Attendance open and free while places last

Attendance open and free while places last

The Artists in Residence programme is organised jointly by La Casa Encendida and CA2M with a mandate to support artistic creation and research centred on performative work with the body.

Artists in Residence ties in with the core programming of LCE and CA2M, and for this reason particular emphasis will be given to project that engage best with the two art centres’ main lines of research and experimentation. Artists in Residence also aims at striking up a dialogue between artists and the main agents associated with the art centres and their respective programmes.

The residency has a maximum duration of eight weeks at LCE and CA2M. The times and work spaces will be agreed in accordance with the needs of the individual project and in function of the availability of spaces at the art centres.

The residency comes with a fee of €2000 (taxes included).

The seven (7) shortlisted projects will be made public on 21 December 2016.

The residency is open to:
Artists working on the boundaries of art, searching for forms to make its conventional limits more permeable.

Dates:
The call opens on 4 November at 12:00 noon (gtm+1) and closes on 25 November 2016 at 8:00 pm.

Requisites for project:
The call is open to projects involving research into production, with a particular focus on those exploring the boundaries and limits of accepted art disciplines, breaking down the conventional distinctions between dance, performance, and theatre.

Applications: to apply for a residency, you must fill out and return the form together with a résumé (max 1 page) and a project brief (max 6000 characters). Support material such as links to videos, webpages, etc., may also be included. Projects will be accepted in Spanish or in English.

Jury:
Esperanza Collado, artist
María Eguizabal, public activities, CA2M
Victoria Gil-Delgado and Carlos Granados, education team, CA2M
Begoña Hernández, performing arts coordinator, LCE
María Jerez, artist
Pablo Martínez, head of programming, MACBA
Beatriz Navas, head of audiovisual and performing arts, LCE

Diffusion:
LCE and CA2M reserve the right to diffuse the shortlisted projects via the media they consider appropriate.

Confidentiality:
LCE and CA2M guarantee the confidentiality of the documentation sent for the purposes of this call. LCE and CA2M guarantee compliance with the content of Law 15/1999, dated 13 December 1999, with regards the protection of personal data provided and covered by the application of the aforementioned law.

Enrolment form: Link to form

For additional information send an email to: [email protected] or to [email protected] with the subject Artistas en residencia 2017.

Fechas texto cabecera
2017
Intended for
Entradilla

Artists in Residence ties in with the core programming of LCE and CA2M, and for this reason particular emphasis will be given to project that engage best with the two art centres’ main lines of research and experimentation. Artists in Residence also aims at striking up a dialogue between artists and the main agents associated with the art centres and their respective programmes.

Categoría cabecera
Artistas en residencia 2017
ARTISTS IN RESIDENCE 2017
Collaborate
Type of Thinking / Community
Temas Pensamiento
Ocultar imagen principal
Desactivado
¿Es un ciclo?
Desactivado

With a mandate to support artistic creation and research centred on performative work with the body, the Artists in Residence programme is organised jointly by La Casa Encendida and CA2M.

Acento is a three-day seminar in which the projects carried out during the Artists in Residence programme in 2015 will be presented in public. The idea is also to offer a forum where the artists chosen for the programme in 2016 can meet the artists who have just passed through the experience in 2015. Over the three days the two organising institutions wish to focus on a rethinking of artistic production using the body, understanding it as a social body and as a political construct that produces knowledge from the sentient.

The artists chosen in 2015 were: Alejandra Pombo, Ignacio de Antonio, Los bárbaros: Miguel Rojo & Javier Hernando, Marisol López Rubio, Poderío vital, Silvia Zayas and Terrorismo de autor.

The artists chosen in 2016 are: Lilli Hartman, Gérald Kurdian, Norberto Llopis, Julián Pacomio , Claudia Pagés, Quim Pujol and Silvia Ulloa.

Admission in CA2M is free until reaching capacity.

Fechas texto cabecera
10, 11 and 12 february, 2016
Intended for
Entradilla

Acento is a three-day seminar in which the projects carried out during the Artists in Residence programme in 2015 will be presented in public. The idea is also to offer a forum where the artists chosen for the programme in 2016 can meet the artists who have just passed through the experience in 2015.

Subtítulo
SEMINAR SHOWCASING THE 2015 ARTISTS IN RESIDENCE PROGRAMME
acento 2016
ACENTO 2016
Type of Thinking / Community
Temas Pensamiento
Ocultar imagen principal
Desactivado
Duration
3 sesiones
¿Es un ciclo?
Desactivado

This year the Call for Artists in Residence received a total of 280 projects, a slightly higher figure than last year. We would like to thank all those who responded to our call for their interest and for sending their projects.

The artists chosen for the Artists in Residence programme for 2016 are:

- Lilli Hartmann and Pablo Durango with the project: Welcome Home
- Gérald Kurdian with the project: TRKTV
- Norberto Llopis with the project: The Capitalist (El Capitalista)
- Julián Pacomio with the project: Espacio Hacedor
- Claudia Pagés with the project: Columna/Garganta
- Quim Pujol with the project: El Dr. Mabuse contra Gloria Gaynor
- Silvia Ulloa with the project: Atlas

The Artists in Residence programme is included as an integral part of the annual programming of La Casa Encendida and CA2M. To this end, the chosen projects are those which best respond to the two art centres’ main areas of research and experimentation. As such, Artists in Residence is not aimed exclusively at funding production but rather it is viewed as an opportunity to strike up a dialogue between creators and the agents working with the two art centres and their respective programmes.

For further information please contact us at: lacasaencendida@montemadrid.es or at actividades.ca2m@madrid.org

 

Fechas texto cabecera
2016
Intended for
Entradilla

This year the Call for Artists in Residence received a total of 280 projects, a slightly higher figure than last year. We would like to thank all those who responded to our call for their interest and for sending their projects.

Artistas en residencia 2016
ARTISTS IN RESIDENCE 2016
Type of Thinking / Community
Temas Pensamiento
Ocultar imagen principal
Desactivado
¿Es un ciclo?
Desactivado

This year’s projects focus on research, process and a questioning of the limits of performance.

