actividades.ca2m@madrid.org

actividades.ca2m@madrid.org

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

Curated by Isabel de Naverán in collaboration with Escuelita.

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

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

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

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

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

 

DOWNLOAD THE PROGRAM HERE 

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

CAPACITY: 25 PEOPLE

Entradilla

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

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

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

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

«After a very long winter, you see a green parrot perched on a blossoming almond tree. You would never have seen this in Madrid not long ago, but now it’s a common sight. We don’t know how we’re going to get back on track, and one thing we’re left with is celebrating a world that’s not going to be exactly the same. There are many things, even more when celebrating is part of the process of leaving behind, and moving forward. That path that is knowing what we follow. A public place, for everyone, green, high up, free, and specific. A place like a picnic.

This programme was shaped around the theme of tradition in an intuitive way, and we say intuitively because it was not actively sought and it was not until everything had been designed that we actually recognised this fact. Tradition understood in an expanded form, placed between the material and immaterial of this moment we are living. And who says when it is and when it is no longer like that? Throughout the sessions we see the most literal translation represented by craftsmanship, by mythology and inherited customs, but we also see that this whole world is reinterpreted, remixed, subverted, and left open to the air of the tensions of today’s world. In this open sky, questions and suggestions appear about what tradition means, to be tradition but also to make and create it. To believe it. Sometimes the folkloric appears, sometimes the ceremonial. Things that we know exist but that we have never seen also appear, which, because they are part of our dreams, also belong to us. At other times, there are interpretations that are so mixed in their languages and influences that they overflow. Yet, at the same time, when overlapped they create an image in which you can recognise yourself in the background. These are very local picnics. In them, there is a continuous reference to what is part of us and what we cannot be detached from. This happens and is interspersed, and suddenly it brings us to common ground where we can be together. And there is, in all this, a moment of self-reference of what the actual tradition of the picnic is and the place that is this terrace. We want to transfer these two things to other places, to other formats and, in short, to be able to live in the different ways we have always appreciated. A terrace can also be a forest.

We have skipped a spring. This is what we thought before everything happened, now we don’t want to wear shoes. We’re telling you this because it’s true. All that remains is for us to invite you to look together with us at what is coming from what has already passed.

Curated by:

Maral Kekejian and bwelke (Juanito Jones, Lorenzo García-Andrade and María Buey)»

 

PROGRAM

  • T 27/05 | OPENING:  Javi Álvarez y Javi Pérez Iglesias; Maider López; Enrico Dau Yang Wey.
  • T 03/06 | DIRECTOS: Ylia; SLVJ; Bazofia.
  • T 10/06 | KATA GURUMA : Aitana Cordero y David Cárdenas
  • T 17/06 | EN EL AIRE: Jonás de Murias; Kike García + Jesús Bravo; Lara Brown; Eliseo Parra
  • T 24/06 | NOCTURNO: Bosque R.E.A.L y Cuqui Jerez
  • T 01/07 | 1th OF JULY: Orquesta; JASSS.

 


NOTA SOBRE EL ACCESO

  • Recuerda que el aforo es limitado, por lo que cuando realices tu inscripción, te enviaremos un email confirmándote que tienes entrada.  Una vez lo recibas, podrás pasar a recoger tu entrada en la recepción del Museo el día de la sesión de Picnic hasta las 21.15h.  Si a esa hora no la has recogido, se pondrá a disposición del público.
  • Si no puedes venir por alguna razón, por favor avísanos cuanto antes para que alguien de la lista de espera pueda ocupar tu plaza.
  • Este evento respeta las medidas seguridad y las restricciones de aforo indicadas por las autoridades sanitarias, por lo que el público estará sentado y con la distancia de seguridad apropiada.
  • Cuando vengas, por favor sigue todas las indicaciones del personal de la organización para que tanto el acceso como el desalojo se haga siguiendo las normas de seguridad.
  • Por tu bien y el de todos, si tienes síntomas compatibles con el Covid-19, no acudas al Centro.

 

cartel picnic 2021

Type of activity
Dates
27 may – 1 july
Intended for
Temas
Acceso notas adicionales

Prior registration required. Form available one week before each session. LIMITED CAPACITY: 90 people.

Entradilla

As a Picnic Society, the CA2M invites several curators each year to design a program for the terrace of the Center. Every Thursday from the end of May to the beginning of July our terrace will become a space in which we will develop a program of activities in which the physical and the sound are mixed with the educational and participatory.

