Activity

Based on the different exhibitions, activities and workshops, as well as the museum’s collection, we are suggesting different encounters and viewpoints on contemporary artistic practices and their capacity for influence and social transformation. To do so, we will invite guests, but not only cultural stakeholders and visual artists; that porosity in the title opens up the arena to other creators and disciplines, allowing for encounters with writers, scientists, designers, performers, musicians and more. Our main goal is to break that systematic distance between the general public and the white cube by bringing together different voices around contemporary culture.

Music will be an essential feature that serves as the common thread in each of the activities, and each session will come with a playlist inspired by the topic being discussed. We are suggesting one encounter a month, making a total of eight podcasts.

We invite you to start listening in the flowery, fair-filled month of May and to participate in this new CA2M Museum radio adventure.

Host- Natalia Piñuel Martín

Art historian, cultural researcher and curator. She is the co-founder of the Madrid-based platform Playtime Audiovisuales, where she develops projects for museums and cultural spaces like MUSAC (León), DA2 (Salamanca), Espacio Fundación Telefónica, La Casa Encendida (Madrid), AECID and the Instituto Cervantes. Playtime Audiovisuales has been curating the El Cine Rev[b]elado series at the Centro de Arte 2 de Mayo since 2014. She is the director of the festival project and agency She Makes Noise. She regularly writes in the media and teaches and gives talks about contemporary artistic practices and gender issues. She has programmed audiovisual and performance exhibitions and series and has worked regularly in radio and podcasts since 2018.

#3_Candela Capitán_From Otherness: On the Ostro Live Art Series

Our guest at this third altered, porous gathering is the performer and choreographer Candela Capitán, one of the leading figures on the contemporary dance scene in Spain. Capitán is presenting her piece Sound Cell as part of the Ostro Live Art Series.

Also with us is the Barcelona-based DJ, performer and programmer Meritxell de Soto.

The playlist, like our guests, is characterised by dissidences and the most disruptive electronic production, and like Ostro, the southerly wind that moves and changes everything in its path, we wish you a warm and happy summer.

EPISODE #3 ► (Listen on SoundCloud)

PLAYLIST #3 ► (Listen on Spotify)

#2_Le Parody_From Smallness: On the Ria exhibition by Jorge Satorre

Our guest at this second altered, porous gathering is Le Parody, the musical project of the Málaga-Granada artist Sole Parody, who after many years in Madrid is now a “voluntary exile” in the fields of Castile. Le Parody interrelates pop, tribal folklores, flamenco and electronic music in her production. She makes songs about love and heartbreak, revolutions, bodies and community dances, the ones that would fit in the gap between a street party and a rave. Le Parody’s new album Remedios, released only a few months ago, feels more luminous than her earlier ones, merging influences from the African continent and pop lyrics with smallness, small remedies (rather than pieces of advice and major speeches) for resilience and a better world.

Also with us is the composer, producer and pianist Hara Alonso from Stockholm, and we talk about Maddi Barber’s films about caring and the rural world. The accompanying playlist features minimalist and ambient music, because as well as dancing to electronic music you can listen to it, so we invite you to discover quite a few of its creators.

EPISODE #2 ► (Listen on SoundCloud)

PLAYLIST #2 ► (Listen on Spotify)

#1_Sabina Urraca_The Imagined Universe – Around the María Medem exhibition

Imagen: Andrea Fernández Plata

We invited the writer and editor Sabina Urraca for this first altered, porous gathering. Originally from San Sebastián, she was raised in Tenerife and currently lives in Madrid. She is the author of the novels Las niñas prodigio (Fulgencio Pimentel, 2017), Soñó con la chica que robaba un caballo (Lengua de trapo, 2021), Chachachá (Dueto) (Comisura, 2023) and El celo (Alfaguara, 2024). Her short stories and the translations of some chapters of her books have been published in magazines like The White Review (UK), The Washington Square Review (USA), Picnic (Mexico), Mercurio, Los Bárbaros, Salvaje, Matador and La Pública, and she has contributed to media like El País, El Cultural, Vice and Cinemanía with columns, articles and essays. She has a monthly column in the literary journal Zenda. She has taught writing workshops in Spain, Mexico, El Salvador and Costa Rica. In 2019, she debuted as an editor of Panza de burro written by Andrea Abreu (Editorial Barrett). She was a resident editor at the Caballo de Troya imprint (Penguin Random House) in 2023 and 2024. In 2022, she received a Leonardo grant for creators from the BBVA Foundation. She has just released her new book, Escribir antes, published by Ediciones Comisura. Sabina (the human) lives with Murcia (the dog) who got her name because she was found in Murcia and since then has been a constant inspiration for the human.

