Thinking

Thinking

The strategy might be homespun but the consequences can be industrial. Go into McDonalds. Buy two cheeseburgers. Take the meat from one of the burgers and put it in the other … Voilà! You have a Double Cheese at the economic price of two cheeseburgers. And as a leftover extra, you have a bun to be filled with whatever you want!  
 
PLAY
Beneath the thrown-together, amateur look of the Tuplajuustovinkki tutorial lies a finely spun subversive potential. Showing us how to turn two simple hamburgers into a double, the maker of this video uploaded onto Youtube four years ago, “deconstructs” hamburgers and remakes them in his own way, to suit his personal whim and his wallet. He dismantles and toys with the multinational’s commercial philosophy, imagining a shared form of resistance. While, to begin with, the consumer is controlled by the system, he can emancipate himself through his desire to test and to play, but also through his affirmation as a producer and transmitter of unusual contents. He becomes an unexpected agent of knowledge, aware that knowledge is a realm of invention in which “play” is much more that hitting the play button, but an approximation to the creative space of performance by instructions. Nevertheless, here play can be perverse: To what extent is the tutorial able to question the capitalist machinery of the production of desire? Does it not operate unwittingly as a hymn to the commodity and a productive system that it wanted to attack? Who eats who: us or the hamburgers? In short, the FAQ of a world in which capital is not just the title of a book.

VIEW
Watching others do things that make us believe that we too can do them; we look and learn. In addition, everything looks easy, possible and reproducible in the world of tutorials. As a genre in itself, the tutorial can take the form of videos, manuals, guides, diagrams and leaflets that are distributed in online and offline networks. Often lending more emphasis to images, they require a discursive capacity by association and invite the elaboration of a narrative by intuition. For instance, Tuplajuustovinkki operates under a clearly visual pedagogy. The viewer can easily identify the goal, method and causal relations, even if he or she does not understand a word of Finnish. The interpretation is structured around successive suppositions that are then confirmed, enabling even the inevitable misunderstandings to yield fortuitous discoveries and inventions. The video-tutorials are based on an ability to speak simply about something complex. But, as we all know, speaking simply is never easy, and perhaps that is precisely the source of its popularity, as can be readily seen in the number of views registered below it. As eminently visual materials, video-tutorials stake out a privileged space where theory, and not just visual narrative, is a question of editing. And here, the usual and sometimes mocking expression of “do you want me to draw it for you?” is no longer poking fun but the complete opposite: a serious educational tool.

SHARE
With their tricks, strategies and recipes, tutorials paradoxically make incursions into two opposing realms. On one hand, they are a format proper to structured forms of knowledge that foster a sense of normativity of rules; on the other hand, they are easily parasited by informal knowledge, creating an ideal terrain for experimental and speculative practice, a place where knowledge is formed, communicated and distributed on the sidelines of official institutions. The uncontrolled circulation of these materials, that seem to be governed by a logic of abundance, leads to multiplication, association and contamination of knowledge, fostering a hybrid field of learning that, at once, encourages the appearance of new ideas to be spread. The supremacy of authorship is questioned and, as a consequence, it becomes a point of intervention, taken over by new communities of knowledge and by their collective productions. Open to comments, whether appreciative or not, to be edited or simply photocopied, they feed off their very own call for participation. As open codes, they demonstrate a sufficiently cheeky flexibility to worm their way into even the most orthodox circuits. Under the logos of multinationals that sell happiness in the form of videos or sandwiches, they perhaps introduce a lingering, niggling doubt: Who do the ideas actually belong to?

Though we are constantly assured that “everything is written in books”, others would say that “if it exists, you’ll find it in internet”. Keeping an open mind about these commonplaces but trusting in the “popular” as a mechanism of making worlds, the exhibition Tutorial: Who Teaches What to Who? wishes to offer a platform for dialogue between the selection of publications presented here in various formats and methodologies of transmitting knowledge. Exploring disparate associations between elements of visual culture, publishing, literature, science and contemporary art, the material on display proposes an overview of the cultural memory of know-how and rethinks the ways of generating, diffusing and imagining new politics of collective learning.

Divided into three categories borrowed from internet parlance – PLAY, SHARE and VIEW – the publication rereads these imperative verbs as an invitation, as instructions and directions for a performance as visitor. (Suggestion: in this shared game, it is equally desirable to visualise tactics for dismantling these same categories. The manual can be rewritten and here coincidence plays a key role).

