Attendance open and free while places last

Attendance open and free while places last

Directed by: Marta van Tartwijk and Javier Pérez Iglesias

We thought we could start in the following way: referencing a lecture that, in turn, referenced Georg Simmel. The person who referenced him said something about how we get to know ourselves by seeing how others look at us and that, without others, it is impossible to have a subjective experience. We were, however, unable to attend this lecture; we watched it at home on YouTube, sometime after the event. Despite not having shared that physical time and space, we also felt, as we watched, equally observed by Simmel’s eyes, present within the eyes of the lecturer. This made us wonder which eyes we have within our own eyes, and if, perhaps, looking at ourselves is in fact like two mirrors facing each other.

Looking is a way of making things present. We believe that this is the strange place that can be unlocked by archives and libraries. A temporary confusion that is manifested in the grasping, reviving, appropriating, incorporating, combining, sectioning, swallowing, reworking processes. We want to see, but we also want to find that which observes us and invites us in.

Via this programme, we want to explore the power of texts or some methods of creating them: bibliographies, footnotes, quotes, comments, margin notes… A common text is created through them, an entity that transcends time in search of bodies to give it meaning and make it grow. This way of writing, featuring quotes and comments, makes us read as though we were writing, as if we were playing at cutting and pasting once again.

Type of activity
Dates
Miércoles del 27 de octubre al 15 de diciembre
Intended for
Temas
Acceso notas adicionales

AFORO: 70 PERSONAS

Entradilla

CA2M develops an important line of training activities in contemporary art and thought framed within the tradition of popular universities, especially aimed at young and adult audiences.

In these courses, some of the fundamental approaches to understanding and interpreting contemporary art will be addressed clearly and directly.

Subtítulo
UNIVERSIDAD POPULAR 2021
Categoría cabecera
Universidad popular
Crear como quien hace bibliotecas
Pie media

De laudibus Crucis. Beato Rabano Mauro Beato (siglo IX). Universidad Complutense de Madrid

¿Es un ciclo?
Desactivado
Duration
18:00 – 20:30

The Huerto en la terraza of the CA2M has been holding workshops for almost a decade. During this time, we have lived through an active process involving the participation of many different people, all of whom have made it a meeting spot based on teamwork and shared knowledge.

Since its beginnings, the Huerto en la terraza has been a space whose aim is to go beyond just being a school of organic agriculture; it had to form a community. It has far exceeded this expectation, accumulating myriad experiences, learning, collective stories and community links around it, all of which make us proud to have such a space as this in Móstoles, one that is already a benchmark beyond our municipality’s borders.

Today, the community of the Huerto en la terraza of the CA2M faces the challenge of opening up to new people without losing the drive to carry out research and experimentation to motivate those who are already a part of it. For this reason, during this course we will provide an opportunity to those interested in starting out in the field of organic agriculture and permaculture, at its most basic levels, without forgetting the needs and learning pace of those who have already participated in the past and who require other lines of experimentation that combine vegetable gardens, art and our immense capacity to create with our own hands. This year, the workshops will change their timeslot to Thursday mornings. We hope that this change will bring more people to our vegetable garden so we can continue to share and learn together.

Free admission with limited capacity.

In collaboration with Break the Cycle Transition Institute

For further information please visit actividades.ca2m@madrid.org or call 912 760 227.

 

WORKSHOPS IN THE GABRIEL CELAYA SCHOOL (5:00 TO 7:00 PM) 

23 September: How to start an organic vegetable garden 

Learn to set up a poison-free sustainable vegetable garden from scratch. 

30 September: Seeds: how to gather them and how to plant them

We will work on-site with seeds from our organic vegetable garden and learn to gather them and create our own seedbeds. 

7 October: Cultivating and reproducing aromatic herbs

Learn everything you need to know for planting, caring for, gathering, using and reproducing your own aromatic plants. 

 

WORKSHOPS AT CA2M THURSDAY (11:00 AM TO 1:00 PM)

21 October: Reproducing cuttings and other plants from the organic vegetable garden

Learn how to reproduce your vegetable garden’s plants so you can exchange them with your classmates and increase the variety of plants in this organic space. 

28 October. How to create a terrace vegetable garden 

Learn how to start a vegetable garden on your balcony. No matter how small, anything is possible. 

4 November: Autumn tasks in the vegetable garden

We will plant in autumn, while also learning together how to look after our organic vegetable garden.