Artists in Residence is conceived in conjunction with the programming of La Casa Encendida and CA2M. For this reason, the chosen projects dovetail with the two art centres’ policies of research and experimentation. As such, Artists in Residence is not conceived exclusively to fund production, but rather it is viewed as an opportunity to strike up a dialogue between artists and the agents associated with the two institutions and their respective programmes.

The projects chosen for the Artists in Residence 2015 programme are:

Alejandra Pombo. It’s Called Listen is a film based on a performative process in which the artist is both creator and performer of the work. The film is like an odd combination of Woody Allen and Chaplin, yet taken as a whole it is completely different, as the artist is in the image instead of activating it. Using a home camera, without a script or film crew to ensure the freedom and independence to make the most of the circumstances and the possibilities of the moment, the film was conceived as a succession of images and actions that explore a narrative through various layers of reference that intertwine around the basic formal idea of the hole. A hole is an opening that enables a subjectivity to arise in relation to the different. When there is a hole, there is something waiting to emerge. When a hole moves, a surface is invented. "I want to turn a film into a sieve as a kind of opening that strengthens the transformation of the relationship between the spectator and the film that we are used to."

Alejandra Pombo

Ignacio de Antonio. Unperformanceaperformance is research in progress in the form of a series of performance pieces. Its goal is to explore how performance, or performativity, operates in the relationships between body, space and time inasmuch as a social mechanism. It poses a number of questions, in the guise of a suite of pieces, developed through critical practice, where the work asks questions about performance, the theatricality of ‘the real’ and practice as art research. Underlying the whole process is the question of our unavoidable condition as spectators.

Ignacio de Antonio

Los bárbaros: Miguel Rojo & Javier Hernando. We are born into a political model that, now that the twentieth century is over, seems set to be profoundly fixed throughout the rest of our lives. Those of us who were born more recently did not live through the rise and fall of the great socio-economic movements: neither fascism nor communism. We were born, grew up, reproduced and will possibly die under the same political system. Our era is not sufficiently agitated. With the collapse of ideologies, all we can do is bring into question governmental bodies, which in turn are bound hand and foot to undertake their mission of governing. We march to the drum of the economy. How can we break down the solid pillars of a political model? Who builds them, an

Los bárbaros

Marisol López Rubio. Las palabras y los cuerpos: My Favorite Things is a process of performative research into the philosophy of language applied to the stage. It wishes to come up with practical responses to questions on the uses, affects and games of language, and to analyse representation, speaking, classification, change and play as possibilities of language and to then transfer them to the stage, translating them into theatrical language. And it wishes to bring into question the role and position of the body within this process. It wants to rename everything from the body, to discover the affects of language in space, to overstep the limits of the possible of what we can name with words. www.ololoololo.com

Marisol López

How to directly and vehemently shit, musically speaking, on all that is supposed to be inherent to living but which strikes us as limiting as living beings.  Poderío vital presents mecagüen (the I-shit-ons)
Poderío Vital. Oscar Bueno & Itxaso Corral

Listen to audio

 

PODERÍO VITAL

Silvia Zayas. El puente de Farim no existe is a performative piece that explores the fictions of the former Portuguese colonial empire and the relationship of one of the former colonies with current capitalism. Mixing fiction and documentary, it weaves a mechanism that is based on a kind of choreography that mixes light, sound and editing, opening up narratives to the future and even science fiction. It is based on an anecdote about a bridge in the province of Farim (Guinea-Bissau) where fiction is mixed with reality, through a radio broadcaster known as María Turra.

This work is part of a body of research, already including a series of previous works like Ballets Roses, São Tomé Revisitado or Pêro Escobar vs. Elvis Presley, into Portuguese colonialism which was undertaken from the point of view of family memory, but which aspires (never) to be chained to it. The familial quality of this series of works is just the spark to ignite performative and audiovisual works somewhere between fiction and documentary. "I’m not only interested in historical research, and a search for precarious or absurd connections with the present, but at once I am looking for ways of taking documentary to different performative mechanisms for working in a time and space shared with spectators (something that film does not apparently allow)".

Terrorismo de autor. The Terrorismo de autor collective will be working on a hybrid piece, an "overflow of the screen" that requires transferring its audiovisual (documentary, advertising, essay) practice as well as its own referential universe through performative bodies and mechanisms that relate and confront the very space of representation with the public. The body of the piece and the experience proposed to the spectator are conformed of three dimensions. A shift from the anaesthesia of the Spectacle, which colonises revolutionary territories and imaginaries, passing through its collapse due to the acceptance of suffering and humiliation inflicted by the mass media and working conditions, until arriving at the emptiness where determination is possible: collective delirium and the subsequent abolition of representation.

Terrorismo de autor is an anonymous-delirious collective founded in 2012. Their audiovisual pieces with a political and social character propose an aesthetic and ideological remake of May 1968 in the present moment. Combining humour, virality, activism and nouvelle vague, they engage in revolutionary actions that are neither violent nor pacific, but creative.

TERRORISMO

Artists in Residence is a joint programme funded by La Casa Encendida and CA2M. Its goal is to support creation within the field of dance and work with the body from other disciplines, offering artists space to experiment and to present their proposals.

Artists in Residence is conceived to complement the programming of La Casa Encendida and CA2M. Therefore, the projects that best respond to the two centres’ policies of research and experimentation will be taken into consideration. This programme is not solely aimed at funding production, but instead is an opportunity to strike up dialogue between artists and the agents working with the two institutions and their respective programmes.

Fechas texto cabecera
2015
Intended for
Entradilla

Artists in Residence is conceived in conjunction with the programming of La Casa Encendida and CA2M. For this reason, the chosen projects dovetail with the two art centres’ policies of research and experimentation. As such, Artists in Residence is not conceived exclusively to fund production, but rather it is viewed as an opportunity to strike up a dialogue between artists and the agents associated with the two institutions and their respective programmes.

