proposed seeks to modify urban experience. We have based this case on traffic systems and places that coexist between these systems, such as gardens and green areas. These projects consider analytical arguments that underline the order and approach of the urban system and design. We integrate our projects in this realm, by showing the true nature of a city that is under the constant pressure of social practices that permeate and undermine space, and by trying to modify the urban plan.








2005. Colectivo Tercerunquinto. S/T (visual data)

2005. Colectivo Tercerunquinto. S/T (visual data)




















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2004. Sans Façon. S/T (theoretical data)


Sans Façón is a collaborative practice between an artist and an architect. Our works are defined by their relation to places, incorporating the situation and the qualities of any given environment as an active part of an installation.

We use the interventions as a filter through which one can look differently at a place, Exposing the conditions of this place, the workings, the structure, by the slightest intervention creates a shift that allows the site to be seen anew. We aim to create something that can be celebrated, not for its magnificence but tor what it reveals, what it allows to be seen, enjoyed and thought about: the site. We use interventions as a tool to enrich our perceptions.

«She was te/ling him: "I don't see what you see" and him: "It is possible that I add, I admit it, but the essentiei is in the things, their power to provocate l. .. I. it's indisputable and my sole interest as a guide is to be able to reveal them to you."»Yves Berger, Santa Fé.  

Our proposal for Madrid Abierto is based on the depósito elevado. This building is a very good example of a banal urban object with no pretension, it is technical and useful. It is the kind of structure that passers-by don't look at beca use it is not labelled as worthy, it's just a water tower. But what a water tower and what a setting tor it. Our installation intends to make people look again, not to look at an artwork on the side of it but enjoy and appreciate this emblematic and impressive structure.

We propose to clad the pillars ot the tower with acrylic mirrors. Firstly creating a different experience of this object, the buildings reflected on the pillars present a new reading of the surroundings, the reflections create an ever-changing appearance to the structure.

Furthermore it plays with and expresses the architectonic quality of the building. The reflections create a sort of transparency, the weight of the concrete tank becomes much more present once the holding structure disappears (whilst remembering the unfinished stage the building was in for 7 years because of political turmoil). This big mass of concrete hovering in the air creates a disturbing and uncomfortable vision of the building, this technical construction doesn't seems to fulfil its structural function anymore. The altered aspect of the water tower questions the immutable state of our built envíronment.

The intervention transforms the depósito elevado into a "sculpture" just by renewing temporally the experience of looking at it.

For a period of time the depósito elevado becomes an event. Previously just part of our everyday peripheric observation, it acquires a new existence through memory and imagination once the event has passed.

«Lite itseft has summoned into being this poetic deity which thousands will pass blindly by, but which suddenly become palpable and terribly haunting for those wtio have at last caught a confused glimpse of tt.»Louis Aragon, París Peasant.






2004. Wolfgang Weileder. HOUSE MADRID (proposed location)


house-Madrid will be located at the pedestrian area in the middle of Paseo de Recoletos next to Plaza de Colón. The site is accessible for the delivery of materials.

The light weight blocks can be sto red at a fenced off compound area close to the building site.







Wolfgang Weileder. HOUSE MADRID (technical data)


TECHNICAL REQUIREMENTSAII technical requirements are based on the structural engineers report for house-Madrid from ARUP, Newcastle (see attached copy).

PRINCIPAL BUILDERSR.BAU Limited have agreed to be the principal builders of house-Madrid. R.BAU Limited will carry out all construction and de-construction work of the project. This includes the setting out of the wet course (first course in normal mortar) and the construction of the thin joint block work. Operational and site management, site perimeter and perímeter safety are the responsibility of R.BAU Limited.

Site maintenance, material handling, deconstructing the project and cleaning up of the site on completion of the project are carried out by R.BAU Limited.

R.BAU Limited will ensure that health and safety regulations as applicable to building works are followed by its employees. However the company will not be responsible for ensuring the compliance of other partners in the project or accept liability for the safety of the site except for factors directly attributed to the company's works.

BLOCKSThe blocks required for house-Madrid will be sponsored by THERMALlTE, Birmingham. THERMALlTE has agreed to deliver the blocks to the site in Madrid.


Materials and tools to be organized by Madrid Abierto:- ScaffoldingTwo heavyweight braced scaffolds (height of 6m and ea. 4m width)A scaffolder from Madrid should put up the scaffolding for the workers.- FencingFencing for the storage area and the site- HoistsTwo hoists to get the material up the scaffolding.- An electrical mixing-whisk(To mix the thin joint mortar)- 20 bags of cement and 0.5 tonne of sand(For the first wet course)- A cement mixerTo mix the mortar for the first wet course- 4 buckets- A skip(For the material waste)- 12 timber lintels:Rough sawn timber 25mm x 200mm x 1200mm- damp proof membrane 50cm wide, 50m long4 shovels

Materials and tools to be organized by R.Bau and THERMALlTE:- R.Bau will provide the hand tools, helmets and other misc.THERMALlTE will provide the thin joint mortar.

MADRID ABIERTOMadrid Abierto will be responsible for ensuring compliance of all legal requirements for the construction of the project and should inform the artist and R.BAU Limited in writing, giving sufficient notice of any matter pertinent to the project requiring compliance from our company.

Madrid Abierto will provide accommodation for 7 workers (5 workers, one mentor and one supervisor) from R.BAU Limited and the artist.

Madrid Abierto will provide access to 220Volt power and water. Madrid Abierto will also ensureaccess to the Internet.

Madrid Abierto will organize the waste disposal and the disposal of all used and unused material.

VOLUNTARILY WORKERS FROM MADRIDhouse-Madrid is dependent on the voluntary help of people from Madrid. This forms an important part of concept of the art piece. The helpers should be involved in the building and deconstruction process. For house-city, Newcastle we worked together with the brick laying department of the local college. Ten of their students and two teachers were helping us throughout the four day building periodo Madrid Arbierto would organise a similar collaboration with either a building company or a similar college in Madrid.Used and unused material will be donated to the building college of Madrid. They need to pick up the material from the site and be involved in the cleaning of the site.

MOVIE, WEB-CAM AND TIME LAPSE PHOTOGRAPHShouse-Madrid will be documented with two time lapse movies.

The artist will need access to power and a lockable room nearby to store the equipment.The movie cameras need to be placed around the site according to attached floor plan and photographs.

house-Madrid will also be documented with a live web-cam. The camera needs to be installed close to power and Internet access. (see photographs and floor plan). The artist is hosting the web page for the live web-cam.

The artist will take time-Iapse photographs during the 10-day building period of house-Madrid.Four large format photographic cameras need to be placed around the site according to attached floor plan and photographs.

To mount the install the cameras the artist needs:Heavy weight braced scaffolding parts to support a lamppost and to form a tripod.(see photographs and floor plan)To be organized by Madrid Abierto together with the scaffolding for the building.

Madrid Abierto will organize the permits for installing the cameras according to attached floor plan and photographs.

INFO POINTMadrid Abierto will set up an info-point close to the site. Details need to be discussed.


PLANNINGThe building work on house-Madrid will start on Thursday, 5th of February 2004 and finish on Sunday, 15th of February 2004. The working hours will be 7am - 7pm each day.

The materials will arrive on Saturday, 4th of February 2004.

The site will be cleaned on the last working day, Sunday, 15th of February 2004.











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2004. Wolfgang Weileder. HOUSE MADRID (theoretical data)


Three stories high, house-Madrid will be constructed during MADRID ABIERTO over a period of four till seven days in an public space in Madrid.

Two groups of builders will simultaneously construct and de-construct the two identical shells of house-Madrid during the four days. 6.3 m high shells will be built out of lightweight blocks up to third floor level and juxtaposed with each other in rotational symmetry. The process will be synchronized so that the construction and de-construction is choreographed sequentially: The opposite segments of the two shells will slowly move around each other until bouse- Madrid is completed. Two separate houses will appear on the same spot at the same time.

house-Madrid becomes a structure of constant movement as walls appear and disappear, its spatiality constantly changing and unstable. This will raise questions about the permanence of architectural structures, their relationship to their surroundings, and the nature of housing. Architecture is re-defined as what we might consider to be a permanent structure becomes animated and temporary.

As a work of collaboration, house-Madrid reveals the process, the labour and skill of building as a visible experience. The construction of the monumental becomes an event, a visible and spatial experience of a process in flux rather than the presentation of a finished architectural structure.

house-Madrid explores the relationship between the temporary and the permanent in architecture as well as investigating the boundaries between process, artwork and documentation.

house-Madrid will be recorded using a unique process. Three specially constructed cameras will be positioned strategically around the sculpture. The photographic plates will be exposed for the duration (four till seven daysl to produce time lapsed black and white photographs. The resulting large-scale photographs will eventually reveal the only complete view of the two separate houses, the overlaid shells, of house-Madrid. Additionally, a time-Iapse video and 16mm movie will be made.







