Image Symposium

Image Symposium

Curated by Isabel de Naverán in collaboration with Escuelita.

One year later, the question that underpins these conferences, challenges us, if possible, even more directly For which bodies, for what histories. In the face of the general uncertainty and the absolute lack of historical precedence that we are going through, this question confronts us with the contingency of history in the materiality of our bodies given the very violence that a brutal and savage irruption like this pandemic entails. We are confident that the curatorial threads - which were once amassed with rigour and care, and which are now being taken up again with the understanding of a vital transformation - continue to make sense.

These conferences rethink the preconception that situates bodies as a consequence of the historical circumstances in which they live, as, although history makes bodies, they also make history. The latter is told through images that, unlike bodies, remain fixed and mute, forcing us to reckon with history, rather than just narrate it. The images seem to bring the events to a halt and are often relegated to a one-to-one correspondence with the facts. Here we are presented with the concept of listening to how some of them reveal themselves in order to contradict and contravene their own narratives, while at the same time rebelling, warning us of other stories that emerge in their re-reading and in the dispute against the ordering of time. Seen in this way, some images do not remain mute: they mutate and act at the same time as they are enacted, manoeuvred and sustained. Bodies are also enacted and subjected by other corporealities, those that inhabit their gestures apprehended by the knowledge of a tradition or by a certain way of relating and disposing themselves in their varied worlds. The question of the title imagines a making of bodies and images that, in a state of mutual listening, establishes connections that are out of time, anachronistic, and syncopated, defying the linearity that predisposes a before and an after.

The twenty-sixth edition of the conference continues along the same vein of the previous ones, delving into the relationship between images, gestures and performativity. This edition sets out to think about images through the making of choreography and performance, its practice, and its specific materiality.

It is conceived of as a study programme which, subject to prior registration, brings together a group of people interested in and committed to the issues raised. A meeting in which speakers and attendees share time, conversations and experiences over three interlinked sessions. The first two focus on specific artistic and choreographic processes that explore notions of history, tradition, and transmission from body techniques that allow us to speculate about processes that can be described as a recognition of a gestural archive, an estrangement from one's own tradition, or listening to alternative modes of presence. From within these parameters, we seek to expand the study to a dialogue with partnering agents of art, anthropology and philosophy, in the intersections of knowledge. A third session will take place on Wednesday morning, in a pine forest near the museum, and is organised as an open-air walk with the intention of collectively sharing and offering feedback on the reflections and debates experienced during the previous days.

Speakers: Ana Folguera, Thiago Granato, Pablo Marte, Ameen Mettawa, Julia Morandeira, Rita Natálio, Isabel de Naverán, Eszter Salamon, Manuel Segade, Estrella Serrano.

 

DOWNLOAD THE PROGRAM HERE 

Fechas texto cabecera
5, 6 and th JULY
Intended for
Inscripción:
-
Acceso notas adicionales

CAPACITY: 25 PEOPLE

Entradilla

One year later, the question that underpins these conferences, challenges us, if possible, even more directly For which bodies, for what histories. In the face of the general uncertainty and the absolute lack of historical precedence that we are going through, this question confronts us with the contingency of history in the materiality of our bodies given the very violence that a brutal and savage irruption like this pandemic entails. We are confident that the curatorial threads - which were once amassed with rigour and care, and which are now being taken up again with the understanding of a vital transformation - continue to make sense.

Subtítulo
FOR WHICH BODIES, FOR WHAT HISTORIES
Categoría cabecera
XXVI IMAGE SYMPOSIUM
Audiovisual principal
Pie media

Wrap, History and Syncope by Isabel Naverán. Picture: ©Andrea_Rodrigo

Collaborate
Type of Thinking / Community
Ocultar imagen principal
Desactivado
Duration
5th JULY 17:00-22:00H | 6th JULY 11:00-21:00H | 7th JULY 11:00-14:00H
¿Es un ciclo?
Desactivado

The idea behind the Image Symposium is to provide a space for collective thinking on the theory, practice, semantic openings and contemporary demarcations of visual cultures, taking the form of a forum for debate, a symposium and workshops, and an open call for research projects.

The point of departure for this edition of the symposium is the work of a research group at MCA2M which has sourced in Manel Clot’s texts a multitude of incipient ideas, obsessive desires, textured references, serious nostalgia, untimely utopias and sudden fatigues that underpinned the brevity and transience of his sentences and dominated his thinking almost permanently. Rather than anachronisms, his discursive output has left us reminiscences of the 1990s: one worth underscoring is the connections between the concept of club culture and art practice; another is the invention and implementation of appreciative and operative categories, where none previously existed, for the consideration of new expressive repertoires and new meaningful registers that would become symptomatic of a time and a place.

