Pensamiento y debate

Held within the framework of the Artists in Residence programme, Acento is a two-day event presenting some of the projects conceived and developed during the 2017 programme. The idea is to facilitate a meeting place with the artists in the 2018 programme. At the event the two organising institutions wish to place the accent on ideas that arose during artistic experimentation using the body, understanding it as the social body and a political construct that produces knowledge through the senses.

Artists in Residence is a programme organised jointly by La Casa Encendida and CA2M Centro de Arte Dos de Mayo, whose goal is to support creation and experimentation focused on performative work with the body.

The artists selected in 2017 were: Aníbal Conde & Magdalena Leite, Anna Moreno, Bárbara Bañuelos Ojeda, Laia Estruch, Quim Bigas, SEPA & Lara Brown, Vicente Arlandis Recuerda.

PROGRAMME

WEDNESDAY 24 JAN
CA2M Centro de Arte Dos de Mayo

18:00. Laia Estruch: MOAT

Moat is an experimental performance practice, a solo devised from a series of body and vocal exercises worked around a moveable iron structure (created from the recovery of different elements and typological forms of children’s playgrounds from the beginning of the last century) which acts at the same time as stage, score, and archive. Through a direct relationship between body and structure, Moat experiments, creates sounds and routes generated by body and voice, taking the bodily and acoustic behaviours of the aforementioned recreational spaces as a reference.

Moat becomes a kind of transversal space by means of a series of performances, whose sound register gives rise to audible research within a transitable iron structure.

Laia Estruch’s projects are based in the field of performance, working with her voice as a tool and place for experimenting with her artistic ideas. Her projects question the existing system of signs in oral language and their human interaction with a performative and critical approach to the use of voice.

19:30. Presentation of the publication of Artists in residence (Library)

20:00. Aníbal Conde and Magdalena Leite: FLICKER

A 50-minute stage show inspired by the idea of the electronic flicker of experimental film.

FLICKER was created during a residency at Casa Encendida and CA2M as part of the LOS40 project; Together, the two artists have created: DANCE DANCE DANCE with over 50 public performances; VIDEOCLIP; Experimento X5; and various creative exercises both for the theatre as well as for performance and image.

Aníbal Conde is a video artist and performer.
Conde works in the performing arts from a cross-section of disciplines, making experimental videos focused on the formal aspects of the moving image. His videos and documentaries have been screened at various festivals.

Magdalena Leite is a choreographer, dancer and teacher.
Leite was awarded a danceWEB scholarship from the ImpulsTanz Festival; IBERESCENA funding for creation in 2010 and in 2014 and from the Prince Claus Foundation for the presentation of Jack Taste la suerte está echada.

21:30 h. Sepa & Lara Brown: SUGA
SuGA is a confused, altered state.
A moment of hyperlucidness.
A cosmic dramatization.
A video-clip.
SuGa is a ghost.
A tone.
A pact.
You’d never think it, Windows 10 looks so well but yet if you have to go and program...
SuGA tries to entangle itself in invisible little threads.
In cramps.
Little sparks.
Those dimensions that complicate everything.

Sepa writes sentences on posters and sticks them up around the place on walls. What Lara Brown does is to utter the sentences out loud.

They both spend a lot of time wondering what kind of things happen between other people. SUGA could be a conjunction of their initials, but obviously it is not. They are texts written on paper that are introduced on stage. One after the other. All the time.

THURSDAY 25 JANUARY

La Casa Encendida

20:30. Quim Bigas: APPRAISERS
APPRAISERS is an ongoing project that explores formats engaging with choreographic activations that revolve around the idea of value, attention, order and/or the present. During the residency, he conversed with a wall and its possible constellations based on the excuse of NAMING. Naming inasmuch as something that points, that shoots, that moves, that is instantaneous, that signals, that accumulates …

Quim Bigas works with choreography, dance, and the performing arts. Through processes mixing informational procedures and exploring movement he engages with notions and reflections on commitment, value, format and performance.