2004. Warren Neidich + Elena Bajo. SILENT (visual data)

2004. Warren Neidich + Elena Bajo. SILENT (visual data)


"Silent"  Paseo de Recoletos render

"Silent" road crossing view rendering, Paseo de Recoletos, Madrid









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2005. Raimond Chaves. EL RIO, LAS COSAS QUE PASAN (published text)


Over the past few years I have been basing my work on the preparation of publications with varying levels of public participation in their elaboration and which aim to promote the circulation of those stories, images, ideas, etc. which due to their importance and at the same time the lack of public awareness of them deserve to be known and spread.

Thus, restoring the capacity of people to tell their own experiences to counter these stories to the domineering capacity of the media to create events and set out concrete action to be taken, all in all, to create reality.

A large part of these editorial proposals is the work of processing images, mainly found images, to have a bearing on the willingness to respond from other angles and with other views of that which “is happening”.

Thus, stories, news, echoes, new images, drawings and collage, edited in street newspapers, posters, templates, mural paintings and other supports propose new ways of understanding the world while putting the notions of objectivity, impartiality and the rôles of preparation and receipt of information in doubt.

Why “El Río”?

Apart from the affectionate allusion to the famous sentence of Hercules, there is a dialectic intention in the image of a river to speak of that which we see as inevitable. Reality, that which happens, the event, and this and its recreation and / or construction i.e. that, which we understand as news, are usually presented as inexorable flows.

This is why this project wants to be an invitation to find another way to confront events and the process of reconstruction that takes place when we read them. One can easily be led but if one wants or knows how, one can actually get somewhere.


“El Río, las cosas que pasan” is a project based on the guidelines set out in previous projects (see Background Information at the end of this document) intends on going even further and to be a handmade “newsworthy group” of low intensity divided into three spheres of Madrid´s public life.

“El Río” initially intends to disconcert with an atypical name for a means of communication. Beyond Hangueando –the project it comes from-, El Río wants to respond to the rôle of the media in our society, distancing us from compiling miscellaneous news and questioning it so as to construct a reality through the news.

“El Río” , constituted as a multimedia corporation shall confront the matter from different angles. Firstly considering as news that which a priori is not considered as such, secondly, the news we receive from the traditional means of communications shall be turned inside out and thirdly, great importance will be given to drawing and manipulating images. All ideas of objectivity and a consensus in story telling are forgotten. El Río will convert texts and images into poetic/political tools. El Río is positioned on the thin line between inventing news and analysis events, an unmistakable space which may also be contrary, i.e. that of creating events and that of analysing news. “El Río” will build tables that will always be missing a leg, as while it doesn´t want to be objective nor does it want to tell any “truths”.

Thus each prop in which “El Río” had decided to use, it will attempt to widen the margins of the conventions of use of these. Let´s take a look at the props:

A poster for MUPI “El Río, las cosas que pasan” dispalys a large collage with different texts, testimonies, quotations and images considered relevant regarding events and processes taking place in South America and are hardly covered in Europe. Events which whether local or relevant to certain areas of South America and have consequences for Spain due to globalisation. In this way, MUPI will become a wall “street” newspaper, inviting pedestrians to stop for a moment and read. The poster also publicises the presence of El Río on the Metro channel and the web.

On the programmes of the Metro channel, “El Río, las cosas que pasan” presents simple animations based on drawings and images with the inclusion of short lines of text and a very restrained use of sound. The contents of the animations will have a similar register to that of the posters but will emphasise the most absurd by presenting news that one would not really consider as news. “El Río, las cosas que pasan” poses a third space of presence on the web. A web site created for this will act as a source for broadcasting the project for Madrid Abierto at the same time as containing and showing the contents of the poster and the animations on video. It is planned to work on this more intensely later on


I would like to take advantage of my being a travelling artist who bases his work on gathering stories and the processing of images to offer versions and “news stories” which I believe to be relevant on local matters which have global implications. As a passer-by, citizen and artist, I offer these stories, on the streets of Madrid, to strengthen its public character and my desire to bring these stories closer to everyone.




“El Río, las cosas que pasan” - slogans

The newspaper of that which is not considered news. Analysis if events through quotations, testimonies, drawings and images.

El Río of things that happen to attempt to understand a world that is going to change forever.

With the arbitrated story telling of certain things which deserve to be heard about South America, the Caribbean and other places...

“El Río” on this occasion is a unipersonal project, but may later be worked on as a group.

Why the change from Hangueando to El Río? There are numerous reasons. Firstly, what I consider to be the difficulty to explain Hangueando –the very meaning of the word- to an urban public that needs to be approached with less preparation. El Río is understood, and it is disconcerting, and once said that it is a street newspaper, no further explanations need to be given.

Secondly, that which is mentioned above regarding will, above all, in the case of the posters, which is more newspaper and less miscellaneous. To continue attempting to understand the world and at the same time not declining to intervene in it.

Thirdly, the possibility of creating what I have called the press conglomerate “of the three to the quarter” and to better confront the capacity of the media to construct events and set out what is important... to construct reality.


Hangueando(*) –Periódico con Patas.

(*) Hanguear. Spanglish version of the English verb “To Hang Around” and which is used as synonym of to roam without a fixed destination or set aim in Puerto Rico.

Poster newspaper glued to street walls and shown at exhibitions as well as been sold at public presentations which end in a party, it is exchanged, given as a gift.

HANGUEANDO feeds on many different independent initiatives as is the independent and bright elaboration of images, the capacity to refer to its self-existence, the critical sense of the context and symbolic meaning of certain objects, either due to their usefulness or their symbolic power help us to know the world better. HANGUEANDO is a publication based on the recycling of images and senses, on the spreading of stories and points of view which usually get no coverage in other media and in celebrating the joy of life.

So far, the following posters have been published:

N0 0. October 2002, 59,4x84cm. 1500 copies. Four colours. Published and printed in Lima. Distributed in Lima, San Juan de Puerto Rico, Bucaramanga, Bogotá, Barcelona, Madrid, Rotterdam, Berlin and Ljubljana.

N0 1. April 2003, 59,4x84cm. 1500 copies. Four colours. Published in Bogotá and printed in. Distributed in Lima, San Juan de Puerto Rico, Mayagüez, Bucaramanga, Bogotá, Barcelona and Módena.

N0 2. November 2003, 100x140cm. 1500 copies. Digital printing. Published in Puerto Rico and the Dominican Republic. Printed in Barcelona with the backing of 22a. Distributed in Puerto Rico and Barcelona.

N0 3. Spring-Summer 2004, 70x100cm. Published in Terrassa. Printed in Madrid with the backing of El Perro, Distributed in Spain. (Unpublished on October 20th 2004)

“Coca Crónica” (Rotterdam, 2002) See images at the following link:

“Veni, Sentate, Contame”(Lima, 2003) and “La Pura Oscura” (Bogotá, 2004) on screen processing of journalistic images of the Colombian conflict. –See attached images-

“Mural Candela" (Terrassa, 2004) Mural painting for street view at a place of meeting and political discussion. -See images attached and the following link:








2004. Warren Neidich + Elena Bajo. SILENT (theoretical data)



We are proposing a plexiglass noise barrier/sculpture called "Silent" that would run down Paseo de Recoletos from the Plaza de Cibeles to the Plaza de Colon. This kind of noise barrier has usually been placed along highways as a means of limiting noise pollution for those living near the highway. But urban environments and city dwellers also suffer the effects of insidious noise pollution The purpose of this artwork is to create areas of stillness, silence and quiet within the complex, bustling, congested urban space and to create asculpture which communicates to the other beautiful sculptures already in place.

Instead of being a visual monument linked to the past as the other sculptures in the area are, "Silent" ís about space and process. It is a socially interactive work which creates a place where people can once again enjoy peace and quiet; where they can cogitate, read or engage in intimate conversations at cafés which border the route. This is a normal condition in the countryside where there are many places in the forest or the field in which aman or woman can enjoy such peace but in the city and in places where the urban environment has been reduced and compressed. Spaces such as the one we would like to create are limited, fragile and precious. We want to make this piece as a gift / artwork to the people of Madrid as an act of generosity to improve the quality of their lives , an ephemeral gesture.

Noise Barriers, as the name implies are barriers constructed to deflect dissonant sound waves coming from the interaction of the automobiles with the highway. As highly industrialized nations like those of the European Union out grow their available land mass, marginal spaces along motorways and railroad tracks have begun to be developed for living. Domestic suburban communities have sprung up in these spaces and created new strategies and solutions to counter certain characteristic distasteful qualities like air and sound pollution. Noise barriers are one such recent invention. But the city is also a place where this kind of noise pollution exists. Our project is fundamentally a redesign, reimplementation and relocation of an already available industrial artifact from its primary site along the highway to one embedded in the urban infrastructure and contiguous too a busy thoroughfare, the Paseo de Recoletos. It is a recontextualized readymade configured to align itself with an urban plan to redefine it as a less sibilant place while at the same time creating an artwork as a weaving gesture of pure translucency.

