Anyone interested

In the context of the exhibition PUNK. Its Traces in Contemporary Art, we have programmed a day of intensity which will concentrate dialogs, performances, and concerts related to punk. Furthermore, we will introduce the selection of publications made by Sergio Rubira for the library of the Center, and that will remain open until the end of the exhibition.

PROGRAM

18:30 H. OPENING OF LIBRARY SELECTION AND PRESENTATION BY SERGIO RUBIRA: FROM ROCOCO TO ROCKOCÓ: AN INTERMITTENT HISTORY OF SUBCULTURES

LIBRARY

This conference is proposed as a route through the history of some of the fundamental subcultures, starting off with some notions which could be associated with the fanzine Rockocó, published by photographer Miguel Trillo between 1980 and 1984, and with the pioneering essay on punk, Subculture. The Meaning of Style, by Dick Hebdige, which explains this phenomenon premised on conflicts of race and class. This intermittent history of subcultures will start with exaggerated eighteenth-century macaroni; it will continue with nineteenth-century dandies and bohemians, and with the avant-garde Dadá-dandies; and it will end with the punk movement and its crimes against style.

19:30 H. PERFORMANCE: HATE VERSES, DISCOTECA FLAMING STAR

HALL

Discoteca Flaming Star (Consuelo Guijarro Rincón, CGB, WM), “Hate Verses”. As their contribution to the night, DFS will première a performance inspired by the sober drunkenness of Dorothy Parker, and Guy Debord's thoughts on Asger Jorn's "Le Jardin de Albisola", among others. Black lollipops play around in your mouth while you suck on poetry and perfume.
http://www.discotecaflamingstar.com/

20:00 H. CONVERSATION: SERVANDO ROCHA AND DAVID G. TORRES

AUDITORIUM

21:00 H. PERFORMANCE: BOX SIZED DIE FEATURING AVULSED, 2007-2015

3rd FLOOR

A performance based on the piece Box Sized DIE Featuring..., by artist João Onofre. With the participation of Spanish Death Metal band Avulsed.

21:30 H. CONCERT: AFILADOR

HALL

Three people, two races. Don't be fooled, there's no Lavapiés hippie multicultural aspect to this band. From post-everything to the principles of when there was nothing. Primitive and noisy. From the idea that backing vocals are for melodic hardcore, voice is the point of rupture with anything that might resemble music.

And here they are. They like drinking, and they have a Bandcamp account with some advance tracks of what will eventually be their first LP:
https://afilador.bandcamp.com/

22:00 H. CONCERT: WANDA Y LA MUJER PANTERA

HALL

Wanda y la Mujer Pantera are a punk duet (bass and drums), who belong to the Solar System, and live in Madrid. As they themselves say, "we play short and visceral songs that arise from the things we love/hate in everyday life, and in this disgusting society".
https://wandaylamujerpantera.bandcamp.com/releases

22:40 H. CONCERT: JUVENTUD JUCHÉ

HALL

Juventud Juché was born towards the end of 2012, with no pretense whatsoever. Nevertheless, a few months later, and after more than 70 gigs, in October 2013 they lock themselves up in the studio in order to give form to their first LP, Quemadero. A record made up of 12 songs in which they darken and make more radical their discourse, reminding us of bands such as The Pop Group, Fire Engines, or James Chance & The Contortions, but without ceasing to sound like themselves and like the different influences of their three members.

For the sixth year in a row, the self-publishing music festival organised by the Autoplacer/Sindicalistas collective arrives back to CA2M with a programme of live music throughout the whole day, with some of the best underground and independent Spanish groups.

Starting at twelve noon we will have a chance to catch eight concerts on the ground and first floor of the museum, including the presentation of the winning group in the Autoplacer annual rough-cuts competition and several Dance Floor sessions thanks to the collaboration of the electronic music collectives Paraíso Madrid and Valle Eléctrico. There will also be a chance to check out our screening room in “Sesión Continua” with video playlists by the editor Servando Rocha and the producer Kikol Grau. And, like other years, we also have an area for presenting independent projects where you will find loads of self-published records, cassettes, t-shirts, books, fanzines and comics as well as all kinds of underground merchandising. And to top it all off, we have a vermouth session on the terrace at midday and a few other surprises waiting in store. 

