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




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

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

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

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

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

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



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

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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



















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


For years the artistic projects of Josep-Maria Martín have focused on creating new artistic intervention strategies to affect certain well established structures in our society, which, however, don’t lack weak spots. With a subjective and reflexive will, he questions and criticizes the reality upon which he acts. His pieces stress the idea of process, research, participation, implication and negotiation, transforming each identified agent of each project in true generators of a common plan.

He is interested in art which is committed to surpass the aesthetic realm: there is no denying the troubles we confront in the political, social, anthropological environment, of territorial structuring and urban planning.

He is interested in life which is transformed by art and the art of living transformed. To transform the space of life, and social life transformed by the experience of art.

The artistic and political process implies a subjectivity which enables us to critically deal with the complexity of the world. In order to do so it is essential to realize a change of paradigm that will be the source of new images in a process of constant analyses and ethical gestures. To achieve this it creates collective research and analytical processes in specific contexts, searching for fissures in social and personal systems. From that point on, it negotiates with a transverse and horizontal criterion and suggests prototypes that are inserted in reality, creating a revealing experience out of its use. In any case, to use aesthetics in gaining change and put connecting tools in the hands of people to deal with the future.

Josep-Maria Martin’s artistic projects, being multidisciplinary, may be interpreted from each and every area to which the identified agents or participants belong to. For example: to the artist it is a work of modern art, to the architect it represents an architectural project, to a social worker, it is a collective work, for a politician, a project regarding social policies, negotiation, housing, immigration, etc.

Josep-Maria Martin states: “I am curious and that makes these types of projects very interesting to me. I’m interested in:- Opening up learning processes.- Researching in specific contexts and finding new ways.- Encountering people and realities.- To question and to find new ways of seeing things.- Seek and find images that have not thought of before.- To identify ethical gestures.- To develop collective processes to enter “unknown territories”.- To develop new proposals, going from that which is specific and personal to something general.- To go for innovation and suggest alternatives to achieve goals.- To explore contemporary aesthetic forms.- To create a possible participation in programs that may represent interesting challenges to me and may become sources of professional enjoyment, for being in my specific line of work.- To meditate on the contemporary world and its artistic translation. The Digestive House/ Josep-Maria Martin/Presentation


DRAFT:A DIGESTIVE HOUSE. For the neighborhood of Lavapies.


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?


- 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.













2005. María Alos + Nicolás Dumit. MUSEO PEATONAL ( didactic text and cassette)

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

The Passerby Museum

The Passerby Museum is an itinerant institution dedicated to presenting temporary exhibitions in different locations throughout the city. The museum draws its collection from donations from people like you, those who visit, work or live where it is in operation at any given time. The Passerby Museum serves as a physical marker, recording the presence of its collaborators in the neighborhood.

The museum is currently accepting donations for this site. We therefore encourage you to contribute to this in-progress exhibition with an object of your own. Anonymity of the donor will be preserved upon request. For inquiries and assistance, please see one of the members of our curatorial department. All of the objects donated will become the property of The Passerby Museum.

We thank you for your interest.














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

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

Wish 2A park to let the dogs freeAuthor: Rosa

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

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

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

A3Mi wish, my idea is to lower housing prices

A4Not to have so much noise in the street


A6A new sports centre

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

A8A rain of wine (Jumilla 2010)

A9To promote poetry readings, book stores and cultural activities

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

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

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

A13Regular surveillance

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

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

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

A17Turn it into an amusement park.

A18I want a sports center.

A19Steady policemen.

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

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

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

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

A24A time machine

A25To open a leisure centre

A26Create a mobile disco

A27A football pitch in Las Vistillas

A28Walls to practice graffiti legally

A29Benefits for the homeless

A30Create a foundation to help immigrants

A31Open a disco for minors

A32Open a shopping mall

A33A residence for the homeless

A34Green areas

A35Intelligence please!

A36Leisure centre

A37Leisure centre

A38Demolish the school. Very important!

A39Leisure centre

A40Mobile disco

A41A football pitch in Las Vistillas

A42Win a Mac Grimon prize

A43A shopping mall

A44A sports centre

A45A swimming pool

A46A shopping mall

A47A cinema

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

A49Open a shopping mall

A50A place for the homeless

A51A sports centre

A52A monument

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

A54A film school for free

A55A school for disabled children

A56An adoption centre

A57A shopping mall

A58A place the homeless to sleep

A59A sports centre

A60A shopping mall

A61A place for the homeless

A 62A disco

A63A sports centre

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

A65A Japanese restaurant

A66A museum of antiquity in La Latina and things like that

A67A leisure centre

A68A sports centre

A69A monument symbolizing La Latina

A70More security

A71A Japanese restaurant

A72A Break Dance school

A73A Japanese restaurant

A74A Break Dance school

A75A club

A76A leisure centre

A77A leisure centre

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

A79A shelter for the homeless

A80A sports centre

A81A monument

A82A sports centre

A83Demolish the school

A84A football pitch for Las Vistillas

A85A shelter for those who live in the street

A86Create a bicycle lane

A87Improve La Latina neighbourhood with more security

A88More money, more cleanliness in the neighbourhoods

A89A market or supermarket

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

A91A proper bathhouse in the neighbourhood

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

A93Public toilets and community centres

A94A cinema free of charge in the square for the summer

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

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

A97Security and cleaning up the neighbourhood

A98More love for the neighbourhoodMore car parks

A99More green areas

A100A parking lot for residents

A101For closing down bars

A102My fondest wish, a Corte Inglés

A103A theatre and street entertainment

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

A105Less peopleStreet theatre and music

A106Adjust the Plaza de Carros and cleaning once a week

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

A108Clean the Plaza de Carros 2 or 3 times a week

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

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

A111For a neighbourhood with bars that obey the regulations

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

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

A114I wish they made football pitches in some old sports centre

A115Create more places for sport and shopping malls

A116Cinemas, Burger king, MacDonalds, sports centre

A117My wish is for the neighbourhood to remain as it is

A118To create football and basketball pitches in the old sports centre

A119To improve the park of la Cornisa

A120Maintain the park of la Cornisa

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

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

A123A centre for young people’s activities

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

A125I want a shopping mall and a sports centre

A126To keep the park of la Cornisa

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

A128To build a big sports centre and a bicycle lane

A129More places for young people

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

A131To build a new big sports centre

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

A133Sports centrePreserve the park of la Cornisa

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

A135I want a Corte Inglés

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

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

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

A139 (boy)A Corte Inglés

A140For a cleaner neighborhood!

A141 (boy)I want a Corte Inglés

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

A143An exhaustive control of bars that might open without license

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

A145 (boy)I would like a Corte Inglés

A146My dream would be a Corte Inglés

A147A park with gardens

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

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

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

A150More green areas

A151Green areas

A152More green areas

A153Finish the sports centre

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

A155More festivals

A156A music festival and a free concert

A157A festival

A158Build apartments for young people at a good price

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

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

A161A Corte Inglés

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

A163Help the homeless people in the neighborhood

A164An amusement park

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

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

A167Food for the poor

A168Forbid accordions and parks

A169To build a film theatre

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

A171My wish is for la Latina to be cleaner

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

A173Thousands of picture cards of the League to exchange

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

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

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

A177 (boy)To destroy the school

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

A177 (boy)A rollercoaster for everyone

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

A179A clean neighbourhood

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

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

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

A183 (niño)I want a nativity scene

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

A185For a cleaner neighbourhood, without odours

A186A football pitch

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

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

A189More clearing less drinking in the street

A190A swimming pool. Our swimming pool

A191A football pitch

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

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

A195A free hostel to sleep to visit la Latina

A196More security

A197More green areas

A198More taxi signs

A199A new market for La Latina.

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

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

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

A203A newmarket for La Latina and peace and happiness for everyone

A204More security, less mafia

A205Modernize the neighborhood

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

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

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

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

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

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

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

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

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

A215To modernize some stores

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

A217Take the slope of Toledo street, make it flatter

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

A219Security, it is necessary for the neighbourhood

A220More security for Gil and Mon streets, and more streetlamps

A221To keep park of la Cornisa and plant more trees

A222Not to end the Numancia centre

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

A225To feed people in Numancia centre

A226For streetcars to be replaced, more secure and eliminate cars

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

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

A229For the fiesta of la Paloma to continue

A230For kermes to continue in las Vistillas.

A231To fix Paseo de Extremadura.

A232Mi wish is to fix Paseo de Extremadura.

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

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

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

A236To keep streets of Madrid free from graffiti

A237To restore every historic monument in Madrid

A238I wish Madrid was clean and for pigs not to exist

A239Give us back las Vistillas

A240Take las Vistillas Hawai from the church

A241Wi-fi for free in all the neighbourhoods

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

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

A244More green areas

A245To be able to park closet o my house

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

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

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

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

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

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

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

A253Public space for cultural activities, workshops, exhibitions

A254Free car parks

A255More recycling containers

A256I want more supermarkets

A257Shelters and mess halls for the homeless

A258Better cleaning service

A259Christmas lighting all year

A260To promote traditional businesses

A261Greater investment in small businesses of the neighbourhood

A262New asphalt

A263 More public cultural facilities in the neighbourhood

A264Less real estate speculation in the neighbourhood

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

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

A267A good athletics track, a sports centre

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

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

A270To eliminate the mini-Vatican

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

A272Mixed toilets

A273More green areas, less graffiti

A274Less traffic, more parks

A275More green areas and less graffiti

A276More green areas and less graffiti

A277I wish Madrid remained as clean and Beautiful

A278Build a park for children

A279I want pollution to disappear

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

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

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

A283No to the mini-Vatican (areas for leisure)

A284For houses to be for free, please

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

A286Fountains for everyone to drink and for the cattlePreserve the parks

A287Improve accesses for elderly people

A288To build a hospital where the prison was before

A289I want a better neighbourhood of la Latina

A300To build a bigger swimming pool and a sports centre

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

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

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

A304Don’t destroy the park

A305Better security

A306A Hospital

A307Happiness, more employment and holidays

A308More green areas

A309To put more benches

A310Build a new Hospital

A311More green areas for my puppy

A312I would want a hospital

A313A Day Centre for disabled youth and people with alzheimer

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

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

A316To bring streetcars back

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

A318Good quality community areas

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

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

A321A cheaper theatre to invite my girl

A322To legalize Marihuana

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

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

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

A326Grass in the square of los Carros ando of la Paja

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

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

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

A330I would like more parking areas, and green areas

A331A Corte Inglés

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

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

A334Lots of parks! The Cornisa for ever!

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

A336To create more areas for walking

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

A338For people not to piss in my street, thanks

A339My wish is for la Latina to be cleaner

A340A football pitch

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

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

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

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

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

A346 (boy)To clean dog pooh every day

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

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

A349Put grass around the trees of Plaza de Carros

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

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

A352To organize weekly outdoors concerts in the park of la Cornisa

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

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

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

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

C5A spaceship A dragon park

C6Everyone to be happy

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

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

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

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

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

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

C13More honesty

C14To be better “for” others. Carlos Castella

C15More jobs. A good environment

C16A neighbor's assembly. Migrations integration

C17The best for the neighborhood

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

C19For my grandchildren to learn to dance the chotis

C20For people in the neighbourhood to be friendlier

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

C22For everyone to be happy and a peaceful world

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

C24Such good fortune!

C25To respect the cultural centres in squad houses of the neighborhood

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

C27No to police oppression

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

C29My wish is for young people to have jobs

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

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

C32I would like proposals like this one

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

C34For love to invade every human being

C35I want a loto f peace in the world

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

C37For my family to be fine

C38A dog for my brother

C39Health for my brothers, thank you very much

C40Tranquility and friendship in this neighborhood

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

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

C43I wish to live in Europe someday!

C44For everyone to be happy

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

C46Love and peace

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

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

C49 (boy)For evil people not to exist

C50 (boy)Money and chocolate raining















 With this project, Lara Almarcegui organizes visits to the excavations being made under Calle Serrano to construct parking lots. As the works and the 15 meter deep excavation is in full process, the walls of the excavation are not covered with concrete, making the different layers of stone of Madrid’s subsoil visible. For a moment the public is able to observe the city as it is beneath the ground.

Constituted by multiple layers, Madrid has a complex strata of subsoil on different levels. There are tunnels and vaults that support the subway and train infrastructures, water pipes, drains and sewer system, telephone wires, electricity and Internet, subterranean rivers, cellars, parking lots and bunkers. Going down to the recently excavated underground passage by the Serrano parking lots will not only provide the occasion to come closer to the underground infrastructure of Madrid; it will also be a visit to that which is primitive and natural in the city. The project engages with an understanding of Madrid’s physical reality, rock-earth, before it became a city. During this descent into the passage, the negative subconscious of the city shall be experienced. That is to say, instead of building, to descend in order to learn more, but also, to brutally and simply do the opposite of what architecture does.

The action consists in inviting the public to watch a space in process that changes every week and throughout its complete transformation. The work machinery functions constantly, stopping only one day a week, on Sundays, day when the visits take place- one Sunday each month until June.

The details and schedule for the guided tours are available at the MADRID ABIERTO information center, placed, during February, on the Paseo de Recoletos, and also on the website Registration can be done by sending an e-mail to This email address is being protected from spambots. You need JavaScript enabled to view it. from Monday to Friday from 10.00pm to 18.00 pm. Applications are accepted until full capacity is reached (there is a limit of 20 people). It is indispensable to receive a confirmation from MADRID ABIERTO in order to complete the tour.

The visit is made with a guide that takes the group to the excavation and explains the works of engineering, the function of the machinery and its progress, but most of all, he interprets and presents the geology of the layers of materials that appear during 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 constructed during the next two years. Both projects are part of a plan to redesign Calle Serrano, including the transformation of the public thoroughfare, the construction of parking lots and a tunnel.



















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


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

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

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

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

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

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

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

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

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

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

Web info:

The multi-medial collection site was designed and built by


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
















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

Teddy Cruz with M7Red


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

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

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


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

Elements and Sequence of the Project:

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

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

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

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

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

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

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

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

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

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

















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

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

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

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

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

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















2009-2010. Gustavo Romano. TIME NOTES: MOBILE OFFICE (published text)


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 engages with the opening of a Mobile Office and a Central Office based in Casa de America.


The Mobile Office will travel daily from the central space in Casa de America taking three main routes: 1. the North segment, going from Paseo de Recoletos towards Paseo de la Castellana; 2. the South line, through Paseo del Prado towards Atocha's Station, and 3. the Western line, which will go through Calle Alcalá to Plaza Mayor, eventually drifting down other streets, deviating from the main arteries. 


The Mobile Office will offer two types of services that `banks´ commonly render: Reimbursement of time that has been lost, and Loans of time. 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.

  In a similar manner, through a Time Loan service, the Office presents its credit line for the concretion of postponed wishes. Starting off with the question: "If you had a minute, an hour, an extra year in your life, ¿what would you do?" it involves a reflection about our use of time and those things we constantly leave for a better moment in the future. All the information delivered by the bank's `clients´, will be daily transmitted to the Time Notes website: 


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. This centre will also serve as location for the Mobile Office once it has finished its daily route.  





Starting off with one first launch action developed in Berlin, other actions took place in different cities, Singapore, Rostock, Vigo, Munich, Mexico, Buenos Aires, Mexico, Madrid, Munich, Mumbay and even so in the World Bank building in Washinington D.C. 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. 

















09-10intc2821, 09-10intc3693

2009-2010. Adaptive Actions. AA CAMP-MADRID (published text)

A space of production, presentation and actions


The Adaptive Action (AA) laboratory, initiated in London in 2007[1], lends voice to marginal causes, alternative urban lifestyles, counter-conducts and citizen’s artistic creations by which imagination and personal creativity influences daily life. AA makes an inventory in order to disclose these singularities and existing actions.AA also aims to encourage others to engage in new creative activities in order to adapt the urban fabric. AA nurtures itselfon individual and collective contributions and initiatives by extendingan open call for collaboration (taking placein several places simultaneously). AA is looking for contributions for the website, itspublication as well as for contributions that maystimulate reflection, discussions and presentations at the Camp in Madrid. Through the AAwebsite or at the Camp, people may register as actors and submit actions.These may be already existing, created by you or by others, all are welcome. You may also comment or discuss forthcoming contributions.



At the Atocha train station in Madrid, a production and live-action Camp will house the AA project during February. Experiences and materials – whether in the making or from past and/or future initiatives – will be presented at the Camp and in a forthcoming publication. Visitors may modify existing contributions or post their own. Supporters[2] at the Camp will assist theactors and discuss possible additions, proposed actions and  arisingissues with participants. Madrid citizens will be invited to put forward micro-actions yet to be carried out.



The program of events at the AA Camp (workshops/actions, lunch-and-learns) on specific topics and locations will build bridges between actors and actions. The latter will undergo prolongation and be remodelled. Some will be launched in Madrid some inother cities and countries) and collected into a joint art project. The aim, as Maurizio Lazzarato would say, is not to neutralise differences but, conversely, to enrich the concept of commonality through these differences[3]. As Lazzaratoargues, the challenge is to find ways to retain multiplicity, to embrace heterogeneity while maintaining disparity.



The second AA publication[4] will be developed and produced in Madrid, live and in publicwithin a limited timeframe. During themonth ofproduction camp, all material for the publication will be assembled and edited and by the end of thisprocess, the book will be published. Actors can contribute directly to the selection and preparation of material on site or viaemail. Throughout this process, visitors will post new actions atthe Camp, hallmarking the ongoingrenewal of adaptive actions in counterpoint to those featured in the publication. At the AA Camp, structure and planning will coexist with the unexpected.



This project will expand thoughts on various themes related and complementary to architecture and art, including the concept of post-production and unplanned, un-programmed transformation and appropriation that give meaning to the city. By this process, various impressions will merge. One-off, geographically isolated acts will converge and, in vast numbers, take new directions, shape coherences, strengths and arouse interest by creating unexpected -and otherwise impossible- associations, links and cross-references.

The project focuses on micro-actions because these prompt or modify our perception of the urban environment. Their design is a reflection and expression of behaviour in tune with artistic creation. Many actions are anonymous, unsigned, clandestine, previous to transformation. The authors are awarethat these actions will eventually be changed, maintained or possibly eliminated by others. Their relation to the context suggests a potential re-appropriation, but the collective imagination they establish - especially if they multiply by numbersand if their presence becomes widely known - ensures the sustainability of a state of mind akin to artistic expression. Consciousness, signature and participation are thus inherent to this type of project. Citizen actions suggest a different process for shaping cities, open and collaborative, responsive and crosscutting.

Visit for information and schedule of activities, workshops and meals that will take place weekly at the AA Camp in Madrid and elsewhere.


[1]    By Jean-François Prost and at SPACE studios and Canadian International residency in Hackney, East London.

[2]     Several past and new AA collaborators will, in turn, tend to the Camp.

[3]     Yves Citton, Puissance de la variation, Maurizio Lazzarato, Multitudes 20, pp.187-200 and book : Puissances de l'invention. La psychologie économique de Gabriel Tarde contre économie politique, also published at Les empêcheurs de  penser en rond, 2002.

[4]     The first Adaptive Actions publication (UK edition) was launched in March 2009. It features many actions as well as articles by Pascal Nicolas-Le Strat (France), Judith Laister (Austria), Frank Nobert and Jean-François Prost. 












2009-2010. Josep-María Martín. A DIGESTIVE HOUSE FOR LAVAPIÉS (published text)

 A project by Josep-Maria Martín with Mouhamadou Bamba DiopProduction MADRID ABIERTO Cultural mediation Pensart

Josep-Maria Martín’s artistic projects are focused on creating new intervention strategies that affect established structures of our current society, some of which have fissures. The artist questions and critiques the reality he decides to work on. His work explores concepts such as progress, investigation, participation, involvement, negotiation and proposition. In this process, agents that have been identified for each intervention become the true creators of a common project.

Josep-Maria is interested in forms of art that exceed the purely aesthetic, encouraging a movement from aesthetics towards ethics, life transformed by art and the art of living by transformation. His aim is to use aesthetics in order to visualize situations and try to change them.

These are multidisciplinary projects that are open for appropriation by the different participants involved. For example, that which is a piece of contemporary art for an artist, is, in the mind of a social worker, a community project, etc. As such, the artistic object transforms into a multifunctional object.

PISO PATERA: overcrowded apartment for immigrants

For this edition of MADRID ABIERTO the artist was interested in questioning a ‘piso patera’ as a space for people to live in and to establish an analogy between the human digestive system and the home as an organism that digests collective and personal memories.

After months of investigation and interviews Josep-Maria located Mouhamadou Bamba Diop, a Senegalese citizen who lives in an apartment in the neighborhood of Lavapiés, along with 16 fellow countrymen, all without legal documents. The artist asked them to reflect on their way of living in an overcrowded apartment (‘piso patera’) and, Bamba in particular, to tell the story of his life in Senegal, his journey to Spain on a small boat and the dream that all of them share of returning to their country in order to create a better future for the youth of Kayar (Bamba’s home town). The artist’s original intention of working on the apartment for immigrants materialized itself instead by offering a contract to Bamba in order for him to be part of the project and thus temporarily legalize his status in the country. MADRID ABIERTO 2010 will be the first phase of this proposal. In January Josep-Maria and Bamba traveled to Senegal to develop a socio-economic project in Kayar.