Categoría cabecera
Artistas en residencia 2015
ARTISTS IN RESIDENCE 2015
Type of Thinking / Community
Ocultar imagen principal
Desactivado
¿Es un ciclo?
Desactivado

Artists in Residence is a joint program by CA2M and La Casa Encendida. Its goal is to support creation by dance artists and other artists working with their body. The program offers artists spaces to experiment, to think and to present their proposals.

Acento is a program linked with a Artists in Residence. Projects carried out during 2013 stays will be resented and a meeting space with 2014 artists will be created. Both institutions want to stress the reflection resulting from artistic production that happens through the body. Body is hereby understood as social body, as a political construction that that transforms sensitivity into knowledge.

Artisits selected in 2013 were: Elisa Arteta,  Cristina Blanco, Pablo Esbert, Carmen Fumero, Martín Llavaneras, Cecilia Lisa Eliceche, Elpida Orfanidou and Juan Perno,  Ángela Peris, Jesús Rubio Gamo and Navidad Santiago.

Admission free while seats are available.

PROGRAMMING

THU 13 FEB IN LCE

20.30h. Building Ropes, by Carmen Fumero

This is a journey made with sensations. Two people relate with each other using intuition represented by their hands, able to express desire and impulse. Sometimes they feel a spontaneous and intuitive need to follow the same direction; sometimes guiding is their objective, and some others they let themselves go. The hands answer the need to recover that emotion. As a result, a past sensation.

Carmen Fumero has carried out several solo projects, among which a work from 2011, with the support of Laura Kumin and Daniel Abreu stands out. In 2010 she received a residence grant in Teatros del Canal through Madrid Choreographic Contest, and that is when she creates her first big format work, Irony, which opened at Teatro Pradilo in 2011. In 2013 she received two choreographic residences, one in Teatros del Canal and another one in La Casa Encendida.

http://carmenfumero.blogspot.com.es/

21.30h. SuperFicials, by Navidad Santiago

This work is a reflection on matter’s communication capacity, starting from elemental particles until reaching human behavior. Because behind modern science, behind fractures and unions, behind love and unease, behind social change, poetry and fiction, our behavior patterns convey the conduct of the most essential matter, of the most superficial matters.

Navidad Santiago (Madrid, 1975) holds a Sociology degree by the UCM. Madrid; a post-graduate degree in Political History by Palachejo University. Olomouc. Chec Republic, and a degree in Classical Dance by África Guzmán, SCAENA, Madrid Dance Center.

FRI 14 FEB IN CA2M

19.00 h. Elpid’arc, by Elpida Orfanidou and by Juan Perno

Elpida Orfanidou and Juan Perno decide to plunge into an impossible adventure: to copy and recreate one of the most important works of the history of cinema, the silent movie La passion de Jeanne d’Arc (1928) directed by C.Th.Dreyer and featuring María Falconetti as main actress. Elpid’arc is a film-performance where cinema and theatre become an alchemical solution. The unexpected encounter between mysticism, everyday life and sense of humor makes this work fascinating.

Elpida Orfanidou (Greece, 1981) is a Greek choreographer and performer; she studied dance and performance in Athens, Arnhem, Montpellier and London. She has created several solo projects that were gathered in “One is almost never”. She has worked with Herman Heisig (United States) and Juan Perno ( Elpid’arc). As a performer she has worked with Gui garrido, Tim Etchells, Mahela Rostek and Meg Stuart among others.

Juan Perno (Madrid, 1980) holds a degree in Philosophy (UAM Madrid) and a PhD in Aesthetic, Photography and Audiovisual Communication (Fine Arts College. Universidad Politécnica of Valencia). He has been a teacher of real and live cinema and video in several centers. He worked as a creative director of digital advertisement in Italy for four years. At the time he works in projects mainly focused on appropriation in different fields such as video, photography and theatre. Elpid'arc is his last work. It’s a co-production between HAU Theatre Berlin and the Onassis Foundation in Athens, together with La Casa Encendida and CA2M.

http://www.juanperno.com/

http://vimeo.com/elpidaorfanidou

20.30h. Vortex agitator, by Cristina Blanco

Vórtex agitator is Cristina Blanco’s brand new project. Starting with the wish to work with different genres (cinema, opera, theatre, musical, etcetera…) the artist researches on each genre’s conventions in order to question their rules and to surprisingly combine them. A live collage of genres that talk to each other and break their own codes, questioning their own nature and playing at changing the rules. Why do we associate a symphonic orchestra playing dissonant music with a scary movie? What happens if the credits at the end of a James Bond movie have a background of traditional bagpipe Galician music? How do E.T. and a bishop live together in the Far West? What about a Sevillana dancer and a ninja fighter in a spaceship?

After getting a degree in Mime Theatre by RESAD, Cristina Blanco works as an actress in several theatre companies. She gets interested in dance and follows a few workshops, plays different roles in a few short films and sings in a few bands. In 2004 she creates her first solo project: cUADRADO_fLECHA_pERSONA qUE cORRE (square, arrow, person who runs). In 2006, she creates caixa preta_caja negra together with Brazilian choreographer Claudia Müller. In 2008 she opens The Nevestarting Story, a project by Cuqui Jerez, María Jerez, Amaia Urra and Cristina Blanco. In October 2009 she opens The Croquis Reloaded in Madrid, a work by Cuqui Jerez with Cristina Blanco. In September 2010 she features TELETRANSPORTATION installation/piece created for Mapa festival, and in October she opens ciencia_ficción (science-fiction), a solo chat-process-blog-concert.

http://www.tea-tron.com/cristinablanco/blog/

SAT 15 FEB IN LCE

17.30h. Impermanence, by Elisa Arteta

The artist proposes a corporeal, visual and sound experience that refers to constant change and no-return. The artist’s movements are limited in this situation and she needs to adapt her body to a new habitat. When time passes by, a well-defined trail is left behind which becomes the memory of what happened there. Meanwhile the audience can freely walk around the installation and choose the duration of their experience.