Admission free until capacity is reached.

PROGRAMME OF CONCERTS

Joe Crepúsculo is appearing at the festival to present his latest album, Nuevos Misterios. Music that conjures up beautiful visions: a gigantic, luxurious cruise ship full of curious tourists is majestically crossing a peaceful bay; pine trees swaying in the breeze blowing off the Mediterranean sea; big and little clubs with their dance floors flashing with light and the sound that wafts through the twilight.

WILD HONEY. Guillermo Farré is the composer, singer and multi-instrumentalist from Madrid hiding behind the moniker Wild Honey. Guillermo’s debut recording as Wild Honey was a bedroom project in which he did almost everything himself. In 2015 Wild Honey is releasing Medalla de plata singing for the first time in Spanish.

SIERRA. Sierra is the new project by Hugo Sierra (Margarita and Prisma en Llamas). In his latest guise as Sierra he is paving his own path as an artist creating true gems of passionate crystalline pop back with simple, direct instrumentation. With a range of influences spanning from Colin Newman and Julian Cope to early Depeche Mode and The Cure, the words are like blows of illuminated sincerity..

CORTE MODERNO. Corte Moderno is a Barcelona-based group formed by Xabel Ferreiro (Montañas, ¡Pelea!), Jordi González (Kana Kapila, Cotolengo) and El Ortiga (Anticonceptivas, Thelemáticos, ¡Pelea!). On Saturday 26 they are presenting their latest work, Negociudad, a dissonant dystopia in the shape of a conceptual concert with sound design by Guillem G. Peeters and illustrations by Antoni Hervàs.

RATA NEGRA. Rata Negra combines and plays with expressive styles that, over the passing of time, have led to their own signature sound, assimilating different influences to produce a unique mix. Some people will be able to detect echoes of Bauhaus, Killing Joke, Siouxsie and The Cure; others will be reminded of New Buildings making stripped-down punk.

MACARENA FVO. Macarena FVO is a group founded by the singer Macarena, the archaeologist-cum-saxophonist Santiago Rodrigo, the swagger poet Vicente Monroy, the producer and influencer from Valencia Muerte Horrible and the mezzosoprano and performer Anita Robla. They define their style as post electro fancy witch french touch.

JULIÁN MAYORGA. Julián Mayorga is a Colombian musician and artist based in Madrid. His music switches between poetry and machine, with elements from traditional songs, experimental music, electronica and surrealist poetry.

PAN TOTAL. Winner of the Autoplacer rough-cuts competition in 2015, Pan Total came about from a cult non-supergroup from Logroño called La Pantaloneta. Eduardo, Víctor, Miryam and Fernando play a kind of dark guitar pop indebted to the eighties, with reminders of post-punk and new wave. Their influences include such disparate names as Television Personalities, Golpes Bajos and Los Pegamoides.

OTHER EVENTS

DANCE FLOOR

PARAÍSO. Since 2012 the collective Paraíso Madrid has been carrying our public and private playful and aesthetic interventions in the field of clubs, night life and music culture. It has a long-standing collaboration with Autoplacer, and for the festival in 2015 it will be showcasing its own particular way of building up a dance floor.

VALLE ELÉCTRICO. Valle Eléctrico is a cultural platform with a mandate to provide visibility to music groups whose sound is built around a synthesizer. This instrument has been the backbone of electronic music and its derivations in new music genes

SESIÓN CONTINUA – PROYECCIONES

UN POCO DE PELEA, UN POCO DE RUMBLE – Vídeo Playlist by Servando Rocha. Back in 1958 Link Wray released his successful single Rumble, an instrumental song that immediately stirred up great controversy. Every time it was played it was almost as if an outbreak of subcultural violence was feared. Rumble was a slang word for a gang fight among the first black hipsters in Harlem. It proved to be one of the most influential examples of white appropriation of black culture, trying to imitate its streetwise, dangerous and uncontrollable undercurrent. Rumble!

