912760227

912760227

To mark the occasion of its 15th anniversary, on 4 and 5 May the CA2M Museum is hosting FURIA, a Live Arts Festival whose first edition will bring together traditional flamenco and contemporary performance art.

The CA2M Museum will become a space for the creation and exhibition of the performing arts, mixing popular culture with contemporary art. 

FURIA celebrates the museum’s entry into maturity on its 15th anniversary, without losing any of the youthful strength, boldness and the enthusiasm for which it is known. The museum has invited leading artists to create performance art pieces that will be premiered at this festival.

 

PROGRAMME

  • THURSDAY 4 MAY. 8PM TABLAO. An installation by Ernesto Artillo for the flamenco troupe: Yerai Cortés, Niño de Elche, Andrés Marín and Rocío Molina.
  • FRIDAY 5 MAY. 8PM UNO. Claudia Pagès. With Nora Haddad and nara is neus.
Activity type
Dates
4th and 5th MAY 20:00H
Target audience
Topics
Acceso notas adicionales

LIMITED CAPACITY

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To mark the occasion of its 15th anniversary, on 4 and 5 May the CA2M Museum is hosting FURIA, a Live Arts Festival whose first edition will bring together traditional flamenco and contemporary performance art.

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Furia
FURIA
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With the support of

Interdependence is at the very groundbase of our most everyday reality. Marina Garcés contends that “you cannot say I without an echo of us”, but it is a singular us—not ‘all of us’ but rather ‘each one of us’. We are increasingly bombarded by the fantasy that it is possible to live in isolation, but, not only that, that this life in isolation is livable. Political discourses, economic dynamics, ways of life, routines, slogans and individualist aspirations hold sway. And even though the lesson that we need each other can be gleaned from the extreme circumstances we have lived through and from everyday reality, the dominant narratives are different.

Coexistence has been smothered by survival.

Interdependence, and its manifold expressions, is the common thread running through these picnic sessions: ranging from our relationship with nature to work relations. The role of the public is crucial to reach the level of euphoria needed to generate the sensation of community, the sense of belonging that I, you and we all look for in a family, a rave or a union.

Interdependence comes about from the undeniable vulnerability that we all share in common. To bring this reality to light, the hierarchical relationship between audience and artists will disappear in the sessions when creators openly reveal their precariousness, endemic to the cultural industry, exposing the hidden underbelly of their life stories, a kind of in bio veritas that speaks of hand-to-mouth jobs and the difficulty if not directly the impossibility of making a living from art. In addition, the bureaucratic, administrative and fiscal demands required to take part in certain cultural spaces are major obstacles for creative practice. To circumvent and shatter them, mutual support is, as always, the most effective instrument at hand.

More than just participating, the audience becomes one with the music and performances, it is invited to reach out and touch each other blindly, to make exchanges on the sidelines of the economy or to take stock of their privilege with regards those who society categorizes as dependents, as if the rest of us were not.

These Picnic Sessions are an invitation to make the most of these bonds, and to create new ones. With euphoria.

Curated by: Nerea Pérez de las Heras and Mar Rojo.

// At the beginning of the nineteenth century, the Picnic Society was founded in London and met regularly in the open air. On its outings, which had no specific host as such, the individual members were expected to provide the refreshments and the entertainment. Starting out from the same concept, and forming its own particular Picnic Society, every year CA2M Centro de Arte Dos de Mayo invites various curators to design a programme for the art centre’s roof terrace.

Every Thursday from the end of May until mid-July the CA2M roof terrace will be transformed into a space where we will carry out a programme of activities mixing the body and sound with education and participation. //

PROGRAMME

• Thurs 26/05 I IF YOU MOVE, I MOVE Miss Beige, Dembooty

• Thurs 02/06 I OUTSIDE THE NORM Costa Badía, LVL1

• Thurs 09/06 I INTERDEPENDENTS Ana Matey, Maricas: Jovendelaperla & Berenice

• Thurs 16/06 I A SINGLE BODY Ernesto Artillo, Ece Canli

• Thurs 23/06 I NEW PIECES, NEW GAMES Andrea Jiménez, Caliza

• Thurs 30/06 I MELT, MIX, STIR Victória Bemfica, Emily da Silva, Gabriela Clavería and Ikram Bouloum

SCHEDULE: 9:00 p.m. to 11:00 p.m. (EXCEPT THE SESSION ON THE 30TH, WHICH WILL BEGIN AT 6:00 p.m.).