INDISCIPLINADAS: Based in Madrid and in Cali since 2013, the Indisciplinadas collective develops curatorial, editorial and educational projects that experiment with methods of engaging with the context of Contemporary Art and Visual Culture through practices that lend themselves to cross-contamination, recombination and the diffusion of various codes and forms of knowledge. Its interest in the field of publishing is reflected in the “Cuadernos domésticos” project, in the ”Soft [cover] revolution” exhibition and in pedagogical programmes such as “No Room for Books”. It has also collaborated with institutions such as Museo de Arte de Castilla y León (MUSAC), Instituto Europeo de Diseño (IED-Madrid), Biblioteca de las Conchas at the University of Salamanca and Lugar a Dudas in Cali.
 

TUESDAY— FRIDAY. 11:00 — 14:00 & 16:00 — 21:00
Holdings can be consulted freely in the library
http://otraspublicaciones.tumblr.com
www.indisciplinadas.com

 

Fechas texto cabecera
26TH NOVEMBER 2015 – 18TH MARCH 2016
Intended for
Entradilla

The strategy might be homespun but the consequences can be industrial. Go into McDonalds. Buy two cheeseburgers. Take the meat from one of the burgers and put it in the other … Voilà! You have a Double Cheese at the economic price of two cheeseburgers. And as a leftover extra, you have a bun to be filled with whatever you want!  

Subtítulo
NOTES ON THE AGENTS, FORMATS AND DISTRIBUTION CHANNELS OF KNOWLEDGE
TUTORIAL
TUTORIAL: WHO TEACHES WHAT TO WHO?
Type of Thinking / Community
Ocultar imagen principal
Desactivado
¿Es un ciclo?
Desactivado

Artists' fascination by literature has a long-standing tradition. Artists have embarked upon countless experiments starting from written stories, mainly since the 60s. And also, in the last decades, we have witnessed how texts are becoming more and more present in exhibitions. Up to the point that in many occasions they become ventriloquists to the art pieces and in others they act as the perfect route companions. This particular forms of communications do not happen in the usual places. They are both heterogeneous and sensible. Artistic writing is under a constant genre mutation and shows the ability to offer different versions of the same material.

In CA2M library we want to invite all writers, theorists, historians and artists to share and experiment the fascination fostered by artistic writing. For six sessions we will write using artistic projects as a starting point, and we will learn the strategies used by different creators. 

At the end of the workshop, we will compile and publish the texts written by the participants.

Fechas texto cabecera
1ST APRIL — 13TH MAY 2014
Entradilla

In CA2M library we want to invite all writers, theorists, historians and artists to share and experiment the fascination fostered by artistic writing. For six sessions we will write using artistic projects as a starting point, and we will learn the strategies used by different creators. 

Subtítulo
EJERCICIOS DE ESTILO
TALLER DE ESCRITURA
WRITING WORKSHOP WITH MARIANO MAYER AND VICTORIA GIL-DELGADO
Type of Thinking / Community
Ocultar imagen principal
Desactivado
Temas
¿Es un ciclo?
Desactivado

Georg Simmel's sentence "Knowing who you're dealing with is the first condition for the deal to be possible" serves as the starting point of this reading group, and it inspires a debate about the different agreements, contracts and relationships that accompany and define our everyday life. Contracts, whether explicit or latent, configure the different ways of doing, but always under minimum conditions: the first of them being among whom is the pact established; the second, how is the agreement reached; and the third, what does it cover.

In order to answer the first question, we can say that we would like to establish a deal with those interested in reviewing the terms that regulate our day to day lives, and imagining new models of possible agreements. How are we going to do this? Through the constitution of a stable reading group, extended in time. In the group, we will engage in a discussion from the vantage point of four frames - curating, criticism as a literary genre, social theory, and contemporary dance and choreography - through a selection of texts which could include essays, legal proceedings, conferences, poems, prose, critical reviews, news, interviews, films or audio recordings. What are we going to talk about? We are going to talk about how the definitions of these four areas were defined in specific historical moments, making certain forms and values prevail over others; and about how all this has generated the sum total of practices we are part of.

"Knowing who you're dealing with" is an initiative organized by Bulegoa zenbaki barik, an office of art and knowledge based in Bilbao, on the premise of the previous experience of "EL CONTRATO", a two-year long project in collaboration with Alhóndiga Bilbao, developed in two parts: a reading group and an exhibition. The sessions at the CA2M will be moderated by Tamara Díaz Bringas in dialog with Bulegoa Z/B (the members of which will be part of the first four sessions). The texts will be sent out to participants two weeks before each reading session. The requirement to participate will consist in reading the texts before each session, which should be attended in a participatory spirit.

www.bulegoa.org

www.alhondigabilbao.com/programacion/el-contrato

Proposed readings:

Roland Barthes: “Sobre la lectura” in El susurro del lenguaje. Barcelona: Paidós, 1987

Bruno Latour and Émilie Hermant: “Esas redes que la razón ignora: laboratorios, bibliotecas, colecciones”, in Retos de la postmodernidad, Fernando García Selgas y José Monleón, José (ed.). Madrid: Trotta, 1999.

