Education

CA2M is well aware of the importance of building an educational community around the Museum  in order to develop innovative educational practices related to art education and contemporary thinking, and one of the cornerstones of our educational project is therefore professional development for teachers.

Since January 2009, we have therefore been offering a variety of training programmes for teachers, such as tours and talks related to our exhibitions and, also, introductory course on current art. These initiatives will continue this year and will be joined by new ones held on our premises, such as the introductory course on the educational uses of contemporary art organised by the Leganes Territorial Centre of Innovation and Training.

Meanwhile, in June, a 20-hour workshop will be held in June for Secondary School art teachers and fine art students interested in art education.

Beusté / Vives. Cisnes y Ratas.
JAN 29-  MAY 3. 2009 

La colección 
JAN 30-  MAY 3. 2009

Leopold Kessler 
JAN 29-  MAY 3. 2009
 

imaginar_historiar
XVI Image Symposium

MAY 14– SEP 6. 2009

Periferia
MAY 14 – 27 SEP 2009
 
Light Yerars, Cristina Lucas
SEP 17  – NOV 29. 2009

Auto Dream and Materia
OCT 9. 2009 – JAN 10.  2010

Doblar a lo largo de la línea. Guy Ben Ner
DIC 16. 2009 – FEB 28.  2010

This workshop continues with CA2M teaching investigation line  centered in new ways of knowledge buildings through the body and performance. This summer teacher´s  training workshop with Los Torreznos, a duo of vital, cultural and conceptual exploration, who works within the contemporary art through performance and videocreation.

This workshop intends to explore the expressive territory of the art action, the performance, basically bounded to the body and to its presence. This exploration will be developed according to Los Torreznos criteria: insistence, energy, repetition, presence, humor, simplicity of resources, constrictions and challenge.

These elements will be applied to investigate and train through practice the expressive resources of the participants. Thus, it involves an experience to put back into play and develop the using possibilities of the presence itself as a reflection and communication tool with the world.

For the workshop it is not required any previous artistic or performance tranning

Los Torreznos

Los Torreznos, Jaime Vallaure (Asturias 1965) & Rafael Lamata (Valencia 1959), is a duo of conceptual exploration covering the social and politic issues, and the most deep-rooted tradition.

In the pass, Los Torreznos´ members  have individually formed part of collectives of independent art creation (Zona de Acción Temporal, Circo interior Bruto, A UA CRAG, La Constructora, La Revista Caminada). They have also organized different programmes and events (Art Action Festivals, Series of Lectures, publications, international projects, etc.)

Los Torreznos was created in 2000. Among their creative activities, they have developed several art action works, video-installations and sound art works. They were also part of  the Spanish Pavillion in the 2007 Venetia Biennial, moreover, they have worked in different international festivals (Shangai, Glasgow, Phoenix, Noriega, Russia, Germany, Quebec, etc.) an in national ones (Madrid, Barcelona, Sevilla, Valencia, Bilbao, Cordoba, etc.)

Rafael Lamata and Jaime Vallaure have developed several works of joint intervention, videos, installations, actions ((ABC de la performance, Cuentos para la Cárcel de Carabanchel, La lógica del continente, 8 pasos para la destrucción del sistema capitalista, etc.)

Tania Bruguera is a multidisciplinary artist who works in the fields of performance, contextual, installation and video art. She has done extensive research on art and its political implications for everyday life. In her works, the audience is urged to play the role of citizens. In addition to her artistic practice, Bruguera is known for her philosophical reflections on education and knowledge building and how they are related to art. She is the founder of Arte de Conducta, the first programme for performance and political art studies.

By offering this 20-hour workshop, the CA2M continues to pursue a line of work associated with education and the potential educational applications of working with the body and the language of performance. Under the guidance of Tania Bruguera, we will reflect on education and art as political practices expressed through and from the body and the performative act.

During  2010, CA2M  offers visits and colloquiums about the exhibitions that CA2M helds. After touring the exhibition, we will engage a dialogue in the galleries where CA2M educators will propose different methodological strategies to work the exhibitions with the pupils. CA2M will give a dossier to the teachers with information and documentation concerning the exhibition to familiarize with contemporary art, its terms and meanings.