We also welcomed input from the visual artist, curator and poet Leto Ybarra and the filmmaker and animated artist David Domingo, AKA Stanley Sunday. The playlist comes with the Austro-Hungarian imprint plus an extra surprise bonus from Sabina Urraca. 

EPISODE #1 ► (Listen on SoundCloud)

PLAYLIST #1 ►(Listen on Spotify)

The Museo CA2M is collaborating in the fifth and latest edition of Domingo, the performing arts festival hosted by La Casa Encendida and curated by Fernando Gandasegui that over the last five years has brought together national and international artists to encourage experimental languages.

As in previous editions, Domingo 2025 revolves around listening to what is happening on the current scene, delving deeper into the main themes that the programme has explored over the years: the convergence and opening of different disciplines, generations and geographical regions; the protagonism of the voice and the performativity of sound; the power of the political and sensitive agency of images and imagination; the exercise of joyful criticism in art practice; the proposal of alternatives for encounter and transmission between audiences and artists; somato-political practices in southern Europe; and, above all, the promotion and dissemination of radically experimental languages to counteract the flattening effect of neoliberal trends.

Thursday 13 March SUI. Free admission on a first come, first served basis.

• 19:00 ORELLES VOLADORES Nilo Gallego
• 20:15 CLARALINDA, CLARALINDA, CLARALINDA Luísa Saraiva

ORELLES VOLADORES. Nilo Gallego 19:00h Approximate duration: 1 hour

In Orelles voladores, Nilo Gallego surrenders to his experience as a percussionist and sound recordist while inviting the audience to search for a new music theory and a new sense of tuning through simplicity and honesty. Because every sound that reaches our ears, bounced back and filtered through all the materials it encounters along the way, has a story to tell; a story which, over the years, we learn to ignore over and which this piece invites us to rediscover.

Orelles voladores is a percussion concert in which the artist encourages us to form a percussion orchestra with our eardrums, and use the act of listening as our drumsticks. The concert changes every time it is performed, adapting to each space and situation. For this occasion, the performance will also feature the percussionist Frankuu Carrascosa and An Amateur Choir, the open project based at the Museo CA2M that has been operating for eight years and of which Nilo himself is a member.

Nilo Gallego (Ponferrada, León) is a musician and artist who gives performances in which experimentation with sound is the starting point. His pieces always have a playful element and seek interaction with the immediate environment and the ordinary. He is a member of the experimental action collective Orquestina de pigmeos (with Chus Domínguez) and regularly works with creators like Silvia Zayas, Alex Reynolds and the company Societat Doctor Alonso. He plays drums, percussion and electronic devices, and in addition to musical creation he designs soundscapes for contemporary theatre and dance companies. He has presented his work at national and international live arts festivals. He also designs tools and runs educational workshops based on listening and sound creation.

Credits Creation and performance: Nilo Gallego. Collaborations: Frankuu Carrascosa and An Amateur Choir. Audiovisual coordination and accompaniment: Chus Domínguez. Writing support: Álex Reynolds.. Co-production: TNT (Terrassa Noves Tendencies) Festival; Residencies with the support of : Espai nyamnyam, El Consulado Fonteta, Espacio Los Barros, La Poderosa and L’Estruch.

CLARALINDA, CLARALINDA, CLARALINDA Luísa Saraiva 20:15h Approximate duration: 40 minutes

Claralinda, Claralinda, Claralinda is a choreographic songbook in which Luísa Saraiva shares her practice and extensive research on the physicality of singing, the limits of the female voice and the haptic nature of sound. Analysing different types of songs and instruments and travelling through excerpts from her works, she explores the sonic possibilities between breathing, sound and singing through a movement practice that visually presents the physical effort involved in controlling the breath. The songs are added, transformed and improvised according to the research and process in which Luísa is engaged at a given time. Her musical universe is inspired by traditional folk songs from central and northern Portugal.