Elisa Arteta is a dancer in the broad sense of the term. Her work shows many layers and interests, ranging from video camera use, to proprioception study or the search of ways to integrate different themes on stage. At the moment she questions the intentions of a body that is displayed on stage and the meaning of the concept of choreography itself. She always looks for very different contexts to present her work. http://elisaarteta.com/

18.30h. Sound-sensing the space, by Ángela Peris Alcantud

This work is about inventing a new sound reality. This reality exists and it’s right here, around us. In order for this world to come into light, it needs to be vibrated, told, noted down, whispered, broken down, played and displayed. The idea of sound-sensing results from the need of creating movement through sound. Our own imagination or an external factor (all the sounds around us) could be creating this sound. In both cases and both through the internal and the external sound, sentences are created with the body and the voice that finally become a rhythmic score, a piece of sound and movement. Sound-sensing means to experience sound islands that together make a noisy and invented archipelago.

Ángela Peris Alcantud holds a degree and a master in Audiovisual Communication; she studied choreography and dance in Martha Graham School and Dance Space Center (now DNA), New York; in SNDO, School for New Dance Development, Holland, and in Institut del Teatre, Barcelona. Her work is a quest for a meeting point between movement, voice and thought. Together with artist Alma Söderberg, in 2012 she created ALLES, a piece designed for children. Also, since 2011 she works as a collaborating artist in Yehudi Menuhin Foundation in Spain, as part of the Mus-e program, art for coexistence. http://angelaperis.blogspot.com.es/

20.00h. The rape of Europa (2013 - ad infinitum), by Jesús Rubio Gamo.

Searching for a subjective-collective non-historical memory

Jesús Rubio Gamo aims at creating a meeting point in Madrid city with the goal of building a collective memory that is both subjective and emotional. A "memorial emotional and dramatic monument" would be created to be shared with others through samples of this very monument and additional activities (such as round tables and debates) revolving around this process.

Jesús Rubio Gamo (Madrid, 1982) holds a Master in Performing Arts and Visual Culture by Alcalá de Henares University and Reina Sofía National Museum, 2011-2012. He is a play-wright. Co-author of texts presented by the Sala Cuarta Pared, Madrid, in 2010 "White Night" event; guest choreographer, Spanish representative in Das 6 Tagen Rennen International Festival. Creation of a piece with residence in Pact-Zollverein, Essen. Shows in Madrid, Lucerne and Essen. German-Spanish-Swiss co-production, 2010.

http://www.jesusrubiogamo.com/

21.30h. Going nowhere together, by Pablo Esbert

Going nowhere together is performance that seems to be a concert, a ritual that seems to be a ballet solo, and a collective experience that seems to be a show. During two months I have invited other artists, friends, relatives and strangers to spend a day with me; a day to share physical and sound practice, to reflect and discover together going nowhere.
http://goingnowheretogether.wordpress.com/

Pablo Esbert Lilienfeld creates his own theatre and audiovisual works since 2005. He closely works with Alessandro Sciarroni and with other European choreographers. At the same time, he works as a musician and video-creator. He studied Audiovisual Communcation in Universidad Complutense, Contemporary Dance in RCPD and music in the Creative Music School.
www.pabloesbertlilienfeld.com

Fechas texto cabecera
13rs, 14th y 15th february 2014
Intended for
Entradilla

La Casa Encendida and CA2M want to stress the reflection resulting from artistic production that happens through the body. Body is hereby understood as social body, as a political construction that that transforms sensitivity into knowledge.

Subtítulo
JORNADAS /MUESTRA DEL PROGRAMA DE ARTISTAS EN RESIDENCIA 2013
Categoría cabecera
Acento 2014
ACENTO 2013
Más información
Collaborate
Type of Thinking / Community
Temas Pensamiento
Ocultar imagen principal
Desactivado
¿Es un ciclo?
Desactivado

 

DIRECTED BY CARLOS MARTÍN

It is paradoxical that the books featuring selections from an art collection, collection books, become in turn collectable books, objects that sit on shelves in offices or adorn boardroom tables with the reassuring heft of the coffee table book. Does it make any sense to maintain a format that simply serves to add a coat of intellectual varnish to the culture of luxury? Does it make any sense to perpetuate its fetishistic, untouchable, priceless, reserved and illegible aura?

DIDDCC opens again as a space for study and research into the CA2M and ARCO collections and the development of critical strategies for working with and publicising them. This year, DIDDCC, with Carlos Martín at the helm, will question the various factors behind the publication of contemporary art collections, both public and private; will take a look at the canons and dogmas operating in this particular field; and will propose a space for research that can give rise to open proposals, issues and lines of work which can then be implemented in the upcoming publication of the CA2M and ARCO Collection, due for 2018.

Can a necessarily closed format be made compatible with an open-ended collection in constant growth? Are there any germane distinctions between a public collection and a published collection? Is it possible to write about a specific artistic proposal without, in the process, neutralising its potentials? Is it possible to conceive a radically open book? A collection must publish its contents and the interpretive keys to them, but, does it also have to publish its complex and often controversial origins and formation? These are some of the issues we wish to explore in DIDDCC, in which the confluence of collection and publication will activate various different vectors: research into and curating of the collection’s holdings, writing (style, codes, theoretical approach, potential public, issues of authorship), editing, registering and cataloguing of the artworks, graphic design and strategies for the diffusion of contents.

The participants will have access to the study of the collections, meetings with the staff at CA2M, with artists and other agents in today’s artworld in order to research the various aspects involved and to set out case studies. DIDDCC invites postgraduate, master and doctorate students in Art History, Fine Arts, Humanities and Communication to take part.

Confirmed guest participants:

David Armengol (Freelance curator).
Àlex Gifreu (Graphic designer. Best of European Design and Advertising 2016).
Lola Hinojosa (Head of Performative and Intermedia Arts Collection. Museo Reina Sofía).
Carolina Martínez and Clemente Bernad (Editorial Alkibla).
Rosario Peiró (Director of Collections. Museo Reina Sofía).
Sergio Rubira (Creator of DIDDCC and Deputy-director of Collections and Exhibitions at IVAM).
Isabel Salgado and Óscar Pina (‘La Caixa’ Collection).
Manuel Segade (Director of CA2M).

