Actividad

Actividad

A pond emerges
A frenetic sprouting of the phreatic
An invisible flow
There are holes in the history of this pond and each one is filled in their own way
Dug out by a giant
A gigantic company, a gigantic machine, a gigantic desire
And then nothing can dry it, but it will evaporateIf you stop nearby, you can sometimes hear a choir of children from a nearby bilingual public school learning the song the water cycle… 
When the children go back to school in September they are taken to the pond
They spend the morning sitting down, looking, they see that it is no longer there
They had visited the pond in February, collected samples of its crystal-clear water
And one evening in spring they went to listen to the frogs
An historian, a lawyer and an artist agree to start there.

Ciudad Sur is a shared experimental space begun in 2021 which, taking its starting point in Móstoles, wishes to explore the many faces and manifold riches that generate a sense of belonging in the cities within the metropolitan area of Madrid. Its second edition is called Brota invisible (Invisible Flow).

Brota invisible is aimed at all those interested in a shared rethinking of the inhabited space. Over the course of six sessions, spaced out between May and December 2022, we will explore the idiosyncrasy of Móstoles based on an omnipresent yet very often invisible element, which is water. Up until relatively recently, the people of Móstoles sourced their water locally, underground. This all changed when Móstoles connected to Isabel II canal water supply network. Taking our point of departure in this rupture, and all its ensuing implications, we will open the conversation. But there are also other elements in the various strata of the city that are forgotten about: the memory of those who are no longer with us and those that were silenced. And also the initiative of locals to decide how to build their own city. We will try to bring to the surface and throw light on some of these invisible flows, rivers that run underneath the ground we stand on, ponds that disappear and which, almost as if by magic, suddenly reappear.

The first session will take place on Tuesday 24 May and will consist of a walk which will start at CA2M at 6:00 pm. The following sessions will take place on 21 June, 27 September, 25 October, 22 November and 13 December. Each session will centre on this core theme as well as the interests suggested by participants. The enrolment form for the first session is already available.

AHIMOS (Amigos de la Historia de Mostoles, Friends of the History of Mostoles) is a relatively new association which came about with the purpose of investigating and promoting the past of this city in the Region of Madrid. Despite its newness, some of its members have been involved in these activities for almost twenty years, on a journey involving thousands of hours spent digging into archives and libraries, into excavations in search of treasure that nobody expected, of strolling streets and countryside to portray them as they are... and all with the goal of bringing the past customs, events and society closer to the local community today, in the hope that they will appreciate and feel a greater attachment to the place where they live.

Patricia Esquivias grew up in the suburbs on the outskirts of Madrid. Since she came of age she has lived in different cities, always searching in them for traces of local crafts and artisanship. Since 2005 she has mainly worked with video, a discipline she uses to share her narratives on history and the city. In 2016 she had a solo show at CA2M called “At Times Embellished”.

Carlos Copertone studied Law and obtained a PhD on the ways cities grow. In his teaching practice he literally proposed taking to the streets to explore and rethink them. All these approaches have gradually taken him closer to the field of architecture and contemporary art. He has curated various exhibitions and has also published books and is closely involved with Caniche, a publishing production and action platform outside conventional exhibition circuits that came into being in 2015.

Fechas texto cabecera
24th May to 13th December
Intended for
Inscripción:
-
Acceso notas adicionales

Capacity: 20 people

Entradilla

Ciudad Sur is a shared experimental space begun in 2021 which, taking its starting point in Móstoles, wishes to explore the many faces and manifold riches that generate a sense of belonging in the cities within the metropolitan area of Madrid. Its second edition is called Brota invisible (Invisible Flow).

Categoría cabecera
Laguna Coperlim
CIUDAD SUR 2022. I N V I S I B L E F L O W
Pie media

Laguna Coperlim de Móstoles. Picture: Patricia Esquivias.

