WORK IN PROGRESS 2012

“Estamos de obras. Disculpen las molestias”.  ¿Quién no se ha topado alguna vez con estas palabras en algún cartel, especialmente en las grandes ciudades?. Después de la consecución de una obra, siempre hay otra en proyecto. Y las reacciones no se hacen esperar: ojos que se tornan en blanco mirando al cielo clamando venganza, labios que refunfuñan palabras malsonantes…Es evidente que la conocida frasecita tiene connotaciones negativas en el imaginario colectivo de la mayoría de los ciudadanos. Sin embargo, en la mente creativa de un artista, estar en obras, puede ir ligado a un necesario sentido de evolución, de progreso, tal y como pone de manifiesto la expresión inglesa work in progress (trabajo aún en proceso) que da título a la exposición que hoy, 5 de marzo, inaugura la Academia de España en Roma. Esta muestra es una primera aproximación al trabajo de los artistas y creadores que están disfrutando de una beca en la prestigiosa institución, con sede en la capital de Italia.

Cada año, el Ministerio de Asuntos Exteriores y de Cooperación (MAEC) y la Agencia Española de Cooperación Internacional para el Desarrollo (AECID), con la colaboración de la Fundación Rafael del Pino, convocan las Becas para la Academia de España en Roma para contribuir a que esta institución sea una plataforma de proyección internacional de la cultura creativa de España e Iberoamérica.

En Work in progress podemos ver proyectos en continuo desarrollo, en transformación, que demuestran la dedicación y trabajo necesarios para llevarlos a cabo. En total 16 jóvenes creadores en campos como  arquitectura, artes plásticas, escultura, literatura, artes escénicas, composición musical, fotografía y grabado. Destacamos la presencia de Paula Anta y Belén Rodríguez González, dos de las artistas que forman parte del Archivo de Creadores de Madrid. Plástica representa el interés de Rodríguez en el desorden, lo inesperado y el azar. Inspirada por el  idealismo del movimiento de la Bauhaus-fusión de arte, artesanía, juguetes y funcionalidad- la artista vallisoletana ha partido de unas piezas de plástico encontradas en la playa para realizar su proyecto. Así ha conseguido  una expresión artística de las consecuencias observadas en los fenómenos naturales. El trabajo de Rodríguez cuestiona el modo en el que buscamos imponer orden en el mundo. Se centra en nuestra tendencia en  compartimentar y categorizar el espacio a nuestro alrededor, reflexionando sobre aspectos como el tiempo y las medidas.

El viaje, la naturaleza y la artificialidad unida a las estructuras creadas por el hombre, la historia y el paisaje son los temas que configuran el camino de la obra fotográfica de Paula Anta que se expone en Roma. Jardines botánicos, (burbujas imaginarias de la burguesía positivista del siglo XIX), tiendas de vegetaciones de plástico en Corea, tímidas plantas en el centro de una oficina de Frankfurt, mariposas (unidades de incertidumbre) que son reproducidas de forma controlada en las azoteas de los barrios marginales de Lima, antiguas rutas orientales (cartografías olvidadas) que unen puntos geográficos entre occidente y oriente, rodean un vacío, o un camino, por el que la artista viaja. La  madrileña doctorada en Bellas Artes  por la Universidad Complutense de Madrid ha mostrado su trabajo a nivel nacional, entre otros, en Photoespaña, Palma Photo, CCCB, Matadero Madrid, Círculo de Bellas Artes, Centro de Arte Moderno Hospital del Rey, Auditorio Nacional de Música de Madrid, Canal de Isabel II, Palacio Revillagigedo de Gijón y Centro Cultural de la Diputación de Ourense.  Además ha participado en ferias tanto nacionales como internacionales como Arco, Estampa, Loop, Foro sur, Arteba o Diva en Nueva York.

Dónde: Academia de España en Roma. Piazza di San Pietro in Montorio, 3, 00153 Roma, Italia

Cuándo: del 5 al 10 de marzo de 2012

Inauguración: 5 de marzo a las 19 h. Entrada libre.