MATERIA PRIMA – Vídeo Playlist by Kikol Grau. This session speaks to us of origins, of rights and of the process of how images are manufactured and also the quality of materials. He will be showing extracts from his own recordings made with film clips, promotional videos, from archives in the public domain and private archives or downloaded from YouTube.

PROYECTOS INVITADOS

MUSIC FOR PEACE. “We don’t want to change the world, only the bit around us”. Música por la Paz (Music for Peace) creates spaces where qualified teachers can lend educational support to young people who attend their centres, as well as giving them a good snack to eat every day. Música por la Paz is a non-profit organisation funded exclusively by contributions from its collaborators. It also offers activities related with music, theatre, sports, painting and sculpture, among others, in classes given by volunteers with the necessary background and qualifications". www.musicaporlapaz.org

SISTERHOOD. Sisterhood is a self-run community based on feminism, a mutant collective which produces a fanzine of the same name, parties and revolutions. Always in a process of construction, it is still in the making and creating new off-shoots. It takes shape in reverberations of cultural artefacts that echo in our thoracic cavity. sisterhood.es

MONOCROMO. Monocromo is a label producing DIY illustration, fanzines, t-shirts, and music. Negro metal is its first project: over 40 logos of icons of Spanish music reinterpreted in a black metal aesthetic, published in fanzine format, Tumblr, t-shirts and stickers. www.mono-cromo.com

LA INTEGRAL. For many years now, La Integral has brought together in the one space the work of various artists and designers with the purpose of promoting their work and other products which find it difficult to get a commercial release. La Integral are regulars at the Autoplacer and for them this festival means being able to provide a new platform for a few hours for its independent productions like records, books, fanzines, magazines and t-shirts. And also, of course, to have a good time. www.laintegral25.com

MINCHO. Minchō. Illustration & Graphic Arts Magazine is a quarterly publication for lovers of illustration and magazine collectors. Although every day we consume comics, cartoons, newspapers strips, concert posters … we have no in-depth knowledge of the work of the artists who have designed some of the most significant images of our time. The sixth issue of Minchō continues in its endeavour to bring together a good sample of the new trends and experimentation in graphics closely tied in with culture today. http://minchomag.com/

LA NEGRA. La Negra is a new vinyl record shop located in the heart of the Prosperidad district in Madrid. Its goal is to be a refuge for music lovers nostalgic for analogue formats. Its core focus is on classic vinyl and its stands contain everything from original editions by mythical bands all the way to new releases by contemporary groups. Rock, garage, pop, punk, folk, psychedelic, exotica, electronica… All these different ways of understanding music have room in this little neighbourhood record store. New releases and re-editions sit side by side with a second-hand section, one of La Negra’s strong points. https://www.facebook.com/Lanegrashop

... AND MUCH MORE! Vermouth, records, books, comics, merchandising, etc.

Admission free. More information on: http://autoplacer.tumblr.com/

Previous editions

The actor and activist Zahy Guajajara, the lead in the sci-fi trilogy and collaborator with Pedro Neves Marques in the exhibition YWY, Visions, is carrying out a performance lecture, laced with irony, in which she questions supposedly universal concepts from her own worldview.

In her own words: “UPAW – The End is a ritual with the intention of curing us of ourselves, intrepid, special beings that we are. The fact that human learning pretends to be superior to the learning of the rest of the world is an eternal tragedy. This is a ritual to reflect on what we have become and the world we have created. The end has come too soon.”

ZAHY GUAJAJARA

Zahy Guajajara was born in the Cana Brava indigenous reservation in Maranhão (Brazil). She currently works as a writer and a television, theatre and film actor in movies like Macunaima (2020) and Não Devore Meu Coração (2017).

