Actividad

Actividad

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
¿Es un ciclo?
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

¿Es un ciclo?
Desactivado
Duration
The workshop lasts 2 days

The conjunction was inevitable. While Filmoteca Española (FE), jointly with the publishers Cátedra, were publishing the book La codorniz (de la revista a la pantalla y viceversa), by Aguilar and Cabrerizo, Centro de Arte 2 de Mayo (CA2M) was preparing the exhibition “Absurd Humour” and the book of the same name by the curator Mery Cuesta. To a certain extent, they were forced to get on and, as was the case in hand, “to associate together” in order to jointly imagine a shared variety show. And so, driven by the unbridled imagination of the current confinement, this double programme came about with an evident desire to strike up another equally necessary coupling: a bridge between two generations of comedians with several decades between them. Does the blood of Codorniz humour run through the veins of Chanante humour and its contemporary derivates?

FE and CA2M organized a series of events and rereadings of filmic creations that arose around the satirical magazine La Codorniz run by some of the most outstanding voices in absurd humour today. The playful, surrealist quality of the folly unquestionably runs through the veins of these proposals which, in the second programme, focus on a direct intervention in creations from the past through the optic of the present moment. While Joaquín Reyes dubs fragments of Noticiario de Cine-Club newsreels featuring intellectuals and forward-thinkers from Madrid and Barcelona in 1930, the Tono & Mihura’s “humoristic production” called Un bigote para dos [A Moustache For Two]–“a stupid film for serious people”—is given a revamp by the hands (and voices) of the humoristic practices of Juan Cavestany, Julián Genisson and Lorena Iglesias (members of the Canódromo Abandonado collective) and Venga Monjas.

CAs if they were Jardiel Poncela’s parodic overdubbings of silent movies called “celuloides rancios” now updated to the digital era, the double programme “A Moustache for the 21st Century” goes to clearly show the generational transmission of a kind of nonsense logic humour that ran through Spanish films for many decades, and which is still alive today (at least we believe so) in more contemporary humoristic practices. The connections between Tono & Mihura and Venga Monjas, or between Neville and Joaquín Reyes, emerge naturally, revealing the staying power of absurd humour as a sign of identity of Spanish culture. At the same time, Chanante humour is paired directly with its spiritual forebears, raising absurd laughter. And so to paraphrase the fairground huckster in Verbena: “Step right in [ladies and gentlemen]! Have we a just and moral show for you!”.

SESSIONS

CODORNICESCAS PRESENTATIONS | From 22 May

A whole series of audiovisual productions sprung up around La Codorniz, the most iconic satirical magazine in the history of Spanish popular culture. Today these productions are revisited (and recommended) by the researchers Aguilar and Cabrerizo and the filmmaker Carlo Padial (Algo muy gordo, 2017).

_ Verbena (1941), by Edgar Neville [31 min]. Presentation by Santiago Aguilar and Felipe Cabrerizo.
Don Viudo de Rodríguez (1935), by Jerónimo Mihura [14 min], + El corazón de un bandido (1968), by Chumy Chúmez [7 min]. Presentations by Carlo Padial.

SCREWBALL OVERDUBBINGS | From 5 June

The practice of screwball overdubbing, the audiovisual sound and image collage, is an excellent way of creating an absurd humoristic effect. Thanks to Tono & Mihura’s Un bigote para dos, their 1940 screwball film, a comedy rewriting of the dialogue of a Johann Strauss biopic, and to Jardiel Poncela and his “celuloides rancios”, these redubbings were hugely popular back in the 1940s. Today we have chosen the filmmaker Juan Cavestany (Gente en sitios, 2013) and two comedian duos, Julián Genisson & Lorena Iglesias and Venga Monjas, to revisit this vintage comic practice from Spanish culture and to make a new dubbing for Un bigote para dos. The programme is rounded off with a dubbing by Joaquín Reyes, in the style of his “Retrospecter” or “Mundo viejuno” sketches, of a newsreel directed by Giménez Caballero.

Noticiario de Cine-Club (1930), by Ernesto Giménez Caballero [31 min]. Fragment dubbed by Joaquín Reyes.
Un bigote para dos (1940), by Tono y Mihura [64 min]. Dubbed by (in order of appearance) Juan Cavestany (subtitling) / Julián Genisson & Lorena Iglesias / Venga Monjas.

Type of activity
Dates
A partir del 22 de mayo
Intended for
Temas
Acceso notas adicionales

Ciclo de cine online

Entradilla

Filmoteca Española and CA2M organized a series of events and rereadings of filmic creations that arose around the satirical magazine La Codorniz run by some of the most outstanding voices in absurd humour today.

Recursos
Subtítulo
GENERATIONAL TRANSMISSION OF ABSURD HUMOUR AND AUDIOVISUAL FOLLY
CA2M & FILMOTECA ESPAÑOLA ONLINE FILM SEASON
Categoría cabecera
Cupletista con barba en Verbena (1941), de Edgar Neville
A MOUSTACHE FOR THE 21ST CENTURY
Pie media

Cupletista con barba en Verbena (1941), de Edgar Neville

¿Es un ciclo?
Desactivado
Coorganiza
Duration
2 sesiones

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.

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Taller de baile impar. Sue Ponce
Taller de baile impar. Sue Ponce
Taller de baile impar. Sue Ponce
Taller de baile impar. Sue Ponce
Taller de baile impar. Sue Ponce
Taller de baile impar. Sue Ponce
Taller de baile impar. Sue Ponce
Taller de baile impar. Sue Ponce
Taller de baile impar. Sue Ponce
Taller de baile impar. Sue Ponce
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