In MNAC foundation (Cadiz) + Dinner Event in the Carmelitas restaurant (Barcelona)

In collaboration with Montemedio Contemporary Art Foundation (Cadiz), and Nogueras Blanchard Gallery (Barcelona) this project evolves from a permanent intervention in a renewed bunker’s architecture that today holds the Foundation’s offices.

Four panels were made to divide the reception the Foundation’s barrack hut in five spaces. Each panel has a round door and the back wall was substituted by glass to see the exterior garden. In this way, “Passage Garden” plays with the concept of reuse and transformation of space due to the recreation of a Chinese garden in the barrack hut. These gardens’ philosophy is centred on the relation between interior and exterior, the power to model the vision of a landscape at will, creating segments and frame the image in a play of perspectives between the different places inside the garden itself.

From the Montenmedio interventions we designed some painted wooden tables that were used as furniture for a dinner in the Carmelitas restaurant in Barcelona. In accordance with my artistic work these pieces were conceived for collective spaces and suggest a different ways of experimentation with space through painting and the view of art as a social event.

Space is used as a means where “the piece becomes part of space rather than an object in space”. Paintings invade and transform architectural space in an explosion of colour and create a transgression by inviting people to step on them or, as with the tables, to have dinner on them without any precaution at all.

The decorative patterns, that are the nucleus of the piece, are inspired by traditional Taiwanese fabric. The creation process reflects the industrial manufacture of the fabric and traditional decorative arts. Groups of assistants are hired and adjust to mass production methods, working in between classic tradition and modernity. These motives are used due to their familiarity and sensuality, rather than for traditional, iconographic or symbolic connotations. By them we suggest a self-interrogation on exhibition halls, the limit between private and public spheres and the relation between “noble arts” and “decorative arts”.

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HOMEVIDEO, 1999FrankfurtIn collaboration with Alexander Wolff

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

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

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INVITATION, 2005Varsoviain collaboration with Alexander Wolff

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

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

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INVITATION, 2006Varsovia

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

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

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

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

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

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

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

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

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

The project in Warsaw was realised with support of Buero Kopernikus,  http://www.buero-kopernikus.org/ and e-flux.

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Powers of the darkness (Technical cityhall Frankfurt, 2002)

Each computer monitor inside the cityhall building dispalys an specially programmed screensaver during the night. The screenaver displays randomly every second a different color. The indirect, colored light kinetic displays a permanent changing image of the Frankfurt cityhall. 

( 85 offices )

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SUPER NOVA (2001) + LUFTHANSA LIGHT (2004)

SUPER NOVA, 2001

Every two seconds each of the 240 offices in the building was illuminated by a flash light module.The indirect light gernerated a ´fast-motion´ effect, displayed on the surface of the building.Compared to the buildings ‘speed of light’, all moves in public life seem to be in a slow-motion.

( 240 stroboscopes in 240 offices )

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SUPER NOVA (2001) + LUFTHANSA LIGHT (2004)

LUFTHANSA light (Lufthansa headquarter Cologne, 2004)

Within one second, the LUFTHANSA head office in cologne is kineticly illuminated by flash light modules. In a volitional chaotic succession, the indirect light jumps in visible stripes through the floors of the offices. The speed of light raises the building from the whole environment of urban motions.

(Lufthansa building: 135 Meters, 20kW stroboscope lightning/floor)

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HAUSMUSIK (2006)

HAUSMUSIK ( Allianz Treptower, 2006 )

Walls and ceilings of selected offices in a high-rise building are color illuminated by a light control system. The windows, regarded from the outside, are colored rectangles on the buildings surface. An indirect lighting source is installed in two offices on each floor. From outside one can see a usual, from far visible, electronic soundlevel display. Hausmusik is the synchronized audio-level of the live send program by a local radio station.

( Treptower: 189 Meters )

HAUSMUSIK ( Frankfurter Büro Center, 2006 )

Walls and ceilings of selected offices in a high-rise building are color illuminated by a light control system. The windows, regarded from the outside, are colored rectangles on the buildings surface. An indirect lighting source is installed in two offices on each floor. From outside one can see a usual, from far visible, electronic soundlevel display. Hausmusik is the synchronized audio-level of the live send program by a local radio station.