During this three-day event some of the projects conceived and developed during the 2020 programme will be presented and a meeting place will be facilitated with the artists in the 2021-2022 programme. Over these days 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.

The exhibition presenting the projects will be held on May 12, 13 and 14 at La Casa Encendida and at CA2M.

The artists selected in 2020 were: Pablo Araya, Clara Best y Siwar Peralta, Amaia Bono and Damián Montesdeoca, Luz Broto, Jacobo Cayetano García Fouz, Clara García Fraile, Iniciativa sexual femenina, Sofía Montenegro and Amaranta Velarde.

In collaboration with:

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REASON FOR INTERVENTION
 

The decision to restore this work was taken following an application for the loan of the work received from Centre Pompidou in Paris for the retrospective exhibition CHRISTIAN BOLTANSKI. FAIRE SON TEMPS (13 November 2019 - 16 March 2020). The installation comprises a total of 360 elements in different materials and formats. The primary reason for this intervention was the notable deterioration produced by the corrosion of the metallic elements of the work. The very thin tinplate used for the boxes had reacted to the humidity, giving rise to corrosion which also affected the contents inside the boxes.
 

STATE OF CONSERVATION
 

The state of conservation of the work is below optimum both from an aesthetic as well as a structural viewpoint due to the advance state of oxidation of the boxes. The elements in the installation are as follows:
 

336 metal boxes

Affected by active oxidation, remains of adhesive, small shards of metal, stains, erosion, deformations and surface dirt.

The materials contained inside the boxes:

_ Fabric: the corrosion of the boxes has affected the inside and impregnated the fabrics and stained them with rust. Abundant dirt, deformations, breakages, signs of decomposition and bio-deterioration.

_ Cellulose support: general dirt, stains produced by damp and corrosion of metal. Oxidation of the material, yellowing, acidity, fragility. Biological contamination. Damage caused by incorrect storage such as deformation, creases, folds, breakage, small losses, exfoliation of corners. Traces of different kinds of adhesive tape, namely: sellotape, masking tape, gummed paper. Alterations of dyes: fading, colour bleeding.

_ Photographs: exfoliation in corners. Folds and creases. Corrugation, deformations, abrasions, inscriptions and stains.
 

12 boxes with photos with metal mesh

Montage of black and white photographs adhered to cardboard with adhesive, in turn adhered inside the box at six points with double-sided tape.

Dust and dirt had accumulated on the photographs as well as the boxes and metal mesh. The meshes and the boxes have active points of oxidation and some meshes have small breakages, erosion, deformations and traces of adhesive tapes. The wires holding the meshes are oxidized with some loss or breakage.
 

12 flexo-type lamps

Defective wiring, erosion caused by handling, small loss of paint, traces of adhesives, and general dirt.
 

TREATMENT UNDERTAKEN
 

Description of the different processes according to material:
 

Metal

Hand cleaning of all the boxes using steel wool of varying grades depending on the layer to be removed (000 and 0000), and a mixture of acetic acid (70%) with linseed oil (10%) and 96º alcohol (20%).

Brass brushes were used in areas with greater amounts of rust.

The remains of labels were removed with cotton swabs and 100% acetone dissolvent, and then finished mechanically with scalpels.

Treatment to protect the boxes in order to prevent oxidation with a mixture of 2% Paraloid B72 resin in acetone applied by brush.

Revision of system for mounting the 12 metallic meshes. Removal of rusted wires and replacement by stainless steel wires.
 

Fabric

Gentle micro-vacuuming and application of a biocidal treatment in spray: biotin in distilled water (1/3).

Followed by immersion in a mixture of 50% sodium bicarbonate and citric acid in distilled water, and the application of a specific reductive bleaching agent with final rinsing. Drying with driers and weights.
 

Cellulose support

Surface cleaning with Japanese brushes, elimination of deformations, damp control and weights, tears sutured with methyl-cellulose and Japanese paper. Dry cleaning with make-up sponges and isolated treatment of stains.
 