To be born. Where? There. Why? I don’t know. To grow. To think. To look. To listen. To study. You can’t. I can’t anymore. To work. I want more. To hear. To see. Europe. So, what is that? I don’t know. It sounds good. Him, he left. He also. Did he arrive? I don’t know. To work. I want more. Love. I’m getting married. Me too. My son. I’m getting married, again. Another child. To work. Europe. So, what is that? I don’t know. He left. Now they have a better life. And he? I don’t know. To work. For what? Not much, I want more. Europe. So, what is that? It seems good. Is it? I don’t know. He left. Did he do well? Maybe. I love you. I also love you. My cousin left. Where? To Spain. What is that? Did he do well? Sure. What do you have to do? Work. For what? I want more. He called. Is he ok? Yes, he called. Now they have a better life. I’m leaving. Where are you going? To a better world. Better? Yes, better. Are you sure? He left. Did he do well? Now they have a better life. And him? I don’t know.


We are a group of Senegalese immigrants that arrived in Spain on a boat, hoping that in Europe we would be able to thrive as human beings, helping our families and Community. We arrived in Madrid after a suicidal journey. Today we are 17 persons living in a small apartment in Lavapiés. We demand to be, to have, to live, to subsist, to be supported, to feel, to belong… in freedom.

To feel loved and respected. To feel visible and heard. To feel other people’s feelings as our own and to feel taken into account. To feel our interests and words are being heard. Feeling the cold, warmth, love, anger, outrage, admiration…

Belonging and identifying ourselves as Senegalese inside and outside our homeland. This means being supportive by nature and due to religious conviction; to protect the weak one, who doesn’t have or doesn’t want; being hospitable and building a community, living in peace among everyone that surrounds us; being, thanks to the strength that we achieve due to our mutual support and the respect towards our hierarchic structures which facilitate our coexistence; having the Koran as our main guide and holding on to our beliefs until our last breath.

…the freedom to leave and stay, to thrive, to create… Freedom.

Ababacar Gningue, Aliou Badara Diouf, Assane Kebe, Bassirou Thioune, Daouda Kebe, Djibril Diop, Djibril Ndiaye, Ibrahima Gueye, Ibrahima Toure Niang, Madeguene Gueye, Modou Diouf, Modou Sall Ndiaye, Mouhamadou Bamba Diop, Mouhamadou Lamine Diatta, Moury Conde.
















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

 We propose to create a large sign with the statement “La guerra es nuestra” spelled out in black, back-lit lettering and attach it to the façade of the Círculo de Bellas Artes.  The sign will utilize a format that is most often seen on storefronts and is also common in advertising—the viewer may initially overlook the sign, as we are often indifferent to new information and media constantly being introduced to us, but a second glance may procure a very different reaction.  Moreover, the placement of such a sign on a well-known cultural building leads to a juxtaposition of the political onto the beautiful.

We are particularly concerned how to bring the political back to art.  For almost two decades, art has often steered away from some of the controversial topics it had previously investigated, such as feminism in the 1970s and AIDS activism in the 1980s, in favor of an exploration of aesthetics; however, in the past couple years politics has returned to art.  This return is closely tied to the political climate we are currently experiencing, namely the war in Iraq, and most of this new work is a reaction against the policies of many nations, particularly that of the United States.

Political art does effect change and it can do so in many ways—it can effect change in everything from governmental policy to a shift in perception in a viewer’s mind.  For example, Act Up’s campaign to make the AIDS crisis more visible in 1987, which culminated in posters bearing pink triangles labeled with the bold statement SILENCE=DEATH, had massive effects.  The six men who collaborated in the campaign were artists and designers, and their talents contributed to the success of the campaign.  They worked through every detail from the phrase (their initial choice was “gay silence is deafening”) to the color choice to the font.  

One would be naïve to think that aesthetics are not relevant—everything is perceived from an aesthetic point-of-view as well as other points-of-view.  In choosing to propose a political artwork, we had work out what phrase to use (we wanted something that was as simple as possible for the maximum effect), what format to showcase our sign (we considered options like a billboard, an LED sign, and neon lettering but, in the end, we decided the type of sign we picked—what is called “channel lettering”—would be most efficacious for the cost), what font to use (our choice is Times New Roman because it is well-recognized and it references the font used in many texts), what color to use (we decided black because of the seriousness and the gravity of our message), and where to place the sign (the Círculo de Bellas Artes is a public building on a well-traveled street, which has a large and diverse public audience).

The initial reference in the statement “La guerra es nuestra.” is, of course, the war in Iraq.  But the statement is also open-ended; the “war” or the “guerra” can refer to anything that incites passion and concern in the viewer.  In Madrid, this might be the activities of the Basque group Euskadi Ta Askatasuna or the need for more affordable housing within the city.   Our goal is to show that everyone is a voluntary participant in the political.  Indifference is a statement, as much as waging a war or being involved in activism.








2009-2010. Iñaki Larrimbe. UNOFFICIAL TOURISM (published text)


With Unoficcial tourism, artist Iñaki Larrimbe seeks to customize a caravan and turn it into an `unofficial´tourist office. By locating it in the streets of Madrid, the aim is to inform foreign cultural consumers (tourists) by offeringmaps and guides containing alternative routes of exploration. Different to those delivered by the `official tourism´, these itineraries have been made by six people livingin Madrid, and who are related to its most alternative culture, its `underground´ or counterculture. Mauro Entrialgo and Adriana Herreros have created a guide to “Advertising neon signs”, Guillermo de Madrid has put together a route of “Urban Art”, Jimina Sabadu shows us public spaces where motion pictures wereshot; John Tones invites us to walk into various arcades and stores that have kept the old school game machines; Santi Otxoa delivers an itinerary to “One hundred year old taverns in Madrid” and the Todo por la praxis collective, encourages us to meet the unheard-of human fauna and urban flora in the neighbourhood of “Cañada Real”.

The Unoficcial tourism project aims to attach itself, through humble resources and with support of `do it yourself´ culture,inside those mechanisms created by cultural economic interests and tourism. In every way this is a parasitic type of activity that creates parallel structures to official versions byusing public spaces and infrastructures, and in this manner intend to create and spread different views and interpretations of Madrid. It involves the idea of transferring the format of a`fanzine´ transmission onto tourism by creating an `underground office´ with the help ofresources available to the ordinarycitizen: a caravan.

To sum up, Unoficcial tourism aims to be a project that responds and tends to the cultural entertainment necessities that, as suggested above, the new cultural policies based on socioeconomic criteria have generated. But Unoficcial tourism does not intend to raise a critical voice. The idea is to participate in reality from a nihilistic point of view. The reason for thisis that institutional critique todayis not possible. A virgin space does not exist, there is no non-institutional realm, which can serve as a basis to generate criticism.

This new project by Larrimbe carries on with the theme of cultural tourism, something he has already been dealing with in his latest productions. In a similar manneras last year, when the artist recreated a `hotel´ in a small private space in his home townVitoria, andwith scarse resources tried to fulfill the needs for accommodation that the Museums, art Centers and cultural venues have created locally Unoficcial tourism is the beginning of an `alternative tourist office´. As the critic Peio Aguirre states in his book Sauna finlandesa o descenso de barrancos “The figure of Larrimbe as a cultural agitator inside the cultural framework of the city situates him in a difficult position in order to assume the role of an artist supported by a representational legitimacy. He is conscious of this satellite position. If, as he himself notices, the critic has already been digested and the auto-sabotages can’t be taken any further, it seems to be a better choice to be playing the game of inscribing himself inside those mechanisms (as oil added to the machine) against which he daily fights. So, knowing the artistic position he holds, it seems to be a good option to try and interrogate, once again, about the nature of the critic and the limits of the institutionalized insides and outsides. Is it the same thing to do, to write a column in a newspaper analyzing the activity of cultural policies or to carry out a project where a whole device of communication and infrastructure is being represented?

Obviously it is not the same thing. However, the message is not too different. Does the caravan-device alibi reinforce or neutralize the critic? Does the content of the statement revolve against its own form of communication? How does having to contribute in any way to Larrimbe’s project affect the institutions?”

















2009-2010. Lisa Cheung. HUERT-O-BUS (published text)

 Huert-o-Bus is a travelling greenhouse, inviting local residents in Madrid to grow fresh vegetables and plants within the city centre. Huert-o-bus makes use of existing urban public spaces for communal gardens and local food growing.

Like a public city bus, Huert-o-bus will stop in different neighbourhoods and districts in designated plazas, carrying its `passengers´ of seeds and seedlings. Each site will be marked by a `bus stop´ that informs neighbours/visitors of the Huert-o-bus schedule and its activities.

Huert-o-bus will be equipped with required facilities in order to act as a greenhouse as well as a centre of activities. It will house a small library, gardening tools, seating and a kitchen. Neighbours are invited to use the greenhouse to cultivate seeds for their own gardens as well as for sharing plants, food and ideas.

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
















2009-2010. Laurence Bonvin. GHOSTOWN (published text)

 Ghostown is a photographic project about some of the new neighbourhoods in and around Madrid, mainly Seseña in the South and Valdeluz in the North. The series of photographs looks at the state of these places after the financial crisis severely hit Spain at the end of 2008, triggering the collapse of the real estate sector.

Constructions were either brutally suspended ¬- like in Valdeluz, an unfinished city planned for 30.000 where a mere 400 people live at the present time. Or, as in Seseña, left empty due to speculation as the large majority of owners never intend to live in this remote area and are now unable to sell their flats. Ghostown is a journey through the uncanny vacancy and observes the lifeless, melancholic state of these on-going construction sites.

During MADRID ABIERTO 2010 Ghostown will be showcased in different formats: as a free large format publication, as postcards as well as images published in the newspaper Público.













2008. Santiago Sierra. BANDERA NEGRA DE LA REPÚBLICA ESPAÑOLA (published text)

 The artist Santiago Sierra has created a Spanish Republic flag in black fabrics and threads, embroidered by craftsmen from Munich. By creating what could be described as an anti-symbol, his intention is to raise historical, political, philosophical and aesthetic thought on the possible effects of the failure of the II Spanish Republic within the context of our contemporary history.

This reflection is engaged by means of two initiatives: the distribution of posters bearing the image of this flag throughout the streets of Madrid and a presentation of the flag in the arts and science association of Madrid. On the artist’s decision, the presentation will be made by two speakers, both under forty years of age and from aesthetics and philosophy academic backgrounds. This choice responds to the artist’s intention to open a debate on the role of the memory of the Republic to the younger generations. The speakers will be the art critics and essayists, José Luis Corazón (who has recently published the book "La escalera da a la nada" on the thoughts of Cirlot) and Fabio Rodríguez de la Flor.

On the one hand, by intervening in the street and raising questions in passers-by using the image of the black flag, the initiative seeks to engage mass communication and, on the other, the presentation act in the arts and science association of Madrid seeks to go much deeper. The choice of this venue for staging the presentation is not arbitrary. The intention of the artist is to highlight the symbolic value of this space as an environment dedicated to fostering free thought, discussion and dialogue.

The thoughts raised by the speakers will attempt to explore the different points which, in a symbolic manner, converge in this initiative, drawing comparisons between the historical and present aspects of egalitarian ideals in Spain, and bring in such elements as the embroidery, the place of the embroidery, the connotations of the colour, with respect to mourning and libertarianism, the origins of the democratic regime, the survival of those who disappeared and the attempts to silence dissension.












2008. Todo por la praxis. SPECULATOR + EMPTY WORLD (schedule)


Empty World

Workshops on Urban resistances,

gentrification and property speculation.


Thursday 21, Friday 22 and Saturday 23.

Liquidación Total.

C/San Vicente Ferrer 23 Local 2

Metro Tribunal. Madrid.


Thursday 21.18:00 h-21:00 h.

Presentation Empty World (Association of Neighbours of Malasaña-ACIBU. Presentation of project) Collective. (Sustainable unity)Andrés Jaque. (Architect. Project Lecturer at ETS AM)Friday 22.18:00 h-21:00 h.Fernando Roch.  (Head of Urban Planning Dep. of ETSAM )Francisco Gil. (Praxis Co-operative)Democracia.

Saturday 23.18:00 h-21:00 h.

V de Vivienda. (Popular Assembly for the right to housing) Jordi Claramonte - Fiambrera Obrera. (Okupasa)Santiago Cirugeda. (Architect)

Saturday 30.18:00 h-21:00 h.

Workshop Empty World. (Patio Maravillas) 












2008. Todo por la praxis. SPECULATOR + EMPTY WORLD (published texts)

TODO POR LA PRAXIS.(TxP) is presented as a Laboratory where to test artistic-activist practice projects aimed at the aesthetic-effective amplification of social struggle cycles. TxP is generated from the inevitable convergence between artistic-activist practices, architectural praxis as an interconnection process between public space and multitude, and the ethnography of social communication aimed at creating opposition spaces of immaterial interchange. It is an epistemological materialisation of the socio-cultural capital which the different opposition social networks to hegemony have woven in the last quarter of the 20th century in post-industrial metropolises; a theoretical-methodological laboratory whose ultimate function is to investigate the ontological resistance processes of antagonistic subjectivities.

In TxP we present 2 axes of investigation to Madrid Abierto 08: Speculator- EmptyWorld.

Using the imagery of comics, we have generated a type-Marvell superhero (or supervillain) who personifies the semi-conscious idea of the mass worker, of the existence of an artefact-subject, the positive/negative hero who embodies the ideology of the today’s speculator. Through a series of vignettes spread across the exhibition space and a visual projection in different points, we attempt to publish our social capitalism superhero. The caption of the Speculator; “Welcome to the desert of reality!” becomes the reading key that enables us to drift through Madrid, as a symbolic recreation of the immaterial power of property speculation.



Empty World.Empty Property State Agency.

The housing problem experienced by large sectors of society is aggravated by an oversized property market that ignores the current wealth of property in a state of abandonment or part of the speculation process. The reason behind this phenomenon is the speculative profit generated by changes in the value of the floor from the time the property is abandoned to the subsequent appreciation of the neighbourhood. The aim of Empty World is to analyse these processes.

The residents of the neighbourhood are invited to participate in a signposting campaign by placing stickers with the Empty World (EW) logotype on the empty property found in their buildings/blocks.

An Empty World Empty Property State Agency is set up in the Liquidación Total (Full Clearance Sale) space. In the Liquidación Total shop window, the iconography of traditional state agencies is reproduced and empty apartments are offered to potential tenants through a visual Catalogue (a register of unoccupied apartments) of the empty apartments available in the neighbourhood.

 Organisation of workshops based on the gentrification and property speculation phenomena (see Empty World Workshops on 



Liquidación Total.C/San Vicente Ferrer Nº 23. Local 2.Metro Tribunal. Madrid.

Thursday 21· Presentation Empty World (Association of Neighbours of Malasaña-ACIBU).· Basurama (Urban action).· Collective (Sustainable unity).· Andrés Jaque (Architect. Project Lecturer at ETSAM).

Friday 22· Fernando Roch (Head of Urban Planning Department of ETSAM).· Francisco Gil (Praxis Co-operative).· Democracia (Welfare State).

Saturday 23· V de Vivienda (Popular Assembly for the right to housing).· Jordi Claramonte - Fiambrera Obrera (Okupasa).· Santiago Cirugeda (Architect).

Saturday 30· Empty World. Todo por la Praxis or how to bring capitalism down from your home in 5 easy steps:

1.We are not what you think we should be or what we really are. We are a liquid resistance that permanently constitutes itself in relation to fluid, referential and self-managing contexts. We are a laboratory of projects that practices structural ethnography on opposition artistic activist practices as formalisations potentially capable of symbolising the social conflict in an aesthetically effective execution in the public space. We are the echo of the poverty of Philosophy, of its derivations on the social context marked by the withdrawal of the paradigm-models and post-post-modern tales. You don’t know it, but we are all a methodological axis, an epistemological variant among various others. First step to bringing capitalism down from your home: Break the silence, become visible as antagonistic subjectivity; become an anti-capitalism virus and spread. 

2.We are always the otherness. You will never recognise us. We are agit-pop elements, a political-pop reformulation stemming from the death rattles of the marginal, post-industrial public space of agitprop, a link, an extra-historical link, designed as a total and multi-polar resistance against the hegemony of post-material capitalism. We are an axis around which three investigation axes are articulated (the post-urban, the infra-urban and the supra-urban) which represent proletarian subjectivity in its axiomatic pre-power state, a potential transformation of a seemingly immutable reality. Second step to bringing capitalism down from your home: Make an effort, a small effort, and remember what you were, what you thought you were, and what you wanted to be before assuming what you are; insurrection begins with desire.

3. We are a consequence, the dark side imposed by the blind forces of capital, functioning in automatic pilot, operating impersonally without passion or emotion, with their seductive logic of sensitive social control over uncoordinated subjects in their multiple manageable desires. As such, we act as a projection of the de-concealment desire of a mute mass. Based on the class interest logic, the post-urban conceals more sensitive than reasonable issues, the infra-urban conceals more romantic than effective ideas and the supra-urban disguises a calmness so simulated, a well-being so weak and questionable that, because it is so convincing, it has engendered a suburban revolt which, as well as questioning the institutional methods, it delegitimises its spectacular idea. From there stems the social need for a de-concealment of the discourses and practices that address the structuring of the urban, focusing on the symbolic production systems, circulation of meaning and social meaning processes. All the practices aimed at inventing resistance spaces against the control mechanisms-devices are potential artistic projects. Third step to bringing capitalism down from your home: You are an activist artist; act like one and generate your own activist-artistic self-defence collective.

4. We are secular alchemists opposed to capitalism, that fictitious psycho-technical management space, the minimalist exhibitionism of those of us who can only trans-socialise outside the public-political space through the aesthetized potlach of the interchange of intense disappointment. It is a question of broadening artistic practices as means of social expression, as collective authors of our own experience, experiencing the construction of position spaces, as decisive authors rather than passive spectators. Fourth step to bringing capitalism down from your home:Become a non-negotiable antagonism; defend yourself against capitalism.

5. We are a process; our state is a derivative procedural text, a bad experience of identities disconnected from a virtually possible reality, a reality imagined as potential subjectivity, frozen in the project phase. We are explicit, evident, pre-political.   We all need controlled authenticity rituals and we will provide authenticity according to our existential demotivation. We are a post-situationist social laboratory generator of immaterial situations capable of altering the nausea, the systemic repetition. We are the subjects of intermittent precariousness, the objectors from the slums who gained access to their academies, the first to lead the urban withdrawal and the last to abandon the epistemological trench. We were the ones who shouted against the inevitable before sinking into a positional and declining silence. We refuse the means and the end and we now claim the streets as the operation centre of the new uprisings. We are a provocation. We burnt Paris in 2005 and we will do so again. We will be the first to join a revolution, a guerrilla in favour of self-managing the symbolic economy of the post-industrial proletariat. We were the ones who nobody ever saw in the right place at the right time. We are invisible! We have the fifth assumption in our hands. Fifth step to bringing capitalism down from your home: A new battle is about to begin; get ready for the global uprising.











08intc2044, 08intc2042

2008. Santiago Cirugeda. CONSTRUYE TU CASA EN UNA AZOTEA (published texts)

ALQUILER DE AZOTEAS (ROOF TERRACE RENTAL)Install reversible apartments on the roof terrace of your buildingOne way of generating rental apartments without land costsFree advice and construction services:• Drafting of rental agreement• Overloads and utility installations studies• Materials and assembling supervision.


- Within the trend, with a marked historical tradition, of raising constructions on roof and ordinary terraces that are generally used to make extensions to existing apartments, consolidate a new one or build storage rooms, the installation of one such construction is proposed with the aim of providing a solution to the access to housing problem of Mr./Mrs.

- Faithful to the principle of mutual respect between neighbours, and in accordance with the Law on the Horizontal Property System contained in Civil Code, co-owners are called to approve the installation, provided that the provisions of the internal regime agreement signed by the different representatives of the community of neighbours are met.

- The construction concerned is of the light sort, built with non-masonry materials and reversible. It is constructed with wooden floor frames, a steel structure and light doors and windows, never using bricks. The entire system enables the apartment to be reversible and disassembled without causing any damage to the structure of the building, a fundamental point to bear in mind in meeting the requirements of the Civil Code on movable goods.

- Since 2000, the architect, Santiago Cirugeda, editor of the proposal, has been responsible for several self-constructions on roofs, which have given way to good relations between neighbours, injected money to finance repairs to the common elements of the buildings and enabled persons on low incomes to access housing.

* Note: see “alquiler de azoteas” in


INTERNAL REGIME AGREEMENTCommunity of co-proprietors of the building located in No.

The community of co-proprietors of the building located in no. of the street, …………………………., hereby represented by: (provide list)Mr.Mr.Mr.Mr.Mrs.Mrs.

hereafter, the community, gathered with: Mr. ,hereafter, the new tenant, and Mr. Santiago Cirugeda, hereafter, the architect, sign this agreement.

FIRSTThe community will allow the new tenant to install a reversible apartment on the roof of the attic. The apartment will be built with non-masonry material and in accordance with the project of the architect, Santiago Cirugeda, who makes himself responsible for the stability of the apartment and of the roof terrace on which the apartment is to be installed.

