Jeremy Deller approaches signs, images, lifestyles and objects in order to reflect on the mechanisms and the culture that define our current post-industrial society. With a background in Art History, his methodology is not so much defined by a specific artistic procedure, but by turning observation, research and critique into his tools, premised on his curiosity.

Between April and May 2016, a number of meetings were held at Cuarto de Invitados to work on the convention and its translation. These meetings, which included a small group of participants, examined the ways in which the convention is expressed, the implications of the language used, and the issues involved in translating it.

We hope that these seminars will mark a point of inflection on the road towards a model of city geared towards the enjoyment of the good life, within the reach of everybody, bearing in mind the limits of a finite planet. The idea behind Móstoles, City in Transition is to live better with less.

For its affective capacity, its maddening traffic, its connection with the bodies, this issue of Re-visiones not only invites to critically rethink the whole field that the digitalisation of the world has put into circulation, but also to put spatial and temporal strain on concepts that are today thought ‘undercommons’ with others that have concerned us in moments of struggle with the public sphere or the popular, all that broke out in the great hope of the ‘cultural revolution’.

A novel that begins, like the title of Una novel que comienza the only book by Macedonio Fernández published while alive, is a statement of a beginning and conditions the movement of reading and the reception of a story. This plural and subjective narration throws light on various forms of partaking in a context. Diego Vecchio, Alejo Ponce de León, Karina Peisajovich, María Moreno and Pablo Schanton will rethink some of the “living materials” with which Argentinian art arrives at different works and positions.

This year, DIDDCC, with Carlos Martín at the helm, will question the various factors behind the publication of contemporary art collections, both public and private; will take a look at the canons and dogmas operating in this particular field

La Casa Encendida and CA2M want to stress the reflection resulting from artistic production that happens through the body. Body is hereby understood as social body, as a political construction that that transforms sensitivity into knowledge.

Artists in Residence is conceived in conjunction with the programming of La Casa Encendida and CA2M. For this reason, the chosen projects dovetail with the two art centres’ policies of research and experimentation. As such, Artists in Residence is not conceived exclusively to fund production, but rather it is viewed as an opportunity to strike up a dialogue between artists and the agents associated with the two institutions and their respective programmes.