Actividades asociadas
Materiales de prensa
Subtítulo
This is as far as we've come
Categoría cabecera
Picnic Session 2021
PICNIC SESSIONS 2021
More information
Audiovisual principal
¿Es un ciclo?
Desactivado
Con el apoyo de
Duration
6 sessions
Biografías

Espacio Mutante believes that the end of the school year is the perfect time to take over the museum for a whole week and to build a space where we can spend time together, where we can share and create something between everybody. For this reason we invited the artist Cristina Celada to carry out a summer workshop, where she will help us to experiment with copy-based creative strategies.

A “sweded” film is an amateur homemade remake of a blockbuster movie. In other words it is a precarious, handmade copy and at the same time—or as a direct result—it is truly creative, cheeky and independent. For a whole week we will appropriate all sorts of audiovisual referents like youtube videos, film scenes, trailers, video clips and so on in order to transform them and make a personal and transferrable adaptation.

In this workshop we will dress up, act, build sets and even, on one of the days, camp out in the museum itself. Everything it takes to create our own remake using humour and economy of means.

Enrolment free from 15 June

 

Type of activity
Dates
2 - 6 JULIO 2018
Temas
Entradilla

A “sweded” film is an amateur homemade remake of a blockbuster movie. In other words it is a precarious, handmade copy and at the same time—or as a direct result—it is truly creative, cheeky and independent. For a whole week we will appropriate all sorts of audiovisual referents like youtube videos, film scenes, trailers, video clips and so on in order to transform them and make a personal and transferrable adaptation.

Subtítulo
SUMMER WORKSHOP WITH THE ARTIST CRISTINA CELADA: CUT-PASTE-CUT
Superponer
LET’S MAKE A “SWEDED”
¿Es un ciclo?
Desactivado
Duration
16:30 - 20:30

Art. Education. Pedagogy. Learning. Unlearning. Critical exercise. Political imagination. Wet knowledge. Visionary fictions. Counter-pedagogies. The one thing that we cannot deny, or escape, is that we are contemporaries of our pedagogic processes. And pedagogy, understood as a model, is at once a project for the privatisation of thinking. There are still words that are battlegrounds, and these, more than associated with reason, speak from bodies. Inappropriate, untimely, improper, inconvenient, displaced and angry, they dwell in unease and malaise and are like flows that leak out of all pores.

 

In this workshop Mônica Hoff, through experimental games, actions and readings, invites us to dwell in the unease we feel with our pedagogic processes and perhaps from there we can boost our individual and collective potential for political and poetic action.

Type of activity
Dates
SATURDAY 9 FEBRUARY 10:00 - 14:00
Intended for
Temas
Entradilla

Art. Education. Pedagogy. Learning. Unlearning. Critical exercise. Political imagination. Wet knowledge. Visionary fictions. Counter-pedagogies. 

Subtítulo
THERE ARE WORDS THAT ARE BATTLEGROUNDS, OR: EXERCISES TO PRIVATISE THINKING
Categoría cabecera
Lindes
LAS LINDES: WORKSHOP WITH MÔNICA HOFF
¿Es un ciclo?
Desactivado

The notion commonly built around current art and its creators usually appears as linked to the discourse spread by mass media. Therefore, it is perceived as a legacy of a romantic ideal and modern paradigm which conceive art as autonomous. But artistic production created under aesthetic and thought paradigms since post-modernity has given up on the autonomy of the artistic object and is starting to look beyond the traditional conception of Art: it is related to its environment and deals with other current actors to build a discourse. 

In Looking at the present. Seven sessions to think about current art, we will have theoreticians and artists analysing, along with some of their proposals, subjects that affect in depth the way we perceive ourselves in the late-capitalist context: our shared past, our role as spectators-citizens, the way we relate with authority or the influence of the institutions on ways of life are only some of the debates’ starting points. This way of thinking with objects and art images may be the only possible approach to find out about its dialectical capacity as well as its capacity for agency. So that, in the end, we’ll see the way art lives amongst us as a manner of looking critically at the present. 

The CA2M offers a number of training activities in contemporary art and philosophy as part of its public education programmes specifically designed for young people and adults.These courses offer a clear and concise insight into some of the basic concepts for understanding and interpreting contemporary art. The activities are divided into two parts: the first part consists of the introduction of a theme by a guest speaker, who in the second part opens the floor to a discussion involving the participants.This seven-session course will be completed by a tour to the exhibition Before everything.

WED 20 OCT
Course Presentation and Introduction
Pablo Martínez. Head of Education and Public Activities.
Ferran Barenblit. CA2M director

WED 27 OCT
Yayo Aznar, PhD in Art History, is currently teaching as a tenured professor in the Art History Department of the UNED University in Madrid.
Amongst her publications, some books like El cauce de la memoria. Arte en el siglo XIX (Madrid, Istmo, 1998), Arte de acción (Madrid, Nerea, 2000), La memoria pública (Madrid, Universidad Nacional de Educación a Distancia, 2002), El Guernica (Madrid, Edilupa, 2004) or La memoria compartida. España y Argentina en la formación de un imaginario cultural (Buenos Aires, Paidós, 2005) are particulary worth pointing out. In addition, she is co-manager with Javier Hernando Carrasco of the collection Arte Hoy, published by Nerea’s publishing company.