The construction will be similar to the rest of the apartment extensions and storage rooms that can be seen in many neighbouring buildings. In this case, in accordance with municipal law, the construction shall not exceed 30% of the area where it is to be installed.

SECONDThe assembly costs will be met by the new tenant and, as far as possible, he shall avoid causing any inconvenience when carrying the material up on to the roof. The assembly, which does not require the use of noisy machinery, will be carried out during working hours and weekends.

THIRDFor the use of the roof, the new tenant shall pay a monthly rental of 200 euros for a period of 5 years, which shall be used in benefit of the community. Likewise, the new tenant shall pay the community charges in force during the period in which the apartment remains in place.

FOURTHThe electricity connection and hook-up to down pipes and the water supply will be carried out through the apartment located in the attic. The rental agreement to justify the payment of the community charges and the registration of the new tenant in the local council can be formalised with the proprietor of the attic apartment.

FIFTHThe apartment shall not be transferred through a sale contract. The use of the apartment is strictly reserved for the above-mentioned tenant and his partner. The coexistence regime shall be the same as the one applicable to the rest of the tenants, with special emphasis on respecting rest times and good coexistence practices between the neighbours.

SIXTHThe cost of any building work carried out to facilitate access to the roof terrace, as well as any possible damage caused to the roof terrace, will be met by the new tenant.

SEVENTHAny requirement from the public authorities for the purpose of formalising and establishing the legality of the apartment shall be met under the responsibility of the architect.

Madrid 2007

Signed: The representatives of the community

Mr. Mr.

Mr. Mr.

Mrs. Mrs.


Signed: New tenant.                                     Signed: Santiago Cirugeda. Architect













08intc2037, 08intc2035

2008. LaHostiaFineArts (LHFA). EXPLORANDO USERA (published text)

 “A more open Madrid is possible”. LaHostiaFineArts (LHFA)

LaHostiaFineArts is defined as a collaboration artistic project without a defined margin or colour and, depending on the occasion, comprised of different persons. This time, about one hundred and fifteen persons explore the fragile reality of a space which, until now, only functioned conceptually as a brand. Impacting the strategies behind most cultural initiatives backed from the top as well as the convergence between municipal charm and international tourism, the poses of our leaders are unmasked.

We are currently witnessing the opening of Usera towards the centre: the building work to bury the M30, the cultural revitalisation of Legazpi, the extension of line 3 to Villaverde. In Explorando Usera we leave the shop window of Madrid’s Cultural Axis to go to the district of Usera, a border place and a social network of coexistence between three different cultures: Chinese, Spanish and Latin American, in a complex adaptation process.

A bus will act as a Usera tourism office in Madrid. Inside, visitors will be able to see the results of our exploration in all kinds of artistic material: texts, drawings, photographs and sonorous and audiovisual material. The bus makes guided tours to the district of Usera (see timetable in the Explorando Usera website).

On this occasion LHFA is composed by Fernando Baena, Rafael Burillo, Anna Gimein, Victor Sequí, Antonia Funes, Daniel Silvo, Mercedes Comendador, Alberto Cortés, Loreto Alonso, Joanna Speidel, Rafa Suárez, Marisa Marín, Beatriz Alegre, Marta Soul, Juan Alcón, Elisa Pérez-Cecilia, Jorge Portocarrero, Fernando Arrocha, Fernando Cubo, Miguel Lorente, Diego Ortiz, Sol Salcedo, Manolo Rufo, Luís Cobelo, Roberto Desiré, Iñaki Domingo, Agustín Martín Francés, Sebastián Navarro, Javier Esteban, Paula Anta, Carlos Sanva, Alejandra Duarte, Juan Santos, Campanilla, Cristina Busto, Alberto García, Pepe Murciego, Yolanda Pérez, Mercedes del Pico, Sylvie de Pauw, Pablo Romero, Rosa Poveda, Diego del Pozo, Susana Velasco, Roxana Popelka, Rafael Sánchez-Mateos, Raúl Alaejos, Lucía Alaejos, Susana García, Javier Lozano, Santiago Pardo, Pablo Fernández, Olga Fernández, Macarena Antolín, Lidia Sanz, Miren Doiz, Josemari Velasco Guinda, María Jesús Escudero, Alicia Wandelmer, Amanda Wandelmer, Mónica Gabriel y Galán, Javier González, David Ragcuter, Willy de Real, José Delgado, Fran Felipe, Miguel Cereceda, Rafa Lamata, Jaime Vallaure, Nieves Correa, Santiago Salvador, Max Salvador, Miguel Nava, Hilario Álvarez, Jesús Acevedo, Belén Cueto, Kamen Nedev, Julio Jara, Giusseppe Domínguez, Sebastián Navarro, Julián Vidal, Gonzalo Escarpa, Pacheco, Vritis, Javier Granado, Simon Hellmundt, Jesús Urceloy, Julio Reija, Nacho Fernández, Peru Saizprez, Javier Hernández, Vicente Botella, Carlos Aguirre, Malicia Cool












2008. Jota Castro. NO MORE NO LESS + LA HUCHA DE LOS INCAS (published text)

 No more no less

This project arose during a conversation with my analyst. I was talking about the problems of being of mixed race and, in particular, of living in a place where everyone tries to make me believe that an individual’s race and social origin are not determining factors in a person’s social and affective life.

Most of my work emerges like this.

I came out of my appointment firmly decided to explain the phenomenon of transculturation in a blatant and visual manner. What does it mean to come from a place where one culture dominates another to the point that the dominating culture becomes the individual’s vehicular culture? How can we show that accepting this situation means being possessed, used and dominated? Of course, I live in the best of both worlds and this situation is supposedly enviable. A king once said that Paris is worth a mass and my mother used to say that sometimes one must close one's eyes and think of something else. So, what am I complaining about? Nothing basically, I am just feeling privileged and obliged to tell the truth.

The feeling of inferiority is something that takes a lot to get over and, well, whilst arguing with friends from different origins, living among other languages and cultures, being accustomed to raising professional and social curiosities and doubts, we came to the unanimous and perfectly visual decision to illustrate the phenomenon of transculturation with the image of a bottom penetrated by a phallic symbol from cultures that have dominated or currently dominate the world. This is how this visual way of talking about a subject as ancient as the world that we live in arose.

The moneybox of the Incas(or the initiation of returning the Inca treasure)

An enormous golden moneybox, symbol of childhood and savings, practically a pop object.

Right in the centre of a European city. What can it mean?

A personal problem, in fact.

I am French and Peruvian, a direct product of five centuries of the comings and goings of the history of two continents.

I am not sure whether in Spain the history of the conquest is taught in the same way as in Latin America. I remember that as a child I was very surprised by the story of the rescue ransom proposed by the Incas to recover Atahualpa. An enormous place was filled with gold and silver brought in from the entire empire to save our king. It was useless, the conquerors killed him anyway.

To my surprise, when I told this story to friends from some of the poorest countries in the world I discovered that they all had stories of paid ransoms, unkept promises and executed or, in the best cases, exiled kings.

To simplify the problem and visualise it better, all individuals from the third world who were raised in a colonised country are potential Incas; they have paid a ransom, their language, sometimes their religion, their guilt, their trauma, without being able to save their Inca.

Fill the moneybox to the brink and we will see later what to do with the depreciated money and with my complexes.











2008. Fernando Prats. GRAN SUR (published text)

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

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

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

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

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

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

Sir Ernest Shackleton’s decision to embark on the journey is similar to any artistic idea whose end is to discover and reveal the unprecedented. He had an idea which no one else believed in.

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

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

Fernando PratsBarcelona, 2007

................................................................................................................................................................................................................................................The work of Fernando Prats is a literary “objet-trouvé”, recovered and reedited to transform the façade of a building into a discursive support. To begin with, an institution is clearly a sedentary discourse that engraves in the public imagery what one can expect from the use of the words “casa” and “américa”. The institution is covered by a text that comes from another culture, which operates as a collective expression of desire aimed at mobilising multitudes.

The 28 exhibited words represent the terms of a migratory manifesto that authorises forms of notional movement between different areas of the social consciousness. Expressed, conceived to exist in their spaces of origin, these 28 words are deported to intervene in spaces that they were not conceived for, producing effects of meaning that will change the ways of reproducing their existence. “La Casa de America” is transformed into the referential “house of art”, from where, in a parodical way, it is possible to define the “away from home” spaces where an artistic energy that seeks to remove itself from the social control models of vulnerable populations is invested. The luminous body of the letters condenses the ominous burden of their own shadows.

Justo Pastor MelladoArt critic, Santiago de ChileNovember of 2007.












2008. Guillaume Ségur. WELCOME ON BOARD (published text)

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

Welcome On Board is a ‘space prototype’ derived from the consideration of skateboarders in an urban environment. From this important relationship between an environment and a practice, the aim is to rework the effects of this confrontation to produce a new form. I consider the work a ‘space prototype’ in the sense that it materialises the effects of sliding people on an urban environment.

The challenge of this project is to produce a very specific object rather than a cultural “ready made” or a simple contextual displacement. The proposed object would have the multi function of public sculpture, visual tool and play space. The aim is to shift the idea of public sculpture from ‘monument’ to ‘motor’. The proposed architectural form becomes a vehicle for re appropriation, for a movement, for an action of the people on their surroundings. It aims to encourage the urban space to be interacted with in a new way: by turning it into a loop, by flipping it upside down, by deforming it in order to better grasp it.

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

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

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

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

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










2008. Fernando Llanos. [VI VÍDEO] (published text)

[vi video] Mobile Videointerventions in specific urban contexts.

“Fernando Llanos is one of the most interesting experimental artists in contemporary Mexico. His work shifts between several territories and disciplines, including video, robotics, ciberart and performance.” Guillermo Goméz-Peña. Artist.

Videoman captures the collective subconscious precisely where culture and counterculture meet. The stage is the street, a laboratory where people make their way without noticing how they transform their environment and create new models of coexistence.

The artist makes us reflect on the type of conscious which can be generated by a society where the masses obstruct, uniform and ignore but nevertheless create certain voids where the human being can flow individually - voids employed by Llanos to change both our routine and our spaces.

His reflections are projected in video format in different, previously analysed points of the city. The ephemeral and mobile nature of the project involves the public through a closed-circuit system that records the reactions to this participative action defined by its creator as “urban acupuncture”.

The new intervention is projected in the junction of Paseo de la Castellana, Calle de Alcalá and Gran Vía and it is presented together with those presented in Casa de América in Brazil and Mexico.














2008. Anno Dijstra. PROPOSAL NR. 19 + GIFT (published text)

 Obliged seeing

A witness of the famine in Ethiopia in 1984, 14 years old, I was watching television at home.

A memory of a scene seen on television. An image with which I am not directly related to, immaterial, elusive, without a location, floating through the air. I can’t go back to the place where the drama happened. The television in my living room is the location where it happened, but the television shows already other images and there is nothing in my living room that refers to the drama.

How free is watching without engaging? In other words, can a witness become guilty because of what he sees?


For Madrid Abierto I want to research a new angle of the reconstruction/proposal by investigating misplacement. The misplacement caused by the media. In this context, a well known media icon is moved outside his original context, from the television/internet of our living room to the public space. From the flat public space (tv) to the three-dimensional public space. By the conflict erasing from the misplacement, (I know this image, but what has it to do with this place?) the new situation reveals the viewer’s absurd position, the absurd situation of being witness in the global media age.









2008. Dier + Noaz. ESTADO DE EXCEPCIÓN (published text)

 Throughout Europe and the rest of the world, the most conservative political tendencies are re-emerging as part of an attempt to provide answers to a complex world through increasingly simple solutions.

According to the European Forum For Urban Safety, Spain is the European country with more police officers per inhabitant, with 486 for every 100.000 inhabitants. Spain also has the highest rate of prison inmates in Europe, 140 for every 100.000 inhabitants, according to the General Directorate for Penitentiary Institutions (June 2006).

Although the crime figures have not experienced a relevant increase, we are constantly faced with news of local authorities demanding tougher sanctions and more police officers. This request is a constant factor in Madrid, no doubt, to respond to an increasingly frightened society.

To what extent can security and fear be transmitted at the same time? The Paseo de Recoletos is a perfect place to reflect on this, given that, as a result of tourism, it is one of the safest places in Madrid.

We seek to generate a sensation of a maximum security response against an unknown threat by installing a (fake) military check point with signs warning people to be on the alert.

We hope that this initiative will encourage the public, regardless of their political ideology, to reflect on the deterioration that our environment may suffer as a result of an escalation of violence and security.










2009-2010. Gustavo Romano. PSYCHOECONOMY! (published text / Madrid Abierto 2009-2012 book)

2009-2010. Gustavo Romano. PSYCHOECONOMY! (published text / Madrid Abierto 2009-2012 book)

PSYCHOECONOMY!Corporate Summit 2010 


 Psychoeconomy is a platform for discussion and artistic research that suggests an alternative approach on different subjects of global interest, exploiting the specificities in thought and diffusion that the realm of art creates. Among other actions, it promotes the Corporate Summits, which consist of annual forums formed by entities which have been created by artists (for example, banks, technological companies, and even micro-nations).

Psychoeconomy would like to revise the modes of citizen participation on a global scale, in the resolution of conflicts from which they are mainly excluded by not being able to make decisions although later being subject to their consequences. 



 Fort the first edition it was 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 was to elaborate a document as a declaration regarding the current state of the crisis. This declaration along other proposals by each “corporation”, were compiled in a publication. The version on paper was presented during the Sevilla 2011 Corporate Summit, while its digital version can be downloaded free of charge from Psychoeconomy’s website.

Taking full advantage of the singular arena for reflection and distribution created by the art field, the meeting attempted 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 Madrid Declaration.Participating corporations.FUQ: Frequently Unanswered Questions.Psychoeconomy Blog.Advance Sevilla 2011



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.    artiendo de la constatación de que las nuevas tecnologías de la información y la comunicación transforman nuestra experiencia cotidiana, Daniel G. Andújar crea una ficción (Technologies To The People, 1996) con el objetivo de hacernos tomar conciencia de la realidad que nos rodea y del engaño de unas promesas de libre elección que se convierten, irremisiblemente, en nuevas formas de control y desigualdad.


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. Lives and works in Madrid. 


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.
















2008. Annamarie Ho + Inmi Lee. LA GUERRA ES NUESTRA (published text)

 Our piece is a large sign with the statement “La guerra es nuestra.” spelled out in black, back-lit lettering, which is attached to the façade of the Círculo de Bellas Artes.

The sign utilizes a format that is most often seen on storefronts—the viewer may initially overlook the sign, as we are often indifferent to new information and media that is constantly being introduced to us, but a second glance may procure a different reaction. Moreover, the placement of such a sign on a well-known cultural building leads to a juxtaposition of the political onto the beautiful and the historical.

The initial reference in the statement “La guerra es nuestra.” is, of course, the war in Iraq. But the statement is also open-ended; the “war” or the “guerra” can refer to anything that incites concern in the viewer. In Madrid, this might be the activities of the Basque group Euskadi Ta Askatasuna or the need for more affordable housing within the city. Our goal is to show that everyone is a voluntary participant in the political. Indifference is a statement, as much as waging a war or being involved in political activism.












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

Hell Is Coming / World Ends Today, a situationist play for the inner city of Madrid, is a temporary intervention staged in Madrid. It has a duration of one week and will include a total of 151 participants.

In the work Hell is Coming/World Ends Today, Andreas Templin is showing reference to the Situationist movement, its strong impact and continuous flow and, in relation to that, points at some of the common problems that movements seem to be afflicted by: The moment of its pure realisation by an individuals mind vs. the competitiveness of styles, attitudes and trends of specific concepts in society.

In this artwork, a few of the key philosophical thesis which sum up, from Templin‘s viewpoint, the strongest and most direct impact on the individual in contemporary Western societies culminate in an ephemeral play.

This happens by transferring these philosophers‘ names into daily life by asking 150 inhabitants of Madrid to wear urban fashion items with label-prints for one week in their daily routine. While simply following their daily routine, the artwork itself sinks into the urban space, the philosophical concepts compete face-to-face with the other label concepts and brandings in the public domain.

These concepts and their visual appearance are:

- speed and devastation. Paul Virilio

- the camp / the concentration camp. Giorgio Agamben

- power / Michel Foucault

- hatred / fundamentalism / represented by an re-enactment of fanatic right-wing demonstrations. This will be staged by a doppelganger of a preacher standing around at various street-corners of Madrid

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

There will be a live-published website available with special contributions by Dr. Andreas L. Hofbauer and Dennis De La Haye.










2007. Oswaldo Macià. CUANDO LOS PERROS LADRAN EL CAMELLO LOS IGNORA (published text)

 When the dogs barks, but it makes no difference to the camel; we are the dogs the world is the camel(Darfur proverb)

 It would seem that we live in a world in permanent crisis. Although we may not always be fully aware of it, this is due to the fact that crises are the few mechanisms that generate changes in our times. In other words, crises are the indispensable catalysts that determine actions capable of transforming today’s personal, social and political scenes. However, every crisis has a different intensity, iconography and language. We judge and respond to a crisis not only in accordance with our political inclinations and personal tastes but also depending on their immediacy as news and the singularity of its occurrence. Crises compete amongst themselves to gain our attention due to a type of permanent struggle between the innumerable pressure groups of the civil society and the increasingly large financial interests of the global media. Despite the above, and within that semi-apocalyptic global vision that we all currently seem to share, there is a type of crisis that we consider or sense as more serious than any other: the humanitarian crisis. Our ethical being squirms every time we are reminded of our massacre and genocide capacity. We consider them repulsive crimes because with them we are all ontologically degraded and reduced. They are unjustifiable crimes but, nevertheless, they do not cease to take place. It is precisely that indifference, that omission in our duty as human beings, which this piece by Oswaldo Macià refers to. With this symphony – composed of 200 dog barks - he reminds us of our capacity to brutalise ourselves and that the case of Darfur is as present as ignominious. The title itself seems to contain a scathing irony, given that if we say "when the dogs barks, but it makes no difference to the camel; we are the dogs the world is the camel" we invoke that double human possibility of, on the one hand, expressing our disagreement and sense of feeling threatened but, at the same time, of also reducing ourselves to the pack of hounds and to injustice aided by our own indifference. Thus, if the world is really an indifferent camel – such as our leaders and international institutions appear to be- we should then go on barking until that listless nomad beast kneels down and hears our unease.

Juan Toledo, London 2006


Technical description: Composition with 200 sounds of dog barks taken from the municipal dog homes of Sardinia. Composition made for 12 sound channels (2 DVD 5.1), programme brochure and billboard with the text: when the dogs barks, but it makes no difference to the camel; we are the dogs the world is the camel (Darfur proverb)











2007. [Nexus*] Art Group. PROYECTO_NEXUS (published text)

 Flexible and pervious international artistic group made up by

marjorie kanter (USA, writer)maría papacharalambous (Cyprus, plastic artist)achilleas kentonis (Cyprus, multimedia artist)delgado-guitart (Tanger /Madrid, multimedia artist)ricardo echevarría (Spain, multimedia artist)


This project seeks to raise sensitivity on the loss of privacy which we are heading towards and, at the same time, to experiment with the new creative language offered by the new media.

Systems are installed that send sms/mms to all passers-by carrying a mobile terminal and who cross a previously established area, thereby distributing a number of messages/images generated by the [nexus*]artgroup. Each passer-by crossing a hot-spot receives a message/image in his/her terminal.

In this case the artistic subject (images and texts) is transmitted in its purest virtuality to passers-by with mobiles who cross a pre-designated area.

This intervention entails a hybrid adoption of the so-called spam advertising mechanism and of the irruption methods of artistic/political messages used in situationism and urban art. It is a communicative initiative that aims to raise the shock of the message. The mobile terminals are the reception spaces of the artistic discourse and the urban setting makes us witnesses of an art that shifts towards the audience.

The artistic discourse extends to the electronic space making it, together with the personal terminals, the temporary settings of the intervention.

We consider this project an urban experiment as well as an active example of the re-consideration of art work and its multidisciplinary nature.












2007. Dora García. REZOS / PRAYERS (schedule)

 Metro línea 1 Plaza de Castilla - Congosto, 1-2-07 07:00 - 08:00Obras de la M30, 1-2-07 09:00 - 10:00Ministerio del Interior - Audiencia Nacional, 1-2-07 10:00 - 11:00Torre Picasso, 1-2-07 11:00 - 12:00Plaza Cibeles, 1-2-07 12:00 - 13:00Instituto de educación secundaria San isidro, C/ Toledo 39, 1-2-07 13:30 - 14:30Ascensores del Edicificio España, plaza de España, 1-2-07, 14:30 - 15:30Público frente al Guernica, MNCARS, 1-2-07, 18:00 - 19:00Café Gijón y paseo de Recoletos, 1-2-07, 20:00 - 21:00Plaza de Chueca, Infantas, Gran Vía, 1-2-07, 22:00 - 23:00 











2007. Dora García. REZOS / PRAYERS (published text)

 On the 1st of February 2007, between 07:00 and 00:00 hours of the following day, ten performers, spread among ten different points of Madrid at different times of the day, uninterruptedly describe everything they see and hear at that time and place, and this endless description, recited like a prayer, is individually recorded by each performer, creating an audio recording of a length of one hour.