Enrolment from 15 January to 12 February. The list of selected participants will be announced on 16 February

Fechas texto cabecera
2ND MARCH - 15TH JUNE 2018/ 16:30 - 20:30H
Intended for
Entradilla

This year, DIDDCC, with Carlos Martín at the helm, will question the various factors behind the publication of contemporary art collections, both public and private; will take a look at the canons and dogmas operating in this particular field

Subtítulo
LAS RELIGIONES DEL LIBRO (O CÓMO NO HACER OTRO CATÁLOGO PARA SERVIR CAFÉ) HACIA UNA PUBLICACIÓN DE LA COLECCIÓN CA2M Y ARCO
Categoría cabecera
DIDDCC
DIDDCC 2018
Type of Thinking / Community
Temas Pensamiento
Ocultar imagen principal
Desactivado
¿Es un ciclo?
Desactivado

Signalling a context before an extract is an action of configuration, an exercise in emergence. This dynamic validates propositions where actions, gestures and statements are read and recognised from the legibility facilitated by that which argumentative doxa calls “context”. However, the material condition of these same elements enables us to uncover other ways of speaking of a context. A novel that begins, like the title of Una novel que comienza the only book by Macedonio Fernández published while alive, is a statement of a beginning and conditions the movement of reading and the reception of a story. This plural and subjective narration throws light on various forms of partaking in a context. Diego Vecchio, Alejo Ponce de León, Karina Peisajovich, María Moreno and Pablo Schanton will rethink some of the “living materials” with which Argentinian art arrives at different works and positions. The sole intention of breaking down this stock of materials in first person is to share ideas about the keys to participation; fields of relationships in which art hinges around the idea of community, literature, music, the construction of the artist and the productive surplus value that emerges through affectivity.

PROGRAMME

16:00: Presentation by Mariano Mayer
16:30: Diego Vecchio
17:00: Alejo Ponce de León
17:30: Karina Peisajovich
18:00: María Moreno
18:30: Pablo Schanton

Curated by Mariano Mayer

Admission free

Fechas texto cabecera
18th February 2017
Intended for
Entradilla

A novel that begins, like the title of Una novel que comienza the only book by Macedonio Fernández published while alive, is a statement of a beginning and conditions the movement of reading and the reception of a story. This plural and subjective narration throws light on various forms of partaking in a context. Diego Vecchio, Alejo Ponce de León, Karina Peisajovich, María Moreno and Pablo Schanton will rethink some of the “living materials” with which Argentinian art arrives at different works and positions.

Subtítulo
DISCURSIVE PROGRAMME ON ARGENTINIAN ART
Categoría cabecera
Una novela que comienza
A NOVEL THAT BEGINS
Type of Thinking / Community
Temas Pensamiento
Ocultar imagen principal
Desactivado
¿Es un ciclo?
Desactivado

Images occupy a privileged position in the whole framework of fictions, gestures and actions that make up our daily reality. Deliberately arranged, manipulated and shared, they have become undisputed agents that operate beyond the territory that, since modernity, has been defined as aesthetic –and which the Art Institution has inherited. For its affective capacity, its maddening traffic, its connection with the bodies, this issue of Re-visiones not only invites to critically rethink the whole field that the digitalisation of the world has put into circulation, but also to put spatial and temporal strain on concepts that are today thought ‘undercommons’ with others that have concerned us in moments of struggle with the public sphere or the popular, all that broke out in the great hope of the ‘cultural revolution’. We welcome articles that prompt to think of the discontent that underlies the forms of culture required for any community yet to come.

 

Receipt of original texts: 1st June 2017 (call closed)

Fechas texto cabecera
2017
Intended for
Entradilla

For its affective capacity, its maddening traffic, its connection with the bodies, this issue of Re-visiones not only invites to critically rethink the whole field that the digitalisation of the world has put into circulation, but also to put spatial and temporal strain on concepts that are today thought ‘undercommons’ with others that have concerned us in moments of struggle with the public sphere or the popular, all that broke out in the great hope of the ‘cultural revolution’.

Subtítulo
POLÍTICA DE LAS IMÁGENES, FICCIONES DE LO COMÚN
Categoría cabecera
RE-VISIONES 2017
RE-VISIONES 2017
Type of Thinking / Community
Ocultar imagen principal
Desactivado
¿Es un ciclo?
Desactivado

The Convention on the Use of Space is a legal instrument drawn up in the Netherlands between March and May 2015 as a response to the housing crisis: the lack of affordable housing, the absence of provisions for the undocumented, rising rents, and the criminalization of squatting. The Convention considers space as a “good” that should not be privatised for profit or be left empty simply for speculative purposes and it lists the uses in which squatting should be protected, like providing free health services, sharing knowledge and skills, occupying space in protest, for housing purposes, running cooperative systems for wealth and labour distribution, providing mental and physical support, or the taking of space in order to protect it from environmental destruction.

In June and September 2016 we are organising a series of public meetings in various spaces in Móstoles and Madrid in which the Spanish chapter of the Convention will be prepared. Paying special attention to the historic genealogy of the issue of housing in Spain and the subsequent development of legislation, the meetings will feature keynote speakers and will encourage the public to take part in drafting this legislation from the perspective of different movements. A translated version of the Convention on the Use of Space will be read during the meetings, after which it will be discussed and modified in close collaboration with local groups of activists, legal experts, lawyers and the general public. The meetings will be open to the public and all those interested in issues related with the use of space. To receive more information on the Convention and on the times and venues of the meetings, join the mailing list on actividades.ca2m@madrid.org

Between April and May 2016, a number of meetings were held at Cuarto de Invitados to work on the convention and its translation. These meetings, which included a small group of participants, examined the ways in which the convention is expressed, the implications of the language used, and the issues involved in translating it. In addition, based on the material compiled during each meeting, there was a shared reflection on the various concerns raised by the document in question. The first meeting was held on 23 April at El Cuarto de Invitados (Calle Mesón de Paredes 42, 2ºA, Madrid) from 11:00 to 14:00 and from 16:00 to 18:00.