1 comentario »

  1. john edwin murcia dice:

    me parece q su trabajo esta de lujo me gusta mucho la dirección q toman sus proyectos y como reformulan el tema de lo participativo y el entorno ,ambientación ,realidad y experiencias del imaginario y la memoria, yo participo de un proyecto q esta en sus inicios en Colombia ,en la ciudad de Manizales trabajamos en una propuesta de restauración de espacios de la ciudad y la fundación de un centro de investigación cultural IM imagen y movimiento me gustaría estar en contacto con ustedes sus consejos y asesoría nos caerían súper bien ,les agradezco por leer este comentario espero una pronta respuesta

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TERESA MARGOLLES // EL TESTIGO (THE WITNESS) // CA2M

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Until the 25 May  Teresa Margolles’ exhibition El Testigo   (The Witness) will be on show in Centro Del Arte Dos de Mayo. With The Witness, Margolles continues to explore life in Cuidad Juarez, a city plagued by drugs and violence and a city that was also the subject of her 2011 exhibition here at Matadero Madrid, Las llaves de la ciudad (The Keys to the City). Whilst The Keys to the City used one particular person’s trials within the city to speak for the situation as a whole, The Witness calls upon various video testaments from residents, the front pages of a local newspaper, photography and installation to conjure the particular struggles of living in this Juarez.

The first space of the exhibition features televisions playing personal accounts of murders and violence, including by the police. The TVs these play on are placed one end of tables with the visitor invited to sit down at the other and listen to their testaments through a set of head phones. This impression of a one-on-one conversation is incredibly moving and their situation highlights the stark contrast between the dangerous society of this Mexican border city and the pristine exhibition space outside of the television screen; a feeling that continues in the following room

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Lining the walls of this room, surrounding the visitor, are rows and columns of front pages from Juarez´s local newspaper PM. With worryingly little variation, these front pages a constructed from a sensationalist headline referencing a murder, a shockingly stark image of the murder and, beside the picture of a dead body, a half-naked woman. These headlines and images, coming from a 2010 during which over 3000 murders took place in Juarez, show an unsettling similarity between the voyeurism of violence and sex and, even more disturbing, the media’s manipulation of this.

Among the other works displayed, including an installation of the materials of a demolished dwelling in Juarez and a photography series of abandoned buildings, the image that draws the exhibition together is the first to be seen immediately upon entry. This work, El Testigo, is a photograph of a tree that unwittingly bares witness to the reality that surrounds it, pocked with bullet holes that have determined its growth. It draws together the various themes of the exhibition into one overarching question; who and what is the witness? This is especially poignant in an arts space designed for people to observe and consider works.

Margolles exhibition that was held at Matadero 2011 took a different approach to the social and economic issues that surround life in Jaurez,  focusing on the personal struggles of Antonio Hernández Camacho. The owner of a small business on one of Juarez’s busiest streets, Antonio finds it hard to get by on his key engraving alone and has to work north of the border with USA to make ends meet. After extortion and other issues arose he was forced to close his business. This is a personal story that was told in our Nave 16 space to represent the larger context of the economic and social life in this dangerous border city in an exhibition that also visited San Francisco, Dublin and Boston. This exhibition will be open at CA2M until 25 May whilst at the exhibition space in which we held The Keys to the City we will be opening Maya Watanabe’s exhibition, El Péndulo (The Pendulum), this Friday 28 March.

MAPPE: MAPPING PUSHING EMPOWERMENT

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On Friday the 14th of March, the We-Traders exhibition space in Nave 16 hosted the fourth  session of MAPPE: Mapping pushing empowerment. MAPPE is a new, dynamic way of presenting the social intiatives in the city of Madrid.

The session began with a short introduction from the peoples parliament in the corner Nave 16 about the layout and ethos of Mappe. The main premis is Mappe allows the social initiatives themselves to add their inititives to the open on-line space that the web-builders have created, giving these projects an online presence in an area dedicated social initiatives.  From this relationships can be created between projects more easily and their exposure will help them grow. There is also a way in which the information can be gathered to create a database from which we can learn more about the projects in our city. The aim is that the interface is simple for both initiatives inputting data and also the public accessing this data.