FRIDAY 26 JANUARY
El Torito de Moratalaz cultural centre

19:00. Anna Moreno. THE DROWNED GIANT
A happening took place in Moratalaz (Madrid) in 1970 to promote La Ciudad en el Espacio, a utopian residential project by the architect Ricardo Bofill. The event was never documented, and the project itself was never built. Last 7 June, the artist Anna Moreno repeated the happening in the same place as in 1970.

Anna Moreno, together with the blues expert Ramón del Solo (among others), will present the publication The Drowned Giant, a LP with a sound recording of this process of restitution, the only existing documentation of the event. The record contains eye-witness accounts by Gila Dohle, The Downtown Alligators, Enrique Doza, Peter Hodgkinson, Anna Moreno, JC Ramone, Toti Soler and Ramón del Solo, among others. The publication will also include a score with fiction stories written by the architects Paula Currás & Havi Navarro, the curator María Montero, the blues expert Ramón del Solo and the artist herself. The presentation at once will be a prologue for the Moratalaz Blues Factory festival.

The presentation will be followed by a concert by The Downtown Alligators, a local rhythm and blues band who have been playing in Madrid and around Spain for over ten years.

The publication has been produced with the support of Barcelona Producció'17, La Capella / Institut de Cultura de Barcelona, and tutored by Latitudes (Mariana Cánepa and Max Andrews).

The presentation is supported by Acento, the Moratalaz blues festival, Experimenta Distrito (Medialab Prado) and the Junta Municipal de Moratalaz.

Anna Moreno is a visual artist who works between The Hague (Netherlands) and Barcelona. She is currently a teacher in Artistic Research at the Royal Academy of Art in The Hague and is a co-founder of the Helicopter art initiative, a space for experimentation and the exchange of knowledge.

La Casa Encendida

22:00. Vicente Arlandis: SUMARIO 3/94

On 25 June 1995, Vicente Arlandis Ruiz, a resident of Ibi (Alicante), was arrested by the Guardia Civil. He was under investigation for the murder of María Lidia Bornay Bernabeu, an 84-year-old woman also from Ibi. It was Vicente himself who had reported her disappearance four days earlier when María Lidia did not answer his calls. When the Guardia Civil entered her home, they discovered her corpse with multiple signs of violence. Vicente Arlandis Ruiz was accused and finally declared guilty of the murder. He was sentenced to 29 years, 6 months and 1 day of prison. He fulfilled his sentence in various prisons in Spain for 13 years, 7 months and 10 days.

This project wishes to construct a new story and a new version of the facts. It wishes to recover and question the form and multiplicity of the stories that arose around the incident; to start off from the coldness and purported objectivity of the court proceedings and to explode it into a thousand pieces. And to recover our history in our own way. This project wishes to construct a kind of new innocence. Not as much one decreed by the judicial system (which we are still calling for today), but the innocence that could be materialised (renovated, amplified) by the performative act.

Vicente Arlandis is a stage creator, investigator and teacher. From 2001 to 2015 he worked with Sandra Gómez on the project Losquequedan where they created many artistic projects like the series Borrones, Thank You Very Much, Tragedia de los Comunes, among others. At the current moment he is participating in the collective project TALLER PLACER alongside Mariví Martín, Miguel Ángel Martínez and Paula Miralles.

Admission free until capacity is reached, with the exception of the session with Vicente Arlandis.

Admission for Vicente Arlandis: €5

Tickets sales on ticketea.com, on telephone (+34) 902 044 226 and at La Casa Encendida from 10:00 – 21:45.

The Artists in Residence programme is organised jointly by La Casa Encendida and CA2M with a mandate to support artistic creation and research centred on performative work with the body. The programme aims at striking up a dialogue between artists and the main agents associated with the art centres and their respective programmes.

The call opens on 3 November, inviting the presentation of projects that best respond to the lines of research and experimentation of the two art centres.