UPCOMING MEETINGS

WED 7 SEPT - ESKALERA KARAKOLA 19:00 - 22:00 (Calle de Embajadores, 52 Lavapiés, Madrid)
Article 12: If a space is occupied, how are the uses of that space decided?
In this session we will be taking a look at the Article dealing with issues of mediation and arbitration. If spaces are assigned in response to the principles agreed in the convention, how should they be assigned? How can disputes arising in these spaces be resolved?

The previous version of the convention underlined several questions and scenarios in relation with arbitration:

- If an empty space is occupied, how are the uses of this space decided?
- Are there uses in Spain that should be considered more important than others? Why?
- Are there successful experiences in assembly/collective decision-taking processes that can help to shape the structure for arbitration in relation to the convention?
- Or, should the convention be merely a document without rules for arbitration? If this were the case, how could conflicts be resolved?
- What are the possible effects of conflicts?

With the participation of:

Ana Méndez de Andés Aldama is an architect and city planner. She is currently an advisor to Madrid City Council’s Culture Department. As an architect and city planner she has worked on various landscape and urbanism projects in Amsterdam, London and Madrid and at different scales, ranging from general municipal plans to territorial strategies for the design of small urban public spaces. She has also taught city planning in Madrid and Shanghai, and has coordinated workshops and symposiums on issues such as urban commons, public spaces, strategic cartography and a radical democratic municipal project, at various universities and cultural institutes. She has taken part in research projects including Areaciega and Car-Tac, and is a member of the Observatorio Metropolitano in Madrid.

Lotta Tenhunen is an activist in the right to housing movement and a researcher.

Zuloark is an architectural infrastructure linked to the construction of open networks. Its goal is to respond to the necessity of evolving economic and entrepreneur models. Zuloark is a working platform defined as an area of proximity development, the interstitial space that exists between knowing how to do something and not knowing how to do it; it is the area where learning takes place, providing room for learning how to do something with help.

Jacobo García Fouz graduated with a degree in set design from RESAD in 2014 and produces new models and spaces for performance. He is one of the driving forces behind the community co-management project El Campo de Cebada, winner of many awards for the public space. He has created construction and design projects for stages for many theatre companies. He has also designed and built urban fixtures for different projects, collaborating with architecture and art collectives such as Zuloark.

THURS 15 SEPT - LA HIDRA 19:00 - 22:00 (Carrer de Sant Vicenç, 33 Sant Antoni, Barcelona)
Article 13: What kind of mutual support structures can guarantee the sustainability of networks?
The questions raised throughout the meeting have to do with the material maintenance of spaces, with caretaking and the possibility of generating support networks among signers of the convention. In this regard, how can we create a support network that will help to maintain housing/buildings, and how can we proportion mutual support for temporary housing? Buildings get run down if their users do not look after their maintenance, and in the majority of cases occupiers prolong the life of buildings. And while these repair and maintenance operations are normally carried out by the occupiers of the buildings, this excludes the possibility of these spaces housing people with different capacities, given the impossibility of carrying out repairs independently, and is this a problem?

Some of the questions raised:
- If the convention operates outside normative channels of external funding (bank, state or subventions), then how can the members avail of a safety net of some kind?
- What practices of sustainability/maintenance should be specified in the Convention?
- How should the mutual support be managed, what are the parameters for this support and how are they decided?

Rubén Martínez specializes in the relationship between social innovation practices, public policies and new community economies.Between 2002 and 2011 he was founder and co-director of YProductions, a company focused on the political economy of culture. He is co-author of books such as Producta50: una introducción a las relaciones entre economía y cultura (CASM, 2008), Innovación en cultura: una genealogía crítica de los usos del concepto (Traficantes de Sueños, 2009), Cultura Libre (Icaria, 2012) and Jóvenes, Internet y política (CRS, 2013). He has given papers at international symposiums and congresses on public politics and community management including Latin America Commons Deep Dive (Mexico City, 2012) and in European research groups like P2P Value and TRANSGOB. He is currently finalising his doctoral thesis on politics of social innovation at Instituto de Gobierno y Políticas Públicas (IGOP). He is also a member of Observatorio Metropolitano in Barcelona.

Manuela Zechner is a cultural activist and founder of the Future Archive project. She has a PhD in Precarity and Networks of Care in the European Crisis, from Queen Mary University of London; an MA in Visual Cultures from Goldsmiths University London, with a thesis on Subjectivity and Collectivity in Foucault and Simondon; and a BA in Fine Art Media from Chelsea College of Art. She works across relational methods (Theatre of the Oppressed, Somatics, Choreography, Writing), research methods (mapping, performative interview, co-research, militant research) and audiovisual production (radio, video). Her main projects are Future Archive (2005- ), Radical Collective Care Practices (2012- ) and the radio show The Sounds of Movement (2012- ) and Vocabulaboratories (2007-2009). She is active in various collectives, including the Nanopolitics group (2010- ), the Centre for Ethics and Politics (2011- ), the Kamion jounral (2014- ) and la Electrodoméstica (2014/15)

SAT 17 SEPT - CA2M, 11:00 - 18:00
GENERAL REVISION: A day for debating and editing the final draft of the document.


PROGRAMME OF PREVIOUS MEETINGS

7 JUN. PRIMER ENCUENTRO. CA2M
LA FORMA LEGAL
PREÁMBULO Y ARTÍCULO 1
En esta sesión se discutió acerca de la forma de la convención: ¿qué es una convención? ¿Cómo opera como documento? Además revisamos el preámbulo de la convención, sus fundamentos: ¿qué es lo que apoya esta convención? ¿Cuáles son sus principios? 