WED 3 NOV
Dora García (Valladolid, 1965) is an artist focused on dismantling conventions and codes of conduct in particular those between the artwork, the artist and the spectator by use of performance, or an unusual treatment of the exhibition space.

WED 10 NOV
Pablo Marte (Cadiz, 1975) works with videos playing with its fictionality and facing it to reality. In his work, we can also sense a political concern captured by his treatment of the relation between body and space.

WED 17 NOV

Since the mid-sixties, Isidoro Valcárcel Medina (Murcia, 1937) is a conceptual artist who has been questioning, through his work, the status of the artwork and its aestheticized value as well as the institutional frameworks where it takes place. His practice goes from experimental poetry, music and mail art to film, performance or sound intervention.

WED 24 NOV
Fernando García (Madrid, 1975) works intentionally mixing formats to deal with different concerns related to his personal experience and condition of artist. As a matter of fact, his pieces refer ironically to contradictions on the contemporary creator position and the structures of the art world.

WED 1 DIC
David Bestué and Marc Vives (Barcelona, 1980 and 1978 respectively) collaborate as artists since 2002. Their work consists of incisions on quotidianness through fictional elements using a plurality of references on art history as well as philosophical or popular culture. 

Educational programme 2010 - 2011

Type of activity
Dates
20 OCT — 1 DIC 2010
Intended for
Temas
Entradilla

The notion commonly built around current art and its creators usually appears as linked to the discourse spread by mass media. Therefore, it is perceived as a legacy of a romantic ideal and modern paradigm which conceive art as autonomous.

Subtítulo
SEVEN SESSIONS TO THINK ABOUT CURRENT ART
Categoría cabecera
Mirar el presente
LOOKING AT THE PRESENT
¿Es un ciclo?
Desactivado

This time, CA2M launches the revision of gaze. From a number of talks with theoreticians, educators and artists, this course seeks to reflect on both current art proposals and on our gaze toward art. Against that plain spellbound, admiring and unselfish contemplation that apparently modern art demanded us, current art seems to confront the distracted gaze already mentioned by Walter Benjamin: the disperse gaze from the bourgeois around the city, the walker that looks at everything and doesn´t see anything, maybe even the paradigm of contemporary art as if by consensus all of us would have lost that capacity to gaze simultaneously. So, it is all about wondering about the possibilities that current art can offer for the vindication of a gaze, from its dispersion, remains affected and politically interested.

CA2M offers a number of training activities on art and contemporary thinking within the framework of traditional free universities specifically designed for young people and adults. These courses offer a clear and concise insight into some of the basic concepts for understanding and interpreting contemporary art. The activities are divided into two parts: the first part consists of the introduction of a theme by a guest speaker, who in the second part opens the floor to a discussion involving participants.

PROGRAMING

WED. 20 FEB. 18:30 H.
MIRADAS INOFENSIVAS
Yayo Aznar. Associete Professor at UNED

To start with, we consider important to carry out a brief reflection on different gazes offered to contemporary viewers. From  that Kantian “disinterested contemplation” fetch and carry to the “distracted gaze” from citizens, yet, the truth has always been over the discussion table certain depolarization of our perception.

Type of activity
Dates
20 FEB — 24 ABR 2013
Temas
Entradilla

This time, CA2M launches the revision of gaze. From a number of talks with theoreticians, educators and artists, this course seeks to reflect on both current art proposals and on our gaze toward art. 

Subtítulo
V INTRODUCTORY COURSE TO CURRENT ART
Categoría cabecera
esto es arte
BUT... IS THIS ART? 2013
¿Es un ciclo?
Desactivado

Everyone dreams of flying, the artist Olga Diego tells us, but if you haven’t yet dreamed of flying, there is still time.

During the last school year Universidad Popular took up the challenge to bewitch us again with art, to rediscover the ability to inspire awe. Starting out from this idea, the museum’s educational department has conceived this year’s programme as a place where the incredible can happen because it makes us believe in it. The sessions will focus on thinking about or experimenting with occult practices related with art that subvert scientific logic and conventional forms of knowledge: art practices that deceive the eye, that work with the inexplicable and turn lead into gold.

The course will use a series of publications which will be available for consulting at the CA2M library. In addition, before each session, we invite participants to join in a group reading of a publication selected for the occasion.