This symposium is curated by Jesús Alcaide, Néstor García and Víctor Aguado. The title is borrowed from Musée des phrases, 2003-2015, by Manel Clot. The image (High Culture, 1996) is by Carles Congost, produced for an exhibition at Transmission Gallery and taken in Manel Clot’s studio with the assistance of Daniel Riera. The image shows a young Fine Art student called Joan Morey.

CALL

MCA2M announces an open call for the submission of research projects to be presented at the 27th Image Symposium, whose theme is club culture: club culture as the act and practice of expanding the field of given representations of subjectivity, of producing fictions of somatic permanence, fluctuations in desire, possibilities of dissidence towards the social distribution or other relationships between the body and temporality.

The selected projects may be presented in two different formats:

(1) Presentation of papers or performative lectures, with a duration of 30-45 minutes during the afternoon, based on or presenting for the first time a research project related with the theme of the symposium.

(2) Commented listening sessions on a theme of interest for the symposium, with a duration of 45-60 minutes during the morning, either closed or open to the participation of attendants in the construction of meaning.

Projects submitted to the open call should send: application form and project dossier to the following email: recepcion.ca2m@madrid.org. When attaching video or audio files, please follow the specific instructions included in the form. The submission and presentation of the project can be made in English or Spanish. Forms with incomplete information shall not be accepted.

The deadline for presenting projects is 31 March. The curators of this edition of the symposium shall select a maximum of 6 projects, bearing in mind the selection criteria of the relevance of the project to the theme and format of the symposium, as well as its overall coherence within an artistic or research practice.

The names of the selected projects will be announced on 7 April. Although persons selected shall be informed of the exact day and time of the presentation, it is expected that they be available to attend the symposium on all three days: 19, 20 and 21 May.

Selected projects shall receive a fee of €300 for their presentation at the symposium, which shall be subject to obligatory tax deductions. When necessary MCA2M shall also run with the travel and accommodation expenses.

Fechas texto cabecera
Until March 31st
Intended for
Inscripción:
-
Entradilla

MCA2M announces an open call for the submission of research projects to be presented at the 27th Image Symposium, whose theme is club culture: club culture as the act and practice of expanding the field of given representations of subjectivity, of producing fictions of somatic permanence, fluctuations in desire, possibilities of dissidence towards the social distribution or other relationships between the body and temporality.

Subtítulo
19, 20 & 21 May 2022
Categoría cabecera
High Culture Carles Congost
27th IMAGE SYMPOSIUM DANCE THIS MESS AROUND
Pie media

© The Congosound o Carles Congost, VEGAP, Madrid, 2022.

Type of Thinking / Community
Temas Pensamiento
Ocultar imagen principal
Desactivado
¿Es un ciclo?
Desactivado

International Seminar  May 20 to 23

May 23 Forum for Researchers and artists 
May 13 to Sept. 27 Exhibition

CA2M organizes the XVI Image Symposium including a conference and debate programme on the subject of Imagine_Historicize.

Within the framework of this programme, an open call is issued inviting participation of researchers and artists. The selected authors will introduce their projects to the public attending, during journeys dedicated to the Forum of the unpublished. Those projects will be published in the book of minutes of the Symposium.

The Image Symposium intended to be a place of discussion and reflection around issues relevant to the setting of the contemporary subject.

Within this frame, history and memory currently have a strength and visibility that goes beyond the academic sphere which constitute a social and cultural hot debate. The official History, single and linear, has been broken into parts to give rise to multiple memories, demands as a mean of identity and, also, as a set of political and cultural values.

Such proliferation of histories, sometimes incompatible, is the result of complex dynamics and societies ever more diverse that consider the past time through memories, remains and monuments as an archeological process ever open. For its part, the global cultures of the images produce a time and space in a continue present, where cohabit all geographies, discourses, disciplines, visual styles and historic periods. All of them, floating and available to reinvent pasts, presents and futures.

With all this, what is the capacity and ethic and political role of the production, retrieval (and destruction and occultation) of images in the construction of history and memory? How do historians use images and how do they face the digital era? How “other histories” transform the hegemonic history written by the modern states with cohesion desire? What visions of the present lie behind the images used by artists? What idea of the future? Those are some of the questions raised in the following journeys by means of lectures, debates from great specialists and a “CA2M Abierto” Forum, for researchers and artists.