The enthusiasm for the project was clear and having moved to a sit around a table to have a discussion about what we had heard the importance of this project to the creators and those attended in presentation remained evident with some discussion getting quite passionate. Whilst another event began involving projection and sound which would have threatened to disrupt the discussion if it wasn’t for the level of commitment to this partiucular conversation from all around the table.

What was agreed upon was that this website should present itself as a form of social initiative ecosystem through which the initiatives can grow whilst also helping others gain visibility. This is a project which seeks to create an online space with a very physical focus in supporting the activities of community groups throughout the city. Helping these initiatives to create an online presence which in turn attracts others to their cause.

Facing the last weekend of our We-Traders exhibition, which closed yesterday and will be moving on to Turin in May, the legacy of this exhibition and the events that it has included look set to consolidate current community project and inspire many more to come. Instituto Do It Yourself, produced by Todos Por Praxis will be ongoing for the rest of this comming year.

 

ISLA ENERGÉTICA // GABINETE DE CRISIS FICCIONES // ELLI

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Gabinete de Crisis Ficciones (Cabinet of Fictional Crisis) is a project that was developed during one of Matadero’s El Ranchito residencies and that has since been developed by the founders Elii. The aims of this group is to create an atmosphere in which the ‘cabinet’ and audience member immerse themselves in a ficitonal crisis ranging from Alien invasion, which the chair of the event Uriel Fogué Herreros was clear to point out is simply a post-colonial situation, to the theme of this crisis meeting, Energy Island; following the declaration “just a few hours ago by the government to achieve self-sufficient energy within Spain by 2020″ the cabinet were to discuss the social, political and environmental impact of this fictional decision.

After a short introduction from this meeting’s guest, Mario Sánchez-Herrero, and a setting of the scene by Uriel we moved into the full weight of this subjects discussion, led by the guest. Mario Sánchez-Herrero teaches economics at the Universidad Cumplutense de Madrid and has experience of teaching world and Spanish Macro-Economics and Economic Structure. In 2005 Mario founded Ecooo, a company dedicated to promotic rooftop energy systems

With the Uriel in a military style jacket, and others in shirts and ties, the meeting began with a sober focus but, after the youtube clip of the brilliantly terrible film Soylent Green, the atmosphere was clearly pointed but still open for discussion. Amidst the heavily spoken words about displacement, green-energy and the destruction of natural resources, there were a couple of moments of laughter. This is the nature of discussing such a huge topic in a fictional setting. Even when facing the end of the world, it’s impossible avoid the slight farce of playing at being in command. With the roving microphones and raised hands, these were decisions and questions being made in a democratic manner that we’re sadly too far removed from when such decisions are made in reality. In this fictional crisis, however, the discussion was open and engaging.

For more information of future Gabinete de Crisis Ficciones events, and for more information on this current series visit their website.

RE-IMAGINING CITIES THROUGH URBAN ART // WE TRADERS // CRASH DESIGN

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Yesterday in the We-Traders exhibition space in Nave 16, Crash Design, with the support of Team Labs and Walkinn Coop, led an open workshop that invited the visitors of Matadero Madrid to consider the role of art in our city, in particular Urban Art. Amongst We-Trader’s examples of how the community has effected change in the cities Toulouse, Berlin, Lisbon, Turin and Madrid, this accessible workshop asked the public to create the city they would wish to see by drawing the art they would like to be surrounded by.

Starting with skyline drawn by the Crash Design collective, which included houses, skyscrapers and ice-cream cones, the public were encouraged to draw their ideal city using the simple instruments of paper and felt tip pen. Through this activity our visitors re-imagined their city, their role in creating that city and the position of of art in doing so in a fun and inclusive activity for people of all ages. 

            

               Olatz, the leader of Crash Design, said that the group want to inspire people to ‘reflect on the function of art in our city’ and through the questions that accompanied these drawings, such as ‘Why pay millions for a Banksy?’ and ‘What is Urban Art?’, it’s clear to see how they achieved this.