( FBC: 165 Meters )

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

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

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REALITY SOUNDTRAK. Amsterdam, 2004

REALITY SOUNDTRAK. Ljubljana , 2003

REALITY SOUNDTRAK. Thessaloniki, 2004

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Support for the public reading L'UnitàModena, Italia 2003

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

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

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CHAMPS 

COLLINE

FOREST

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

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**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

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LA RAMPA EN VEDADO, HABANA, CUBA, 2006Documentation of intervention in Habana as invited artists to the Novena Bienal de la HabanaWith the support of CONACULTA, SRE and Embajada de México en Cuba

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EXHIBITION MUCA-Roma, 2004At the Museo Universitario de Ciencias y Arte (MUCA-Roma)(www.facebook.com/muca.roma)México City

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FAUBOUR BETUNE

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.........................................................................................................................................................................................................................................................EXHIBITION, CLAREMONT MUSEUM OF ART

.........................................................................................................................................................................................................................................................INTERVENTION

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PLAZA VIEJA, HABANA, CUBA, 2006Documentation of intervention in Habana as invited artists to the Novena Bienal de La HabanaWith thre support of CONACULTA, SRE and Embajada de México en Cuba

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EL ZÓCALO, PUEBLA, MÉXICO, 2006Documental intervention in Puebla as a part of Plataforma Puebla 

.........................................................................................................................................................................................................................................................EXHIBITION

.........................................................................................................................................................................................................................................................INTERVENTION

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ENTRANCE OF SUBWAY (METRO UNIVERSIDAD) UNAM, 2004Documentation of intervention in Mexico City. Sponsored by MUCA Roma and  Dirección de Artes Visuales UNAM

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SOUTH BRONX, NEW YORK, 2004Sponsored by the Bronx Council of the Arts, Hostos University and Longwood Art Gallery

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TIMES SQUARE, 2002Documentation of intervention at a storefront window in Times Square, 129 West 42nd Street

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LOWER MANHATTAN 2002Documentation of intervention in Lower Manhattan, NYC, 12 Church Street. Sponsored by LMCC.

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RECOSNTRUCTION - PROPOSAL NR 7, 2005 Trinity site , Where the worlds first nuclear divice was exploded on july 16 1945 380 x 90 x 90 _plaster and wood.The work was made on the location, the citzens could see me work.

DISLOCATIONSTrinity Site, the American monument for the first ever atomic bomb tests has been carefully rebuilt in plaster and placed in a suburb of Ghent. A starving child from Ethiopia is cast in bronze and shows up in down town Madrid. Tourists like to have their picture taken in front of the touching sculpture with a compassionate look in their eyes. A polyester copy of the Vietnamese girl Kim Phuk stands for a while in a suburb of Hoorn before moving on to various locations throughout Gdansk. Another scale model of an atomic explosion cast in bronze is placed on a green in front of a block of 70’s flats in Haarlem.

The reactions by people living in the area and coincidental passers by to the dislocations are strikingly diverse. Some take pity on the naked Vietnamese girl by dressing her in cloths for the cold winter nights. Others just wonder; where have I seen this before? Some people are incensed by the sculpture, in others it summons up anger, why now? Why here? What gives the artist the right to confront me with this on my own doorstep? Exactly the same images that are haphazardly thrust into our living rooms (the personal domain) through the television set seem to be experienced as less invasive.

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LUFTHANSA. Light, 2004 Lufthansa headquarter Cologne

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FRESH FRUIT FOR THE PEOPLE, 2006Streched limousine _ fruit 2 hours

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 Trinity Site, the American monument for the first ever atomic bomb tests has been carefully rebuilt in plaster and placed in a suburb of Ghent. A starving child from Ethiopia is cast in bronze and shows up in down town Madrid. Tourists like to have their picture taken in front of the touching sculpture with a compassionate look in their eyes. A polyester copy of the Vietnamese girl Kim Phuk stands for a while in a suburb of Hoorn before moving on to various locations throughout Gdansk. Another scale model of an atomic explosion cast in bronze is placed on a green in front of a block of 70’s flats in Haarlem.

The reactions by people living in the area and coincidental passers by to the dislocations are strikingly diverse. Some take pity on the naked Vietnamese girl by dressing her in cloths for the cold winter nights. Others just wonder; where have I seen this before? Some people are incensed by the sculpture, in others it summons up anger, why now? Why here? What gives the artist the right to confront me with this on my own doorstep? Exactly the same images that are haphazardly thrust into our living rooms (the personal domain) through the television set seem to be experienced as less invasive.

PROPOSAL Nr 17, 2007Site specific160x110x60cm _ polyester/cement

VOORSTEL 22, 2009Locatie projectSite Specific 130 x 80 cm _brons

RECONSTRUCTION – PROPOSAL NR 7, 2005Trinity site, Where the worlds first nuclear divice was exploded on july 16 1945 380 x 90 x 90 _ plaster and woodThe work was made on the location, the citzens could see me work

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NO BRASIL!