CALL

CA2M organizes the XVI Image Symposium  including a conference and debate programme on the subject of Imagine_Historicize. Within the framework of this programme, an open call is issued inviting participation of researchers and artists. The selected authors will introduce their projects to the public attending during the journeys of the Forum of the unpublished. Those projects will be published in the book of minutes of the Symposium.

The Call aims to start a forum for debate to projects related to the questions raised before and also to other topics:

- Historians and images. Images: documents of historical evidence or problematic evidence in an irretrievable past?

- Images of memory. Impact of production and destruction of images in the process of constitution of history and memory.

- Other histories. New voices of history through images: imaginary stories.

Requirements: The proposals must include the registration form dully filled in.

- Project on Artistic Theory and Practice. It must be an unpublished project and must  have the DIN A4 size; in case of an artistic practice, it should have the presentation of a memory, dossier or portfolio. The investigation essays will have a range between 10 and 15 pages, doble space and Times New Roman 12. Images screening are permitted during lectures.

Projects, both in Spanish and English, are accepted

Uncompleted applications won´t  be accepted.

The selected authors who wish to attend the Symposium and reside outside the Region of Madrid may benefit from 150 € as travel expenses (the applicant may enclose in its application any relevant document supporting the proof of place of  residence  - eg. Resident permit, City Certificate of Registration, a photocopy of student card, electricity or gas bills...).

The documentation from non-selected projects could be collected during the days of the Symposium.

DOCUMENTATION REQUIREMENTS AND REGISTRATION PERIOD

The deadline for receipt of projects is April 15, 2009. Participant may submit the aforesaid documentation:

- By email: download form at  www.ca2m.org  and send, duly filled in, together with project (in a .doc or .pdf format) to actividades.ca2m@madrid.org. This e-mail address is being protected from spambots. You need JavaScript enabled to view it

- By mail, enclosing the duly filled in registration form together with the printed project (projects arrived later than April 15 will be discarded)

SELECTION

The directors of the Symposium will select a maximum of 10 projects. April 30 it will be published the list of selected participants in the CA2M web page. The selected participants will receive an express communication, which will state the date and time of his/her presentation at CA2M.

For further information  actividades.ca2m@madrid.org. This e-mail address is being protected from spambots. You need JavaScript enabled to view it   or at 91 276 02 27

It will be positively consider those applications that show rigor, creativity, interdisciplinary and   relevancy to the line of work detailed in the call. It won´t be taken into account  the order of registration nor the fact of having participated before in previous editions.

SCHEDULE

MAY 20

11,00 h. Opening  Hon. Minister of Culture and Sports , Mr. Santiago Fisas Ayxelà.
Presentation Ilma. Director General of Archives, Museums and Libraries, Dña. Isabel Rosell Volart.
Presentation Director of Centro de Arte 2 de Mayo, Ferran Barenblit.

11,15 h. Introduction to the Symposium. Mónica Portillo and Sergio Rubira, Directors of the XVI Image Symposium of the Region of Madrid.

12,00 h. Philippe-Alain Michaud. Art historian and curator of film at the Musée National d'Art Moderne, Paris.

16,00 h. Svetlana Boym. Professor of Slavic and Comparative Literature and Associate Professor at the School of Architecture and Design, Harvard University.

18,00 h. The Otolith Group: Anjalika Sagar (artista, comisaria y escritora, Londres); Kodwo Eshun (artista, escritor, DJ, profesor del Máster en Cultura Visual del Goldsmiths College, University of London).

JUE 21 MAY

11,00 h. Santu Mofokeng. Photographer, Johannesburg.

16,00 h. Rogelio López Cuenca. Artist, Malaga.

18,00 h. Rogelio López Cuenca (artist, Málaga) and Pedro G. Romero (artist, Seville).

MAY 22

11,00 h. Nuria Enguita Mayo. Cultural worker, member of the management team arteypensamiento (Universidad Internacional de Andalucía).

13,00 h. Basilio Martín Patino (Film Director, Madrid) and Aurora Fernández Polanco (Professor of History and Theory of Contemporary Art, Universidad Complutense de Madrid)

16,00 h. Eyal Sivan. Documentary filmmaker, London.

18,00 h. Francesc Torres (artist, Barcelona) and Fernando Sánchez Castillo (artist, Madrid).

MAY 23

11,00 h. CA2M Abierto: Forum for researchers and artists.

17,00 h. Screening of The Specialist, documentary film by Eyal Sivan and Rony Brauman, 1999, 128 minutes, OV subt. Spanish. (1999: Official Selection Berlinale, Berlin, best documentary of the year, Guild of Media Authors (SCAM); best documentary of the year, Adolf Grimme Prize, Germany).