Ocho cuestiones espacialmente extraordinarias/Eight Spatially Extraordinary Questions – with Guillermo Mora and Hisae Ikenaga

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Yesterday evening saw the opening of Ocho cuestiones espacialmente extraordinarias/Eight Spatially Extraordinary Questions at Tabacalera featuring two artist thats Matadero Madrid has previously hosted. Guillermo Mora and Hisae Ikenaga created work for two of Matadero’s unique exhibition spaces in 2012 and 2011 respectively. Mora used his El Ranchito residency to explore the importance of artistic failure in artistic success. He drew influence from the many canvasses in an artists’ studio that never make it to the exhibition hall to create a structure of creative ‘waste’ that towered in Nave 16. Ikenaga took influence from the current habit of describing space in terms of sports fields and other colloquialisms to reimagine Matadero’s Abierto x Obras. Through a smoke machine, a football pitch and a tower of furniture Hisae Ikenaga reinterpreted our conception of space and dimension.

Whilst the works are different, there is a similar interaction between this individual space and the artists’ works within Tabacalera. Tabacalera is a space with no parallel, its brown-tiled floors, dusty window ledges and peeling, textured pillars provide a relaxed and interesting atmosphere in which to engage with the artists’ work.

In this building Hisae Ikenaga presents a broken, brick structure held in wooden boxes, similar to those used in transportation. These fragments of frameworks spill from one box onto a table where they rest on, and then become covered in, tin foil. Next to this work is another of bails of paper on top of which are redundant and unstable filing cabinets. These works communicate with the room around it, calling on the flaking beige, flaking paint to develop a dialoague.

Mora’s contribution interacts with the larger hall space in a different way. His neon dust covered sheeting is in stark contrast with the darkness lurking in the corners of this hall, the spotlights, and the shadows this creates as visitors pass by, highlight the break from the Tabacalera’s architecture. And the shapes, as fluid as pools of water, that the neon rests on conflict with the ruled straight lines of the rectangular plinths either side of them.

      

       The other artists in the exhibition also used the space cleverly, from Jaime de la Jara’s seemingly transient ink landscapes or portraits on plasterboard and projected continually changing forms, eventually fading back to a blank canvas to Nuria Fuster’s delicate netting which divided the corridor so starkly. Each of the works by Jacobo Castellano, Miren Doiz, Fernando García, y Miguel Ángel Tornero similarly engaging with the extraordinary space of Tabacalera.

Ocho cuestiones espacialmente extraordinarias is an exhibition that engages directly with the space in which it is displayed, using unconventional materials to create dialogue with the rugged Tabacalera. As Guillermo Mora and Hisae Ikenaga continue to use the spaces in which their work is displayed so effectively, thought goes to our current El Ranchito Exhibition, showing in Nave 16 until 30 March, and Cristina Lucas’s Es Capital in Abierto x Obras until  11 May.

VISITA MUSEO AL AIRE LIBRE DE ESCULTURAS PALOMERAS BAJAS

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It is just a short train ride from Atocha Station to Entreviás and from there an even shorter walk through this sunny suburb of Madrid to the public sculpture park of Palomeras Bajas where the tour of this outdoor artspace began.

This is an area with a history of autonomy, having been a vocal neighbourhood in the fight for better living conditions in the 70s and 80s and also being a community that has been heavily involved in the planning and development of their own ‘barrio’. With this knowledge to hand, it is easy to understand the significance of the 15 metre, redbrick construction of the slogan ‘El Barrio Es Nuestro’ (The neighbourhood is ours), built by Todos Por Praxis in 2012. This stands alongside two other sculptures built of the same materials 26 years earlier and it seemed emblematic of the whole ethos of this sculpture park that these artworks we made from the same redbrick of the surrounding apartment blocks.

