Activity

Co-produced by: Artaziak, CA2M, Fundación Telefónica, MACBA, Matadero Madrid, Las Lindes, Pedagogías Invisibles, Tabakalera-Centro Internacional de Cultura Contemporánea and Transductores.
Methodology by: [Inter]sección / Gabinete de Crisis de Ficciones Políticas
With special acknowledgement to Luis Camnitzer 

How can we reconfigure the art institution from the transformative pedagogic practices that inhabit it?

In the year 2050, a state of worldwide climate emergency has been declared and the various international organisations are looking for solutions to reduce the impact of human activity on the planet as much as possible. In its latest report, the UN announced that the cultural model of museums and art centres is completely unsustainable due to the quantity of ecological, material and energy resources needed to maintain it. Given the state of emergency, the report decreed the closure of all museums and art centres within a period of 12 months.

A series of Crisis Cabinets (of political fictions) was called in order to tackle the situation and to study a series of measures to take within the stipulated deadline. Given the fragility of many of the contents of said institutions, the first Crisis Cabinets will be dedicated to “The Museum is a School”, (borrowing the title from Luis Camnitzer’s work). This Crisis Cabinet will transform museums and art centres into “schools” to learn, test, rehearse, analyse, produce, post-produce, etc.T

he Museum is a School is the title of a seminar divided over five sessions conceived to rethink the relationship of cultural institutions and critical / transformative pedagogic practices. Each session will begin with a Crisis Cabinet of political fictions and will then continue with a working group and a debate on the theme The Museum is a School. These inter-institutional encounters, to be held over the 2015/2016 academic year, will enable a series of art institutions and pedagogic collectives to mark out common ground based around the following goals:

1. Broaden the radius of reflection on institutional policies and education through the exercise of radical political fiction. 
2. Agree on shared goals, working methodologies, projects, urgencies and challenges.
3. Foster the creation of an emotional community among the participating agents and institutions and a space of intensive care in which collaborative links may be forged.
4. Define working strategies between collectives and institutions with the purpose of effectively transforming the art institutions that we inhabit and that inhabit us.

SESSIONS:

MATADERO MADRID
20 Nov 2015
CA2M
16 Jan 2016
FUNDACIÓN TELEFÓNICA
7 Mar 2016
MACBA
18 Apr 2016
TABAKALERA
To be confirmed

Venus:

1. Visual depiction of the goddess Venus.
2. A prehistoric statuette of a female figure usually carved in stone, ivory or bone.
3. An exceptionally beautiful woman.
4. (obsolete) Physical desire, sexual appetite.

How many images of Venus can you recall? What would you do if you were one of them? How can the position of Venus be occupied from a feminist and critical perspective, breaking with the dichotomy between subject and object? Is it possible to enact this re-appropriation through a process of working with performance? Can this feminist re-appropriation be used to articulate other non-patriarchal, non-racist and non-heteronormative art histories? How can we re-appropriate the works of Manet, Gaugin, Velázquez, Picasso and Yves Klein, to name just a few of those classic and contemporary geniuses?

Taking Venus as a paradigmatic figure of the position assigned to women within the hegemonic narrative of art history, the workshop Venus. Feminist Remakes proposes, through a process of working with performance, to re-appropriate manifold artworks, both classic and contemporary, which have gone towards cementing the mythology of the artist as genius, and helped to structure the two opposing positions of subject and object. Viewing the remake as a political strategy of subversion and at once as a possibility of rewriting, we will undertake various feminist remakes in which we will occupy, displace and go beyond the multiple Venuses that populate the history of art.

Colektivof is a duo comprised of Eva Garrido and Yera Moreno, who have been working together since 2007 on various projects which address, from the optic of feminism, the relationship that bodies establish with time and space, positing new ways of experimenting with the everyday that subvert normative reality. These works are materialized in varying formats including performances, workshops, photographic archives, writing, videos and research projects: http://colektivof.com/

Aimed at artists, cultural producers, performers, educators, fine art and art history students 

Enrolment free until 30 May. Download the enrolment form, fill it in and return it to actividades.ca2m@madrid.org Participation in the workshop will be confirmed on 1 June

Project selected in the call organised by MAV for inclusion in the Women’s Views Biennial 2016, for its feminist content in consonance with good practices, social return and the recovery of feminine memory.

