DIDDCC working group: “Party and Protest”, expanded reading session
12:00-13:30. Aula

The focus of interest of this session is the pooling and sharing of the book “DiY Culture: Party and Protest in Nineties’ Britain” (ed. George McKay, 1998; not translated into Spanish), and more specifically the chapters, “Dangerous dancing and disco riots: the northern warehouse parties” (pp. 208-27) and, “Repetitive beats: free parties and the politics of contemporary DIY dance culture in Britain” (pp. 243-68), by Drew Hemment and by Hillegonda Rietveld respectively, as well as the shared reading with our own context, which may perhaps hamper the desires to interpret these texts literally.

CA2M’s Department of Investigation, Data, Documentation, Questioning and Causality (DIDDCC) is an ephemeral and intermittent structure directed by Sergio Rubira, conceived as a space for collaborative study and research into the museum institution and what CA2M means with this word. It is made up of members converging from different fields associated with contemporary art, and with highly diverse trajectories and backgrounds; this session will be guided by Andrea Martín, Manuela Muñoz, Clara Neches, Manuel Padín, Natalia de la Piedra and Rita Zamora.

Néstor García Díaz: “Dance this mess around”, presentation.
16:00-16:30. SUI

Bogomir Doringer: From “I Dance Alone” to “Dance of Urgency”
16:30 -18:00. SUI

This conversation is centred on the “I Dance Alone” project which takes a bird’s-eye view—or, as it is often called, a divine perspective—of dancefloors. The basic premise is that, seen in that light, crowds of anonymous bodies dancing as a form of political protest are as if they were dark clouds announcing storms or affording glimpses of times of change and social emergencies to come. The conversation connects this project with “Dance of Urgency”, a concept used to focus on and think about dances that, facing the empowerment of individuals and communities, arise in times of personal and collective crises.

Bogomir Doringer (1983) is a Serbian-Dutch artist, researcher and curator, currently working on his doctoral research addressing the political and social dynamics that come into being in club dance music culture on a collective and individual level. Twice nominated to represent Serbia at the Venice Biennale with the “Hospitality” project; he is also curator and head of education and research at Nxt Museum in Amsterdam.

Manel Clot: “Musée des phrases” (2003-2015), video-screening. Created for the réserVoir exhibition at La Capella (2015).
18:00-19:00. SUI

Following years of compiling and embodying the phrases, quotations and ideas of others, jotted down on bits of paper, on 23 October 2003 it dawned on Manel Clot that over the passing of time he had created an archive with this simple, personal act. That he had given body to a “museum of phrases”, a timeless and inexhaustible body in which a large part of his emotional experiential interests associated with contemporary art and theory can be expansively and chaotically found. We can see in it a way of thinking and feeling art practice closely linked to a way of thinking and feeling reality, a working methodology based on affective connections and interpersonal structures.

Gema Marín Méndez: “Notes in one/single voice”
19:00-19:30. SUI

An embodied reading of a text that speaks to the absence of voice, of the processes of silencing of certain bodies that inhabit the dancefloor and the (lived) experiences that cut across it. The voice is presented as the main actor which, in dialogue with the body and the context of club culture, undergoes mutations, alterations, fragmentations, until it expels itself from the body and frees itself from all the violence that cuts through it. From the interaction between voices, bodies and partying, and how these choreographies unfold, contingent upon the different temporalities associated with trauma and pleasure, obedience and defiance: it is about giving voice to all this.

Gema Marín Méndez is an architect, researcher and visual artist. She combines her architectural practice with curatorial and artistic research; and also with the production of independent editorial projects. Her works focus on reflection and the intersection of situated feminisms and dissident queer politics in visual culture.

Chenta Tsai AKA Putochinomaricón, DJ session
19:30-20:30. SUI

Chenta Tsai (Taipei, 1990) is an architect, musician, model and activist. Their work is inflected by their condition as the child of Taiwanese immigrants and by their experience as a militant for LGTBIQA rights. Putochinomaricón is the moniker they use to defend these rights, not so much from the desire or viewpoint of personal recognition or identity, but as a stance-taking from a position of enunciation, of knowledge and of resistance, and as an art practice with which to occupy places traditionally denied to people sharing their same condition.

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