CA2M Centro de Arte Dos de Mayo

25 MAYO 2017

El CA2M Centro de Arte Dos de Mayo de la Comunidad de Madrid ha adquirido para su colección tres piezas de Fernanda Laguna en la feria arteBA en Buenos Aires en su 26 edición, a través del programa de Adquisiciones de Museos de la feria, que tiene como misión principal promover el coleccionismo institucional y contribuir a su patrimonio.



4 MAYO 2017

El CA2M Centro de Arte Dos de Mayo de la Comunidad de Madrid presenta una nueva edición de las “Picnic Sessions”, su programación de verano en la terraza. Este año, están comisariadas por María Jerez y Magui Dávila y llevan por título "Arbustos, sustancias, pelos, ruidos". La cita será todos los jueves desde el 1 de junio hasta el 13 de julio a partir de las 21:00 horas. Las puertas se abrirán a las 20:30 h. y la entrada es gratuita.



Espacio P. 1981 - 1997


13 JULY 21:00 H.

21: 00 Poetic improvisation/action: PABLO URIZAL
.doc is a document produced in real time that is built on the interaction between the writer and the reader, through poetic and improvised action. The game consists in providing concepts, themes and words that are turned into changing and active texts. In the Picnic Sessions, this game is underscored by the poetic addressed in each session, the works and the participating artists. In this way, the improvisation is contrived as drawing to a close the mass of hair and substances we have been seeing Thursday after Thursday.

Chancha Vía Circuito is a project by the Argentinean producer Pedro Canale. He is performing at the Picnic with a band, formed by Heidi Lewandowski on violin, vocals and wind, Federico Estévez on percussion, as well as Pedro himself on synthesisers, wind, percussion, vocals and other instruments.

His music is a reformulation of Latin American “world music” which processes rhythms from Brazil, Paraguayan harps, Andean mysticism, Argentinean Pampa folklore and cumbia. With the album Río Arriba (ZZK Records 2012), Chancha Vía Circuito introduced South American folklore to dance floors around the world. The seductive formula is a benchmark for many artists in the Latin American electronic scene today.


23:00 Concert: GNUČČI
Ana Rab is a Yugoslavian-born Swedish artist better known as Gnučči. A singer, song writer and performer, her sessions are focused on club or dance music. Her contemporary pop project is rich in textures and sound, embracing a wide range of music styles from electro pop to rave music, to produce bombastic bass-based electronic songs. Her performance is grounded in an energetic rhythm of ingenious beats coupled with her vibrant voice.


During the Picnic Session. Performance: IGNACIO DE ANTONIO
This is not an image but every image at once
explores the conditions and modes of production and destruction of the image –of any image, of all images, of all possible images– through an encounter that proposes a walkthrough of a collection of images that pose certain questions without hoping to answer them: What is the precise moment in which the image is activated? What is the agency of everything that is not seen? What is inside the image? How can images be eliminated? How many images are possible in this encounter? How can we meet in and through images? This is any collection of images, of all images at the same time. This is not an image.

Ignacio de Antonio Antón is an architect and scenic creator who studied in Madrid, Sao Paulo and New York. His practice is based on artistic research and he is currently preparing a doctorate as a FPI researcher in the Artea research group with the Performing Censorship project. His production takes various forms including performance, choreography, installations, ephemeral architecture and editorial projects. His artistic and academic interest is focused on performative practices understood as devices exploring modes of production and the relationships between them.

Editorial board: ediciones de artistas



6 JULY 21:00 H.

In the form of a reading, Mercedes Azpilicueta recites in the Spanish slang from the River Plate area, over 400 insults aimed at women in Argentina. Like a form of anthropophagic exorcism, the pronunciation of each insult is phonetically disarmed to the point that it becomes a song. In this way, the pejorative meaning of each insult is vocally transmuted, taking on a new sense. For the spectator, the script does not seem to be made of insults, maybe because many of them are slang or in the Lunfardo dialect, or because the words are pronounced and disarmed in such a way that it is not possible to connect them to their usual meaning. The performance is continuous and swings between script and improvisation. The public will come across a vocal piece at times tragicomic, that invites them to think about the grammar of inequality and how it is a subtle accomplice of verbal aggression: gender violence that is invisible but manifest in our everyday orality.