But there are other levels of discourse that act subliminaly yet are just as important in defining the social, politícal, historical and psychological relations of our project which must be addressed. As mentioned before this work of public art will be deeply connected to people who see and interact with it. Its reiteration of the urbanscape will create metaphoric and analogic meanings as a social sculpture which must be crossed and dealt with. This reiteration is visual, acoustic and physical. First its transparency will frame certain scenes anew giving certain structures greater atlention whilst simultaneously decreasing the presence of others. Secondly, urban planners andarchitects who for so long have been part of a culture of spectacle and phaticity are now designing structures to decrease stimulation.

We are all being over stimulated by the random sounds of our technologic culture and need some peace from it. This work of art decreases sound and its random brother noise. Finally, it abruptly starts and stops at pedestrian crossways and these sites are a kind of stage for the reenactment of a crossing that refers to the works proximity to the Christopher Columbus Monument. We are also interested in the way these sound barriers operate in spaces of indeterminacy separating the nomadic culture of the highway from the pristine domesticity of sedentary life; as if the barrier was impenetrable to sound but permeable to other forms of information allowing these very diverse and different cultures to interpenetrate forming morphologies of hybridity. I think that in our changing, fast paced, global world this type of analogous hybridity forms an important analogy for how other very diverse cultures based on very different discourses might intermingle and mutate.

Especially in their most recent manifestation as transparent plexi-glass sheets these sound barriers begin to operate as metaphors of openness as they make it more and more possible for these two extreme but necessary forms of living to coexist in close proximity creating new possibilities a kind of third space, to emerge. We must atso considers this works ties to past sculptural experiments and we can not help but remark on the uncanny morphologic similarities these structures have to the sculptures of Richard Serra with which they also share strong perceptual, phenomenological underpinnings although its emphasis on beauty and its socially positive message are very different concerns then those that interested him.

Together these deeper levels of meaning noat up to interact with the materialist underpinnings of this physical sculpture set in the real, physical world. But by reading the structure in these many ways the work becomes metaphysical and immaterial.









2005. Óscar Lloveras. S/T (published text)

 What surprises me about Oscar Lloveras´ work is his relation with society, and also with nature. He attempts to erase the duality... a duality which exists between some and the others, or between some and the totality of their own surroundings.

His works are tangible headlamps permanently open to all that is monumental, but also towards the infinitely smallness of a trace, of a small branch found in a notebook of memoirs… memories of a journey written from a glance. The insistence on transmitting all that is produced in the field of vision. A curiosity (openness) which is going to move around within this field.

We can imagine a gesture which moves around a space limited by invisible signs. Later, the gesture is translated into a workshop.

The “ everything goes” idea spells the accident, the surprise; the body frees itself from its support. The metal point stresses and translates that which is grasped through plastic writing. An osmotic relation between the presence of the memory and the reality of the gesture. It is all based on adapting this sum of memories to reality.

It is the reason of Oscar Lloveras´ activity, which penetrates in the places and proposes an observation. The gesture takes place in negligible or monumental way. The physical work, which is so important, participates in that which is physical of the environment and he questions it again. The meeting of a direct relation between that which is observed and what is done: that which is lived in the same place. We could say that the place is adapted to an intruder, which is the work.

The terrain is an obligatory step to erasing the absence, or more clearly, to occupy it. Llovera develops other areas, eliminating the voids left in spatial structures, and terraces this with traces, doing a vertical journey.

Oscar Lloveras is a space adventurer. And his successive journeys happen due to a need to grasp an everything without completing it. The act of creating or making is always linked to pleasure. Pleasure is always present, even though its gesture is monastic. Rays of light cross silence. The standing body leaves a place for the body folded in the workshop.

The diversity of techniques and materials are witnesses to this sensitivity which is produced from the grain of sand to the tree, from the arcade of a church to the stone on the path. The journey of the arcade links the ground with the sky.

Lloveras attempts to relate his experience in plastic with the others. “The shape approaches the being and the being approaches the shape”. His work is in no way innocent, but it produces as are the pages of a book. Communication is crucial in his work... language is predominant. In its permanent movement, it moves towards the infinity of us.

Duchène Gérard







2004. El Perro. VIRTUAL DEMOLITION MOBILE (visual data / draft + related work)

2004. El Perro. VIRTUAL DEMOLITION MOBILE (visual data / draft + related work)













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2005. María Alos + Nicolás Dumit. MUSEO PEATONAL (published text)

 The Passer-by Museum is a travelling institution which organises temporary exhibitions in built up urban areas. The museum´s collection comprises objects donated by those who visit it, or by people who work or live in the area in which the museum is set up at any particular time.

The aim of the institution is to preserve the physical presence of the pedestrians in a certain location through a collection which constantly comes together and grows as the donators bring a personal belonging to add to it. The museum, as such, materialises into a museum during the assembly of the acquired objects. It is free to donate objects, and the donated articles are collected, listed on an inventory, packed and then put on exhibition. These transactions (donations) take place on the street where the museum is situated, thus taking advantage of the constant traffic of pedestrians who are going from one part of the city to another. The personnel of this institution is made up of artists who present themselves to the public, dressed in navy blue suits and white shirts, acting out the rôles of curators, museum guards, museologists and technicians. Thus, the actual labour hierarchy of cultural organisations is on show.

To highlight its institutional image, The Passer-by Museum uses a didactic text and cassette to inform the potential donators of its philosophy and how it offers its services.


“The Passer-by Museum is a travelling institution which organises temporary exhibitions in different areas of a city. The museum´s collections come from donations from people just like you, those who visit it, work or live near the museum´s location at a particular time. Through the donations collected, The Passer-by Museum is the physical expression of the spirit of the district it´s located in. The museum is currently accepting donations for this space. This is why we ask you to join our effort and contribute by donating any personal object you own. If you prefer to remain anonymous in your donation, please state this when giving your contribution. For any further information, please don´t hesitate to contact the institution´s personnel. All objects donated to the Passer-by Museum shall become the full property of the same. Thank you for your cooperation”.


The Passer-by Museum, founded in 2002, opened its doors on 42nd Street in New York in the heart of Times Square. That same year, the institution moved to the zone of the disappeared World Trade Center for three months as a part of “Looking In”, an exhibition organised by the Lower Manhattan Cultural Council. In early 2004, with the backing of the Longwood Art Gallery and the Bronx Council of the Arts, it set up in the Bronx for two months. During August and September 2004, The Passer-by Museum/El Museo Peatonal, moved to Mexico City where it set up in various different locations of the UNAM University Campus(Universidad Nacional Autónoma de México), sponsored by the UNAM Visual Arts Department and the MUCA Rome.









2004. Bubble Business. EMANCIPATOR BUBBLE (proposed locations)

2004. Bubble Business. EMANCIPATOR BUBBLE (proposed locations)



We believe that a public space intervention is an interaction with the context and, most of all, the people and their daily worries.

So for MADRID ABIERTO, EMANCIPATOR BUBBLE wants to present itself as a container information stand (location must still be determined) in which to present a product to pedestrians in different ways (web, model, chewing gum, notice-board...), at the same time as we collect information to open.

There is a possibility (according to the budget or the option of establishing some type of agreement), for example, with the use of billboards and promotional video in some of the local televisions or in the subway TV, etc.










2005. Compañía de Caracas. ESPACIO MÓVIL (theoretical data)



Project Mobile space

Project’s Authorship La compañía Caracas (founded in April 2004) formed by Ángela Bonadies and Maggy Navarro)Manager We will intervene in the artery of Paseo de la Castellana and Paseo del Prado with photographic images placed in bus stops and buses that follow that route.

Subject of the interventionUrban photographs of Caracas

MaterialsAdherent vinyl for stops and buses. If possible: durantrans Day and night for spaces where adverts are usually stuck

“…cuando pienso en algo, de hecho, pienso en otra cosa. No se puede pensar en algo más que pensando en otra cosa. Por ejemplo, usted ve un paisaje que es nuevo para usted, pero es nuevo para usted porque lo compara en el pensamiento con otro paisaje antiguo, que ya conoce.” Jean-Luc Godard

Referring to Godard´s quote that opens this project, its aim is to create a link between the city involved, Madrid, and the South American city of Caracas through a series of colour photos placed at bus stops and on buses covering the routes on the Madrid Abierto axis.

Espacio móvil plays with the meanings of “circulation” and “mobility” in an urban sense, i.e. transport, and a media orientated meaning, i.e. the circulation of information, to create a visual paradox, a disguise, and to think about “the city” through the movement and presence of both.

A modern South American city par excellence, Caracas was a promise for the “future” based on large urban projects and building in the 50´s which reflected times of economic boom. Fifty years later, today, Caracas is a city which is permanently on the move, suffering daily losses, both in its spatial memory and in its urban and technical concepts which sustain its habitability.