Another set of scultures wait in an underpass – Figura Femenina (Jesus Valverde, 1983) and Homenaje de Goya (Javier Aleixandre, 1980) – both metallic and both examples of contemporary sculpture, but away from the sterile world of the white walled contemporary gallery space they feel far more full of life. They command attention, but they are not on huge plinths at the centre of a roundabout. Instead they are on a level with the people viewing them, in spaces that people use every day. Where these sculptures are is a place in which people gather to chat, to just hang out with friends, and they were sharing the space with artworks.

The sculpture park of Palomeras Bajas has clearly been produced with the purpose of enriching the places in which the people use every day. This is most evident with the work Orden Cósmico (Ceferina Moreno, 1986), a large scale mosaic-like artwork installed into the floor of a communal terrace between two apartment blocks. Whilst it’s possible to get an impression of this impressive piece whilst walking amongst its tiles, the full picture is only available from the flats that surround it, by the people that live with the art.

It is where these sculptures are situated that allows them to be wholly expressive. By placing this art amongst the everyday spaces of the barrio, they are able to serve their purpose – to provoke thought and reflection – more readily than if they were in a traditional gallery space. Throughout the tour of this space there was a real sense of pride from the local tour guides; from the standard of the sculpture and ethos of the space, it is clear to see why.

This event was organized by Todos Por Praxis as part of the We-Traders series of activities currently exhibiting at Matadero Madrid.

PRESENTACIÓN DE IDYS BETA · INSTITUTO DO IT YOURSELF

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This event was called a ‘presentation’ of the IDYS Beta Project (The Do It Yourself Institute), a chance for those involved in the collective to present their activities and approach to work. However the event that took place on the 18th of February looked and felt much more like a discussion than a presentation. Upon arrival each guest was offered a small glass of beer and took their place on the circular ‘people’s parliament’, built by Colectivo Mustarinda for exactly this type of occasion.

The collective began to talk about the approach that Todo for Praxis (Everything for Practice), the producing organization, have towards their work, explaining that they use the pre-existing skills of a community to create new visions for old spaces. They talked of how furniture makers, designers, carpenters – or people with other skills or that are willing to learn – come together to take hold of a project and realize their designs.

This particular program, IDYS Beta, focuses on supporting new ideas and developing new models for collaborative, community projects.  The focus on co-responsibility between community groups and forging those community links are just as important as the projects themselves and every Tuesday between 4pm and 8pm IDYS Beta Consultancy will be available at the We Traders Exhibition space in Nave 16.3 to support any project ideas you may have.

In this relaxed environment the audience felt at ease asking questions whenever they arose. The audience comprised of people with varying levels of experience in construction, from architects to DIY amateurs, but all were engaged and engrossed by this fantastically open atmosphere.

It was fitting that the meeting took place on a unit constructed by a collective to learn about and discuss a group of people that believe that everyone in the community has something to offer to rejuvenate spaces left unloved and uncared for by official institutions.  Any space, they said, could be transformed, without exception. In the corner of an exhibition space that is a repurposed abattoir, once abandoned, amongst the displays of the We-Traders exhibition, presenting fantastic community projects throughout Europe, it was hard not to be inspired by both the content and the atmosphere of this discussion.

JORNADAS DE COLABORADORES – DEBAJO DEL SOMBRERO

Debajo del Sombrero se sostiene y se desarrolla gracias a la colaboración desinteresada y anónima de mucha gente.  En estos seis años de trabajo muchas personas han aportado sus conocimientos,  su intuición y su experiencia profesional en los talleres, y a su vez se han llevado algo, la vivencia, siempre personal y diferente de su paso por el sombrero.

Coincidiendo con la exposición de los artistas de Debajo del Sombrero, MUNDO EXTREME que está teniendo lugar en La Casa Encendida y que permanecerá hasta enero de 2014, organizamos dos días de encuentro que reúnan esas experiencias de colaboración. La estructura de las Jornadas es muy informal, Debajo del Sombrero sólo convoca, nada más, abriendo una posibilidad de intervención a todas las personas que han colaborado o colaboran con Al Matadero sin Miedo o el resto de los programas de Debajo del Sombrero.