19,15 h. Closing Day

The Museum will provide simultaneous interpreting for the lectures to be conducted in English or French.

Free registration at   centrodeartedosdemayo@madrid.org or by phone at 91 276 02 27 as of April 15, 2009

BRIEF BIOGRAPHY OF THE LECTURERS

Svetlana Boym is a writer, theorist and artist, Professor of Slavic and comparative literature, associate professor in the School of Architecture and Design, Harvard University. Author of The Architecture of the Off-Modern (2008), Territories of Terror: Memory and Mythology of the Gulag in Contemporary Russian-American Art (exhibition catalog, 2007) and The Future of Nostalgia (2001).

www.svetlanaboym.com

Nuria Enguita Mayo has been responsible of projects  at Fundació Antoni Tapies, Barcelona (1998-2008). She was part of the curatorial team of Manifesta 4 (Frankfurt, 2002). He has worked on numerous projects such as Tour-ismos. La derrota de la disensión (2004) o Culturas de Archivo (2000)  and she is a member of the management team of art and thought (Universidad Internacional de Andalucía).

Aurora Fernández Polanco is Professor of History and Theory of Contemporary Art, UCM. Her publications include "Shoah y el debate Lanzman (Moses) / Godard (San Pablo)" in Er (2004), " Historia, montaje e imaginación: sobre imágenes y visibilidades," in Imágenes de la violencia en el arte contemporáneo (2005). Artistic advisor and editor of the exhibition catalog Basilio Martin Patino: Espejos en la niebla -Mirror in the Mist (2008).

Rogelio López Cuenca is an artista who works with contemporary audiovisual material, historical archives and history of art, among others. His work examines the processes of ideological production of identities and histories. Among his projects include: Gitanos de papel (2009); Málaga 1937 (2007), o El Paraíso es de los extraños (2001). He participated in the Johannesburg Biennale, Manifesta 1 (Rotterdam), São Paulo, Lima and Istanbul.

www.malagana.com

Basilio Martín Patino has led Nueve cartas a Berta (1965) or, in hiding, Queridísimos verdugos (1973) and Caudillo (1974). Awarded on numerous occasions, he has presented retrospectives in Bremen, Hamburg, Rome and at  MoMA in New York (2007). In 2008, Madrid held his solo exhibition Espejos en la niebla

www.basiliomartinpatino.com

Philippe-Alain Michaud is an art historian and curator of the film collection of the Musée d'Art Moderne, Centre Georges Pompidou, Paris. Author of Sketches: histoire de l'art, cinéma (2006) and Aby Warburg et l'image en mouvement (1998). Curator of Le mouvement des images (Centre Pompidou, 2006-2007) and Comme Le Reve Le dessin (Louvre / Centre Pompidou, 2002).

Santu Mofokeng is a photographer and writer. His work is an investigation into the construction of social identity and history, landscape and memory, especially in the context of the history of South Africa and Apartheid. He has exhibited recently at Rivington Place, London (2009), Iziko-South African National Gallery, Cape Town (2007), Venice Biennale (2007) and Africa Remix (2006-2008). He has participated in Documenta 11, Kassel (2002).

The Otolith Group is composed by Anjalik Sagar-artist, writer and curator, and Kodwo Eshun, writer, artist, DJ and curator, professor of the Master in Visual Culture at Goldsmiths College, London. Their  recent projects include: the performance Communists Like Us, and A Long Time Between Suns, two-part exhibition of the films by Otolith, visual essays narrated from investigating the future, past, present and the future itself, mixing fiction, personal files and documentaries, both in London in 2009.

Pedro G. Romero is an artist, editor and researcher, working primarily on two projects: Archivo FX, an extensive file of visual material on the anti-sacramental iconoclasm in Spain between 1845 and 1945, and Máquina P.H., a series of projects on flamenco. He is member of the arteypensamiento team at the International University of Andalusia, where he has coordinated SI, Sevilla Imaginada.

www.fxysudoble.org

Fernando Sánchez Castillo is an artist. His work moves and subverts symbols of power deployed in public spaces. Among his recent exhibitions include: Divertimento, Galería Juana de Aizpuru, Madrid (2009), The Unresolved ... Vleeshal, Holland (2008), 7 +1, MARCO Vigo (2008), and Abajo la inteligencia, MUSAC, Leon (2007). He participated in the Havana Biennial, Bucharest, Istanbul and Sao Paulo.