The opening of Madrid enables a visual spatial exploration through photographs of the centre of Caracas (current images of its streets, buildings and transport systems) and at the same time to take a more in-depth look at the public character and the critical possibilities of its urban objects (in this case, bus stops and buses), away from the official institutions and the conventional mediums of art. Likewise, it uses the pictorial intervention on buses by the Venezuelan artist, Carlos Cruz-Diez, during the Visual Arts Biennial in Porto Alegre in 1997 as a conceptual precedent.

La Compañía de Caracas was born from the interest in all that is urban and the need to record old and new phenomena which define “the city”, and from a special interest in our city of origin which is suffering an essential contradiction and is defined between archaisms and the new, between that which is traditional and that which is technological, between a state of permanent mutation and unchanging characteristics.

In the images we show different examples – not definitive – of our intervention, whose spirit is defined between “Venezuela how nice it is” and “Ocaso retirement”, sentences that can be read on the buses that work as alibis.







2005. José Dávila. MIRADOR NÓMADA (visual data)

2005. José Dávila. MIRADOR NÓMADA (visual data)


 PRELIMINARY STUDY. Sketches for the scaffolding proposal.


PROPOSAL. Volumetric view of scaffolding in which the public will be able to walk around and observe the city.

RELATED WORKS. Interior and exterior view of a similar project done in the past for the Camden Arts Centre in London, 2001









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2005. Henry Eric Hernández García. ZONA VIGILADA (proposed location)

2005. Henry Eric Hernández García. ZONA VIGILADA (proposed location)



Outdoor Sculpture Museum in Castellana (pedestrian way under bridge).


Zona Vigilada reconsiders the counterpoint between two specific cultural spaces with the relentless view as a controlling event in our acts, be they private or public. The first chosen stage is the Museo de las Esculturas…; the second is a documentary filmed for this project in Cuba. It questions vigilance (through personal testimonies, archived images and images taken with cameras in this place) as a means of support and persuasion for maintaining power. Hence, in the first stage chosen, we see his interest in recontextualizing this strategy of survival of status as a “museum piece”.








2005. Henry Eric Hernández García. ZONA VIGILADA (technical + visual data)

2005. Henry Eric Hernández García. ZONA VIGILADA (technical + visual data)



Build a screen with a sound outlet between the two columns that are located in the centre of the sidewalks –just under the bridge –, route of major pedestrian traffic.

The size of the screen will be of 200cm x 450cm. I am interested in installing a screen made of strong synthetic material, attached to the columns with tubes (like scaffolding tubes).

Install two video-projectors, one in front of each side of the screen. One will project the images of the first space (B/W) and the other, the images of the second space (full colour).

The cameras will move on different angles of the Sculpture Museum and over the bridge, connected to a computer (placed also around the museum) and one of the video-projectors.



- Install a screen with different sizes according to the space and the sound outlet:- Install 2 video-projectors with accessories, one of which has to be connected to a DVD player; the other to be connected to the computer.










2005. Rebekka Reich + Anne Lorenz. TAXI MADRID (theoretical data)

2005. Rebekka Reich + Anne Lorenz. TAXI MADRID (theoretical data)

To return to a place where we stayed in the past is well possible, but to return to a moment, which we experienced in the past, unfortunately is not. Dr. P. J. Zwart “Het Mysterie Tijd”

WHATTaxi Madrid is a mobile public art intervention addressing issues of perception and the logic of memory. Equipped with stories, sounds, objects, smells and other memorabilia, 10 taxis will serve the main axis of Paseo de la Castellana, Paseo del Prado throughout the duration of Madrid abierto, transporting their passengers into someone else’s mind and view of Madrid from a different perspective: That of the ex-patriot.

WHYHaving lived in Madrid ourselves, respectively 10 and14 years ago, we were interested in how our memory of the place works. What stays vivid? Is it locations in relation to events, to smells or to certain colours or atmospheres?

A mixture of stories and descriptions came to mind and comparing them to the current state of the city a lapse between memory and reality arises.

AIMWe are interested in exploring how the outsiders view* of Madrid works in the current situation andhow a confrontation with someone else’s view can make us see the place we think we know so wellwith different eyes. The aim is to catch the inhabitants of Madrid off guard, unprepared and abductthem for a short amount of time from their everyday business.

TAXIA taxi is not just a means of transport but also an enclosed private space one enters for a certain amount of time:an ‘in-between-space’, a ‘time-out’. Much like in the cinema there is no way of escaping, other than stopping the car, and as such it serves as an interesting platform for a public art intervention. For Taxi Madrid we use this confined space and time to confront the passengers with a reality different to their own.

HOW*By interviewing 10 former inhabitants of Madrid, who now live in different locations all over Europe, we devise 10 taxis dedicated to these people’s memories of Madrid.

The passengers are not briefed that the taxi they are entering is part of an art project, but will notice once they are on their way, that things are slightly different to their normal taxi trip. Maybe a musky smell of cologne is in the air and a ticket to the opera from 1960 lies on the back seat. All of a sudden the music to that opera starts playing through the radio and from the head-rest comes the voice of a lady talking about what she was thinking about when she walked down Paseo de Recolletos one night, when an exhibitionist came running towards her…

When paying for the taxi trip the passenger will receive a receipt with the following information:- The name of the person, whose story he or she just witnessed- The place where he or she currently lives- The date when they left Madrid

PUBLICAs such Taxi Madrid hopes to become a talking point for the duration of Madrid Abierto for the artpublicand a broader public alike. The project works with a sense of mystery or mythology, as thelikelihood to enter one or more of the taxis is quite random, and for many members of the public, theexperience will be unexpected.

The memory of the ex-patriot becomes part of the lived presence of a taxi user from Madrid andtherefore part of his or her own memory.







2005. Raimond Chaves. EL RIO, LAS COSAS QUE PASAN (visual data / related work)

2005. Raimond Chaves. EL RIO, LAS COSAS QUE PASAN (visual data / related work)

Support for the public reading L'UnitàModena, Italia 2003

Hangueando in Venecia neighborhood, Bogotá, Colombia, April - May 2003     Hangueando in Cerro, Naranjito, Puerto Rico, October 2002




Hangueando, "newspaper with legs" nº 1,2,3








2005. Óscar Lloveras. S/T (visual data + videos / related works)

2005. Óscar Lloveras. S/T (visual data + videos / related works)


















KAMIYAMAla Montagne des DieuxIchinosaka, Japón, 1999Installations sur les chemins 


















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2005. Simon Greenan + Christopher Sperandio. SOY MADRID (visual data / related works)

2005. Simon Greenan + Christopher Sperandio. SOY MADRID (visual data / related works)



Sample from a recent Grennan and Sperandio collaboration with young people as published in the Battle and Rye Observer.For more information visit








2006. Lorma Marti. BLEND OUT (visual - technical data)

2006. Lorma Marti. BLEND OUT (visual - technical data)














With the progress of the project, and in collaboration with the organizers and the city, suitable locations would be clearly identified. Any of the following actions may apply to an optimal location: the fencing-in of trees, vegetation and possibly monuments, the deviation or reduction of highly frequented pedestrian crossings and the limitation of prominent views.

The size and materialization of each intervention would then be decided in detail according to setting, degree of interference and space available.

Installations would consist of building scaffolding and fabrics, security fences and screens. These are all easily installed with the minimum effort. For nighttime illumination with construction site-specific equipment (safety lights) we would need access to electricity supplies.

Most important of all, the sites would need to be set up over night without any previous indication, nor information of what will happen and under whose responsibility.







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2006. Gustav Hellberg. PULSING PATH: AMBIGUOUS VISION (technical data)


- A chosen segment of street lamps is altered so that the light pulses in a slow cycle.

- If halogen bulbs are used in existing street lamps they have to be changed to normal light bulbs. Lamp bulb effect (watts) depends on effect on existing lamps. Light bulbs need a higher effect number, around 300-400 W to create the same light effect.

- Dimmer control unit connected to the street lamps circuit series.


- Connect dimmer control unit to the selected row of lamps, needs to be done with official electrician. The dimmer unit is a common unit with European safety standards, has its on fuses to eliminate all safety risks.

- Change of light bulbs.






2006. Gustav Hellberg. PULSING PATH: AMBIGUOUS VISION (proposed location)


 A chosen segment of street lamps is altered so that the light pulses in a slow cycle. As both Paseo de la Castellana and Paseo del Prado boulevards are lined with trees on some locations a stretch of these streets with trees can be chosen. It is important that chosen location is normally occupied with pedestrians in the evenings, when it is dark. A stretch dislocated from areas where people move is not suitable as the interaction between artwork and people is crucial.

One also has to consider that the chosen area is not only lit by 'pulsing street lights' as that might create an unsafe feeling with some pedestrians. The main goal with the installation is to create a strange happening rather than to create a scary situation. However, both boulevards street lights for the car traffic will leak light into chosen area.

