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2008. Alicia Framis + Michael Lin. NOT FOR SALE (2007.10 / project rectification / theoretical data)



Alicia Framis presents her most recent work, the majority of which was prepared in Shanghai, where she currently lives and works. As in the case ofNot For Sale(2007) for Madrid Abierto, Framis' projects are always related to society and directly influenced by the reality that surrounds her and her immediate environment. Using elements of fashion design, popular culture and architecture,Not For Sale(2007) reflects that reality.


Not For Saleis awork in progressthat analyses the situation of children who are sold all over the world. The project began in the city of Bangkok, Thailand, where Framis produced a first   portrait of a naked chets child but a necklace that read "not for sale."


At first glance, the images are gentle and sweet. The children are smiling and appear healthy and happy. It is only on close inspection that what Framis seeks to emphasise comes to light: the reality of the fragile and dangerous situation that many children currently find themselves in. From the moment we are born, a price tag is placed on us, and many children face the real risk of becoming just another product of the global market.


Since living in China, Framis is interested in the idea of the portrait as a propaganda tool, such as the posters ofMao Sedongor Thailand's king,Bhumibol Adulyadej, both normally exhibited throughout the city.Not For Saleemploys the same methods of propaganda portraits, maintaining the same measurements but changing the subject of the leader for a more domestic version. These posters always come across as optimistic and encouraging and contain certain details and attributes that suggest the message, only shown discreetly at the bottom, otherwise through the flag or a multitude depicting the power of the leader. Framis shows a smiling child in an ideal scene just bearing a small attribute - the small necklace that reveals the child's possible destiny.


For Madrid Abierto 2008 the artist proposes a grandperformancenight:a cultural event.The initiative will consist of a production in which sixty children of different ages will wear necklaces or pendants bearing the message "Not For Sale",as in the above-mentioned portraits. However, this time with the peculiarity that each necklace will have a special and different design, as each will have been designed by different Spanish jewellers, gold and silversmiths and designers of accessories who have been invited to participate in the project, namely, Chus Burés, Marta Miguel, Alberto Leonardo, Carol Salazar, Uovo, Paz Sintes, Oscar León, Jorge Masanet, Nim Art Gallery, Alicia Framis and different jewellers from Thailandia and Shangai. The children will just be wearing trousers, with their naked chests revealing their necklaces as the main attraction piece.


Likewise, Framis presents this work together with the artist Michael Lin, who will be responsible for designing a special architectural structure or platform made from fabric, on which the performance will take place.


The striking prints that characterise Michael Lin's painting are taken from traditional Asian fabrics. The prints, the culture, the industrial manufacture of the fabrics and the traditional decorative art are extremely important concepts in his work. The fabric is thus transformed into architectural structures on which the children will parade, generating a mutually complementing dialogue between both projects.



Thus, the architectural structure with oriental fabric prints will become the perfect scene for the children's parade, wearing theNot For Salenecklaces.


On the other hand, we intend to close the fashion show with the intervention of some famous singer that might be interested in participating in an artistic proposal that involves great social criticism.


























2006. Gustav Hellberg. PULSING PATH: AMBIGUOUS VISION (2005.11 / technical data)



Light control unitAn automatic dimmer control unit is connected to the circuit of the chosen row / rows of lamp posts.

Eventual change of light sourcesIf almost are fitted with metal halogen lamps or similar the light sources need to be changed to light bulbs, emitting similar light strength and light temperature, as metal halogen lamps cant be dimmed in desired cyclic mode.

VERSION IPulsing the light of all lamp posts along a whole street's or lane's lengthChange all light sources to dimmable ones (light bulbs).

VERSION IIPulsing the light of lamp post sectionChange chosen light sources to dimmable ones (light bulbs). If light bulbs doesn't emit exact light strength and light temperature as original light source two lamp posts on either side of chosen segment should also be changed but not connected to dimmer unit, to make the lighttransition point less obvious.

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













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

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

MAY 2009 










collection site

public place in

Built by the


Pages 6-




winning groups of










2/2009*, lead by




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



PR and

public place in

2 student






invigilators and




of the collection


Susanne Bosch






will do regular





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

of Din A 3 copies (?)


1-28th February 2010

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

La Castellana

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


Page 14-15


publicly sort the

public place in

everyone is

contact to

Page 15


coins and


invited to help,

Banco de





big public event




transport to the Banco de Espana


with benches, catering, info, media,

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



Removal from

public place in

Organized by by



collection site


the winning





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



One day open

In public place

A large number of


Page 14-


space event

in La

participants, basic

speech of





catering and

the event


in close

venue, a


proximity to the



collection site

Open Space


facilitator (e.g.








Web, catalogue,


PR to



evaluation of







the results







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

* urbanaccion 2, see**


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



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


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

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














2009-2010. Adaptive Actions. AA CAMP-MADRID (2009.11 / project review / theoretical data)



Adaptive Actions was initiated in London 2007 by Jean-François Prost and explores alterations in the workplace, at home and in public spaces in general. Identifying the variety of these personal and found alterations in the city as different forms of adaptation creates a vocabulary for the expression of the collective imagination through the existing urban structures therein.

These 'actions' modify and activate the intended use of architecture and enhance the character of the urban environments. They create positive tensions that test the limits of tolerated appropriation.

Can these simple actions, images and ideas, such as the hybridization of conventional and unusual urban realities, infiltrate our collective imagination to promote feelings of identity and a sense of cultural belonging?

Adaptive Actions points to how urban phenomena may have an impact on residents' perception of the environment and their relationship to it. By offering a space for sharing experiences, ideas, forms of actions and specific accomplishments, Adaptive Actions are in the process of compiling an inventory of alterations rarely presented to a general audience. Printed documents and organised events are being planned to increase the visibility of selected actions to the public eye, to build affiliations and encourage communal thinking.

For more information:

AA Camp in Madrid During the Adaptive Actions Camp in Madrid, we would like to document and create new micro-actions. Some actions will be initiated in Madrid (in various types of spaces and neighbourhoods) but also in other cities and countries. I cherish the idea of creating a project of distributed actions taking place simultaneously in different places and brought together in one communal art project. All actions will be documented on the website and some will be part of the next AA publication.

Open call (for collaboration): > Published in specialized and local neighbourhood newspapers > Posted on billboards, urban furniture and places were people can and already post information. > Sent to local community groups, schools and universities > Sent to artists, Madrid Abierto members and all those who submitted proposals for 2010 but were not selected. This in order to offer additional possibilities for participation, to increase the number of participants and to reach a wider audience.

DurationFrom Feb 04 – 28The camp would be open 5-6 days a week. Visual material will be visible at all times.

AA Publication – Madrid edition At the AA Camp the publication will be produced by several people who edit existing and incoming content (locally and through the web) in order to produce the new book, print and web (eBook format as a verbatim digital copy of the printed work) which will be published after the sojourn.

The publication will include (in Spanish and English) :- 101 Adaptive Actions or locations with images and when necessary short descriptions - 4 texts (or more) including: - 2 interviews: one on the topic of micro-politics with philosopher and theorist Brian Massumi and Marie-Pier Boucher, PHD student at Duke University in North Carolina, and Jean-François Prost as representative of Adaptive Actions.


Global idea and intention:The project consists in documenting, revealing and creating new micro-actions of appropriations and unplanned uses in the city of Madrid and elsewhere

Action – process:The project indexes and reports on existing adaptive 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 acts, a survey is being conducted (before and during 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 singular actions. The request for proposals accelerates the process. Several existing or proposed adaptive actions will be chosen along with an idea for a collective action and a workshop.

2. ActionA space for gathering, loitering and submitting proposals will be erected in a busy Madrid public building. This temporary camp (with a large recognizable sign indicating ADAPTIVE ACTIONS) will combine presence, production and interaction.

Our shared knowledge and expertise will be applied towards accomplishing a creative project the aim of which is to modify the intended, predominant 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/broadcastThese new adaptive actions will be made public via the Internet and through the production of a publication. Dissemination within the community will aim at representing the different forms of actions (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 other 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, representative for the project














2009-2010. Laurence Bonvin. GHOSTOWN (2009.03 / project review / technical data)

MARCH 2009



What I need from Madrid Abierto :

 -       Be connected with a printing house with experience in photography, a good lithographer and an English speaking graphic designer to support me in the designing, preparing and the printing of the publication. Production period January 2010.

 -       Negotiate a collaboration with a newspaper (i.e. “El Pais”) to obtain the daily publication of an image from the project during the duration of the project in February 2010. The sum of the images, plus a selection of unpublished texts will then be printed and put together in an artist supplement distributed with the week-end edition. The extra amount of printed copies, not distributed with the newspaper, will be assembled and bound in an artist edition for sale during the exhibition and possibly distributed further.

 -       Find a publishing/distribution house interested in art, photography and urban issues (such as Actar) to co-produce and/or distribute the publication. Such a collaboration could lead to the transformation of the supplement into a book or an artist book.

  -       I need to be connected with 2 very good translators, familiar with urban issues, from English to Spanish and from Spanish to English.

 -       I need a designated space to present and sell the publication in the info booth of Madrid Abierto

 -       I need to reserve a selection (10-15) of the existing billboards, MUPI, on el paseo del Prado from Atocha to where I’ll put up ink-jet prints.


 -       Are the Mupi for free? Or how much do they cost?

 -       What would be a reasonable number of exemplary for the publication?



April – July 2009

August – October 2009

September –December 2009

January – February

2010 (till opening)

February 2010

Exhibition time

production of photographs

production of texts / translations / image selection

designing /


production of publication

posters / supplement /

artist book

daily publication of an image in a newspaper /

publication selling















09-10intb3634, 09-10intb3635

2009-2010. Laurence Bonvin. GHOSTOWN (2009.03 / project review / theoretical data)

MARCH 2009


For Madrid Abierto 2009-2010 I intend to realize a photographic essay about two new neighborhoods in the outskirts of Madrid : Valdeluz, 60 kilometers north-east of Madrid, next to the city of Guadalajara and Seseña located 60 km south of Madrid.

The first example is part of a long term development planning along the Northern A2 highway. The exclusive city originally planned for 30’000 people, including tennis courses and a golf course has come to a sudden stop in its development as the real estate crisis strongly hit Spain at the end of 2008. Currently the city counts 350 inhabitants, one grocery, many walled commercial spaces and an infrastructure waiting for further building activity. The nearby railway station offers a connection to Atocha in 20 minutes 4 times a day and reports an average of 15 people using this expensive facility everyday. 

Seseña in the south of Madrid, represents the cheap version of Valdeluz. Built by a former sewage worker, El Porcero, it operates on several levels : as a personal utopia giving low income families an opportunities to buy a flat, or as a speculative tool for other people. Most people actually bought units in order to resell them with profit which explains why only 750 inhabitants are officially recorded in a city originally planned for 13’000 units where over 2500 people have bought one or several flats. Almost no one lives in a neighborhood that popped out of nowhere, in a semi desert area where water had to be brought in and no direct public transport connects Seseña to Madrid.

I intend to approach both locations starting from a large, distant, general view, landscapes and urban landscapes to penetrate the spaces and capture precise details in architecture, infrastructures, facilities, everyday scenes and portraits. Isolation, void, a sense of loneliness, of time suspension and unsettling feeling of uncertainty will provide for the general atmosphere of the series.

These different aspects will be put together in order to create a strong narrative. I will work in color with a medium and a large format camera. The 25 to 30 images will be edited and printed as a supplement to be inserted with a daily or a weekly newspaper or magazine on the day of the opening and distributed for free in the information booth of Madrid Abierto during the whole duration of the exhibition.

The insert will also include a selection of texts : one by Basurama team on the local context and interpretation of the real estate and urban development crisis, one interview with Kyong Park on the global approach of the issue and a general analysis by an author of the real estate significance as part of a global monetary flux and speculation phenomenon.

Texts will be printed in original language and translated into Spanish and English.

The publication should ideally freely distributed as a supplement with the week-end issue of a major newspaper such as El Pais. This possibility would depend on the interest of one newspaper to support the project and finance part or all of the printing costs for the insert. The actuality of the thematic could present some interest for a newspaper.

The publication will anyhow be available (for sale) throughout the exhibition in the information booth of Madrid Abierto. A launch could also take place on the day of the opening. This publication consisting of the selection of images and a choice of texts that could take 2 forms : as a newspaper’s supplement freely distributed with the weed-end edition of El Pais (i.e.), as a soft cover / box artist publication for sale during Madrid Abierto in the info both, in a selection of bookshops and distributed by a distribution company.

A collector’s edition with a signed print could also be on sale to support the funding of the project.

Additionally ink-jet printed posters will be placed in a selection (10-15) of Mupis on El Paseo del Prado near Atocha.

Technical details for the publication :

Format : to be definedColor print, fine semi-mat paperNumber of pages : 64 (provisional)Edition : ?Cover/box for artist’s edition
















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

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



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



1. Monica Castillo will facilitate the Open Space event.

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

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



The entire Sala de Columnas is needed for three days.

No other activities can be organized at the same time.

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

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

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

Ask for permission!

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



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



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

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



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





Monica and 2helpers

Friday 26th


10 h

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

Monica and 2 helpers



Saturday 27th 2010



Registration, check in, cup of coffee, break

Monica and 2 helpers,

1 person for buffet

1 person for documentacion



Susanne / Madrid Abierto


Introduction OS



1. Break-out session



2. Break-out session



3. Break-out session



Wall of Proceedings



Action Planning


16.30-17 h

Closing Circle




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

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

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



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

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

etc. with much attention by the food service staff.



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

In case of any doubt: less is more!



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

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

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

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










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

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

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

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

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

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

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

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

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

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

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

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

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

(October 2009)








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



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

August and September

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


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

February (before the 4th)

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

From the 4th of February on

Programmed routes of Mobile Office beginMain Office functioningPreparations for debate session

Date still to be established

Debate session

From the 1st of March on




General production

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

Mobile office production

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

Production for main office (in Casa de America)

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











09-10intb3589, 09-10intb3591

2008. Alicia Framis + Michael Lin. NOT FOR SALE (2007.10 / project rectification / technical data)



1. As the location is already known (LA CASA ENCENDIDA) it’s necessary to obtain maps of the building’s patio.2. Assembly of a lighting and sound system.3. Video camera and big scale screen. To make the pendants visible there will be a camera that, at one point, shall focus on them and project them on the screen. 4. We intend to work with children (only boys) from 4 to 17. The ideal would be children that are used to perform and work in public. The artist suggests the Real Madrid children. As the performance is on Saturday they wouldn’t have classes the next day.5. We will need a room to use as Backstage or dressing room, for the children as for the artist that will probably close the show.6. Alicia Framis’ crew will take care of transporting the necklaces and dressing the kids up.


1. The assembly system for the architectural structure is being designed by Michel, as soon as we have the technical details we will send them to Madrid Abierto.

 (OCTOBER 2007)










2009-2010. Adaptive Actions. AA CAMP-MADRID (2009.05 / proyect review / theoretical data)

 ADAPTIVE ACTIONS The process and concept are the same as previously proposed.

But instead of focussing on loitering, I prefer to make a broader call for collaboration on the Adaptive Action theme and have one or two workshops or collective actions on a specific topic such as loitering.

For and during the Adaptive Actions Camp in Madrid, we would like to document and create at least 101 new micro-actions. Some actions would be initiated in Madrid (in different types of neighbourhoods including the conurbano) and elsewhere in other cities in Spain or other countries. I cherish the idea of creating a project of distributed actions, simultaneously happening in different places and brought together in one communal art project. All actions will be documented on the website and some will be part of the next AA publication which will be produced during the Madrid Abierto event.


ADAPTIVE ACTIONS Camp in Madrid A space of production, presentation and actions

Open call (for collaboration)

> In specialized and local neighbourhood newspapers > posted on walls, urban furniture and places were people already post information. > to local community groups, schools and universities > to all those who proposed, submitted a project to Madrid Abierto but were not selected. - to offer them a possibility to participate, to increase the number of participants, and widen the audience.


One month in Madrid The camp would be open 6 days a week and activated by collaborators and me 4 or 5 days a week.


The publication will include: 30 (with current budget) to 101 Adaptive Actions (depending on final available budget for print & design) one center-fold poster-image 2-3 texts (or more if additional budget)

One interview

(which will be translated from English to Spanish) on the topic of micropolitics with philosopher and theorist Brian Massumi and Marie-Pier Boucher, PHD student at Duke University in North Carolina, and Jean-François Prost as representative of Adaptive Actions. Brian Massumi recently confirmed his participation and we will be doing this summer a few preliminary lectures and discussions before the official interview.


Confirmed for Madrid Abierto: Marie-Pier Boucher (Raleigh, USA) = 1 week (publication committee) Frank Nobert (Montréal) = 3 weeks (publication committee) Jean-Maxime Dufresne (Montréal)= 4-5 days (workshops) During the followings weeks I will be looking for two or three persons located in Madrid. I have several persons in mind and hope to meet others when I come back to Madrid and after making the call for collaboration.


Will you have one or two volunteers? I recently had two persons available at several events and it makes an enormous difference for the artist and visitors. It also permits the artist to free some time to document and assist the work of several participants creating actions outside of the camp.


How many assistants will be available, and for how long, to assemble and demount the work?



Global idea and intention

The project consists in documenting, revealing and creating new micro-actions of appropriations and unplanned uses in the city of Madrid and elsewhere

Action – process

The project indexes and reports on existing adaptive 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 Proposals In order to document and create an inventory of existing urban 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 singular actions. The request for proposals accelerates the process. Several existing or proposed adaptive actions will be chosen along with an idea for a collective action and a workshop.

2. Action A space for gathering, loitering and submitting proposals will dwell on a busy Madrid street, or in a public building. This temporary camp (with a large recognizable sign indicating ADAPTIVE ACTIONS) will combine presence, production and interaction.

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/broadcast The selected new adaptive actions will be made public through the production of a publication and via the Internet1. Dissemination within the community will aim at representing the different forms of actions (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 other 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.

1 A section will be added to the website for the Madrid edition and a second Adaptive Actions publication will be produced during the event.

MAY 2008 Jean-François Prost, representative for the project









2009-2010. Iñaki Larrimbe. UNOFFICIAL TOURISM (2009.05 / project review / theoretical data)



- A location has been selected for the intervention: in front the Wax Museum (Paseo de Recoletos 41).

- A working team has been created with the creators of routes:John Tones will create an itinerary on old arcade machines.Mauro Entrialgo, neon promotion signs.Jimina Sabadú, places in Madrid where famous movies have been filmed.Santi Otxoa, religious relics.Guillermo, murals.

- Marta has asked for six budgets to print works of Madrid for the making of maps, booklet and exterior vinyl to decorate the caravan.

- The cost of hiring a person to work helping tourists in the caravan has been evaluated. Marta will take care of it.

- An artisan has been contacted to customize the caravan in Vitoria (internal furniture).

- A graphic designer has been contacted in Vitoria to design the graphic material.

- A person from Vitoria has been contacted to take the caravan to Madrid.

- A website has been created:

- The budget is always under revision. The project will adjust perfectly to it. In this aspect, there are no problems.


- End of June: delivery of the maps by collaborators

- July, August, September: design of maps and booklet by designer

- October, November and December: internal and external customization of the caravan (designer and artisan)

- End of January: hire the person in the caravan

- End of January: transfer caravan to Madrid and locate it in its proper place

 (MAY 2009)









2009-2010. Lara Almarcegui. GOING DOWN TO THE RECENTLY EXCAVATED UNDERGROUND PASSAGE (2009.12 / theoretical data)

 Thanks to the Going down to the recently excavated tunnel project, Lara Almarcegui organizes visits to the excavations that are being made under the street of Serrano to construct parking lots. As the works and excavation – which is 15 meters deep- will be in full process, the walls of the excavation will not be covered with concrete and the different layers of stone of Madrid’s subsoil will be visible. For a moment we will be able see the city just as it is beneath the ground.