11 November: Home composting workshop

Come and learn the art of home composting with us. 

18 November: How to make your own medicinal oils

We will use our terrace plants in order to extract their medicinal properties and make oils that can be used for common ailments. 

25 November: Natural Cosmetics Workshop I

We will create creams for common ailments in a simple way using easily-accessible products. 

2 December: Natural Cosmetics Workshop II

We will learn to make natural soaps. Original and personal alternatives for Christmas presents. 

9 December: Basketmaking workshop

What better way to accompany your homemade gifts than to put them in homemade baskets, made by you? 

16 December: Sustainable Christmas recipe workshop

Join us, yet again, in putting together a sustainable Christmas menu that is easy to prepare – and affordable for all budgets – that will delight your guests. 

Type of activity
Dates
THURSDAY FROM 11:30 AM TO 1:30 PM
Intended for
Temas
Acceso notas adicionales

AFORO: 20 PERSONAS

Entradilla

The Huerto en la terraza of the CA2M has been holding workshops for almost a decade. During this time, we have lived through an active process involving the participation of many different people, all of whom have made it a meeting spot based on teamwork and shared knowledge.

Categoría cabecera
HUERTO EN LA TERRAZA
HUERTO EN LA TERRAZA AUTUMN 2021
Pie media

Fotografía: Sue Ponce.

¿Es un ciclo?
Desactivado
Duration
UNTIL DECEMBER 16

This autumn's cinema series is a celebration of the audio-visual media that is part of the Centro de Arte Dos de Mayo Museum’s public heritage. Our collections feature many pieces of video art encompassing the last decades of audio-visual history, both nationally and internationally. In recent years, we have also decided to make a strong commitment to promoting experimental and exhibition cinema, as we consider the moving image to be a fundamental heritage in present-day culture and, above all, because it is important to have a museum record of the great moment that film is currently experiencing in Madrid.

Dialectal Cinema is an ideal accompaniment to Dialecto CA2M. It will allow us to watch some of the most interesting films acquired in recent years in their authors’ own voices. In other words, it will follow the traditional cinema and colloquium format, but with exceptional artists.

Non-commercial cinema is a fundamental element for the opening of the CA2M Collection. Luis López Carrasco (Murcia, 1981) will open the cycle with The Future (2013), a film of unique generational importance. This was his first big hit before the acclaimed The Year of Discovery (2020). Another documentary film, Everyone likes bananas, brings Rubén H. Bermúdez (Móstoles, 1981) back to our museum, collectively addressing the day-to-day experience of blackness in Spain as part of an impressive community exercise. The Science fiction category will be represented by Ion de Sosa (San Sebastian, 1981), who adapted Philip K. Dick's Androids Dream of Electric Sheep into a dystopian Benidorm during low season.

Lois Patiño (Vigo, 1983) has been a leading voice in the field of exhibition cinema, a less narrative format that acts as a loop for exhibition spaces, over the last decade. In Shady Mountain, the viewpoint and light reveal the geological formation as a place of coexistence, a sublime place to live. Films by Alex Reynolds (Bilbao, 1978) defy conventional narrative by displaying the affective structures that glue viewers to the screen.

In the final session can chat with three quite different video artists. Ana Esteve (Agres, 1986) discusses cinema itself and its conventions in her films. In The Magic Screen she turns a city built on the East Coast of Spain, the Levante, which is still a potential dream, into an archaeological site. Cristina Garrido (Madrid, 1986) uses a cliché promotional documentary to explain a new kind of art. This film is shown at art fair stands and Garrido herself considers it to be another artistic genre altogether: just like painting, the art featured at the fair pavilion. Finally, Mar Reykjavik (Sagunto, 1995) reflects on the creation of identity through new technologies and the virality of networks. My body, my rules analyses the potential relationships and escapes resulting from viral challenges.

In addition to these dates, and for the duration of the CA2M Dialect exhibition, all the video pieces from the CA2M Collection and the ARCO Foundation Collection will be available for viewing in a cinema on the second floor of the museum. There, visitors can choose which piece they want to watch and enjoy the possibilities that the cinematographic medium offers for current artistic expression.​

Type of activity
Dates
Del 28 de octubre al 2 de diciembre
Intended for
Entradilla

This autumn's cinema series is a celebration of the audio-visual media that is part of the Centro de Arte Dos de Mayo Museum’s public heritage. Our collections feature many pieces of video art encompassing the last decades of audio-visual history, both nationally and internationally.