21:45 Performative concert: ANTO RODRÍGUEZ
Estrella de Diego says that when someone tells their life story, their past immediately becomes fiction and that it is an impossible task to try to turn this fiction into reality. I really like telling stories, but I cannot manage to grasp hold of the moment when they disappear. Everything that surrounds a story and that is made up of its past, its present and its future, I call “the other”, and in order to find “the other” of a story, to be able to do it properly, I need to tell many other stories, to sing them, to dance them, to turn them once again into images.

The story I want to dig up in this concert is one about the day when I discovered that there existed two separate types of culture: one low and one high. That was the day in which everything started to collapse around me. I still keep trying to understand how it is possible that Rocío Durcal and Georges Didi-Huberman, Walter Benjamin and Dolly Parton can coexist inside of me.

This is a performative concert to recall together. Songs sung, quotes from philosophers turned into pop songs, memories recalled, memories re-presented, dancing, images and stories.


Editorial board: WE ARE FANZINE


29 JUNE 21:00 H.

21:00 Performance: ARANTXA MARTÍNEZ
Très bien éclairé is the framework in which Arantxa brings together the various different bodily fictions she has been creating around the idea of the hybrid body. These fictions, independent from one another and removed from theatrical devices, are figures in which the body distances itself as a product and artifice of its own fiction, hybrid inventions that explore processes of penetration and involvement between body and object. This framework is also involved in the task of trying to reduce the representational device to the outline of the body − whatever that may be and whatever parts it contains at that moment. Squashing the device against the body, provoking a carnal closeness that questions the purported distance that separates them.

Arantxa Martínez is a dancer and choreographer who is based in Berlin since 2003. Trained in ballet and contemporary dance, her work addresses processes of identification and exchange between the body and its surroundings, and she explores the role of performativity in relation to these processes. Her works include, among others, “Très bien éclairé”, 2015; “Emisiones Cacatúa. Special Issue”, 2012, a radio project in collaboration with Nilo Gallego, and “The Present”, 2010/2012, in collaboration with Lola Rubio.


22:00 Performance: CLAUDIA PAGÈS
Structures for the fall, structures to see through. Mother tongues or not, to create structures for speaking. Over the last year, Claudia Pagès has published several performances which have circulated on different distribution channels. The most recent will be shown during the Picnic Sessions.

Claudia Pagès works across performances, publications and objects to explore the uses and effects of language and the role it plays in relationships of alienation, power and labour. She has had residencies here and at La Casa Encendida in Madrid and at Gasworks in London. In 2016-2017 she was awarded the Mondriaan Fonds Werkbijdrage Jong Talent prize (The Netherlands).


Editorial board: Vendedores de Humo





22 JUNE 20:00 H.

20:00 Performance: MÅRTEN SPÅNGBERG
With and by: Tamara Alegre, Ludvig Daae, Louise Dahl, Hana Lee Erdman, Mårten Spångberg, Hanna Strandberg, Alexandra Tveit.

“I always wanted to be a documentary film maker, are you like serious. On my school notebook, on my desk and the trees on the sand and the snow I write your name. On all the flesh that says yes on the forehead of my friends on every hand held out I write your name. Liberty. Easy Rider, both versions, we are really many here - China. We do stretching into the future, for no particular reason. A dance is a smokescreen for having a conflict. Love scene is nothing more than that and nobody really wanted to know what it was because when we know it’s like time is speeding up and there is nothing there for me anymore. I mean not what’s in it for me, I mean the other way around but still there.

Only the trees can give us that time, and does it without asking for permission. We on the other hand, we want to guide and be guided but since we do we do a dance instead of the love scene. It’s nobody’s fault so everybody can be blamed.