YOU CAN DOWNLOAD THE PROGRAM HERE

Activity type
Dates
From May 26TH to June 30TH
Target audience
Topics
Entrance

At the beginning of the 19th century, The Picnic Society was born in London, an association that met regularly in the open air and in whose meetings each member was expected to contribute part of the entertainment and refreshments without there being a specific host. Based on this concept, and as a Picnic Society, the Museo Centro de Arte Dos de Mayo invites several curators each year to design a program for the Museum's terrace. Every Thursday from the end of May to the end of June, our terrace becomes a space in which we develop a program of activities in which the body and sound are mixed with the educational and participatory.

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Picnic Sessions 2022
PICNIC SESSIONS 2022. VITAL SUPPORT
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Design: Cristina Daura.

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Duration
21:00 - 23:00h

This course’s education programme is an underground river.

It appears and disappears.

Its texts are transmitted verbally, that is, via the spoken word.

We would love for anyone to transmit our projects and for them to reach far and wide. So, we have invited the artists we will be working with during this school year to write protocols in order to memorise and explain the programme texts. This way, they won’t be forgotten.

If you are interested in receiving this programme please write to us at educacion.ca2m@madrid.org or call us on 912760227 and we’ll tell you all about it.

 

  1. The Art of Happening. Mónica Valenciano

      Protocol for memorising and explaining

 

  1. Overflowing school. EnterArte

 

      Protocol for memorising and explaining

 

  1. Florecer dobladx. BOYA x Seminario Euraca

    Protocol for memorising and explaining

 

  1. Do Without Being Seen. Black Tulip

     Protocol for memorising and explaining

 

     5. Taller towers

  • Collaboration with the Children’s Residential Centre 

  • Collaboration with the Federico García Lorca Public School

  • Collaboration with the Europa High School

  • Collaboration with Pablo Neruda Occupational Training Centre

  • Visits

  • An amateur choir

  • Furtive night-time encounters

 

 

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programa educativo
EDUCATION PROGRAMME 2021-2022-2023
Type Thinking / Community
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Is it a cycle?
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Curated by Isabel de Naverán in collaboration with Escuelita.

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

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

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

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

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

 

DOWNLOAD THE PROGRAM HERE 

Dates header text
5, 6 and th JULY
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Registration:
-
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CAPACITY: 25 PEOPLE

Entrance

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

Subttitle
FOR WHICH BODIES, FOR WHAT HISTORIES
Header category
XXVI IMAGE SYMPOSIUM
Main audiovisual
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Wrap, History and Syncope by Isabel Naverán. Picture: ©Andrea_Rodrigo

Type Thinking / Community
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Duration
5th JULY 17:00-22:00H | 6th JULY 11:00-21:00H | 7th JULY 11:00-14:00H
Is it a cycle?
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We are outdoors, in the fresh air. Multiple layers of reality are occurring at the same time. The sun is setting on the horizon, the light is constantly transforming. What separates what we are seeing and what we are imagining?

By stopping to see what we seldom perceive, in this workshop we will engage in several attention exercises with the goal of inquiring into sight and the kinematic. We will work with things that are not a material support but are supported by what is around us to shape other realities. The goal is to seek new ways of producing images by connecting the visual with the sonorous and action in a space.

This workshop is targeted at teachers, educators and artists interested in education. It is offering a week of work to forge bonds by collaborating and collectively reflecting with the Museum’s educators, the attending teachers and the guest artist.

Sofia Montenegro’s work lies somewhere between sound, image, text and performance. She studied Fine Arts and Cultural Studies in Utrecht and Madrid and earned an MA in Art Praxis at the Dutch Art Institute. Her works often take the form of installations, sound tours, listening sessions, collective encounters or performance.

She has recently showed her works in exhibitions, actions and performances at La Papelería, the Ana Mas Projects gallery, the Blueproject Foundation, the Centre d’Arts Santa Monica, Can Felipa Arts Visuals, Bulegoa, MNCARS, LCE, El Chico Madrid and Kunstraum Bethanien Berlin, among others, and will soon do so at Barcelona’s La Capella. 

She is also the winner of Barcelona Producció 2023-24 and Generación 2022 and has done residencies at Futurama Alentejo, BilbaoArte and CRA Matadero Madrid. She is currently a resident at Hangar in Barcelona.

Dates header text
6-9 MAY
Entrance

This workshop is targeted at teachers, educators and artists interested in education. It is offering a week of work to forge bonds by collaborating and collectively reflecting with the Museum’s educators, the attending teachers and the guest artist.