Lights from nearby shops, cafes and other lit paths surrounding chosen area/stretch of lamps also helps up when the light is in its dark phase.

Just to disconnect a row of six lamp post and make them pulse will create the strangeness that is the foundation for this project and complete darkness is not the main goal.

Version I:A stretch of between six and ten lamp posts is given the pulsing effect.

Version II:Lamp posts surrounding a smaller space, a statue or a fountain will be used.

Version III:If possible, a long stretch of lamp posts (between two crossing streets) is given thepulsing effect.





2006. Gustav Hellberg. PULSING PATH: AMBIGUOUS VISION (theoretical data)

 Controlling the street lamps along a path to make its light into a pulsing effect.

A chosen segment of street lamps is altered so that the light pulses in a slow cycle. The normal light is slowly dimmed until the lamps don’t light up the path. After a short while the light rises back to full light effect, thus creating an unexpected situation for passers by, altering the normal function of street lamps.

The oscillating light of the street lamps in Pulsing Path activates the lane and gives it a behaviour separating it from ‘normal’ streets; its expression is transformed and becomes displaced. This raises questions about states of normality and the uncertainty surrounding human existence, even if we have always tried to master the world by structuring it.

The inertia of change, the aging of humans and changes in society, makes it difficult to discover its course or even to be aware of it. Pulsing Path is playing with the awareness of the surroundings, the perception of it and the memory of its appearance. A street and its lighting might not be what you think. Are we always sure where a path is leading? Is seeing an object an evidence of its existence?

Verison I:A stretch of between six and ten lamp posts is given the pulsing effect.

Version II:Lamp posts surrounding a smaller space, a statue or a fountain will be used.

Version III:If possible, a long stretch of lamp posts (between two crossing streets) is given thepulsing effect.



Light - The light makes things visible in the darkLight can be bright, dim or totally absent. In our contemporary world we are used to artificial light reducing darkness. We somewhat rely on it to always be there. What if it suddenly disappears or if it instead of illuminating creates a visual effect fooling your mind, only creating an image?

Path - A path leads somewhere, it stretches from point A to point BThe path can suddenly become vague and hard to find and it can split into two or more forking paths leaving you to choose which route to take.








2006. Gustav Hellberg. PULSING PATH: AMBIGUOUS VISION (visual data)

2006. Gustav Hellberg. PULSING PATH: AMBIGUOUS VISION (visual data)


Oscillating sequence (continuous cycle)Light - dark, dark - light, approximately 30 seconds

























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2006. Nicole Cousino + Chris Vecchio. SPEAKHERE! (visual data)

2006. Nicole Cousino + Chris Vecchio. SPEAKHERE!  (visual data)





PSWAR GalleryAmsterdam, Netherlands







2006. Tao G. Vrhovec. REALITY SOUNDTRAK (visual data)

2006. Tao G. Vrhovec. REALITY SOUNDTRAK (visual data)


REALITY SOUNDTRAK. Amsterdam, 2004



REALITY SOUNDTRAK. Ljubljana , 2003



REALITY SOUNDTRAK. Thessaloniki, 2004







2006. Tanadori Yamaguchi + Maki Portilla-Kawamura + Key Portilla-Kawamura + Ali Ganjavian. LOCUTORIO COLÓN (technical data)

2006. Tanadori Yamaguchi + Maki Portilla-Kawamura + Key Portilla-Kawamura + Ali Ganjavian. LOCUTORIO COLÓN (technical data)



The intervention “phone booth Colón” is very simple and would require the sponsorship of some company, preferably a telecommunication company that would provide us with the equipment, technical assistance and assembly.

Different elements will be open to discussion (how much time, limited/unlimited) as well as the exact terms of use. The knowledge of the booth’s existence among people would be transmitted by spreading a rumour in different cyber cafés around the city.

All these things are open to discussion and negotiation with team o curators as well as possible sponsors.








2006. Tere Recarens. REMOLINO (visual data)

2006. Tere Recarens. REMOLINO (visual data)











2006. Wilfredo Prieto. OUROBOROS (visual data)

2006. Wilfredo Prieto. OUROBOROS (visual data)









06pric0904, 06pric0905

2007. Johanna Billing. YOU DON´T LOVE ME YET (visual data)

2007. Johanna Billing. YOU DON´T LOVE ME YET (visual data)





















07pric1254, 07prtc1255, 07pric1256, 07prvc1258

2007. Alonso Gil + Francis Gomila. GUANTANAMERA (visual data)

2007. Alonso Gil + Francis Gomila. GUANTANAMERA (visual data)














07pric1260, 07pric1261

2007. Ben Frost. POLLINATING THE VERNACULUS (technical data)

2007. Ben Frost. POLLINATING THE VERNACULUS (technical data)


Each prepared beehive will contain a single Mono Speaker and small non directional light. Each Box is sealed except for discreet existing gaps in the construction of the object (This artwork will be WEATHER PROOF and will not require dailydeconstruction in an outdoor environment) which, at night will create a very subtle and yet non-invasive visual effect to accompany the more obvious yet still inherently subtle aural effect. Each Box, placed in a single straight line, separated by a distance of 2m, preferably running parallel to a footpath, wall, or other avenue of foot traffic, containing both speaker and light will chain together creating a single strip of cabling which will require access to a secure (remote) indoor environment where a multi-channel audio interface, basic computer either desktop or laptop*, and amplifier will ‘run’ the piece and feed each channel of audio to its corresponding box.

*note that this computer/interface-based installation could potentially be substituted for 5 single hi quality cd players with a continuous looping function.

The piece will require a single standard power source.

A Very basic figure of proposed installation

All aspects of the production of aural content up until the point of presentation will be self-financed and/or supported by external research funding and in-kind support of the recording studio ‘Greenhouse Studios’, Reykjavik








07prtc1266, 07pric1267

2007. Dirk Vollenbroich. SHORT CIRCUIT (visual data + video)

2007. Dirk Vollenbroich. SHORT CIRCUIT (visual data + video)














07pric1283, 07prvc1289, 07prvc1291

2007. Mandla Reuter. TNEMTRAPA (related works)

2007. Mandla Reuter. TNEMTRAPA (related works)



For the duration of half a year an apartment in the city of Warsaw will be rented. It will be equipped with furniture necessary for a basic living like a bed, a table and some chairs. The appearance of the flat should be as neutral as possible.

The project that is announced as an exhibition consists of the distribution of duplicated keys to as many people as possible in different venues, where we will be staying during the period of the project. This could be e.g. Frankfurt, Berlin or Istanbul.

The aim of the project is, to soften the boundaries between a private apartment and a public space by increasing the number of people having access to the place.

A space then could be defined as a sort of public space as soon as a certain number of keys are distributed/circulating.

The keys are distributed via personal handout together with an invitation card that describes the specification of the project. A large number of people will have the possibility to visit this apartment and get an active part of the exhibition. There is no schedule that would give an insight of how the flat is frequented; therefore the permanent possibility of casual encounters is most likely.

An essential part of the project is the act of the personal handout of the keys and their distribution to various people worldwide. A potential of diverse possibilities are introduced through the speculative dimension that is inherent to the project. The owners of the keys are deciding themselves about the possible varieties.

Another part of the project is seen in the choice of the city. Taking Warsaw as the starting point of the exhibition concept is explained within the geographical coordinates of the city, that demands awareness for the specific location.

Despite of the public/private apartment theme that lays within the project, it shall also function as a kind of social platform, and an offer to people to travel to another place.

Although we will try to do as much as possible ourselves to realise the apartment project, it will be necessary to work together with one of the Warsaw based institutions and people in matters of organisation and maintenance of the flat.

The project in Warsaw was realised with support of Buero Kopernikus, and e-flux.


INVITATION, 2006in collaboration with Alexander Wolff

Central point of the work is the distribution of a set of keys to an one bedroom appartment in Warsaw to various people. As there are consisting as many keys as invitation cards, more or less 500 and there are about as many potential owners of place, the apartment looses it`s quality as a private housing and becomes a kind of public space as for example a museum could be. The apartment is equipped corresponding to its size for one to two persons.

Although the apartment was located in Warsaw, the project in whole was not based on a certain place, as the distribution and personal handout of the keys and invitation card was already an essential part of it and the owners of the keys could wander around with them anywhere with the knowledge having access to an apartment in Warsaw.


HOMEVIDEO,1999in collaboration with Alexander Wolff

A private apartment was rented for one month in Frankfurt City. During this time 5 to 6 movies were shown daily from 5pm to 2am. The list contained about 150 movies which were in a way typical homevideos. The movies were shown in alphabetical order as printed on the invitation – card. The daily program was announced on an answering machine and on a local radio broadcast. The situation in the apartment was dithering between watching videos privately with friends and sitting in an apartment on a sofa with total strangers who got hold of the invitaion card.