Madrid has a complex framework in its subsoil made of multiple layers, at different levels. There are tunnels and spaces that correspond to the subway and train infrastructures, water pipes, drains and sewer system, telephone wires, lighting and Internet, subterranean rivers, cellars, parking lots and bunkers. Going down to the recently excavated tunnel of the Serrano parking lots will be an occasion to get closer to other infrastructure tunnels of Madrid; but it will also be a visit to that which is primitive and natural in Madrid.

The project deals with the understanding of Madrid’s physical reality, rock-earth, before becoming a city. In this journey into the tunnel, the negative subconscious of the city shall be experienced. Instead of building, it would be interesting to submerge one self in order to learn but also to simply and brutally do the opposite to what architecture does.

The action will consist in inviting the public to watch a space in process that changes every week and will be completely transformed. The machinery at work is constantly functioning and it only stops one day a week, on Sundays. The visits to the excavation will take place on Sundays from the 4th to the 28th of February.

Details and the schedule for the visits will be available at the Information Point of Madrid Abierto placed in xxxx. Registration shall be made there or sending an e-mail to This email address is being protected from spambots. You need JavaScript enabled to view it. until the capacity is fulfilled (the capacity will be limited and the registration shall be made 48 hours before the visit. It will be necessary to receive confirmation from Madrid Abierto).

The visit will be made with a guide that will go down to the excavation with the group, and will explain the works of engineering, the function of the machinery and its progress, but most of all, he will interpret and present the geology of the stratums of materials that will be appearing in the excavation.

The works are being made in order to build three parking lots above the future tunnel that will link the Atocha and Chamartin train stations, this tunnel will be 7km long and will be constructed along the next two years. Both projects are part of a plan to redesign the street of Serrano, it includes the transformation of the public thoroughfare, the construction of parking lots and a tunnel.

The excavation that we will visit, will be the third parking lot, which is beneath Serrano, between the street of Jorge Juan and the Plaza de la Independencia or Puerta de Alcalá. Pedestrians will be able to access through Serrano and vehicles will find entrance in Jorge Juan, the street of Alcala and Salustiano Olozaga.

(December 2009)















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

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

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

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

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

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

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

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

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

This is the brief summary of our idea!

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

















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

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

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

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

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

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















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



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

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

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

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


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

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

Two actors will make use of the mobile office.

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

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


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

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

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


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

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

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

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

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

Here is a video from the previous action:

(December 2009) 












2009-2010. Adaptive Actions. AA CAMP-MADRID (2009.11 / fieldwork)


ADAPTIVE ACTIONS Camp in Madrid A space of production, presentation and actions with Madrid Abierto, February 2010

To whom it may concern,

Several collaborators and myself are currently working on new content for the Adaptive Actions' website, second publication and to present and discuss at upcoming Madrid Abierto 2010 event. Adaptive Actions ( will hold camp next February, during one month, in the centre of Madrid: a space for gathering, sharing experiences and submitting actions (happening in the city) while previous or ongoing ones will be shown. The idea is to create an environment in which thinking and doing enacts both local and international dimensions. The project investigates theories and examples of architecture that focus on the social, political, gender,activist or other aspects of the production of space.

I would very much like you to contribute to the Adaptive Actions' research platform in Madrid. I am looking for a collaborator, professor and students in Madrid interested by new ideas and research in alternative architectural and urban practices and to participate in a 2-3 day Charette workshop at the AA (Adaptive Actions) Camp.

The proposed topic: document absurd, unusual, neglected, over controlled spaces in need of reflection and different forms of activation. The objective is to document existing adaptive actions and encourage the creation of new ones by the proposal of critical spaces of intervention and give meaning to our daily built environment. The Charette will be followed by a round table discussion and documented progressively on the Adaptive Actions' Website and upcoming 2nd publication (Madrid edition).

Hoping you will accept our proposition, we look forward to your response so we can discus in more details and meet during my stay in Madrid during the following week.

If you have any other queries, please do not hesitate to contact me.

Kind Regards,

Jean-François Prost Adaptive Actions Email:

(November 2009)
















2009-2010. Adaptive Actions. AA CAMP-MADRID (2010.01 / technical data)



Wireless Internet connection(for visitors to be able to see the website, directly add information and for us to be able to work and communicate- most of us won’t have a phone).

Electrical power (plugs) of 1000-1200 watts: for 3 laptop computers (3x65 watts) a small printer (100 watts)5 lamps (5x60 watts)2 battery chargers (2x65 watts)and occasionally a projector for presentations (200 watts) and 200 watts for additional needs.

Installation4 days (3min) to install (31st January, 1,2,3 of February) a day to disassemble (March 1st).

A small space for storage: in the station so we can deposit a suitcase with the printer and small objects.


If the meeting goes well, could you ask them for 10-15 collapsible chairs? (for the workshops and seminar) and three tables for the whole month.













09-10intb2658, 09-10inib3623

2009-2010. Josep-María Martín. A DIGESTIVE HOUSE FOR LAVAPIÉS (2009.05 / fieldwork / Bamba´s trip)

 Ever since I was a very young child I had always thought of Europe as offering the best chance of being able to have a nice life. I would still like to believe this to be true, but the reality that my flatmates and I face everyday has, at least for the time being, rendered it almost impossible.

I honestly thought that I would find work I would like when I got to Spain, a position that might allow me to support my family and, above all, to be successful in life. The truth however, despite anything we might say, is that the future for an immigrant and particularly anyone ´without documents´, is very gloomy and difficult in every sense. Harsher and harsher laws are being passed; there seems no end to the continual arrival of immigrants brought in by sea in “pateras” and on top of all that there is a deepening economic crisis… I have now come to believe that it is not worth anymore abandoning your country of origin to come to Europe or risking your life in a “cayuco” for a chance to live in Spain.

I am one of those people who risked their lives to come to Spain. After six fruitless years of trying to get a visa, I decided to achieve my dreams no matter what the cost. There were a multitude of pateras leaving Senegal in the summer of 2006, so many that it would be hard to put a number on it. Those were strange times and it seemed as though absolutely everyone was going crazy trying to get a place on a patera and make it across to Europe. According to the Senegal media, the pateras picked up their passengers in fishing villages. The one I boarded left from Kayar, my mother's village. On the day concerned I left my house at 11 o'clock in the morning after lunch. My mother and brothers were not at home. They had left for a religious ceremony and my wife, my son and I had stayed behind. I was with one of my friends when I took leave of my wife and she asked me where I was going. “Just for a walk to the beach”, I said. Then my friend and I caught the bus to Kayar. The police were carrying out checks when we arrived at Kayar bus station at four in the afternoon. The Senegalese government had decided to mobilise police troops and put an end to the pateras phenomenon, so they were arresting anyone arriving in the village with a travel bag. We were lucky that day because we had no cases or anything else with us that might have made us look suspicious. My uncle had prepared a room ready for us at my grandparents´ residence whilst we waited for the departure time. The same uncle personally knew the head of the criminal gang who organised the trip. He was a man highly sought after by the police…… I never thought we might travel on that particular day. There is so much corruption in Africa that you can pretty much get whatever you want if you have enough money and in all probability the police officials were paid for each patera that actually left. The criminal gangs had the police completely under their control. We finally managed to leave at midnight. I decided beforehand to ring my wife and tell her the truth. I quickly told her that I was getting a patera bound for Spain, and never even gave her any time to reply in case, as she surely would have, she said something that might make me change my mind. I told her to pray for me and to take care of my son, and that I loved her so much. A small cayuco took us from the beach to the patera which sat five kilometres offshore. We were the first to get in. When we boarded they were not many people. There were two engines at the back, a quantity of large containers that must have contained fuel and water. Some planks of wood had been set out across the middle as benches and all the food was out. Our provisions comprised milk, biscuits, rice and sugar. One hour later the patera was completely full of people and you could not even place another foot on the floor. The highly illegal nature of the trip itself meant that being orderly was out of the question and the criminal gangs were just shoving people in as though we were goods in transit. When it got to the point that you just could not even have squeezed another fly onto the patera the captain, who was just a fisherman, decided it was time to leave. That was when the departure speech was given: “this trip is either going to Barça or Barzaq”. This literally meant we were on our way either to Barcelona or further beyond”, and if anyone was not of a mind to achieve that dream or was not prepared to die for it, then they should get off there and then. There was no turning back.” The moments following that talk were very emotional. Some people decided to abandon the boat because a lot of them had already started throwing up. Most people who have actually made the trip have in fact been the victims of false information fed to them by the criminal gangs. They had never been on a patera. So we left for Spain over Saturday night to Sunday 27 August 2006. The first night of our journey was peaceful and there was a full moon. The night was so silent. All you could hear was the noise of the engine and the patera as it slapped against the water. None of us said a thing. You would have thought that our souls had left our bodies. We could see the last lights of the village fading in the distance behind us. We were leaving our lives, our roots, our identity and everything we truly stood for behind. Most people could not eat a thing that night and many threw up so much, to the point of becoming ill and no one wanted to eat. It was crazy. We had just started to realise what we had done. The whole thing had only just begun. The following day, after having slept in a sitting position all night, our bodies ached all over. Some people started to have a temperature, others seemed to be about to faint. The captain and his crew tried to help those who could not cope any more. When midday came, the cook, who had cooked up the rice, handed out food to anyone who could still eat. There was nothing but water all around us, the sky and the sun. There was no way of knowing whether we were travelling towards the North, the South, the East or the West. The trip had ceased to hold any meaning for me, a journey towards sure death. The first four days continued in exactly the same manner until the weather changed. That was when we reached winter. The sea became horribly unpleasant and our patera started to take in water. It was getting so bad that I decided with a friend to organise ourselves into a group and reduce the amount of water. But each time we managed to bail out one lot of water it hardly seemed to make any difference. That was the point when we thought we would drown and most people started to cry. It is difficult to see an adult crying but they were quite right, the situation was desperate. We did not seem to be going anywhere, we were just surrounded by sea and the horizon meant nothing to us. I thought we had been tricked. It was crazy to think that a patera might make it all the way to Spain. All this drove some of my companions crazy and they started having hallucinations. They wanted to throw themselves overboard and some of them, at night, jumped into the sea. They did not intend to commit suicide but just thought they were still on land. They said they could hear their children or their mothers calling to them, waiting for them on the seabed. Some people's skin was peeling off due to the salt and they had deep wounds on their mouths, legs or faces. A lot of my traveling companions did not want to move around at all, not even to attend to their bodily functions and just stayed put, slumped in their own excrement. Others repeated verses from the Koran over and over again. None of this had any effect on any of the fishermen handling the patera. They were used to the sea. The last three days went on like that up until Friday afternoon when we saw some lights on the horizon. It looked as though we were either reaching land or maybe it was another ship…….. it was our salvation. At last we had found what we were seeking, just some dry land, that was all.

Saturday 2 September 2006. I reached Isla del Hierro. I had never seen an island that size. It was nine o'clock in the morning local time when our patera docked with 74 persons on board. We were all male and 9 of us were children. I had never seen so many white men and the smell they gave off made me feel sick. Most of them were wearing a red and white uniform, others were dressed in green and there were also those who had a dark blue colour uniform. They got us out of the cayuco, and sorted us out so they could count how many of us there were. Some of us were hardly able to walk. They took our clothes and gave us new ones. You could make out people in the distance leaning out of their windows and watching what I thought must have been an unusual scene for them.

A man in uniform, who must have been a policeman, stood in front of us and asked us: Do any of you speak Spanish? No one replied. He asked again but this time in French and no one answered again so he asked for a third time in English. After a few moments I decided to speak with him because there was nothing else I could do and, even though I was frightened, I said: “I speak Spanish”. The official, acting surprised, asked me the same question again and I gave him the same answer.

That was how I started my first job in Spain and became an interpreter.

After two days on the Isla de Hierro, we were moved to Tenerife to a reception centre called Las Raíces, which was in fact a military camp. The centre was divided into two parts: one part was for the military and the other for us. Our part was then further divided into two sections called Camp A and Camp B. I was in B, which was larger, nearly twice as big as A. There were 128 tents, two large shower areas, two enormous dining areas, over 20 toilets and the police tent. Each tent held 24 people and had 24 beds. It is easy to imagine the kind of people that were there. It was my job to organise distribution of breakfast, lunch and supper. I lined people up in queues according to which patera they had come in on. Each patera group had to march in two lines like soldiers towards the dining room. When it was your turn to eat the others had to wait standing up until the first people finished. So there was hardly enough time for the 3072 people to finish having breakfast when the lorry carrying lunch would appear, and the same happened again with supper. Whenever any problem arose I was expected to work and I worked without any breaks, without a timetable, and without any remuneration. I had to take about 40 people every morning out to get water from Camp A and take anyone who was sick over to the Red Cross, then clean the entire camp with a group of people hand-picked by the police and who were provided with food in exchange for the work that they did. Some of my work, therefore, also involved resolving fights that broke out between individuals, organising departures and arrivals, attending to people with material needs such as clothes, t-shirts, trousers, shoes, teeth cleaning and shaving materials, etc. That was my daily life in that centre for a period of almost three months.

The normal legally permitted length of time that a person should remain at such a reception centre is 40 days. When I had been there for the regulatory period I was asked to stay on by the Chief of Police in exchange for being provided with legal immigration status. I had not been expecting such a proposal. So I stayed on for another month and a half longer. By then I was not sleeping at the centre any more. An inspector would pick me up every afternoon and take me home, and that was where I lived during the time that I worked for free at the centre. We would get up at dawn to go to work and during the journey I was able, to some extent, to see how wonderful Tenerife was - it was a place of dreams. After they had managed to get me a preliminary contract, however, they said that they could not arrange for my legal status to be approved because this could not, by law, be done until three years had elapsed. That inspector told me I would be better off leaving because they would never fulfil their promises. I managed to get a plane ticket to Malaga through the Red Cross and left Tenerife. I arrived in Malaga at night and caught a bus to Almeria, where a cousin of mine lived.

Once I got to Almeria I found my cousin who had already been in Spain for two years. He picked me up at the Roquetas de Mar bus station. It was a Wednesday in the afternoon. My cousin lived in a suburb called the “suburb of 200 dwellings”. It is very well known because almost 95% of the people who live there are immigrants: Senegalese, Malian, Ghanaian, Nigerian, Moroccan and Romanian. My cousin was living in a two bedroom flat with a dining room occupied by six people, all of whom made their money by selling pirate CDs. After taking a day to get the lie of the land I went off to find work in the agricultural fields, but could not get anything because there were so many people that there was not enough work for everyone. So there was only one option open to me and that was to sell pirate CDs. You would sell these in the street markets that took place in various locations around Almeria. My cousin gave me a rucksack with more than 90 CDs and films and a blanket with strings attached which went on the ground. That kind of work is horrible and is nothing like a normal job because you are always on the lookout in case some police officer catches you and takes you off to the police station. To be honest, I was very ashamed of doing that work. I did not like the way I had to act and felt ridiculous grabbing the blanket and running between people, even though I managed to make a bit of money. A couple of weeks went by and then the day arrived when the police caught me with a car in which we were transporting films, pirate CDs and perfumes. My cousin decided to plead guilty and he was sentenced to eight months imprisonment and a three thousand euros fine. That left me all alone in Spain without any family or friends; I did not know anyone, had no-one to turn to, in a complete vacuum and having to pay for a bedroom every month that my cousin had rented opposite his, with a machine for recording CDs and DVDs, a load of fake copies and blank CDs. I shared that flat with two other people from Nigeria - one man that I did not know how he made his money and a woman with a young daughter who was most certainly a prostitute. After two days of chaos and confusion, trying to find a solicitor who would represent my cousin, I decided to push ahead and substitute my cousin in the CD business which had put him in prison. From then on I just spent my time recording and selling to the people who went out to the street market. I rented a car so I could go to Granada and buy the materials I needed – the blank cds, copies, plastic covers, etc.

Seven months went by and business became less and less profitable. I decided to move area. By now it was June 2007 and I shall never forget that month, just like October 2006 when I had received a phone call on the Tenerife beach ‘Playa de los Cristianos’ telling me that my wife had given birth to a son. She had been seven months pregnant when I left home. That day I was happy and sad at the same time but this time it was bad news: my father had just died. People die each day, all the time, without you realising, but it only has to be one of your close loved ones for you to understand how truly cruel death can be. I loved my father and I would very much have liked to have seen him again and to have spent the last days of his life with him. That man really meant everything to me, he was a reference point, he meant safety, all in all he was a father in every sense of the word. He suffered from an illness that affected his heart. After spending ten days in hospital he came home and then died after supper. It was a Tuesday. I have spoken to him that day on the phone, and when I think back I understand now why he said what he did… he gave a little talk on life, on how short it is. He told me I should always pray and do good deeds as if I might die the next day, but that I should also work and become accustomed to wherever I lived as though I was never going to die. That day I cried the whole night long. Whenever I pictured my two sons and my father in my head I would ask myself whether the life I lead is worth living, so far from home, from my people, from my loved ones. Those were truly the worst days of my life. I really thought about going home then but decided in the end to come to Madrid.

I arrived in Madrid one week after my father had died. There was a new opportunity waiting for me here as well. I arrived on a Friday at 6 o'clock in the morning at the Méndez Álvaro bus station and took a taxi to the suburb of Lavapiés where a childhood friend of mine was living, in Jesus and Mary street. What I found was something I could never have imagined, an apartment exactly like a patera boat. An apartment where loads of people lived. There were twelve people in this one and you were hard pushed to find a corner to sleep the night, a real hole of a place rented to my friend by a Bangladeshi for €1200 a month. This apartment had four bedrooms and a living room and, just like in Almeria, the people living there made their money by selling pirate CDs. The next day I grabbed my rucksack and went off to find some way I could get ahead. After spending some time on the Spanish national Renfe railway I got off at a town called Torrejón de Ardoz. I found people from Ecuador there carrying on the same illegal sales activities in a pedestrianised street near the main square. Truth be known, I did quite well there because I managed to make €50 in that place every afternoon. The higher the rise, however, the greater the fall. After I had been selling CDs for a month the local police arrested me together with a lad from Ecuador and I spent my first night ever in prison. I thought the world had come to halt that night because, after I had been put into the closed room and the iron doors banged shut, I lost all sense of time or what the weather was like, nothing about the world outside and this was a very painful experience for me. They took me to court the next day and the judge ruled on my case. My lawyer told me that I had to sign every month on the first and the 15th day of the month. I went back to my home quite crushed, so depressed that I did not want to hear any more about CDs. I lost the will to live. I could not face doing that work any more. Not a night went by without one of my companions at the apartment spending the night at the police station. I have never seen such high levels of security on the Madrid streets. It would appear now that just about everybody wearing sunglasses on the street is secret police. I just had to find something else to do, whatever it might be.

After doing nothing for a month, the people I was living with decided to change apartment and split up to different locations. We found a flat near Lavapiés Square, with three bedrooms and a living room. The owner was from Pakistan and he required someone with a residence permit to sign the contract and €3600 for the deposit. We gave him part of that money. The gentle man wrote down and acknowledged having received €1000 from us on a piece of paper and signed it with his National Identity Document. He kept one copy and he gave us the other one. However, when we asked him for our money back the following week because we had not been able to put together the remaining portion, that man refused to give it back to us because he said that the date of the preliminary contract had already expired. We argued with him and then the police arrived and the police officers told us that nothing could be done because the preliminary contract was actually not legal and that we did not have sufficient evidence to charge this man. The truth is that the first thing that you learn when you are here is that you cannot trust anybody, not even yourself. This man had stolen our money. We eventually put enough money together to get another apartment with two bedrooms in Lavapiés for €850 per month. There were six of us from the start. By now it was already August 2007.

