actividades.ca2m@madrid.org

actividades.ca2m@madrid.org

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

Imagine that there are 140 strangers around you, all ready and willing to satisfy your needs, desires and whims. What would you ask for?

As part of the "Time Bank Live" artistic action, we are carrying out a workshop open to the general public in which we will be examining the concept of interdependence, exploring the simple yet difficult art of wishing, requesting, giving and gifting. People taking part in the workshop will also be included in a performance on 23 June.

In a society that denies interdependence and praises the heroicness of “I’d made my bed, I’ll lie on it”, asking for something has become even harder and riskier than giving. We tend to associate “giving” with generosity and “asking” with selfishness, but not knowing how to formulate and express our desires and needs is to deny our own fragility and therefore a way of not being fully present with other.

In this two-day workshop we use our bodies to explore the art of asking, giving and gifting from a fully committed engagement with pleasure, play and fun.

Participants in the workshop will also be part of the “Time Bank Live” performance at Picnic Session on 23 June, where each person will have a chance to auction a need, a desire or whim with the hope that it will be met or satisfied by one or various of the 140 spectators

Type of activity
Dates
14 and 15 June
Intended for
Temas
Acceso notas adicionales

AFORO: 12 PERSONAS

Entradilla

Imagine that there are 140 strangers around you, all ready and willing to satisfy your needs, desires and whims. What would you ask for?

As part of the "Time Bank Live" artistic action, we are carrying out a workshop open to the general public in which we will be examining the concept of interdependence, exploring the simple yet difficult art of wishing, requesting, giving and gifting. People taking part in the workshop will also be included in a performance on 23 June.

Actividades asociadas
Subtítulo
ASK AWAY, DON’T HOLD BACK
Categoría cabecera
Andrea Jiménez
"THE ART OF ASKING"
Pie media

Picture: Andrea Jiménez. Generación Why.

¿Es un ciclo?
Desactivado
Duration
18:00 – 21:00h

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

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

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

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

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

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

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

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

Capacity: 20 people

Entradilla

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

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

Laguna Coperlim de Móstoles. Picture: Patricia Esquivias.

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

Curated by Jesús Alcaide, Néstor García Díaz and Víctor Aguado Machuca.

Bogomir Doringer, Chenta Tsai AKA Putochinomaricón, Carles Congost, Ana Laura Aláez, Joan Morey, The Congosound, Magui Dávila, Nayare Soledad Otorongx, Gema Marín Méndez, Manuel Segade, Snap Bitch! X Don’t hit a la negrx (Galaxia, Wat3rmami AKA Donovan Toxic), Espai d’Art Contemporani de Castelló research group (Bartolomé Limón, Rubén Serna and María Sánchez), DIDDCC working group (Andrea Martín, Manuela Muñoz, Clara Neches, Manuel Padín, Natalia de la Piedra and Rita Zamora).

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

The point of departure for this year’s symposium is the work of a research group at CA2M which has sourced in Manel Clot’s texts a discursive output which has left us, more than anachronisms, reminiscences of the 1990s, like, for instance, underscoring the connections between the concept of club culture and art practice; or inventing and implementing appreciative and operative categories, where none previously existed, for the consideration of new expressive repertoires and new meaningful registers that would become symptomatic of a time and a place. In fact, the title given to this year’s symposium comes from Musée des phrases (2003-2015) by Manel Clot and the image is by Carles Congost, taken in Manel Clot’s studio with the assistance of Daniel Riera; in it one can see a young Fine Art student called Joan Morey.

The symposium is spread over three days with a full programme of conversations, reading sessions, performative lectures and listening sessions, which will help to situate a number of issues concerning club culture but, at once, they will also respond to the demand to expand the field of given representations of subjectivity, of the fluctuation of its value, of the position of desire; of recognizing possibilities of dissidence with regards social distribution or other relationships between the body and temporality.