Descubre más
Subtítulo
CINEMA IN THE CA2M COLLECTION
Categoría cabecera
El Futuro
DIALECTAL CINEMA
More information
Pie media

Fotograma de El Futuro, Luis López Carrasco, 2014.

¿Es un ciclo?
Desactivado
Duration
18:30 - 20:30

International Seminar  May 20 to 23

May 23 Forum for Researchers and artists 
May 13 to Sept. 27 Exhibition

CA2M organizes the XVI Image Symposium including a conference and debate programme on the subject of Imagine_Historicize.

Within the framework of this programme, an open call is issued inviting participation of researchers and artists. The selected authors will introduce their projects to the public attending, during journeys dedicated to the Forum of the unpublished. Those projects will be published in the book of minutes of the Symposium.

The Image Symposium intended to be a place of discussion and reflection around issues relevant to the setting of the contemporary subject.

Within this frame, history and memory currently have a strength and visibility that goes beyond the academic sphere which constitute a social and cultural hot debate. The official History, single and linear, has been broken into parts to give rise to multiple memories, demands as a mean of identity and, also, as a set of political and cultural values.

Such proliferation of histories, sometimes incompatible, is the result of complex dynamics and societies ever more diverse that consider the past time through memories, remains and monuments as an archeological process ever open. For its part, the global cultures of the images produce a time and space in a continue present, where cohabit all geographies, discourses, disciplines, visual styles and historic periods. All of them, floating and available to reinvent pasts, presents and futures.

With all this, what is the capacity and ethic and political role of the production, retrieval (and destruction and occultation) of images in the construction of history and memory? How do historians use images and how do they face the digital era? How “other histories” transform the hegemonic history written by the modern states with cohesion desire? What visions of the present lie behind the images used by artists? What idea of the future? Those are some of the questions raised in the following journeys by means of lectures, debates from great specialists and a “CA2M Abierto” Forum, for researchers and artists.

CALL

CA2M organizes the XVI Image Symposium  including a conference and debate programme on the subject of Imagine_Historicize. Within the framework of this programme, an open call is issued inviting participation of researchers and artists. The selected authors will introduce their projects to the public attending during the journeys of the Forum of the unpublished. Those projects will be published in the book of minutes of the Symposium.

The Call aims to start a forum for debate to projects related to the questions raised before and also to other topics:

- Historians and images. Images: documents of historical evidence or problematic evidence in an irretrievable past?

- Images of memory. Impact of production and destruction of images in the process of constitution of history and memory.

- Other histories. New voices of history through images: imaginary stories.

Requirements: The proposals must include the registration form dully filled in.

- Project on Artistic Theory and Practice. It must be an unpublished project and must  have the DIN A4 size; in case of an artistic practice, it should have the presentation of a memory, dossier or portfolio. The investigation essays will have a range between 10 and 15 pages, doble space and Times New Roman 12. Images screening are permitted during lectures.

Projects, both in Spanish and English, are accepted

Uncompleted applications won´t  be accepted.

The selected authors who wish to attend the Symposium and reside outside the Region of Madrid may benefit from 150 € as travel expenses (the applicant may enclose in its application any relevant document supporting the proof of place of  residence  - eg. Resident permit, City Certificate of Registration, a photocopy of student card, electricity or gas bills...).

The documentation from non-selected projects could be collected during the days of the Symposium.

DOCUMENTATION REQUIREMENTS AND REGISTRATION PERIOD

The deadline for receipt of projects is April 15, 2009. Participant may submit the aforesaid documentation:

- By email: download form at  www.ca2m.org  and send, duly filled in, together with project (in a .doc or .pdf format) to actividades.ca2m@madrid.org. This e-mail address is being protected from spambots. You need JavaScript enabled to view it

- By mail, enclosing the duly filled in registration form together with the printed project (projects arrived later than April 15 will be discarded)

SELECTION

The directors of the Symposium will select a maximum of 10 projects. April 30 it will be published the list of selected participants in the CA2M web page. The selected participants will receive an express communication, which will state the date and time of his/her presentation at CA2M.

For further information  actividades.ca2m@madrid.org. This e-mail address is being protected from spambots. You need JavaScript enabled to view it   or at 91 276 02 27

It will be positively consider those applications that show rigor, creativity, interdisciplinary and   relevancy to the line of work detailed in the call. It won´t be taken into account  the order of registration nor the fact of having participated before in previous editions.