Type of Thinking / Community
Temas Pensamiento
Ocultar imagen principal
Desactivado
Duration
One Tuesday a month
¿Es un ciclo?
Desactivado

Interdependence is at the very groundbase of our most everyday reality. Marina Garcés contends that “you cannot say I without an echo of us”, but it is a singular us—not ‘all of us’ but rather ‘each one of us’. We are increasingly bombarded by the fantasy that it is possible to live in isolation, but, not only that, that this life in isolation is livable. Political discourses, economic dynamics, ways of life, routines, slogans and individualist aspirations hold sway. And even though the lesson that we need each other can be gleaned from the extreme circumstances we have lived through and from everyday reality, the dominant narratives are different.

Coexistence has been smothered by survival.

Interdependence, and its manifold expressions, is the common thread running through these picnic sessions: ranging from our relationship with nature to work relations. The role of the public is crucial to reach the level of euphoria needed to generate the sensation of community, the sense of belonging that I, you and we all look for in a family, a rave or a union.

Interdependence comes about from the undeniable vulnerability that we all share in common. To bring this reality to light, the hierarchical relationship between audience and artists will disappear in the sessions when creators openly reveal their precariousness, endemic to the cultural industry, exposing the hidden underbelly of their life stories, a kind of in bio veritas that speaks of hand-to-mouth jobs and the difficulty if not directly the impossibility of making a living from art. In addition, the bureaucratic, administrative and fiscal demands required to take part in certain cultural spaces are major obstacles for creative practice. To circumvent and shatter them, mutual support is, as always, the most effective instrument at hand.

More than just participating, the audience becomes one with the music and performances, it is invited to reach out and touch each other blindly, to make exchanges on the sidelines of the economy or to take stock of their privilege with regards those who society categorizes as dependents, as if the rest of us were not.

These Picnic Sessions are an invitation to make the most of these bonds, and to create new ones. With euphoria.

Curated by: Nerea Pérez de las Heras and Mar Rojo.

// At the beginning of the nineteenth century, the Picnic Society was founded in London and met regularly in the open air. On its outings, which had no specific host as such, the individual members were expected to provide the refreshments and the entertainment. Starting out from the same concept, and forming its own particular Picnic Society, every year CA2M Centro de Arte Dos de Mayo invites various curators to design a programme for the art centre’s roof terrace.

Every Thursday from the end of May until mid-July the CA2M roof terrace will be transformed into a space where we will carry out a programme of activities mixing the body and sound with education and participation. //

PROGRAMME

• Thurs 26/05 I IF YOU MOVE, I MOVE Miss Beige, Dembooty

• Thurs 02/06 I OUTSIDE THE NORM Costa Badía, LVL1

• Thurs 09/06 I INTERDEPENDENTS Ana Matey, Maricas: Jovendelaperla & Berenice

• Thurs 16/06 I A SINGLE BODY Ernesto Artillo, Ece Canli

• Thurs 23/06 I NEW PIECES, NEW GAMES Andrea Jiménez, Caliza

• Thurs 30/06 I MELT, MIX, STIR Victória Bemfica, Emily da Silva, Gabriela Clavería and Ikram Bouloum

SCHEDULE: 9:00 p.m. to 11:00 p.m. (EXCEPT THE SESSION ON THE 30TH, WHICH WILL BEGIN AT 6:00 p.m.).

YOU CAN DOWNLOAD THE PROGRAM HERE

Type of activity
Dates
From May 26TH to June 30TH
Intended for
Temas
Entradilla

At the beginning of the 19th century, The Picnic Society was born in London, an association that met regularly in the open air and in whose meetings each member was expected to contribute part of the entertainment and refreshments without there being a specific host. Based on this concept, and as a Picnic Society, the Museo Centro de Arte Dos de Mayo invites several curators each year to design a program for the Museum's terrace. Every Thursday from the end of May to the end of June, our terrace becomes a space in which we develop a program of activities in which the body and sound are mixed with the educational and participatory.

Categoría cabecera
Picnic Sessions 2022
PICNIC SESSIONS 2022. VITAL SUPPORT
Pie media

Design: Cristina Daura.