 

PROGRAMME:

19 May. Impure Scenifications (1)
12:00–13:30 Research group at Espai d’Art Contemporani de Castelló. Reading session on the exhibition and archive for Hypertronix, by Manel Clot.
16:00–17:00 Magui Dávila: Escribir una session (Writing a Session), DJ session and performative lecture.
17:00–17:30 Manuel Segade: Hacer noche (Making the Night), presentation.
17:30–19:30 Ana Laura Aláez, Joan Morey, Carles Congost and Jesús Alcaide: Un soplo en el corazón (A Heart Murmur), selection of frequencies around Manel Clot.
19:30–20:30 The Congosound, DJ selector.

20 May. Dance this Mess around (2)
12:00–13:30 DIDDCC working group: Party and Protest, expanded reading session.
16:00–16:30 Néstor García Díaz: Dance this Mess Around, presentation.
16:30–18:00 Bogomir Doringer: From I Dance Alone to Dance of Urgency, lecture.
18:00–19:00 Manel Clot: Musée des phrases, video-screening.
19:00–19:30 Gema Marín Méndez: Notas a una/sola voz (Notes in one/single voice), performative lecture.
19:30–20:30 Cute aggression, DJ session.

21 May. Sonic, somatic fictions (3)
12:00–13:30 Shared reading session on More Brilliant that the Sun, by Kodwo Eshun.
16:00–16:30 Víctor Aguado Machuca: “Éxtasis; faktura subjetiva”, presentation.
16:30–17:30 Nayare Soledad Otorongx: Cuerpxs que da pánico soñar (Bodies we don’t dare to imagine), performance.
17:30–19:00 Galaxia, Wat3rmami AKA Donovan Toxic: Snap Bitch! X Don’t hit a la negrx.

 

INFORMATIVE NOTE:

Prior enrolment is required to attend the symposium. Attendance at individual sessions may be allowed although priority will be given to persons previously enrolled. We would also ask all persons enrolled to please be punctual. Ten minutes after the beginning of the first session of the afternoon, any remaining places will be given to persons who have turned up for the session without previous enrolment.

Bogomir Doringer’s lecture is in English with simultaneous translation. All morning reading sessions will be held in the Aula, and the afternoon activities in SUI. The audience will be invited to take part after each conversation and at the end of each session and each day’s symposium.

Certificates of attendance will be issued to enrolees who attend 80% of the afternoon’s session. The morning sessions are voluntary and free while places last, but will not be taken into account when issuing certificates of attendance.

 

Type of activity
Dates
19, 20 and 21 May
Intended for
Inscripción
-
Acceso notas adicionales

In order to attend the sessions, prior registration is required. Limited capacity.

Entradilla

The Image Study Days are dedicated to collective reflection on theory, practice, semantic openings and contemporary demarcations of visual cultures. This edition is structured in three study days made up of talks, reading sessions, performative conferences and listening sessions, which place themes related to club culture.

Categoría cabecera
High Culture Carles Congost
27th IMAGE SYMPOSIUM. DANCE THIS MESS AROUND
Pie media

"High culture", 1996. Carles Congost © The Congosound o Carles Congost, VEGAP, Madrid, 2022.

¿Es un ciclo?
Desactivado
Duration
From 12:00 to 20:30

A sustainable city is based not just on individual good practices but also on collective projects that give shape to a large mass of people conscious of the needs of this new era. It is important to re-establish community bonds, to find points in common and to recover the social weave that had characterized Móstoles for so many years and which had led to so many big achievements for its people. With this purpose in mind, CA2M’s Community Sustainability Laboratory has programmed a special day for exchanging cuttings and indoor plants. A place where local citizens can meet up, exchange know-how and barter.

Bring along any cuttings or plants you no longer want, in a small pot with earth, or in a container wrapped in damp tissue. Exchange them for other ones you want.

Wednesday 23 March. Drop by any time between 4:30 to 8:30 pm.

See instructions below on how to make cuttings.

We look forward to seeing you!

Type of activity
Dates
Wednesday March 23
Intended for
Temas
Entradilla

CA2M’s Community Sustainability Laboratory has programmed a special day for exchanging cuttings and indoor plants. A place where local citizens can meet up, exchange know-how and barter.

Actividades asociadas
Subtítulo
AT MUSEO CA2M
Events
Categoría cabecera
Esquejario
PLANT CUTTINGS
Pie media

Picture: Sue Ponce.