Clifford, James: "Sobre el surrealismo etnográfico", in Dilemas de la cultura. Antropología, literatura y arte en la perspectiva postmoderna. Barcelona: Ed. Gedisa. p.149-188

Gertrude Stein: If I Told Him: A Completed Portrait of Picasso (Si yo le dijera: un retrato completo de Picasso), 1923.

Ingeborg Bachmann: “Música y poesía” (1959) and “Sobre poesía. Segunda conferencia de Fráncfort” (1959-1960). En Bachmann, I.: Literatura como utopía (Selección de escritos críticos). Pre-textos, Valencia, 2012.

John Cage:Lecture on nothing (Conferencia sobre nada), 1959.

Joseph, Isaac: “Dramas” and "El orden de la interacción y su vocabulario" in Erving Goffman y la microsociología. Barcelona: Gedisa. [p. 51-67 and 119-121]

Kunst, Bojana: "Danza y trabajo: el potencial político y estético de la danza", in Lecturas sobre danza y coreografía, Isabel de Naverán and Amparo Écija (ed.). Madrid: Artea, 2013. 

Fechas texto cabecera
20 NOV, 4 DIC, 18 DIC 2014 / 8 Y 22 JAN, 5 AND 19 FEB , 5 AND 19 MAR, 9 AND 23 APR 2015
Intended for
Entradilla

Georg Simmel's sentence "Knowing who you're dealing with is the first condition for the deal to be possible" serves as the starting point of this reading group, and it inspires a debate about the different agreements, contracts and relationships that accompany and define our everyday life. Contracts, whether explicit or latent, configure the different ways of doing, but always under minimum conditions: the first of them being among whom is the pact established; the second, how is the agreement reached; and the third, what does it cover.

Subtítulo
READING GROUP
Categoría cabecera
GRUPO DE LECTURA
KNOWING WHO YOU'RE DEALING WITH
Type of Thinking / Community
Temas Pensamiento
Ocultar imagen principal
Desactivado
Duration
17:00 — 20:00 H.
¿Es un ciclo?
Desactivado

CD CONTENTS. www.doropaedia.net

MUSIC

New releases by:

ASTRUD
Intelligence and approachability come together in this duo, capable of combining electronic music with the most acoustic pop and of delivering everything from poignant ballads to dance-floor hits. Immune to fashions and trends, they spearheaded the revival of Spanish electro-pop from the 1980s, but this has never lessened their enthusiasm for the great pop idols or kept them from playing with every conceivable style. Now elevated to historic status, this duo is one of Spain’s best indie music bands.

JOE CREPÚSCULO
Joe Crepúsculo (born Joël Iriarte) is a Spanish singer-songwriter. Though he records as a solo artist, he is also the singer and keyboardist for a band called Tarántula. His work is characterised by unpretentious vocals, profound and surreal lyrics, and homemade instrumental accompaniment, all with a low-fi sound. Another remarkable thing about this artist is that he releases his albums under a Creative Commons licence and posts them on his website for all to enjoy.

Now, after his album SuperCrepus (Producciones Doradas 2008) was hailed by music critics as one of the best Spanish albums of 2008, this October he brings us his third album entitled Chill Out.

LA BIEN QUERIDA
In April 2009, this artist released her debut album Romancero, produced by David Rodríguez (LA ESTRELLA DE DAVID). With seven familiar songs from the rough cut and five new ones, Romancero is one of the most eagerly awaited albums of recent years, and it would not be an exaggeration to say that it will be one of the most important in the years to come. Ana asked David Rodríguez (BEEF) to produce her work with the idea of blending the superb creativity of LA ESTRELLA DE DAVID (David’s solo project) with clean sounds adapted to the friendly context of her melodies. The result is that Ana’s songs acquire a unique artistic dimension with David’s sonic inventiveness, and his skill shines brighter than ever when tamed by the naturalistic beauty of Ana’s songs.

This work by LA BIEN QUERIDA is one of the most eagerly awaited releases of Spanish indie-pop of recent years, and this is because everyone fell in love with her demo (chosen as the best of 2007 by Mondo Sonoro, featured in Rockdelux and played hundreds of thousands of times on MySpace, where her page is one of the most visited new artist sites). This album is undoubtedly one of the most talked-about debuts in the history of Spanish indie music.