Eyal Sivan is a documentary filmmaker, producer, essayist and professor of production in the School of Social Sciences and Cultural Studies (East London University). Among his award-winning films stand out: Itsembatsemba, Rwanda one genocide later (2004), Route 181, Fragments of a Journey in Palestine-Israel (2003) and The Specialist (1999), fiction based on file of the trial of Adolf Eichmann and inspired in Eichmann in Jerusalem Hannah Arendt.

Francesc Torres, artist, curator and writer. His work invites a constant reflection on the mechanisms of power, memory, ideology and violence. His work has been exhibited, among others, in: IVAM, Valencia, Bilbao Guggenheim, Fundació Joan Miró, Barcelona: Whitney Museum and MoMA in New York, MNCARS, Madrid, or MACBA, Barcelona, where he conducted a retrospective in 2008, Da Capo.

DIRECTED BY

Mónica Portillo is curator and art critic. From 2002 to 2007 he was director of the department of education and public programs at Mudam Luxembourg. Editor of Le petit Jean de la Ciotat de l'art contemporain (2007), Lamento (2007) and Mark Lewis. Arrêt sur ​​images (2006).

Sergio Rubira is curator and art critic. Associate Professor of History of Contemporary Art, UCM, Madrid. He is part of the cultural production agency RMS La Asociación. He has been deputy director of EXIT publications between 2006 and 2009 and is currently external editor of the photography magazine EXIT.

Fechas texto cabecera
20th – 23rd MAY 2009
Intended for
Entradilla

Las Jornadas de Estudio de la Imagen intentan ser un lugar de discusión y reflexión alrededor de asuntos relevantes para la configuración del sujeto contemporáneo. En este marco, la historia y la memoria tienen actualmente una fuerza y visibilidad que desborda la esfera académica y constituyen un vivo debate social y cultural. La Historia oficial, única y lineal se ha quebrado para dar origen a memorias múltiples, reivindicadas como identidad y como conjunto de valores políticos y culturales.

Categoría cabecera
jornadas imagen
XVI IMAGEN SYMPOSIUM
Type of Thinking / Community
Temas Pensamiento
Ocultar imagen principal
Desactivado
¿Es un ciclo?
Desactivado

Curated by escuelita with David Bestué

With the participation of: Manuel Asín, Ángel Bados, David Bestué, Rubén Grilo, María Langarita and Víctor Navarro, Mario Montalbetti, Julia Morandeira, Lucia C. Pino, Manuel Segade, and others to be confirmed.

What does worlding the world mean? Worlding, in short, refers to practices that interlace materiality and semiotics, in which the subject and ground are fused in a continuous weft. It is a noun turned into a verb, to underscore that it is an active (ontological) process; that, rather than a mental figure, it is a relentless form of embodied production. In addition it is also a proposal based on our gesture of basely translating the English neologism ‘worlding’ into Spanish as ‘mundanizar’, thus invoking the gestures of a familiar, modest, mundane form of doing. An invitation to imagine possible forms of addressing the world familiarly.

As opposed to the uncontrolled dematerialisation of the digital image and its violent consequences explored in the previous edition, the working space of this year’s Image Symposium is the rematerialisation of visual thinking: today, the urgency is the adscription to practices that make a world. Practices that promiscuously explore the spectrum of disciplines and redefine the visual in its overflows, understanding that every encounter implies connection and intersection, and therefore, paying special attention to its forms of articulating the world. Donna Haraway summed it up as follows in her Staying with the Trouble: “It matters what matters we use to think other matters; it matters what stories we tell to tell other stories; it matters what knots knot knots, what thoughts think thoughts, what descriptions describe descriptions, what ties tie ties. It matters what stories make worlds, what worlds make stories.”

Bearing this in mind, this symposium wishes to inspire new ways of naming that are also ways of doing: ways of worlding the world that are already happening and for which we could reconstruct a selective tradition that outlines them in a genealogy situated in the contemporary space of cultural production in Spain. Today the conventional visual image is exceeded, not by its sign, as happened in the eighties, but by the disappearance of the image in various forms of baroque embodied excess. This semiotic and textual excess has led in recent decades to an excess of form (as palpable, for instance, in the deconstructive architectural movement) which, at once, has led to writers, artists and architects shifting their interest to aspects that re-connect with the details and the material proper to each way of doing: the poet Mario Montalbetti defines poetry as a context of resistance against the visual, the sculptor Lucía C. Pino defends the wide range of (physical, symbolic, political, narrative, speculative and other) connotations housed in the specific use of materials, and architects like Langarita and Navarro work with temporal notions when they distinguish between Bust and Pelt.