CA2M organises further educational activities in contemporary art and thinking within the tradition of community adult education centres. Its courses address some of the fundamental issues for a proper understanding of art today. They are divided into two parts: the first consists in the presentation of a theme by a guest speaker and the second consists in opening a debate to all participants. This structure can change to accommodate more experimental formats introduced by the individual guest speakers at each session.

SESSIONS

24 OCTOBER
Make Yourself Matter to Someone
Raisa Maudit is preparing a performative conference which will explore the laws of desire in force both in the practice of magic and the occult as well as in art. Through a survey of different occult practices ranging from the nineteenth century until the present moment and the core axes of her artistic and curatorial work, we will address questions on dissident identities, surviving the system, inhabiting darkness, and how to achieve your desires but only perishing a little in the attempt.

Magic is the definitive art. We understand Magic and the Occult as all those processes that are based on symbolism and imagination which, through actions and words, wish to affect their surroundings by engendering changes and transformations in natural laws, in space, in time, in bodies, in psyches and in identities. No form of magic is possible without putting it into practice. In magic, practice starts out from an almost suicidal openness to leap into the unknown and letting it hit you with all it has got. It is based on questioning each and every one of the things that we take for granted. Magic hopes to alter the very weft of reality itself. Magic and Art have points in common such as speculation and the allegorical but at once they have a beef in which Art always loses out. We will take a look at Dion Fortune and psychic self-defence, The Craft, otherkin identities, vampires as the definitive evolution, demonology, Magic Battles, neuro-divergent rebellion, and how to get your hands on a free home.

Raisa Maudit is an artist and curator
http://raisamaudit.com/

31 OCTOBER
Queer Spirituality as Resistance. Yet Another Path in the Conspiracy.
Diego Rambova will lead us on an exercise in fragmentary mapping through a range of contemporary performative practices which are presented as a kind of common ground between new age and queer politics, revealing how, both for the artists who propose them but also in their own right, the confluence is a powerful site of agency, resistance and transcendence. Represented by artists of different ages and from different origins around the world from the seventies onwards, they appear under many different guises. But the truth is that they all respond—as we shall see—to the same “conspiracy”.

Diego Rambova is an artist and researcher.
www.diegorambova.com 

7 NOVEMBER
Performance Lecture for Flying
Is it possible to fly? We all know that you can, but … What happens when you realise that you can fly on your own? This lecture explores the irrational desire to fly and its materialisation in artistic creation, in manifold studies and calculations, prior sketches in flight books, failed attempts and disappointments. And also the involvement of the public. Flight artefacts built from a sculptural gaze and attempts to fly as performance art.

We will take a look at, among others, the projects created by Olga Diego since 2003, when she managed to take to flight on the beach of Carabassí in Alicante, as well as other flights with cameras in the Western Sahara and in Salamanca, or more interactive projects like the one developed by the University of California in 2017.

Olga Diego is an artist
http://olgadiego.blogspot.com/ 

14 NOVEMBER
Just as Up is Down, Down is Up
In this lecture Marian Garrido has devised a walkthrough of the symbolic dimensions of lost forms of knowledge and the narrative constructed through the bonds between art and magic or alchemy. Is there really any difference between an extract from The Teachings of Don Juan: A Yaqui Way of Knowledge, in which Carlos Castaneda learns to fly guided by the expert hands of a shaman, and the experiences related by Terence McKenna or Douglas Rushkoff in Cyberia in a framework of comparison with online culture; virtual realities, flight simulators, videogames or the visual rendering of almost vaporous omniscience in Gaspar Noé’s Enter the Void and neo-touristic journeys in Google Earth?

Marian Garrido is an artist and researcher
www.mariangarrido.com 

21 NOVEMBER
Angels of Anarchy. Modern Shamans, Artists of the Invisible
Servando Rocha reveals to us a secret tradition that unites art and magic through the masked figure, both in popular culture as well as in movements like Dada or Surrealism which were fascinated by the primitive, the mask, the world of spirits and the unknown. The intervention includes a Cabinet of Curiosities of the world of secret societies and masking as a tactic but also as transformative potential.

Servando Rocha is a writer and editor.
www.servandorocha.com 

28 NOVEMBER
From Spell to Spell, from (Magical) Gesture to Gesture
Ana Contreras invites us to a performative lecture which will uncover the ways in which bonds between feminism and witchcraft have been woven over time, from the medieval period to postmodernism. It will take us on a secret journey through its appearances and persecutions from which we will be able to extract lessons about its dangers and its powers. A witches coven that discloses the importance of occult practices and performative tactics, as well as their conscious and unconscious use in contemporary art.

Ana Contreras is a stage director, researcher and lecturer

Anyone interested in art today. No prior knowledge necessary.