CA2M is a partner of the fourth edition of The Future Generation Art Prize, a worldwide competition established by the Victor Pinchuk Foundation in Ukraine

All artists up to the age of 35 of all backgrounds, working in any medium, anywhere in the world are encouraged to apply. Supporting the application process, more than 600 correspondents all over the world will be nominating artists for the prize and over 50 Partner Platforms worldwide will be ambassadors for the Future Generation Art Prize to encourage artists within their regions to apply.

The main prize will be awarded by an international jury in the amount of US$ 100,000, split between $60,000 in cash and $40,000 investment in the production of a new work. In addition US$ 20,000 will be awarded to up to five Special Prize winners, nominated by the Jury. A Public Choice winner will be selected through online voting and announced at the Award Ceremony.

Applications will close on 11 September 2016. An exhibition of the work of up to 20 shortlisted artists will be shown in Kiev at the Pinchuk Art Centre from February 2017 to April 2017. The winner will be announced at an Award Ceremony in Kiev in April 2017. The exhibition will go on show at the Venice Biennale in May 2017, presenting the work of all the shortlisted artists to a broad international public.

The pioneering Future Generation Art Prize established by the Victor Pinchuk Foundation in 2009 is a worldwide contemporary art prize created to discover, recognize and give long-term support to a future generation of artists. Judged by a distinguished jury, The Prize aims to make a major contribution to the careers of younger artists involved in the dynamic cultural development of societies in transition, many of whom have found it difficult to get their voices heard.

65 artists have been showcased in past Future Generation Art Prizes from all continents of the world and over 30 countries, including Angola, Argentina, Austria, Canada, Chechen Republic Russia, Chile, China, Cuba, France, Germany, Iran, Israel, Italy, Japan, Lebanon, Mexico, Netherlands, Peru, Poland, Portugal, Russia, South Africa, Sweden, Turkey, Ukraine, UK, USA and Zimbabwe. Past Main Prize winners have been Cinthia Marcelle, Brazil; Lynette Yiadom-Boakye, UK; Nástio Mosquito, Angola and Carlos Motta, Colombia.

The Future Generation Art Prize Board is founded and chaired by the Ukrainian businessman and philanthropist, Victor Pinchuk, and the Prize is organized by the Pinchuk Art Centre in Kiev. For over 12 years Victor Pinchuk has developed philanthropic projects in Ukraine and internationally. In 2006, he consolidated these activities under the Victor Pinchuk Foundation, with the mission to empower future generations to become the change makers of tomorrow.

The Foundation focuses on education, healthcare, providing access to the inspiration of contemporary art, and fostering Ukraine’s international integration. The internationally acclaimed Pinchuk Art Centre in Kiev, with its world class exhibition program, is a dynamic focus for the development of understanding of contemporary art in Central and Eastern Europe. The centre includes over 3,000 sq ft of exhibition spaces with free entry to an extensive exhibition and education program, and has received over 2 million visitors since it opened in 2006.

Future Generation Art Prize Board members are: Richard Armstrong, Director, Solomon R. Guggenheim Foundation and Museum, New York; Eli Broad, Founder, The Broad Foundation, Los Angeles, USA; Andreas Gursky, Patron Artist, Germany; Damien Hirst, Patron Artist, UK; Dakis Joannou, Founder, DESTE Foundation for Contemporary Art, Greece, Sir Elton John, Founder Elton John AIDS Foundation and Sir Elton John Photography Collection, UK; Jeff Koons, Patron Artist, USA; Glenn D. Lowry, Director, The Museum of Modern Art, New York, USA; Takashi Murakami, Patron Artist, Japan; Alfred Pacquement, Former Director, Musée national d’art moderne, Centre Georges Pompidou, France; Miuccia Prada, Founder, Fondazione Prada, Italy.

Victor Pinchuk, Founder and Chairman of the Future Generation Art Prize, said: “I am passionate that the work of young artists in all parts of the world is recognized. Not only as a creative force in their countries, but also to support them to make an impact on a world stage reflecting the power of culture to unite people, and bring about positive change in society.”

he performance Quarter of an Hour of Metaphysical Culture is a presentation of physical training created from a poem by the same name by the Romanian poet Ghérasim Luca. The goal is to situate the metaphysical ideas contained within the poem (life, death, emptiness, anxiety, ideas, shivers), without any drama, based on a repetition of physical and sound exercises. The poet provides the “meta” and the performers the “physical”.