Following these positions, these three days will be a space for encounter and intersection between various forms of production that counteract the overwhelming virtuality and reproduction of images today. Instead, they propose thinking about their articulations in presence, in their forms of being and making worlds, and so give them back a specifically worldly language, flesh and place.

The IMAGE SYMPOSIUM is a programme dedicated to collective reflection on the theory and practice of visual cultures which is celebrating its first 25 years in 2018. It takes place over three days within the framework of a forum of debate, comprising a symposium and an open call for projects. The three thematically defined and interconnected days include a visit to the urban residues management plant in Valdemingómez.

LECTURES

THURSDAY 18 OCTOBER 17:00 - 20:30. Seeing / Saying World. It is generally accepted that our perception of reality is shaped by language and how it is used and produced. Investigating the potential of creating signifieds and articulating their signifiers —their concretion, phase-lags, knots— therefore involves forms of making worlds. The first day of the symposium examines the relationships woven by language—and more specifically the language of poetry—with visuality and contemporary art, with the purpose of exploring the ways in which the notions and strategies applied by linguists and poets can be implemented within the field of art.

17:00 Introduction to XXV Image Symposium by Julia Morandeira and Manuel Segade

17: 30 David Bestué. Give Meaning. In this lecture I wish to look at the relationships between matter and language through my own works and through references to the work of poets, linguists, artists and architects. The point of departure is the need of each era to construct meaning and the difficulty today of working with the symbolic, which has lost value to the utilitarian. During this process, language has become too pragmatic and instrumental and the word has lost ambiguity. This situation excited my interest in working with the idea of matter, over and above form. Matter is always in motion: when History moves on, when the original use of an object is no longer known, the matter remains, like an anchor to the present. I like this quality because it represents a triumph of the concrete and specific over the abstract in a time like the present, in which there is an increasing investment in virtuality and a growing degradation of the concept of reality.

David Bestué is an artist and curator of the XXV Image Symposium. As an artist he has exhibited his work in Realismo, at La Capella (Barcelona, 2014), La España Moderna in García Galería (Madrid, 2015) and ROSI AMOR, at Museo Reina Sofía (Madrid, 2017), among others. He has penned a book on Enric Miralles (Enric Miralles a izquierda y derecha, 2010) and on the recent history of architecture and engineering in Spain (Formalismo Puro, 2011 and Historia de la fuerza, 2017).

18:30 Mario Montalbetti. The Limit of the Poem. What I wish to consider in this lecture is the radical gap between saying and seeing. For reasons I will explain during my lecture, I will confine my scope to the poem. The main idea is the following: the limit of the poem is not the unsayable, because, after all, the unsayable is part of the sayable. We are always saying what cannot be said, as if the unsayable were a parasite which is too small to be seen through the lens of language —but which “is there” nonetheless. Nor is silence a limit because silence is also an invention of what we say; silence always follows a having-said. The thesis then is that the limit of the poem, the limit of the sayable, it not the unsayable but the visible in an absolute sense. And that is possible if we accept the radical blindness of the poem.

Mario Montalbetti is Professor of Linguistics at Pontificia Universidad Católica del Peru. His poetry has been complied in Lejos de mí decirles (Aldus, Mexico 2013). His recent publications include an essay on Blanca Varela, El más crudo invierno (FCE, Lima 2016) and the collection of poems Notas para un seminario sobre Foucault (FCE, Lima 2018).

19:30 Debate moderated by Manuel Asín. Manuel Asín is the coordinator of the film department at Círculo de Bellas Artes de Madrid and is a programmer for MNCARS, CCCB, SEFF, etc. He has published articles in Trafic, Concreta and Caimán, and he sits on the editorial board of this last-named journal. He has co-authored Desde Shakespeare (Calambur, 2017) with José Antonio Escrig and he ran the Intermedio publishers from 2010 to 2015. He also lectures at EQZE (Tabakalera, San Sebastián) and the Master LAV (Madrid).

FRIDAY 19 OCTOBER 12:00 - 14:00 & 17:00 - 20:30. Neo-baroque, neobarroso, neobarroso. The second day of the Image Symposium focuses on excess —material, formal, textual and in meaning— from a historical perspective, through a visit to the municipal waste management centre and two specific case studies. The first is the concept of Neo-Baroque, championed in art practice and art history during the nineties by authors like Severo Sarduy, José Luis Brea and Néstor Perlongher, among others. The second is the Deconstructivism architecture movement, derived largely from the impact of the work of the philosopher Jacques Derrida in the eighties, which gave rise to a purely formalist and spectacular style. Both cases demonstrate how positions underpinned by philosophical and political approaches—the result of epochal complexity—end up igniting texts, works and constructions.