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Option 8ORGULLO LOCALProyección de iconografía y material histórico de Ciudad Satélite sobre las Torres Satélite

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** SEE THE ATTACHED PDF

Reconstruction - proposal nr 14 // 2006 // childe 45 x 26 x 22, vulture 60 x 53 x 40, podium 730 x 900 cm // plastiline, pufoam, wood, metalstuds (max 7 people on the stage)

Reconstruction - proposal nr 14 // detail of the installation

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Option 11POTENCIANDO CONTENIDOS

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Option 12COMPARTIENDO ESCENARIO

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Optionn 13CERVEZANTES

Option 14 NATURALEZA MUERTATomas acuáticas (agua) sobre las paredes de los túneles

Option 15PROYECTAS Y TE VASProyección sin contenido, realizada simultáneamente a la inuaguración del Festival por el presidente Fox

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Option 12APARICIÓN MILAGROSA

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option 9CONTENIDO CONSAGRADO

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VÍDEO CASERO, 1999FrankfurtEn colaboración con Alexander Wolf.

Un apartamento privado fue alquilado durante un mes en Frankfurt. Durante este tiempo se mostraron 5 o 6 películas diarias de 17:00 a 2:00 de la madrugada. La lista contenía unas 150 películas que eran, de algún modo, típicos videos caseros. Las películas eran reproducidas por orden alfabético como aparecía en la tarjeta de invitación. La programación diaria era transmitida por un contestador telefónico y en un programa de radio local. La situación en el apartamento vacilaba entre ver vídeos de modo privado con amigos y sentarse en el sofá de un apartamento con absolutos desconocidos que se habrían hecho con una invitación.

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

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

PRECEDENTS

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

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

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

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

FOUNDATIONS OF THE PROPOSAL

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

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

PROPOSAL

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

PROCESS

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

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

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

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

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

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

IMPACT

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

 **  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT

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INITZIATIVA CENTESIMO AVANZATO, 2008Nápoles

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

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

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

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

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

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

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

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

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

LEV-OVER PENNY CAMPAING, 1998-2002Germany

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EXTENSION, Toulouse. FR. 2008 Extension Series. Site-specific medium scale installations manipulating indoor space. Video projection on architecture. 2008 - present.

WORKS PART OF THESE SERIESToulouse. Private collection. Toulouse, FR. 2008NIMK. Netherlands Media Art Institute. Amsterdam, NL. 2009Hambre 09. Madrid, ES. 2009Vrije Academie. The Hague, NL. 2009Yokohama. CREAM, BankArt 1929. Yokohama, JP. 2009Almost Cinema. Vooruit. Ghent, BE. 2009Para-Sites. Conformed by three different interventions at Laboral Centro de Arte. Gijón, ES. 2010Vanishing points. Conformed by three different interventions at Galería Max Estrella. Madrid, ES. 2010

Llink videowww.pablovalbuena.com/videos/extension_video.html

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THE HAGUE CITY HALL, 2008 The Hague, NL.

Link vídeo www.pablovalbuena.com/videos/the_hague_video.html

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PROTOTIPO TEATRO, 2008Teatro de Alcobendas, Madrid

Instalación experimental para investigar sobre la interacción entre el cuerpo humano e instalaciones espaciales.

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AUGMENTED SCULPTURE SERIES, 2007-2008Serie de instalaciones audiovisuales Este proyecto ahonda en las cualidades temporales del espacio, investigando el espacio-tiempo no sólo en el ámbito de las tres dimensiones, sino como espacio en transformación. Con este propósito se producen dos capas que exploran diferentes aspectos de la percepción espacio-temporal. Por un lado una capa física que trabaja con la percepción que tenemos del espacio y que sirve de soporte a otra capa proyectada, que a través de la luz controla la transformación de ese espacio. La unión de los dos niveles provoca la ilusión de una geometría física capaz de ser transformada. Este serie de piezas ha pasado por varios desarrollos y sigue evolucionando, desde su comienzo en Interactivos? 2007 se han expuesto en Canadá, Singapore, Francia, Korea, ARCO, etc. y ha recibido el apoyo de una mención honorífica en Ars Electronica 2008 (Linz, Austria).