The residency has a maximum duration of eight weeks at the premises of LCE and CA2M.

Dates: the call opens on 8 November and closes on 24 November 2017

The goal of the Artists in Residence programme, run jointly by La Casa Encendida and CA2M, is to support creation and research focused on art work engaging with the body and performance.

Acento is a project held within the Artists in Residence framework in which some of the projects conceived and developed during the 2016 programme will be presented during a two-day event. The idea is to facilitate a meeting place with the artists in the 2017 programme. At the event the two organising institutions wish to place the accent on ideas that arose during the artistic experimentation using the body, understanding it as the social body and a political construct that produces knowledge through the sentient.

The artists selected in 2016 were: Lilli Hartman & Pablo Durango, Gérald Kurdian, Norberto Llopis & Paz Rojo, Julián Pacomio & Miguel del Amo, Claudia Pagés, Quim Pujol and Silvia Ulloa

PROGRAMME

FRIDAY 27 JAN
At CA2M Centro de Arte Dos de Mayo
20:00: Julián Pacomio & Miguel del Amo: ESPACIO HACEDOR

If there is an empty space between two equal parts, then that is the Espacio Hacedor (Making Space).

Espacio Hacedor is a research project which explores the identification, analysis and architectural construction of possible spaces to be found between an original and its copy. Our interest lies in the aesthetic potential of the space located between two almost identical products. We accept that the process of copying or remaking a product, of whatever type, has two inevitable consequences: firstly, the copy not only produces a new product differentiated from the original, but it also produces a third result in the joint interpretation of the original and its copy (1 + 1 = 3). The second consequence is that it opens up the possibility of identifying an invisible image between two images. This is what Espacio Hacedor is all about.

The project is conceived in conjunction with the work of Jorge Luis Borges, Agustín Fernández Mallo and Isidoro Valcárcel Medina, approaching the theatrical, literary, conceptual and architectural work of the aforementioned artists from the perspective of the body.

Julián Pacomio graduated with a BA in Fine Arts in Salamanca. Among his most outstanding works are My Turin Horse, Psicosis Expandida and Espacio Hacedor, performing art projects that experiment with the idea of the copy, remake, translation and appropriation of the material of others.

Miguel del Amo graduated with a BA in Architecture from ETSA, Valladolid and Budapesti Műszaki és Gazdaságtudományi Egyetem. His interest in architecture and design is rooted in various aspects of these disciplines, ranging from the most functional to the least explored.

21:30: Quim Pujol. FREGOLI
Leopoldo Fregoli was one the most celebrated quick-change artists in history. During his performances he kept changing his appearance at lightning speed, impersonating dozens of different characters in one show. The critic Sebastià Gasch said of him: “Fregoli impersonated over one thousand characters of all genders, types and classes (…) Fregoli introduced into theatre the first inklings of the themes of our time.” The Italian actor was also a major reference for Joan Brossa and for avant-garde theatre. This project engages with Fregoli and the avant-garde in order to celebrate the ability to transform ourselves, being in motion and its endless possibilities.

What have we still to learn from Fregoli? In this series of transformation acts, the actor never changes his appearance.

Quim Pujol is a writer, curator and artist. He works on the boundaries between writing, the performing arts and contemporary art. His latest works are Trance colectivo (2014), ASMR del futuro (2015) and Fregoli (2016).

Admission free while places last

SATURDAY 28 JAN
At La Casa Encendida. Patio
22:00: Hot Bodies (Stand up) by Gerald Kurdian & Trk_X

Hot Bodies (Stand up) is a live show by Gerald Kurdian with two electronic instruments, a sampler and a vocoder, and the participation of a female choir created for the occasion. Borrowing from the idioms of opera, stand-up comedy, choreography and documentary, the libretto contains seven songs and two danced interludes, the adventurers of an antihero called Tarek X as he makes his way through the sexual revolutions of the twentieth and twenty-first centuries.