12:00 Visit to the Valdemingómez Technology Park. The Las Dehesas waste treatment centre at the Valdemingómez technology park, designed by the Ábalos y Herreros architects studio between 1996 and 2000, is the place where urban waste from Madrid is sorted and processed. The visit wishes to question how we can compost an art practice and a future from the destruction and management of the abundance of waste material produced in the present.

The visit will last two hours, from 12:00 to 14:00. As the plant is not accessible by public transport, a bus will be available for participants who have signed up beforehand, which will leave CA2M at 11:15.

17:00 Critical session with Lucía Jalón. Learning to navigate the underground, playing with darkness. Trial and error towards a new architectural image.

18:00 Manuel Segade. After the Empty Ceremony, After so much Death. In the eighties, the geopolitical South introduced a thinking that defended the Neo-baroque as an exuberance of the sign speaking of itself, as a modality of excess that threatened conventional symbolic orders. Thinkers like Néstor Perlongher (Argentina) or Severo Sarduy (Cuba) and artists like Pepe Espaliú (Spain), wrote in a race against time while the AIDS crisis advanced all around them. If contemporary art is a selective tradition, the present must be inscribed in a genealogical guideline for which there are words that have not been handed down to us: an eminently baroque work of mourning with which to understand art practices as an unstoppable epidemic, as a space of proliferation of signs in bodies, and vice versa.

Manuel Segade is the director of CA2M and curator of the XXV Image Symposium. His doctoral research focused on a revision of theatricality and allegorical linguistic structures in 1980s sculpture through the work of Juan Muñoz. Since 1998 he has been working with fragments of a cultural history of late-nineteenth century aesthetic practices, centred on the production of somatic and sexualised subjectivity (Narciso fin de siglo, Melusina, 2008). His latest projects explore gestural approaches to curating and other forms of discursive distribution.

19:00 Session to be confirmed

20:00 Debate moderated by David Bestué and Julia Morandeira

SATURDAY 20 OCTOBER 11:00 - 14.30. Making Object. Addressed from art practice and from a speculative yearning, the third and final day of the Image Symposium poses questions on how the image makes worlds through art. For some time now many artists have been working with a mundane and colloquial practice, counteracting spectacularisation through an affective, subjective and critical making. Here we will propose a rethinking of the object and the making of the object, a conversation on and from sculpture, understood as presence more than as image and which introduces discursive tools associated with linguistics and matter.

11:00 Critical session with Delas

12:00 Ángel Bados in conversation with Lucía C. Pino and Rubén Grilo. Ángel Bados, (let me do it) …… Perhaps it might be enough to distinguish the phenomenal quality of the countenances of the digital, which, after all, sustain our gaze, from those other images that, while affecting us corporally, manage to connect us symbolically with what refuses to be said. But it is not easy.

Even knowing the fascinating power of some countenances, and even if art production that was not matter-based were unthinkable, because the very active edification of our representations depends on it, our everyday work shows us that matter is more silent and opaque, and outside of meaning. And that it undermines structure. This means that the closure of meaning becomes highly improbable, unless we admit that, alongside an effort at saying the right thing, there is a parallel yearning for gratification. And it would be precisely there, in the intersection of the course of signification with the flow of desire—which “is without object”–where, perhaps, what is beyond meaning can knot itself as an effect of creation and of poetry.

Ángel Bados has had recent solo exhibitions at Galería Moisés Pérez de Albéniz, Madrid, in 2013, and at Carreras Múgica, Bilbao, in 2017. He is currently exhibiting work in the group show El Otro soy yo, at Koldo Mitxelena in San Sebastián. In 2017 he took part in the symposium Pensar en arte. Lo educativo como síntoma, held at the Azkuna centre in Bilbao. In June 2018 he took part in L’occasione with the slogan “Hecho con las manos”.

Lucía C. Pino, an assemblage is not a fissureless whole

1. an assemblage is not a fissureless whole
2. an assemblage is not just the sum of its parts
3. assemblages cannot be updated
4. assemblages fluctuate around attractors
5. assemblages are not firmly grounded on attractors
6. an assemblage can be a sculpture
7. the specific cryptic of the sculpture is the rehearsal of an enigma
8. an enigma can contain desire, desire is an assemblage
9. an assemblage can be a relationship
10. a sculpture can be an assemblage that can be prosthesis, which can be a moment of suspension which is an enigma.