¿Es un ciclo?
Desactivado
Con el apoyo de
Duration
21:00 - 23:00h

Silence is a polysemy concept that can be used to describe different situations in different contexts. The idea of silence encompasses both literal and symbolical lack of sound in which poetic images, theories and historical analysis on social phenomena, spiritual processes or personal pacts can take part.

Besides, noise is the necessary counterpart of silence noise, sort of an inseparable marriage passing the baton from one to another throughout our perception. Music contemplates silence as a seal between passages, as a dilatation of the space in blank, or as a previous clear call to harmonic change.  In fact, silence can be a communicative resource or a musical measure, but what does it happens when silence comes from a society in conflict?

CD CONTENTS
 
Audio
Tres
 
Video
María Ruído
 
Images
Fran Meana
 
Text 
Traficantes de sueños -Dream dealers-

PROGRAMMING
13 NOV

18:30 H. Round table: The Politics of science. Perspective from the intellectual and artistic practice.
Presented and moderated by Daniel Granados (Producciones Doradas/ Doropaedia)
Lecturer: María Ruido, Traficantes de sueños (Julia Millán Bermejo), Tres.
This round table aims to deal with the idea of the already suffered silence from politics, understanding politics as all that which make references to the capacity to decide about the subjects of the life in society and found and alter, not only the law which governs human society but the its perception. Lecturer will approach the concept explaining the way they understand and board the idea of silence from their intelectual and creative practice (documentary, artistic or editorial).

19:30 H. Concierto para apagar by Tres -Concert to turn off-
Tres will perform one of its last "concerts to turn off". The audio from DOROPAEDIA will be the result of this performance, which will be live and recorded placing mics around the venue to register the progressive silence which will take over. The “Conciertos para Apagar -Concerts to turn off” are based on the careful listening of the continuous sound set within the venue during the process of gradually turning off and depending on its function and intensity up to maximum possible level of silence. We will then assist the surgical dissection of the background of our auditory life, the shapeless mass of blows and hums that floods the public, working and domestic spaces where there are running machines. Through a gradual turning off process of all sounds, we will witness the discovery of sound landscape increasingly crisp and sharp in line with increasingly presence of the silence. The final destiny of this sonoric journey is the new milieu  resulting from repositionating silence within its natural threshold.  Now, the quality of listening is perfect.

20:30 H. Projection of El Plan Rosebud 2, 2008 by María Ruido
Within her practical investigation on the collective memory, started with “La memoria interior” -"The inner memory"(2002), María Ruido presents a critical maping on the politics of memory finding testimonies, observing them, dialoguing with them and structuring them, in four parts and three intermidiates, so they question  embedded ideas in the public sphere. This second act of Plan Rosebud addresses the last years of Francoism (and the companies which were born with), transition (as elite agreement) and post (with the explosion of the punk and movida movement) viewed from the knowledge of private individuals and of members of the social movements which emerged   parallel to political parties. The study case in centered in  Galicia, although easily extrapolated to the rest of States, which can be also compared to what was happening in the Great Britain of Thatcher.

LECTURERS

Tres
Multidisciplinary artist focused on the investigation and experimentation with silence. Silence cocktails,  Blackouts or complete turning off of buildings, clandestine actions, videos, exhibitions, installations and all kind of ceremonies are some of the multiple ways that Tres has translated silence in the last 15 years. Today, Tres is focused on the search of a more conceptual mean and less experiential to approach silence. This change of direction mainly follows the interest in considering some negative aspect of this phenomenon which remained unexplored,  mostly those from the political and comunication fields. She is curating  her second and consecutive cycle of exhibitions for Espai del Fundación Joan Miró in Barcelona.
http://elsilencio.com

María Ruído
Videomaker, cultural investigator and producer, developing from 1996 interdisciplinary projects about the social elaboration of the body and its placement within the imaginary of works, as well as the mechanisms of memory construction and its relation with the narrative manner of history. Nowadays,  living in Barcelona where she is professor at the Design and Image Department from Universidad de Barcelona, where she also is part of study groups on representation and its contextual relations.