Gerald Kurdian is a musician, composer and radio artist who explores performativity and critiques contemporary art by means of various different mechanisms.

Admission: €5. Tickets on sale at ticketea.com, at 902 044 226 and at Casa Encendida from 10:00 to 21:45

The Artists in Residence programme is organised jointly by La Casa Encendida and CA2M with a mandate to support artistic creation and research centred on performative work with the body.

Artists in Residence ties in with the core programming of LCE and CA2M, and for this reason particular emphasis will be given to project that engage best with the two art centres’ main lines of research and experimentation. Artists in Residence also aims at striking up a dialogue between artists and the main agents associated with the art centres and their respective programmes.

The residency has a maximum duration of eight weeks at LCE and CA2M. The times and work spaces will be agreed in accordance with the needs of the individual project and in function of the availability of spaces at the art centres.

The residency comes with a fee of €2000 (taxes included).

The seven (7) shortlisted projects will be made public on 21 December 2016.

The residency is open to:
Artists working on the boundaries of art, searching for forms to make its conventional limits more permeable.

Dates:
The call opens on 4 November at 12:00 noon (gtm+1) and closes on 25 November 2016 at 8:00 pm.

Requisites for project:
The call is open to projects involving research into production, with a particular focus on those exploring the boundaries and limits of accepted art disciplines, breaking down the conventional distinctions between dance, performance, and theatre.

Applications: to apply for a residency, you must fill out and return the form together with a résumé (max 1 page) and a project brief (max 6000 characters). Support material such as links to videos, webpages, etc., may also be included. Projects will be accepted in Spanish or in English.

Jury:
Esperanza Collado, artist
María Eguizabal, public activities, CA2M
Victoria Gil-Delgado and Carlos Granados, education team, CA2M
Begoña Hernández, performing arts coordinator, LCE
María Jerez, artist
Pablo Martínez, head of programming, MACBA
Beatriz Navas, head of audiovisual and performing arts, LCE

Diffusion:
LCE and CA2M reserve the right to diffuse the shortlisted projects via the media they consider appropriate.

Confidentiality:
LCE and CA2M guarantee the confidentiality of the documentation sent for the purposes of this call. LCE and CA2M guarantee compliance with the content of Law 15/1999, dated 13 December 1999, with regards the protection of personal data provided and covered by the application of the aforementioned law.

Enrolment form: Link to form

For additional information send an email to: [email protected] or to [email protected] with the subject Artistas en residencia 2017.

This year’s projects focus on research, process and a questioning of the limits of performance.

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.

The projects chosen for the Artists in Residence 2015 programme are:

Alejandra Pombo. It’s Called Listen is a film based on a performative process in which the artist is both creator and performer of the work. The film is like an odd combination of Woody Allen and Chaplin, yet taken as a whole it is completely different, as the artist is in the image instead of activating it. Using a home camera, without a script or film crew to ensure the freedom and independence to make the most of the circumstances and the possibilities of the moment, the film was conceived as a succession of images and actions that explore a narrative through various layers of reference that intertwine around the basic formal idea of the hole. A hole is an opening that enables a subjectivity to arise in relation to the different. When there is a hole, there is something waiting to emerge. When a hole moves, a surface is invented. "I want to turn a film into a sieve as a kind of opening that strengthens the transformation of the relationship between the spectator and the film that we are used to."

Ignacio de Antonio. Unperformanceaperformance is research in progress in the form of a series of performance pieces. Its goal is to explore how performance, or performativity, operates in the relationships between body, space and time inasmuch as a social mechanism. It poses a number of questions, in the guise of a suite of pieces, developed through critical practice, where the work asks questions about performance, the theatricality of ‘the real’ and practice as art research. Underlying the whole process is the question of our unavoidable condition as spectators.