The description recited consist of a description of people, situations, attitudes, events, buildings, structures, trajectories, activities, routines, objects, atmospheres, circumstances, sounds, smells and even the impressions, deductions and intuitions of the subject describing or narrating.

It is fundamental that the ‘prayer’ is not interrupted and that the people who happen to be with the performer are aware that they are being integrated into a narrative structure (by the mere fact of hearing how they and what they are doing are being described and knowing that the description is being recorded).

The audio tracks created by the performers or ‘prayers’, may be heard, downloaded and mixed between them in a web page (, allowing the visitor to somewhat reproduce the complexity of the experience produced and experienced by the performer.











2007. Anikka Ström. THE MISSED CONCERT (published text)

 Ström’s public performances are short, and this has led to a number of her friends missing them through the tiniest twist or turn of fate. In her 2005 video The Missed Concert, the artist interviews some of these failed attendees, asking them to describe the circumstances behind their no-show. A woman in a floral dress tells of an over-run drink following a surprise meeting with an old friend. A parent reports a panicked call from a babysitter about a dirty nappy. A man in a blue shirt details a breakneck car journey that got him to the venue on time, where he was promptly thwarted by his need to pee. Best and most improbably of all, an Australian woman relates that just prior to a concert in Oslo, she slipped into a museum where she became enchanted by a painting of a woman riding a white bear. Wanting to snap the painting on her new and unfamiliar camera ‘phone, she fiddled with the buttons, finally got the shot, and ended up running to the gig only to find that Ström had just finished performing (‘I felt terrible’). These are the kind of things that befall us all, but they’re also the kind of things that can transform a bruised friendship into a bloodied one, or even (if they happen once too often) cause it to expire completely. Looked at like this, Ström’s video is an exercise in generosity and faith — a confession booth in which the excuses of the unfortunate are believed, and the feckless may find forgiveness. However, The Missed Concert also has a gently censorious undercurrent, one that laps at the feet of both Ström’s friends and the viewer alike. There’s a part of most of us that believes that time is on our side, that we will always win through at the eleventh hour, that we’ll make that million-to-one shot. We believe this because it is a satisfying narrative (how many films have you seen in which the hero doesn’t diffuse the bomb just before it counts down to zero?), and we’re creatures who are prone to turn our every experience into a scene from our own, personal bio-pic. Real life doesn’t work like that, though (ask a philosopher, and he’ll tell you that it’s impossible to satisfactorily prove even simple cause and effect). In real life we miss last trains and golden opportunities, we miss our friends’ concerts and, if we’re unlucky, we miss ever meeting the love of our lives. The Missed Concert presents us with a world — our world — in which time is out of joint, and our only available course of action is to wind our watches, and hope for the best.”

Tom Morton, Meta.paper vol.1.No 4. 2006










2007. Susan Phillipsz. FOLLOW ME (published text)

 Follow Me is a surround sound installation sited in the old military cemetery as part of the 4th Berlin Biennale. I positioned 4 horn speakers where the paths cross so people can walk through the sound as it encircles them. The sound is of me singing an old Yard Birds song called Happenings 10 Years Time Ago which is all about reality versus illusion. I recorded 4 separate renditions of the song and had them follow one another as if sung in a round, each one overlapping the other. Coming across disembodied voices with their echoes and reverberations might suggest spectral figures from the past being caught in time.










2007. Mandla Reuter. PICTURES (published text)

 Mandla Reuter’s Pictures is the transformation of a private flat in Madrid into a cinema showing current mainstream movies, which at the same time are also running in blockbuster theatres in Madrid and elsewhere, worldwide. A large light sign on the building’s façade announces the movie being screened, connecting the interior of the flat-turned-movie theatre with the exterior of the city.

Rather than commenting on a lack of space, Pictures negotiates ideas about access and space’s potential. Privacy is erased to make an intimacy in public space possible: you could say that the work does not offer a public service as much as an ‘intimate service’. This intimacy, however, gets a double-edged function in relation to the glamour of Hollywood that the sheer size and particular architecture of multiplex cinemas is meant to convey. What will big Hollywood stars look like when they are squeezed into a small Madrid flat? Will they still be the main attraction of the place, or will the massive projector take centre stage? In this way Reuter is doing a versioning of the movie industry much akin to the way Andy Warhol invented his own ‘small stars’ in films such as Chelsea Girls, a closet drama in which the actors projected their glamorous selves through improvisation. In Reuter’s Pictures what is at stake is again the co-habitation with stardom through a kind of playful parasitism on the illusionism of culture industry.

The transformation of space is aligned with other works of Reuter’s, first and foremost Invitation (with Alexander Wolff), in which together with an invitation card 400 keys were distributed to a flat in Warsaw. His predilection for the movie industry is also apparent in 3105 Cinestar-Original (2006) consisting of a soundtrack of a blockbuster movie played back in an art gallery. Accompanied by the audience’s coughs and crackling of sweets bags, the soundtrack becomes a kind of “polluted readymade”. By lifting the soundtrack a transport of spaces is brought about: the illusory space of the movie industry is added to the gallery, while the memory of a film is at the same time conveyed and withheld.

Reuter’s ambivalent attitude towards the material he appropriates can be framed by Jacques Derrida’s hybrid term ‘hostipitalité’ which denotes an unconditional hospitality that plays on the fact that ‘hospitality’ and ‘hostility’ comes from the same root, ‘hospis’. Based on openness, on total hospitality and inclusiveness, Reuter’s project also becomes a public arena where democratic sentiments can be played out – in peaceful as well as potentially antagonistic ways.

Lars Bang Larsen











2007. Leopold Kessler. ALARM BIKE (published text)

 An unlocked bike stands in front of the exhibition space. If somebody moves the bike, a sirene starts howling and the lights are flashing. The bike is equipped with an alarm system - which can be switched in/out by the owner with the help of a remote control. The typical gesture of showing your power and wealth like unlocking a new BMW.










2007. Dirk Vollenbroich. SHORT CIRCUIT / CORTOCIRCUITO (published text)


My art work is focused for about ten years on kinetic architecture illumination.

On the occassion of the coming MADRID ABIERTO 2007 here the sketch of my work‚ Short Circuit/Cortocircuito in consideration of the `Palacio de Comunicaciones’.


The architecture of the Palacio de Comunicaciones stands in opposite to the strength of the architectures I normally work with. In case of this ninty years old excessive construction by Antonio Palacios, I try to do a work in opposite to my ‚dissolving‘ light installations in high-rise buildings (like for example the LUFTHANSA headquarters in Cologne, the `Technisches Rathaus‘ in Frankfurt or the IDUNA NOVA building in Münster). By a synchronized lightning inside each room of the Palacio de Comunicaciones, I will generate a junction of all spaces. The excessive aesthetics facade of this neo baroque building with its art deco elements will appear in a visual solve of the convoluted interior.


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








2009-2010. Gustavo Romano. PSYCHOECONOMY! (postcard)

2009-2010. Gustavo Romano. PSYCHOECONOMY! (postcard)



















2007. Dan Perjovschi. OFF (published text)

 “I will reflect through drawings on the state of Madrid, Spain, Europe and the rest of the World”

Drawing is the tool that Dan Perjovschi employs as method for intervening in the social space, whether the space appropriated in a museum, exhibition hall or public area, on its walls or through media tools: newspapers and, on occasion of Madrid Abierto, street furniture. Perjovschi’s drawing is simple and direct, spontaneous and nearly caricaturist. His work is completely self-connected, being able to establish relations, dialogues and continuities between different works produced by the artist for different projects.

His drawings are observations on the political, social, cultural and artistic situation of wherever he happens to go, establishing a dialogue between those places and his own status of Rumanian artist who has lived through the communist to the capitalist regime transition and finds himself in a type of no-man’s land, somewhat similar to his occupation situation, a type of itinerant commentator who talks about what he sees with large doses of sharpness, simplicity and without qualms. Together with his modest use of resources and the spontaneity of his strokes, his sharp sense of humour stands out in his drawing interventions as one of his most distinguished features.










2009-2010. Gustavo Romano. PSYCHOECONOMY! (brochure)

2009-2010. Gustavo Romano. PSYCHOECONOMY! (brochure)















2007. Ben Frost. I LAY MY EAR TO FURIOUS LATIN (published text)

 The closed boxTo open it is to risk attack by its contentsWe fear what we do not understandThe box is locked and therefore it is dangerous

A beehive in a public spaceThe swarmHidden from viewWhispering languages we don’t understand

Do they want to hurt us?Is this secure?

The singular harmless insectThe swarming killer massRage and AlchemyGuarded secrecy.










2007. Alonso Gil + Francis Gomila. GUANTANAMERA (published text)

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


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

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

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

Guantánamo is a word of Taino origin, the aborigines of that area of Cuba, meaning “the river of earth”. It is precisely in this geographical area where the USA naval base is located.

Currently, in the war against terror, the United States’ military forces have used pop, rap and heavy metal music as a means of torture against detainees in military prisons. It has specifically been used in sleep deprivation techniques, as a base for systematic disorientation which, in the majority of cases, leads to madness. 







2007. Johanna Billing. YOU DON´T LOVE ME YET (published text)


You Don't Love Me Yet brings people together in an inviting encounter between the artist, musicians, and audience members; the catalyst of which is an 80's pop song.

In her long term project You don’t love me yet, which has been touring to different international cities between 2002 and 2006, Madrid will be the 16th location, Johanna Billing invites musicians to play a live cover version of a 1984 song by the American singer-songwriter Roky Erickson according to their own interpretation. The idea sprung from a fact the artist heard on the radio that there are more citizens living alone in Sweden than in any other country in the world.

In this project, that plays with the potential of covers and their invitation for subversion and reclamation, Johanna Billing makes herself as an artist almost invisible. Behind the scenes though, she organizes the event as precisely as possible. For example, by choosing a location that normally is not used as a music podium, or proposing an afternoon to stage the event instead of an evening, she consciously tries to break through existing patterns of behavior in both the music and the visual arts scene. As an artist she facilitates a collective experience where individuality expresses itself in the different artistic interpretations of the song, where the performing musicians are invited to listen to each others’ presentations and where the audience is witness to the potential of repetition, as the event offeres a wide range of versions of this sole song text. Each event has its specific line up of performances by rock bands, choirs, laptop musicians, professionals, amateurs or impromptu get togethers, mainly coming from the local scene. All the concerts end with the video screening of the studio recording of You don’t love me yet, a work made by Johanna Billing together with a group of Swedish musicians in Stockholm, 2003.










2007. Discoteca Flaming Star. DISCOTECA FALMING STAR (published text)


“Fernando. (We were young. Full of life. None of us prepared to die)”.

It is a sculpture –a metallic hut- which the public does not have access to; the passer-by hears music and a voice that comes from inside the hut. The sculpture articulates a presence associated with forms of informal commerce and architecture. The audio element gives way to the mysterious and enormous music box nature of the hut. The audio element was developed with the collaboration of the Chilean composer, Álvaro Peña (biographic data of Álvaro Peña provided below).

-mixing different spatial categories: inside-outside, private-public-artistic, visible, inaccessible, seemingly functional but not in operation. ---generating a space that promises nothing and seeks to offer nothing; thus, in this manner, we hope to encourage a reflection on the political nature of what is public, its vulnerable nature and the confrontational substance of the public space.

- audio element – voice + music --- literality issues, (i)rationality, passion, dialogue, promenade, public framework and collective expression through cultural products. Integrating reflections on the diversity of the relationships of the different cultural and ideological projects of/in the city.


-THE HUTS OF THE NEW AND SECOND-HAND BOOK FAIR Since 1925, 30 bookshop-huts have been placed in the Cuesta de Moyano. While small, therefore of a picturesque nature- the outdoor structures are associated with forms of informal economy which, except in their illegal street vendor version, are outside the areas demarcated by the project MADRID ABIERTO.

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

-FERNANDO’S ‘PACHANGA’ ROWDY ESTABLISHMENT IN GUADALIX DE LA SIERRA (Madrid) AND THE CHIC STAND IN POWERS STREET (Brooklyn – NY):As places built for combating loneliness, for establishing themselves as gathering and conversation points based on commercial interchange, both have sought (Fernando died and his rowdy establishment was torn down in 2005) and seek methods of providing offers that go beyond the purely commercial and ignore the aesthetic imperatives established by large companies, generating their own presentation and advertising methods for their ‘products’.

-THE VALPARAISO TRAIN (Chile):Popular public transport of the city of Valparaíso disappeared as a result of its transformation into a subway train.

-THE VERSES, LYRICS, STORIES, ESSAYS and POPULAR SONGS of: ÁLVARO (more information below), Dorothy Parker, W.G. Sebald, Virginia Woolf, Albert Camus, Quentin Crisp, Karl Valentin, Jack Smith, Pasollini, The process of Joan of Arc, Avery F. Gordon, Estrella de Diego, Mary Shelley, Yvonne Rainer, Jorge Semprún, Guy Debord, Ingeborg Bachmann, Ostermayer/Phettberg, the script of C. Th. Dreyer for ‘Joan of Arc’.


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

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


Chilean composer born in Valparaiso in 1943. Already in the decade of the sixties Álvaro Peña was a member of various popular music bands, namely LOS BUMERANGS and LOS CHALLENGERS, in Chile. In London, at the start of the seventies Álvaro formed the now the legendary THE 101'ERS, with Joe Strummer (THE CLASH).

It is worth mentioning that despite all the musical tendencies, from the sixties to now, Alvaro´s TRANSITORY MUSIC continues to remain as fresh and up to date as on the first day, mainly his piano style as well as the strong singularity of his voice. Alvaro currently lives in Germany and regularly tours Europe, Latin America and the USA.










2006. Wilfredo Prieto. OUROBOROS (published text)

 Cayendo hacia arriba

From objects, reality; from ideas of repositioning the object and the meanings generated by the space which subverts. Moreover, the gesture of re-contextualising doesn’t appear in the object – new context dialogue, but converts the functionalism and the logical utility into something banal which suggests a chaotic image, and even a lucid one of the structure, a victim of its own functional framework and a reflection on its incapacity to be something autonomous.

Ouroboros, in reference to the mythical image of the snake biting its tail, makes one think about power, the social structure of relationships, whether it be at institutional or personal levels, and the lack of sense shown in the application of these precepts in their own systems. Appealing to the wealth of the monument and visual impact as strategies for integrating the object, now called Ouroboros, and which requires a critical overview of the reverted processes, one is attempting to imply the form and to strengthen multiple meanings from the apparent ingenuity of choice and manipulation of the piece.

The effect of the object is neutralized with extreme subtlety by suggesting a means and aim in itself. The minimum self-intervention demystifies the artist as an object creator and profiles him or her as an archaeologist of present times, the daily events, of realities which blend in to the environment around them and thus easily escape other people’s eyes.

With doubt, the piece ponders a more explicit questioning of power and its most visible actions; this pays tribute to the weight and size of the piece, where formality introduces associations with power and its social crystallization. Nevertheless, the Ouroboros concept leans towards an understanding which privileges the understanding of power as a moral method, a self-consciousness and practical experience. It acts as an underlying state. It is actually close to the very dynamic of the art institution, despite the surreptitious of equally suggestive mechanisms. Not even the artist, nor the piece of art itself, with this aura of cognition can allude or remain distant from the conceptual fundamentals they activate.

Direlia Lazo January 2006





2005. Colectivo Tercerunquinto. S/T (location)

 Pº de la Castellana - Eduardo Dato, uneven sidewalk boulevard








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


According to history, Cristóbal Colón discovered America. We prefer to speak in less Eurocentric terms and to say that Colón established the first channel of communication between the Old and New Worlds, the first thread of a network which over the centuries has grown exponentially.

We believe that Plaza de Colón should maintain the communicative character we attribute to the person it is named after (oddly the park by the square is called Jardines del Descubrimiento). Now, more than five centuries after that first contact, we suggest using this agora to highlight the contemporary state of relationships between Europe and Latin America.


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

The social jungle of Madrid contains new emerging communities, consisting chiefly of immigrants. The most populous communities are those of Latin Americans. Generally speaking, it is always vital for there to be a catalyst to function as the collagen of social cohesion. In our communication society, this catalytic function in recently arrived communities is performed by call centres. They are the physical vortices of an indefinite but dense mesh of local relationships, and also a medium of global relationships. In other words, an epitome of hors-là.


The proposal is so simple and pragmatic that it verges on the debatably (and deliberately) non-artistic. We are aware of this, but even so we propose setting up a free call centre in Plaza de Colón for the duration of Madrid Abierto.

This project eschews the objectuality and aspiration to eternity that often weigh upon contemporary art. Rather it seeks to explore aspects collateral to the object (the call centre) itself: how news of its existence spreads, how its use is organized, parallel activities that may spring up around it, the opening hours it will have (probably nocturnal), and so on...

We like to think the square will be exactly as it was before once the phone booth is removed, though it will have helped build a more complex and intense social network between those who have benefited from it on either side of the Atlantic.

We will develop the above firstly by finding a specific site within the large urban space that is Plaza de Colón. An analysis of public behaviour shows two areas of traffic: the pedestrian stretches along Calle Serrano and Paseo de la Castellana (Jardines del Descubrimiento) and the territory where skateboarders do their tricks. We have chosen the site where these two spheres meet so that the installation may be used and even “appropriated” by the different types of people whose paths cross here and those who will be attracted by the call centre’s presence.

Our intention is to cultivate various types of communication: the invisible spreading of news of the call centre’s existence in the immigrant neighbourhoods of Madrid, the intercontinental communication provided by the telephonic interfaces, social interaction between those waiting their turn to call and those who have already called or even with skateboarders or passers-bay, and also the advertising/graphic communication (illicitly posted adverts, graffiti, etc.) that will surely emerge sooner or later on this new urban feature.

As we do not wish to concentrate all the activity around the feature of the telephone, and in order to facilitate all the forms of expression mentioned, we have proposed a range of possibilities for carrying out the project (such as modules each slightly different), offering a variety of mini-spaces.

We have decided to break up the project into easily erectable, removable and transportable modules. This facilitates construction and will allow the project to be used subsequently in other cities or squares. The structure will be made of wood or fibreboard panels with a wooden frame, which greatly reduces the project’s material cost.

At the times of day when it is advisable for the installation to be closed, it can be turned into a sealed and vandalproof “cabinet”.






2006. Nicole Cousino + Chris Vecchio. SPEAKHERE! (published text)


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

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. It offers 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 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.








2006. Lorma Marti. BLEND OUT (published texts)


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

Blend-out is a series of construction sites consisting of scaffolding and safety-fences wrapped in the usual fabrics, meshes, plastics and dustsheets. Situated in the center of Madrid and along its busiest boulevards, in the midst of representative historical ensembles and public green, the installations modify our perception of the context they are inserted into and our use of it.

The enclosures hint at something happening from which we are excluded, they apply to open spaces, public green and existing buildings. They remove sections of public space from the public, making them inaccessible or invisible and conversely give over-exposed sites a break from the incessant expectations of visitors. They alter patterns of movement and approaches, creating obstacles but also shifting attention to other, less practiced places. They create temporary heterotopias, islands out of bounds, places that could only be regained through transgression.

Over the duration of Abierto, Blend-out will gather that urban driftwood of information: posters, ads, notices, wrappers and flyers - and become an interface, a record or laminate of all other possible cities and spaces.



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

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

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

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








2006. Virginia Corda + Paula Doberti. ACCIDENTES URBANOS (published text)

 URBAN PERFORMANCE ACTIONAccident: Alteration or change that appears in a thing without it losing its essence or nature

The idea is to reflect upon accidents and various other instances so as to obtain records that salvage, symbolize and graphically represent change, overlay and/or urban accidents.

Any contemporary city requires a fleeting moment of attention. Setting out from movement, angst and constant change, we envisaged, by contrast, the aim of this urban action: to pause and cast a salvaging, poetic and distinct and openly resignifying gaze. The saturation of images, deafening noise, multiple icons and glut of sensory stimulation leave the passer-by in an overexposed torpor of brutalized surfeit, evasive introspection or sensory blockade. This overlay of chromatic codes, self-referential metalanguages, universalized symbols and inaccessible dimensions causes what Benjamin calls urban shock.

Memory is a component of time that records the vicissitudes of man’s passage through life.

The highlighted accident is memory, the history of an inhabited place, in whose peculiarities the passer-by participates.


• Highlighting of urban accidents by means of zooming in on them

• Location: Paseo de la Castellana (or environs of the Madrid Abierto circuit)

• Legal discourse shall be used as a methodology

• The artistic work shall unfold in three (3) stages


1-A. Observation of the stretch of the avenue most appropriate for performing the action and the highlighting.

1-B. Obtaining of photographic records of urban accidents.


2-A. Once the site has been established and a due record taken, the highlightings shall take place with blown-up photographs at the site.

2-B. The action is designed to be executed with a performance, with a photographic record being left at each site.

2-C. Statements on our findings shall be taken from passers-by.

2-D. Minutes shall be drawn up and left at the site once the action is complete, together with the photographic reference, the highlighting. 


As a dossier and due record of the event, an art-book of the action shall be produced containing photos, opinions, minutes, observations and actions.







2006. Chus García Fraile. POST IT (published text)

 This project sets out from a reflection on consumerism in western culture and our everyday habits, the limits of public and private, and the invasion of the personal sphere by the media pressure to which we are constantly subjected.