More information at actividades.ca2m@madrid.org / 912 760 227

Type of activity
Dates
Wednesday 24 OCTUBRE — 28 Novembre 2018
Intended for
Temas
Entradilla

During the last school year Universidad Popular took up the challenge to bewitch us again with art, to rediscover the ability to inspire awe.

Subtítulo
NTRODUCTION TO ART TODAY COURSE MAKING MAGIC. ART PRACTICES RELATED WITH WITCHCRAFT, ILLUSIONISM AND ALCHEMY
Categoría cabecera
Universidad Popular 2018
POPULAR UNIVERSITY 2018
¿Es un ciclo?
Desactivado
Duration
18:30 — 20:30

DIRECTED BY SELINA BLASCO

 

 

We are now setting out on another new course with this question, introduced a long time ago with the advent of modernism. Surprisingly, in our hyper-consumerist society, it is still as valid and seemingly unexhausted as ever. We use it as a weapon and as a shield, and also as a refuge. We manipulate it and manhandle it. Sometimes, the question has been asked from an incredulous pose (after all, one has to admit that, for whoever actually asks such a question, the answer is no), but never one of suspicion. We believe in art and especially in the enigma it hides. That is why the answer does not have to be yes, nor do we necessarily wish to convince anybody of anything. The answer is that there is no answer or, perhaps, that we don’t know what it is, that we have no idea.

 

And so, we are stuck with the question, and in this year’s course we will give it another turn of the screw. Instead of pretending that there is a certain type of art which we accept that is difficult to define as such, what if we were to undermine all the certainties with which we have treated art as we have known it? Presupposing a brand of art that requires explanation means establishing a division between a person who doubts and a person who has the answers. But we are going to take a less categorical approach. We will rethink the practices associated with accepted disciplines (drawing, painting, sculpture, musical sounds or design), with supports, places of exhibitions and audiences that seem natural but, let’s be clear, doing so from the here and now. And with renewed urgency. What intrigues us is what is supposedly self-evident.

 

This course has no title but it could be something related with the desire to fold the tasks of art. The art of folding: a course in origami.

 

CA2M organises educational activities on contemporary art and thinking that can be framed within the tradition of community colleges, aimed particularly at young and adult students. The courses it offers address some of the key issues for a proper understanding and interpretation of art today, to use it to think. These activities can be divided into two parts: the first consists of the presentation of a theme by a guest speaker and the second part involves a debate open to the audience. The sessions at CA2M are complemented with individual work by the persons enrolled in the course with texts handed out before the beginning of each session.

 

 

14 FEBRUARY
Painting is Mysterious
Selina Blasco
Following Ángel González García’s observation that it is best to paint without having an idea, we ask ourselves: How should we engage with painting? In this session we will try to do so from this idea of not knowing, but situating it elsewhere, in the ignorance of someone who does nothing, who paints nothings. We will ask people who paint, in order to see what it is that we can find out. We already have one answer, and we like it so much that we have chosen it as the title of the session. It bodes well. We are also going to work out some way of building a narration of this exercise in experimentation on the ground, in fieldwork. Painting wants to be engaged with.
 

Selina Blasco is a lecturer in History of Art at the School of Fine Art, Universidad Complutense de Madrid.

 

21 FEBRUARY
Contemporary Visual Culture and Drawing. An approach from art practice
Azucena Vieites
Azucena Vieites focuses her practice on graphic processes and techniques of expression, engaging with contemporary visual culture through drawing and silkscreen printing. Multiplicity, fragments and repetition inasmuch as a form of breaking away from the absolute image and linear forms of narration or the ephemeral nature of the artwork are brought to the surface as basic aspects of her production. Taking a few examples from her practice and other works by various artists exploring similar lines of investigation, in this session we will reflect on drawing as a form of representation and insight into our surrounding environs at a specific moment in time.

At the same time, the examples used will be interrelated with some of the issues posed by the German filmmaker Ulrike Ottinger; in each one of her films this artist works with the intention of finding a suitable form that has to do with colours, with time, with dramatic structure and with the way of combining the images.

 

Azucena Vieites is an artist and teacher at the Schools of Fine Art of Madrid and of Salamanca. Among her most noteworthy solo shows are Woollen Body, Carreras Múgica (Bilbao, 2015) and Tableau Vivant, Museo Reina Sofía (Madrid, 2013).