One month later I managed to find a job at San Martín de la Vega in a scaffolding warehouse. I worked for seven months at that warehouse and received €50 a day for my efforts. I handed over €100 a Ghanaian gentleman for the use of his legal immigration status documents. You can work in this country using other people's legal documents because most white people think that all black people are the same and cannot tell us apart. I would get up every day at five o'clock in the morning to go to work but the truth is that in our apartment you cannot survive if you are working because there is always somebody new arriving and in the end there were 12 of us living in a two-bedroom apartment. My flatmates never slept at night and would argue about stupid things and speak in loud voices that could be heard from the street and in the end could not take it any more so I decided to move. I found a room for €300 in Torrejón de Ardoz which I shared with a fellow national, but seven months went by and then I ran out of work. That was April 2008 just when the economic crisis began. I went back to the same nightmare as before, exactly the same situation that I had been in at the beginning, seeking and not finding work. I hung on for three months but then I had to do something and went back to selling pirate CDs. This time I was selling them at the Legazpi Metro station but sure enough the day came when a security guard chased me to train carriage and wanted to get me out of there. He had not asked to see a ticket or any documents and told me to get out of the carriage. I refused because I had a ticket. After pushing me around for a few minutes he took out his safety baton and hit me twice until two people I did not know had to step in and help me defend myself from him. That night I went home very angry and I just did not know what to do. I went back to Legazpi station and asked that man's boss for an explanation, but when I got there the man did not even have his safety baton and he denied having hit me. I took my shirt off to show him the injuries he had caused me but those people did not want to know anything. They asked me to leave and stop bothering them. I decided to get back on the metro but those gentlemen escorted me out of the station. I decided to go to the police and report the matter, which still has not been ruled on.

I really miss my country, and especially my family, my mother, my two brothers, my two sons and my wife. She is a woman of natural beauty, an African lady. I am really fond of my wife, I love her, I adore her and I would give all the money in the world just to see her again. She is the only person that makes me feel human when I am at her side.

I feel like I have no family, I have nothing, because I never found what I came to Spain looking for and I doubt I ever will. I would really like the African political leaders to review their methods of government, because things just cannot go on like this. It is true that Africa has been the victim of three centuries of slavery, but that it is not a good enough excuse. We have to forge ahead, solutions must be found, we must work and stop deceiving people, stop robbing and put an end to the killing. Europe must also be made aware of what is happening in Africa and why it goes on. Perhaps the fault lies with all of us but we do not all suffer the consequences. The decisions are taken in Europe and the Earth in Africa cracks open.

Immigration is a good thing in one sense, but it must be said that not everybody who arrives from over there has the same opportunities and they certainly do not all have the same skills. It would be crazy to think that all Africa's young people might continue to come over to Europe.

Mouhamadou Bamba Diop

(December 2009 / this text was published in the Madird Abierto 2009-2012 book)
















2009-2010. Lisa Cheung. HUERTO-O-BUS (2010.01 / technical data / informative text)

 Welcome to the Huert-o-bus!

A ‘travelling’ greenhouse that will visit different neighbourhoods of Madrid from the 4th to the 28th of February.

We invite you to participate by planting a seed, taking care of the plants or doing some community activity or workshop… and most of all, to enjoy a green area in the city!

Huert-o-bus is a project by Lisa Cheung for MADRID ABIERTO

Datesfrom the 4th to the 28th of February

Timetablefrom 11am to 6pm.


TuesdaysPilarica square in Usera (between Pilarica street and Dolores Barranco street)

WednesdaySoledad Torres Acosta square (Luna Cinema)

ThursdayAgustín Lara square, Lavapiés (in front of the Pious Schools, between Sombrerete street and Meson de Paredes street).

FridaysRemonta square in Tetuán.

Saturdays and SundaysGardens of the Discovery- Plaza Colon.

“Leave your mark by planting a seed”













2009-2010. Josep-María Martín. A DIGESTIVE HOUSE FOR LAVAPIÉS (2009.05 / project review / technical data)


September 2008- Presentation of draft of A Digestive House for the neighbourhood of Lavapiés, Madrid Abierto 2009-2010.

November 2008- Selection of draft of A Digestive House in a immigrant home of Lavapiés for Madrid Abierto 2009-2010

February 2009- Presentation sessions of Madrid Abierto 2009-2010, Casa Encendida, Madrid

March and April of 2009- Suggest as coordinator of the Project and main interlocutor in the neighbourhood.- Investigate and organize the immersion in the neighbourhood through social mediators.- Identify and suggest a video director to record and edit a documentary about the project.- Open a participation process by carrying out interviews with specialists, professionals and social agents interested and involved in reflecting on the process of digestion, memory and habitat.

Interviewed agentso Belinda Muñoz, Delicatessen store.o Esteban Ibarra, Association against intolerance.o Ramón Maria Masat “Momo”, Production Assistant.o Máximo Murat, Lutier Italian.o Chen Pen Shengli, Vice President of the Asociación de Chinos of Spain.o Jacobo Rivero Rodríguez, Neighbourhood Leader.o Rafael Ángel Palacios Soto, retired.o David N. Luhn, Architecture Critic.o Iris Rossi, Dominican, president of the AMOR Association and advisor of the Ambassador of Dominican Republic in Spain.o Carmelo Arcal, Professor in Social Anthropology, UCMo Manuel Maria de Bariluz, president of the neighbour association “la Corrala”,Lavapiés.o José Roncero Siles “Pepe”, squatter and cultural agitator.o Ignacio Angulo, architect/artist.o Abdel Khalak El Kamoun, Imam in the Lavapiés mosque.o Enrique Predero, urban developer.o Chema Palas, movie director.o Juan Carlos Sotinos, Ecuadorean, resident in immigrant apartment 1.o M. Antonia Fernández López, Spanish, resident in immigrant apartment 1.o Shahjamal Ahmed, Vice President Association Bangladesh.o Victor Defarges Pons, Doctor specialized in digestion, Hospital Ramón y Cajal.o D. Emilio, parish priest of the San Lorenzo church of Lavapiés.o Manuel Jiménez, doctor, from Lavapiés.o Silvia Robles, social worker.o Paloma García, lawyer for immigrant women.o Uriel Fogué, architect.o Bamba, senegalés, resident in immigrant apartment 2.o Juan Ramos Cejudo, psychologist.o Galo Endara, Ecuadorean artist and creative Minority.o José Santamaria, director of Minority.

May 2009Research and meditate on the importance of the habitat to help people “digest memory”.Order the collected information on the subject.Conceptualize the architectural project for the apartment.

June 2009Present, propose and discuss process with project’s interlocutors and immigrants in the apartment.

June/September 2009Carry out the modified executive project, incorporating and enriching the initial proposal of A Digestive House in an Apartment for Immigrants in the neighbourhood of Lavapiés. Edit the documentary video.

October 2009Formalize the necessary administrative issues to be able to carry out the project.Edit a 60’ documentary video in mono-channel format for its public exhibition.

December/January 2009-January 2010Build a prototype.Edit documentary video.

February 2010Spread the project.Exhibit the project.Present the documentary in a cinema within near proximity to the Paseo de Recoletos axis (Circulo de Bellas Artes, Casa Encendida, Casa de America).Website about the project.-Presentation in the neighbourhood.

(project review May 2009)



















2009-2010. Josep-María Martín. A DIGESTIVE HOUSE FOR LAVAPIÉS (2009.05 / project review / theoretical data)



Josep-Maria Martin was invited to participate in the collective exhibition “Habitat/Variations”, in 2007, in order to rethink the concept of habitat and different ways of life. To develop the project, the Genevan architect Raphaél Nussbaumer suggested a collaboration to reflect together on the spaces in which we live.

That first experience in Switzerland makes it very interesting to continue thinking on Madrid’s new project. Madrid Abierto’s open call 2009-2010 is a good opportunity to keep reflecting on how space helps us confront memory.


To question the space 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 confront history, personal and collective memory with the cognitive realm of life and the well being of people. We intend to find answers to the relationship between habitat-memory:

- How can our own history, the one we contribute, 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?

Proposal- 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 life in Lavapies.- 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.- Create a web site and a documentary about the project.- Spread the project.- Experiment for a period of 3 months with the prototype.













2008. Todo por la praxis. EMPTY WORLD (2007.10 / theoretical data)

 EMPTY WORLD. Empty housing real state agency.

Empty World is a project developed by Todo por la Praxis, linked to the Madrid Abierto programme. The project will be appear in MA’s programme and the funding will depend also on MA.

Empty housing, gentrification and speculation

The rise of the housing prices keeps increasing each year. This year it seems to have had a smooth deceleration, about the 15% cheaper than last year, other years it grew about a 20 or 25%. However, the difficulties to own or rent an apartment are greater everyday and the efforts that a normal salary must undertake are increasing significantly, reaching almost unbearable levels on the long term. To purchase a house is the main investment that most Spaniards have to deal with in their lifetime. The excessive increase in the prices has augmented the effort until most of a person’s lifetime earnings are invested in it. An interesting piece of information can sum up the housing problem in Spain: the average price of a home has multiplied by five in salary terms in the period 1986-2006, while salaries in that same period have only duplicated. Home prices have grown thirteen and a half times more than salaries.

Regarding the problem a phenomenon takes place that reflects the recklessness of the real estate market in Spain. The struggle to find a home is in contrast with the gigantism of a market that is growing without control, with an already existent patrimony that is abandoned or is a part of speculation strategy. By discussing a single point we can graphically understand this phenomenon. In Madrid, the number of empty houses equals the number of new apartments being built in the three most important Urban Development Plans in the city (Sanchinarro, Las Tablas and Carabanchel). This questions the market imposed urban model, for, the abandonment of the already existing patrimony is a matter of speculation processes that are unsustainable. On an environmental level it involves an unjustified consumption of the territory and on an economic level it’s a waste of public investment to cover the services and needs of the residents in new houses.

It is within these central areas where the phenomenon seems to be more intense, linked to gentrification processes. The word “gentrification” evolves from the English word “gentry” and literally relates to the adoption of a bourgeois lifestyle. This concept defines the process by which a working class neighbourhood, that has been previously abandoned and degraded, increases its value due to the expulsion of its traditional dwellers and their substitution by middle upper-class residents. The process involves changes in the type of houses and commercial and production activities. This is done for the profits obtained from speculation, due to the increase on the area’s value. Malasaña is a clear example of these practices, thus the analyses of these processes in the neighbourhood will be the goal of the project.

Empty World

The proposed project is made up of several elements. Firstly, a real estate agency’s Online office: EW in Clearance Sale. In the shop window/showcase we will recreate the aesthetic and image of real estate agencies with a photographic catalogue of empty apartments in the neighbourhood. Therefore, as one of the agency’s tasks a record of empty apartments will be created. In order to do so, the neighbourhood’s cadastral data will be obtained and updated, inviting neighbours to participate in the elaboration of this record on a larger scale. They will be invited to carry out a signalling campaign with stickers on empty houses of the neighbourhood. Finally, there will be debate sessions on gentrification and real estate speculation. For the sessions we will invite:

- Santiago Cirugeda (Architect)- V de Vivienda- Neighbour Association of Malasaña- Mesa de la Vivienda de Lavapies.- Praxis cooperative.- Fernando Roch (Urbanism Profesor in ETSAM)

(October 2007)












2008. Todo por la praxis. SPECULATOR + EMPTY WORLD (2008.01 / project review / theoretical data)

Todo por la Praxis: PROJECT LAB

When in 1999 “Todo por la Praxis” ( was created, its motivation was located in the disillusionment of a heterogeneous group of anti-system subjectivities with the existing practices in the realm of the public space critic. With individuals coming from heterogeneous theoretical and disciplinary backgrounds, the group was formed as a “collective intellect” and an active political individual: Like a Project Lab which’s main goal was to instruct a wide territory to practice – as a transforming agent- in the symbolic field of artistic practices.

A Lab that produces and amplifies aesthetic projects for cultural resistance, a Lab to design efficient visual communication tactics, to test tools, organizational models and unconventional artistic actions. A place to develop projects that intervene in/on urban public space; activist aesthetic practices or confrontational activities – as a means to represent the social conflict in an aesthetically effective way – and artistic actions in/on public space (and their repercussions on the social context in which they inscribe themselves).

One of our most recent themes is personified by Speculator, manifested thanks to the creation of an archetype-character. Speculator is a multiple identity that assumes different roles in the diverse contexts to which he belongs. It is focused on an urban question, the public sphere and the real estate market. In this sense, any action oriented against ruling structures will be absorbed by Speculator’s potential projects. Speculator’s specific goals are: a) Unveil the net of existing relations between real estate speculation and gentrification, b) Analyze which segregation mechanisms and social control devices used in today’s trans-symbolic gentrification processes.


In Madrid there are approximately 300.000 empty homes that create a posturban reality. The abandonment of real estate patrimony that is reflected by these empty houses indicates the role of the house-product as a speculative practice that increases its value. That is, in our current real estate market houses are mainly empty because more profits are obtained from the house-product without doing anything, than by putting the product in the market as rented house. Therefore, there is an unused patrimony because by its simple accumulation and speculative revaluation more profits are obtained than by using them socially. EW intends to show these activities, so abundant in our cities and, specially, in the neighbourhood of Malasaña.

The neighbourhood of Malasaña is in the centre of the city and has been subject to real estate pressures throughout history. First – in days of Franco – they tried to devastate the neighbourhood with a haussmanian strategy. This initiative wanted to create a great avenue to connect Bilbao with Gran Vía. The existence of an important real estate patrimony in the imaginary line to be constructed stopped the project. The disappearance of the neighbourhood’s University created some expectations but the hippies came along, and were later substituted by the movida’s extravagance, and slowed it down. The rehabilitation plan of 95 was a great challenge for the neighbourhood for it ended up with the expulsion of great part of its residents with the excuse of eliminating substandard housing. And the process has ended by introducing new tenants in “luxurious substandard housing”. Right now there is a model created by the administration and private companies that intends to turn the city into a theme park (Disneyfication), creating consumer oriented places. As it already happened to Chueca in the nineties, Malasaña is subject to a similar strategy in which fashion and leisure are the parameters that define its future scenery. A scenario of gentrification in the Madrid fashion that we have labelled post-urban.  The logic of this pos-turban plan consists of emptying in order to fill. To empty urban spaces of their symbolic landmarks and unproductive inhabitants, transforming them into post-urban spaces, initiate a trans-symbolic gentrification; to redefine new urban space that fits the productive/reproductive subjectivities of the global city-factory. These “ethnic-class cleaning” operations are camouflaged beneath the “rehabilitation” rhetoric, a concept that is functioning as nucleus of the new fiction capitalism. This social control model implies a complex alliance between different interests. On the one hand, public Institutions, pressured by the private sector and their own economic interests tend to favour private investment on areas that must be “recoverable”, while they have to deal with the social conflict that these agents of gentrification create. On the other hand, the residents of some specific area become divided and oppose each other, those who feel favoured by the gentrification process and those who become “victims”. The post-urban scenario manifests itself on all social levels; the neighbourhood networks of mutual support become fragmented, the symbolic elements of belonging are delocalized (work ties, family, etc), social communication channels are reduced due to the fragmentation of common interest among residents, and, last, the relationships between owners and tenants become polarized.

In this context the Empty World project, included in the Todo por la Praxis Project Lab, is created.

Empty world in four movements. (Programme)

 1. EW is a multi-centred and multidisciplinary artefact that works upon the symbolic and social field as a tactic to connect different dimensions in which gentrification agents operate.

2. We have defined EW as a re-appropriation strategy of inactive space that represents the three million empty homes that exist in the Spanish State. Our general objective is – from the artistic field – to provide theoretic-methodological tools for the antagonist group.

 3. EW as an effective social and aesthetic project emerges from the need to develop a series of social and visual communication mechanisms that served to achieve a double goal: to chart the new posturban scenarios – analyzing weak spots; empty houses in the area -, and also, evaluate the level of gentrification risk to which these zones are exposed – how the social fabric was structured in that specific area, which elements of self-defence could they count on and which was their weakest flank or potential for urban conflict. To answer these questions with certain methodological efficiency we carried out an ethnographic investigation of one of the areas that seemed to be at high risk of falling under gentrification; the neighbourhood of Malasaña.

 4. EW intends to provide resistance tools – tactics and strategies – to the people’s movement in the neighbourhood, and Physical Signs are a way to make oneself present in terms of gentrification. EW is an action programme. 

 (January 2008)











2008. LaHostiaFineArts (LHFA). EXPLORANDO USERA (2008.01 / technical data)


1. 1000 posters 100x70 bus and Works advertisement.2. 1000 posters 70x50 Orcasur plants3. 1000 x12 postcards of Churches in Usera4. 1000x 15 calendars with small pictures of Usera5. Audio CD 6. DVD 7. 1000 A3 small stories.8. Other

(January 2008)













2008. LaHostiaFineArts (LHFA). EXPLORANDO USERA (2007.10 / fieldwork)

 CALL: Guide for tapas in Usera

Your lucky. You have been chosen to participate in the creation of a guide for tapas in Usera. Next 27th of October at 12am we will meet in… to explore this aspect of Usera.

What you have to do is to take two or three friends and walk around an area that has been assigned to you. You are a team leader and LHFA will give you 50 euros to spend on tapas. In exchange, you and your group will give us information on at least two different bars for each participant. For example: if you are three, you will tell us of six bars. And also take two pictures: an external one of the bar and another of its interior (product, atmosphere or architecture).

To make your job easier we will give you a form to fill in on each case, a list of bars, a map of the area and a LHFA card (we need you to send us a picture to make it or you can bring it to the meeting spot).

Please, answer swiftly announcing your participation because if not maybe we will have to look for someone else.

(October 2007) 















2007. Alonso Gil + Francis Gomila. GUANTANAMERA (2006.12 / fieldwork)


“With torture music, our culture is no longer a means of individual expression, instead, it is an actual weapon… Disco isn’t dead, it has gone to war” Moustafa Bayoumi. Professor of English and postcolonial literature at Brooklyn College, City University of New York

In the depths of one of the air vents of Madrid’s Metro, located in the heart of the capital, we will install a powerful sound system which will blast versions of the classic Cuban theme GUANTANAMERA. This project is a reflection on the use of music as a torture instrument employed by the Psychological Machinery of the North American Armed Forces on detainees in Afganistan, Iraq and Guantanamo.

An invitation to participate… 

We are inviting artists who work with sound, musicians, DJs, rappers and Flamenco artists to collaborate in this project by recording their own versions of Guantanemera and also sending pre-existing versions to us.

If you would like to send us a version, please contact:

ALONSO GIL or FRANCIS GOMILA at: This email address is being protected from spambots. You need JavaScript enabled to view it.xxThis email address is being protected from spambots. You need JavaScript enabled to view it.xx

The installation will be in place for a period of one month, coinciding with ARCO 07 (February 2007)


(December 2006)









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


Sice: 2,6 x 4,2 x 2,6 (approximate size)

• Structure made of cold tubular and angular laminated profiles forming panels that are assembled to each other with zinc coated screws. All the elements are collapsible. • A segment made of open profiles that forma a Pratt type of lattice.• Tubular profile straps transversely fixed with screws.• Galvanized profile cover done with the Sendzimir de 275 grs/m2 process on each cover. Undulating of 0,06 mm thick.• Exterior locks 30/209 of 0,6 mm thick galvanized by the same process as the previous.• Metallic door made of a perfrisa type of profile of 0,9 m light x 1,96 m high. With a security lock of the Azbe brand with two bolts and a set of three keys, the opening, towards the exterior.• Kiosk foldaway made of carpentering frames prefisa type with 1,3 m. Opening in the foldaway done with an adjustable tubular telescopic guide. • Anchorage system, with screwed handrails in the kiosks basis.• Degreasing cleaner is applied to every component.• Foam rubber profile joints located on corners of foldaway doors. • It includes four frontal foldaway openings and door adjusted for passers-by.(INFORMATION PROVIDED BY THE PREDES COMPANY (BARCELONA)


4 people x 1 dayThe assembly is basic: according to PREDES “it works like a meccano” and no crane is needed.Basic electric installation to supply the audio equipment.