à bout de souffle the abyss the addiction lʼage dʼòr akira alice`s restaurant alien hombre lobo americano as tears go by auch zwerge haben klein angefangen malas tierras teniente corrupto the bad sleep well barbwire barfly batman belle de jour bennys video die bettwurst the birds die bitteren tränen der petra v. kant blade runner blowup bodysnatchers bonny & clyde das boot la boum boyz ʻn the hood braindead brazil desayuno con diamantes bullet in the head buster keaton butch cassidy & the sundance kid el cabo del miedo carrie el color del dinero convoy crash darkstar days of heaven dead man el cazador dirty dancing der diskrete charme der bourgeoisie dobermann tarde de perros donnie brasco der dritte mann teléfono rojo volamos hacia Moscú das duell dune der ekel the exorzist face to face fallen angels fargo faster pussycat! kill! kill! femaletrouble the fog fitzcarraldo freaks the fugitive funny games ghost in the shell goldfinger the las uvas de la ira hana-bi heavy traffic hellraiser the heroic trio i hired a contract killer independence day jackie brown la escalera de Jacob kids kika the killer king kong king of n.y. die klapperschlange ein kurzer film über das töten lethal weapon liquid sky living in oblivion lohn der angst lolita mad max man bites dog der mann, der vom himmel fiel el mariachi mein name ist nobody der mieter the misfits moby dick motorpsycho asesinos natos 1984 nostalghia north by northwest the omen once upon a time in america once upon a time in the west outbreak die outsider der pate permanent vacation pink flamingos quadrophenia rambo reservoir dogs rio grande robocop rocky romper stomper rosemaries baby satyricon scarface the searchers secrets and lies short cuts sid & nancy the silence of the lambs der sinn des lebens slate, wyn and me snake eyes sommer der liebe der stadtneurotiker starship troopers starwars stille tage in clichy strange days tag der idioten tanz der teufel taxi driver terminator tykho moon titanic tokyo fist total recall die unbestechlichen united trash die unzertrennlichen violent cop wargames war of the worlds der weiße hai cuando éramos reyes white of the eye wild at heart wilde erdbeeren wild things wir kinder vom bahnhof zoo wut im bauch zabriskie point










2007. Susan Phillipsz. FOLLOW ME (visual data)

2007. Susan Phillipsz. FOLLOW ME (visual data)


FOLLOW ME, 2006Old Garrison Cemetery, Berlin4th Berlin Biennale Photo Eoghan McTigue4 channel surround sound installation









07pric1306, 07prte1309

2007. Dora García. PRAYERS (theoretical data)

2007. Dora García. PRAYERS (theoretical data)

 The “rezos” project is a performance that lasts twenty four hours and is collected in a sound piece that has been presented as a video and audio installation, as well as an Internet website.


For twenty four hours, thirty performers that take turns every 4 hours, each one of them in five specific locations of the city, both fixed (squares, streets, crossroads, bars) and mobile (buses, metro, pedestrian), continuously describe everything they see and hear in the place and moment where they’re at, and this constant description, recited as a prayer, is individually recorded by each performer.



Each performer will have a sound recording device, the type that fits the situation best, the time, sound quality and comfort of the performer.



The recordings made by performers will be added, in a few hours, to a previously designed flash animation, creating an interface that enables the spectator, Internet user or visitor to combine the recordings of each performance at will and create a kind of “polyphonic prayer” that reflects the “kaleidoscopic” complexity of the different places in which the performances were done, a complexity that performers try to describe, but they could have tried to create (according to the idea that a reality is created once we perceive it and describe it, or, as we could say, “recite” it).

This interface can be presented as an exhibition mode (audio and video installation in the exhibition hall), but also, and in any case, in a website that may be checked in any Internet computer.








2007. Dora García. PRAYERS (technical + visual data)

2007. Dora García. PRAYERS (technical + visual data)


First presentation model: the interface/Internet websiteThe interface flash programme will follow the model used in previous works, such as “The Possible”

o “” entering the flash home page, click on download sound”)

a combination of both modes, in which different entrances would have names such as “Gran Vía, 00:00-04:00”“Gran Vía, 04:00-08:00”“Gran Vía, 08:00-12:00”“Gran Vía, 12:00-16:00”“Gran Vía, 16:00-20:00“Gran Vía, 20:00-24:00”

or others like:

“Autobús 27, 08:00-12:00”“Línea 1, 12:00-16:00”“Castellana/ Prado 16:00-20:00”“Cibeles e.a. 20:00-24:00”

they would be combined with each in a similar way as in “The Possible” and could be downloaded like in “”.



 It could be done in a similar way to the one done for “The Possible” --- see picture



- portable sound recording system for performers (mini disc or similar)

- for the presentation as installation: computer (connected to the web or not, depending on the Internet or cd version), video projector, audio installation (amplifier, speakers), mouse system for visitors to interact.










2008. Anno Dijstra. MISPLACING (visual data)

2008. Anno Dijstra. MISPLACING (visual data)




Dear asociacion...

Thank jou for your mail, i do not have images of the project becouse its not ready made, the project is a new step in my work, but also comming from the reconstruction concept, former works are made from that principal, so the new work is conected to these workes. My description of the plan is about the new step. In the way i work i never make any skeches or maquettes, i hope this is not a problem for commity. I hope i understood the question of the Madrid Abierto well, becouse i thougt its about new work. Best regards Anno Dijkstra

I enclosed a photo of a insitu work for the project Moscow - Bernadette of the SMAK in Belgie, ist a work i make special for people at home.











08prtc1845, 08pric1842

2008. Annamarie Ho + Inmi Lee. LA GUERRA ES NUESTRA (technical data)

2008. Annamarie Ho + Inmi Lee. LA GUERRA ES NUESTRA (technical data)


The production of our piece occurs in two steps: (1) the fabrication of the sign itself and (2) the installation of the sign onto the Círculo de Bellas Artes.




Our sign will be made from channel letters, where every letter of the phrase La guerra es nuestra. will be individually constructed in black Plexiglass and lit with LED lights.  Each letter will be 0.6 meters tall, 0.6 meters wide, and 0.5 meter deep.  The letters will then be mounted to a raceway—a long, aluminum channel—which also houses the transformers and the high-voltage wiring for all the letters in a single unit.  The raceway will be painted a color to match the exact color of the building’s façade.  The entire sign, including the raceway, should be approximately 0.6 meters tall, 12.8 meters wide, and 1 meter deep.  Please refer to La_guerra_es_nuestra_04.jpg as a reference.

Our preliminary research in the United States indicates that a sign similar to the one we propose would cost approximately 4000 euros and take three to five days to complete, depending on the vendor. To reduce transportation costs, we plan to have our sign manufactured locally in Madrid.



The raceway of the sign will be attached to the front wall of the Círculo de Bellas Artes. Our research indicates the type of sign we have chosen to make is quite simple to install. First, the vendor manufacturing the sign creates a mounting pattern specific to façade. For safety, we then plan to hire an electrician for half a day for consultation to ensure we use a proper power supply and that we are to code. Next, we would hire a crew to install the sign itself—first they drill holes for hanging the raceway as well as for running electricity through the wall and then they mount the sign using thru-bolts and backer-plates, both which are supplied by the vendor manufacturing the sign.  The actual installation requires two or three men one day to complete.












2008. Todo por la praxis. SPECULATOR (technical data)

2008. Todo por la praxis. SPECULATOR (technical data)





Dedolight spotlight 150wDedolight spotlight 150w with dimmer incorporated. Stand.Manfrotto included

Standard Billboard Chroming Aluminium Trush 3x5

Digitally printed canvas 3x5 micro-perforated finishes

T Speculator

D The intervention takes places by making a promotional poster with images of the character that as if part of a graphic novel, enables a presentation of him. It will also include a spotlight that will project the word Speculator into the sky of Madrid. Emulating the Batman comics in which the citizens of Gotham City used this resource to contact the superhero. We use this same element so the new Speculator comes to the city Madrid.

A 2008

P Madrid Abierto 2008
















08prmc1923, 08prmc3533

2008. Dier + Noaz. ESTADO DE EXCEPCIÓN (proposed location)

2008. Dier + Noaz. ESTADO DE EXCEPCIÓN (proposed location)


EMT Cibeles cornerTo me the ideal place, a visible spot, with paving stones, City Hall…

Small ParkThe sandy floor would be proper, we would have more space. Not very visible.

Small Square in front of the MuseumVisible from moving cars. The floor is not too good. A little isolated










2008. Fernando Llanos. [VI VÍDEO] (technical data)

2008. Fernando Llanos. [VI VÍDEO] (technical data)


 LIST OF THINGS NEEDED TO CARRY OUT THE PROJECT (provided entirely by the artist)

1. 1 harness to position the equipment.2. 3 batteries AG. 12 watts, 18 amperes.3. 1 battery charger 29 amperes (min-12).4. 1 stand for video projector, with movable arm.5. 2 camera stand, (one mobile, one fixed).6. 1 voltage transformer from DC to AC 400 watts.7. 2 horns.8. 1 projector of 2 000 lumens.9. 1 portable DVD.10. 1 portable mini-DV deck.