¿Es un ciclo?
Desactivado
Duration
From 16:30h to 20:30

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

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

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

CALL

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

The selected projects may be presented in two different formats:

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

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

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

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

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

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

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

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

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

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

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

The garden on the museum’s roof terrace has already earned a name for itself as a beacon for agro-ecology in the city. Since we first started, we have gone through an intense process in which many different people have been involved, making it a meeting point where people work together and share their experience and know-how.

Since it was first set up, the roof terrace garden was conceived as more than a place to teach ecological agriculture because the founding mandate was to create a local community. This goal has been fulfilled today thanks to a hardcore of people who have now accrued years of experience, enjoyment, learning and sharing together based on the practice of agro-ecology and permaculture, recovering traditional rural knowledge and exploring ideas to face the challenges of sustainability.

Today this challenge is more urgent that ever, which is why we need to expand its reach and pay more attention to the direct practice of sustainability in cities, reinforcing self-sufficiency, producing food for self-consumption, DIY and locally-sourced production, promoting and motivating a culture of proximity. This will be our best weapon to respond to the major challenges of the twenty-first century, like climate change, the crisis in natural resources and the need to transition towards a model of society more respectful with the planet and the people who live in it.

To face up to this formidable challenge, we have the experience and collaboration of Instituto de Transición Rompe el Círculo [Break the Circle Transition Institute], which focuses its activity over the last decade on sustainability in cities, taking Móstoles as a testing ground. That’s why today our roof terrace garden now becomes a Community Sustainability Laboratory.

 

 

PROGRAMME 2022

BLOCK 2: SELF-SUFFICIENCY IN ORGANIC GARDENING
EVERY THURSDAY 11:30-13:30
Growing locally and learning to be self-sufficient is becoming increasingly important to ensure our food sovereignty. Join this course and learn how to grow with us and why it is necessary for our cities to commit to sustainability. 

THURSDAY 24 MARCH 11:30 – 1:30
Growing crops in the city.

We will prepare seed beds for the spring in our organic garden and provide pointers on how to prepare a garden of potted plants to produce our own zero-km food.

THURSDAY 31 MARCH 11:30 – 1:30
Sharing the CA2M roof terrace. A session with Elena Alonso and the roof-top garden

This introductory session will talk about how to design and create ecosystems based on the principles of permaculture and will set the ground rules for starting an urban forest garden on our terrace. The session includes the participation of the artist Elena Alonso, whose installation Al cuidado de las pequeñas sombras (Caring for little shadows) will help us to understand the need for a better inter-species relationship in order to maintain a balanced ecosystem.

THURSDAY 7 APRIL 11:30 – 1:30
Planning a forest garden in the city

What’s the difference between an ordinary forest garden and an urban forest garden? An understanding of microclimates. What are the shortcomings and the needs of a terrace garden?

THURSDAY 21 APRIL 11:30 – 1:30
Planting a forest garden: tree stratum

We start by planting the biggest plants. Why do we choose these species?

THURSDAY 28 APRIL 11:30 – 1:30
Planting a forest garden: shrub stratum

We continuing planting with shrubs and small fruit trees. Why do we choose these species?

THURSDAY 5 MAY 11:30 – 1:30
What should I plant in my garden? Planting the herbaceous layer and annual plants 

Learn to calculate the number of plants and the space required depending on your needs.

THURSDAY 12 MAY 11:30 – 1:30
Preventing and treating plagues

Plagues affect us equally whether we are in the city or the countryside. Learn to observe your plants, to prevent the attack of insects and other pests and prepare homemade organic remedies.

THURSDAY 19 MAY 11:30 – 1:30 
Closing circles in a garden

In order for your system to be 100% sustainable you have to make the most of the resources it offers without generating residues.

THURSDAY 26 MAY 11:30 – 1:30 
Jam workshop

Late spring is a good time for seasonal fruits. This workshop will show us how to make jam with the short-lived summer seasonal fruit that we would like to enjoy at any time of year.