PaintPaint with relief to write texts (to integrate – and maintain readability when graffiti has been done, etc)Audio installation.DFS x 1 day







2005. Rebekka Reich + Anne Lorenz. TAXI MADRID (2004.10 / fieldwork)

................................................................................................................................................................................... CALL FOR PARTICIPATION




For further information check:

Or simply send an e-mail to: This email address is being protected from spambots. You need JavaScript enabled to view it.This email address is being protected from spambots. You need JavaScript enabled to view it.


Anne Lorenz    &   Rebekka Reich               Artistas (Allemagne)




Hello XXX (person’s name or nickname)

I am pleased to say that we have selected you to collaborate in our project titled TAXI MADRID. I need you to do a brief interview, which we are sending. Your opinion will be of great help, so we expect to receive it.

Please, think on each question before answering: 

1. Which is your most positive memory of Madrid?2. And the most negative?3. Did you experience anything in Madrid that you still talk about and remember every once in a while?4. Which was your favourite spot in Madrid? Why?5. Is there any place in Madrid that gave you good luck? And bad?6. In your opinion: Which is the most horrible area or place in the city?

You don’t have to give us a written answer. It’s ok if you just tell us your memories when we call you on the phone. Next I give you some possible dates to call you:



Hugs and kisses from Zürich and thanks for collaborating,

Anne & Rebakka

PS.: I’d like to confirm that once we call you, we will record the call. I hope you give us your approval because we will maybe use some of your sentences with your own voice for the TAXI MADRID installation, although most will be interpreted by hired actors.


(October 2004)








05intb3456, 05intb3455

2005. Raimond Chaves. EL RIO, LAS COSAS QUE PASAN (2005.05 / theoretical data)


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.


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:


“Hanguendo y Colgando” is organised around a double proposal for Madrid Abierto based on the mediums on which it will be shown on the streets of the capital and also on the condition of a travelling artist who lives and works travelling between South America, the Caribbean and Europe.

“Hangueando”The publication of a new poster to be placed on billboards on the streets of Madrid with texts, statements and images considered to be relevant regarding events and processes which are taking place in South America and are hardly known of or totally unknown in Europe. Events that are local or confined to certain areas of South America because of globalization have consequences in Spain.

“Colgando”The publication of between twenty and thirty different banderols based on my collection of images of South America with which I will elaborate a graphic story (no text) on a topic similar to the complimentary proposal but aimed at being read while moving (in vehicles driving along the Paseo de Recoletos). The sequence of images will work just like a flipbook, in which the animation works passing of the images. These images could illustrate an “event” during various moments, such as for example a bottle emptying or a volcano erupting (from banderol to banderol).


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.


(May 2005)









2005. Fernando Baena. FAMILIAS ENCONTRADAS (2005.1 / fieldwork / families)


The General Education Act establishes different educational stages:Preschool, general basic education (EGB), unified and polyvalent high school (BUP) and college prep course (COU), technical school (FP), University and permanent education for adults (EPA).


Mayors are designated by the Provincial Administration. A third of the city councillors are designated by the Union’s Committees, a third by economic and social entities, and last, a third by family representatives, head of families and married women.


Freudo-Marxism and Anti-Psychiatry are critical with the institution of family. They intend to abolish family, substituting it by other more communitarian forms of reproduction and socialization for little children. They analyze mass psychology which explains the rise of Nazism and Fascism and denounce family and its repressive and authoritarian aspects which are shared with private companies, schools and other institutions. David Cooper attacks the bourgeois family (patriarchal and monogamist) in his book Death of the Family and associates it to the genesis of schizophrenia.


The 25/1971 Act, 19th of June, in protection of large families published in the n.º 150 del 24/06/1971 of the BOE, claims to complete and perfect both the protective assistance of Social Security and the special guarantees related to employment and labor relations, and to maintain the profits, established in terms of taxation. They are regulated, as much as the General Education Act reaches its full development, exemptions and bonuses of rights and education taxes, in all their levels and grades, and the preferential professional education related rights; special education subsidies are instituted, on the other hand, in favor of large families with handicapped or disabled children. In the same way, they have the preferential right to access subsidized housing, improvements in form of financing and awarding of credits to obtain unsubsidized housing. Finally, the reductions in the tariffs and on complements to public transport will remain.

The law considers a large family to be constituted by: The head of the family, the spouse and three or more children; the head of family, the spouse, if there were any, and two children, as long as, at least one of them, is disabled or handicapped for work; the head of family in a situation of widowhood, legal or factual matrimonial separation, and, in any of these assumptions, three children; the head of family, the spouse, if there is any, when one is totally disabled for work, having three children; the head of family and spouse, when both are totally disabled or handicapped for work, having two children; the head of family, the spouse, if there is any, and two children, if these are disabled or handicapped for work. The children can be legitimate, legitimated, naturally accepted, illegitimate with right to be fed, or adopted, each belonging to members of the marriage, or to one of them.

First Category families are those that have from three to six children. Of Second Category the ones that have from seven to nine children and Category of Honour those that have ten or more siblings.

The Law considers the father to be the head of family; or lack of that, the mother, and, in case of legal or of fact separation, the spouse who has their custody. In lack of those persons the head of family is the one who takes care of the under-aged or disabled members, as long as they live with him and at his expense. In the lack of these circumstances, the protection is limited to one of the siblings.

The head of a large family and the spouse have priority to be hired in any job position as long as they are apt, have the necessary knowledge and conditions required, are capable of performing their duties and these are positions subject to free contracting. From this priority are excepted directive jobs or those considered of confidence. In those cases in which there are dismissals, general hourly working day reductions or necessary transfers, they enjoy, in their category and specialty, protection to retain their working situation. In their benefit the legal designated deadlines are duplicated in time to leave a house that they live in for working reasons.


The law forces the wife to obey her husband. Without marital license, the wife can’t work, receive a salary, start a business, occupy any position, nor open bank accounts, have a passport, or driving licence, nor accept or reject inheritances, even if belonging to her parents, or ask for her share, nor be executrix, or defend herself in courts (except for a criminal trial), nor defend her own assets, nor sell or tom mortgage these assets, nor to have any money except to do the daily shopping even though it were her own salary. The woman is forced to follow her husband wherever he intends to live, she can’t exercise parental authority over the children until the father dies and in this case, she only has the right to receive half of what is left.


If any woman marries someone from another country, automatically she loses her nationality and is considered a foreigner; then she is given a green card and her studies lose efficacy, she can’t be a civil servant and needs a work permit.


Spanish family has as absolute values the indissolubility of marriage and procreation of as many children as possible, the predominant role of the father as head of family and the subordination of women to the reproductive function in a biological and domestic sense.


The matrimonial fertility period is of 7,5 years.The average age difference between husband and wife is of 1,9 years.The average age for a woman to marry is of 23,7 years.When born a woman has a life expectancy of 75,1 years.When born a man has a life expectancy of 69,6 years.The vital cycle until widowhood is of 45,1 years.The percentage of marital life in contrast with the average life of man is 64,8%.The percentage of marital life in contrast with the average life of woman is 60%.The average number of siblings is 2,5 per couple.The average number of family members is 3,84. The highest in Canary Islands (4,3), Navarra and Basque Country (4,1), Andalusia and Cantabria (4,0). The lowest in Baleares (3,5) followed by Castilla-La Mancha, Comunidad Valenciana, La Rioja and Aragon (3,6).From the establishment of the household to the first birth pass an average of 1,4 years.Between births lay an average 3 years.Empty household: 11,7 years.The fertile interval in contrast with the vital cycle until widowhood is of 16,6%.The duration of an empty household in contrast with the vital cycle until widowhood is of 25,9%.The average duration of widowhood in woman is 9 years.The average duration of widowhood in man is 2,2 years.The total duration of the masculine vital familiar cycle with widowhood is of 47.3 years.The total duration of the feminine vital familiar cycle with widowhood is of 54,1 years.The probability of men to die first (woman 1) is 2,7.


In its January issue, the Ama magazine shows a picture of the audience that the Princes of Spain held with Ana María Benito de Asencio, elected Housewife of the year 1970.The winner had to pass different tests: sewing, cooking, decoration and culture. The inside pages show Ana María Benito declaring herself against divorce, erotic cinema and violence. Ana is a social graduate and commercial expert, but doesn’t practice and, although she’s in favour of women’s labour, she has enough with her home duties. To her, a good housewife should have a will towards self-improvement, be dedicated to her husband and children, and constantly take care of the household problems, most of all children’s education. “Todo Madrid” attended de proclamation dinner.


Barcelona has a housing deficit that reaches 85,590 in its urban perimeter and of 18,120 in the rest of the metropolitan areas.


A reader of Telva criticizes the way in which the magazine idealizes the housewife. This, she claims, makes female workers feel guilty. Telva’s answer reads: “…the housewife-mother should dedicate her best time and abilities to hers… The best service to society is to create adapted individuals, and in this function, family plays a main role”. It also states that: “..above technical, industrial and material welfare, stands the spiritual and psychological wellbeing that an intelligent, educated and dedicated mother can greatly provide”.


Doctor José L. Navarro, in an article titled The Pill… Danger???, reminds us the danger that minimum dosages of oral contraceptives might produce micro-abortions. And exclaims: “Of course, in many countries the “escalation” of contraceptives has conduced to the legalization of abortion!”


In an article published by Telva, Jean Guitton says: “I approve of those rooted beings that can only live properly inside. The wife at home… The wife provides, to that which she gathers, a kind of curvature, friendly and protective, like a bird that curves its wings to create a nest.”


A reader of Telva asks: “Isn’t it true that these strict marital duties are obsolete and that these should be limited to those days in which both husband and wife agree?” Clara Fornet answers: “.. Being responsible, you have no reasons to refuse; you can only argue that you’re tired and ask for understanding and consideration on your husband’s part. But he can also ask for your consideration, referring to “something” that in man is much more imperative than in woman.”


The large group of Parliament attorneys request the creation of a housing credit Bank.


The Subcommittee that estimates the Housing Committee Demand believes that for the validity period of the Third Plan for Social and Economic Development 1,500,000 houses will be needed.


In the Hogar y Moda magazine, Enrica Catani writes an article titled Secrets of a successful marriage. In this article she writes: “… A man is not a moneymaking machine. Outside the household, he has to sometimes confront serious trouble and a woman can’t expect him to be forever cheerful. She must understand when she has to postpone an uncomfortable conversation. Postpone it only, if it’s important… I have used the word “important”, because a woman can’t intend to be listened when she afflicts her husband with gossip or unimportant problems that she must resolve on her own. It is fair to respect someone’s bad mood when it’s a consequence of serious worries…”


In an article called Tips to get along fine, published in the Hogar y Moda magazine, we can read: “His favourite pastime is painting, but his wife doesn’t know how to paint. This is one of the cases in which the wife must accept even that which she knows not how to do, and must do it with intelligence and enthusiasm, because, as we all know, visual arts involve noble sentiments, and are a spiritual education for sensitive beings. Therefore, although both personalities may be very dissimilar, an agreement is possible with the understanding that the wife must prove and practice.”


According to the magazine Hogar y Moda, women that work outside the household dedicate 8 hours to their jobs. To that we must add 5 more hours at home with the children, 2 hours transport, 2 hours for meals, and 1 hour to walk. Therefore, she would have 6 hours left of sleep a day. However, women who work at home, apart from dedicating 8 hours to that job, dedicate 2 other hours to help the children with their homework, 3 hours on meals, 2 hours on walks, 2 hours sewing, gardening and helping the husband. Thus, she has 7 hours left to sleep.


An ideal marriage, with two children in Madrid spends 45% of its budget in food. Having a budget of some 15,000 pesetas, they can spend 6,830 pesetas a month in food; which would be 227.60 pesetas a day. The average per person is of 56.90 pesetas. With such a budget, and according to prices of the Vallehermoso Market in Madrid, on the 16th of December 1970, the following menu could be elaborated: breakfast with white coffee, bread and butter, lunch of chicken soup, chicken mound, and apple dessert, snack with white coffee and dinner of cabbage with chips, hake (frozen) au gratin, and tangerine dessert. The above mentioned budget includes half litre of wine.


On the 14th of January, the wife of singer Andrés Do Barro bears a baby of 3 and a halve kilos.


Carmen Maria Guadalupe Dolores, daughter of Rocío Durcal and Junior, is christened. Lola Flores was the godmother.


Patricia, daughter of dancer Maria Cruz and Oscar Ortiz is christened.


Articles in the décor magazine Sábado Gráfico are about the houses of the Angulo, Ussia, Holmsen, Coca and Emilio Alduchi nicknamed “Pirro”.


In Barcelona judge number 8 announces a verdict in favour of social worker Misses Reyes Martorell in her dispute with Cáritas Barcelona which had fired her for having had a civil marriage.


Ana García Fernández and her husband, Manuel Rambla Encina, never got along. After a 15 year marriage, Manuel died on the 5th of January due to burns that his wife had caused on the 23rd of December when she threw a pot of boiling water on him in his sleep. She appeared to have added some corrosive product.


El Caso, in your article on “Lute”, published on the 23rd of January you say: “…these rumours assure that “el Lute” was madly in love with her and very worried about his children’s luck. And they say that he spent hours in contemplation on the sad nights of the Port, yearning for his family life, his children, “Chelo” (his wife)… No; the reader mustn’t be surprised. Love is this… “el Lute” decided to risk everything for his wife and children…”


In El Caso, an article titled “The denaturalized mother from Barcelona is in prison”, it says: “She had this child while single and then married another man, with whom she had another one. But her husband couldn’t put up with her, not being able to tame her and stop her constant infidelities, he left with his child. She went on with her life, going to bad reputed bars and having different friends for intermittent periods of time, among which there was a gypsy to whom she was unfaithful. He attacked her and almost killed her. In these adventures, her husband died in a car crash, without giving her the child’s custody, luckily for him. She had another daughter from an unknown father that a woman takes care of in exchange for money…”


On the 30th of January Nicanor Rodríguez, and educated, religious and polite man killed his wife, his four children and the maid, after which he left the house naked and shouting out sentences like “They want to destroy personality” and “I am justice”. His colleagues and friends noticed he had become obsessed with the Rogers system of education which he intensely rejected, and they think “… he probably decided to kill the children because he believed that if educated in such a way they would become automats” or that “… having the maid announced she was leaving on Sunday, Don Nicanor might have gotten upset. The girl was very young and attractive, and it’s not the first time a man is attracted by a maid that works at home…”


In Casteldefels (Barcelona), Laurencio Bicasanet killed his stepfather by stabbing him in the heart. The family was formed by 35 year old Ángel Domínguez Ríos, his wife Planes Armengol, 49 years old, and nine children, the first six from a previous marriage. With the couple lived seven of the children with ages from 18 to 5 years.


Commenting on a crime occurred in El Goloso (Madrid), Alfonso de Aricha, in El Caso, on the 6th of March, writes: “… this spreading of parricides is disturbing, with three cases in a few days, and a total of five people dead, and another, Tomás Ceferino Padín, who with absolute tranquillity, his arms full of blood, said: “There’s no problem… I have just killed my wife.”


In Villahoyosa (Alicante), more than a hundred people, all of them gypsies belonging to the “Granadine” and “Copito” clans, start a tremendous fight, which results in the death of one, another severely injured, ten arrested and several houses abandoned.


In the BOE of the 3rd of February appeared the labour bylaw for employees of urban buildings (superintendents): the measure affects a100.000 families.


On the 4th of February, the Messrs Otero asked the marquises of Torrealta (lords of Paramés Fernández de Córdoba) for their daughter’s hand (the lovely “Pepita”), so she can marry their son Felipe.


Seven brothers, all of them national teachers, born in Ysua (Lanzarote) offer a lunch in tribute of their father, Mr Juan Valenciano Curbelo, also national teacher. One of the siblings, Mayor of Haria, spoke and extolled Mr Valenciano’s merits, a man who was born in a poor family, and financed all of his sons’ studies.


The National Federation of House Arms sends a request to the Ministry of Commerce insisting on that, while the Code of Diet is not valid, traders in food cans should put the sell-by date and the price to prevent any type of adulteration. They also insist on an improvement of distribution channels to fight against the hold up of products and speculation. Another housewife bummer is the exceeding rise of the basic food products while salaries remain stable.


Between the 1st and the 5th of July the National Family Conference takes place, dedicated to the study of economic problems.


According to an opinion poll carried out by the Episcopal Commission for the Doctrine of Faith, birth rate is dwindling due to: “dominant hedonism, marginality of morals, anovulant methods, which are believed to be permitted, and contraceptives, which are thought of as immoral. You can perceive the great optimism related to premarital relationships. In contrast with previous times a 60% state that these types of relationships are more serious, while 16% believe the opposite. Only the 6% think that nothing has changed.”


According to the attorney of the Ecclesiastical Court of Malaga, “in the last five years, we have dealt 246 lawsuits, of which 214 were divorce, and 32 judgements of annulment. Of the 246 lawsuits, 10 were done for free due to the plaintiffs’ lack of resources. Of the 236 cases, a little more than half of the costs have been the following: 9 less than 3000 pesetas; 65 were from 3000 to 5000 pesetas; 24 from 5000 to 7000 pesetas; 16 from 7000 to 10000 pesetas; 5 from 15000 to 20000; 3 from 20000 to 30000 pesetas; and one case cost 40000 pesetas. Regarding delays, of the 70 sentences pronounced in the last two years by that Court, 18 took less than a year; 40 less than two; and only two took more than two years without reaching 4.


Seven hundred widows attend the II National Study Conference of the Christian Communities’ Widows: “Society isn’t interested in supporting female widows, that reaching a number of 2,000,000 in Spain, is a force to be reckoned and we believe with great possibilities…”


In the Conference of Studies on Emigration that will close on the 19t of February, Mr Ángel Alfonso Martínez, journalist and interpreter, dwells on the fact that in Germany where he’s been living as immigrant for the last eleven years “Regrouping is a serious matter, extremely serious. A hundred and eighteen marriages have broken up in the last six months. Also, we can’t find a solution to it because the Spanish Emigration Institution doesn’t insist on regrouping faster. The Spanish bricklayer arrives, at first, with good intentions; but, maybe meets another woman, and what begins as a game ends up as divorce. German authorities have given a one year deadline for people to take there families with them; but we have to reduce that period to three months by any means necessary.”


On the 20th of February the BOE announced a rise on pensions starting on the 1st of March: retirement pensions 300 pesetas and a rise of 150 monthly pesetas in some cases; 180 monthly pesetas rise for widowhood; 175 pesetas for orphans; 180 for relatives if there’s only one beneficiary, and 75 pesetas if there’s more than one.


On the 25th of February the new maternity and children’s hospitals open in Oviedo. The invested is of 179,420,715.66 pesetas. Consequently a bed’s cost was of 410,600 pesetas.


29,677 scholarships are given in Madrid for the current course, with a whole sum of 207.514.000 pesetas; 24.264.000 pesetas for starters and 4.231 scholarships; 183.250.000 pesetas used for 25.446 scholarships to continue with studies.













2005. Fernando Baena. FAMILIAS ENCONTRADAS (2005.1 / fieldwork / anniversaries)



1st of January 1971 - Nationalization of private Banks in Chile.

- Eleuterio Sánchez “el Lute” escapes from Puerto de Santamaría Prison.


2nd of January1971 - Cesáreo García Rodicio is born http://www.cesareox. Married. Drivers licence. B1 (Year 1989) e-mail: This email address is being protected from spambots. You need JavaScript enabled to view it.This email address is being protected from spambots. You need JavaScript enabled to view it.. Telephone: 687 911121.


3rd of January 1971 – 66 people die in Glasgow due to crowd pressure when a handrail broke in the Celtic’s stadium.

- Dramatic train crash in Chamartin station. Fifty three people slightly injured.