This performance is the first piece in a wider collection within the project La Conquista de lo Inútil (The Conquest of the Useless), which examines what we normally consider as unimportant, ineffective or unproductive. https://vimeo.com/user12478543/

Oscar Gómez Mata was born in San Sebastian, and lives and works in Geneva. He is an actor, director, and also playwright and scenographer, who started out working in the theatre in Spain in 1987. He was a cofounder of the Legaleón-T company, with whom he created shows until 1996. In Geneva in 1997, he founded the L’Alakran company where he has conceived, written and directed various shows.

Admission free while places last

The performance is part of El Lugar Sin Límites, a project exploring two common ideas: the idea of home and the idea of story. Set in conflict within the space of the performance, the aim is to make them clash together, producing sounds, sparks and unexpected encounters. For this purpose, artists were invited to provide voices, bodies and experiences to this ongoing reflection.

This year the idea is to observe the construction of a place to inhabit, a place to sit, observe, speak and listen. To be able to make a home together, to guide us through a territory that we decide together, to build a space for meeting and, in addition, to still believe in the possibility of continuing to tell our story to one another.

The programme is accompanied by places for reflection and encounter for artists and between artists and the audience.

On 23 and 24 September the city of Móstoles will host its 2nd Culture Forum. The idea behind the forum is to act as an open debate that will lead to the drafting of proposals and initiatives for cultural action, as well as the participation of groups, associations and other bodies who play a key role in the city’s day-to-day cultural life.

Following the successful first edition, this year the Forum will once again be a meeting place for all the various cultural agents in the city, offering a framework in which they can join in workshops, debates and assorted actions in cultural centres, including CA2M, and also in the streets and squares of Móstoles.

he Art Fellows program is made initiated and supported by Mophradat, a non-profit contemporary arts association based on Brussels that creates opportunities for thinking, producing, and sharing among contemporary artists from the Arab World and their peers everywhere. Art Fellows is a pan European project which includes: Beursschouwburg in Brussels, Centro de Arte Dos de Mayo in Madrid, CCA: Center for Contemporary Arts in Glasgow, WIELS | Contemporary Art Centre in Brussels, and Münchner Kammerspiele in Munich.

OPPORTUNITY:

Open Call: twelve-week part-time paid training program for art professionals of Arab origin living in Madrid.
Start date: January 15, 2018.

Application deadline: November 24, 2017.
 

REQUIREMENTS:
 

Applicants must have at least three years of experience in a field of contemporary arts.

Applicants must speak spanish language and have basic computer skills.

Applicants must have been living in the city of the program for at least one year.

Applicants must be from the Arab world or be of recent Arab origin.

Applicants must be available to commit themselves fully to the program, which will begin on January 15, 2018.

Holding a degree in an arts discipline or related cultural field is preferred.

Undergraduate students are not eligible to apply.

PROCESS:

Applications must be submitted in language, include the following material, and be sent by email to recepcion.ca2m@madrid.org no later than November 24, 2017.

A. CV/resume: Please list all educational and professional background, and include your name, home address, phone number, email, date and place of birth, and your citizenship.

B. Cover letter: In 500 words or less, please describe your past experience of working in the arts, and explain what skills and knowledge you expect to develop during this training period.
 

All applicants, whether selected or not, will receive a response to their applications. Selected applicants will be informed by December 8, 2017.

The Region of Madrid’s Department of Culture, Tourism & Sports commissioned the filmmaker José Luis López Linares and the Lopez-li Films production company to make a short artistic documentary film called “CA2M, 10 AÑOS EN MÓSTOLES” (CA2M, 10 YEARS IN MÓSTOLES), whose primary goal is to showcase the cultural value of CA2M. The film was conceived to coincide with the tenth anniversary of the opening of the museum belonging to the Region of Madrid, a benchmark for contemporary art in the whole area of influence and more particularly for the city of Móstoles.

Jose Luis López Linares is a director of photography who has worked on films by Carlos Saura, Fernando Trueba, Jaime Chávarri, Alain Tanner and Víctor Erice. Since 1994, he has produced and directed over forty documentaries including: Asaltar Los Cielos (Ondas Awards, 1997) Un instante en la vida ajena (Goya for Best Documentary, 2004) and Extras (Goya for Best Short Documentary, 2005). He also has won a Goya for Best Photography in 2005 for his work in Iberia, by Carlos Saura. “CA2M, 10 años en Móstoles” is his first collaboration with the Regional Government of Madrid.

This short documentary is also supported by Madrid en Corto (http://madridencorto.es/), a program promoted by the Region of Madrid’s Department of Culture, Tourism & Sports and run by ECAM Distribución, for the nationwide and international distribution of short films produced in the Region of Madrid.