Nature FR is what it is called but is not its name. Its name is Smokescreen, but the name it is called is Love scene and all of it is live, almost live, half life, undead, screaming dad and then we take a break, maybe. Homeopathic and it’s just so touching.

Editorial board: RAUM EDITIONS


15 JUNE 21:00 H.

21:00 Performance: AMAIA URRA
“A botany manual will be with thy mouth and teach thee what thou shalt say. Oh, I have Never been a woman of words, either before or after Thee... Because I am slow of speech and of a slow tongue. Thou shalt speak unto him, and put words in his mouth: and I will be with thy mouth and with his... And he shall be thy spokesman: and he shall be, even he shall be to thee instead of a mouth, and thou shalt be to him instead of… And thou shalt take this … in thine hand, wherewith thou shalt do signs.”

Amaia Urra’s work centres on language, the sung/spoken word and the action and difficulty in naming things. It has been presented in a range of different contexts like: Art nomade, rencontre internationale d'art performance de Saugenay, La Casa Encendida, Zarata Fest, Tabakalera and Ecolalias RSS (Radio del Reina Sofía). Between 1999 and 2009 she collaborated with many choreographers like Jérôme Bel, Xavier le Roy, Ion Munduate, Juan Domínguez, Cristina Blanco, Cuqui and María Jerez.

22:00 Concert: JUANA MOLINA

Juana Molina will be performing on the CA2M roof terrace, presenting her seventh album, Halo, marking a new milestone in the evolution of her own, unmistakable voice. The twelve tracks in Halo abound with hypnotic rhythms which seem to draw their energy from immemorial rituals; with timbral explorations and ever-changing soundscapes; with mysterious lyrics often touching on witchcraft, premonition and dreams, always used as metaphors for emotional states; with voices which sometimes move away from word and meaning to be reduced to abstract phonemes and onomatopoeia.

Juana approaches music in a very physical, intuitive way: every instrument and electronic resource is an extension of her body, and is used to express feelings and moods. It is magic, in its oldest sense: art or techné, which articulates knowing with doing, in order to produce something which did not exist before.

Editorial board: LEO PARDO 





8 JUNE 21:00 H.

Both of Them are waiting for you. They don't know you, but they know that on the appointed night, you will be there. The excuse for this date is Electrohumor. You will be privileged to witness the birth of a new theatrical genre. Both of Them have spent months investigating how to ditch the physical limits of the subjectivities that were strangely assigned to them. By applying the baRSan method, they have achieved dramatic expressions never before seen. All that is missing is you. All it needs is your presence. Both of Them have survived their own existences thanks to Electrohumor and now the time has come to share them with you on this end-of-spring night. The time has come to go back into the world. There is no turning back. The lentils are cooking!

Bárbara Sánchez is a choreographer, actress and dancer. She has created 6 pieces and runs the feminist laboratory Ahuyéntanos este furor. She premiered her two latest works in 2016: the Electrohumor conference-performance to be presented on our roof terrace and the stage piece Somewhat paler.

Jaime Conde-Salazar Pérez has a BA in History of Art from UCM and an MA in Performance Studies from NYU. He collaborates regularly as a dance critic in various journals and has been involved as a playwright in creative processes with Ben Benauisse, I-Chen Zuffellato, Antonio Tagliarini, La Ribot, Claudia Faci, Elena Córdoba, Bárbara Sánchez and Aimar Pérez Galí, among others. In 2015 he published the book La Danza del Futuro.

22:00 Sound performance: MÚSICA PREPOST

Paraíso Tabú is a sound and visual session produced by Fran Torres and Pablo Peña in which a live film is made using vinyl records and turntables.

The sound part is based on live interaction with vinyl records and turntables, modifying the original sound or the support. The visual element recreates a transoceanic adventure told following the canons of classic film: built from the record covers of the vinyls and other kinds of tampering with praxinoscopes, dioramas, plays of light and shadow, water, objects applied to the records and infinite other possibilities.

Discos de Nuestra Señora (DDNS)


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