LIST OF THINGS TO USE IN CASA DE AMÉRICA1. 1 DVD player.2. A video projector.3. A computer to show the website to check info. 4. A vinyl with info and image of the project.

WEIGHTThe whole equipment weighs 15 kilos.


MATERIALSVarious, metal, acrylic and electronic equipment.

LIGHTING CONDITIONSTwo or three mobile spotlights.

LOCATION CONDITIONSIf wanted we can assemble everything on a manikin (check website’s picture). We need an appropriate place. If it’s an urban intervention we could use a store’s showcase, a window containing manikins.









2008. Fernando Prats. GRAN SUR (visual data)

2008. Fernando Prats. GRAN SUR (visual data)


Composition and order in the advertisement’s sentences. Height of the typography 40 cm

    Sin título, 2007. Collage using la Vanguardia newspaper. 45 x 30 cm.


View of installation on the façade 













2008. Fernando Llanos. [VI VÍDEO] (visual data)

2008. Fernando Llanos. [VI VÍDEO] (visual data)














2008. Todo por la praxis. SPECULATOR (theoretical + visual data)

2008. Todo por la praxis. SPECULATOR (theoretical + visual data)


Todo por la Praxis (TPP) was created as a “laboratory for Projects” which produces a variety of aesthetic and cultural projects. TPP is formalized in an area of design and testing of the most efficient cultural resistance techniques, focusing on testing non conventional tools, forms of organization and action, around specific action projects. Their two basic themes are activist artistic practices or opposition practices as a means to represent social conflict in an effective aesthetic manner and artistic practices in/on public space and its repercussions on the social context in which they inscribe themselves. Those basic themes are themselves divided in three research lines that are represented through their alter egos: establishing a symbolic game which defines each of their working areas.


Speculator: Heteronymous of “Todo por la praxis” project. This line of work focuses on the urban concept – public field and the real estate business – the urban theme contains matters that are more felt than comprehended thus the need to unveil the discourses and practices that deal with the structure of the urban environment, focussing on systems of symbolic production, circulation of meaning, social meaning processes. In this sense, every practice that is centred on creating confrontational spaces against ruling structures and to investigate space expropriation strategies will be received as potential projects of SPECULATOR.

The idea is to amplify artistic practices as a means to articulate oneself socially as collective authors of our own experience, witnessing therefore, the construction of confrontational spaces as actors and not mere spectators.

To carry out the job we develop a character (Speculator) with obvious references to comic. This character comes to being as an antihero that incarnates values of the real estate speculator: extortion, blackmail, manipulation, and, of course, speculation. This ironic and symbolic game unveils both urban discourses and practices that prevail in the ruling ideology.

Speculator: Alter ego of Todo por la Praxis, the proposed intervention for Madrid Abierto’s 2008 edition intends to be the presentation of the Speculator character in the city of Madrid.

The project has clear references to the realm of comics. The use of language of comics translates itself in the construction of a character: Speculator, the urban issue, the growing problem of savage urbanism, is the context in which the activity of such unique character inscribes itself. The ironic symbolic game of heroes and antiheroes, present both the draft of the project and in the creation of the character, enables us to perceive contemporary urban practices from a critical standpoint.















08prmc1922, 08pric1921, 08prmc1924, 08prmc3532, 08prmc3533

2008. Fernando Prats. GRAN SUR (technical data)

2008. Fernando Prats. GRAN SUR (technical data)




The advert will be made of a 40cm high white neon pipe:

More or less 23 iron frames will be made, with the complete sentence in neon, therefore it will be possible to hang it from the frame and rest it against the façade of Casa de América.



Technical crew specialized in assembly and disassembly of promotional neon pipes. Electrical current to light the advert.















08prmc1886, 08prtc3523

2008. Guillaume Ségur. WELCOME ON BOARD (technical data)




Plywood, steelDimenssions: 700x600x185 cm


The piece will be made with the help of a carpenter who is specialized in skate park projects. The carpenter will ensure a strong foundation for the structure. It will be built to hold a large number of people.

As far as the transportation needs, the sculpture will be divided into 8 parts which will be connected and screwed together. Reinforcements would be installed for these parts.

For the Madrid construction, in addition to both the carpenter and I, we need 2 more people to carry and to support the different parts of the structure. The supports used for the fabrication will also be used for the project assembly.

The unit must be installed on a flat and preferably smooth surface to guarantee its “skateabililty”.

The time frame estimated for the assembly of the project is one day.












08pric1897, 08prmc1892

2008. LaHostiaFineArts (LHFA). EXPLORANDO USERA (theoretical data)

2008. LaHostiaFineArts (LHFA). EXPLORANDO USERA (theoretical data)

EXPLORING USERAA tourism office for Usera in MadridA more open Madrid is possible


 The district of Usera was created in the last restructuring of the 28th of March 1987. Currently it’s a social framework where three distinguishable cultures coexist, Chinese, Latin and Spanish in a complex adjustment process.

The district is limited by the Praga bridge, Paseo de Santa María de la Cabeza, Fernández Ladreda square and highway 401 (Madrid-Ciudad Real). In this district you find lots of actions by the Neighbourhood Redesigning Programme, finished in 1989 and several residential developments. Currently we are experiencing an opening of Usera towards the city centre (works to burry the M30, cultural activation in the Legazpi area, expanding line 3 until Villaverde).

Its location as natural projection of the artistic axis Plaza de Castilla – Legazpi and its bordering situation limited by the river and, until not long ago, by the M30, highway 401 and the exit towards Toledo road, turn this district into an interesting place for artistic exploration.

In 2004, LHFA presented Madrid Abierto a project entitled Stories of Madrid 2nd part which received an honourable mention of the jury. In that project we intended to create an imaginary, local and sentimental geography full of historic, political and cultural references. When playing the first sequence of the movie Stories of Madrid, you could see a mobile installation – tableau mouvant – of social condemnation and reinterpretation of history and national culture. A double-decker bus would continuously drive around the Cibeles square informing, as if it were a tourist guide, about the political and historical implications of the area. In the convergence of local colour and international tourism appear spaces of ideological nature and the vacuous poses of political, entrepreneurialand cultural leaders are unveiled. It was, therefore, an ironic action that, while travelling around the “typical” Madrid, reflected on the veiled reality behind the local colour of the municipal policy.

Now, in 2007, we present our project, Exploring Usera, to Madrid Abierto once again, focussing again on the strategies that underlie the majority of cultural initiatives that are presented for high positions. We leave the showcase of the Plaza de Castilla – Legazpi axis, within which Madrid Abierto takes place, to go and explore the artistic and tourist possibilities of the district of Usera.

For Exploring Usera we took advantage of the district’s fiestas that were taking place in the first two weeks of September, to do some field work that will be developed and documented during the next semester. The goals are clear: open Madrid up creating new fluxes of information.










08prtc1903, 08prmc1906

2008. Todo por la praxis. SPECULATOR (technical data)

2008. Todo por la praxis. SPECULATOR (technical data)




Dedolight spotlight 150wDedolight spotlight 150w with dimmer incorporated. StandManfrotto included.

Standard Billboard Chroming Aluminium Trush 3x5.

Digitally printed canvas 3x5 micro-perforated finishes

T Speculator

D The intervention takes places by making a promotional poster with images of the character that as if part of a graphic novel, enables a presentation of him. It will also include a spotlight that will project the word Speculator into the sky of Madrid. Emulating the Batman comics in which the citizens of Gotham City used this resource to contact the superhero. We use this same element so the new Speculator comes to the city Madrid.

A 2008

P Madrid Abierto 2008












2009-2010. Iñaki Larrimbe. UNOFFICIAL TOURISM (proposed locations)

2009-2010. Iñaki Larrimbe. UNOFFICIAL TOURISM (proposed locations)


















2009-2010. Laurence Bonvin. DRAFT (visual data)

2009-2010. Laurence Bonvin. DRAFT (visual data)
















2005. Rebekka Reich + Anne Lorenz. TAXI MADRID (Marta / transcription - audio - postcard)

2005. Rebekka Reich + Anne Lorenz. TAXI MADRID (Marta / transcription - audio - postcard)



Name Play Size Duration
Pista 5
7.5 MB 8:14 min

Play the horn, caravan, paseo de la castellana

You see, I remember once, there was a lot of traffic, no.. like always… I was with… I always remember my brother with a mini… he had a tiny mini… and where there… they never respected him, because the car was so small, then the buses always got in front of him… or they through him out of the road for being so small.

We were close to the Corte Inglés of Castellana and a bomb exploded in one of the Ministries, I don’t remember which one, but…

I think one year they took off a lion’s head or something like that! And Cibeles.. was..


I would always want to go… with a tank around Madrid (laughter) to climb over all those cars that don’t respect me..