4th of January 1971 - Irina Melitopol is born. Hight: 161 cm. Weight: 69 Kg. Hair colour: Gold. Eyes: Blue. Single. She dreams of having a strong, friendly and happy family. She is looking for her love, he should be between 25 and 50, cheerful, intelligent, good, stable and vigorous.


5th of January 1971 – Marilyn Manson in Canton, Ohio.


6th of January 1971 - Jesús Fernández Santos wins the Nadal award with “Book on the memory of things”.


7th of January 1971 – Eva María Martín Martínez, Guardia Civil, is born in Valladolid.


8th of January 1971 - Óscar Vives Martínez is born. He is programmer and graphic designer for Positive Soft.

- Geoffrey Jackson, English ambassador is kidnapped in Montevideo.


9th of January 1971 – The American Junior Chamber of Commerce presents Elvis as one of the 10 most extraordinary young Americans.


10th of January 1971 – The French designer Gabrielle “Cocó” Channel dies.


11th of January 1971 – The Aswan Dam opens in Egypt.


12th of January 1971 – The DIA reports that Guatemalan troops had “silently eliminated” hundreds of “terrorists and bandits” in the country.


13th of January 1971 – 70 Brazilian guerrilla fighters get on a plain in Río de Janeiro and head for Allende’s Chile.


14th of January 1971 – “Come to Germany, Pepe” opens, it was watched by 2.078.570 people.


15th of January 1971 - Public execution of Ernest Ouandié, leader of UPC (Cameroon).


16th of January 1971 – Tennis player Sergi Bruguera is born.


17th of January 1971 – ETA’s VI Assembly takes over, when a commando kidnaps a well known Basque industrialist who’s factory was on strike.

- Two people dead and thirty injured in the derailment of the Iberia Express near Campo de San Pedro, Segovia.


18th of January 1971 – Spanish football player Josep Guardiola is born.


19th of January 1971 – A group of dissidents of Venezuela’s Communist Party founds the socialist Movement (MAS)


20th of January 1971 – Spanish singer Julio Iglesias marries Isabel Preysler, a Philippine lady in Illescas (Toledo).


21st of January 1971 - Spanish matador José Ignacio Uceda Leal is born.


22nd of January 1971 - Haitian dictator Francois Duvalier appointed his son as his successor.


23rd of January 1971 – In Prospect Greek, Alaska, reach 80 degrees below zero, the lowest temperature ever registered in USA.


24th of January 1971 – Bill W, founder of Alcoholics Anonymous dies.


25th of January 1971 – Ida Amin, chief of the Armed Forces of Uganda, takes power after a bloody cup d’état.


26th of January 1971 - María del Mar Sánchez de la Sierra, from the Sánchez de Alarcón family, is born.


27th of January 1971 – A Ministry for the Protection of Nature and the Environment is created in France.


28th of January 1971 – As suggested by Vicente Aleixandre, Emilio García Gómez and Pedro Laín Entralgo, Buero Vallejo is elected member of Royal Academy of Language.


29th of January 1971 – Matador Manuel Caballero is born in Albacete.


30th of January 1971 – The United Nations enact international Convention to eliminate every form of racial discrimination.


31st of January 1971 – USA launches the Apollo XIV for a third moon landing experiment.


1st of February 1971 – Dadaist painter and writer, Raoul Hausmann dies in Limonges, France.

- One dead, 45 injured and 50 arrested in Los Angeles during a Chicano protest march against police brutality.


2nd of February 1971 – The World Wetland Convention is signed in Ramsar, Iran.

- The South Bus Station opens in Madrid, between Palos de Moguer and Canarias street.


3rd of February 1971 -.The OPEP unilaterally establishes the prices of Petrol.

- South Vietnamese troops invade Laos with the support of American helicopters.


4th of February 1971 – British car company Rolls Royce Ltd. Publicly announces its bankruptcy files in the Courts.


5th of February 1971 – American astronauts Alan Shepard and Edgar Mitchell land on the moon with the Antares module.

- State of exception is lifted in Gipuzcoa, although Article 18 of Spaniard’s privileges is still in suspension in the whole Spanish territory.


6th of February 1971 – Cyclist José María “Chaba” Jiménez is born in El Barraco (Ávila).

- Eight people dead and more than a 100 injured when a steam boiler exploded in Ensidesa.


7th of February 1971 -. A referendum in Switzerland sanctions by majority of two thirds, the concession of women’s vote.


8th of February 1971 – The first technological stock market opens in Nasdaq: it starts by quoting more than 2,500 shares in electronic products.


9th of February 1971 – The Apollo XIV returns to the earth.

- An earthquake in Los Angeles kills 57 people.


10th of February 1971 – French porn actress Béatrice Valle, and specialized in anal sex, is born in France.

- Gregori Fegin leaves for Israel to obtain an official permit from Soviet authorities. It’s one of the five permits provided of 80000 requested by Hebrews after the Leningrad trial.


11th of February 1971 – The new Soviet five year plan is oriented towards consumer goods.


12th of February 1971 – There’s a cold front case in the Canary Islands.


13th of February 1971 – Chilean president Salvador Allende decides to accept the constitutional reform that provides the State with power over all the mineral and combustible resources in the country.


14th of February 1971 – An agreement is isgned in Teherán between Western oil companies and oil exporting countries in the Persian Gulf.

- Bus line 60 opens, Plaza de la Cebada – Orcasitas.


15th of February 1971 - Decimal system has become effective in Great Britain.


16th of February 1971 - Alcibiades Betancourt disappears, victim of the Panamanian military dictatorship.


17th of February 1971 - Jacques Lacan gives the fourth session of the seminario D'un discours qui ne serait pas du semblant.


18th of February 1971 – French journalist and photographer Pierre Golendorf is arrested in Havana and is subject to different types of psychological torture while imprisoned.


19th of February 1971 - Paul McCartney’s new single is released containing Another Day and Oh Woman Oh Why.


20th of February 1971 - Idi Amin Dadá becomes Uganda’s new president.

- Spain beats Italy two to one in Cagliari. Gols by Pirri and Uriarte.

The Spanish team was: Iribar, Sol, Gallego, Tonono, Costas, Pirri, Claramunt, Uriarte, Amancio, Gárate and Churruca.


21st of February 1971 – The Vienna Agreement on Psychotropic Drugs takes places.


22nd of February 1971 - Hafez al-Assad becomes head of State of Siria.


23rd of February 1971 – A spectacular phenomenon is observed in many points of the country, falling later, some 24 miles North of San Sebastian. It was the Tibere rocket.


24th of February 1971 – Formula 1 pilot Pedro Martínez de la Rosa is born.


25th of February 1971 – Spain joins the Geneva Convention in Open Sea.


26th of February 1971 - Claudio Sánchez-Albornoz presents his resignation as President of the Republic’s Government.


27th of February 1971 – French comic actor Fernandel, dies.


28th of February 1971 - Real Madrid wins Atletico Madrid 1-0 in the twenty third match of the League. Pirri scores on minute 9.


1st of March 1971 – The pilot series for Colombo opens, called Ransom for a Dead. Man


2nd of March 1971 - Mujibur Rahman proclaims Bangladesh an independent Republic from Pakistan, which originates a civil war.


3rd of March 1971 – Art designer and architect Arne Jacobsen dies in Copenhagen.


4th of March 1971 – Luchino Visconti’s “Death In Venice” opens Italy.


5th of March 1971 - Led Zeppelin plays Stairway to Heaven live for the first time in Belfast. 


6th of March 1971 – American Formula 1 pilot Mario Andretti wins the South African Great Prize.


7th of March 1971 – The Dalí Museum opens in Cleveland (Beachwood).


8th of March 1971 – Cassius Clay is defeated by Joe Frazier by unanimous decision in the World Heavy Weight Championship.


9th of March 1971 – The General Bylaw on Safety and Hygiene at Work is sanctioned.


10th of March 1971 – Atletico de Madrid beats the Legia of Warsaw 1-0, gol by Adelardo, in the quarter finals of the European Cup.


11th of March 1971 – The Technical College of Madrid opens, at the same time asin Catalonia and Valencia.


12th of March 1971 – Fernando Baena turns 9 years old.


13th of March 1971 – Carme Chacón Piqueras is born in Espluges de Llobregat (Barcelona), Secretary of Culture.


14th of March 1971 – Archbishop Lefebvre talks about the Holy Mass in a conference at Granby, Canada.


15th of March 1971 – There’s an insurrection leaded by Viborazo in Argentina.


16th of March 1971 – Judas Priest plays in Essington, England, with their new members, Ian Hill and Kenneth Downing.


17th of March 1971 – Three workers die in the subway works between Avenida de América and Pueblo Nuevo.


(January 2005)








2005. Fernando Baena. FAMILIAS ENCONTRADAS (2005.1 / fieldwork / culture)


On the 22nd of July the Lady of Baza was discovered in the necropolis of Cerro del Santuario in the ancient Basti (Baza), Granada. It is a statue of the 4th century B.C made of polychrome limestone. It was inside a funeral chamber of 2,60 m2 and 1,80 deep, where there also was a Punic Amphora that communicated with the surface through a funnel, which was used for libations as liquid offerings done from the outside. This shows that there was cult related to person there buried.


This year, Carlos Alcolea does his first individual exhibit in the Amadís gallery in Madrid, which is directed by Juan Antonio Aguirre. Along with other young painters, among them, Rafael Pérez Mínguez, Guillermo Pérez Villalta, Manolo Quejido and Carlos Franco, Alcolea stood out in Madrid’s art scene as an advocate of the return to painting.


Alexandre Cirici i Pellicer takes part in creating the Catalonia Assembly for which reason he is imprisoned for a week.


Barral publishing house releases Peter Hamm’s “Critic’s critic”. Martinez Roca publishing company edits “The Definition of Art” by Umberto Eco. Labor publishes “The theory of proportion in architecture” by Ph. Scholfield. Gredos publishes Gloria Videla’s “Ultraism”. Seix Barral releases “Art and its objects” by R. Wollheim. Fundamentos Publisher “Morphology of a story” by Vladimir Propp. Taurus publishes Theodor Adorno “Ideology as language”; “Cinema as art” by Rudolph Arnheim and “The art f lanscape” by K. Clark; Carlos Areán publishes his “Assesment of young Spanish art”; Gabriel Celaya releases his visual poetry book “Campos semánticos”; José Caballero prepares 14 lithographs for exclusive edition of Pablo Neruda’s poem Oceana de; Valeriano Bozal collaborates in the books Teoría, práctica teórica y Alienación e ideología.


Between March and April “The computer assisted art” exhibit takes place in Madrid’s Palacio de Congresos y Exposiciones, due to a European Simposium on graphic design organized by IBM. Relevant artists will take part, such as: Alexanco, Gerardo Delgado, Teresa Eguibar, Lorenzo Frechilla, García Asensio, Gómez Perales, Lugán, Abel Martín, Manuel Quejido, Enrique Salamanca, Javier Seguí de la Riva and Ana Buenaventura, Sempere, Soledad Sevilla and Yturralde. García Camarero Hill presents the catalogue. In May the Calculation Centre Hill organize the last of a series of exhibitions showing works by members of the Visual Forms seminar. The “Computed forms” exhibition takes place in the Ateneo’s main hall, and same artists participate except for Teresa Eguibar and Lorenzo Frechilla. Florentino Briones will present the catalogue.


The National Modern Art Museum’s collection will be divided. 19th century paintings will be given to El Prado Museum making use of the Casón de Buen Retiro. For paintings from the twentieth century a new Museum in the Complutense Campus, built from 1971 to 1973 and inaugurated in 1975 as the Spanish Modern Art Museum. Its author, the architect Jaime López de Asiaín, designed it according to specifications of the Museum Architecture Conference in 1968. He received the National Architecture Award in 1969.


In March, Moreno Galván goes to Santiago de Chile to participate in a conference of intellectuals called “Operation truth”. He suggests the creation of an international museum to support president Salvador Allende. A committee formed by historian and critic Mario Pedrosa, who lives in Chile, the Italian Carlo Levi and Moreno Galván himself will visit president Allende and propose the creation of the museum. The “International Committee of Artistic Solidarity with Chile” is created, then, with the participation of Moreno Galván, Carlo Levi, Dore Ashton, Jean Lemarie, de Wilde, R. Penrouse, Rafael Alberti and Mario Pedrosa, as chairman.


This year, Eduardo Arroyo, exhibits in the Palazzo de Gobernatore de Parma, in the Galleria People, Turín, in L'A.R.C., Musée d'Art Moderne de la Ville de Paris, in Frankfurter Kunstverein, in la Hedendaagse Kunst de Utrecht, in Münchener Kunstverein de Dusseldorf and in Kunstverein of Berlin; Manuel Rivera exhibits in the collective Erotism in art of Galería Vandrés of Madrid, in Gravuras Espanholas of Galeria São Francisco, Lisboa, in Astor Gallery of Atenas, in Pretoria Museum of Pretoria and in Goodman Gallery de Johannesburgo; Eduardo Chillida stays four months as guest teacher at the Carpenter Center for the Visual Art of Harvard University. He meets poet Jorge Guillén illustrates his book Más Allá. The Thyssen society entrusts him a steel sculpture for their headquarters in Düsseldorf. He begins to study the concrete method with engineer Fernández Ordóñez; Gerardo Rueda Hill be in Galería Juana Mordó of Madrid, and Galería Val y 30 of Valencia and in Galería Juana de Aizpuru of Sevilla.


Last edition of the Women’s Exhibition of Current Art.


The Sephardic museum of Toledo opens a new area next to the Transit Synagogue; the Palace of Espartero, a baroque building of the 18th century and paradigm of Logroño’s civil architecture, will host the Museum of La Rioja; the project for the Outdoor Sculpture Museum in La Castellana has been sanctioned this summer. The economic problem of having to buy the sculptures has been solved with a donation by artists and relatives, thanks to their friendship with Eusebio Sempere.


Rafael Canogar wins the Great Proze at the Sao Paolo Biennial.


Jesús Franco opens “A virgin among the living dead”.


The first Visual Arts Biennial of León starts off with a 100,000 pesetas prize and other rewards; San Sebastian’s City Hall calls for a second Sculpture Biennial. The piece that wins will be installed in Avenida del Generalísimo, in front of the sea. 14,000, 25,000 and 14,000 pesetas prizes; the Rodríguez Acosta Foundation calls the XII Exhibit-Contest on “woman” as subject.Several prizes from 100,000 to 25,000 pesetas.


The January-February issue of Bellas Artes magazine has articles on Calder, Medina Azahara’s art, Sargadelos’ ceramics, the Fine Arts Museum of Sevilla, the futurists, Permeke’s exhibition in MEAC, Barjola, Román Vallés, Estuardo Maldonado, María Victoria de la Fuente, José María de Labra, the exhibitions of Francisco Peinado, Isabel Pons and Fernando Delapuente in MEAC and on the Archaeological Museum of Sevilla.The March-April issue has articles on Gutiérrez Solana, Vázquez Díaz, el Museo del Prado, Eugenio D’Ors and his salones de los Once, Ortega Muñoz, Julio Antonio in MEAC, Paul Klee, Mignoni, Cirilo Martínez Novillo, Ionesco’s drawings, Dimitri, Cesar Manrique, Arte Generativo and Cardona Torrandell.In the January-February issue of Goya magazine there are articles about Goya by Xavière Desparmet, Xavier Salas, Juan Antonio Gaya Nuño, José Guerrero Lovillo, Federico Torralba, José Gudiol, María José Sáez Piñuela, Pierre Gassier, Julián Gállego, Enrique Pardo Canales and José Camón Aznar.


In the March-April issue they publish several articles: “The diocesan and cathedral museum in Valladolid” by J.J. Martín González, “The museum of modern and fine arts in Bilnao” by Alberto del Castillo, “José María Ucelay and Basque painting” by Antonio Bilbao Arístegui, and “Alberto Giacometti (1901-66) by Montano Mononi.


A collection of vases by Lladró appears. In the crystalline surface there’s life, most of all, oriental floral motifs and birds.


New symptoms of an illness that will end Juan Eduardo Cirlot’s life. At the end of the year he will be operated of a pancreatic cancer.


Teresa women magazine has a four page article on sculptor Joaquín Vaquero Turcios.


In Meridiano magazine Renato Manzoni reviews the “Masters of Italian Modern Art” exhibition, that took place in the Vicereine Palacae. It had works by Modigliani, De Chirico, Morandi, Bonichi, De Pissis, Mario Marini, Giacomo Manzoni, Arturo Martini and futurists Boccioni, Carrá, Russolo, Balla and Severini.


Coinciding with the Day of the stamp, a series is released commemorating Ignacio Zuloaga’s birth.


The Fine Arts’General Management acquires pieces by Rafael García Gómez, Eduardo Maldonado, Amadeo Gabino, Luis Feito and Amador Rodríguez, for more than two and a half million pesetas. These pieces are destined to be shown in the Spanish Museum of Modern Art.


Venancio Sánchez Marín in his “Chronicle of Madrid”, published in the January-February issue of Goya magazine states that: “.. what quantitatively characterizes the type of art that comes through Madrid is the diversity that’s hard to classify. Diversity based on the artist’s personality more than any tendentious affiliation. From a statistic point of view the information is relevant, because it indicates to what extent personal expression is valued above proposals of programmed art.”


Vázquez Díaz’s disciples offer a tribute to their master in the Tartessos gallery. Others will participate: Botí, Caballero, Canogar, Clavo, Díaz Caneja, Granado Valdés, Martano, Morales, Olasagasti, Pascual de Lara, Rives, Santos Viana, Vallejo de Urrutia, Vázquez Aggerholm, Vera and Zelaya.


The Urbis Club in Madrid organizes a collective tribute to D’Ors. They show works by Manolo Hugué, Federico Marés, José Planes, Llorens Artiga, Solana, Vázquez Díaz, Juan de Echevarría, Cossio, Palencia, Ortega, Muñoz, Zabaleta, Lozano, Villá, Vaquero, Álvaro Delgado, Martínez Novillo, Agustín Redondela, Perceval, Caballero, Baeza, Brotat, Tapies, Guinovart, Mampaso, Millares, Aguiar, Rafael Benet, Gómez Cano, Luis Cañadas, Pedro Pruna, Romero Escasi, Sunyer, Uranga, Eduardo Vicente.


The Hispanic Cultura Institute, with the Argentinian group Generative Art and with the title “Space and Vibration” show pieces by Ari Brizzi, Jorge Edgardo Lezama, Carlos Silva, Rogelio Polesello, Mario Martorell and Adolfo Estrada.


MEAC organizes a collective exhibit called “Testimony 70” with works by García Ramos, José María Iglresias, José Navarro, Enrique Salamanca, Eduardo Sanz, José María Iturralde, José Luis Fajardo, Martín de Vidales, Ceferino Moreno, Yraola, Vicente Vela, Anzo, Andrés Cillero, Cruz de Castro, Javier Morras, Orcajo, Jordi Pericot and Darío Villalba.


Opening of the Galería Serie with a collective show of serial art. Pieces by Le Parc, Sempere, Torner, Gerardo Rueda, Guinovart, Eduardo Sanz, Labra, Pablo Serrano, Amador, Soledad Sevilla and Feliciano.