Durante 2 días,  desde las 18:00h hasta las 20:00h (ampliable hasta las 21h para dar a los asistentes la oportunidad de plantear preguntas)  quien quiera y de la manera que quiera, previa reserva, podrá contar su paso por el proyecto, lo que trajo, lo que se llevó… El objetivo es poner el acento en el colaborador y en su paso casi siempre anónimo y silencioso por el proyecto, para que sea él mismo y no el proyecto, el que rescate del anonimato y el silencio la realidad de esa experiencia que quedó, sin que se pierda.

Fechas: jueves 12 y viernes 13 de Diciembre.

 

PARTICIPANTES

Jueves 12

Luis Saez Presentación de las Jornadas de Colaboración   de Debajo del Sombrero

José Antonio Abajo, Blanca San Román y Cristina Díez  Asociación PAUTA.  “debajo y al lado del sombrero”

Pilar Álvarez, Cristina Sanz, Violeta Fatás, Alexandra Estévez  “Misterio amigo”

 

Viernes 13

Charo MorontaLa voz del silencio”

Elisa Mariscal VacasConcurrencias”

Raquel Montes y Gema GámezEn la Mesa de Diálogos: la  imagen y la palabra”

Maite AnguloCarlos Mariscal: Fragmentos”

Jorge García VelayosConector”

Cecile  NicoletProceso artístico con Belén

 

LICITACIÓN DE LA CANTINA

Matadero Madrid abre de nuevo la licitación de la gestión de la Cantina de Cineteca, un espacio singular ubicado en la antigua caldera del matadero. Las empresas de restauración que deseen optar a este espacio deben presentar sus proyectos antes del 13 de diciembre a las 15 horas, atendiendo al pliego de especificaciones técnicas publicado por Madrid Destino.

Matadero Madrid precisa de un modelo de hostelería y restauración centrado en el cuidado de las personas a través de comida de calidad, sana, casera y, a ser posible, ecológica con un carácter internacional y multicultural, con novedosas propuestas gastronómicas y de calidad, pensada no sólo para el visitante local sino también para todas las visitas que nos llegan de otros países, donde prime la valoración y el respeto por el medio ambiente en el tipo de productos ecológicos y la sostenibilidad en el tipo de elementos pretendidos para la prestación del servicio.
Una propuesta singular que refuerce el concepto de Matadero, que siga la línea del centro y que ofrezca propuestas novedosas y de calidad, donde la colaboración con las actividades del centro o el respeto por el medio ambiente y la sostenibilidad sean integrados de forma natural. Un lugar como este necesita además ponerse al servicio de las posibles interacciones de su establecimiento con las actividades del centro y estar capacitado para gestionar actividades culturales tanto dentro de su espacio, como fuera de éste, en apoyo de las diversas actividades artísticas del centro. En definitiva, una propuesta que comprenda las peculiaridades del trabajo en un centro de arte.

 

MATEO MATÉ PRESENTA “EL ETERNO RETORNO”

Mateo Maté acaba de presentar su nuevo proyecto El Eterno Retorno, que estará desde el 21 de noviembre de manera simultánea en cinco museos estatales: El Museo Cerralbo, la Fundación Lázaro Galdiano, Museo de Artes Decorativas, Museo del Romanticismo y Museo de la Biblioteca Nacional de España. El universo personal del artista madrileño convivirá con las colecciones de los museos, la finalidad es conectar la obra de Mateo con los espacios culturales que le han influido en la construcción de su trayectoria creativa. Como en trabajos anteriores, Mateo Maté vuelve a hablar de sí mismo, o mejor, a realizar una geografía de sí mismo y sus circunstancias.

Este proyecto emparenta directamente con su instalación de 2009 en Abierto x Obras Viajo para conocer mi geografía (2001-2009), una reflexión sobre la existencia individual a partir de los elementos que forman su entorno doméstico. La antigua cámara frigorífica del matadero se transformó en todo un paisaje personal del artista, en el que un cochecito de juguete conectaba en su trayectoria diversos objetos cotidianos del artista dibujando así  su autorretrato.