MANOS DE TOPO
Manos de Topo is a pop band that intones (sur)real Spanish lyrics, a fact which has led some to describe their style as bizarre pop. They recently released their second LP, El primero era mejor [The First One Was Better], and their website offers the following explanation: “The first one was better – or perhaps not, but at least it was less painful.” While the first one raised some blisters, this second album twists the knife in the wound and leaves us convalescing. And while earlier comments highlighted a surrealist intention behind their lyrics, now we have no choice but hyperrealism. A lot of people wondered what Manos de Topo would do next after their acclaimed Ortopedias Bonitas. Well, the answer is here, and we can already hear the ghoulish fascination and a few sharpened pens lurking behind the door. Will they do it again? Even better: they take it one step further.

ESTRAPERLO
In progression. Permeable to any variety of pop music. Like history, Extraperlo doesn’t crawl: it advances by leaps and bounds. This is obvious if we consider how they have managed to mutate an uncomplicated, homegrown indie-pop to achieve the global sound of Desayuno continental. This Barcelona-based quartet has assimilated the variability of their restless pop with the ease of individuals who never tire of learning, of moving forward. Now they confidently stride ahead, absorbing the good and rejecting the bad, and embracing a stylistic crossover that knows no bounds.

VIDEO

VENGA MONJAS
Venga Monjas is the nom de guerre of Xavier Daura and Esteban Navarro, two students dedicated to the quest for intentions. They are both avid fans of the television programme “La Hora Chanante” produced by Paramount Comedy in Spain. Seduced by the absurd humour, bizarre aesthetics and made-up vocabulary of the “chanantes”, they decided to create their own show at home. Just over a year ago, this odd couple began to make home videos for which they did not use predetermined scripts, preferring instead to draw on their own stores of remarkably polished humour. With no particular aim in mind, they began to record, edit and upload the video clips they made to YouTube. Using rather vague yet suggestive titles like “Infancia prohibida” [Forbidden Childhood] or “Los postres de Tia Edwish” (Aunt Edwish’s Desserts), Venga Monjas continued to post a new chapter each month, building up a community of fans who wait with baited breath for a chance to watch the next ripia (what they call any video that can be seen online). There’s not much we can say about the contents of the videos: situations that jump back and forth from the commonplace to the absurd, grotesque skits, skirmishes, and incomprehensible references.

TEXT

DIEGO A. MANRIQUE
Manrique is considered one of the leading authorities on contemporary music in Spain and owns one of the most important music collections in the country.

He started out as a journalist with the weekly Triunfo. Manrique initially contacted the magazine to criticise the poor quality of the articles it published on rock music, and the editors suggested that he send them something better. Manrique accepted the challenge. Soon afterwards, he joined the staff of Radio Castilla in Burgos. In the 1970s and 80s he wrote for magazines such as Vibraciones, Rock Especial, Todas las Novedades and all kinds of other publications, provided they had a page dedicated to rock music.

In 1979-80, he worked with Carlos Tena on Popgrama, a show about the musical avant-garde broadcast by Televisión Española. In the following years they would meet again on the sets of Caja de ritmos (1983), for which Manrique was the screenwriter, and Pop Qué (1984). He also worked as a screenwriter for the television programmes ¡Qué noche la de aquel año! (1987) and FM 2 (1988).

Since 1992, he has hosted the show El Ambigú on Radio 3, a station operated by Radio Nacional de España. He combines this work with writing music reviews for the Spanish daily El País and its Sunday supplement El País Semanal.
Manrique still writes occasionally for the magazine Efe Eme, which he founded, as well as for Rolling Stone.

In May 2008 he was appointed deputy director of Radio 3.

He won the National Ondas Prize for radio in 2001.

In February 2009, he received the Backstage Award from the APM (Association of Spanish Music Producers).

IMAGES

ATLAS OF ELECTROMAGNETIC SPECTRUM

spectrumatlas.org

The Atlas of Electromagnetic Space is an interactive visualisation of the radio spectrum and a database of artistic and social interventions that have been developed in recent decades which rely on radio technologies. Projects are classified according to the frequency they occupy. The aim of the project is to create a clear and comprehensible visual tool that will allow users to understand how the frequency allocation system is structured and regulated and how it relates to everyday technologies such as radio, television, mobile phones, Wi-Fi networks and many more. But the most important goal of the Atlas is to create an archive of the most important and significant interventions in Hertzian space conceived and implemented by artists, designers, activists, hackers, social movements and other agents of civil society.