Exhibitions in Madrid, in the first three months of the year: Club Urbis shows Agustín Hernández; in Galería Amadís, Arturo Heras; in Galería Biosca: they show: Juan Barjola, María Victoria de la Fuente, Martínez Novillo and Cristino de Vera; in Galería Cid is Tauler; in Galería Círculo 2: Francec Gali, Tatiana, Lencero and Brull Carreras; in Galería Cultart: Faik Husen; in Galería Daniel: Jorge Teixidor and Fernando Jesús; in Galería Edaf, José Luis García, Garcés, Sebastián Luca de Tena and Alberto Duce; in Galería Eureka: Juan Luis; in Galería Fauna´s: José Díaz, Onésimo Anciones, Cuyen, Jesús González de la Torre, Juan Haro, Ramiro Tapia; in Galería Frontera: Alberto Duce; in Galería Grosvenor: J.P. Broesset and Javier de Villota; Galería Hípola they have Spanish painting from Fortuny to Vázquez Díaz; in Galería Iolas-Velasco: Maccio, Carola Torres, Ionesco, Arcadio Blasco and a collective one with Leonor Fini, Gette, Juan Hufo, Lalannes and Rushka; in Galería Juana Mordó: Gerardo Rueda, Eugenio Barbieri and Fernando Zobel; in Galería Karma, Magdalena Lozano, Mark Noven Wadstrom, Amelia Jiménez and Jorge Castillo; in Galería Kreisler, Ramiro Ramos, Hidalgo de Caviedes, Álvaro Delgado and Cristina de Baviera; in Galería Macarrón: Elena Lucas; in Galería Seiquer: Elena Asins y Zachrisson; in Galería Sen: Porta Zusch, Yturralde and Isabel Villar; in Galería Skira: Francisco Cruz de Castro, José Dámaso, Cesar Manrique, Tapies, Subirachs, Leopoldo Novoa and a collective “Today’s art”: Amador, Gonzalez Herranz, Le Parc, Marcel Martí, Medina Schöffer, Sobrino and Soto; in Galería Ramón Durán: Vivancos and Gloria Alcahud; in Galería Richelieu, Julio Pérez Torres and Luis Cajal; in Galería Studio: Ina Berndtson; in Galería Tartessos:. Méndez Ruiz, Vazquez Díaz and a collective one with his disciples; in Galería Toison: Cardona Torrandell; in Galería Theo:Vazquez Díaz, Lago, Lara, Valdivieso, Mignoni and Guillermo Delgado; in Galería Vandrés Luis Gordillo, José María de Labra and a collective one: Andrés Cillero, Ortiz Vaccaro, Alexanco, Zachrisson, Miura, Moulia and Valdivieso; in MEAC there are exhibits by Alberto Durero, Julio Antonio, Francisco Peinado, Estuardo Maldonado, Fernando Delapuente, Álvaro Delgado, Agustín Celis and the collective “Testimonio 70”; in Sala Joven of the Ateneo: Rafael Armengol and Antoni Muntadas and in Sala Sta. Catalina: Ignacio Berriobeña; in Sala Repesa: José Sancha, María Antonia Dans and Emilio Prieto, winners of the 4th National Repesa Painting contest


Exhibitions in Barcelona, in the first three months of the year: In Atenéo Barcelonés: Antonio Aguiló and Xiberta; in Bibioteca Central: Rolf Schlegel; in Camarote Granados: Isabel Pons, Juan Granados and Rosemonde Krbec; in Colegio de Arquitectos de Barcelona: GATEPAC; in Estudio de Arte: Graciella Piccone and Tomás Meca; in Galería Adriá, Rafael Zabaleta and Gaston Chaissac; in Galería Aquitania, August Puig and Elena Parés, in Galería As, Joaquín Capdevilla, Evaristo Guerra, José María García-Llort and Oriol Muntané; in Galería Augusta: Armando Miravalls; in Galería Manila, José Frau, in Galerías Españolas, Neville Woodbury; in Galería Grifé y Escoda, Nuria Llimona, in Galería Mundi Art: 50 female nudes in the “I Salón del Desnudo”; In Galería René Metras: Lucio Fontana, Manuel Bea and the collective “Surrealism” with Works by Arp, Bellmer, Cocteau, Cuixart, Chagall, De Chirico, Dalí, Ernst, Magritte, Massanet, Miró, Picasso, Man Ray, Ponç, Tapies, Wols and Ferrán; in Galería Syra: Cesc, Eduardo Castells and Alberti; in Galería Ten: Paul Caranicas; in Hospital of Santa Cruz, elGrupo Tarot; in Instituto Francés: José Royo and a collective one with old members Guinovart, Rafols Casanmada, Tapies, Tharrats, Cristafol, Subirachs...; in Instituto Franciscano de Apostolado y Cultura: Roser Argell and Jaime Muxart; in La Pinacoteca: J. Garzolini and Luis Montané; in Real Círculo Artístico drawings by Castells, Casané, María Jesús de Sola, Ferré Ferré, Hurtuna, Modolell, Planasdurá and Olga Sánchez, a collective on Socios “Segunda Exposición de Escultura”, a selection of presented pieces II Bienal Nacional de Pintura “Bilbao” and the exhibit “El vino en la pintura catalana” with closet o 50 paintings; in Escuela de Artes y Oficios: LXIII Exposición anual de la Agrupación de Acuarelistas de Cataluña; in Sala de Arte Moderno: Mario Bedini, Guerrero Medina and Dorothy Malloy; in Sala Gaspar: Viladecans y Vilacasas and a collective exhibition by Adamí, Calder, Camacho, Cárdenas, César, Corneille, Erró, Horn, Kowalski, Lam, Miró, Pignon, Robeyrolle, Tapies and Vedova; in Sala Jaimes: Marcelle Herrmann; in Sala Parés: Joan Serra, Gabino, José Amat, a tribute to Mauricio Vilomara y and a collective sculpture exhibit; in Sala Rovira: Antoni Roca, J.Gual and Felipe Brugueras; in Sala Tinell: Alberto; in Sala Vayreda, Josefina Miró. Also in Barcelona Rafael Durán, Tárrega-Viladons, Alve Valdemi, Lola Bech, Stefano Córdova, Elías Garralda, Juan Cardellá, José Margalef, José Luis Turina, Julio Visquerra, José Pomés, Colet Beleys, Gayle...


(January 2005)









2005. Fernando Baena. FAMILIAS ENCONTRADAS (2004.11-12 / theoretical data)


TEXTS REVISION I (November 2004)

By chance I found a carton box labelled : January 1st 1971 to March 17th. The box contained nearly 100 black and white photo negatives which were apparently taken by an anonymous photographer. Amongst the images, there are photos of families in the typical pose used in those days for the official identity card of large families. That is how we used to pose in the final years of the dictatorship. Does it look like us?

Below the normal publicity posters of the Circle of Fine Arts another five will be placed, each one with an image of one of these unknown families. To give context to the images, five electronic signs will display texts referring to that period of time.

...................................................................................................................................................................................TEXTS REVISION II (December 2004)


By chance, I found a cardboard box labelled “1st Janu¬ary to 17th March 1971” containing around 100 black and white negatives supposedly taken by some com-mercial photographer. Among the images, some were of families in the typical pose required for the official large-family card.


Underneath the usual advertising banners placed on the façade of Círculo de Bellas Artes five other ban¬ners are installed, each exhibiting the image of one of those unknown families. Underneath each of those photographs a luminous display shows texts referring to the year 1971, particularly the period 1st January to 17th March:

1. Anniversaries. 2. The family. 3. Art in Spain in 1971. 4. Círculo de Bellas Artes. 5. Updated daily news.


The emergence of photography dealt a death blow to the paintings of history. The commemorative and documentary role of these paintings was replaced with the faster and more reliable photographic report.

History disappears as the subject of works of modern art - possibly El Guernica was the last. The portrait is another area which photography and new image-recording media practically stole from the “fine arts” and if it occasionally continues to be considered art, it is within these modern disciplines.

The subject of the family has been present through¬out the history of western art. We only have to refer to the busts of Roman ancestors, the Sagradas Familias, the royal families painted by Velázquez or Goya, the bourgeois families portrayed by the Dutch, the aris¬tocratic ones by Reynolds and the modern ones by Hockney. Although the images of Familias encontra¬das can be easily framed in this subject, the texts that appear in the five electronic signs that accompany them refer us to the society of the moment those pho¬tos were taken. The concept of the family is extended to encompass Spanish people and the rest of human¬ity. Obviously, what was happening in the world af¬ fected the protagonists of the photographs and all of us already here.

But in this case, the aim is not just to document or commemorate, or make an exhaustive sociological analysis of the situation of the family or Spanish art in the last years of Franco’s dictatorship, nor to nostalgically emphasise those decisive years of our own personal history. The aim is to place a common anchorage point in the collective memories – its election was accidental- from which to stretch our memory to the present. We will realise, if we have the patience to read the different texts, that in thirty-four years we have changed a lot and we haven’t changed at all. Seen from a distance, the red lines of the electronic signs move without advancing.


If this piece is not cynic and impatient, if it doesn’t refer to political or citizens’ problems, and doesn’t intend to question customs or abuses, if it tends to be a drag, if it goes against the current and encloses most discredited values of today’s art: historicism, sociology, portrait and literature…, if this work seems inopportune for all these reasons, more so if it intends to deal with personal issues in public space.

In order to achieve objectivism, modern art seems to have left aside, apart from subjectivity, every connection to intimate life. It seems inconvenient, today, for any artistic work to deal with existential issues. As if each person’s inner life were something that others, society or art shouldn’t mind. That’s probably why we tend to think that we have seen it all. Therefore, History being trapped, the personal realm forbidden, and memory withdrawn, a void is created that someone will fill by selling us a cell phone through which we may spend our time talking for hours and hours about things that happen while we speak.

In contrast with the hustle and bustle of Gran Vía, and competing with marketing’s seductions, in a direction opposite to art’s current trends, it is, finally, a work that deals with the concept of time and people. About the passing of.. About the sense of suffocation, the fact that we uselessly agitate and expire, brief microscopic lives that emerge and evaporate while the final texture seems to remain the same. Not much, extremely subtle vibrations. To fix an image in the current of time is but to express the wish for something to have meaning.







05intb3449, 05intb3450

2006. Tanadori Yamaguchi + Maki Portilla-Kawamura + Key Portilla-Kawamura + Ali Ganjavian. LOCUTORIO COLÓN (2006.01 / technical data)

 “Locutorio Colón” is an artistic project with a strong social message (5 booths free of charge to call latin america), but there’s no reason to expect anything that isn’t an order of basic functioning that guarantees citizen’s safety and a quiet use of its services.

The agreed terms with madrid abierto (organizer of the event) and the telefónica foundation (collaborator and provider of technology), is to open everyday between the 1st and the 26th of february 2006, with limited opening hours (from 9 pm to 12 pm). In this way the flux of users is under control.

Likewise, a waiting system of turns will be used by which each visitor will receive a numbered ticket on arrival to be able to use the booth. The duration of each call is limited to 5 minutes to avoid any abuse of the service. We expect users to respect this order.

During the first days its function and flux of users will be objectively evaluated. if problems occurred, measures should be taken. these would consist of, firstly: fence the area to create a stretch and thus control the turns, secondly, to monitor with some security agent, and, as last resort, to close the service.

The authors are aware that a social-artistic project should not involve any altercation or generate insecurity and are ready to assume the measures apointed above.







2004. Bubble Business. EMANCIPATOR BUBBLE (visual data)

2004. Bubble Business. EMANCIPATOR BUBBLE (visual data)













2005. Compañía de Caracas. ESPACIO MÓVIL (2005.02 / fieldwork)



LINE 14From Plaza de Castilla to Atocha10.1811.5313.40From Atocha to Plaza de Castilla 10.3812.1314.00

LINE 459.4410.0410.4211.0211.2011.4112.1512.3512.5413.1413.4514.08

(February 2005)








2005. Compañía Caracas. ESPACIO MÓVIL (visual data)

2005. Compañía Caracas. ESPACIO MÓVIL (visual data)















2005. Colectivo Tercerunquinto. S/T (project rectification / 2004.12 / visual + technical data)

2005. Colectivo Tercerunquinto. S/T (project rectification / 2004.12 / visual + technical data)



Sin tìtulo"Concreto" and metalVariable dimensions

(December 2004)








05inib0491, 05intb0489

2004. Warren Neidich + Elena Bajo. SILENT (technical data / assembly)

2004. Warren Neidich + Elena Bajo. SILENT (technical data / assembly)













2008. Alicia Framis + Michael Lin. 100 WAYS TO WEAR A FLAG (2007.10 / project review / technical data)





1.    La locación para la performance debe ser cerrado preferiblemente, pues será en época de invierno. 2.    Será necesario iluminación y sonido (todavía por definir características específicas)3.    Las Modelos serán contratadas previamente a través de agencias de modelos madrileñas. 4.    El peinado y maquillaje de las modelos será organizado por parte del Alicia Framis Studio.5.    El equipo de Alicia Framis Studio se encargará de todas las contracciones. Así como del traslado de los vestidos si fuera necesario.


1.    El sistema de montaje de la estructura arquitectónico estará descrito y detallado en el Dossier presentado por Michael Lin.2.    El sistema de Iluminación y sonido se hará por parte del personal contratado para este fin.















2004. Etoy CORPORATION (technical data / assembly)

2004. Etoy CORPORATION (technical data / assembly)











2008. Alicia Framis + Michael Lin. 100 WAYS TO WEAR A FLAG (2007.10 / project review / visual data)

2008. Alicia Framis + Michael Lin. 100 WAYS TO WEAR A FLAG (2007.10 / project review / visual data)





Ingrid Pastor


 Roberto Piqueras



Copies of Chinese designers designs















2008. Alicia Framis + Michael Lin. 100 WAYS TO WEAR A FLAG (2007.10 / project review / theoretical data)




Desde hace tres meses se está preparando en la ciudad de Shangai 100 WAYS TO WEAR A FLAG, un proyecto que consiste en crear  una colección de cien vestidos  utilizando como material principal o único la bandera China. Estos vestidos, realizados por diseñadores españoles y chinos, servirán para una gran performance que pretendemos realizar en la ciudad de Madrid. Digo queremos por que aunque nos presentemos por separado, Michael Lin y yo pretendemos trabajar juntos en este proyecto.

He invitado a los diseñadores de modas David Delfín, Hugo Gallego, Ingrid Pastor, Roberto Piqueras, El Delgado Buil. (Anna Figuera Delgado y Macarena Ramos Buil), y a todos los miembros de ADÑ Asociación Artística de Diseñadores Nacionales de Moda de España: Locking Shocking (Oscar Oscar y Ana González) Carmen March, Carlos Diez-Diez, Ion Fiz, Juanjo Oliva y  La Casita de Wendy, Antonio Alvarado; Y se les ha propuesto que cada uno diseñe y elabore un vestido con la bandera China, siempre teniendo en cuenta la situación de la mujer en ese país.

Como es de conocimiento común, la populación china, desde hace varias generaciones, es más numerosa en hombres que en mujeres, ya que a cada pareja sólo se le permite tener un hijo, y la preferencia se inclina a tener un varón. Esta situación hace que la posición de la mujer sea inferior, y el papel en la sociedad sea similar. Es por ello que cada diseñador invitado ha dado su versión del tema a través de su vestido.

En el proyecto inicial también participaban diseñadores de moda chinos. Sin embargo, en el proceso de investigación salió a relucir que la ley castiga, con un mes de cárcel y doce mil  euros, a la persona que intervenga o utilice la bandera China de cualquier manera. Aunque en el mundo de la moda se hagan diseños con muchas banderas del occidente como los innumerables diseños que se han realizado con la bandera inglesa, americana, etc. incluso ropa interior; esto en el régimen chino es imposible. Así que después de esta decepción he decidido copiar a los diseñadores chinos: ellos no tocarán la prenda, pero de cualquier modo estarán presentes en este trabajo

Por otra parte, para la realización de la performance Michael Lin creará una plataforma arquitectónica especial echa en material textil, que estará en concordancia con las banderas. También, existe la intención de que esta parte de la obra sea portátil para poder mostrarla en diferentes ciudades, junto a los vestidos. El trabajo de Lin es imprescindible en este proyecto porque el hace del tejido estructuras arquitectónicas, que se armará y pintará In-situ.

Para  MADRID ABIERTO propongo una noche de gran perfomance. Diecisiete modelos de procedencia asiática, preferiblemente chinas,  que llevarán los cien vestidos y los desfilarán por esta estructura arquitectura única, convirtiendo todo en una sola acción.

Es importante destacar, que de este proyecto ya se está editando un catálogo que recogerá todo el proceso de trabajo, desde dónde se compraron las banderas en Shangai, hasta cómo cada diseñador corta la bandera, hasta que la convierte en vestido y el uso de el mismo.

También se está planteando la posibilidad de cómo hacer para que esta acción que conjuga el arte, la moda y la arquitectura, dure más que una noche, aún nos queda tiempo…

Alicia Framis, in collaboration with Michael Lin
















2004. Sans Façon. S/T (technical data / assembly)

2004. Sans Façon. S/T (technical data / assembly)












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

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



Archive photos. Frank Hernandez. Images of a military parade in La Havana. 70s.



Archive photos. Frank Hernandez. Images of a military parade in La Havana. 70s.








05intb0501, 05inib0502

2005. Raimond Chaves. EL RÍO. (2005.01 / visual data)

2005. Raimond Chaves. EL RÍO. (2005.01 / visual data)




There are two versions. But I´d prefer for the head El Rio.The sheets would be:

"El Río, las cosas que pasan"Newspaper poster for urban forniture -sketch-Raimond Chaves, Lima 2005

"El Río, las cosas que pasan"Head of the newspaper poster for urban forniture Raimond Chaves, Lima 2005

Victor Jara's happy"El Río las cosas que pasan"Broadcast for Metro ChannelVideo mosaic imagesRaimond Chaves, Lima 2005

Finally the url is:www.lascosasquepasan.netIn a couple of days it will be active, even it will be only with a wellcome pageThe official launch will be on day 3

(January 2005)










05inib0504, 05intb0505

2009-2010. Lara Almarcegui. GOING DOWN TO THE RECENTLY EXCAVATED UNDERGROUND PASSAGE (2010.02 / technical data / risk prevention)

2009-2010. Lara Almarcegui. GOING DOWN TO THE RECENTLY EXCAVATED UNDERGROUND PASSAGE (2010.02 / technical data / risk prevention)









 (FEBRUARY 2010)












09-10intb2765, 09-10intb2766, 09-10intb2767

2006. Wilfredo Prieto. OUROBOROS (2005.12 / theoretical data)

 This project questions power, as an institution of order and control, from its own scaffolding. Conditioned on appearance, on overlapping camouflage, on correspondence between objects and reality, as an artistically “minimal” operation to detonate and underline its conceptual strategy.

Ouroboros, as the mythical image of a snake biting its tail, recontextualized to challenge today’s social structure from the philosophical order; thereby causing an estrangement, to season interaction from its own symbolic charge; seeking to compact interpretative possibilities, concealing itself in a visual impact, starting from the formal scale itself, and its everyday condition.

(December 2005)







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

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



 DOSSIER I. September2009


DOSSIER II. October 2009












09-10inmb2750, 09-10inmb2751

2004. Emancipator bubble (theoretical data)

"EMANCIPATOR BUBBLE is the solution to all emancipation problems. It’s an inflatable bubble that enables independence without having to leave your parents’ house. Easy to set up, it offers maximum comfort with a minimum effort, thanks to its irrigation channels, electricity and telephone inlets to directly connect it to the family house, you won’t have expenses. There are many different models. Choose yours!”


EMANCIPATOR BUBBLE is young, new and fun. It’s what you need to live as you want. The next trend.

EMANCIPATOR BUBBLE offers the possibility of independence to young people from a young perspective. You can easily install it in your parents’ house and enjoy your own space, reaching the limits of ethical and living conditions.

EMANCIPATOR BUBBLE is not created as an emergency device, but does have a limited time use. These limits are established by the user and his family and the product’s resistance.



Housing, as work, is one of those inalienable rights that all of us should have, but each day it seems more of a privilege or luxury, and it delays young people’s independence. A matter in which we are about the last country in Europe and that all of us must try to improve.

2. WHAT IS EMANCIPATOR BUBBLE EMANCIPATOR BUBBLE is a fake new product that imitates the aesthetic of commercial product advertisements that we see everyday on the screen or in our mailbox.