 

28 FEBRUARY
An Amateur Carpenter
Carlos Granados
I like to think ideas and to do things. To move from the mind to the hand. And from the hand to the mind. From conceptual artist to carpenter. Have art and carpentry anything to do with each other? Duchamp said that you should only travel with a tooth brush, without any baggage. When I studied art, my referents were those kinds of artists, people who worked with ideas. Now I am working with the plane my grandfather used and it makes me think of his job. Suddenly I see myself accumulating, working with wood, making things. I like projects that take a long time. My friend Ángel always says: “Measure twice. Cut once”. I think that sums up a carpenter’s work very well. A painstaking, patient and slow trade. And a job well done.

Carlos Granados is one of the heads of CA2M’s Department of Education.
 

7 MARCH
Silenced Histories, Forgotten Sounds
José Luis Espejo and Andrea Zarza
How do people position themselves in the public space with sound? This question is a pretext to address narratives focused on the work of blacksmiths, bells and sirens, noise barrages, protest rallies, carnivals and rituals that, if they are not different, at least they are parallel to those that structure the history of music and art. Sound, noise, the murmur of an enraged community and the reverberations of work are quasi-archaeological storylines dissenting with those of official historiography. Charivaria, an exhibition curated by José Luis Espejo and Andrea Zarza at CentroCentro Cibeles between October 2017 and January 2018, showcases a series of works that address these learnings, very often handed down orally or by allegories, which have been minimised by academic disciplines. Artists like Grupal Crew Collective, who take the sounds from parties by collectives without a consecrated identity, or Cuidadoras de Sonidos, Rafael SMP and Vivian Caccuri, who give voice to the inhabitants of neighbourhoods destroyed by the advance of modernism, and Xabier Erkizia, whose work with the culture of ox-carts attunes the hearing to a sound displaced by the hegemony of the urban, are all convinced that their works expand our conception of art. Archives, sounds and writings enable us to recover silenced histories and forgotten sounds in order to rethink genealogies of sound art and music. A display of enigmatic contents surprises the visitors and rarefies the gallery space.

Andrea Zarza is an archivist with a BA in Philosophy. She works as a curator in the British Library sound archive. Her record label, Mana Records, which she runs together with Matthew Kent, is dedicated to publishing works on the intersection between contemporary sound and the archive.

José Luis Espejo is a member of the team at Radio Reina Sofía, Mediateletipos and the Master in Music Industry and Sound Studies at Universidad Carlos III in Madrid. He has developed curated projects in Madrid and in Donostia-San Sebastián 2016.
 

14 MARCH
A Call to Sensuality
Elena Alonso
Defending the value of crafts and the fight to prevent them from disappearing is nothing new. In the early twentieth century, artisan practices were viewed as a revolutionary strategy against industrialisation and capitalism, taking a stance against the unstoppable dehumanisation of work and production. By assigning it qualities such as resistance, skill, authenticity, goodness and self-determination, more than one century ago, the idea was to try to slow down the disappearance of making things by hands due to mass production.

Today, with the digital revolution and late-capitalism, we are witnessing a warped revival of these desires and problems. The conflict leads to a call for sensuality which means that crafts are once again referred to as an exploration of “embodied” relationships, materiality, affect, ecology, localism and sentient intelligence. But there are many questions waiting to be answered... Is there anything contemporary about artisan practices? What is their place within the present system? What is their meaning in terms of resistance? What is the life drive that makes us cling to them?

This session will look at examples of contemporary artists and designers whose working processes are closely related with crafts, focusing on the material quality of objects and the affective nature of their production. An approach to Art and Design to think about the meaning of crafts today, the anachronistic or inevitable nature of these practices, and the art market as the realm in which to keep them alive. All these issues could equally respond to the question: Why do artists keep painting and drawing?
 

Elena Alonso works mainly with drawing, combining it with other disciplines like architecture, crafts and design, paying special attention to affective relationships with the surrounding environs. She has recently had a solo show at Matadero Madrid, Museo ABC and Espacio Valverde.

 

21 MARCH
Do it to yourself and do it to others
Javier Pérez Iglesias and Marta van Tartwijk
Self-publishing has given a voice to many people who felt that they had something to say outside the usual channels. Which explains why there is such a tradition in the use of fanzines among the queer, anarchist, feminist and other communities.
Artists discovered a long time ago that a book could be an artwork and since then we have arrived at an increasingly varied range of publications.

There is a meeting between self-publishing (or alternative publishing) and artistic intentionality that oversteps the boundaries of the conventional book which is the paradigm of libraries and bookshops.

We act in the libraries of two very institutional institutions, the museum and the academy, but endeavouring to boost their porosity, to explore their cracks and to connect with what happens on the street.

Books are not what they used to be… And the same goes for libraries.
Javier Pérez Iglesias is a biblioactivist, talkperformer, reading curator, bad cataloguer and worse classifier
Marta van Tartwijk is, among other things, a part-time artist, vocational librarian, photocopying self-publisher, bibliographic maze engineer, fanzine disorderer and catalyst for literary afternoons.