We believe that visualising this activity is necessary because it shows how alternative perspectives and interpretations of these technologies, and of the policies that regulate them, enrich their social and cultural potential beyond their designated uses. All of this cultural production is a prime example of how different social forces are demanding a participatory role in the political processes that govern the spectrum, in an arena where the telecommunications industries and the authorities have traditionally called all the shots.

Type of activity
Dates
2009
Intended for
Entradilla

New releases by Astrud, Joe Crepúsculo, La Bien Querida, Manos de Topo and Estraperlo.

Galería de imágenes
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Categoría cabecera
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DOROPAEDIA#7 RADIO
¿Es un ciclo?
Desactivado

CD CONTENTS. www.doropaedia.net

CONCERTS

Lidia Damunt
En el cementerio peligroso
(Subterfuge Records)
Lidia Damunt is one of the great names in music. And when I say great, I don’t just mean one of the great names in Spain – I mean one of the great names, full stop.

We Spaniards may find it hard to believe that a composer from the beach town of La Manga del Mar Menor has earned the right to rub artistic shoulders with some of the supposedly unapproachable giants of the international scene, but the vertigo we experience when we listen to her songs leaves no room for doubt. Is it really possible that someone like this grew up in our own backyard? With her remarkable debut album En la isla de las Bufandas, Lidia found a unique niche halfway between Nashville (the cradle of country music) and Olympia (the pop capital of DIY culture). Now, with En el cementerio peligroso, she has taken another giant leap forward and made things a bit more difficult for us.

Lidia Damunt writes the songs others wish they could compose, presents the albums others wish they could record, and gives the concerts others wish they could give. So small that she can barely see us. So great because, for a moment, we can barely see anything but her. Roberto Herreros

www.lidiadamunt.com
www.myspace.com/lidiadamunt

GRABBA GRABBA TAPE
(Gssh! Gssh! Records)
GRABBA GRABBA TAPE are the electronic duo from Madrid, comprising Lol-oh-vot on vocals and percussion and Gros-oh-vot on keyboards and vocals.
They have been called the Iberian equivalent of Daft Punk (with a Moranco twist) and their music is simply fantastic: they come on stage dressed like pink snowmen and make music with robotic voices. They have already toured all of Europe several times and their albums have been released in the USA.

The duo were the torchbearers of the new batch of fresh, irreverent bands in Madrid that revolutionised the underground scene.

www.myspace.com/grabbatize
www.gsshgssh.com/GGTweb/

MONTAÑAS MONTAÑAS (7'')
Tres Pies
Montañas is a new Asturian group that has us worked up to a fever pitch of excitement. Their first live performances have already elicited comparisons to Beat Happening, The Feelies and Bananas. In their press release, they say that “in Montañas, we express what we like and what we don’t like about Asturias”. Quite a statement of intent.

On a carefully designed MySpace page, the list of highlighted friends can also furnish important clues about the band’s identity. On the Montañas page, these include Thelemáticos, Anticonceptivas, Chiquita y Chatarra, Grande-Marlaska and Le Mot, to name a few. It is curious to note that many of these bands have at least one member who lives outside Asturias; this may be a reflection of an Asturian generation forced into a diaspora which, in some cases, has served to strengthen ties of friendship and collaboration within bands despite the distance. In the case of Montañas, it has inspired the private jokes used in the song titles. Just explaining the titles would require a whole other entry. For example, the title of the song appearing in the first video, “Yo conduzco, ella me guía” [I Drive, She Guides Me], is taken from a bumper sticker that can be seen on thousands of cars in Asturias and refers to Our Lady of Covadonga (!). Montañas has not yet recorded any tracks other than the 30-second song posted on their MySpace page, but they should – the sooner the better. Iván Conte (La increíble verdad)

www.myspace.com/accidentesgeograficos

Type of activity
Dates
2009
Entradilla

Concerts: Lidia Damunt, Grabba Grabba Tape and Montañas Montañas.

Galería de imágenes
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DOROPAEDIA#5 GASTRONOMÍA
¿Es un ciclo?
Desactivado

“EXPOGRAPHY is the physical-mental-time space in which the fact of seeing and the fact of being seen converge: what we are and what we experience when looking, what we are and what we experience when we are looked at, and what vision is in itself, as something half way between the capacity of the viewer and what emanates from the viewed object. To be activated, any exhibition needs these three terms—the viewer, the viewed and the vision—which, to a certain extent, converge in one single space-time-event-experience.