EMANCIPATOR BUBBLE’s approach of independence is ironic and playful, but still realistic. It doesn’t offer a real solution to the problem, but it offers discussion, participation and citizen’s awareness. Its main mission is to generate a more self-critical vision on young people and the administration, to open a discussion to obtain real and imaginative solutions to this problem and promote certain concept of community, “Yes, I’m also emancipator”.

3. EMANCIPATOR PUBLIC EMANCIPATOR BUBBLE is mostly oriented to a heterogeneous public of people from 18 to 34 years of age, that are the great majority of people that are in need of a house and very sensitive to this issue. A group that has been called sociological youth, which being supposedly mature, are forced to delay their independence from family and fully integrate society.

4. EMANCIPATOR ELEMENTSEMANCIPATOR BUBBLE being a fictitious product its materialization as a project is done through different communicative effects as presentations, RR.PP actions, press releases, etc).

4.1. EMANCIPATOR BUBBLE GUM 400.000 chewing gums, as a metaphorical element (inflatable, it remains stuck, youthful, etc), they are the main form of word of mouth promotion of EMANCIPATOR BUBBLE.

4.2. www.emancipator.orgEMANCIPATOR BUBBLE’s main communication platform of contents, information and participation and interaction with the public.

With a corporative image, it presents the product, different models, tests, games, opinions are type-characters, with which possible spectators can identify themselves, etc.

4.3. OTHER PLATFORMSCommunication actions and the rumour effect directed to making EMANCIPATOR BUBBLE a news item and create publicity.• Tele-shopping type of advert to be shown on local TV channels.• Presentation set. • Presence in specialized forum son housing, youth, culture, etc, as in other places it’s possible to contact with the objective public (universities, festivals, in the street, transport, exhibitions...)• Other promotional elements that go with the gum and the web to strengthen the sense of community: adverts, pins, t-shirts, stickers• Etc..







2006. Nicole Cousino + Chris Vecchio. SPEAKHERE! (2005.12 / theoretical data)



SPEAKHERE! links bodies across space through sound. By setting up a speaker’s “hole” mounted on a busy intersection of Madrid and a speaker mounted in a park, plaza or alternate public space, personal songs, words, utterances or whispers will be transmitted in real-time to an unsuspecting audience.



SPEAKHERE! is an interactive sound installation with two main components. At one location, (on a street or busy public passage way) a small tube will be installed into a wall or free-standing object. Inside the tube will be a GMRS 3 watt radio transmitter and microphone set up to work as a sending device. A small sign will be mounted next to the tube, inviting visitors/passer-byers to speak into the tube/hole. The sound will then be transmitted, in real time, to a public address (PA) speaker that has been mounted on a tree or a post in a park or other suitable public space. Inside the PA speaker will be another GMRS 3 watt radio that will act as the receiver. The radio is attached to a small amplification unit, used to amplify the sound out the PA speaker. What ever is then spoken, uttered, sung, whispered will be amplified out into the public space that may be a location blocks or miles away from the speaker’s “hole”.

Based loosely on the concept of the Speaker’s Corner in Hyde Park, London, SPEAKHERE! differs in that it provides the speaker/participant with anonymity. Its about the liberation and empowerment of expressing one’s self in public without the neurosis of being on view before a listening audience.

Expressing one’s ideas or opinions in a public space can be seen to be a contentious or political act and is often shunned, especially in urban cities. Usually the only voice projected in the public space is that of the state or a religious entity. This project provides an opportunity for a diverse array of individuals of various cultures, languages, perspectives, attitudes and opinions to express themselves to a potential audience.

The receiving end…

The second difference between the Speaker’s Corner and SPEAKHERE! is that the one speaking into the “hole” will not know if there is a listener on the other end. Is one speaking to the wind, the trees, a crowd of elderly hard of hearing, police officers or children or…? But, if there is an audience listening, SPEAKHERE! aims to transform the public space by injecting it with a sense of the unanticipated and spontaneous. The installation also attempts to a link geographical spaces - from the location of the speaker’s “hole” to that of the public space/park where the PA speaker would be mounted.



When the piece was installed in Chicago, IL, USA the signage surrounding the Speaker’s “hole” said

Speak freely, rant, rave, articulate, sing, sputter, vocalize your thoughts, ideas, poems, songs, utterances to an audience of pedestrians, commuters, wonderers, lingerers, loiterers, citizens, associates, comrades, friends, sisters, brothers, cats, birds, foliage, inanimate objects, unseen forces, the ether, bread crumbs…

For Madrid the text that invites one to participate could be specific to Madrid or it could also change each week asking passer-byers to speak out about particular topics, questions, etc.


(December 2005) 








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

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

















09-10inmb2742, 09-10inmb2743

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





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


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

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


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

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

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

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


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

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

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

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

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

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


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

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

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

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


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

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

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

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


















2006. Tao G. Vrhovec. REALITY SOUNDTRAK (2006.01-02 / technical data)

2006. Tao G. Vrhovec. REALITY SOUNDTRAK (2006.01-02 / technical data)





2nd FEBRUARY ITINERARY(modification)











06inib0926, 06inib0927, 06inib0928, 06inib0929

2006. Chus García Fraile. POST IT (2006.01 / visual-technical data)

2006. Chus García Fraile. POST IT (2006.01 / visual-technical data)


Círculo de Bellas Artes       Casa de América  

Instituto Cervantes   Círculo Bellas Artes    Palacio Comunicaciones    Casa de América

Casa de América    Palacio Comunicaciones    Instituto Cervantes

Círculo Bellas Artes   Palacio Comunicaciones    Círculo Bellas Artes    Palacio Comunicaciones


(January 2006)







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

MAY 2009





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

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

















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

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

MAY 2009



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



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

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

1.    Plaza del Humilladero

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


3.    Metro Station La Latina


4.    12 Duque de Alba



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



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

















2007. [Nexus*] Art Group. PROYECTO_NEXUS (2007.01 / visual data II)

2007. [Nexus*] Art Group. PROYECTO_NEXUS (2007.01 / visual data II)












DAY 10




 (January 2007)












2007. Dora García. REZOS / PRAYERS (2006.11 / fieldwork)

2007. Dora García. REZOS / PRAYERS (2006.11 / fieldwork)







RMS La Asociación

Coordinators of Madrid Abierto















07intb1338, 07intb3632

2007. [Nexus*] Art Group. PROYECTO_NEXUS (2006.11 / visual data)

2007. [Nexus*] Art Group. PROYECTO_NEXUS (2006.11 / visual data)





(November 2006)












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

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

MAY 2009


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


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

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

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

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

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

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



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



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

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

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



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

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



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



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

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















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

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

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

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

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

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


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

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




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

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

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



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

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



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

The session would be completed with two activities:

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

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

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

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

(MAY 2009)













09-10pric2573, 09-10intb3587

2007. [Nexus*] Art Group. PROYECTO_NEXUS (2007.01 / visual data IV)

2007. [Nexus*] Art Group. PROYECTO_NEXUS (2007.01 / visual data IV)



Photos non-authorized by Metro’s Management. The reason behind such decision is to prevent the clients to feel offended.

(January 2007) 










2007. [Nexus*] Art Group. PROYECTO_NEXUS (2007.01 / visual data III)

2007. [Nexus*] Art Group. PROYECTO_NEXUS (2007.01 / visual data III)


DAY 11



DAY 12



DAY 13



DAY 14



DAY 15

(January 2007) 











2007. [Nexus*] Art Group. PROYECTO_NEXUS (2007.01 / visual data I)

2007. [Nexus*] Art Group. PROYECTO_NEXUS (2007.01 / visual data I)




































(January 2007) 













2007. Leopold Kessler. ALARM BIKE (2006.11 / visual data)

2007. Leopold Kessler. ALARM BIKE (2006.11 / visual data)



(November 2006) 










2004. Sans Façon. S/T (visual-technical data)

2004. Sans Façon. S/T (visual-technical data)
























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

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






















09-10inmb2706, 09-10inib2707

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

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

PSYCHOECONOMY! Corporate Summit 2010



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

Issue #1: Corporate Summit 2010

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

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

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



The Summit will involve three activities:

Activity 1: Round table and panel discussions

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

Activity 2: Internal Debate 

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

Activity 3: Final declaration 

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


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

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



For this issue, we are planning the following contents:

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

Editorial: An introduction by Psychoeconomy.



Daniel García Andújar Barcelona Technologies To The People

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

He is an historical member of (a point of reference internationally in net art) and the creator of numerous internet projects, such as art-net-dortmund,,,,,, etc. He is participating in the 2009 Venice Biennial in the Catalunyan pavilion.


Fran Ilich Tijuana Space Bank

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

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



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

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

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

He was awarded the Guggenheim Fellowship in 2006.



Georg Zoche Munich Transnational Republic

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

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















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

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

























09-10inmb2702, 09-10inib2703

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

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

























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

2007. Discoteca Flaming Star. DISCOTECA FALMING STAR (2006.11 / visual data)

2007. Discoteca Flaming Star. DISCOTECA FALMING STAR (2006.11 / visual data)





Cuesta de Moyano




(November 2006) 









2008. Guillaume Ségur. WELCOME ON BOARD (2008.01 / technical data)

2008. Guillaume Ségur. WELCOME ON BOARD (2008.01 / technical data)




(January 2008) 











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

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
























2008. Fernando Prats. GRAN SUR (2008.01 / technical data)

2008. Fernando Prats. GRAN SUR (2008.01 / technical data)




















08inib1949, 08inib1950

2008. Jota Castro. LA HUCHA DE LOS INCAS (2008.01 / visual data)

2008. Jota Castro. LA HUCHA DE LOS INCAS (2008.01 / visual data)



 (January 2008)











2008. Andreas Templin. HELL IS COMING / WORLD ENDS TODAY (2007.11 / visual data)

2008. Andreas Templin. HELL IS COMING / WORLD ENDS TODAY (2007.11 / visual data)


Hatred/fundamentalism/represented by an re-enactment of fanatic right-wing demonstrations.This is staged by a doppelganger.

The camp / the concentration camp. Giorgio Agamben.     Power. Michel Foucault.    Speed and devastation. Paul Virilio.


(November 2007)












08inib1934, 08intb1935

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


 Se buscan personas para colaborar en proyecto artístico de Madrid Abierto 2008

El artista Andreas Templin busca para su proyecto titulado “Hell is coming/World ends today” seleccionado en Madrid Abierto (; del 7 de febrero al 2 de marzo) gente que quiera participar en la ejecución del mismo a través de dos vías.

-    Por un lado, busca ciudadanos residentes o que estén trabajando en la ciudad de Madrid que ejercería como modelos por una semana, vistiendo prendas de ropa de moda con los nombres de filósofos contemporáneos. Se busca gente a la que le guste el skate, metal, punk, visual kei, goth, Hip Hop o R’n’B. Gente que esté simplemente interesada en la cultura juvenil o involucrada en intervenciones de arte a nivel internacional, será también bienvenida.

-    Por otro lado, busca un actor con disponibilidad para los días 7 al 14 de febrero. Esta persona iría vestida con traje de vestir oscuro y sombrero e iría portando dos carteles por el centro de Madrid durante 4 ó 5 horas al día. Su localización transcurriría en ciertas plazas y calles céntricas de la ciudad, sin hablar con nadie y con cierta actitud de “visionario”

Para conocer honorarios que se retribuirán a los participantes y ampliar información del proyecto, por favor, contacte con Andreas Templin en This email address is being protected from spambots. You need JavaScript enabled to view it.


The visual artist Andreas Templin is currently preparing a project for Madrid Abierto, a yearly exhibition in City of Madrid for art in public space. He is doing live-artwork which involves 150 citizens of Madrid. Next to this he is looking for an actor who could play a role in the streets of Madrid.

The actor would walk around in "Sunday-cloths" (black aor dark suit) and a Stetson hat with  two signs through the Inner City of Madrid, always stay at a certain plaza or streetcorner for a while and than walk on to the next spot. He would not talk to anybody and just have a sort of visionary, energetic look. He should be around in the hours when most people are in the street. This would happen 7th till including 14th of February. He is payed  XXX- Euros including tax. If he could do this 4 to 5 hours a day would be perfect. It would pay him around XXX.- Euros an hour including tax. Please forward to people interested in this and have a look at the attached description.

Si quiere saber más del proyecto o inscribirse, por favor, contacte con Andreas Templin en This email address is being protected from spambots. You need JavaScript enabled to view it.












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

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

* see the attached pdf

(September 2009) 


















2008. Alicia Framis + Michael Lin. NOT FOR SALE (2007.11-2008.01 / visual data)

2008. Alicia Framis + Michael Lin. NOT FOR SALE  (2007.11-2008.01 / visual data)


Designed by Jorge Masanet 


Designed by Chus Burés      Designed by Chus Burés



On the Helga de Alvear Galery

(November 2007 - January 2008) 












2008. Todo por la praxis. SPECULATOR (2007.05 / visual data)

2008. Todo por la praxis. SPECULATOR (2007.05 / visual data)





(May 2007)  
















2008. Santiago Cirugeda. CONSTRUYE TU CASA EN UNA AZOTEA (2008.02 / visual data)

2008. Santiago Cirugeda. CONSTRUYE TU CASA EN UNA AZOTEA (2008.02 / visual data)







(February 2008) 
















08inib1957, 08inib1958, 08inic2033

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

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

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

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



Map of the area with two possible locations.











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

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


INSTALLATION Some sketches that show possible states of the piece




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

The Hague City Hall -


Extension -










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

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





(December 2009) 















09-10inib2696, 09-10inib2697

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

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

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

The Hague City Hall -

Extension -













09-10intb3595, 09-10inmb3597

2008. Santiago Cirugeda. CONSTRUYE TU CASA EN UNA AZOTEA (2008.01 / technical data)

2008. Santiago Cirugeda. CONSTRUYE TU CASA EN UNA AZOTEA (2008.01 / technical data)











(January 2008) 















08inib1954, 08inib1955, inib1959

2008. LaHostiaFineArts (LHFA). EXPLORANDO USERA (2007.11 / visual data)

2008. LaHostiaFineArts (LHFA). EXPLORANDO USERA (2007.11 / visual data)




(November 2007) 















2008. Todo por la praxis. SPECULATOR + EMPTY WORLD (2008.01 / project review / technical data)



2.1. Empty World Housing Real Estate Agency

The real estate market is in “crisis” after almost a decade of obscene profits. The majority of “small amateur agencies”, created for fast money are closing. In this “recession” we find that it’s appropriate to create our own Antagonist Agency. With that end in mind we have created a real estate agency to put empty housing in-the-market; this agency is called: Empty World-Housing Real Estate Agency. The first office will “open” in the Total Liquidation in Madrid Abierto 08. Functioning as a common agency, in the Total Liquidation showcase will have the archetypical image of traditional agencies and empty houses will be offered to potential tenants through the Catalogue of available houses in the neighbourhood. In the agency the future tenant will find the necessary counselling to obtain the rent of their apartment: Location and conditions of the apartment, Access Handbook and Assignment of Contact and housing use, etc.


2.2. Virtual-Catalogue Registration

The first requirement to start the agency is to have a “list of properties” to offer our clients. To obtain houses for rent we have decided to create a section in the web ( to collect information with an active participation tool that enables the creation of a Virtual Registration to obtain information on empty real estate (uninhabited) detailing their characteristics (location, state of the apartment, square meters, number of rooms, information about the owner, etc.), on the other hand, offering the possibility of showing this information in a way that the user can find the empty houses with a personal tracker. Our agency uses the method that many other real estate companies use. The main idea is that detournement is still a highly effective tool in the context of fictional democracies. Our Virtual-Catalogue Registration is a tool that intends to show the essential contradiction of the capitalist market; to prove the role that as product-good the house assumes in the real estate market, drifting away from social use that supposedly is one of its features. In the fictional welfare state, where there are more than THREE million empty houses, the great majority of Spanish workers have to pay a mortgage for the rest of their lives.


2.3. Physical Signalling

To signpost is a way to “mark”, to limit access. Just as the other agencies, our agency needs to be visible, needs to signal those houses that “belong to all of us”. For that purpose we will invite neighbours to carry out a campaign to mark – using stickers with the Empty World logo – the empty houses in the neighbourhoods. The goal is to limit space, a way to “enter” the inner circle in which agents of gentrification defining ourselves as an opposing force able to potentially abolish them, move them form their ruling position inside the territory of urban space administration. As we have already shown.


2.4. Transfer of Operating Contract

In a codified society everything has to be regulated with a “basic” capitalist formula: the Contract. In our case, the proposal of a Contract intends to prove that the Public Administration and different private entities are responsible for introducing empty housing in the market, in those neighbourhoods/cities that suffer serious needs in living conditions. This is nothing but a mere work hypothesis that, although it would involve different judicial and political agents, is not, to us, probable in the current correlations of forces. In fact, the present project suggests the need for legislative reforms that (as it already happens in Catalonia, with the Housing Act) prove its viability in a new and necessary social scenario. We need to pressure the different Administrations to adopt, with minimum social and legal guarantees, the regulations that have been adopted in Catalonia on the issue of empty houses. It obviously isn’t a solution, but it’s a start, a legal precedent that must be widened. We need speculators, the gentrifying agents, to be limited in their “privileges” and submit to the logic of the Social State. Our idea of contract is not to “transform” a document (lacking any legal validity) into a “propaganda” device, but to represent, and symbolically demand, the need to “regulate” a market that is in the hands of speculative capitalist agents: A simulated Contract that involves the legal mechanisms for a possible real Contract.


2.5. Locksmith Handbook for beginners

The majority of real estate agencies used the “key in hand” slogan as an advertising ploy. Obviously, we, keep, “renting” off plan. The precariousness of the project forces us to leave the offered house’s access in hands of the tenant. But we can’t afford to give them only the “kick on the door” resource. We sought the help of other groups that have dealt with similar situations and found Okupasa. They will give “new/future tenants” two tools; The Handbook and the participation in a Workshop where they will explain, as “experts”, the 12 possible forms of accessing a home (which appear in the Handbook)

The wire method. 2. Drill a cylinder. 3. Opening card. 4. Sliding sheets TGF. 5. Multipick Hood. 6. Extracting the rotor. 7. Cylinder method. 8. Extract a ring. 9. Picking and Racking. 10. Knock key. 11. Cut padlock. 12. Trap measurer.


2.6. Franchise

The Franchise method we use is new version of the virus-cell idea that was developed by the self-managed workers movement of the Twentieth Century: each context is different and needs different tactics. For a further development of EW on a larger scale we have defined an “Action Protocol” based on the general principles of Copyleft. You can’t acquire EW franchises, we can only reproduce EW, everyone can access EW’s methodological contents in the website ( and establish an Empty World Housing Real Estate Agency“office”. But first he must accept the “Action Protocol” and subscribe in the website. The idea is for EW to swiftly expand as a mutating virus that adapts to the organism’s circumstances. By creating franchises in this way that, apart from obtaining material in the website, generate new tools to be passed on freely through the Web, reinforcing the project. It is a way to let the social intellect work by itself around the EW concept. Social creativity doesn’t have formal limits and can redefine any project in real life. The franchises, real “autonomous commandos”, are EW’s social foundation, its strength is the expression of the project’s social potential.


2.7. Audiovisual Document. (Interviews)

Interviews as opinion polls are a social construction method of reality. In general when someone is interviewed the process is conducted with the intention of obtaining answers that the interviewer wants or needs. Our intention was to avoid that trend of indirect manipulation using the “open interview” model. The main goal was to analyze the territory to find “friction areas” in the social network of urban areas in which we intended to work. Therefore, we had to let the neighbours speak. The questionnaire was structured on three levels; Neighbours, shopkeepers, and social agents (neighbour associations, social movements, experts, etc). All had to interact with the questionnaire in a friendly way, and therefore, the interview couldn’t be taken to uncomfortable territories. The questionnaire was extended or reduced depending on discard questions, making people feel as comfortable as possible. The postproduction and editing work has followed that same track, trying to contextualize questions and making each discursive detail visible on every interview. The final result is a piece of audiovisual material that is “exhibited” in the Empty Housing Real Estate Agency as part of EW’s visual and social communication campaign. In it you can observe the contradictions that any gentrification process creates on a specific social structure. While owners/shopkeepers find it a positive transformation, neighbours keep demanding for traditional needs as infrastructures, services, etc., the social agents continue asking for social and political-institutional changes. The Audiovisual Document basically wants to show, with certain undeniable influences from British free cinema, how a community is structured in a constant and daily working progress in which each life world finds a legitimating discourse to protect its needs and interests.