JAN 12. 18:30 H. 2010.
Doblar a lo largo de la línea. Guy Ben-Ner.
FEB 10. 18:30 H. 2010.
Sonic Youth etc. : Sensational Fix
APR 20. 18:30 H. 2010.
Visita-coloquio sobre la exposición Colección II
JUL 5 – 9. 10:00 - 14:00 H. 2010.
Performance Workshop with Tania Bruguera
6 OCT. 18:30 — 20:00 H. 2010.
Tour & Talks on the exhibition "Antes que todo"

During this 20-hour workshop, CA2M keeps on its line of work focusing on education and reflection regarding the educative uses of bodywork and  performance language. Guided by Norberto Llopis, we will reflect on education and art as political practices, intending to trigger new impulses and searches for new forms of imagination not under control yet. The practice will revolve around some concepts: the concept of performative act, the concept of affection and the power one.

 “Performative” act

In practamatic, the philosopher J.L. Austin explains that language is not pure, a mere instrument of symbolic communication used to transfer meanings, therefore, language can be also studied at a “performative” level, being usually an example of act of promising. Promising, not in the sense of a communication of a subjective intension of performing what it is promised, promising is an act in itself, independent even from what it was promised to finally be performed.

This practice invites us to focus on the performative aspect of our proposals. What are we doing?, What does what we are doing?, of course, I would not want falling into dogmatism, since meanings also “perform”.

Affect and power

“By affect I understand affections of the body by which the body's power of acting is increased or diminished, aided or restrained, and at the same time, the ideas of these affections…”

Barush Spinoza, Ethics, Demonstrated in Geometrical Order

Much has been said about affection, but it has not always been considered, as the aforesaid, the power or the possibility that this affect aids or restrains. Putting aside the dimension of power (in a broad sense, as restrained power as enabling, discrediting, impellenting), to some extent, the action of work is denied, limiting affections towards contemplative windows where the action goes no further than their contemplative frame.

What does it give? What does it take? What can it get? What does it want? What does it do? No place for innocence, the intensity of affection doesn´t give a certificate of innocence, like it would be like saying “this affection does not affect”. Willing to generate a discussion environment during this workshop, do not take for granted or dogmatize the concepts we start from.

Instruments

By applying different exercises and instruments to analyze and to approach to our practice by means of affection, action and power, as well as to elude mere discursive or narrative dramas: use of maps as a means to apply strategies to affect in a way to restrain other ways; use of objects as a means of materializing or objecting affects, the affects as that simulation that objects perform: and the use or creation of dictionaries that help us to understand the extension of the affects to work with.

It is a Wave, it transports perturbations in space, it will go far, 13 nomadic horsepower, new battery, it has always slept in a garage, tuned to the max, you can choose whether to pass the MOT or head for the hills, any intermediate options are also negotiable, suffice to hear it hum, it just needs a little servicing, its only fault is that it is always going off on a tangent. Ideal for excursions and short spins, getting lost among the crowd and trading cards. It includes an incomplete toolbox and drifter’s maps. Come and see it, no strings attached.

Nilo Gallego is a musician whose performances use sound as their starting point. His work, which always has a playful component, seeks the participation of the audience and interaction with the context and the everyday. He plays the drums, percussion and electronic music.

This new education project consists of thinking about the patios in education centers and possible interventions in them. These leisure spaces can provide the perfect context from which to reflect on the educational experience and the problems inherent to their architecture at present. Over the course of these months, and through a number of sessions, we will look at the needs of various centers, the invisible powers that govern these spaces and the possibility and importance of transforming them.

The artist, Bárbara Fluxá has been developing a multidisciplinary art project that revolves around an analysis of the construction of the territory as a cultural «landscape». This is why the places in which she puts together her works take on such importance as the genesis and very object of both the artistic and theoretical analysis, at the same time.

VISIT AND TALK ON PER/ FORM. HOW TO DO THINGS WITH (OUT) WORDS
Apart from visiting the Per/form exhibition with the teachers, we will also reflect on the concept of performativity in the museum and its ability to generate knowledge. On this occasion, together with the teachers we will analyze the dynamics of performance!, a joint activity with secondary school groups on this exhibition.