The project involves a reproduction of the post-it notes we use every day as reminders. They are notes of our concerns, reminding us to do or refrain from doing certain things as we fix them in our memory, bringing a change of perspective in such everyday phrases. Notes which, magnified and displayed in public, would become advertisements of the everyday, thus acquiring other meanings.

The little concerns of daily life – going to the gym, dieting, smoking less, etc. – would in this new context reflect not our own wishes but the continuous seductive action of commercial advertising.

Incessantly subjected to advertisements, we are free, but free above all to choose between the various products on the market. Often we see how a car, an eau-de-cologne or the like will give us greater confidence, security or social success: they are symbols associated with social status and distinction. If a person on the street can today feel more secure in a good suit than with a good conscience it is because advertising has acquired the importance of an ideology. Our society and culture have absorbed the discourse of advertising, and it is not at all a neutral discourse. People’s needs and demands are (except the basic ones) created at any one time and correspond to the interests of the economy.

According to Pérez Tornero, “it is not going too far to speak of the construction of a model consumer. Advertising discourse, through successive waves of messages, all essentially redundant, helps to model a person concerned about novelty, who longs to possess the object offered and recycles his or her values and habits according to the latest offerings on the market.” For Tornero, advertising, through its strategies of identification with the consumer and projection, makes “each advertisement a kind of journey inside us.”

If this is true, the little private post-its we use to organize our day will essentially coincide with the adverts posted on the streets of our cities, and might even replace them.







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


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

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

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

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















2006. Arnoud Schuurman. TRANSLUCID VIEW (published text)

 The project Translucid view consists of photographic interventions in a series of so called ‘muppies’, where each individual muppi will be loaded with the image of the immediate environment behind it. The interventions will be located in the area of the Paseo de la Castellana, Paseo de Recoletos and Paseo del Prado.

The interventions will be framed views, with just a slight distinction from reality in a subtle way. They allow users of public space to engage as a participant giving them the possibility to observe the change of reality with the work in time.

People that frequent the environment of the interventions more than once will notice these changes. The conditions such as light and weather on the moment when the photo was taken will remain the same, while the surrounding will change with the time of the day and the given weather.

‘Public space is a given thing; we wander through it, we make it our own and witness it change with time. ’

The muppi (Mobilier Urbain pour Publicité et Information; advertisment stands in public space) as an object is originally there to confront the public with information and illusions of things that do not exist in street life.

The commercial use of these objects makes them a dominant factor over the rest of public space.

Because posters are changed frequently, we never get the chance to look at the posters long enough to get the notion “we’ve seen it.” So our eyes in public space keep on being eagerly pulled to what we have not seen before.

The notion that this intervention will not be an advertisement might sparkle people to get to know what it is, for it will not be easily identifiable as art at first sight.






2005. Simon Greenan + Christopher Sperandio. SOY MADRID (published text)

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

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

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

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

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







2005. José Dávila. MIRADOR NÓMADA (published text)

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

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

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

The project is a piece of work which will bring the façade of the Casa de América and surrounding to life through its function and use, modifying the pre-existent relations of the citizens with the place.

It offers and proposes a different way of seeing the city and its architecture, a possibility to enter a more active dialogue with the urban landscape of Madrid.

The scaffolding covers up and signifies cycles of activity and change. They are sub-used, temporary urban spaces, nomadic viewpoint ( miradores nómadas ) which for a determined period of time offer specific views of the city which could not be seen in any other way, and usually go totally unnoticed.

An unnoticed general characteristic of Europe´s large cities is the large amount of scaffolding which stand out on their streets, areas in which they cover a large number of buildings and very frequently, the most emblematic of most historic buildings of the city).

Those who go by these areas of scaffolding can only appreciate something similar to the back of a mirror, converting them into places without a place. A building surrounded by scaffolding is usually a visual non-event of which the daily eye usually notices hardly anything.








2005. Henry Eric Hernández García. ZONA VIGILADA (published text)

 With the collaboration of: Dull Janiell, film editor / Laura Orizaola, photographer

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

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

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

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








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

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







Photos: Alfonso Herranz


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

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

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

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

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






Photos: Alfonso Herranz



OPEN SPACE. 27th February 2010







Photos: Alfonso Herranz























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2009-2010. Iñaki Larrimbe. UNOFFICIAL TOURISM (publication)




















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2005. Fernando Baena. FAMILIAS ENCONTRADAS (published text: book)


By chance, I found a cardboard box labelled “1ST JANUARY TO 17TH MARCH 1971” containing around 100 black and white negatives supposedly taken by some commercial 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 banners 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: 

Anniversaries. The family. Art in Spain in 1971. Círculo de Bellas Artes. Updated daily news.


Commemorative and documentary image

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 throughout 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 aristocratic ones by Reynolds and the modern ones by Hockney. Although the images of Familias encontradas 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 photos were taken. The concept of the family is extended to encompass Spanish people and the rest of humanity. Obviously, what was happening in the world affected 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.


Fragments of the texts that are projected in the luminous signs.

ANNIVERSARIES [1st of January – 17th of March 1971]

9th January– The American Junior Chamber of Commerce presents Elvis as one of the ten most extraordinary young North Americans.10th January– The French designer Gabrielle "Cocó" Chanel dies. 11th January– The Assuan Dam in Egypt is inaugurated. 12th January– The DIA informs that Guatemalan forces have “silently eliminated” hundreds of “terrorists and bandits” in the country side.13th January– 70 Brazilian guerrillas board a plane in Río de Janeiro bound for Allende’s Chile.14th January– Vente a Alemania, Pepe is premiered and seen by 2,078,570 spectators.15th January– Public execution of Ernest Ouandié, leader of the UPC (Cameroon).16th January– The Spanish tennis player, Sergi Bruguera, is born. 17th January– The vision of ETA VI Asamblea prevails, when a commando group kidnaps a well-known industrialist in the Basque Country whose factory was on strike.


Alexandre Cirici i Pellicer takes part in establishing the Asamblea de Catalunya, and is jailed for one week.Rafael Canogar wins the Grand Prix in the Biennial of Sao Paulo.The Rodríguez Acosta Foundation announces the XII Exhibition-Contest on the subject of “Women”. The prizes range from 100,000 to 25.000 pesetas.The first symptoms appear of the illness that would end the life of Juan Eduardo Cirlot. Later that year he would undergo a pancreas cancer operation.The art collection of the Museo Nacional de Arte Moderno is divided up. The 19th century paintings went to the Museo del Prado. The 20th century paintings went to the newly opened Museo Español de Arte Contemporáneo, in a building designed by the architect, Jaime López de Asiaín, located in Ciudad Universitaria.Last edition of the Salón Femenino de Arte Actual. The project for the Museo de Escultura al Aire Libre de Madrid is approved. The close relationship between Eusebio Sempere and the authors of the works or their families means that all the works are donated to the museum.THE SPANISH FAMILY IN 1971The first baby born in Madrid in 1971 was a girl. She weighed four kilos and was born to Amparo Paloma Ortiz and Francisco Barrado Mateo. When marrying a foreigner, Spanish women automatically lost the Spanish nationality and were considered foreigners. They were given a residence card, their academic qualifications were not longer valid, they could not join the civil service and needed a work permit to be employed in any other job. The Council of Ministers approves a Decree on 8th of January to introduce improvements to family protection by raising the monthly family benefits by 25%: a man receives 375 pesetas for having a wife; 250 pesetas for each child; 6,000 pesetas for getting married; and 3,000 pesetas for each newborn child. After 15 years of marriage, Manuel dies on the 5th January 1971 due to the burns inflicted by his wife when she threw a pan of boiling hot water, to which she had added a corrosive substance, over him whilst he was asleep. The absolute values of Spanish families are the indissolubility of marriage, the procreation of the highest possible number of children, the predominant role of the father as head of the family and the subordinate role of women of biological reproduction and household chores.


Extraordinary act in the Teatro de Bellas Artes to present the gold medals and the Silver Minerva, which are awarded since 1965. In total, thirty eight medals were awarded. The act includes the premiered monologue by the President of Círculo de Bellas Artes, Joaquín Calvo Sotelo, with the title Pis. The 1971 Francisco Alcántara award was handed to the sculptor Luis Montoya for his work Cabeza. The Best Poster of the Year Award, with a prize of 100,000 pesetas, was not awarded to anyone. The Gold Medal of Círculo de Bellas Artes was awarded to the billiard player, Avelino Rodríguez Rico. In March 1971 an exhibition was held on La marioneta, together with children and adults’ sessions performed by the group Peralta and Alcaráz. June 1971 Círculo de Bellas Artes organises a Corrida Goyesca fully dedicated to bullfighting on horseback.From 12/04/1971 to 14/04/1971 Círculo de Bellas Artes holds the Spanish Three-cushion Interclub Billiard Championship. 








2005. Fernando Baena. FAMILIAS ENCONTRADAS (published text: web)

 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. Are there any similarities with us today?

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.








2005. Compañía de Caracas. ESPACIO MÓVIL (published text)

 … When I think about something, I´m really thinking of something else. When I look at a landscape, I am not actually thinking about it. I am comparing it to other landscapes I have seen before.”Jean-Luc Godard

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

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

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

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

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


When we decided to intervene in Madrid at bus stops and buses our idea was to do so as a game that does not mean to compare both cities but allow one city to travel inside the other, make a symbolic reconquest of the space and subtly raise awareness on the idea of difference. Our intention was to disorient, not orient, to establish the bases of chaos: small bases as small as the intervention in Madrid. Austere, as the idea itself, illegitimate, roguish, an occupation that is dismantled in twenty days. A strategy that is not recognisable in publicity but on its reverse side; that does not mean to be just visual but to capture an image of otherness by transdressing mobile and fixed units of Madrid with photographs of Caracas.

In Venezuela, interest in the urban reality operates, on the one hand, as a way of seizing tradition, memory, before it disappears, transforms itself or dilutes in an urban organism that does not cease to recycle and change the biography of things. On the other hand, it is a symptom in search of a diagnosis that will enable us to assimilate a constantly changing urban territory.

In the interval between the first images we took for the project Espacio móvil, in April 2004, and the last, in December 2004, Caracas experienced big changes, not just in the visibility and mobility of part of the social fabric, such as the proliferation of buhoneros (street sellers) and soldiers, but also in its urban infrastructure, which is evident in the disappearance of public sculptures (for ideological, economic and maintenance reasons), the increase in popular-political mural paintings and the deterioration of architectural icons like the Centro Simón Bolívar or the towers of Parque Central.

In Caracas, the space mobilises itself: the private space to the public territory, the public space closes its doors to the stroller under the roofed corridors. Change and movement become a tradition: a tradition which forms the backdrop to a modernity that drifts between precociousness and premature ageing.








2005. Colectivo Tercerunquinto. S/T (published text)

This project involves taking an urban element which in this case are the metal boxes placed in certain areas of the city and which are generally used by the telephone companies.

The intention is to take this element and create a series of them, comprising 15 of these objects on the same scale and following the same design. They are then placed next to where a pair of these boxes are generally located.

Invading the pedestrian system of the Paseo de la Castellana to enhance the presence of an anonymous element of urban furnishing, this project aims to measure the sculptural possibilities of these objects by placing them within the same design that contains them but provoking an interruption to the system of urban order.










2004. Sans Façon. S/T (published text)

 Sans façon is a collaborative practice between an artist (Tristan Surtees) and an architect (Charles Blanc). Theirs works are defined by their relation to places, incorporating the situation and the qualities of any given environment as an active part of an installation.

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

She was telling him: “I don´t see what you see” and him: “It is possible that I add, I admit it, but the essential is in the things, their power to provocate [...], it´s indisputable and my sole interest as a guide is to be able to reveal them to you.Yves Berger, Santa Fe.

Their proposal for Madrid Abierto is based on the Depósito Elevado. This building is a very good examble of a banal urban object with no pretension, it is technical and useful. It is the kind of structure that passers-by don´t look at because it is not labelled as worthy, it´s just a water tower. But what a water tower and what a setting ofr it.

This installation intends to make people look again, not to look at an artwork on the side of it but enjoy and appreciate this emblematic and impressive structure.

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

Furthemore it plays with and expresses the architectonic quality of the building. The reflections create a sort of transparency, the weight of the concrete tank becomes much more present once the holding structure disappears (whilst remembering the unfinished stage the building was in for 7 years because of political turmoil). This big mass of concrete hovering in the air creates a disturbing and uncomfortable vision of the building, this technical construction doesn´t seems to fulfil its structural function anymore. The altered aspect of the water tower questions the immutable state of our built environment.

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

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















Photos: Alfonso Herranz












Photos: courtesy of the artist


















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2004. Fernando Sánchez Castillo. PERSPECTIVA CIUDADANA (published text)

 The aim of the project is to reveal to the spectator the qualities of equestrian sculpture which, due to its elevated position, is inaccessible to pedestrians –who are only able to see the sculptures of eminent people at street level when they are knocked down or exchanged for others.

Especially important is the statue of Philip IV in the Plaza de Oriente. City Authority personnel in charge of recent cleaning were amazed by the richness of the detail and invited the casting department of the Royal Academy of San Fernando to make moulds of the most significant parts. Moulds were made of the head and one leg of the horse, the king's gloves and other small details threatened with deterioration from pollution. 

Features and motifs -unknown and therefore uncatalogued- adorning the saddle and reins were discovered. The excellence, opulence and ostentation of the sculpting, chiselling and founding merit both the exhibition of the pieces and a reflection on the expression of power. 

The artwork displays the cast bronze fragments of the statue on a low platform, uses, moreover, the same popular strategies of pseudo-history or romantic ruins revived ad infinitum by postmodernity, and also attempts to encourage a continuous debate on imposed or desired heroes which historically have been eliminated and quickly substituted. Perspectiva ciudadana wishes to recover the ability to think as the essence of contemporary man.







2004. Warren Neidich + Elena Bajo. SILENT (published text)

The artists are proposing a plexiglass noise barrier/sculpture called Silent that would run down Castellana Street from the Museo de Escultura al Aire Libre towards Marqués del Riscal Sreet. This kind of noise barrier has usually been placed along highways as a means of limiting noise pollution for those living near the highway. But urban environments and city dwellers also suffer the effects of insidious noise pollution. The purpose of this artwork is to create areas of stillness, silence and quiet within the complex, bustling, congested urban space and to create a sculpture which communicates to the other beautiful sculptures already in place. Instead of being a visual monument linked to the past as the other sculptures in the area are, Silent is about space and process. It is socially interactive work which creates a place where people can once again enjoy peace and quiet; where they can cogitate, read or engage in intimate conversations at cafés which border the route. This is a normal condition in the countryside where there are many places in the forest of the field in which a man or woman can enjoy such peace but in the city and in places where the urban environment has been reduced and compressed. Spaces such as the one the artists would like to create are limited, fragile and precious. They want to make this piece as a gift/artwork to the people of Madrid as an act of generosity to improve the quality of their lives, an ephemeral gesture.

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

But there are other levels of discourse that act subliminaly yet are just as important in defining the social, political, historical and psychological relations of our project which must be addressed. As mentioned before this work of public art will be deeply connected to people who see and interact with it. Its reiteration of the urbanscape will create metaphoric and analogic meanings as a social sculpture which must be crossed and dealt with. This reiteration is visual, acoustic and physical. First is transparency will frame certain scenes anew giving certain structures greater attention whilst simultaneously decreasing the presence of others. Secondly, urban planners and architects who for so long have been part of a culture of spectacle and phaticity are now designing structures to decrease stimulation. They are all being over stimulated by the random sounds of our technologic culture and need some peace from it. This work of art decreases sound and its random brother noise. We are also interested in the way these sound barriers operate in spaces of indeterminacy separating the nomadic culture of the highway from the pristine domesticity of sedentary life; as if the barrier was impenetrable to sound but permeable to other forms of information allowing these very diverse and different cultures to interpenetrate forming morphologies of hybridity. I think that in our changing, fast paced, global world this type of analogous hybridity forms an important analogy for how other very diverse cultures based on very different discourses might intermingle and mutate. Especially in their most recent manifestation as transparent plexiglass sheets these sound barriers begin to operate as extreme but necessary forms of living to coexist in close proximity creating new possibilities a kind of third space, to emerge.

We must also considers this works ties to past sculptural experiments and we can no help but remark on the uncanny morphologic similarities these structures have to the sculptures of Richard Serra with which they also share strong perceptual, phenomenological underpinnings although its emphasis on beauty and its socially positive message are very different concerns then those than interested him. Together these deeper levels of meaning float up to interact with the materialist underpinnings of this physical sculpture set in the real, physical world. But by reading the structure in these may ways the work becomes metaphysical and immaterial.







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

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




Photos: Alfonso Herranz 















2004. Etoy CORPORATION (published text)

 Invited as guest artists etoy.CORPORATION installed its mobile headquarter, studio and Internet node in the heart of Madrid to perform a commercial experiment on the edge of reality, that answered Madrid Abierto proposal in order to research the art industry. Two etoy.CARGO-TANKS landed on Plaza Colon during the night of January 29th/30th 2004.

etoy, famous for subversive PR stunts like the digital hijack (1,5 million online art hostages in 1996) or the online clash with the American 10 billion dollar corporation eToys inc. In late 1999 (TOYWAR, with 4 billion dollars the most expensive performance in art history), won several international art awards and regularly appears in popular media channels such as CNN, Wired News, Washington Post, NZZ, Tate Publishing, El País etc.

Between February 5th and 22nd 15 etoy.AGENTS from Italy, the USA, Germany, Switzerland, Belgium and Spain aggregate in the physical world to operate a spectacular, living art installation on Plaza Colon. Dressed in their uniforms and equipped with identical high tech tools the etoy.CREW will conduct an art industry analysis to explore the acceptance for a different kind of culture economy. The fundamental question is: are collectors, galleries and the Spanish population ready to move away from traditional object ownership (paintings, photography and sculptures) and authorship (masters / stars) in order to test an alternative art production system? agent.MARCOS / etoy.CFO: “it is time to question the established models of cultureconomical exchange.”


etoy.CORPORATION offers to participate in an open artwork that is not defined or produced yet. Collectors visiting the ARCO art fair as well as common people in the city who normally don’t buy art will have the opportunity to purchase etoy.


Six different investment packages (from 2 euros to 30.000 euros) allow participation in a very special art work. etoy.CORPORATION will be using all investments acquired in Madrid to create and document concrete cultural value in the Hispanic market within the next 5 years (scale and locations depend on the volume and strategic partners). For their investment the cultural shareholders get the right to vote on project proposals and resolutions. etoy.CORPORATION is organizing the development process and serves as the information hub to coordinate the world wide planning and production. etoy’s advanced internet voting system, specific etoy.BLOGS and etoy.CHATS as well as many years of experience guarantee maximum impact (TRACK RECORD:

The new owners of etoy (already 2500 people participate world wide) will finance, produce and control the Spanish etoy.PROJECT. Their contribution and ownership is certified by a shareholder card and/or a unique etoy.SHARE-CERTIFICATE (see samples on or on that gives them access to internal reports and voting procedures for all future etoy.OPERATIONS.


etoy.CORPORATION is a global corporate sculpture to share culture profits instead of maximizing financial wealth. etoy is a registered trade mark of the etoy.VENTURE association. Past success cannot guarantee future performance. Share redemption strictly limited.


the etoy.CORPORATION is a corporate sculpture officially incorporated 1994 in zurich. etoy is a typical early mover (online since 1994) and developed rapidly into a controversial market leader in the field of experimental internet entertainment and art. actions and services like the digital hijack (1996), etoy.TIMEZONE (1998), TOYWAR (1999/2000) or etoy.DAYCARE (2002) are classics of art. The etoy. CORPORATION is owned by more than 2000 etoy. SHAREHOLDERS: international art collectors, venture capitalists, the etoy.AGENTS, the etoy.MANAGEMENT, fans and a few hundred TOYWAR. soldiers (who protected the etoy.BRAND during the legendary TOYWAR.battle). The etoy.INVESTORS control and own the corporate sculpture etoy.

etoy does not sell isolated art objects. etoy sells, trades and exchanges parts of itself: “etoy.SHARES” represent participation and cultural value. all 640.000 etoy. SHARE-UNITS available on the international art market equal 100% of the etoy.POWER (=100% of the company). Unique and registered etoy.SHARE-CERTIFICATES and etoy.MAGNETIC-CODE-CARDS guarantee the strict limitation of etoy.SHARES.

Since 1998 orange etoy.TANKS (12 and 6 meter long standardized windowless shipping containers - the icons of globalisation) build etoy’s mobile and multifunctional office system including studios, hotels, conference rooms etc. where ever etoy is needed in the physical world, the orange etoy.TANKS pop up or vanish over night to infect the way people think and feel (i.e. in San Diego, San Francisco, New York, Zurich, Tokyo or Torino between 1998 and 2003). Depending on the market situation and projects between 5 and 15 etoy.CORE-AGENTS (currently 4 women and 11 men in switzerland, austria, italy, germany, japan and the usa) build the production and research crew of the etoy.CORPORATION. Day to day business is conducted by the etoy.MANAGEMENT (2 from 3 etoy.DIRECTORS must sign contracts).

etoy won several international art awards (i.e. the golden nica in the .net category / prix ars electronica) and regularly appears on TV (invited and uninvited) as well as in other traditional media channels to injectthe etoy.VIRUS: the New York Times, Silicon Valley Reporter, Washington Post, Wired News, NPR, Le Monde, Der Spiegel, NZZ, WOZ, La Repubblica, Relax Japan etc. etoy.CREW-MEMBERS lectured and spoke at the MIT media lab in Boston, UCSD in San Diego, DASARTS in Amsterdam, ETH Zurich, Gottlieb Duttweiler Institute, Intercommunication Center ICC in Tokyo, the Interactive Institute in Stockholm and at many international festivals.


 etoy.DISCLAIMER: etoy.INVESTMENTS are not focused on financial profits.

the etoy.VENTURE is all about cultural revenue, social profit and intellectual capital generated with the invested resources.