Luisa Saravia is a choreographer who lives between Porto and Berlin. Her artistic practice investigates the language of the body and voice, situated at the intersection between movement and musical composition. Her work is deeply influenced by research on the physicality of the voice and a contemporary, non-essentialist perspective of folklore and tradition.  Luísa studied psychology at the University of Porto and dance at the Folkwang Arts University in Essen, Germany. She has worked with artists from different disciplines, such as Lea Letzel, Carlos Azeredo Mesquita and Senem Gökce Ogultekin. She has received grants for several art research programmes and in 2019 she was selected for the danceWEB programme and was a choreographer-in-residence at K3 | Tanzplan Hamburg. In 2022/2023 she received the Tanzpraxis grant from the city of Berlin. Since 2020 she has been an activist in the field of mental health in performing arts, promoting workshops and lectures.

Credits Choreography and performance: Luísa Saraiva. Instrument: Inês Tartaruga Água. Acknowledgements: João dos Santos Martins and Associação Parasita.

In association with: 

Welcome to Fuga! Here, no programmes are imposed and there are no hierarchies. FUGA is an open space where young people aged 16 to 23 who are interested in culture and art can get involved in the museum’s cultural programming. It’s a space where they can share interests and learning, connect with artists and design their own project.

There is no programme, no plan and no prefabricated script. We come to set up an artistic hangout with autonomy, freedom and lots of exploration. No one will tell us what to do, because we write the programme here.

In the first phase, which will be held between January and June 2025, FUGA invites its members to participate in creating their own programme by exploring and defining its structure using a speculative design methodology that allows them to design and imagine what a committee of young people in a museum might be like and how it might work.

The book 1502 Persons Facing the Wall is the outcome of the research and work undertaken around the Santiago Sierra exhibition being held at the CA2M museum until 2 February 2025. This publication brings together images of Sierra’s characteristic ‘inverse’ portraits and finds resonance in the profound, insightful texts by Alexis Callado, Rosa Martínez, Georg Imdahl, Juan Albarrán, José Luis Corazón, Pilar Villela and Gonzalo Abaha. The book immerses us in a striking picture of the artist and the questions he asks about power and its effects. The publication not only documents the exhibition but also becomes a tool of reflection on the networks shaping our realities.

The activity will feature Carlos TMori (designer), Juan Albarrán (author of one of the texts), Sandra Guimaraes (director of the Helga de Alvear Museum), Alexis Callado (exhibition curator) and Tania Pardo (director of the CA2M Museum).

The ‘Variation 90’ sound activity, directed by Ugo Martínez Lázaro, will be held after the launch. In this piece, the artist aims to manifest and allegorically question forms of social domination and alienation by evoking purification rituals that combine creativity and community resistance. Four experimental musicians take part acoustically in the space for forty minutes to explore the conceptual tensions in Sierra’s work. This collective event will feature Ugo Martínez, Arianna Cana Mackenzie, Doris Steinbichler and Narcoléptica.

Carlos TMori is a graphic designer of publications, visual artist, contemporary art curator and associate professor in the Bachelor’s in Fine Arts at the University of Salamanca. He has a PhD in Fine Arts and two bachelor’s degrees in Fine Arts and Audiovisual Communication. As a graphic designer, he has worked for companies like una más una and La Fábrica and for cultural institutions like the Ministry of Culture, the Foreign Ministry, the DA2 Art Centre, the Conde Duque Contemporary Culture Centre and the MUSAC and Es Baluard museums.

Juan Albarrán is a professor in the Department of Art History and Theory at the Autonomous University of Madrid. His lines of research revolve around contemporary artistic practices and discourses, especially the relationships between art and politics in Spain since the transition to democracy, theories of photography and performance, and representations of torture in contemporary visual culture. He has published the books Disputas sobre lo contemporáneo. Arte español entre el antifranquismo y la postmodernidad (2019) and Performance y arte contemporáneo. Discursos, prácticas, problemas (2019) on these issues, and he has edited the collectively-written volumes Arte y transición (2012 and 2018), Llámalo Performance: historia, disciplina y recepción (with Iñaki Estella, 2015) and Ensayo/Error. Tentativas interartísticas en el Estado español (with Rosa Benéitez, 2018).