 

4 APRIL
Sculpture in the Making
June Crespo
This session is conceived to think about the various aspects proper to sculpture, looking at works that engage with sculpture from different media. I am interested in a kind of sculpture in the making, the negotiation between subject and object that takes place during the process, and  what the first contact with it is like. To approach it, walk around it, move away and keep within its magnetic field. From its surface to its body, outline and image.

How does it affect me? What physical resonance does it have in me? From where does it look at me? What movement and choreographies does it instigate? How does it activate the space?
June Crespo lives in Bilbao, where she graduated with a BA in Fine Arts in 2005. She also works and exhibits in other international contexts, focusing her practice on sculpture.

 

11 APRIL
Here there is no place from where we cannot be seen
Rafael Sánchez-Mateos Paniagua
The Prado Museum: the reserve of knowledgeable scholars, of flocks of tourists disappointed at not being able to take selfies with Velázquez, and children who have to be explained that we are the ignorant subjects of high culture. Lost, overpowered or even a little underwhelmed by the artworks of yesteryear and their saints, kings and virgins which makes it difficult to find a people you would want to identify with. One might imagine that everything has already been said, clarified, catalogued and fallen into decline, after having lavished such privileged attention that today could not be anything but anachronistically and complacently legitimising of the context where they have ended up. Despite the artworks, to the extent in which they continue to be accessible to experience, they are radically contemporary with whom they find themselves. They offer themselves to the senses so that each individual can recognise, reflect and refract a new non-prescribed sense. They might even hope to adopt new lives, driven by the memory and imagination they are still capable of exciting in us. Always open to the unforeseen—-individual or collective—experience that is still possible to have, despite all the sacralising context of the museum institution and its security guards, both inside and outside. The important thing is to try to intensify, revitalise and reorganise the space of attention, aisthesis and perception—so overlooked in its material form and so threatened by the modernisation we have undertaken—with the purpose of renewing the experience of art today which is as strange as it is succulent, from the generosity of those who approach something strange and (re)discover themselves when being observed by the very work they contemplate.

 

Rafael Sánchez-Mateos Paniagua is an artist, teacher and researcher.
 

More information on actividades.ca2m@madrid.org / (+34) 912 760 227

Type of activity
Dates
WEDNESDAY 14 FEB—11 APR2018
Intended for
Temas
Entradilla

We are now setting out on another new course with this question, introduced a long time ago with the advent of modernism. Surprisingly, in our hyper-consumerist society, it is still as valid and seemingly unexhausted as ever. 

Subtítulo
10th INTRODUCTION TO ART TODAY COURSE
Categoría cabecera
Universidad Popular 2018
BUT … IS THIS ART? 2018
¿Es un ciclo?
Desactivado
Duration
18:30 —20:30
Audiovisuales con descripción
Selina Blasco es profesora de Historia del arte en la facultad de Bellas Artes de la Universidad Complutense de Madrid
Azucena Vieites es artista y profesora en las facultades de Bellas Artes de Madrid y de Salamanca. Entre sus exposiciones indivi
Carlos Granados es uno de los responsables del Departamento de Educación del CA2M
Elena Alonso desarrolla su trabajo principalmente mediante el dibujo, relacionándolo con otras disciplinas como la arquitectura,
Marta van Tartwijk es entre otras cosas artista a tiempo parcial, bibliotecaria vocacional, autoeditora de fotocopiadora, ingeni
Rafael Sánchez-Mateos Paniagua es artista, profesor e investigador.

 

In recent years the Universidad Popular explored illusionism and magic. With this idea in mind, we are now proposing to follow up our research and take it to the limit, to the fabulous. This year we will work with the idea of the chimera, understood as improbable illusion and also as an impossible being made from different bodies. We have conjured up bodies that multiply, that question the idea of the human and the artist, mixing science and art, like the Quimera Rosa collective; or those that safeguard the chimerical fire, like Fermín Jiménez Landa. We invite anyone interested in thinking about these unexplored ideas and in feeding the monster.

This year we will also be featuring a series of publications which will be available for browsing and consultation in the CA2M library. In addition, just before each session, participants are invited to take part in a shared reading of a book chosen for the occasion.

CA2M organises educational activities on contemporary art and thinking that can be framed within the tradition of community colleges. The courses it offers address some of the key issues for a proper understanding and interpretation of art today. These activities can be divided into two parts: the first consists of the presentation of a theme by a guest speaker and the second part involves a debate open to the audience. But this structure can also change to adapt to more experimental formats depending on the guest at each session.