 

Header category
Formacion porfesorado
STEPS, MURMURS. LISTENING AND OBSERVATION WORKSHOP FOR TEACHERS WITH SOFÍA MONTENEGRO.
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Sofía Montenegro, Cámara Oscura, 2023. Picture: Jorge Anguita Mirón.

Type Thinking / Community
Topics Educational Community
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Duration
6-9 MAY 17:00- 20:00
Is it a cycle?
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Madrid has a long and little-known Islamic legacy which is intertwined with the city’s history in a way that challenges the political and media discourses that present Islam and Muslims as unwanted, recent foreign arrivals. Madrid was founded in the eleventh century with the mixed name of Maŷrit and is the only current European capital with Islamic roots.

Its first history was written in Arabic, as were the names of its first known inhabitants. For 220 years, Madrid belonged to the broad Arab-Islamic geographic and cultural space that extended from the Duero River to the Sahara Desert, from the Atlantic Ocean to the Indus River. After being conquered and incorporated to the Kingdom of Castile in the late eleventh century, Madrid still had an Islamic presence for 500 more years through its Mudejar, Morisco and slave minorities.

This historical legacy is barely known because the history of Madrid has been recounted in light of its status as the urbs regia, the seat and symbolic embodiment of a power that has been presented as essential and exclusively Catholic and European, which has consequently tended to erase the material and symbolic traces of a past that was considered unsuitable. However, unexpected, subtle phantasmagorias of this past, both tangible and intangible, still exist in Madrid today and even inhabit the icons of Madrid’s identity.

This activity suggests a tour around different spaces of memory to engage in a reflection on the history and memory of Madrid in relation to concepts like identity, alterity, mestizaje and diversity.

Wednesday 19 June. 6-8 pm. Free activity with advance registration. Capacity: 25 people.

Daniel Gil-Benumeya, 1970. He was raised between Rabat and Madrid in a family associated with the imagined and cross-border geography of southern Spain. His academic training is in the field of Arab and Islamic Studies, and outside the academy he was trained in the neighbourhood community of Lavapiés and other areas of Madrid. He is currently a professor in the Department of Linguistics and Oriental Studies at the Universidad Complutense de Madrid and scientific coordinator of the Centro de Estudios de Madrid Islámico (CEMI), which is affiliated with the Fundación de Cultura Islámica (FUNCI). His main line of research involves a range of issues associated with the past and present of Islam and populations considered Muslim in Europe. He specifically examines the processes of constructing identity and alterity and the role played by social representations of history and memory in this construction.

Activity type
Dates
19 JUNE
Target audience
Topics
Acceso notas adicionales

AFORO: 25 PERSONAS

Entrance

This activity suggests a tour around different spaces of memory to engage in a reflection on the history and memory of Madrid in relation to concepts like identity, alterity, mestizaje and diversity.

Categoría cabecera
Visitas Madrid islamico
STROLL THROUGH ISLAMIC MADRID. BETWEEN HISTORY AND MEMORY.
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Picture: Daniel Gil Benumeya.

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Duration
18:00 - 20:00

In the Cristina Garrido exhibition, Ximena asks ‘What Juan Muñoz work are you according to your zodiac sign?’; Jesús begins with La Chola Poblete, and Álex climbs up to the roof. Mar asks if the museum is a theatre; Ana talks about death and thresholds.

A handrail like Tiresias’s gesture to read with his fingers. And like the grain in a house’s wood, we could say: the grains running along the staircase allow the body to lean; they stick to the walls in a right angle but also an ellipse. A handrail to slide through the museum and see things from above.

Or to go to the exhibition next door, or see the work just around the bend in the hallway.

Mediation for Five Handrails is a collaborative project between AMECUM (Association of Cultural Mediators of Madrid) and the Museo CA2M. Based on a proposal that began with the exhibition Juan Muñoz. In the Violet Hour, we are rethinking mediation in its own context by putting the mediator’s body at the centre, amidst so many objects and so many words.

This project is also viewed as an investigation that revolves around two lines of action at AMECUM: reflecting on and experimenting with mediation, good practices and other ways of viewing it, and bringing visibility and recognition to the figure of the cultural mediator.

In the quest to challenge the logics according to which mediation tends to be understood as a service, we are suggesting a perspective of mediation as a critical, autonomous cultural production based on personal, positioned inquiries. It is a situated, contextualised process in which the mediator is also a cultural producer who makes new collective questions and interpretations possible. Five different tours conducted by five different mediators: Mar Sáenz-López, Ximena Rios, Jesús Morate, Alex Martínez and Ana Folguera.