On the other hand, EXPOGRAPHY is a reflection on the Museum and on Theatre: what happens in each one of these places; the codes governing time and the audience’s relationship with the work imposed by each individual space. We propose the game of altering these codes and experimenting with what is produced as a result. We propose forcing a certain perspective, situating ourselves in places which are physically and temporally different to the usual, and observing the effects these variations produce in us.

The EXPOGRAPHY project takes the form of two totally different works which are the result of the complete deployment of this whole research: COLLECTIVE EXPOGRAPHY and RETROSPECTIVE EXPOGRAPHY. The first work is presented on Saturday 12 January here at CA2M, playing with the temporality of the museum, which requires a commitment from spectators to remain in the museum for the 8 consecutive hours of the experience. In fact, in COLLECTIVE EXPOGRAPHY, people are actually participants and not spectators. Over the duration of this long event, the artistic proposal is mixed with the need to eat, to visit the toilet, to smoke a cigarette and to cohabit the space with others. All these needs are co-opted into the device, which also opens up to other needs and desires. Although apparently very demanding because of the commitment to remain relatively isolated for 8 hours, this experience in fact offers the freedom to leave behind the “prison” of our habits and ways of looking at the world for the duration of the event.

The second work, RETROSPECTIVE EXPOGRAPHY, is more of a “spectacle” or “show” in the conventional meaning of the word, and will be presented one week later, on 17,18 and 19 January at Teatros del Canal.

This research process has been supported and coproduced jointly by CA2M and Teatros del Canal.

Type of activity
Dates
12th January, 2019 / 15:00 - 23:00h
Intended for
Entradilla

“EXPOGRAPHY is the physical-mental-time space in which the fact of seeing and the fact of being seen converge: what we are and what we experience when looking, what we are and what we experience when we are looked at, and what vision is in itself, as something half way between the capacity of the viewer and what emanates from the viewed object.

Subtítulo
A WORK BY AMALIA FERNÁNDEZ (IN COLLABORATION WITH ANTO RODRÍGUEZ)
Categoría cabecera
expografías
EXPOGRAPHY
¿Es un ciclo?
Desactivado
Con el apoyo de

What happens when you grow up with a genderless neutral language and then arrive in a country in which everything is gendered? How can we speak of identity when a language has already determined what is masculine and feminine?

This is what the young Iranian artist Sorour Darabi was faced with when s/he arrived in Montpellier to study dance. Her/his mother language, Farsi, has no masculine or feminine forms. French, on the other hand, constantly forced him/her to distinguish between male and female, even in her/his search for his/her own language of movement. Accepting a word thus became a physical test.

Darabi rebelled against this violent form of authority. Farci.e (2016) is an androgynous solo show that flirts with the boundaries of gender, language and sexuality.

Los Teatros del Canal and CA2M are working together in a programme conceived to mark out a shared working space: the body understood as in permanent construction and, accordingly, in permanent conflict. For Sorour Darabi (Shiraz, Iran), the transition of his own body triggers a radical confrontation with the social body: transgender identity uncovers the power of language over bodies, but also the power of the body to threaten the conventions of language.

Sorour Darabi is a self-taught Iranian artist who lives and works in Paris. After working in the underground network in Iran, s/he went on to study at the Centre Chorégraphique National (CCN) in Montpellier, France.

Type of activity
Dates
31st january, 2019 / 20.00h
Intended for
Entradilla

Los Teatros del Canal and CA2M are working together in a programme conceived to mark out a shared working space: the body understood as in permanent construction and, accordingly, in permanent conflict. For Sorour Darabi (Shiraz, Iran), the transition of his own body triggers a radical confrontation with the social body: transgender identity uncovers the power of language over bodies, but also the power of the body to threaten the conventions of language.

Subtítulo
SOROUR DARABI
Categoría cabecera
darabi
FARCI.E
¿Es un ciclo?
Desactivado
Con el apoyo de
Coproduce

Last summer, a group of boats set sail from the port of Valparaíso. When they reached open sea, the crew tied the boats with ropes to keep them close together and to recite poetry. A while after the event it was believed that it was the bodies that were holding tightly onto one another with their hands, very close together, in concentric circles so that they would not separate and to keep upright. Caro says that the public held onto the poets so that they would not fall into the sea while reciting.

This summer the mothers died. This summer we burnt the mountains in Madrid and we smelled it all. We extracted its gases in order to incrust a galaxy into the museum in the ceramic skirting board that runs around a large part of the third floor. We dreamed of pouring ourselves into this gap in which the horizontal and the vertical are decided, to cross this edge and to slash open the museum and escape on a flying carpet or on a UFO.

Rodapié Universo (skirting board universe) is a trip to the final horizon; to the ocean, its views and its voices which we conjure up through the architecture of the museum.