Fran Meana
is artist and has displayed in exhibition such as: Basado en hechos reales, Artium, Museo Vasco de Arte Contemporáneo, Vitoria-Gasteiz. Antes que todo, CA2M, Centro de Arte Dos de Mayo, Móstoles, Madrid. Everything is out there, La Casa Encendida, Madrid. 89Km., MARCO, Museo de Arte Contemporánea de Vigo/ CGAC, Centro Galego de Arte Contemporánea, Santiago de Compostela. When asking him about his contribution to Doropaedia, Fran addresses the experience of John Cage in Harvard in the early '50: “In 1951, John Cage visited the anechoic chamber of Harvard University. Cage entered into the chamber expecting to listen to silence, but, instead, he listened two sounds, a high and a low one. When explaining to the sound engineer, he said:
-'The high sound comes from your running nerve system. The low sound comes from your blood circulation.'“

Traficantes de sueños -Dream dealers-
Traficantes de sueños is a polifacetic project constituted in the nineties with the intention to be a space for training, reflection and meetings for alternative and social movements. Seeking to go beyond  that scope, it is intended to play its part to enrich debates, sensibilities and practices which aim at transforming that stage of things. Nowadays, it is composed by a library, a self-manage distributor ‬and an editorial. The essays have Creative Commons license and are available for pdf downloading  at: http://www.traficantes.net/ 

Type of activity
Dates
13th NOVEMBER, 2013
Temas
Entradilla

Silence is a polysemy concept that can be used to describe different situations in different contexts. The idea of silence encompasses both literal and symbolical lack of sound in which poetic images, theories and historical analysis on social phenomena, spiritual processes or personal pacts can take part. Silence can be a communicative resource or a musical measure, but what does it happens when silence comes from a society in conflict?

Galería de imágenes
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DOROPAEDIA#10 SILENCIO
¿Es un ciclo?
Desactivado

This installment will focus on the legal-philosophical concept of the commons, which refers to all assets that are not privately owned. The commons legislates and defines all assets that may be freely used by all the members of a given community. The commons can be used to describe tangible (forests, squares, etc.) and intangible assets (musical compositions, designs, etc.), as well as social (democracy), natural (ocean floors) and cultural elements (languages), as long as they are publicly and collectively managed.

CD CONTENTS

Music
Antonna
Los Caveles
Prisma en llamas
Wild Honey

Video
Zemos98

Text
Jordi Claramonte

Images
Miguel Brieva

PARTICIPATING BANDS

ANTONNA. Today, technology is advancing at a terrifying pace, and one of the consequences is that nobodies like this guy can record whole albums in their own homes and brazenly offer them to respectable, law-abiding citizens on the web. Accompanied by a raucous drum machine, an acoustic guitar and a moustachioed bassist, Anntona has released En la cama con Anntona, with a style which some have likened to Magnetic Fields and Mojinos Escozíos. Somewhere halfway between these two bands is this incredibly fresh pop pieced together with second-rate rhymes and more than first-rate melodies. Anntona is a good guy and he’s willing to prove it, regardless of who he has to trample on in the process.

ANTONNA

LOS CLAVELES. Marcos played the saxophone with Au, but what he really wanted to do was play his own songs, which had a sound somewhere between Golpes Bajos and Josef K, so he started playing with Santos and Jordi, and it turned out that their sound was something more between Monochrome Set and Ciudad Jardín. Later they brought in Papeles and Miguel, and then Papeles and Miguel left and they brought in Sergio, and meanwhile they released two CD-Rs and gave a handful of concerts that won them a lot of fans, because they sound fresh and fun and have a lot of hit songs. 