 

SESSIONS
 

30 OCTOBER
Quimera Rosa | Trans*Plant: a journey through the chimerical looking glass
 

"We are all chimeras, theorized and fabricated hybrids of machine and organism;
in short, we are cyborgs."
Donna Haraway, Cyborg Manifesto
 

The material and products for cultivating new symbiotic beings are prepared in a bio-hacklab. While the preparations are taking place, the chimeras take the public on what they call the OncoMouseTM journey, by means of a live commented AV presentation. OncoMouseTM is the first animal created in a lab and then patented. The first cyborg, the first laboratory chimera.

You are invited to a performative and participative bio-art lecture. This commented journey is based on three years of biomedical research in an artistic-scientific setting, on the ethical issues we came across and our investment in self-experimentation, trans-disciplinary approaches and the trans-feminist gaze in art practices.

_ Quimera Rosa is an art collective exploring the body, technology and identity.
 

6 NOVEMBER
Fermín Jiménez Landa | Save from the Fire
 

- What work of art would you save if there was a fire in the Prado Museum?
- The fire
(Response attributed to Jean Cocteau)
 

In this lecture on fire we will talk about a year of local euphoria, carpentry, security guards, falleras mayores, hearths and homes, bonfires and wildfires, Airbnb and afters, rituals of purification and ashes. A commission the artist received to create a falla for the official programme of Valencia’s annual festival was dispersed in infinite parts interrelating folklore, night-time, conceptual art and quick fixes. Humans lit bonfires to cook food and to keep themselves warm but they soon discovered that it also prolonged the light of day, ignoring the rhythm marked by the turning of the planet, altering circadian cycles and creating a perfect time for fables, tall tales and stories.

_ Fermín Jiménez Landa is an artist.
 

13 NOVEMBER
Moon Ribas | The Seismic Sense
 

In this lecture Moon Ribas will talk about the possibilities of hybridising bodies and technology and how these bodies act within art. Moon Ribas will speak about the creation of a seismic sensor and how it allows her to perceive earthquakes anywhere in the world through vibrations in real time. With the purpose of sharing this experience, Ribas translates her new seismic sense to the stage, transposing earthquakes into sounds in Seismic Percussion or into dance in Waiting For Earthquakes.

_ Moon Ribas is a contemporary artist.
 

20 NOVEMBER
Pablo Esbert y Federico Vladimir | How to Engender Your Own Dragon
 

Pablo and Federico give a lecture-concert on dragons and other collectively created creatures. Using speculative fiction as a tool and their own work as artists, they address questions on trans-individuality, the post-human, automation and non-traditional forms of narrating ourselves.

The dragon is a fictional creature that appears in the imaginary of many different societies throughout the course of history. It is a hybrid being that interlaces nature and culture, a cocktail of earthly and fantasy animals. The dragon lives in a fantastic narration in which diverse subjectivities can coexist and interrelate without the usual prejudices underwriting realist narrations. It is a monster that helps us to be critical and creative, to imagine challenging representations of “us”. It is also a fiction in which, similarly to contemporary practice, different artistic disciplines coexist, like a trans-disciplinary hydra with many heads.

The dragon is a creature made up of various individuals whose monstrosity prevents it from being too balanced, too organic or too polished. A being of beings in continuous transformation which aspires to the impossible: to devour its spectators in order to incorporate them.

_ Federico Vladimir Strate Pezdirc and Pablo Esbert Lilienfeld are artists.
 

27 NOVEMBER
Marc Sempere | From Art to Ritual
 

For several years now the artist Marc Sempere Moya has been examining the limits between the individual and the collective. Here he is proposing a circular performative lecture in which we can explore the possibilities of rituals today in both theory and practice.

We will discover some of his works, his recent theoretical investigations and his performative projects.

We live in a world in which rituals barely exist anymore, and in which everything is pure representation. Is there any possibility of recovering a world that lives in common? Of recovering a "relational identity"? Of living in a chimera?

_ Marc Sempere Sempere is a multifaceted artist who works, researches and popularises relationships between the oral tradition and free culture through music, performance, theatre, film... and paellas!

 

//////
 

Anyone interested in art today.
 

No prior knowledge necessary.
 

More information: actividades.ca2m@madrid.org / 912 760 227

 

 

 

Type of activity
Dates
Wednesday 30 October to 27 November
Temas
Acceso notas adicionales

AFORO: 70 PERSONAS

Entradilla

In recent years the Universidad Popular explored illusionism and magic. With this idea in mind, we are now proposing to follow up our research and take it to the limit, to the fabulous. 

Subtítulo
UNIVERSIDAD POPULAR 2019
Universidad Popular 2019
FEED THE CHIMERA
¿Es un ciclo?
Desactivado
Duration
18:30 – 20:30