THURSDAY 2 JUNE 11:30 – 1:30 
Preserves workshop

Another way of making the most of surplus produce is preserves. It is especially important to pay extra care to hygiene conditions to ensure that the canned or preserved food lasts longer and in optimum conditions.

THURSDAY 9 JUNE 11:30 – 1:30 
Making bread at home workshop

One of the easy and most gratifying ways of being self-sufficient is to make our own bread. Learn to make sourdough starter and basic recipes for making bread at home.

THURSDAY 16 JUNE 11:30 – 1:30 
Preparing a sun drier (double session 10:00-2:00)

Sundrying food is a little-used practice that helps to preserve food throughout the year with their nutritional qualities practically intact.
Join us in this double woodworking session in which we will design and build our own drier for summer gluts.

THURSDAY 23 JUNE 11:30 – 1:30 
Seed collection

In the last of our self-sufficiency workshops we will learn to choose and preserve seeds from our garden so that we don’t have to buy them every year.

THURSDAY 30 JUNE 11:30 – 1:30 
Cool recipes for a sustainable summer

We will conclude the year’s course with a celebratory workshop full of healthy recipes with sustainable locally-sourced products at a time when the summer garden starts to come into its own and offer us a huge variety of produce.

 

BLOCK 1: THE WONDERFUL WORLD OF INDOOR PLANTS 

EVERY THURSDAY 11:30-13:30

The world of indoor plants
17 February 11:30-13:30h
What do I need to grow indoor plants at home? Find out what are the best plants to suit your home, your tastes and your time.

Basic care for indoor plants
24 February 11:30-13:30h
Is direct sunlight good for my plants? How much and how often should I water them? When is the time to compost? We will help you.

Plagues and illnesses of indoor plants
3 March 11:30-13:30h
Just like garden plants, indoor plans also suffer attacks from insects and funguses. What can I do about them?

Reproducing indoor plants
10 March 11:30-13:30h
How do you make slips and cuttings? Can I divide my plants?

A greenhouse at home
17 March 11:30-13:30h
What are the benefits of having plants at home? Are they suitable for every room? Could my plants cause me any harm?

 

 

Type of activity
Dates
FEBRUARY - MARCH
Intended for
Temas
Acceso notas adicionales

CAPACITY: 20 PERSONAS

Entradilla

The garden on the museum’s roof terrace has already earned a name for itself as a beacon for agro-ecology in the city. Since we first started, we have gone through an intense process in which many different people have been involved, making it a meeting point where people work together and share their experience and know-how.

Subtítulo
COMMUNITY SUSTAINABILITY LABORATORIES
Categoría cabecera
Huerto 2022
ROOF TERRACE GARDEN 2022
Pie media

Picture: Sue Ponce.

¿Es un ciclo?
Desactivado
Duration
THURSDAY 11:30 – 13:30

Very few people know that underneath the museum, exactly three floors underground, there is a hatch that opens onto to a flight of steps which leads down to the depths of an underground river that crosses through the whole of Móstoles. The education department is very much aware of this idea of what is taking place beneath our feet, like an underground river. The most meaningful processes, those that transform us the most, are precisely the ones that take place without us realizing it.

Yet again, this year we invite you to join this course to share together and stir emotions, activating resources that ensure that this will be possible, focusing on processes, events and works that go unnoticed, that happen too slowly to be perceived or that take place within the confines of what we take to be normal.

We have invited artists and collectives whose practices are like tributaries of that underground river that runs through issues like anonymity, invisibility, misfits and the experience of a shared body from the self or from ourselves, but also from the power of the word. A river that does not follow the pre-established banks and returns us once again to the question contained in the name of this course.

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 course addresses 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: viewing listening and dialogue as transformative actions; art as a shared meeting ground and the development of critical attitudes to imposed reality.

Type of activity
Dates
From 16th February to 23th March
Intended for
Temas
Acceso notas adicionales

No prior knowledge is necessary.

Entradilla

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.

 

Subtítulo
13th Introduction to Art Today Course
Categoría cabecera
Esto es arte
But … Is this art?
¿Es un ciclo?
Desactivado
Duration
Wednesdays from 18:30 to 20:30