Photographs

Gentle vacuuming and Japanese brushes.
 

Flexo lamps

Surface cleaning, placement of clamps and replacement of bulbs with LEDs.

Preventive conservation rules applied, coding of all pieces and creation of new more appropriate packaging.

Finally, authorization and acceptance on behalf of the artist was sought at all times for the intervention undertaken, agreeing on the maintenance or conservation of the original aesthetic appearance and a respect for the material integrity of the work.

REASON FOR INTERVENTION
 

The decision to restore this work was taken following an application for the loan of the work for Diccionario incompleto de la fotografía española. CA2M Collection, an upcoming exhibition at Centro Oscar Niemeyer in Avilés and the poor state of conservation of the photocollage.
 

STATE OF CONSERVATION
 

This piece is in the middle of the process of restoration, currently interrupted due to the state of emergency.
The montage of the photocollage was being changed due to the inadequate materials for a correct conservation of the work, given that the back of the MDF board and the adhesives used to support the work were transmitting acidity to the original elements.
 

TREATMENT UNDERTAKEN
 

After first dismounting the work, we proceeded to eliminate all elements harmful for its correct conservation, although it was impossible to remove the cardboard on which the photos were adhered, as this was the original montage by the artist.
Remains of adhesive from sellotape and double-sided tape were removed with the aid of a hot air gun and various kinds of erasers.
Afterwards the front surface of the photographs was cleaned, eliminating fingerprints and any remains of adhesive as far as possible.
The work was then mounted again, adhering the photos lightly and fixing the work as a whole to a passe-partout folder with strips of Japanese paper.

REASON FOR INTERVENTION
 

The installation consists of a mural, comprising four fragments, made by Manuel S. Molezún in 1958, and recovered by Patricia Esquivias in 2016. Located in one of the balconies intervened by Manuel S. Molezún in a building on Paseo de la Castellana in Madrid, it was removed and donated to CA2M by the artist, which was the reason for the intervention.
 

STATE OF CONSERVATION
 

Following an organoleptic examination of the pieces, it was ascertained that the state of conservation was less then optimum.
Both the support (brick and cement) as well as the ceramic tiles had deteriorated due to the location of the work outdoors, in contact with pollution and changing weather conditions like rain, wind and contrasts of heat and cold.
Once the mural was removed, with the tiles having been previously fixed with adhesive tape to avoid any of them falling off, part of the cement mortar was disaggregated which deteriorated the adhesiveness between it and the tiles and affected the visibility and integrity of the work.
 

TREATMENT UNDERTAKEN
 

The restoration was started with a process of surface cleaning where possible.
The consolidation of the support, the mural, and the fixation or adhesion of the tiles together with the elimination of the adhesives used during the phase of removal were the most delicate tasks.
Afterwards, the volumetric and chromatic reintegration of the tiles was undertaken.
As the final phase of the intervention, grout was added to recover the work’s original aesthetic and then finally a layer of protection was applied.

REASON FOR INTERVENTION

The sculpture under study is a metallic structure redolent of a truncated asymmetrical elevator.

The major concern was the deterioration of the asymmetrical structure caused primarily by its design, dimensions and the interplay of the different volumes and weights. This is further accentuated by the exhibition system, with its oblique inclination with respect to the wall and the fact that there are only two points of contact on which the work is supported.
 

STATE OF CONSERVATION

Some structural damage was observed in terms of deformation and damage to the material as well as active points of oxidation. The work was also affected by superficial damage in terms of accumulated dirt, environmental pollution, alteration of the layers of protection with whitish wax residues, losses, knocks and erosion.
 

TREATMENT UNDERTAKEN

After an initial cleaning of the whole sculpture, the deformations of the cross bracing were remedied.

Loose pieces were affixed with cold-welding using epoxy resins.

To strengthen the structure and provide the sculpture with greater stability, the system of anchoring the work was replaced and reinforced.

The treatment was concluded with the application of a final layer of protection.