I don’t know, I escaped a bit from myself, maybe because I was half tormented due to my age.

Musical trip to the past – as if I were looking for something in the radio. First, back to the 60’s and later to – I think I finished in 81 with the song?

Annnnndddd… ah, I have something… now I’m in another time, sorry (she laughs)… I am in a previous era.

It happened in 81 or 82? Well, I do remember this, because they sent us to school, to our house… or, I don’t know if it was the same day, but my feeling was that there was a lot of police when I was getting out of school and beside the school in a little corner a military man must have lived or someone important… I remember having crossed the corner to get the bus and there were… policemen with machineguns, no… then, it was like passing over the corner and finding a machinegun pointing at your face.

School playground – Girls that laugh

…we waited… with some friends… I don’t know for what reason, but we have never been very… practicing, no – but it was like a great event, then we to watch how the pope passed by… ahh, the memory I have of an interminable wait, and we were three or four friends… hmmm… really waiting… and talking… and laughing and then the pope went by and it was a question of two seconds.. he passed by on a car with a, in its umit? And then (she laughs). That was all.

Fast sound of a car that goes from left to right…zzzzoooooommmmm

…I didn’t know what to do… with my life. I didn’t know, I didn’t plan to go to University, didn’t know what.. I was going to do.

(Then, to gain some time)… I left Madrid to study English in USA for six months, six months… and I stayed for seventeen years… (laughter)

The image is of… I don’t know if it’s an image that I have now more than anything, you know, like very dry… very hot and dry…

Crickets at night

Aannnnddd like dusty… I think that’s the image I now have, no, because where I now live is very green, very wet,

Crossfade to Castellana, to I was talking about in the beginning

 Then, my impression of Madrid is like.. there aren’t enough trees….


..........................................................................................................................................................................Objects:American Magazine with a psychologic test, Military style bag

 Photo:Filling the test (magazine – pen – my waterseablue sweater)







05intc3461, 05insc0569, 05inmc0576

2008. Santiago Cirugeda. CONSTRUYE TU CASA EN UNA AZOTEA (visual data)

2008. Santiago Cirugeda. CONSTRUYE TU CASA EN UNA AZOTEA (visual data)

















2008. LaHostiaFineArts (LHFA). EXPLORANDO USERA (proposed location)

2008. LaHostiaFineArts (LHFA). EXPLORANDO USERA (proposed location)


The district of Usera was created in the last restructuring of the 28th of March 1987. Currently it’s a social framework where three distinguishable cultures coexist, Chinese, Latin and Spanish in a complex adjustment process.

The district is limited by the Praga bridge, Paseo de Santa María de la Cabeza, Fernández Ladreda square and highway 401 (Madrid-Ciudad Real). In this district you find lots of actions by the Neighbourhood Redesigning Programme, finished in 1989 and several residential developments. Currently we are experiencing an opening of Usera towards the city centre (works to burry the M30, cultural activation in the Legazpi area, expanding line 3 until Villaverde).

Its location as natural projection of the artistic axis Plaza de Castilla – Legazpi and its bordering situation limited by the river and, until not long ago, by the M30, highway 401 and the exit towards Toledo road, turn this district into an interesting place for artistic exploration.














2008. Dier + Noaz. ESTADO DE EXCEPCIÓN (technical data)

2008. Dier + Noaz. ESTADO DE EXCEPCIÓN (technical data)

The platform will be installed in front of the Fountain of Apollo.

In the grey plan you can see a pink mark that signals the area we would occupy, always centred. The direction of the ladder of the tower would go on one or other direction depending on its closeness to el Paseo of el Prado. (A-B).

The spotlights should illuminate an area of 360º around the tower. C

The warning sign would be facing the fountain. On the other three sides we would paint army identification signs or belonging to a private surveillance company.

If the budget isn’t enough we could use metallic tripods to prevent cars from driving into the tower. The tripods would be two, three or four.










08prmc3518, , 08prmc3519

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. Teddy Cruz. TRÁFICO (thecnical data)

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


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

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

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

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

4. Clarify a general budget for the entire project.

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

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



Traffic conesIndustrial plastic curtainsPlywood housePortable toiletReadymade industrial scaffolding



















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

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

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






















09-10pric2594, 09-10pric2596

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

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

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


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

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


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

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

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


Invited artistaPedagogyYoung ArtistsMunicipalityWorkshopsSponsorsIndustriesNew ProgramsNew CollaborationsCultural production



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


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

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


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

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














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

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

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

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














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

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


Installation with scaffolding in Plaza de Colon


Installation with cones and tubes in Paseo de Recoletos


Terrace furniture readjusted in Plaza de la Paja

Fence installation in Colon square  














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

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


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


This project for Madrid Abierto focuses on two main goals:

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

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

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

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

Le Corbusier_Cité Radiuse_1935

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


Yona Friedmanr_Ville Spatiale_1958

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

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

Constant_New Babylon_Kllein Labyr [Small Labyrinth]



I will now describe some interventions belonging to this proposal:


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

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

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



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

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





Fence installation in Colon square 



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

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

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

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

Terrace furniture readjusted in Plaza de la Paja. 



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




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

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




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

Installation with scaffolding in Plaza de Colon



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

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

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

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

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

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

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

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

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

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


 Installation with cones and tubes in Paseo de Recoletos










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

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

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




















2009-2010. Lara Almarcegui. GOING DOWN TO THE RECENTLY EXCAVATED TUNNEL (theoretical and visual data)

2009-2010. Lara Almarcegui. GOING DOWN TO THE RECENTLY EXCAVATED TUNNEL (theoretical and visual data)




The project consists of organising visits to the tunnel that will be excavated 40 meters under the street of Serrano. As the tunnel hasn’t been finished and it won’t have been covered with concrete, the rocky layers of Madrid’s subsoil will be visible. The city, just as it truly is underground.


The visit will take place in the new 7km long tunnel of the AVE that will be excavated during the next two years under Serrano to link Atocha with Chamartin.

The Tunnel boring machines are always active and only stop once a week, therefore visits will take place that same day.

The entrance to the tunnel will be as close to our axis as possible, because there are entrances near Colon and Puerta de Alcalá, but I will have to adapt to the companies’ works, for until we don’t speak to them we won’t be able to define where the entrance will be; But the application as well as its advertising will take place in the Information Service of Madrid Abierto.

Several details such as how many people shall participate and how many visits will take place every day, timetable, the route and otherwise, will depend on the companies and City Hall; I have to adapt to them and I can’t define them yet. The project is unfinished, due to its need to adapt to the works’ reality. We will need a guide that must know as much about Geology and this specific tunnel as possible- we will also collaborate with companies to locate him.


The project has to do with the physical reality of the city, earth, rock, before being a city.

I have always been curious about the many layers that Madrid contains underground (metro, trains, telephone, piping, underground rivers, parking lots, bunkers). The descent into this new underground tunnel is a visit to that which is primitive and to the nature that constitutes the city, but also a rapprochement to Madrid’s other underground facilities.

The project offers the experience of visiting a unique place in process that only exists temporarily and will transform.

The tunnel of Serrano is an important engineering work for the city; a project in the middle of downtown Madrid, using the latest technologies, decentralization…

In the descent to the underground we have the negative side of the city. It’s subconscious. I find very interesting an action that, instead of building, descents, in order to learn more but also to do, simply and brutally, the opposite to what architects do.

Plano de todo el túnel proyectado.



The railroad tunnel that, under Serrano, will link the Atocha and Chamartin stations will be destined to give service to High Velocity trains.

The works will last two years. They will take place at the same time as the remodelling works of Serrano, done by the City Hall, which include a parking lot: Serranopark.

The tunnel is a project done by Adif (Administrator of Rail Road Infrastructures), Organism that depends on public funding.

The Council of Ministers awarded the works to the UTE, a part of Dragados, FCC Constructions, Copisa and Tecsa.
















09-10prmc2610, 09-10prtc3580

2006. Wilfredo Prieto. OUROBOROS (images)

2006. Wilfredo Prieto. OUROBOROS (images)











2009-2010. Lara Almarcegui. BAJAR AL TÚNEL RECIÉN EXCAVADO (technical data)



-    Sé que la tuneladora para solo una vez por semana;

-    Entonces bajariamos una vez a la semana ;

-    Estimo, aunque aún no lo sé que ese día fuera domingo ;

-    Entonces bajariamos al túnel :

.    Domingo 7 Febrero.    Domingo 14 Febrero.    Domingo 21 Febrero.    Domingo 28 Febrero


-    Iré a Madrid cuando sea necesario para hablar con encargados del tunnel para decidir juntos el plan de trabajo, las condiciones etc…-    Estimo estar en las dos primeras bajadas. -  Este calendario y todos los planes de preparación de viajes y bajadas al tunel y mi partcipación son completamente flexibles: me adpataré por supuesto a lo que la tuneladora necesite.