Durante esta reunión además nos centramos en el artículo primero de la convención: «Las partes de la convención». ¿Para quién es esta convención? Poniendo en relación con precedentes para este tipo de documentos como la carta de las Okupas británicas y qué es lo que se entiende por una legislación «desde abajo».

Contó con la presencia de:

Emilio Santiago Muíño. Doctor en Antropología Social. Miembro del Grupo de investigación transdisciplinar sobre transiciones socioecológicas. Fundador y activista del Instituto de Transición Rompe el Círculo. Autor de No es una estafa, es una crisis (de civilización) y Rutas sin Mapa (premio ensayo Catarata 2015).

Somateca es el nombre que agrupa a un conjunto de personas que están trabajando en torno a las prácticas crip-queer (taradas cuir) en Madrid. Desde su investigación abordan asuntos como la diversidad funcional y sexual, el cuerpo, la normatividad, los feminismos, los afectos o los deseos son algunos de los temas que vertebran el trabajo de esta constelación de personas y sobre los que investigan en diferentes proyectos que toman la forma de reflexión teórica, creación artística o acción performativa entre otras. El grupo Somateca surgió como resultado del programa de Estudios Avanzados en Prácticas críticas del Museo Reina Sofía, dirigido por Paul B. Preciado.

Eduardo Gómez Cuadrado. Licenciado en Derecho por la Universidad de Valladolid, con un Máster en Práctica Jurídica por la Universidad de Salamanca. Socio fundador de Red Jurídica Cooperativa. Abogado especializado en Derecho Penal. Trabajo en el Turno de Oficio Penal, Menores y Audiencia Nacional y en elServicio de Orientación Jurídica General del Colegio de Abogados de Madrid. Miembro de la Asociación Libre de Abogadas y Abogados (ALA), en la Comisión Defensa de la Defensa.

14 JUN. SEGUNDO ENCUENTRO. ROMPE EL CÍRCULO.
EL DERECHO A LA CIUDAD
ARTÍCULO 4
Esta sesión estuvo orientada hacia el «derecho a la ciudad» y la cuestión de la crisis de las hipotecas. ¿Cómo sería un derecho a la vivienda/ a la ciudad en España? Reescribiendo el artículo de la convención esta reunión se centró en la criminalización de las prácticas especuladoras relacionadas con la vivienda. Por ejemplo ¿cuál ha sido el impacto del Estatuto de la ciudad que ha establecido en Brasil el derecho a la ciudad? ¿Cómo podría ser una ciudad libre de una legislación hipotecaria represiva?

Contó con la presencia de:

Alberto Astudillo García, reportero gráfico especializado en fotografía social, participa también en la creación del documental La Cañada RealOtra mirada (2012). Licenciado en Ciencia Política por la Universidad Complutense de Madrid, completa su formación académica con estudios de Antropología en la misma Universidad. Miembro activista en el sector de la vivienda desde 2007, en la actualidad es concejal del grupo en la oposición Ganar Móstoles.

Eva Álvarez de Andrés, cuya trayectoria ha estado orientada hacia el objetivo de hacer efectivo el derecho a la vivienda y a la ciudad para todas las personas. Inicia Arquitectura y Urbanismo en 1989, fue socia fundadora de la ONG Ingeniería Sin Fronteras en 1991 y trabajó en el Instituto de Estudios Políticos para América Latina y África (IEPALA) al terminar la carrera. Movida por el deseo de conocer in-situ la realidad de quienes ven sistemáticamente vulnerado su derecho a la vivienda y a la ciudad en los países más pobres residió República del Benin entre 1999 y 2003, tras lo cual volvió a España para iniciar estudios de doctorado en el Departamento de Urbanística y Ordenación del Territorio (DUyOT–ETSAM–UPM), con el objetivo de profundizar en las causas de la exclusión habitacional y estudiar posibles alternativas. Desde finales de 2013 y hasta la actualidad ocupa una plaza de personal laboral en la Universidad Rey Juan Carlos. A lo largo de toda la etapa investigadora (desde 2003) he realizado varias publicaciones, todas en la línea del derecho a la vivienda y a la ciudad; desde 2010 hasta 2014 ha sido coordinadora de la Red Internacional de Estudios Urbanos sobre Ciudades del Sur (N-AERUS), y miembro del Grupo de Investigación Arquitectura, Urbanismo y Sostenibilidad (GIAU+S).

21 JUN. TERCER ENCUENTRO. TRAFICANTES DE SUEÑOS.
¿QUIÉN DECIDE LOS COMUNES?
ARTÍCULO 3
¿Quién define los procomunes? ¿Cómo se definen los bienes comunes? En este encuentro se abordó uno de los aspectos fundamentales de la convención: el valor de uso del espacio. Si pensamos en una ciudad libre de la especulación de la propiedad privada y abierta a las posibilidades de la toma colectiva de espacios ¿cómo podemos hacer estas demandas evidentes? ¿Qué sucedería si el espacio tuviese valor no tanto por su capacidad de generar beneficio como por su uso? ¿Qué sucedería si su uso fuese protegido?

Contó con la presencia de:

Miguel A. Martínez es profesor de sociología y ha participado en varios movimiento sociales. Sus publicaciones se han centrado, sobre todo, en temas urbanos y en el movimiento de okupaciones, tanto en España como en Europa. Es miembro de la red de investigación-activista SqEK (Squatting Europe Kollective).

Alejandra de Diego de Qiteria, entidad cooperativa que se rige bajo los principios de la economía social, formada por un equipo interdisciplinar de profesionales de las ciencias sociales, con amplia experiencia en investigación cualitativa y cuantitativa e intervención social, incluyendo el ciclo completo del proyecto: ideación, diseño, implementación y evaluación. Alejandra de Diego es licenciada en Antropología Social y Cultural por la Universidad Autónoma de Madrid con especialidad en análisis y diseño social urbano así como en el diseño y desarrollo de procesos participativos. Con experiencia en investigación e intervención social. Es socia fundadora y ha formado parte de la cooperativa de investigación social aplicada QITERIA donde ha participado en numerosos proyectos diseñando, desarrollando y evaluando procesos de investigación e intervención social en diversas áreas: migraciones (MENARA), prácticas cooperativas ciudadanas (COOPERLAND), alfabetización digital (PADIMM), diseño social urbano (DREAMHAMAR). Actualmente está en Medialab-Prado como coordinadora de Inteligencia Colectiva en el Laboratorio de Innovación Ciudadana investigando sobre herramientas digitales para la democracia y su aplicación en el territorio.