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ENTRAMADO, Medialab, 2007Plaza de las Letras. Medialab - Prado, La Noche en Blanco 07. Madrid. Instalación urbana

Entramado aborda la idea de transformación espacial en el espacio público. La superposición de un nivel de proyección sobre la arquitectura  de una plaza pública permite generar cambios y transformaciones en el sin una alteración física de la plaza, en su lugar se alteran los mecanismos perceptivos con los que experimentamos ese entorno urbano.

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EXCHANGE OFFICE, 2006Orchard Road, Singapur, August 2006. Actionn, installation, video 10' 33''

The action took place by placing a stand on Orchard Road (in front of the city’s shopping mall) and asking people passing by what they thought about the new money system while they were invited to exchange a note for that which they considered valuable (as a time period)  http://www.gustavoromano.com.ar/timenotes/ExOffspa.htm

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LOSING TIME, 2006 Orchard Road, Singapur, August 2006. Action, video. 1' 58''

 The action consisted of taking a walk down a pedestrian street in the commercial area of Singapore while throwing time notes.  www.gustavoromano.com.ar/timenotes/LTspa.htm

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TIME RELEASE, 2007 Silver Pearl ,Rostock, June 2007. Action, video. 4' 08''

The action took place in Rostock during the demonstrations against the summit of the G8, an annual meeting that takes place in enclosed locations that are inaccessible overland.

A copy of each banknote that had been delivered to the Office for the Reimbursement of Wasted Time was tied to a balloon and released. www.gustavoromano.com.ar/timenotes/TRspa.htm

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TIME WAVES, 2007 Praia de Patos, Nigrán, Vigo, October 2007. Action, video. 4' 54''

The video unceasingly repeats the image of a 1 year banknote being thrown to the sea, while the sea returns it to the shore. www.gustavoromano.com.ar/timenotes/TWspa.htm

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SAUNA FINLANDESA O DESCENSO DE BARRANCOS (Finnish sauna or orienteering) 

The intervention entitled “SAUNA FINLANDESA O DESCENSO DE BARRANCOS” a caravan located in the artist’s studio (a rented fish market). The project is offered not so much as a cheap form of housing but as a temporary form of use (one night) for cultural consumers.

The work approaches the cultural industry from a critical point of view, not against it and its consequences, which would be a typical modern stance, but as nihilistic participant in the process.

Addressing cultural tourism as a form of trivialization, if not perversion, of the arguments of public policies on art and culture which have situated the problems of art and society in the economic promotion and strategic planning departments of current governments.

PUBLICATIONColletion: Esci Projects 3Edit: Ayuntamiento de vitoria-GasteizEspacio Ciudad (Centro de Arquitectura y Urbanismo para la Ciudad Contemporánea)** see the attached pdf

 INFORMATION OF THE PROJECT BY THE GALLERY ** see the attached pdf

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[VI VÍDEO] BIENAL DO MERCOSULPorto Alegre, Brasil

Optionn 1TERRORISMO POÉTICOAcciones de aviones proyectados en el aeropuerto

Option 2 VIDEOMAN VS GAÚCHOProyecciones de gaúchos en el monumento Laçador

Option 3SEXO / AMORProyección de un beso en Farrapos (zona roja)

Option 4HOMENAGEM A SEU MADRUGA Proyecciones de Don Ramón (seu Madruga) en lote abandonado

Option 5VIDEO NA RUAProyecciones de arte eb video en una calle del centro

Opción 6 VIEDOARTE O - FUTEBOL 5 Proyecciones de vídeo afuera de un estadio de futbol

Option 7INVADIENDO ESPACIOSProyecciones durante la inuaguración de la V Bienal de Mercosul

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Paint on tennis court.View of installation, Contemporary Museum, Honolulu, Hawaii.

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 Painted wooden panels and cushions with patterns.View of installation in Palais de Tokyo, Paris.

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Painted wooden floor and wallView of installation in PS1 Contemporary Art Centre, New York

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View of the intervention  in the City Hall of The Hague, Netherlands

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FACULTY OF PHILOSOPHY AND LITERATURE UNAM, 2004Documentation of intervention in Mexico CitySponsored by MUCA Roma and Dirección de Artes Visuales UNAM

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**  OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT(OCTOBER 2009)

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SPEAKHERE!, 2006

PSWAR GalleryAmsterdam, Netherlands

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 RELATED WORKS

REALITY SOUNDTRAK. Amsterdam, 2004

REALITY SOUNDTRAK. Ljubljana , 2003

REALITY SOUNDTRAK. Thessaloniki, 2004

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RELATED WORKS

HAUSMUSIK (2006)

SUPER NOVA (2001) + LUFTHANSA LIGHT (2004)

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RELATED WORK

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