Alexis Callado has a degree in Art History from the University of Havana. His curatorial practice includes solo exhibitions with Carlos Pazos (La Casa Encendida, Madrid; Centro de Desarrollo de las Artes Visuales, Havana), as well as group exhibitions (Ante nuestros ojos, Loop Festival, Barcelona; Culto Digestivo, Conarte, Monterey) and collaborative projects like Lab Latino, Eighteenth Arte Paiz Biennial, Quetzaltenango, Guatemala. He is an active promoter of exchanges between the Spanish and Latin American art scenes. He helped to choose, coordinate and produce publishing projects in graphic art, photography and sculptural objects for the company Arte y Naturaleza of Madrid. He has organised artistic projects in Sweden, Spain, France, Guatemala, Mexico, Argentina, Chile and Cuba. He partners with publications, museums, associations and centres specialised in contemporary art. He is a member of the Transatlantic Network and is a co-founder of The Curatorial Bureau.

Tania Pardo is the director of the Museo Centro de Arte Dos de Mayo of the Community of Madrid. She was the Fine Arts advisor of the Community of Madrid until July 2019. Before that, she was in charge of the Exhibition Department at Madrid’s La Casa Encendida. She has also served as a curator at MUSAC, Contemporary Art Museum of Castilla y León, and as the head of programming in the Laboratorio 987 space. She has been the director of projects at the Fundación Santander 2016 (2009–2010) and associate professor of Art History at the Complutense University of Madrid. She has recently curated the Cristina Garrido show The Origin of Forms at the CA2M Museum, and Bird Machine Dream by Teresa Solar Abboud at the same museum along with Claudia Segura in a co-production with MACBA and the Fondazione Sandretto Re Rebaudengo in Turin.

Sandra Guimarães (Oporto) is the director of the Helga de Alvear Museum in Cáceres. Her career in the visual arts spans around twenty years and includes posts like the Artistic Director of the Bombas Gens Centre d’Art (Valencia) between 2020 and 2023. Guimarães was the curator of the Serralves Museum (Oporto, Portugal) between 1998 and 2010 and the founding director of programmes at the Remai Modern (Saskatoon, Canada) between 2015 and 2019. At Serralves, she organised exhibitions of contemporary artists like Alvess, Artur Barrio, Thomas Hirschhorn, Cristina Iglesias, Barry Le Va and Dan Graham, among others, and co-curated the exhibition The 80’s. At the Remai Modern, she co-curated the programme prior to the museum’s opening, as well as its inaugural exhibition, Field Guide. Her training includes a master’s in Art History and Archaeology (specialisation in Modern and Contemporary Art) and a master’s in Cultural Management, both from the Université Libre de Bruxelles (Belgium).

Ugo Martínez Lázaro merges art and the social sciences with an experimental approach to sound and music. He combines documentary research, texts, music and on-the-ground experiences in projects involving comics, installations and sound art. He co-directs Pirotecnia, a trans-disciplinary improvisation ensemble, which issued an LP with the Madrid Town Hall in 2022, a limited edition of 300 hand-painted records, including a comic he designed, which is available in Madrid and Mexico.

Arianna Cana Mackenzie is a Cuban musician and producer living in Spain. She plays multiple instruments, like the clarinet, the saxophone and the flute. She started studying clarinet at the age of ten in Camagüey and continued at the National Music School and Art College of Havana, where she has also taught. She has worked with the Camagüey Symphony and the ICRT. She conducted the Limpopo Youth Orchestra in South Africa, where she explored Afro-Cuban folklore in Europe, Africa and the Caribbean.

Narcoléptica is the alias of Beatriz Vaca (Seville, 1985), who holds a bachelor’s in Fine Arts and is a self-taught musician. She has been creating experimental electro-acoustic music influenced by psychodelia, ambient music, noise and post-rock since 2006. She processes electric guitar, piano, synthesisers and voice to generate exciting sound experiences. She has issued her own records, contributed to soundtracks and performance pieces and stood out on tours around Europe and Latin America with powerful live presentations.

Doris Steinbichler (Vienna, 1965) is a vocal improvisational artist and creator of transmedia performances in Austria and Mexico. She has won awards in Mexico in performance and radio and has founded projects like ‘Remediar’, ‘Trinchera Ensemble’ and ‘4shrooms’. Her works explore vocal experimentation and multimedia and have been presented at important museums and festivals. In 2023, she celebrated thirty years of her career at Ex Teresa Arte Actual (CdMX), reaffirming her contribution to transdisciplinary art.