2004. Wolfgang Weileder. HOUSE MADRID (published text)

Three stories high, house-Madrid will be constructed during Madrid Abierto over a period of ten days in an public space in Madrid.

Two groups of builders will simultaneosly construct and de-construct the two identical shells of house-Madrid during the ten days. 6,3 meters high shells will be built out of lightweight blocks up to third floor level and juxtaposed with each other in rotational symmetry. The process will be synchronized so that the construction and de-construction is choreographed sequentially: the opposite segments of the two shells will slowly move around each other until house-Madrid is completed. Two separate houses will appear on the same spot at the same time.

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

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

The art work explores the relationship between the temporary and the permanent in architecture as well as investigating the boundaries between process, artwork and documentation.

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









2004. Maider López. CARTELES PUBLICITARIOS Y BANDEROLAS (published text)

In my work I like to focus on the formal occupation of space and the calibration of its physical and objectual dimensions.

I am interested in linguistic reflection on what painting does or doesn’t mean, and also in discovering the complicities arising between painting and architecture in our understanding of the human habitat, and by extension the urban habitat. The site of my project will be two of the capital’s main arteries: Paseo de la Castellana and Calle de Alcalá, serving in turn as a link between the various Madrid Abierto projects.

Accordingly I propose a project in which pictorial works will cross over to unusual media such as advertising streamers or hoardings, and which are at the same time integrated into our collective urban space.

To stroll along a street is to be continually identifying signs. A bombardment of images that our brains have learnt to ignore or to take in only selectively.

Decipherable codes are all around us: traffic lights (green = walk, red = don’t walk, etc.), traffic signals, advertising (with texts and graphic designs that we also identify).

But what happens when traffic signals do not say things we recognize and when advertising hoardings speak to us in a code that we cannot decipher?











2004. El Perro. VIRTUAL DEMOLITION MOBILE (published text)

 The ever-greater presence of the image in the street as a new advertising channel requires strategies that will transmit messages with maximum efficiency. The traditional advertising poster is being displaced by the moving image in shop windows and is gradually appearing on canopies and display panels. The concept of the public thoroughfare as an area of continuous conflict, so close to theories associated with the postulates of radical democracy, is certainly true, if we understand such conflict as the struggle to locate messages, whether political or commercial. 

It is some time now since power in the advanced democracies has been associated with the flow of information. Providing the possibility of directly participating in a communication medium also means allowing new discourses. Given the difficulty of placing these in highly controlled media like television —recall the obstacles Addbusters and Media Foundation encountered to broadcast their subversive advertisements in general channels even when they were paying— the public thoroughfare presents itself as an open zone of communication.

VDM is a new technology for the broadcasting of messages, a vehicle with a video projector that operates while the vehicle moves round the city. Virtual Demolition Mobile offers the spectacle of the city in flames, virtual therefore innocuous, a playful extension of the fears of present-day urban society.

The image of the city as the theatre of catastrophe is the spectacular image of our time. An outstanding aesthetic experience is the media spectacle projected by television channels into every living-room, in every home, where the security and comfort with which the information is received contrasts with the catastrophe itself. 

Virtual Demolition Mobile is a product that seeks to commercialize experience. And though, as Ogilvey says, voices are raised against the "commercialization of passion", they should recognize that passion is safer confined to the market than when, sublimated by religion or politics, it begins to erupt. 

The proposal will be developed in Madrid in 3 phases: 

1. A notice will be sent to the residents of Madrid, requesting them to reply by e-mail. They will be asked to choose a building or monument in the city which they would like to subject to a virtual demolition. 

2. A notice stating the date and time of the virtual demolitions which have been democratically elected.

3. Virtual demolitions







2009-2010. Gustavo Romano. TIME NOTES: MOBILE OFFICE (images)

2009-2010. Gustavo Romano. TIME NOTES: MOBILE OFFICE (images)





















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2004. Emancipator bubble (published text)

 The solution to emancipation problems. What a young person of today needs in order to live as he/she pleases.


This inflatable dwelling in the form of a bubble allows a large amount of independence without having to leave home. Easy to set up, it provides maximum comfort with minimum effort thanks to its water, electricity and telephone terminals which can be directly connected to the family house installation thus reducing expenses to zero.

Besides the BASIC bubble model, there is a wide range of other versions designed for each type of modern young person. Top of the range is EMANCIPATOR DELUXE, equipped with an EMANCIPATOR-CARD which enables the occupier to charge the shopping up to the family account. Another model is XXL which provides an extra 33% independence. The FIRE-WIRE is manufactured with an advanced material that intelligently adapts to light and temperature fluctuations and includes a number of entrance and exit interfaces. The AUTODETERMINATOR is devised for those who want nothing to do with their parents despite living on parental territory. The SEXMANCIPATION, manufactured with a plastic similar to latex and with a permanently lubricated interior, is ideal for taking your partner home. The GARDEN, the ÉTER, the PUNCHETA… Choose one for yourself.


The use of EMANCIPATOR BUBBLE is especially recommended for persons between 18 and 24, who, though regarded as adult, are obliged for various socio-economic reasons (poor jobs, exorbitant housing prices, convenience…) to delay their family emancipation process and their total integration into society.


EMANCIPATOR BUBBLE, though not devised as an emergency shelter, does have a limited life. The limits are imposed by the user or his/her family and the resistance of the material itself.

More information and specifications on and .org This email address is being protected from spambots. You need JavaScript enabled to view it.

A product of BUBBLE BUSINESS S.A., EMANCIPATOR BUBBLE is based on an original idea by the architects Alex Mitxelena and Hugo Olaizola. It is being developed and directed by Saioa Olmo and produced by AMASTÉ.

SAIOA OLMO (Bilbao 1976) has a Degree in Fine Arts from the Universidad del País Vasco and a Master in Design from DZ. She sees her work as a way of producing experiences and situations in which the spectator plays a very active part. She works in a completely interdisciplinary manner, often in a group. Her recent projects are: the communication and new corporate image of ARTELEKU (with AMASTÉ); Chi-gua-gua, concerning fashion and nightlife; and QUÉJATE_KEXATU, in which a place for complaints etc is provided. At the moment, besides EMANCIPATOR, she is working on projects like PAÍS VASCO TRADE MARK (brand image design); FOYU (a postmusic group), with Leticia Orue; and takes part in LABITACIONES, a laboratory on housing (ARTELEKU).

AMASTÉ (, directed by Txelu Balboa (Vitoria 1974) and Ricardo Antón (Bilbao, 1974), is dedicated to the production and diffusion of projects related to current society and contemporary culture, culture as a collective space of communication rather than a means of self-expression. They publish ESETÉ magazine, collaborate on various interdisciplinary projects, and are regularly present at events like ARCO, SONAR, LAUS, etc. At the moment , as well as EMANCIPATOR, they are preparing issues of ESETÉ on sex, underground railways, and prohibitions; round tables on new publications for ARCO; and their presence at the Lerida Biennale.

And, besides Alex and Hugo, who are the consultants and Pedro Pérez, the industrial designer who has developed the prototype, there are a number of institutions, etc supporting the project, like ARTELEKU, Montehermoso, the Youth Department of the Basque Government, Madrid Abierto, and Bilbotex, not forgetting lots of other people without whom it would not have been possible.







2004. Diana Larrea (published text)

 The work presented is one of a new series in which the artist have made use of different film myths, recreating them literally, in a deliberate attempt to reproduce them exactly and faithfully.

In this case, her propose to appropriate a mythical image from Alfred Hitchcock’s The Birds and reconstruct it as a tangible reality. In order to do this, Diana Larrea will invade the two main façades of the Casa de América with a horde of black crows made of synthetic material. They will perch on the cornices, window-ledges, balconies etc. of the building in such a way that they will cover practically everything like an enormous swarm of bees. As in the film, the threatening presence of the birds in everyday surroundings will alter our customary perception of everyday reality.

The basis of this work is found at the point when the spectator, on seeing this image omnipresent in our collective memory, immediately identifies and recognizes it, recalling the original model in the film. The artist is very interested in reflecting on the concept of the myth as a cultural image that participates in the integration of individuals. Contrary to what is usually claimed, the more a myth is used the more it perpetuates its essential meaning, affirming its own power in the world of collective illusions. The power of the myth lies in the fact that it gives us a much more intense awareness of reality than reality itself.

The symbolism of this image can be found in the universal myth of divine punishment. Like the episode narrated in the Old Testament of the plagues in Egypt, the occupation by the threatening birds is something we do not expect and cannot explain. When D. Larrea use this artistic replica to repeat a similar event in our current world, she is refering to those dreaded prophecies that are inexorably fulfilled. That an image from the fantasy world of our nightmares can suddenly take on concrete form confers on the work a certain sinister quality that is very disturbing.







2004. Bubble Business. EMANCIPATOR BUBBLE (pictures)

2004. Bubble Business. EMANCIPATOR BUBBLE (pictures)













2004. El Perro. VIRTUAL DEMOLITION MOBILE (pictures)

2004. El Perro. VIRTUAL DEMOLITION MOBILE (pictures)


















2004. Diana Larrea. PALACIO ENCANTADO (pictures)

2004. Diana Larrea. PALACIO ENCANTADO (pictures)





























2004. Etoy CORPORATION (pictures)

2004. Etoy CORPORATION (pictures)
















2008. Fernando Prats. GRAN SUR (2007.11 / visual data)

2008. Fernando Prats. GRAN SUR (2007.11 / visual data)


Without title, 2007. Smoke, air and graphite on paper with printout of Casa de America’s façade. 21 x 29,7cm.

                                                                                                                             (November 2007)















08inib1947, 08intb1948

2004. Fernando Sánchez Castillo. PERSPECTIVA CIUDADANA (pictures)

2004. Fernando Sánchez Castillo. PERSPECTIVA CIUDADANA (pictures)














2004. Sans Façon. S/T (pictures)

2004. Sans Façon. S/T (pictures)

















2004. Wolfgang Weileder. HOUSE MADRID (pictures)

2004. Wolfgang Weileder. HOUSE MADRID (pictures)
















2004. Warren Neidich + Elena Bajo. SILENT (pictures)

2004. Warren Neidich + Elena Bajo. SILENT (pictures)












2004. Wolfgang Weileder. HOUSE-MADRID (video-installation)

2004. Wolfgang Weileder. HOUSE-MADRID (video-installation)




























f04invc0128, f04inmc0129

2005. Simon Greenan + Christopher Sperandio. SOY MADRID (images + physical documents)

2005. Simon Greenan + Christopher Sperandio. SOY MADRID (images + physical documents)








* PHYSICAL COPIES AVAILABLEMATERIAL: paperUNITS: 2 copies by imageMEASURES: 173'5 x 120 cm




................................................................................................................................................................................................................PICTURES OF SOME LOCATIONS











05inic0578, f05inic0511

2009-2010. Gustavo Romano. PSYCHOECONOMY! (images)

2009-2010. Gustavo Romano. PSYCHOECONOMY! (images)




Photos: Alfonso Herranz



















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2005. Compañía Caracas. ESPACIO MÓVIL (images)

2005. Compañía Caracas. ESPACIO MÓVIL (images)












2005. Fernando Baena. FAMILIAS ENCONTRADAS (images)

2005. Fernando Baena. FAMILIAS ENCONTRADAS (images)













2005. José Dávila. MIRADOR NÓMADA (images)

2005. José Dávila. MIRADOR NÓMADA (images)













2005. Henry Eric Hernández García. ZONA VIGILADA (video)




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












2005. José Dávila. MIRADOR NÓMADA (register visits)


5.325 people accessed the scaffold









2005. María Alos + Nicolás Dumit. EL MUSEO PEATONAL (images)

2005. María Alos + Nicolás Dumit. EL MUSEO PEATONAL (images)




Photos: Alfonso Herranz










Photos: courtesy of the artists











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2005. Óscar Lloveras. S/T (images)

2005. Óscar Lloveras. S/T (images)













2009-2010. Josep-María Martín. A DIGESTIVE HOUSE FOR LAVAPIÉS (interview with Susana Cremades)

2009-2010. Josep-María Martín. A DIGESTIVE HOUSE FOR LAVAPIÉS (interview with Susana Cremades)



An interview by Jorge Díez with Susana Cremades, journalist and editor, she has also worked as labour advisor and social mediator. She is a neighbour of Lavapiés and has allowed Josep María Martin to gain access to the realities behind the neighbourhood’s ‘pisos patera’.

Did you know Madrid Abierto before participating as one of the ‘key’ elements in Josep María Martín’s project? Something that I would like to thank you for, as well as Ana Velasco, the ‘key behind the key’. We also appreciate your willingness to give us this interview.

I knew about Madrid Abierto while reading an article that was published in ‘Revista de Museología’, in which I worked as graphic designer, but I had already seen some of the interventions in calle Alcalá and Casa de América, and I had always thought it was something curious.

And in general, what is your relation to art? Because I see that you have reproductions of great artists of the XX century. Apart from that curiosity that you are talking about, what do you think of current art?

I read about it, check out projects, but I am still not quite aware of where it is going. I have been told that nowadays it is much more connected to social matters, but art…, I don’t know. When I go to an art exhibit I want to learn something, and I enjoy with pieces such as this reproduction of Las señoritas de Aviñón by Picasso, that my two year old son also likes very much. If I had to choose something in particular, I would prefer expressionism. Back to the more social oriented type of art, I think it has to do, overall, with the decisions that these artists make on these issues. But where is art to be found? In the person who is an artist or in the final product? Because there are other people that develop projects with the community, which, sometimes, are difficult to distinguish from what certain artists are doing.

Why do you think that a phenomenon such as ARCO takes place, an event that draws big audiences which are particularly youthful, although there is ample skepticism regarding the value of current art?

I don’t know the reason why people want to see current art, I am sure that some of them want to enjoy, but me, being especially clumsy at drawing or when developing any kind of plastic skill, I like to find out what impression other skilled people in this area can provoke in me. That means, that enjoyment, and the possibility of being moved by any artistic expression, were it a painting, a movie or music, is the essence of my interest, just as well as other people who want to get in touch with art, but being aware that there are also many others that do it for status or because it is a must, an attitude imposed by trends or as a result of marketing, which is probably what is happening with ARCO.

In this sense, as a journalist, as a professional, what do you think of the relationship between the media and culture in general, and art in particular?

The truth is I am a little bit critical with the media, in spite of being a journalist myself although not active at the moment, because I think that right now the media is leaving aside its duty to inform, of encouraging a critical point of view. And most of all the public media, that should defend the basic pillars of information, and is basically focused on the wars of audiences, therefore the supposedly public interest is not materialized in facilitating the access to the complex reality of much of the proposals of contemporary art that deal with the issues of the city, urban landscape, immigration or any kind of social issue. And when any form of public media tries to do it, the truth is that because it barely has any audience, they don’t have the resources to do their job properly. For example, it is a topic that everybody likes La 2, although, in reality, hardly anybody watches it. In fact, there is great unanimity regarding the duties of the media, although some like it and others don’t, but there is also great unanimity regarding the fact that they do not accomplish their aim.

However, in the realm of culture something different takes place to what happens in the media, it maybe has to do with the general idea people have of culture, but, at least apparently, they don’t follow the same editorial guide lines or economic interests, focusing on more liberal type of information or depicting culture as a show.

Culture is very “in”, if you are interested in it you are supposed to be great, but in the media, when dealing with information, culture and sports belong to the last journalists on the line, except in those cases in which the great specialist deals with culture in a supplement or a weekly special, conceived as something that belongs to the elite.

And getting back to the current artistic practices that don’t deal with the production of artistic objects, but with processes, approaching social issues, and taking for granted that they produce some type of result that may be inscribed in the artistic field, do you think that they share some common features or that there is a diversity of approaches and attitudes among artists themselves, in the same level as in activities conventionally understood as common to the realm of art?

From the view point of art, as well as from any other perspective that deals with social issues, I think it is positive, although artists seem to place themselves on another level. Anyway I am speaking without knowledge, for at this point I have only established a direct contact with Josep-María Martín, who has said in several occasions that he, as an artist, reaches a lot more places, or more important places, than many other people can get to. For example, the possibility of meeting the president of a country can propitiate small changes in reality, and I believe that that is something very positive.

But this access to people in power can be seen in another way; that the artist keeps playing the role of someone that goes with power, that entertains and gives prestige to those who rule in politics, economy, etc, and at the same time obtains his prestige and influence as chosen by such power. And although certain artists in no way pursue such aim, but try to instigate these changes on reality, to what extent is that transforming potential of art overestimated? How can the artist handle complex realities and surpass the realm of art, being at once a sociologist, anthropologist, geographer and social worker?

Sometimes I don’t know if that really happens or if in many occasions it’s another form of manifestation of the artist’s ego, only exceeded by that of renown architects, but every case should be taken care of. There’s not a common pattern, we must analyze if an artist in particular is approaching a reality that, in many cases, is the expression of the art of living or surviving in awful conditions, or he is simply trying to reassure his previous conception of that particular reality that nothing has to do with art, and is alien to such an extent that it is very difficult to understand and share in a very brief and short approach as the one that generally takes place in the development of many projects. I am not an artist but I really doubt that, due to being one, you can know and comprehend a different and complex reality. In any case I think it is an interesting and positive approach, beyond specific results.

How do you think this approach of artists towards social realities is perceived?

By the other part it is always perceived as a way of taking advantage. It is very difficult to attain equality in a relationship when the starting point is different. In the tension of the creative process that is seeking to obtain an artistic result, whichever it may be, the artist sometimes forgets he is dealing with people that have no understanding of his interests and that may perceive that they are not receiving anything specific from him, even more when dealing with people who don’t share our codes because they don’t belong to what we wrongfully call the first world. And also the opposite way around, any comment that these people may say can be understood as unlawful. The possibility that they might take advantage of a situation that is oriented towards an artistic goal may create distrust. It’s like those pirates that are so in vogue nowadays; we are horrified by these Somali pirates, but, aren’t we pirates in their sea, their land and people? Their assaults, the rescues, seem to us to be from another time and carry a violence that we detest, but, what does the first world do in that part of Africa? In Ethiopia teff is cultivated, it is a cereal with which injera is made, an elastic type of bread that is the basic food of its population. A Dutch company has found out that it has weight-reducing properties for an overfed first world and has patented several substances derived from it thanks to an agreement with the Ethiopian Government. Consequently there has been a wild rise in the price of teff, that is depriving the country from its basic product, and which is going to contribute to the death of six million people due to hunger, not being able to gain access to the only food that they have. Has any artist thought about such an important issue that affects so many people?

I don’t know, but I am interested in what you are pointing out about an equal relationship and a possible form of mutually taking advantage.

Of course, taking advantage, which in the case of the Senegalese people of Josep María Martin’s project has, at some point, provoked the thought that “here we go again having the whites taking advantage of us”, because the rejection and racism towards the other part is mutual. I have heard that during this project, and we can’t allow it, because it isn’t true. This project is not an opportunity for someone to benefit economically.

This project takes place in Lavapiés, where these Senegalese people live, why do you think so many artists are interested in this neighbourhood?

The concept of Lavapiés that has been promoted by the media and politicians in power is that of a marginal neighbourhood, full of delinquency. But from some years on, in Lavapiés there’s a type of professionals and people working on culture that have nothing to do with a neighbourhood for the old, for immigrants and people who, as myself, didn’t have any money and bought houses at a very low cost because this part of the city was the cheapest in Madrid, as well as Vallecas. I bought my house some eleven or twelve years ago, also, because I liked Lavapiés and I had always lived close. But these people have bought 90 square meter houses for 90 million of the old pesetas, thanks to rehabilitation plans that have promoted the cleanliness of the neighbourhood. A house like my one, that I bought for 9 million and that doesn’t get to 50 square meters, has been sold for forty. What kind of people buy these houses? Why do people like this neighbourhood so much? Maybe at the time of La Movida a lot of the people who came to his neighbourhood came from a similar social background but had a different social and vital approach. Today, those wearing broken pants that cost 200 euros are coming, being a minority within the Spanish minority of the neighbourhood. Anyhow they are very significant, and in reality they don’t coexist with the rest of the neighbourhood, they don’t know their neighbours nor do they relate to them and, in fact, they are contributing to throw out the traditional neighbours and the new immigrant members without even having thought about it and it is not even their intention. Something different happens with the public administration, that wants to turn the centre of Madrid into a place similar to the centre of other great European cities. This is very clear once we analyze how political activity is organized, how the plenary local sessions take place, how the police intervene or how the neighbourhood is now being filled with cameras. This doesn’t respond to an artistic objective at all but to other objectives, which indirectly have created projects, like the Camarón project by Un barrio feliz, that I think is very creative, although I don’t know if it should be called art, social demonstration, or a different way of building a city.