Los bárbaros: Miguel Rojo & Javier Hernando. We are born into a political model that, now that the twentieth century is over, seems set to be profoundly fixed throughout the rest of our lives. Those of us who were born more recently did not live through the rise and fall of the great socio-economic movements: neither fascism nor communism. We were born, grew up, reproduced and will possibly die under the same political system. Our era is not sufficiently agitated. With the collapse of ideologies, all we can do is bring into question governmental bodies, which in turn are bound hand and foot to undertake their mission of governing. We march to the drum of the economy. How can we break down the solid pillars of a political model? Who builds them, an

Marisol López Rubio. Las palabras y los cuerpos: My Favorite Things is a process of performative research into the philosophy of language applied to the stage. It wishes to come up with practical responses to questions on the uses, affects and games of language, and to analyse representation, speaking, classification, change and play as possibilities of language and to then transfer them to the stage, translating them into theatrical language. And it wishes to bring into question the role and position of the body within this process. It wants to rename everything from the body, to discover the affects of language in space, to overstep the limits of the possible of what we can name with words. www.ololoololo.com

How to directly and vehemently shit, musically speaking, on all that is supposed to be inherent to living but which strikes us as limiting as living beings.  Poderío vital presents mecagüen (the I-shit-ons)
Poderío Vital. Oscar Bueno & Itxaso Corral

Listen to audio

Silvia Zayas. El puente de Farim no existe is a performative piece that explores the fictions of the former Portuguese colonial empire and the relationship of one of the former colonies with current capitalism. Mixing fiction and documentary, it weaves a mechanism that is based on a kind of choreography that mixes light, sound and editing, opening up narratives to the future and even science fiction. It is based on an anecdote about a bridge in the province of Farim (Guinea-Bissau) where fiction is mixed with reality, through a radio broadcaster known as María Turra.

This work is part of a body of research, already including a series of previous works like Ballets Roses, São Tomé Revisitado or Pêro Escobar vs. Elvis Presley, into Portuguese colonialism which was undertaken from the point of view of family memory, but which aspires (never) to be chained to it. The familial quality of this series of works is just the spark to ignite performative and audiovisual works somewhere between fiction and documentary. "I’m not only interested in historical research, and a search for precarious or absurd connections with the present, but at once I am looking for ways of taking documentary to different performative mechanisms for working in a time and space shared with spectators (something that film does not apparently allow)".

Terrorismo de autor. The Terrorismo de autor collective will be working on a hybrid piece, an "overflow of the screen" that requires transferring its audiovisual (documentary, advertising, essay) practice as well as its own referential universe through performative bodies and mechanisms that relate and confront the very space of representation with the public. The body of the piece and the experience proposed to the spectator are conformed of three dimensions. A shift from the anaesthesia of the Spectacle, which colonises revolutionary territories and imaginaries, passing through its collapse due to the acceptance of suffering and humiliation inflicted by the mass media and working conditions, until arriving at the emptiness where determination is possible: collective delirium and the subsequent abolition of representation.

Terrorismo de autor is an anonymous-delirious collective founded in 2012. Their audiovisual pieces with a political and social character propose an aesthetic and ideological remake of May 1968 in the present moment. Combining humour, virality, activism and nouvelle vague, they engage in revolutionary actions that are neither violent nor pacific, but creative.

Artists in Residence is a joint programme funded by La Casa Encendida and CA2M. Its goal is to support creation within the field of dance and work with the body from other disciplines, offering artists space to experiment and to present their proposals.

Artists in Residence is conceived to complement the programming of La Casa Encendida and CA2M. Therefore, the projects that best respond to the two centres’ policies of research and experimentation will be taken into consideration. This programme is not solely aimed at funding production, but instead is an opportunity to strike up dialogue between artists and the agents working with the two institutions and their respective programmes.

Artists in Residence is a joint program by CA2M and La Casa Encendida. Its goal is to support creation by dance artists and other artists working with their body. The program offers artists spaces to experiment, to think and to present their proposals.

Acento is a program linked with a Artists in Residence. Projects carried out during 2013 stays will be resented and a meeting space with 2014 artists will be created. Both institutions 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.