2.8. Sessions

There is no action without theory. This obvious remark is the motor of the “Posturban scenarios: empty housing and gentrification”. The sessions will be organized around the gentrification phenomenon and real estate speculation (check Empty World Sessions) and its objective is to discuss the different topics surrounding speculation, gentrification and urban segregation. In order to do this, the participation programme has tried to cover different fields in connection with the subject inviting researchers and activists from different fields and disciplines. The programme is structured in three conference-debate sessions with three representatives of each of those points of view. The need to discuss the phenomenon from the architectonic, sociological, artistic point of view, etc., is why we adopt this plan. With the intention of using the results of these three work sessions in the antagonist movement and rest of open fronts created by EW, we will try to edit a publication with all the information.



- The Speculator image is projected as “overture” of Empty World-Madrid. (7/2/08).

- Opening-Presentation Act of Empty Housing Real State Agency -EW. (Total Clearance Sale. 7th of February  2008)

- Project presentation Madrid abierto. 17:00-18:15 Friday 8th of February. Casa Encendida. Ronda de Valencia Nº2

- Activation of the Virtual Registration in (8/2/08)

- Start off  Physical Signalling of Empty Houses.(CCSS. 9/2/08)

- Posturban scenarios: Empty housing y Gentrification. (Conferences: 20, 21 y 22nd of February 2008, Total Clearance Sale.)

- Speculator party. 22.00h. 22nd of February 2008 (Conde de vista Hermosa Nº 3 Local G  Metro Marques de Vadillo)

- Workshop: “Locksmith Handbook for beginners”. (Date and time yet to be defined)


EMPTY WORLDwww.emptyworld.esPosturban scenarios: Empty housing and gentrification.


Thursday 21st, Friday 22nd y Saturday 23rd.Liquidación Total.C/San Vicente Ferrer 23 Local 2Metro Tribunal. Madrid.

T-21.18:00 h-21:00 h.

Presentation Empty World (Neighbourhood Assoc. Malasaña – Acibu)Basurama. (Urban Action)Group (Sustainable unity)Andrés Jaque. (Architect. ETSAM Project teacher)F-22.18:00 h-21:00 h.Fernando Roch.  (Professor of Urbanism ETSAM )Francisco Gil. (Praxis Cooperative)Democracia. ( Welfare State)           

S-23.18:00 h-21:00 h.

V de Vivienda. (Popular assembly for housing rights)Patio Maravillas. Jordi Claramonte - Fiambrera Obrera. ( Okupasa)Santiago Cirugeda. (Architect)

S-30.18:00 h-21:00 h.

 Empty World Workshop. 

(January 2008) 













2009-2010. Lara Almarcegui. GOING DOWN TO THE RECENTLY EXCAVATED UNDERGROUND PASSAGE (2009.12 / fieldwork)



APARCAMIENTO 1Situado entre las calles Hermanos Bécquer y Marqués de Villamejor. Cuenta con un total de 1.118 plazas de aparcamiento: 24 destinadas a discapacitados, 293 de rotación y 825 para residentes.

APARCAMIENTO 2Situado entre las calles Ortega y Gasset y Hermosilla. Cuenta con un total de 1.153 plazas de aparcamiento: 24 destinadas a discapacitados, 384 de rotación y 769 para residentes. APARCAMIENTO 3Situado entre la calle Jorge Juan y la Plaza de la Independencia. Cuenta con un total de 1.026 plazas de aparcamiento: 24 destinadas a discapacitados, 270 de rotación y 756 para residentes.



















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

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


(October 2009) 















09-10inib2691, 09-10inib2692

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


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


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

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

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

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


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


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

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











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

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



















09-10inmb2738, 09-10inmb2739, 09-10inmb2740, 09-10inmb2741

2009-2010. Lisa Cheung. HUERTO-O-BUS (2010.01 / fieldwork)



Asociación de Vecinos Salud y AhorroC/ Cestona, 5

Asociación de Vecinos La IncoloraC/ Gregorio Ortiz, 12 Local

Fundación Secretariado General GitanoC/ Antonio Salvador, 97 (local bajo)

Asociación Colectivo La CalleC/ Censo, 6 lateral

Asociación KandilC/ Amor Hermoso, 60

Asociación SERSO-PANGEAAvda. Cerro de los Ángeles, 17

Asociación de Mujeres del Poblado de OrcasitasC/ Cestona, 5

Asociación de cooperación y apoyo a la integración ICEASC/ Deva, 76

Asociación Colectivo AlucinosC/ Adora, 5-7 y 9

Fundación Iniciativas SurPlaza de la Asociación, 1-3

Asociación Cultural Salud y AhorroC/ Cuesta, 13

Asociación Universidad Popular de MadridC/ Ricardo Beltrán y Rozpide, 1

Asociación Juvenil LambdaC/ Silvio Abad, 42

Asociación de Chilenos en España (ACHES)C/ Eduardo Caxes, 10. 7º A

Centro Cultural La NatividadC/ Torrox, 4

Asociación Cívico Cultural Tetuan TeatroCalle Cristo de la Victoria s.n

A.P. A  I.E.S. Enrique Tierno GalvánAvda Andalucia Km 6,200

Asociacion de padres de alumnos colegio Nuestra Señora de MontserratCl Trevelez s/n, 28041

Asociacion de padres de alumnos colegio obra social Maria ReinaAv Orcasur 42 b, 28041

Asociacion de madres y padres de alumnos colegio San ViatorPz Fernandez Ladreda 2, 28026

Asociacion de padres de alumnos colegio luz casanovaCl Madridejos 34, 28026

Asociacion de padres de alumnos colegio de educacion infantil y primaria pradolongoCl Parque de la paloma 9, 28026

Asociacion de padres de alumnos Daoiz y VelardeCl Antonio Velasco zazo 34, 2º, 28026

Asociacion de padres de alumnos instituto de educacion secundaria ciudad de JaénCl Camino del rio 25, 28041

Asociacion de madres y padres de alumnos colegio de educacion infantil y primaria Jorge ManriquePz pintor Lucas 17, 28026

Asociacion de padres de alumnos colegio San FerminCl Estafeta 17, 28041

Asociacion de madres y padres de alumnos escuela infantil la jaraCl Hijas de Jesus 30, 28026

Asociacion de madres y padres de alumnos colegio de educacion infantil y primaria Juan Sebastian El CanoCl Mirasierra 29, 28026

Asociacion de padres de alumnos colegio publico Nuestra Señora de la FuencislaCl Tomelloso 40, 28026

Asociacion de padres de alumnos colegio santa maria - marianistasCl Tolosa 6, 28041

Asociacion de padres de alumnos colegio publico Ciudad de JaenCl Camino del rio s/n 28041

Asociacion de padres de alumnos escuela infantil ZofioCl Fornillos 3, 28026

Asociacion de padres de alumnos conservatorio escuela de música Maestro BarbieriCl Cestona 5, 28041

Asociacion de madres y padres de alumnos escuela infantil AlbaicinCl Albaicin s/n 28041

Asociacion de padres de alumnos colegio Nuestra Señora de FátimaCl Manuel Muñoz 30, 28026

Asociacion de madres y padres de alumnos colegio publico Meseta de OrcasitasCl Camino viejo de Villaverde 1, 28041

Asociacion de madres y padres de alumnos escuela infantil La cornisaCl Cristo de la Victoria s/n 28026

Asociacion de padres de alumnos colegio publico educacion especial Joan MiróAv Poblados 183, 28024

Asociacion de madres y padres de alumnos colegio publico Marcelo UseraCl Perales de Tajuña 1, 28026

Asociacion de madres y padres de alumnos colegio de educacion infantil y primaria Republica del BrasilAv Fueros 34, 28041

Asociacion de madres y padres de alumnos instituto de educacion secundaria Pio BarojaCl General Marva s/n

(January 2010) 


















2009-2010. Lisa Cheung. HUERTO-O-BUS (2010.01 / technical data / assembly)

2009-2010. Lisa Cheung. HUERTO-O-BUS (2010.01 / technical data / assembly)




(January 2010) 















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

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


(September 2009) 


















2009-2010. Laurence Bonvin. GHOSTOWN (2009.11 / visual data)

2009-2010. Laurence Bonvin. GHOSTOWN (2009.11 / visual data)




(November 2009) 















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

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




(January 2010) 

















2009-2010. Laurence Bonvin. GHOSTOWN (2009.06 / proposed location)

2009-2010. Laurence Bonvin. GHOSTOWN (2009.06 / proposed location)









(June 2009) 















2009-2010. Josep-María Martín. A DIGESTIVE HOUSE FOR LAVAPIÉS (2009.12 / technical data)

2009-2010. Josep-María Martín. A DIGESTIVE HOUSE FOR LAVAPIÉS (2009.12 / technical data)


7pm Attendees start arriving

7:05pmResidents in the overcrowded house for immigrants with other Senegalese people will walk for Valencia street to LCE with banners built my youth from Kayar (Senegal), as a legacy or relay of transferred worries from Senegal.

7:10pmWe try to attract people to watch how the Senegalese arrive with the banners from the inner patio of LCE to the upstairs terrace.

7:15pmThe banners are situated as installation in the terrace (floor or stuck in the window boxes).

7:20pmPlay the documentary.

8:10pmThe documentary ends.

8:20pmAn act of interaction begins between residents in the apartment and attendees.Senegalese dinner and hot tea. Wine?


 (December 2009)














09-10intb3584, 09-10inib2646

2009-2010. Adaptive Actions. AA CAMP-MADRID (2009.05 / proyect review / proposed locations)

2009-2010. Adaptive Actions. AA CAMP-MADRID (2009.05 / proyect review / proposed locations)

 Options (see images of different Madrid locations for references)

The choice of the location for the Adaptive Actions camp is crucial to the success of the project. I did not have time to identify a location last time in Madrid during our preparatory trip, but I was planning on travelling to Madrid 3 or 4 days when I will be back in London to find a relevant place for the project. Meanwhile, before my return, maybe you would have some suggestions.

I would need about 60 to 80 m2 for the tent and outside space for gathering, information panels and a large banner (could be less or more depending on location and visibility).

1- Vacant lot On which I could put the AA tent (Red-Cross type tent) Considerations: visibility, security when not there and tent temperature (it was colder in Madrid then I initially thought, especially for long activities).

2- A space with a garage door which opens on a busy street Considerations: visibility

3- An indoor public space in which I can install a tent (ex: Madrid train station) Considerations: who are the regular users of the space and are they diversified…?

Estación de Atocha    Estación de Atocha

Patio de la Casa Encendida

Patio Museo Reina sofía


PROJECT REVIEW MAY 2009Jean-François Prost, representative for the project















09-10intb3421, 09-10inib2657

2009-2010. Josep-María Martín. A DIGESTIVE HOUSE FOR LAVAPIÉS (2009.12 / visual data)

2009-2010. Josep-María Martín.  A DIGESTIVE HOUSE FOR LAVAPIÉS (2009.12 / visual data)




(Fotos: Enrique Pacheco / December 2009)













09-10inib2647, 09-10intb2648

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



FEB 2010: Calendar of people responsible


3-6 pm la castellana



3-6 pm la castellana



3-6 pm la castellana



3-6 pm la castellana



3-6 pm la castellana 




3-6 pm la castellana 



3-6 pm la castellana




3-6 pm la castellana



3-6 pm la castellana




3-6 pm la castellana



3-6 pm la castellana



3-6 pm la castellana



3-6 pm la castellana



3-6 pm la castellana




3-6 pm la castellana



3-6 pm la castellana




3-6 pm la castellana




3-6 pm la castellana



3-6 pm la castellana



3-6 pm la castellana



3-6 pm la castellana




3-6 pm la castellana






3-6 pm la castellana



3-6 pm la castellana



3-6 pm la castellana



3-6 pm la castellana
















 (Febraury 2010)

















2009-2010. Lisa Cheung. HUERTO-O-BUS (2009.05 / project review / proposed locations)

2009-2010. Lisa Cheung. HUERTO-O-BUS (2009.05 / project review / proposed locations)

Huert-o-bus can assess all locations and all are concrete surfaces and public spaces.

1. Paseo de Recoletos (in front of National Library)

2. Plaza de la Luna , C/ de la Luna, Centro

3. Plaza de la Corrala, Lavapiés (in front of new library, front entrance) & Doktor Fourquet 24, Lavapiés*

Plaza de la Corrala, Lavapies

Doctor Fourquet 24, Lavapiés


4. Plaza de la Remonta, Tetuán

5. Plaza de Pilarica? (entre c/ Pilarica & c/ Dolores Barranco), Usera or Plaza Andreas Arteaga (next to c/ Andreas Arteaga), Usera*

Plaza de Pilarica, Usera

Plaza Andreas Arteaga, Usera

*Where two locations are indicated, one or the other will be sufficient.

(MAY 2009) 











2008. Alicia Framis + Michael Lin. NOT FOR SALE (2008.01 / technical data)

2008. Alicia Framis + Michael Lin. NOT FOR SALE  (2008.01 / technical data)



- LIGHTING (spotlights are necessary to lighten 10 meters of catwalk. No filters or movable lights are needed. Just one light focused on the catwalk.)- Camera and tripod to record the performance.- Screen.- Projector.- SOUND: A double CD with sound mixer and amplifier attached to the speakers (at least 2 speakers).


 (January 2008) 












08inib1931, 08intb3541

2006. Gustav Hellberg. PULSING PATH: AMBIGUOUS VISION (2005.12 / proposed locations)

2006. Gustav Hellberg. PULSING PATH: AMBIGUOUS VISION (2005.12 / proposed locations)



Site for Pulsing Path - ambiguous vision (Madrid 2006) Gustav Hellberg

I would like to use the path that runs in the park like area in the middle of Paseo del Prado between Plaza de Canovas del Castillo and Plaza de Cibeles. I am giving two alternatives as I am not sure about how the lampposts are connected.

I've chosen this area because its park like feeling, where the idea of the path is in focus, also suggested by the title. This area's lampposts' old fashion design make them suitable as generic lamp posts. This is also the type of lamp posts I had in mind during the development of the work.

The area is interesting as it is not only a passage way for pedestrians but also a recreational area with benches for people to rest and playgrounds for children. It is an urban site with activity and stillness always surrounded by heavy traffic. In that surrounding the effect of a strange behaving set of lampposts will get its best impact.

I would suggest A before B if no technical or other problem favours B.

Version A:

Using the nine first lampposts along the middle path, counting from Pza. de Canovas del Castillo towards Fuenta de Apolo, for pulsing. The following lampposts, continuing northwards, need to be fitted with the same light bulbs as the pulsing ones if the light is not the same.

The northern part of this path gets to much light from the street which make me want that part to be 'normal', lights always on.

This part of the path is the darkest and the best effect will be able to reach here. It is also the most 'path like' stretch. The quieter part of this area could make it less visible.

Version B:

Using the 8 northern lampposts along the east path north of Fuente de Apolo .The 5 lights on the east side (play ground side) need to be fitted with the same light bulbs as the pulsing ones.

The playground area south of Fuente de Apolo is more used by children, also has more play equipment and should be left as it is. It is probably no use to change light bulbs.

This part is closer to the busier part of the street and the work might be seen by more people, even by people that are not waling down the Paseo del Prado. I am a little bit concerned that the 'playgroundarea' will disturb the path feeling.


Note, concerning both version A and B:If there's a too obvious difference in light strength and light temperature from the original lamps to the pulsing ones, it might be necessary to considering changing the closest ones.















06inmb0918, 06intb3821

2008. Fernando Llanos. VI VÍDEO (analysis of the location)

2008. Fernando Llanos. VI VÍDEO (analysis of the location)






Urban video-intervention project done by exploiting the artist’s corporal infrastructure and underline a dynamic that the author likes to call “urban acupuncture”, creating punctual thoughts in some parts of the city where he appears as VIDEOMAN. For each edition he makes a different harness to experiment using new ways of projecting on the city streets.

Everything is recorded on video and photos, and then is edited as installation to be projected in Casa de America.

Firstly, this project tries to bring the specialized public closer to unconventional locations that are not used specifically for artistic purposes and, secondly, to make people that live or pass by these areas question aspects of daily life. 

VIDEOMANBy Mauricio Alejo

Unlike other beings, Videoman has a superpower: to make himself noticed. This ability, that is a drag if you want to fight evil, is one of the strong points of his project. By this prominence, which is implicit but also assumed and fabricated, he achieves the dissolution of projection’s traditional space. He takes over the centre and makes it mobile. This nomadism is the key to dissolve the authority that any projection imposes on space, the attention of the spectator is necessarily focused on that which is projected.

For the accidental “audience” that takes part in the area that this “superhero” proposes there is no front, nor behind. There is no hierarchy of attention; the projector and that which is projected are equally unusual. There isn’t any privileged spot to attend the event, no established beginning or end. But there is the awareness of a projection that includes the man that generates it. For Fernando this involves the responsibility of the message on an earthly level. It’s not vain to notice that you don’t attend what Videoman’s produces; it’s part of him. He invents along with everyone present.

The bicycle is a natural extension of this nomadism. A prosthesis that symbolises the awareness he has of transport and its environmental cost. To pedal and generate the necessary energy to project is an attitude that suggests certain responsibility, necessary nowadays even in electronic arts.

In this video-intervention project there is also a reformulation of the concept of audience. Videoman is mobile but also the ones who witness the projections; location is temporary. So the one who takes part is responsible; first, to identify himself as audience and, later, to define the experience he has had.

This is a revitalization of public space; an intervention that makes it ductile; an experience to criticize and a collective reconstruction.

* Due to the nature of the project, of surprise interventions in the city at night, it’s important to have a place to continuously show a construction process and report of the project. This is the function of this space.



In the box- A Dahon collapsible bicycle with separate seat.

In the black cloth suitcase- 1 Videoman suit custom made suit. - 2 Pair of short cloth gloves CAT. - 5 Videoman sculptures. - 1 sony stereo microphone. - Portable DVD player DVP-FX810 (8”)

In the big plastic suitcase - 3 Barrels.- 1 Motorcycle battery. - 6 lights for bicycle. - 2 rear-view mirrors. - 1 Customized bicycle helmet with two video cameras, one for surveillance and another for an apple web. - 1 rechargeable battery.- 1 dynamo with triplicator.




SHOWCASE- videoman action toys- Sergio Alcalá’s presentation collage: 23 x 18.5 cm. - Drawings 5 letter sheets. - Videoman postcards. - Postcard to promote toys, one 14.5 x 9.5 cm.

DRAWINGS TO FRAME- Drawing: 56.5 cm high x 76.5 cm wide, a marialuisa (paspartu) 10 cm on each side. - Drawing on the table, size of table 76 cm x 96 cm. - Frame two 15 x 10 cm drawings. - Frame a 12.5 x 18 cm drawing.




RENTComputer: - Any model with Internet incorporated. Projector: - Any model, but must be big.



ENTRANCE WALLEntrance wall: 3.22 m high x 4.10 m wide.It has a vinyl text y 3 printed photographs with matt finish 50 x 50 cm each. Framed in the same way as the drawings: Flat wood sin without paint or varnish. Straight angles, with a marialuisa (paspartu) 10 cm.


















08inib1940, 08inib1941, inib1942, 08inmb1939, 08inmb3545