What do you think of some of the projects that have been made in the neighbourhood like the Offlimits space?

They are different from the project that I was talking about, which emerges from social networks, although the social network of Lavapiés is no longer active. Initiatives like the housing table and others don’t function anymore. The pressure to change and throw out the members of the neighbourhood also has to do with issues such as the drug problem and the lack of political will to solve it. However, other social networks have emerged, like one that helps support immigrants in their adaptation process once they have been thrown out of the Canary Islands. Obviously they are not artistic interventions but social ones, very necessary for the neighbourhood. Their aim is not to create art, but they have an enormous creative potential as a form of developing the neighbourhood and creating another type of city. I wonder if something could be done from the artistic point of view without using the neighbourhood as a medium to reaffirm previous ideas that some artists have of Lavapiés.















09-10intc2794, 09-10inic2796

2005. Rebekka Reich + Anne Lorenz. TAXI MADRID (images)

2005. Rebekka Reich + Anne Lorenz. TAXI MADRID (images)













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

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



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



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

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

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

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

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















08prmc3532, 08pric1921, 08prmc3533

2005. Raimond Chaves. EL RIO, LAS COSAS QUE PASAN (videos Metro Channel)

 On the programmes of the Metro channel, “El Río, las cosas que pasan” presents simple animations based on drawings and images with the inclusion of short lines of text and a very restrained use of sound. The contents of the animations will have a similar register to that of the posters but will emphasise the most absurd by presenting news that one would not really consider as news.












05invc0543 / 05invc0544 / 05invc0545 / 05invc0546 / 05invc0547 / 05invc0548 / 05invc0549 / 05invc0550 / 05invc0551  / 05invc0552 / 05invc0553 / 05invc0554

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

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



Name Play Size Duration
Pista 6
8 MB 8:43 min

Once, when I returned from… returned from Germany.. with… I got a cab in the airport with my then boyfriend, from Germany, we talked German all the time and the taxi driver thought we were foreigners and he took us on a tour around Madrid…

2 people speaking in German – man and woman (very low, in the backseat)

so, instead of taking us directly to the address that I had given in a direct manner, he drove around making outrages circles, no, because he thought that we were foreigners and couldn’t tell…

Taxi driver tells me the price of the trip in pesetas, very loud

When I return to Madrid I always… get goose bumps… (positive, thoughtful)

Most of all when I’m the area of Puerta del Sol.

Sound when entering the sol subway station – air vent? – lottery sellers

Puerta del Sol has a lot to do with me, most of all the subway station… each time, each time I come back to Madrid, the smell of the subway, which is something, that I think only exists in Madrid… that smell of paper… it’s a bit like the newspaper smell, the newspaper in Spain, El País, smells a lot like the subway (she laughs)

Rustle the newspaper – opening a page

(using a newsreader’s tone)…. the most horrible place in the world is Puerta del Sol or downtown Madrid, the old Madrid in Christmas…

The heat that comes out of the subway in winter when you’re walking around, or when you’re in font of the Mallorquina cake shop… And the smell of the subway comes out and I say, oh great, this is Madrid! (laughter)

Spanish music – song about Madrid (for example: caminando por la calle – ojos de brujo)

On Sunday mornings, in the morning, alter breakfast I went for a walk with my grandfather, I went to by the newspaper, sunbathe in the winter, so that the sun hit our faces, and he took me to the Café Central… in Bilbao… to have chocolate and strips of fried dough… and I remember these… it’s like a beautiful thing of mine, it’s something that remains in my heart.

Something that I also loved about Madrid that I buy every time I go, are Madrid’s violet flowers. In Sevilla there’s a shop, it’s called the violetera, I think, they sell violet flowers that are like pills, like sweets, with violet flavour…

Sound inside the shop, slowly crossfades into the post office in Cibeles

… I sent a package, no wait I take.. how was it, I don’t remember very well… I had a problem with a package and started to fight with a lady that was behind the counter… there was trouble, I shouted at her and she shouted at me

two dogs or two roosters fighting

in the end I went home without my package.. without paper.. with nothing – completely enraged.. but I remember, that the building is beautiful inside, but the customer service was terrible, awful, then, in the eighties, no

Love song 80’

Oh, yes, the botanic garden (laughs) I had a German friend, a German boyfriend, and he gave me a beautiful kiss (she laughs) under a palm tree.

Sound of garden, sitting on a bench, saying the following to someone

….it made me very envious that Mr Thyssen had that private collection in his home.. in his favourite villa in Switzerland… What a luck to be so rich and have those fabulous paintings..

(the park sound continues)

yes, had a lot, ähm ‘guter geschmack’,… how do you say it in Spanish? Good taste?

Well I left Madrid, because I fell in love with a man from Hamburg

Sound of a street at night, without much traffic, undistinguishable voices, maybe a dog barking (lavapies)

Maybe this is my city.

You never feel alone.. there are always voices.. you hear voices

Voices from afar, the garbage collectors approaching

…there’s something strange … the neighbours hear sounds, and… really, it was in the newspapers, they said there was a ghost inside.. and there’s something very strange, I must have heard about it somewhere, what’s happening with, I think it has to do with Casa de America… they say there are ghosts or zombies living inside..

sound of garbage collectors at night – leaving with their truck. 

...................................................................................Objects:DIE ZEIT: German newspaper (the taxi driver has to buy it every Thursday)Violets: the taxi driver offers it to the client when getting off the taxi

 Photo: Reading the newspaper – newspaper, jeans, Jesus type sandals






05intc3462, 05insc0570, 05inmc0577

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

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




















09-10inib2729, 09-10inmb2728

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

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




Name Play Size Duration
Pista 3
9.5 MB 10:22 min

 The studio was behind sepu (¿), in Desengaño street, and I saw the Telefonica building from, from the balcony because it was on the sixth floor.

Everyone thought, i would just stay there for ever.

< jazz music

When I was alone I put jazz.In the sculpture department, which was very small and pretty old teachers and with conservative ideas, they told me, that sculpture was not for women and that they didn’t recommend it, to study that, and that well, they didn’t help a lot and also, they, ah, encouraged me to leave the Faculty and working on sculpture on my own.

I always went up Gran Vía and… (?)… there, behind the Telefónica building to get to the studio. And as the surrounding buildings are very high (??), the street was always in the shade. Then I left the sun in Gran Vía to enter in this narrow and dark street, I went up the six floor on a very old lift, when it was working, if not I walked, to the studio, which was pretty sunny. This, I clearly remember. Apart from probably being my favourite spot in Madrid.

Twenty years already, you know. Then, what remains is like pictures, pictures engraved in my mind…

You hear a lift coming down, the door to the lift opens, street sounds, steps, stop

…cibeles, how the water splashed and the sun shined,

steps continue, stop

… and the post office and (?) covering the façade with smoke from the cars

steps continue, stop

the smell, of, of, of circulo de bellas artes, a very old building.

Sounds in the street >

… sidewalks are tough, and streets, …, I walked a lot, and…(?).. due to so much walking.I didn’t have many clothes, (…) I had a, like a vest, not a vest, like a coat, half coat, light, black, cotton made. Ahh that I put on a lot until it turned grey like chocolate in the sun. I had a grey skirt with little pink and yellow flowers and they same, I put it on until, I, I, I couldn’t put it on any more.

She laughs x people that laugh in a caféIt was in winter with one of those white suns that you see in winter and we went to the crystal palace, I don’t know if it’s still called that way, and it had the Cy Twombly exhibition and everything was white. That, with the sun, the glass, Cy Twombly’s white, that was, a dream (?). Ah later we went to have some Martinis in a square, there is, a café in (?) the retiro with friends and that day stayed with me. With the taste of Martini and, ah, crystal light. No. (lachen)

In the café, a toast with glasses, laughterTo someone else: So many memories, but most of all the literary circles with people, no. And the places, were people gathered. And as time seemed, the days were so long, and there was always time for everything. Ah, you didn’t need something to amuse oneself, the conversation, with conversation it was enough.I also speak English, yes, when ever you want.Ah, Ehm, i was really glad that you called, because, ehm, im still having trouble putting it away. Really. And, ehm and let him go. Because for me it was also,was also, when i was starting finding myself. And sometimes its hard to say, to let that go. You know you cant go back again. You cant go back to being 19 or 22. Or free like that. Ehm. (...) And i was very, very involved with the people (...) Putting it all away has been very difficult for me. And yea, i need to.


The subway arrives at the station, people come in and the subway leaves. Silence in the subway station.

Once I, I arrived at night, ah, I lived in the rastro, but then I was working for a lady as interpreter, and her hotel was around Recoletos (…) Then I returned to get in the subway, and ah, a youngster mugged me, a type of gypsy youth, ah, he had a knife and wanted to take my wallet. And I don’t quiet remember because the first that (?) it was a physical aggression, direct. And my reaction was to fight, not to run, but to defend myself. And he wasn’t expecting that. And I remember thinking, I’m friendly of (?) kid, no, and sure he’s my neighbour in the rastro and how ridiculous it was, that, for being, in a rich neighbourhood I become a victim, but when Im at home close to where he lives, he doesn’t even look at me.All of that crossed my mind while he was in front of me with the knife, and I fought with him, and in the end the wallet broke and things fell on the floor and he took the wallet (porse?) and he left, but I had nothing in my wallet, I had everything in my pockets, no, no I didn’t lose much (lachen) but yes, I laugh because I can (?) the things, that crossed my mind, iat, at that moment.

The next subway comes around, she gets on:In the subway (driving)

And the conversation with the taxi driver ah when, we were on way, and of course always when I speak in Spanish and was a foreigner and they spoke with me, yes, everybody talks to you, tell you things and tried to, and jabber (lachen) and all that stuff. Those conversations while going to the airport mixed will sadness, no, to, to, leave behind, my life, my world, no, for a while. And the coming back, when I returned to Madrid, got a taxi and, and, returned to the centre. The happiness of returning and finding those places. And I spoke happily to the taxi driver, very happy because I was coming back, no, returned. To a place where I felt very good.

Jazz music

And now if one returns twenty years later, ah, your not going to find what you’re looking for.

..........................................................................................................................................................................Objects: gallery guide, card of the retiro café











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

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




Name Play Size Duration
Pista 1
7.2 MB 7:52 min


Look for the station in the Radio, The Cure, Killing an Arab”, Liedansage – fade out

Just before turning eighteen I always wore black. And so, a bit punk. So I had a period – like in painting – a black period.

I don’t remember anything. I remember a lot of traffic jams. I remember lots of cars.

It’s funny. I’m attract/attracted to seeing it again, because I remember it like gloomy, sinister. Like they were on a dark place without windows… a room full of black paintings, and therefore, like, I remember them dark, but probably not.

Voice of a guide in El Prado (man), talking about the black paintings. In the background you can hear birds and traffic, as if the windows were open. 

I think of green in trees and, space.There was a place in Madrid, that before they finished the Almudena, the Cathedral, ah, it was half finished, it unfinished for a long time. It was like some ruins, and next to it there was a, nice square, and you could see all the, the, the, what is in front, the casa de campo and so a lot of green, very far away, and I don’t know, a place with a lot of, a lot of charm. The other day I went and there was no charm (laughs). Because the cathedral is finished and they have put some lines and they have closed it (?), but it’s a place I remember well, I don’t, nice. 

Birds - crossfade – crowd – saying demonstration slogans (of the 80’s) 

I lived around (?), Ciudad Lineal, my father was a diplomat. 

It’s funny.Oh god!I remember the demonstrations, but not in specific places. 

I remember when the Guernica was in the Casón de buen retiro…I know the Guernica was taken away, but I remember seeing it in a place, that was around, that only had the Guernica, which impressed a lot, because it was there alone. 

Notice in the airport for Barbara Sela

I was two years in, in, in Rome, and I returned, three years in England and then I returned, then I studied in Holland, from, well, from eighteen to twenty one, twenty two. 

Skid, brake, a car door opens, you can hear The Cure inside, voice of a taxi driver: to the airport? Inside a taxi with The Cure 

I remember one, that was very fast, that happens a lot, but I specially remember one, I was scared, no, with taxi drivers, for how fast they go. Once, when, when one was with a television on, running a lot (?). I was very scared. He, he came speeding and, I don’t know, he saw me and stopped. And, and when I got in, I saw he was watching TV and I thought to myself, we’re going to get killed. 

Sweet flute – baroque music of the black period 

Well, I left to study and then, when I came here, because I found work as flautist here in Sevilla. I am from Madrid. All my family is from Madrid. They’re all there, but I don’t have the feeling of being from Madrid. 

Sevillanas (ojos de brujo – no 9)


..........................................................................................................................................................................Objects:Ticket to el prado with a picture of a black paintingMusic sheets for sweet flute in the baroque, used

Photo: headphones – black sweater – punk style black scarf – music sheets for sweet flute in the baroque, used







05intc3457, 05inmc0572, 05insc0565

2009-2010. Laurence Bonvin. GHOSTOWN (images of the publication)

2009-2010. Laurence Bonvin. GHOSTOWN (images of the publication)


R-4, Seseña, Toledo

Extrarradio de Ciempozuelos, Seseña      Arroyomolinos

Rivas Vaciamadrid      Alcobendas   

Residencial Francisco Hernando, Seseña, Toledo    Vallecas    Arroyomolinos

Vallecas    Valdeluz, Guadalajara    Arroyomolinos   Arroyomolinos 

Valdeluz, Guadalajara    Valdeluz, Guadalajara    Valdeluz, Guadalajara   Vallecas

Las Rozas    Rivas Vaciamadrid    Cañada Real, Pinto    Valdeluz, Guadalajara

Residencial Francisco Hernando, Seseña, Toledo    Residencial Francisco Hernando, Seseña, Toledo   Residencial Francisco Hernando, Seseña, Toledo    Residencial Francisco Hernando, Seseña, Toledo















09-10inic2623, 09-10intb2624

2005. Rebekka Reich + Anne Lorenz. TAXI MADRID (postcards)

2005. Rebekka Reich + Anne Lorenz. TAXI MADRID (postcards)

























f05inmc0571, f05inmc0572, f05inmc0574, f05inmc0575, f05inmc0576, f05inmc0577

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

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



















09-10inmb2730, 09-10inmb2731, 09-10INIB2732

2006. Arnoud Schuurman. TRANSLUCID VIEW (images)

2006. Arnoud Schuurman. TRANSLUCID VIEW (images)
















2006. Chus García Fraile. POST IT (images)

2006. Chus García Fraile. POST IT (images)















2006. Arnoud Schuurman. TRANSLUCID VIEW - METRO CHANNEL (video)










2005. Henry Eric Hernández García. ZONA VIGILADA (texto publicado)

 Colaboración: Dull Janiell, editor de cine / Laura Orizaola, fotógrafa

Propone este proyecto, resguardando una de las premisas fundamentales de la poética de su obra, en cuanto a realizar art interventions en recintos que ha llamado ghettos culturales: espacios individuales o colectivos construidos por una ideología determinada, en una época determinada y luego transformados hasta quedar en el olvido o sumergidos en la decadencia cultural —entiéndase ideológica, económica, social—.

Zona Vigilada replantea el contrapunto entre dos espacios culturales específicos, desde la visión del acoso como evento controlador de nuestros actos sean privados o públicos. El primer espacio seleccionado, es el Museo de las Esculturas; el segundo espacio es un reportaje filmado en Cuba, para este proyecto. Que cuestione la vigilancia —desde testimonios personales, imágenes de archivo e imágenes grabadas in situ— como medio de soporte y persuasión para mantener el poder. De ahí su interés por recontextualizar dentro del primer espacio, esta estrategia de sobre vivencia del status como una “pieza museable”.

La obra funciona al situar dos videocámaras con diferentes movimientos de ángulos, manipuladas por tres fotógrafos que se moverán constantemente, en las áreas abiertas del museo grabando una serie de situaciones (B/W) que luego se retransmitirán sobre una de las caras de una pantalla, previamente editadas, para reconstruir el environment del sitio. Simultáneamente sobre la otra cara de la misma pantalla, se proyectará -sólo en horas puntuales- el reportaje filmado en La Habana, logrando el contrapunto temporal entre ambos sistemas de vigilancia.

El proyecto incluye además el diseño y la edición de un Cartel que será distribuido por toda la ciudad anunciando la intervención: El Museo de las Esculturas al Aire Libre/presenta /ZONA VIGILADA/a film by henry eric.








2006. Arnoud Schuurman. TRANSLUCID VIEW (documentary video)

2006. Arnoud Schuurman. TRANSLUCID VIEW (documentary video)



Documentary about the production and inauguration of "Translucid View" by Arnoud Shuurman

























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

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





















2006. Virginia Corda + Paula Doberti. ACCIDENTES URBANOS (images)

2006. Virginia Corda + Paula Doberti. ACCIDENTES URBANOS (images)




Photos: Alfonso Herranz



Photos: Gabriel Andrés






06inic0949, 06inic0950

2006. Gustav Hellberg. PULSING PATH: AMBIGUOUS VISION (published text: newspaper)


Controlling the street-lamps along a street or lane means the light takes on a pulsing effect. The light is dimmed in a slow sequence, slowly disappearing and reappearing in an ongoing cycle.

The oscillating light of the lamp-posts in Pulsing Path – ambiguous vision activates a park lane and gives it a behaviour separating it from ‘normal’ lanes. Its expression is transformed and becomes displaced, thus raising questions about states of normality, and the uncertainty surrounding human existence.

 Man tries to master the world by structuring it. Societies are created through various power structures, which are never, however, either complete or solid. Because the characteristics of every individual creating a society differ, imperfection becomes the (disregarded) nature of these imposed social structures. The inertia of change, combined with ongoing human life-cycles and developments in society, makes it difficult to trace its course or even to be aware of it. Pulsing Path – ambiguous vision deals with awareness of our environment, our perception of this environment, and the memory of its appearance. A lighted street may not be what you perceive it to be on first sight. Are we always sure where a path is leading? Is seeing an object evidence of its existence?



 The project Pulsing Path - ambiguous vision operates by changing an everyday situation, with a focus on vision. It plays with reality as we are accustomed to seeing it. Vision can be defined simply as what we take in with our eyes: the physical phenomenon that occurs when light is transformed, through seeing, into comprehensible mental images. But vision can also be what is ‘seen’ with our imagination: that is, an immaterial and completely abstract occurrence. And this can lead to new ways of thinking and planning for the future; in this way vision becomes a lingual element.

Once clear thoughts blur and assumed descriptions are thrown into doubt, our already complex world becomes more so. Yet because this is the world in which we must function day-to-day, we must necessarily simplify it in order to make sense of it. We are able to choose which fraction of our ‘world factors’ to use and which to leave out; many are left out because they have not been registered by our minds, or have simply been forgotten. Most of this reality is abstract and locked in our minds as thoughts or images. Some of these become realised as societal constructions or  political agendas, deriving from the diffuse images in our minds – or the ambiguous visions.

The images we have of our surroundings are an intricate mixture of images we see directly and those stored in our memory.  It is not a matter of course that the two correspond: some of our mental images are able to be modified, perhaps being built up into a picture of how we would prefer our surroundings to look, or alternatively distorted images of how we don’t want them to be. Different people see different things; depending on what is registered by the individual, the same thing can be seen in a multitude of ways. Thus following a path, and seeing a clear direction, can become something uncertain. Manipulated by the Pulsing Path - ambiguous vision project, a path normally lit by street lamps slides out of visual focus and then returns as brightly as ever, just like the Cheshire Cat in Lewis Carroll’s Alice’s Adventures in Wonderland. Your mind begins to query what it knows as ‘normality’: what if light assumed to be there suddenly disappears, or if that light, instead of illuminating, creates a visual effect that tricks your mind and conjures up different visions?

In this way, the Pulsing Path project radically alters an ordinary situation. As the light dims and temporarily disappears, our usual apprehension of an environment also slides away. One question is raised: does the lack of light create doubt and fear, or does it free our dulled perceptions by changing a norm or an assumed condition?







2008. Santiago Cirugeda. CONSTRUYE TU CASA EN UNA AZOTEA (schedule)





10:00 am


14:00  am

From 18th to 24th of February












2006. Gustav Hellberg. PULSING PATH: AMBIGUOUS VISION (images)

2006. Gustav Hellberg. PULSING PATH: AMBIGUOUS VISION (images)













2006. Gustav Hellberg. PULSING PATH: AMBIGUOUS VISION (texto publicado)

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

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

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


Light can be bright, dim or totally absent. In our contemporary world we are used to artificial light reducing darkness. We somewhat rely on it to always be there. What if it suddenly disappears or if it instead of illuminating creates a visual effect fooling your mind, creating different visions?


Following the path and seeing a clear direction can become uncertain. Like the Cheshire Cat from Lewis Carroll’s novel Alice’s Adventures in Wonderland the path normaly lit up by street lamps slides out of visual focus just to get back as bright as ever. “`In THAT direction,- the Cat said, waving its right paw round- lives a Hatter: and in THAT direction- waving the other paw- lives a March Hare. Visit either you like: they're both mad.”