LOS CLAVELES

PRISMA EN LLAMAS. Hugo, formerly of the band Margarita, and Pablo, formerly of Ensaladilla Rusa, are the two halves of Prisma en Llamas. They will soon be releasing an EP with songs that are a perfect genetic cross between Jesus and Mary Chain and El Último de la Fila. They offer us six songs of tension, like a rubber band that is about to break but refuses to snap with the restraint of the satiated glutton. Melodies that slide smoothly into your ears and down to your trachea and stay there, where the acoustics are better. Prisma en Llamas is one of the most agreeable surprises of 2010.

prisma en llamas

WILD HONEY. The official history of pop tends to tiptoe over a lot of albums which the most obsessive music buffs consider true touchstones. Wild Honey, the title of Guillermo Farré’s project, takes its name from the grossly underrated Beach Boys record – an album of marvellous songs where everything falls discreetly into its proper place. But marvels are never really discreet, and even the slightest effort to listen a bit more closely will soon reveal how great this album truly is. Wild Honey is that kind of band. Epic Handshakes and Bear Hug, Wild Honey’s debut album, features music that practically oozes love. You can hear echoes of Brill Building, The Zombies, early Scott Walker, the Sherman Brothers’ Disney soundtracks, Michel Legrand, Curt Boettcher, bubblegum pop, everything along the line from the upbeat sentimental tunes of American music from the first half of the 20th century to a pocket-size Sufian Stevens and Jens Lekman with an innocent voice and gaze. Dressed-up pop that strives to be beautiful and is: solid tunes, impeccable arrangements and tributes.

Type of activity
Dates
2010
Intended for
Temas
Entradilla

Este número versó en torno al procomún (traducción al castellano del concepto jurídico-filosófico anglosajón commons), concepto que designa todos aquellos bienes cuya propiedad no se encuentra en manos privadas. El procomún legisla y determina todos aquellos bienes que pueden ser libremente utilizados por todos los miembros de comunidades dadas. Pueden ser parte del procomún tanto entes tangibles (bosques, plazas…) como bienes intangibles (composiciones musicales, diseños…), entes sociales (democracia), naturales (fondos marinos) o culturales (idiomas), siempre y cuando la gestión de los mismos sea pública y colectiva.

Galería de imágenes
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Categoría cabecera
DOROPAEDIA 8
DOROPAEDIA#8 PROCOMÚN
¿Es un ciclo?
Desactivado

CD CONTENTS. www.doropaedia.net

VIDEO SCREENINGS
Produced by Basurama

ROUND TABLE DISCUSSION
Emmanuel Rodríguez, publisher and researcher for the Metropolitan Observatory.
Carlos Fernandez Liria, Full Professor at the Faculty of Philosophy of the Complutense University of Madrid in the Department of Metaphysics and Knowledge Theory.
Jaime Palomera, anthropologist specialising in the conflict situations which emerged in the Parisian outskirts.

CONCERTS
Margarita
Cohete

Type of activity
Dates
2009
Intended for
Temas
Entradilla

Concerts by Margarita and cohete. Round table with Emmanuel Rodríguez, publisher and researcher for the Metropolitan Observatory; Carlos Fernandez Liria, Full Professor at the Faculty of Philosophy of the Complutense University of Madrid in the Department of Metaphysics and Knowledge Theory; Jaime Palomera, anthropologist specialising in the conflict situations which emerged in the Parisian outskirts.

Categoría cabecera
extrarradio
DOROPAEDIA#6 EXTRARRADIO
¿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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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
Doropaedia#5
Doropaedia#5
Doropaedia#5
Doropaedia#5
Doropaedia#5
Doropaedia#5
Doropaedia#5
Doropaedia#5
Categoría cabecera
Doropaedia
DOROPAEDIA#5 GASTRONOMÍA
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At CA2M, we believe that attention to gender diversity should be central to the programme of any contemporary art museum. This new pandemic year marks 40 years since the emergence of HIV, and touching has once again become something forbidden. This is why this project by choreographer Aimar Pérez Galí seemed a particularly apt choice to open LGTBQ+ Pride’s spotlighted week of demands, to which our programming tries to give voice and, above all, body in a sustained way throughout the year.