Acknowledgments: Toño Naharro, Sergio Muñoz Arriagada, Carlos Cociña, Julieta Marchant and A Cielo Abierto / Festival Internacional de Poesía de Valparaíso.

Limited capacity: 68 people.

Type of activity
Dates
17th january, 2019 / 20:00 - 20:50h
Intended for
Entradilla

Rodapié Universo (skirting board universe) is a trip to the final horizon; to the ocean, its views and its voices which we conjure up through the architecture of the museum.

Subtítulo
MARTA FERNÁNDEZ CALVO. WITH THE COLLABORATION OF CAROLINA ALMARZA AND LUZ PICHEL PICHEL
Categoría cabecera
Marta Fernández Calvo
SKIRTING BOARD UNIVERSE. ACT II
¿Es un ciclo?
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CA2M in conjunction with Silvi ManneQueen and Madrid Ballroom Scene wish to invite you to attend a Kiki Ball. Kiki is the less mainstream side to the ballroom scene. Because it is more open, it gives exposure to new members coming onto the scene and offers the audience a chance to take part. A ball is a voguing battle where dancers and artists demonstrate their moves in different categories in front of an international jury.

 If you’ve seen the exhibition Elements of Vogue and love voguing and ballroom culture then you won’t want to miss this ball. But if you haven’t seen it and you love everything about fashion, catwalks, dancing, and want to feel like a model strutting your stuff on the runway, or if you’re into creativity and want to express yourself freely and be who you want to be.... this is also the place for you! You can take part as a competitor or simply enjoy the show as part of the audience: but, simply remember, be who you want to be and once you start looking, you too become part of the show!

This is also a special occasion because it gives us a chance to present for the first time members of the Kiki House of F.A.B, the newly founded international house of artists and voguers based in Madrid.

DRESS CODE / THEME

Borrowing inspiration from the installation made by the NY artist Rashaad Newsome especially for holding balls at CA2M, you will be whisked away to a fabulous world of gemstones, glamour and bling bling whose superficial appearance belies the fact that it is a platform for the radical resistance of dancing bodies.

CATEGORIES

 - Runway 

- Virgin Performance
- Realness
- Old way vs. New Way
- Hands Performance
- Best Look of the Night
- Vogue Femme

OTA (open to all, regardless of gender, race, sexual orientation, etc.).
The order of the categories will be announced at a later date.

Host:
Silvi ManneQueen, Mother of the Kiki House of F.A.B, Madrid

Commentator:
Matyouz Royalty, New Kiki House of Royalty, Paris

Guest judges:
Father Typhoon Angels, Kiki House of Angels, Rotterdam (Prodigy)
Mother Kiara Mermaid, The Supreme House of Mermaids, Paris (Ninja)
Inxi 007, Sweden (Prodigy)

Participants / Enrolment:

If you want to compete you have to fill in the following form.
Enrolment is free and open until 16 January

REGISTRATION

Enrolment free, open until 16 January

Maximum 3 categories

The organisation reserves the right to consider a category to be full when a sufficient number of participants have enrolled. 

The idea is to motivate people to enrol in other categories. So, don’t waste your time and enrol now!
If you have any doubts on categories and dress codes, send an email to: madridballroomescene@gmail.com 

Description of categories and themes for dress codes

Choose whichever suits you best, become who you want to be, take part and hope the judges give you 10s! The sky is the limit! However, we have provided some guidelines for looks for each category.

OTA RUNWAY: Pearls and Diamonds

The INSPIRATION for this category is for Pearls and Diamonds to sparkle on the runway. This is your chance to be a real model without conforming to stereotypes or canons. But remember, this is not a fancy dress ball. Creativity, elegance and Xtravaganza are the watchwords. Slay the Catwalk!
To get your 10s, you need to wear:
- European Runway : Headpiece (ornamental headdress)
- American Runway : Handbag (bag, purse, briefcase)
All participants will walk individually. The judges will then choose who moves on to the battle phase, where two participants walk at the same time, ballroom style. The judges will be looking for runway technique.

HANDS PERFORMANCE: Pyrite (Gold/Silver)
Show us what you can do in hands performance inspired by pyrite, fool’s gold. Look to its angles, cuts, sparkle and details for the elements on which to base your polished technique and smooth moves. Protect your hands with gloves, and cover your arms with golden or silver details, to tell us your dazzling story.