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




















07invc1353, 07invc1354

2008. LaHostiaFineArts (LHFA). EXPLORANDO USERA (bus schedule)

DAYS:From 11 to 18 (7 days)

SCHEDULE:Every day at 12pm and 5pm, unless the 7th morning when the bus will leave at 13.30











2007. Ben Frost. I MY EAR TO FURIOUS LATIN (sound recording)

Name Play Size Duration
I lay my ear 1
25.3 MB 27:35 min
I lay my ear 2
25.5 MB 27:49 min
I lay my ear 3
27.3 MB 29:46 min











2006. Tao G. Vrhovec. REALITY SOUNDTRAK (images)

2006. Tao G. Vrhovec. REALITY SOUNDTRAK (images)











Photos: Alfonso Herranz






Photos: Gabriel Andrés










06inic0977, 06inic0980, 06inic0978


2007. Johanna Billing. YOU DON´T LOVE ME YET (sound recording)

Name Play Size Duration
You dont let me yet 1
10.7 MB 11:42 min
You dont let me yet 2
101.7 MB 1:51:07 min








2006. Tere Recarens. REMOLINO (images)

2006. Tere Recarens. REMOLINO (images)




Photos: Alfonso Herranz




Photos: Gabriel Andrés







06inic0983, 06inic0984

2007. Discoteca Flaming Star. DISCOTECA FALMING STAR (audio - transcription)




I pity the young fascists,

and the old ones, whom I consider forms

of the most horrible evil, I oppose

only with the violence of reason.


I hate people removing the dust from houses. They make my world unbearable.

I hate translations from French, which notoriously loses its flavour in translation.

I hate people saying “I was meant to be a ballet dancer,” while running a pig farm.

I hate not knowing whether a non-smoker, not smoking is a smoker or a non smoker.

I hate those who always know where they are.

I hate people dying a natural death;  I paid to much for them.

I hate knowledge; it cherishes hope.

I hate Women; They get on my nerves.

I hate Men; They irritate me.

I hate Actresses; they get on my nerves.

I hate Relatives; They cramp my style.

I hate order; it cheats on the apokalypse.

I hate Slackers; They get on my nerves.

I hate Bohemians; They shatter my morale.

I hate the Office; It cuts in on my social life.

I hate Actors; They ruin my evenings.

I hate Bores; They take the joy out of my life.

I hate the Drama; It cuts in on my sleep.

I hate Parties; They bring out the worst in me.

I hate Movies; They lower my vitality.

I hate Books; They tire my eyes.

I hate fat corpses; they have no ghosts.

I hate rich people; they are in my way.

I hate the Younger Set; They harden my arteries.

I hate Summer Resorts; They ruin my vacation.

I hate wash; it’s the beginning of dictatorship, without wash no hitler.

I hate the tongues of  the slanderer, they poison my kitchen.

I hate Wives; Too many people have them.

I hate Husbands; They narrow my scope.

I hate College Boys; They get under my feet.

I hate praise; its brutal and an obligation.

I hate people without gardens; they water my weed.

I hate people who do not bath their frogs; they dry my politics.

I hate readers; they read so that a lot might stick in their minds.

I hate charts; they make me dissappear.

I hate fences, they all look the same.

I hate newspapers, they pretend to have a lot to say.

I hate interviewers, they always want to know what my opinion is.

I hate the internet, it brings out all the boredom in me.

I hate schools, they are full of children.

I hate security, it speaks all the time.

I hate professors, the all want to teach me something.

I hate cosmetic products, the oversize my luggage.

I hate illegal sellers, they get in my way.

I hate tourists, they narrow my scope.

I hate the future, it is too based on promises.

I hate investors, the constantly need new markets.

I hate the rain, it washes my make up away.

I hate militars, the move too constantly.

I hate diagrams, the insist on relationships.

I hate buses, they let me wait.

I hate exhibitions, they tyre my feet.

I hate restaurants, they smell like candles.

I hate buildings, they are too big.

I hate speculants, they want my interest.

I hate the suburbs, they miss the center.

I hate the subway, it darkness my perspectives.

I hate cakes, they enlarge my size.

I hate boutiques, they are not able to protect their maniquies.

I hate bars, they bring out my lust.

I hate dogs, their smell is too strong.

I hate the police, they insist on being in movies.

I hate cars, they make me look out of 6 windows.

I hate menus, they make me confused.

I hate graffities, they all look the same.

I hate politicians, they narrow my scope.

I hate growth; it’s too vulgar.

I hate wonders; they freeze my possibilities.

I hate chewinggum; it brings out my contempt for others.

I hate stars; they do not smell.


Inspiriert durch:

Dorothy Parker “Hate Verses”W.G. Sebald “Die Ausgewanderten”Virginia Woolf “Orlando”Albert Camus “Die Pest”Quentin Crisp “The Wit and Wisdom of Quentin Crisp”Karl ValentinJack Smith “Wait for me at the bottom of the pool”Pasolini “I work all day…”W.G. Sebald “Die Ringe des Saturn”Jeanne d’Arc “Der Prozess der Jeanne d’Arc”Drehbuch zu “Jeanne d’Arc” von Joseph Delteil und C.Th. DreyerMary Shelley “Frankenstein”Guy Debord, preface to “Jorn / Le jardin d’Albisola”Das Bilderbuch vom Karl ValentinIngeborg Bachmann “Malina”Ostermayer/Phettberg “Hermes Phettberg räumt seine Wohnung zamm”Franzobel “Phettberg”Gregg Bordowitz “The AIDS crisis is ridiculous and other writings”Avery F. Gordon “Ghostly Matters”Estrella de Diego “Travesias por la incertidumbre”Yvonne Rainer “Feelings are facts”

------------------------------------------------------------------------------------------------------ Zweite Wahl:

I hate those who apply the rules established by previous successes by others.

I hate women dressing like women while they are with men.

I hate destiny with its it little jokes. It makes me throw up with its stupid  cheerfullness.

I hate comfortableness; it produces recidivists.

I hate societies made by and for creatures who, when they are not grim and depressing are utter bores.

I hate computers, they tyre my wrists.

I  hate smiles, I do not bear to see all those teeth.

I hate risk, it makes me feel desea.

I hate cellphone ring tones, they get on my nerves.

I hate cities, they have too many windows.

I hate loneliness, it leaves me alone with myself.

I hate museums, they are too clean.

I hate speculants, they want my interest.

I hate the suburbs, they miss the center.

I hate menus, they make me confused.

I hate cancer, it attacks people I love.

I hate autobiographies, they are pretencious about the truth.

I hate wonders; they freeze my possibilities.

I hate people who cannot decide what makes them happy; they poison my blood.

I hate ambulances; they remind me of my fathers death.

I hate birds; they eat my crumbs.

I hate repetition; it kills.

I hate taxis; they all look the same.









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2007. Discoteca Flaming Star. DISCOTECA FALMING STAR (images)

2007. Discoteca Flaming Star. DISCOTECA FALMING STAR (images)



















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

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










 PLEASE NOTE: please credit Johanna Billing for taking photo









07inic1351, 07intc1400

2007. Alonso Gil + Francis Gomila. GUANTANAMERA (cd sound recording)

2007. Alonso Gil + Francis Gomila. GUANTANAMERA (cd sound recording)



1 Feten2 Jimena y Dirk3 Adriana Tijeras4 Moakara5 Trisexual Band6 Smokes Pleasure7 Silnave & R. Positiva8 Bettina Semmer y Dirk Busch9 Bala10 Ea7_dmZ11 Santiago Caiced12 Los Guantalibanes13 Arbol14 Pepe Narvona y Pililly15 Francis Gomilla16 Pseudjo17 S.A.Y.18 Azucar Letal19 Claudia Sacher

Name Play Size Duration
01 Feten
Alonso Gil + Francis Gomila

2.9 MB 3:12 min
02 Jimena y Dirk
Alonso Gil + Francis Gomila

3 MB 3:17 min
03 Adriana Tijeras
Alonso Gil + Francis Gomila

1.9 MB 2:07 min
04 Moakara
Alonso Gil + Francis Gomila

5.7 MB 6:14 min
05 Trisexual Band
Alonso Gil + Francis Gomila

3.9 MB 4:19 min
06 Smokes Pleasure
Alonso Gil + Francis Gomila

2.8 MB 3:03 min
07 Silnave & R. Positiva
Alonso Gil + Francis Gomila

6.6 MB 7:13 min
08 Bettina Semmer y Dirk Busch
Alonso Gil + Francis Gomila

3.7 MB 4:00 min
09 Bala
Alonso Gil + Francis Gomila

2.3 MB 2:31 min
10 Ea7_dmZ
Alonso Gil + Francis Gomila

6.8 MB 7:25 min
11 Santiago Caiced
Alonso Gil + Francis Gomila

3.9 MB 4:13 min
12 Los Guantalibanes
Alonso Gil + Francis Gomila

6 MB 6:36 min
13 Arbol
Alonso Gil + Francis Gomila

4.8 MB 5:15 min
14 Pepe Narvona y Pililly
Alonso Gil + Francis Gomila

4.4 MB 4:50 min
15 Francis Gomilla
Alonso Gil + Francis Gomila

3.8 MB 4:07 min
16 Pseudjo
Alonso Gil + Francis Gomila

4.1 MB 4:27 min
17 S.A.Y.
Alonso Gil + Francis Gomila

1 MB 1:03 min
18 Azucar Letal
Alonso Gil + Francis Gomila

2.9 MB 3:11 min
19 Claudia Sacher
Alonso Gil + Francis Gomila

0.9 MB 0:58 min









2007. Ben Frost. I LAY MY EAR TO FURIOUS LATIN (images)

2007. Ben Frost. I LAY MY EAR TO FURIOUS LATIN (images)














2007. Alonso Gil + Francis Gomila. GUANTANAMERA (images)

















2007. Dan Perjovschi. OFF (images + physical documents)

2007. Dan Perjovschi. OFF (images + physical documents)


Paseo del Prado - Museo del Prado

Castellana - Colón nº 150    Castellana - General Oraá   Castellana - Pinar

Castellana - General Oraá    Castellana - María de Molina

Castellana - Ortega y Gasset    Castellana - San Juan de la Cruz

Castellana - Vitruvio    Glorieta Carlos V - Cuesta de Moyano

Castillo - Paseo del Prado    Doctor Marañón - José Abascal   Emilio Castelar - Gral M Campos

Paseo del Prado - Lope de Vega   ** Recoletos - Cibeles    Recoletos - Colón

Recoletos - Prim    **Raimundo Fernández Villaverde


** MUPPIS: PHYSICAL DOCUMENTSMATERIAL: paperUNITS: 2 original drawingsMEASURES: 173'5 x 120 cm










07inic1374, f07inic3376, f07inc3425

2007. Leopold Kessler. ALARM BIKE (images)

2007. Leopold Kessler. ALARM BIKE (images)













2007. Susan Phillipsz. FOLLOW ME (images)

2007. Susan Phillipsz. FOLLOW ME (images)















2007. Anikka Ström. THE MISSED CONCERT (images)

2007. Anikka Ström. THE MISSED CONCERT (images)




© La Casa Encendida / Enrique Escorza









07inic1393, 07intc1394

2007. Dora García. REZOS / PRAYERS (actors)

Actors who did the performanceLucia NapalClemente GarcíaMarcos GarcíaAna Petite Eduardo Cárcamo María Brea Juan Antonio Bottaro Paula Rodríguez Martín Alicia Torres Pablo Martínez Dilvio

Actors at Café Gijón De Miércoles a Sábados de 17.00 a 21.00 horasJuan Antonio Bottaro Clemente GarcíaPaula Rodríguez Martín

Actors at Arco De Miércoles a Sábado de 17.00 a 21.00 horasRebeca Tebar Nacho Diaz de Heredia












2007. Anikka Ström. THE MISSED CONCERT (video)













07invc1396, 07intc1397

2007. [Nexus*] Art Group. PROYECTO_NEXUS (images)

2007. [Nexus*] Art Group. PROYECTO_NEXUS (images)

















2008. Jota Castro. NO MORE NO LESS + LA HUCHA DE LOS INCAS (images)

2008. Jota Castro. NO MORE NO LESS + LA HUCHA DE LOS INCAS (images)






















08inic2010, 08inic1946

2008. Alicia Framis + Michael Lin. NOT FOR SALE / NO SE VENDE (published texts)


NOT FOR SALE (2007)is a work in progress which analyses the situation of children sold all over the world.

The project began in the city of Bangkok, Thailand, where Alicia Framis produced the first portrait of a naked boy wearing nothing but a collar that read “Not for Sale.” This image gave rise to a series of photographs which, at first glance, seem light but nevertheless reflect the reality of the fragile and dangerous situation in which many children find themselves, threatened by the real risk of becoming just another market commodity.

In NOT FOR SALE MADRID ABIERTO 2008, Framis continues to expand on the same idea together with the artist, Michael Lin, although in another format: this time, they present a grand performance, a parade staged by sixty children of different ages wearing collars with the inscription “Not For Sale”, although with the peculiarity that each collar is specially designed by different Spanish jewellers, gold and silversmiths and designers who have collaborated in the project.

Michael Lin is responsible for the architectural structure on which the performance unfolds, designed in a textile painted with the bright prints that characterise all his work and that serve as the platform for the action.

.............................................................................................................................................................................................................................................BOOK (MADRID ABIERTO 2004-2008) + WEB 

NOT FOR SALE. A project by Alicia Framis and Michael Lin

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 of Not 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 Sale is a work in progress that 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 of Mao Sedong or Thailand’s king, Bhumibol Adulyadej, both normally exhibited throughout the city. Not For Sale employs 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 grand performance night: 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 the Not For Sale necklaces.









08intc1968, 08intc1970

2008. Alicia Framis + Michael Lin. NOT FOR SALE / NO SE VENDE (images)

2008. Alicia Framis + Michael Lin. NOT FOR SALE / NO SE VENDE (images)





















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

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
















2008. Dier + Noaz. ESTADO DE EXCEPCIÓN (images + link viedo)

2008. Dier + Noaz. ESTADO DE EXCEPCIÓN (images + link viedo)



















08inic1977, 08intc1980

2008. Anno Dijstra. PROPOSAL NR. 19 + GIFT (images)

2008. Anno Dijstra. PROPOSAL NR. 19 + GIFT (images)





PHOTOS: Alfonso Herranz









PHOTOS: Anno Dijstra














08inic1981, 08inic3732

2008. Fernando Llanos. [VI VÍDEO] (images)

2008. Fernando Llanos. [VI VÍDEO] (images)



















2008. Guillaume Ségur. WELCOME ON BOARD (images)

2008. Guillaume Ségur. WELCOME ON BOARD (images)

















2008. Fernando Prats. GRAN SUR (images)

2008. Fernando Prats. GRAN SUR (images)





Photos: Alfonso Herranz




Photos: Fernando Prats













08inic2006, 08inic2007 

2008. Santiago Cirugeda. CONSTRUYE TU CASA EN UNA AZOTEA (images)

2008. Santiago Cirugeda. CONSTRUYE TU CASA EN UNA AZOTEA (images)


















2008. LaHostiaFineArts (LHFA). EXPLORANDO USERA (Canal Usera Vídeo)

2008. LaHostiaFineArts (LHFA). EXPLORANDO USERA (Canal Usera Vídeo)


















2008. Todo por la praxis. SPECULATOR (images)

2008. Todo por la praxis. SPECULATOR (images)







Photos: Alfonso Herranz




Empty Property State Agency -Empty World-      Workshops (gentrification and property speculation)

Empty Property State Agency -Empty World- 



Workshops on urban resistances, gentrification and property speculation 






Photos: Todo por la Praxis










08inic2039, 08inic2040

2008. Santiago Sierra. BANDERA NEGRA DE LA REPÚBLICA ESPAÑOLA (images)

2008. Santiago Sierra. BANDERA NEGRA DE LA REPÚBLICA ESPAÑOLA (images)


Schellmann Edition, Munich, Germany. December 2007










Jorge Díez, José Luis Corazón, Pablo España 















2008. Todo por la praxis. EMPTY WORLD (postcard)

2008. Todo por la praxis. EMPTY WORLD (postcard)















2009-2010. Laurence Bonvin. GHOSTOWN (images)

2009-2010. Laurence Bonvin. GHOSTOWN (images)




.......................................................................................................................................................................................................................................................................EXHIBITION AT THE ESPACIO 28001 (INFOMAB)




















2009-2010. Lisa Cheung. HUERT-O-BUS (images)

2009-2010. Lisa Cheung. HUERT-O-BUS (images)




















Photos: Alfonso Herranz















09-10inic2777, 09-10inic2776

2009-2010. Iñaki Larrimbe. UNOFFICIAL TOURISM (images)

2009-2010. Iñaki Larrimbe. UNOFFICIAL TOURISM (images)

















2008. LaHostiaFineArts (LHFA). EXPLORANDO USERA (Kit)

2008. LaHostiaFineArts (LHFA). EXPLORANDO USERA (Kit)


KIT EXPLORANDO USERA Composed by: calendars, bookmarks, postcards and a map that contains a tapas, wines and spirits guide.




































08inmc2026, 08inmc2027, 08inmc2028, 08inmc2029, 08inmc2030, 08inmc2031

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

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




Photos: Alfonso Herranz 















09-10inic2790, 09-10inic2791

2009-2010. Adaptive Actions. AA CAMP-MADRID (images)

2009-2010. Adaptive Actions. AA CAMP-MADRID (images)




TALK AND WORKSHOPFrom Context to Situation: Micropolitics and Adaptive Actions By Marie-Pier BoucherPhoto: Adaptive Actions



WORKSHOP / URBAN WALKScan, Script, SupplementBy Jean-Maxime DufresnePhotos: Madrid Abierto / Alfonso Herranz




Photos: Alfonso Herranz




OPENING (AA147)Actor: AACreated by: unknownLocation: Madrid Photo: Adaptive


FREE LOUNGE (AA231)Actor: AACreated by: unknownLocation: Madrid BarajasPhoto: Adaptive



LA CASA Y LOS SUEÑOS (AA207)Actor: Paco SánchezCreated by: Paco SánchezLocation: Gran Canaria CP 35250Photos: Paco Sá


THE BRIDGE (AA224)Actor: gemeraldsCreated by: Familia Melgar- MolineroLocation: Villatuelda, BurgosPhoto: Melgar



CUPS (AA203)Actor: AACreated by: unknownLocation: LondonPhotos: Adaptive



FREE PHONE (AA193)Actor: michacardenasCreated by: Micha Cárdenas, Elle Mehrmand, Chris Head, Katherine Sweetman, Felipe ZuñigaLocation: Tijuana Mexico/San Diego Ca.Photo:


MONSTERS (AA226)Actor: TintaCreated by: E1000inkLocation: MadridPhoto: E1000ink



AM HERE (AA148)Actor: AACreated by: Lasse Johansson & Andrea ZimmermanLocation: Hackney east LondonPhotos: E1000ink















09-10inic2800, 09-10inmc2804, 09-10inic3382

2008. Fernando Llanos. [VI VÍDEO] (record of the video-projections)

2008. Fernando Llanos. [VI VÍDEO] (record of the video-projections)

Video-intervention number 16

Name: Discovery of the colon.Situation: Underlining the grotesque: projection of gay porno films (macho type) on the map that shows Colon’s route to America.Place: Monument to Colon.




Video-intervention number 17

Name: Supporting moral (o botellón mestizo).Situation: Videoman proyects Ecuatorian karaokes songs in a Madrid "botellón" (a gruop of young people dinking on the street).Place: Plaza Vázquez de Mella (Chueca)



Video-intervention 18

Name: Artistic solidaritySituation: Supporting colleagues: Santiago Cirugeda’s video was downloaded from Internet and we projected on his piece, then we tried to project Jota Castro’s “Incas’ moneybox” on the facade of the Spanish Bank. This piece wants to reimburse the gold that was stolen to the Incas and has been retired because it was vandalized. Unfortunately, and for technical reasons that I ignore we couldn’t project it, and we couldn’t demand the money. It seems like they don’t want to give it back. Place: Paseo de Recoletos and Banco de España.



Video-intervention 19

Name: Parasitic projection (or “mexicaning” the neighbour).Situation: During a cocktail in Casa de América for a Brazilian photographer that is exhibiting in the next room, Videoman projected the history of his own piece to take advantage of event’s mass appeal. In this case, without electrical autonomy, using the place’s light.Place: Casa de América.



Video-intervention 20

Name: Demonstrating opinionsSituation: The Partido Popular (right wing conservative party- in Spain) made some very controversial statements about reducing the penal age to 12 years, increase surveillance and more police presence. During the day the opinions of some citizens were recorded reflecting on such statements and at night they were projected on the PP’s headquarters. Place: Génova street.



Video-intervention 21

Name: Without sub-titlesSituation: A Caribbean sunset is projected upon a museum. Possible interpretations: a tribute to Felipe Ehrenberg, or to future cities that will be covered by water or simply a creative visual act: a liquid invocation to thirsty Madrid.Place: Reina Sofía Museum.




Video-intervention 22

Name: Love serenadeSituation: Projection of An open heart surgery, with Basque laptop live musician in the background.Date and place: 14th of February in Plaza de la Lealtad.














08inic1985, 08intc3551, 08inic1987, 08intc3552, 08inic1989, 08intc3553, 08inic1991, 08intc3554, 08inic1993, 08intc3555, 08inic1995, 08intc3556, 08inic1997, 08itc3557