Artisits selected in 2013 were: Elisa Arteta,  Cristina Blanco, Pablo Esbert, Carmen Fumero, Martín Llavaneras, Cecilia Lisa Eliceche, Elpida Orfanidou and Juan Perno,  Ángela Peris, Jesús Rubio Gamo and Navidad Santiago.

Admission free while seats are available.

PROGRAMMING

THU 13 FEB IN LCE

20.30h. Building Ropes, by Carmen Fumero

This is a journey made with sensations. Two people relate with each other using intuition represented by their hands, able to express desire and impulse. Sometimes they feel a spontaneous and intuitive need to follow the same direction; sometimes guiding is their objective, and some others they let themselves go. The hands answer the need to recover that emotion. As a result, a past sensation.

Carmen Fumero has carried out several solo projects, among which a work from 2011, with the support of Laura Kumin and Daniel Abreu stands out. In 2010 she received a residence grant in Teatros del Canal through Madrid Choreographic Contest, and that is when she creates her first big format work, Irony, which opened at Teatro Pradilo in 2011. In 2013 she received two choreographic residences, one in Teatros del Canal and another one in La Casa Encendida.

http://carmenfumero.blogspot.com.es/

21.30h. SuperFicials, by Navidad Santiago

This work is a reflection on matter’s communication capacity, starting from elemental particles until reaching human behavior. Because behind modern science, behind fractures and unions, behind love and unease, behind social change, poetry and fiction, our behavior patterns convey the conduct of the most essential matter, of the most superficial matters.

Navidad Santiago (Madrid, 1975) holds a Sociology degree by the UCM. Madrid; a post-graduate degree in Political History by Palachejo University. Olomouc. Chec Republic, and a degree in Classical Dance by África Guzmán, SCAENA, Madrid Dance Center.

FRI 14 FEB IN CA2M

19.00 h. Elpid’arc, by Elpida Orfanidou and by Juan Perno

Elpida Orfanidou and Juan Perno decide to plunge into an impossible adventure: to copy and recreate one of the most important works of the history of cinema, the silent movie La passion de Jeanne d’Arc (1928) directed by C.Th.Dreyer and featuring María Falconetti as main actress. Elpid’arc is a film-performance where cinema and theatre become an alchemical solution. The unexpected encounter between mysticism, everyday life and sense of humor makes this work fascinating.

Elpida Orfanidou (Greece, 1981) is a Greek choreographer and performer; she studied dance and performance in Athens, Arnhem, Montpellier and London. She has created several solo projects that were gathered in “One is almost never”. She has worked with Herman Heisig (United States) and Juan Perno ( Elpid’arc). As a performer she has worked with Gui garrido, Tim Etchells, Mahela Rostek and Meg Stuart among others.

Juan Perno (Madrid, 1980) holds a degree in Philosophy (UAM Madrid) and a PhD in Aesthetic, Photography and Audiovisual Communication (Fine Arts College. Universidad Politécnica of Valencia). He has been a teacher of real and live cinema and video in several centers. He worked as a creative director of digital advertisement in Italy for four years. At the time he works in projects mainly focused on appropriation in different fields such as video, photography and theatre. Elpid'arc is his last work. It’s a co-production between HAU Theatre Berlin and the Onassis Foundation in Athens, together with La Casa Encendida and CA2M.

http://www.juanperno.com/

http://vimeo.com/elpidaorfanidou

20.30h. Vortex agitator, by Cristina Blanco

Vórtex agitator is Cristina Blanco’s brand new project. Starting with the wish to work with different genres (cinema, opera, theatre, musical, etcetera…) the artist researches on each genre’s conventions in order to question their rules and to surprisingly combine them. A live collage of genres that talk to each other and break their own codes, questioning their own nature and playing at changing the rules. Why do we associate a symphonic orchestra playing dissonant music with a scary movie? What happens if the credits at the end of a James Bond movie have a background of traditional bagpipe Galician music? How do E.T. and a bishop live together in the Far West? What about a Sevillana dancer and a ninja fighter in a spaceship?