 

TOUCHING BLUES

When you start with a creative process, you never know where the path will lead. That is why we say that the act of creation is a kind of dialogue with the unknown, a close relationship with that of which we are unaware. In 2015, when Aimar Pérez Galí first began work on his project The Touching Community, he only knew that he knew too little about the impact of the AIDS pandemic on the dance community. He embarked on a project of research, seeking out survivors, reflecting and questioning himself, reading and writing letters to the dead dancers whose names and stories he learned. This was his way of confronting the silence that, over the years, has been used to conceal and forget the horror and pain caused by that pandemic, which still continues today. The project grew and branched in surprising directions as Aimar encountered people and their stories, as silenced names were spoken by the mouths of witnesses, as he received answers. First came the lecture-performance A system in collapse is a system moving forward (2016); then the stage performance The Touching Community (2016); followed by the exhibition The Touching Community / Correspondencia and the active work The Touching Community / Greenberg_1992, both in 2017. Next came the tactile research laboratories of the Touching Improvisation Lab (2017-2020), followed by the publications Lo tocante (2018) and Cuadernos sobre el tocar (2019). Finally, in an unexpected and almost surprising contribution, he released the video Touching Blues (2021) during the new pandemic.

Touching Blues, like the rest of the project, is made for commemorative reasons: we keep doing these things, we keep returning to the topic, because we still need to remember, listen to and celebrate the bodies of those who suffered and suffer from HIV/AIDS.  Blues is a laid-back, melancholy kind of music. And blue anchors the chromatic universe of this work of art. We learned about this blue from Derek Jarman and his ‘blue boys’; although this blue has something sad about it, strangely enough, it also has a bright, festive and celebratory note.

Before, we clung to living things and the inevitable vanishing that gives dance its natural quality because that is what allows us to relate directly to the bodies of the dead and to celebrate them through our skins. But now, given everything we are learning with this new pandemic, suddenly video - the ability to transform our bodies into a playable image - has taken on a whole new meaning.

Touching Blues is a two-dimensional image projected onto a vertical plane. This does not have all the complexity, infinite variety of points of view and foci that are possible with a live performance. It condenses all the multidimensionality of the present into a perfect square that appears to hang on a wall like a painting, like a two-dimensional image that can appear over and over again identically. Here, our bodies become patches of light that move on a screen, hypnotic textures that make us see what is no longer there, what has already happened and is already gone.

To do this, we first had to establish a single point of view; this point, suspended above our bodies, allowed us to see ourselves from above, an impossible spot from which no one had ever observed us before. But that was not enough; once our bodies became an image, pace Jackson Pollock, we had to once again ‘hang’ the (blue) floor that we had used as the ‘sand’ base of the action on the wall. In a way that might be called innocent, we have hung the picture on the wall once again, bringing a strange peace to it. It appears almost as if the time for struggle were over, as if a deep and unexpected calm had settled over the whole project once its weight was lifted off the ground.  It seems, therefore, that the rotation of the point of view and the shift to a vertical plane have given Touching Blues the ability to create a type of contemplation that almost becomes a subtle form of devotion. All of this only deepens the memory-focused nature of this project and our decision to honour and celebrate the bodies that came before us, those who were mortal victims of what we still call the ‘HIV/AIDS epidemic’ today. This mission took on a new shape thanks to the appearance of this new work and, of course, thanks to the Cultural Communication Bureau of the Universidad Nacional Autónoma de México through the following: El Aleph - Arts and Science Festival; Ingmar Bergman Special Programme in Cinema and Theatre; the UNAM Theatre Department; the UNAM Dance Department; the Chopo University Museum; and thanks also to the Espai d'Arts Escèniques Casal d'Alella (Barcelona). To them we extend our deepest gratitude for inviting us to continue imagining new dimensions of this project, a project that has done nothing but bring joy, happiness and knowledge to our bodies. 

Aimar Pérez Galí and Jaime Conde-Salazar s.u.s.