BEST LOOK OF THE NIGHT: Sapphires and/or Rubies (Spectators and participants)

This is the moment to show off the most fabulous look of the night and dazzle with your style. To take part in this event you don’t have to walk, you just show off your look, the one that shows the real you. This category has no set rules; all you have to do is take your inspiration from precious gemstones like rubies and sapphires. Remember that judges in this category will be looking at all details: hairstyle, accessories, jewellery, etc. and your ability to sell your look.

The public can take part. So if you feel up to it on the night, you could win this category, though you have to bear in mind the dress code. You don’t have to sign up beforehand.

Dress up and pass yourself off with INSPIRATION from the installation created expressly by Rashaad Newsome for the exhibition “Elements of Vogue” at CA2M, where the Kiki ball will be held. Whether your choice is Bling Bling, Banji or Hip Hop you have to convince the judges with your realness and swag. And don’t forget, it’s not just a case of dressing up.

This category was originally created in the ballroom scene to acknowledge people’s ability to “pass” unnoticed in wider society at a time when being Black or Latino and LGBT was by no means easy. For instance, the challenge for a gay male was to “pass” for being as straight as possible and gain access to the same privileges in society, like getting a job. Or, for a transsexual, the challenge was to be as “real” as possible and return home safely without getting beaten up. This category is broken down into different kinds of Realness: Thug Realness, School Boy, Transman Realness, Femme Queen Realness, Butch Realness, Butch Queen Up in Drag Realness (BQUID), etc.

OTA VIRGIN PERFORMANCE: Pink Quartz
You love voguing and are thinking about walking but don’t have the experience? There’s always a first time for everyone! And, if you’re reading this category, maybe now it’s your turn. Don’t think twice. Prepare a look based on the virginity and purity of Pink Quartz, and show the judges your wild side.

Any style of voguing is welcome (Old way, New Way, Vogue Femme, but without mixing them up). For first-timers only.

VOGUE FEMME: Holographic Opal

This much-awaited category shines with a light of its own. If you’ve ever taken part in a kiki or ball, now’s your chance to dazzle the judges with your Holographic Opal look. Opal is the “Artist’s Stone” because of its ability to bring out hidden talents and the whole spectrum of the rainbow.

Use the visual effects and sparkle of the opal and add your own walk to outshine everyone else, whether it’s through dramatics or soft and cunt, and show those judges how versatile you are.

To get 10s, your walk has to include a prop and one or more colours of the rainbow. Be creative! Besides your attire, judges will be looking at your walk technique, elements and charisma before giving away any 10s.

If you have any doubts or questions about categories or dress codes please send an email to: madridballroomescene@gmail.com

You are invited to attend the Ball with a look inspired by one of the options. Please pay attention because there will be a category in which you can decide to take part on the very day of the Ball. Follow the event on Facebook, where you’ll find photos to inspire looks and attire.

Type of activity
Dates
20th january, 2018 / 20.30h
Intended for
Entradilla

Kiki is the less mainstream side to the ballroom scene. Because it is more open, it gives exposure to new members coming onto the scene and offers the audience a chance to take part. A ball is a voguing battle where dancers and artists demonstrate their moves in different categories in front of an international jury.

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Storyboard P is a dancer raised in Brooklyn. It would be an understatement to say that he goes beyond street dance. His style of dancing even challenges the most elementary laws of physics, defying gravity and moving in such counterintuitive ways that one can only assume that his body acts as a portal into another dimension. An Afrofuturist universe where time and space fold under the dancing feet.

Storyboard has defined his dance style as “mutant”, drawing inspiration from a variety of subcultural forms as heterogeneous as Jamaican dancehall, flexing from his native Brooklyn, West Coast krumping, the Old Way voguing that LGTB teens used to dance at the Christopher Street pier, or even the mechanical movements of stop-motion animation. His voracious curiosity has led him to collaborate with artists and filmmakers including Kahlil Joseph, Arthur Jafa, Flying Lotus and Jay-Z.

For his performance at CA2M, Storyboard P will alternate between freestyle improvisation and storytelling, exploring the body as a source of empowerment and self-affirmation in the face of loss and structural violence.

This performance will weave together biography, survival, and urban science fiction.

Free entrance until full capacity is reached

This performance has been organised on the occasion of Madrid’s international contemporary art fair, ARCOmadrid 2018, whose curatorial programme this year gravitates around the question of The Future.

ARCO

Type of activity
Dates
24th february, 2018 / 20.00H
Intended for
Entradilla

For his performance at CA2M, Storyboard P will alternate between freestyle improvisation and storytelling, exploring the body as a source of empowerment and self-affirmation in the face of loss and structural violence.

Subtítulo
RADICAL PERFORMANCE SESSION
Categoría cabecera
STORYBOARD P
STORYBOARD P
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