29 JUN. CUARTO ENCUENTRO. SOLAR ANTONIO GRILO
CRIMINALIZACIÓN DEL USO DEL ESPACIO
ARTÍCULO 2
¿Quién ha sido criminalizado y cómo ha sido afectado el uso de espacio privado/público después del 15M? A través del análisis de la ley Mordaza, sus precedentes y consecuencias reformulamos el artículo 2 de la Convención sobre el uso del espacio.

Contó con la presencia de:

Juan Carlos Mohr. Formado en Bellas Artes, en los últimos años viene desarrollando un trabajo dentro del activismo de la imagen que lo ha situado en el centro de los principales acontecimientos de los últimos años: del 15M y el movimiento de ocupación de las plazas, al movimiento antidesahucios o a la crisis de los refugiados en Lesbos y Hungría. Lejos de trabajar dentro de la lógica del fotoperiodismo ortodoxo, las imágenes de Juan Carlos Mohr dirigen una mirada políticamente situada sobre los acontecimientos, poniendo su objetivo en los lugares que habitualmente quedan invisibles para los medios hegemónicos. Para Juan Carlos Mohr además las imágenes son bienes comunes, por ello están a disposición de quien quiera usarlas bajo licencias creative commons.  Twitter, Facebook y las redes sociales son espacios de expresión y difusión de su pensamiento y trabajo.

La Plataforma ‘No Somos Delito’, formada por más de 100 organizaciones de activistas, juristas, y ciudadanía, nace con el ánimo de informar acerca del significado de la Reforma del Código Penal y Ley de Seguridad Ciudadana.  Somos una plataforma apartidista y realizamos presión institucional para que estas reformas no se aprueben, a través de todos los caminos democráticos habilitados para ello.

«Somos vecinos y vecinas. Somos ciudadanos que sueñan con una sociedad más solidaria, empática, consciente, activa y fuerte. Somos un grupo de personas unidas en contra de la reforma del Código Penal, la Ley de Seguridad Ciudadana y la Ley de Seguridad Privada».

No Somos Delito lleva más de un año denunciando la gravedad de estas reformas con las cuales se construye una justica para ricos y otra para pobres.

Más información en actividades.ca2m@madrid.org

Este proyecto fue desarrollado en conjunto con Beirut, en El Cairo y Casco, Oficina de Arte, Diseño y Teoría de Utrecht. La segunda fase del proyecto se realizá en el CA2M.

Fechas texto cabecera
2016
Intended for
Entradilla

Between April and May 2016, a number of meetings were held at Cuarto de Invitados to work on the convention and its translation. These meetings, which included a small group of participants, examined the ways in which the convention is expressed, the implications of the language used, and the issues involved in translating it.

Convención sobre el uso del espacio
CONVENTION ON THE USE OF SPACE
Type of Thinking / Community
Temas Pensamiento
Ocultar imagen principal
Desactivado
¿Es un ciclo?
Desactivado

Aimed at artists, Fine Arts students, and at anyone interested in Jeremy Deller's work.

The meeting / workshop will be run in English.

Registration is open up until the 21st of April. Download the form and send it to actividades.ca2m@madrid.org.

Jeremy Deller approaches signs, images, lifestyles and objects in order to reflect on the mechanisms and the culture that define our current post-industrial society. With a background in Art History, his methodology is not so much defined by a specific artistic procedure, but by turning observation, research and critique into his tools, premised on his curiosity.

Coinciding with the exhibition "The Infinitely Variable Ideal of the Popular", Jeremy Deller proposes a workshop/meeting where to establish a dialogue and exchange impressions on his work and his methodology, as well as to open up a space for the discussion and exchange of criteria among the participants. The artist will also lead a visit to the exhibition, as well as to the piece Sacrilege, set up at El Soto park, in Móstoles.

Jeremy Deller (London, 1966) lives and works in London. He studied Art History at the Courtauld Institute of Art, University of London. He won the Turner Prize in 2004, and in 2010 he was awarded the Albert Medal by the Royal Society of the Arts. Even though he works with a variety of media, such as video, sculpture, and visual art, his work has had an emphasis on collaborative projects, re-enactments and public art, on the basis of which he poses a reflection on post-industrial English popular culture.

Some of his most relevant projects include: Acid Brass (1997), Folk Archive (since 1999) in collaboration with Alan Kane, The Battle of Orgreave (2001), Procession (2009), and Sacrilege (2012), among others. Some of his most notable exhibitions are: English Magic for the British Pavilion at the 55th Venice Biennale (2013), the retrospective Joy in People, Hayward Gallery (2012), Carte Blanche à Jeremy Deller, Palais de Tokyo, París (2008). In a similar manner, he has developed some notable curatorial projects: All That Is Solid Melts Into Air (2013), The Bruce Lacey Experience (2012), and British Council Collection: My Yard (2009), among others. 

Fechas texto cabecera
24TH APRIL 2015 16:00 - 20:00 H / 25TH APRIL 2015 10:00 - 14:00 H.
Intended for
Entradilla

Jeremy Deller approaches signs, images, lifestyles and objects in order to reflect on the mechanisms and the culture that define our current post-industrial society. With a background in Art History, his methodology is not so much defined by a specific artistic procedure, but by turning observation, research and critique into his tools, premised on his curiosity.

Categoría cabecera
Jeremy Deller
MEETING / WORKSHOP WITH JEREMY DELLER
Type of Thinking / Community
Temas Pensamiento
Ocultar imagen principal
Desactivado
¿Es un ciclo?
Desactivado