To plan a performance as if it were a crime. To choose the location, to think about the attitudes, to consider possible setbacks, and to set our watches are only some of the actions and decisions we need to tackle. Once the script is done, coordination among the performers is essential, as well as the negotiation of unforeseen factors. We will dedicate the whole week of the workshop to the planning of this action, and to its later execution, as well as to analyzing and discussing the implications of this kind of performances, where, despite having calculated all factors, the audience is captive, since there is no predetermined way for the action, and the place where it happens is full of unforeseen factors, since it is the public space. We will also analyze works by other artists who have, at some point, "perpetrated" happenings, like Allan Kaprow for Calling, Oscar Massota in The Helicopter or Katerina Seda, Alex Reynolds or Dora García herself in some of her works.

Dora García is an artist whose work is focused on the creation of situations that can de-construct conventions and codes of behavior, especially between the work, the artist, and the spectator. Whether she works in the public sphere, in museums or in galleries, her work explores Brecht's theater, Artaud's impact, but also characters like Lenny Bruce, Jack Smith, or Guy de Cointet. She has researched areas from the inadequate as a mode of dissidence to the role of art practice in the configuration of subjectivity, as well as the questioning of the categories of health and illness.

Since 2009, we have been running a summer performance workshop aimed at teachers, educators, and artists interested in education, with the desire to establish bonds of collaboration, to reflect together with the educators at the Center, the teachers, the assistants, and the guest artist on educational processes and the performative aspect of education. After the workshops with Los Torreznos, Tania Bruguera, Pere Faura, Itziar Okariz, Norberto Llopis and Nilo Gallego, we are planning a new summer performance workshop, in this case, with Dora García.

Please send this registration form (download) up until the 7th of July to educación.ca2m@madrid.org .

More information at educacion.ca2m@madrid.org and at 912760227.

The dance technique of Contact Improvisationwas introduced during the seventies and then began to spread worldwide in the following decade of the eighties. It was created by Steve Paxton who wanted to fly but, logically, knew that the first thing was to learn how to fall together with other bodies, and to this end he started to combine principles of dance with gymnastics and martial arts like Aikido.

The basic principle of this technique is for the dancers to maintain a physical point of contact with each other, sharing their centre of gravity, rejecting verticality and individuality in order to enter into a kind of co-existence, a communion based on trust and the will to discover new patterns of movement.

In this workshop Aimar Pérez Galí will introduce the basics of Contact Improvisationto help rethink strategies that will aid us in developing pedagogical tools. Taking this practice as an example of the politics of caring, we can open up new fields of exploration around the body, its uses, its connotations and its implications on a social, political and cultural level.

Aimed at teachers and all those interested in education.No prior experience is necessary, but participants should dress comfortably and be willing to explore, sweat and touch, and to share weight and minds

Enrolment free until 23 June.Download form, fill it in and return it to educacion.ca2m@madrid.org Participants will be confirmed on 27 June

This workshop will be taking a critical approach to some of the possibilities for creative action that the open spectrum of identity brings to artistic practices today. New subjectivities are beginning to adopt a stance, proudly accepting their abjectness, and this enables them to structure their own discursive fields of action. These empowered attitudes are radically transforming presentation and representation in art.

The workshop will take the form of a walkthrough that explores some of the manifold narrative possibilities afforded by the new visual configuration which has emerged following a shift in identity politics. The journey will follow various paths through art practices in search of the transformation of collective portraits.

A few years ago we started a collaboration project with teachers from the Enterarte group. What started out as a teacher training course here at the museum has grown into a project on education between equals in which knowledge flows from the two parts: the educators at the museum and the school teachers. This is true to the extent that we not only share visits to exhibitions (inside and outside the museum) and artist workshops with Azucena Vieites, the Colektivof collective, Bárbara Fluxá and Fernando Sánchez Castillo; but also, at the same time, Enterarte adds to the activities at CA2M and brings the everyday reality and experience of schools in order to help us grow as an education department.

http://blogenterarte.blogspot.com.es/