After getting a degree in Mime Theatre by RESAD, Cristina Blanco works as an actress in several theatre companies. She gets interested in dance and follows a few workshops, plays different roles in a few short films and sings in a few bands. In 2004 she creates her first solo project: cUADRADO_fLECHA_pERSONA qUE cORRE (square, arrow, person who runs). In 2006, she creates caixa preta_caja negra together with Brazilian choreographer Claudia Müller. In 2008 she opens The Nevestarting Story, a project by Cuqui Jerez, María Jerez, Amaia Urra and Cristina Blanco. In October 2009 she opens The Croquis Reloaded in Madrid, a work by Cuqui Jerez with Cristina Blanco. In September 2010 she features TELETRANSPORTATION installation/piece created for Mapa festival, and in October she opens ciencia_ficción (science-fiction), a solo chat-process-blog-concert.

http://www.tea-tron.com/cristinablanco/blog/

SAT 15 FEB IN LCE

17.30h. Impermanence, by Elisa Arteta

The artist proposes a corporeal, visual and sound experience that refers to constant change and no-return. The artist’s movements are limited in this situation and she needs to adapt her body to a new habitat. When time passes by, a well-defined trail is left behind which becomes the memory of what happened there. Meanwhile the audience can freely walk around the installation and choose the duration of their experience.

Elisa Arteta is a dancer in the broad sense of the term. Her work shows many layers and interests, ranging from video camera use, to proprioception study or the search of ways to integrate different themes on stage. At the moment she questions the intentions of a body that is displayed on stage and the meaning of the concept of choreography itself. She always looks for very different contexts to present her work. http://elisaarteta.com/

18.30h. Sound-sensing the space, by Ángela Peris Alcantud

This work is about inventing a new sound reality. This reality exists and it’s right here, around us. In order for this world to come into light, it needs to be vibrated, told, noted down, whispered, broken down, played and displayed. The idea of sound-sensing results from the need of creating movement through sound. Our own imagination or an external factor (all the sounds around us) could be creating this sound. In both cases and both through the internal and the external sound, sentences are created with the body and the voice that finally become a rhythmic score, a piece of sound and movement. Sound-sensing means to experience sound islands that together make a noisy and invented archipelago.

Ángela Peris Alcantud holds a degree and a master in Audiovisual Communication; she studied choreography and dance in Martha Graham School and Dance Space Center (now DNA), New York; in SNDO, School for New Dance Development, Holland, and in Institut del Teatre, Barcelona. Her work is a quest for a meeting point between movement, voice and thought. Together with artist Alma Söderberg, in 2012 she created ALLES, a piece designed for children. Also, since 2011 she works as a collaborating artist in Yehudi Menuhin Foundation in Spain, as part of the Mus-e program, art for coexistence. http://angelaperis.blogspot.com.es/

20.00h. The rape of Europa (2013 - ad infinitum), by Jesús Rubio Gamo.

Searching for a subjective-collective non-historical memory

Jesús Rubio Gamo aims at creating a meeting point in Madrid city with the goal of building a collective memory that is both subjective and emotional. A "memorial emotional and dramatic monument" would be created to be shared with others through samples of this very monument and additional activities (such as round tables and debates) revolving around this process.