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Mediation for Five Handrails is a collaborative project between AMECUM (Association of Cultural Mediators of Madrid) and the Museo CA2M. Based on a proposal that began with the exhibition Juan Muñoz. In the Violet Hour, we are rethinking mediation in its own context by putting the mediator’s body at the centre, amidst so many objects and so many words.

Header category
mediación
MEDIATION FOR FIVE HANDRAILS
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Picture: Sue Ponce.

Type Thinking / Community
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Is it a cycle?
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These months, the exhibitions will be filled with objects we may hover over, see from above or closer up. We suggest walking among them and under them, touching them and seeing what happens in that encounter.

We encourage you to engage in this collective experience, which is open to all types of groups, on Tuesday and Wednesday mornings. Each tour will be different, and we’ll make them up as we go.

We may visit Déjà Vécu. What Has Already Been Lived, the exhibition by the artist Asunción Molinos Gordo, where we may wonder what mysteries the flint of Madrid harbours or what the social life inside the microcosm where human intestinal bacteria live is like.

On this collective tour, we may also wander around the different sculptures that Teresa Solar has proposed for the first floor, or go up to the third floor to discover what stories the artist Ana Gallardo has brought back on her journey from Argentina.

The programme is targeted at any type of group: clubs, organisations or school groups.

Register in advance at 912760227 or educacion.ca2m@madrid.org.

We are pleased to partner with Amecum on these tours, which suggest different ways to approach the works of these artists

Activity type
Dates
TUESDAY AND WEDNESDAY MORNINGS
Topics
Entrance

These months, the exhibitions will be filled with objects we may hover over, see from above or closer up. We suggest walking among them and under them, touching them and seeing what happens in that encounter.

Categoría cabecera
Recorridos
MUSEUM TOURS DURING THE WEEK
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Photograph: Sue Ponce.

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Duration
11:00 - 12:00

María Us is a Guatemalan activist who was a guerilla member during Guatemala’s armed internal conflict between 1960 and 1996.

As the outcome of the partnership between her and the artist Ana Gallardo, we are presenting a play in the form of a biographical act which tells the story of a forest that is both the memory of land struggles and the community’s means of sustenance, in an attempt to disinhibit and publicise the resistance of several generations of female bodies violated by their family members and fellow political activists, too.

MARÍA US

I am a woman with K'iche' roots. I speak my native language. Ever since I remember, I’ve worked the land a lot. I went to primary school in my community. What I remember from primary school: most of the teachers were Latino and they would hit and punish us over anything. And they forced us to study or speak Spanish. I liked to play and run, and I imagined that when I was a bit older, I would go far from my family to study and teach the children of my village. Everything changed when the government of Guatemala began to damage and murder. That was my dream no more. I think that schools should not be enclosed; children should not be inside four walls; they should study in a place where they coexist with nature. Someday I’ll teach children.

Activity type
Dates
8 MARCH 10:50
Target audience
Topics
Entrance

Performance by María Us on the occasion of the opening of the exhibition "Tembló acá un delirio" by Ana Gallardo.

Subtitle
PERFORMANCE BY MARÍA US IN CONJUNCTION WITH ANA GALLARDO
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Maria Us
TE BUSCO EN OTRO NOMBRE [I’M SEARCHING FOR YOU IN ANOTHER NAME]
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Portrait of María Us. Photograph by Gregorio Díaz. Courtesy of the Museo de Arte Moderno de Bogotá (MAMBO).

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Duration
20 minutes

Witnessing the End is a programme of outings to places where terminal events happen, like the end of a motorway, the mountains of Madrid and the botanical garden. It is also a lecture on the impossibility of conservation at the CA2M Museum. At these springtime gatherings, we will think collectively about the stories told in our culture about denouements, resisting death and the beauty of disappearing as we hover air-borne over the precipice in the car together.

This People’s University programme, targeted at anyone interested in contemporary artistic practices, expands the concept of knowledge conveyance to introduce contemporary art, and it heads out in search of shared experiences that make us think as artists both inside and outside the museum.

PROGRAM 

APRIL 10. Keeping out the cold. Excursion to the Guadarrama Mountains. 

24 APRIL. De-veiling the Collection. Lecture and visit to the CA2M Museum warehouses.

Activity type
Dates
10 APRIL - 5 JUNE
Target audience
Entrance

Witnessing the End is a programme of excursions to places where boundary events occur, such as the end of a road, the mountains of Madrid, the botanical garden; and a conference on the impossible of conservation at the CA2M Museum.

Categoría cabecera
universidad popular
WITNESSING THE END. PEOPLE’S UNIVERSITY
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Picture: Bego Solís.

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Duration
ALTERNATE WEDNESDAYS