May 2021

 

 

Type of activity
Dates
FRIDAY 25th JUNE
Intended for
Temas
Acceso notas adicionales

SALA DE USOS INFINITOS

Entradilla

In late 2015, the Spanish choreographer and performer Aimar Pérez Galí began to study the impact of the AIDS epidemic on the dance community in Spain and Latin America. The resulting work, which makes use of the practice of ‘contact improvisation’, was built as a conversation with the ghosts of those who are no longer with us. This year, in which we are in the midst of a new pandemic, marks 40 years since HIV’s first emergence; once again, touch has become forbidden. This fact brings a fresh relevance to this project, which first took shape at a performance workshop for teachers at CA2M three years ago.

Categoría cabecera
Touching Blues
TOUCHING BLUES BY AIMAR PÉREZ GALÍ
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Desactivado
Duration
18:30 – 21:00

In May several birthdays are celebrated in Madrid, and we are going to make a gift-tribute to our region. Through two workshops, the artist Clara Moreno Cela shows the public the process of her research on the identity of Madrid. In order for everyone to enjoy this activity, the first day is aimed at families, and the second and third days are aimed at teenagers and adults.

During the two get-togethers we will explore our relationship with the city through music, performance and games in workshops that aim to be a reunion with other people, and is also outdoor fun that makes the most of our terrace. A Chotistón to commemorate the festivities and traditional festivals – called verbenas – that are celebrated on these particular days. A celebration that also belongs to Móstoles – the 2nd of May – that has given us our name; a festivity we want to partake in as spring awakes.

On the first two mornings of May, we’ll create a show-gift to the city we live in. We’ll consider Madrid as a subject to pay tribute to through music, a show, a form of scripted madness. Madrid’s identity will be looked at from a folkloric and playful point of view during a two-day workshop, the result of which may be presented – time permitting – to friends and family.

1st MAY: 10:00 –14:00h | 2st MAY:10:30 – 13:30h

Workshop by Clara Moreno Cela.

Clara Moreno Cela (1993, Madrid) is the daughter of woman who is a bookseller, artist and cultural mediator. Her work bounds between drawing, performance and music, and she loves using literature as a starting point for the creative process. Her solo musical project, called Clara te canta (Clara Sings for You), brings all her passions to light in a straightforward punk way. She likes producing pieces using everyday things and pours her energy into thinking about the function of intuition in Art, the relationships between different species, and supermarket conversations.

Type of activity
Dates
1st and 2nd of May (mornings)
Temas
Acceso notas adicionales

Capacity: 15 people

Entradilla

In May several birthdays are celebrated in Madrid, and we are going to make a gift-tribute to our region. Through two workshops, the artist Clara Moreno Cela shows the public the process of her research on the identity of Madrid. In order for everyone to enjoy this activity, the first day is aimed at families, and the second and third days are aimed at teenagers and adults.

Categoría cabecera
Chotiston adultos
THE CHOTISTÓN. NEO-ZARZUELAS FOR SPRING IN MADRID
Pie media

Fotografía: @Raume116

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Duration
The workshop lasts 2 days

Last spring we started a workshop for all kinds of bodies which, at the same time, have had all kinds of experiences on dancefloors, parties and festivals. The proposal consists in practicing in trios a series of classic dances for two. We will try to imagine what it is like for three people to dance a tango, a pasodoble or any other dance step. Perhaps it will be much more difficult to follow the rhythm and the steps, but maybe in doing so we will discover new ways of moving.

Tania Arias Winogradow is a dancer, choreographer and now a mother. She works collaboratively with other artists and continues looking for allies to improve her Russian.

Type of activity
Dates
14 April - 26 May 2020
Intended for
Inscripción
-
Temas
Entradilla

A workshop for all kinds of bodies which, at the same time, have had all kinds of experiences on dancefloors, parties and festivals. The proposal consists in practicing in trios a series of classic dances for two.

Galería de imágenes
Taller de baile impar. Sue Ponce
Taller de baile impar. Sue Ponce
Taller de baile impar. Sue Ponce
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Taller de baile impar. Sue Ponce
Taller de baile impar. Sue Ponce
Taller de baile impar. Sue Ponce
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