One of my aspirations is to evince how, as humans, we are witnessing, among other phenomena, a loss of communicational or relational sensibility with otherhood as a result of textual and formal linguistic excess (and also in terms of artificial construction, including programming languages, images and big data). What I wish to invoke here with sculpture is to underscore that the relationship between matter, economy, politics, desire and critical theory is not a metaphor, analogy or exemplification. This praxis helps me to study and rehearse possible scenarios. I intuit which direction to take, one that passes through fields of learning which are often remote from me.

For me sculpture is an activity that can be understood as the place of a specific negotiation between many variables that arise in a geometric locus.

Lucía C. Pino has exhibited her work at, among others, CCCC in Valencia; at Espai 13 Fundació Miró, ASM, Ana Mas Projects, Et-hall, Galería dels Angels, MACBA and Casa Asia in Barcelona; Filmoteca Regional de Murcia Francisco Rabal; Pragda Big Screen Project, New York; Larraskito, Bilbao; Galeria Aulenti Triennale, Milan; and D/ART/ Sydney.

Rubén Grilo, Untitled. A talk on epic-free sculpture, Makitart, recybernetic, Dearest GearBest, strong poetry, representational solitude, pre-communication, prerange, RTFMtwice-ism, pretrance, infraoriginality, neo-exclusivity, infrartisan, indoor theory, algorithmic liberalism, refractory proletariat, anarcho-cynicism, environmental violence, software-driven realism, recycled violence, soft recognition, managerial figuration, managerial realism, horizontal class, low-fiction, filtrism, pseudoacceptance, commonism, prop-philosophy, anarcho-artisan, de-intentioned display, personal-tainment, studiocore, competitive poetry, critical gentrification, visual-lepsy, infrasubjects, allegorical standardisation, autoecology, networked nature, algorithmic leisure, radical gimmick, functional alienation, climatic postmodernism, cynical mechanism, mechanic cynicism, high originality, time-based conceptualism, Top-Part Art (TPA), beige art, handmade-core, downloadable wars, climatic alienation, conceptual unicity, conceptualism, democratic standardisation, infraexclusivity, sensory authorship, expressive labour, anticreativity, multicultural industrialism, narrative standardisation, LAB TURN, free reality, sustainable-core, multi-ecology, poor Pop Art, alter-simulacra, emotional unity, paradoxical-tainment, parafiguration, pseudomaterialism, weak unity, silent politics, merge-core, corporate poetry, antimechanisms, drone empowerment, para-authorship, expressive unicity, etc.

Rubén Grilo studied at University of Barcelona and at Rijksakademie van Beeldende Kunsten in Amsterdam. He has exhibited at Fundació Joan Miró (Barcelona), Nogueras Blanchard (Madrid), Hildesheim Kunstverein, V4ULT (Berlin), Union Pacific (London), CIRCA Projects (Newcastle upon Tyne), 1646 (The Hague), Supplement (London), Wilfried Lentz (Rotterdam) and MARCO (Vigo), among others.

13.30 Debate moderated by Julia Morandeira
Julia Morandeira is a researcher and curator of XXV Image Symposium. She co-directs La Escuelita at CA2M together with Manuel Segade and is a mediator in the ConComitentes project funded by Fundación Daniel y Nina Carasso in Spain. Her practice revolves around long-term curatorial projects such as Canibalia; Be careful with each other, so we can be dangerous together; Nothing is true, everything is alive; and Estudios de la Noche.

Las JORNADAS DE ESTUDIO LA IMAGEN es un programa dedicado a la reflexión colectiva en torno a la teoría y la práctica de las culturas visuales. Se desarrolla durante tres días en una estructura de foro de debate, compuesta por un seminario, talleres y una convocatoria pública de proyectos. Esta edición se estructura a través de tres jornadas (Ver / decir mundo; Neobarroco, neobarroso, neoborroso; Hacer objeto) definidas temáticamente e interconectadas entre sí. En continuidad con la propuesta, los comisarios han diseñado un dispositivo a partir de obras de la colección del CA2M y elementos expositivos del centro, buscando que encarne y resuene con los debates que aloje. También, han editado una publicación online que recoge textos claves en relación a las cuestiones que el simposio aborda, con el fin de amplificarlas.

Type of activity
Dates
18th, 19th and 20th October, 2020
Temas
Entradilla

The IMAGE SYMPOSIUM is a programme dedicated to collective reflection on the theory and practice of visual cultures. It takes place over three days within the framework of a forum of debate, comprising a symposium and an open call for projects. These three days will be a space for encounter and intersection between various forms of production that counteract the overwhelming virtuality and reproduction of images today.

Subtítulo
WORLDING THE WORLD
Categoría cabecera
XXVI Jornadas de la Imagen
XXV IMAGE SYMPOSIUM
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