Jesús Rubio Gamo (Madrid, 1982) holds a Master in Performing Arts and Visual Culture by Alcalá de Henares University and Reina Sofía National Museum, 2011-2012. He is a play-wright. Co-author of texts presented by the Sala Cuarta Pared, Madrid, in 2010 "White Night" event; guest choreographer, Spanish representative in Das 6 Tagen Rennen International Festival. Creation of a piece with residence in Pact-Zollverein, Essen. Shows in Madrid, Lucerne and Essen. German-Spanish-Swiss co-production, 2010.

http://www.jesusrubiogamo.com/

21.30h. Going nowhere together, by Pablo Esbert

Going nowhere together is performance that seems to be a concert, a ritual that seems to be a ballet solo, and a collective experience that seems to be a show. During two months I have invited other artists, friends, relatives and strangers to spend a day with me; a day to share physical and sound practice, to reflect and discover together going nowhere.
http://goingnowheretogether.wordpress.com/

Pablo Esbert Lilienfeld creates his own theatre and audiovisual works since 2005. He closely works with Alessandro Sciarroni and with other European choreographers. At the same time, he works as a musician and video-creator. He studied Audiovisual Communcation in Universidad Complutense, Contemporary Dance in RCPD and music in the Creative Music School.
www.pabloesbertlilienfeld.com

DIRECTED BY CARLOS MARTÍN

It is paradoxical that the books featuring selections from an art collection, collection books, become in turn collectable books, objects that sit on shelves in offices or adorn boardroom tables with the reassuring heft of the coffee table book. Does it make any sense to maintain a format that simply serves to add a coat of intellectual varnish to the culture of luxury? Does it make any sense to perpetuate its fetishistic, untouchable, priceless, reserved and illegible aura?

DIDDCC opens again as a space for study and research into the CA2M and ARCO collections and the development of critical strategies for working with and publicising them. 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; and will propose a space for research that can give rise to open proposals, issues and lines of work which can then be implemented in the upcoming publication of the CA2M and ARCO Collection, due for 2018.

Can a necessarily closed format be made compatible with an open-ended collection in constant growth? Are there any germane distinctions between a public collection and a published collection? Is it possible to write about a specific artistic proposal without, in the process, neutralising its potentials? Is it possible to conceive a radically open book? A collection must publish its contents and the interpretive keys to them, but, does it also have to publish its complex and often controversial origins and formation? These are some of the issues we wish to explore in DIDDCC, in which the confluence of collection and publication will activate various different vectors: research into and curating of the collection’s holdings, writing (style, codes, theoretical approach, potential public, issues of authorship), editing, registering and cataloguing of the artworks, graphic design and strategies for the diffusion of contents.

The participants will have access to the study of the collections, meetings with the staff at CA2M, with artists and other agents in today’s artworld in order to research the various aspects involved and to set out case studies. DIDDCC invites postgraduate, master and doctorate students in Art History, Fine Arts, Humanities and Communication to take part.

Confirmed guest participants:

David Armengol (Freelance curator).
Àlex Gifreu (Graphic designer. Best of European Design and Advertising 2016).
Lola Hinojosa (Head of Performative and Intermedia Arts Collection. Museo Reina Sofía).
Carolina Martínez and Clemente Bernad (Editorial Alkibla).
Rosario Peiró (Director of Collections. Museo Reina Sofía).
Sergio Rubira (Creator of DIDDCC and Deputy-director of Collections and Exhibitions at IVAM).
Isabel Salgado and Óscar Pina (‘La Caixa’ Collection).
Manuel Segade (Director of CA2M).

Enrolment from 15 January to 12 February. The list of selected participants will be announced on 16 February

Signalling a context before an extract is an action of configuration, an exercise in emergence. This dynamic validates propositions where actions, gestures and statements are read and recognised from the legibility facilitated by that which argumentative doxa calls “context”. However, the material condition of these same elements enables us to uncover other ways of speaking of a context. 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. The sole intention of breaking down this stock of materials in first person is to share ideas about the keys to participation; fields of relationships in which art hinges around the idea of community, literature, music, the construction of the artist and the productive surplus value that emerges through affectivity.

PROGRAMME

16:00: Presentation by Mariano Mayer
16:30: Diego Vecchio
17:00: Alejo Ponce de León
17:30: Karina Peisajovich
18:00: María Moreno
18:30: Pablo Schanton

Curated by Mariano Mayer

Admission free