SCHEDULE

MAY 20

11,00 h. Opening  Hon. Minister of Culture and Sports , Mr. Santiago Fisas Ayxelà.
Presentation Ilma. Director General of Archives, Museums and Libraries, Dña. Isabel Rosell Volart.
Presentation Director of Centro de Arte 2 de Mayo, Ferran Barenblit.

11,15 h. Introduction to the Symposium. Mónica Portillo and Sergio Rubira, Directors of the XVI Image Symposium of the Region of Madrid.

12,00 h. Philippe-Alain Michaud. Art historian and curator of film at the Musée National d'Art Moderne, Paris.

16,00 h. Svetlana Boym. Professor of Slavic and Comparative Literature and Associate Professor at the School of Architecture and Design, Harvard University.

18,00 h. The Otolith Group: Anjalika Sagar (artista, comisaria y escritora, Londres); Kodwo Eshun (artista, escritor, DJ, profesor del Máster en Cultura Visual del Goldsmiths College, University of London).

JUE 21 MAY

11,00 h. Santu Mofokeng. Photographer, Johannesburg.

16,00 h. Rogelio López Cuenca. Artist, Malaga.

18,00 h. Rogelio López Cuenca (artist, Málaga) and Pedro G. Romero (artist, Seville).

MAY 22

11,00 h. Nuria Enguita Mayo. Cultural worker, member of the management team arteypensamiento (Universidad Internacional de Andalucía).

13,00 h. Basilio Martín Patino (Film Director, Madrid) and Aurora Fernández Polanco (Professor of History and Theory of Contemporary Art, Universidad Complutense de Madrid)

16,00 h. Eyal Sivan. Documentary filmmaker, London.

18,00 h. Francesc Torres (artist, Barcelona) and Fernando Sánchez Castillo (artist, Madrid).

MAY 23

11,00 h. CA2M Abierto: Forum for researchers and artists.

17,00 h. Screening of The Specialist, documentary film by Eyal Sivan and Rony Brauman, 1999, 128 minutes, OV subt. Spanish. (1999: Official Selection Berlinale, Berlin, best documentary of the year, Guild of Media Authors (SCAM); best documentary of the year, Adolf Grimme Prize, Germany).

19,15 h. Closing Day

The Museum will provide simultaneous interpreting for the lectures to be conducted in English or French.

Free registration at   centrodeartedosdemayo@madrid.org or by phone at 91 276 02 27 as of April 15, 2009

BRIEF BIOGRAPHY OF THE LECTURERS

Svetlana Boym is a writer, theorist and artist, Professor of Slavic and comparative literature, associate professor in the School of Architecture and Design, Harvard University. Author of The Architecture of the Off-Modern (2008), Territories of Terror: Memory and Mythology of the Gulag in Contemporary Russian-American Art (exhibition catalog, 2007) and The Future of Nostalgia (2001).

www.svetlanaboym.com

Nuria Enguita Mayo has been responsible of projects  at Fundació Antoni Tapies, Barcelona (1998-2008). She was part of the curatorial team of Manifesta 4 (Frankfurt, 2002). He has worked on numerous projects such as Tour-ismos. La derrota de la disensión (2004) o Culturas de Archivo (2000)  and she is a member of the management team of art and thought (Universidad Internacional de Andalucía).

Aurora Fernández Polanco is Professor of History and Theory of Contemporary Art, UCM. Her publications include "Shoah y el debate Lanzman (Moses) / Godard (San Pablo)" in Er (2004), " Historia, montaje e imaginación: sobre imágenes y visibilidades," in Imágenes de la violencia en el arte contemporáneo (2005). Artistic advisor and editor of the exhibition catalog Basilio Martin Patino: Espejos en la niebla -Mirror in the Mist (2008).

Rogelio López Cuenca is an artista who works with contemporary audiovisual material, historical archives and history of art, among others. His work examines the processes of ideological production of identities and histories. Among his projects include: Gitanos de papel (2009); Málaga 1937 (2007), o El Paraíso es de los extraños (2001). He participated in the Johannesburg Biennale, Manifesta 1 (Rotterdam), São Paulo, Lima and Istanbul.

www.malagana.com

Basilio Martín Patino has led Nueve cartas a Berta (1965) or, in hiding, Queridísimos verdugos (1973) and Caudillo (1974). Awarded on numerous occasions, he has presented retrospectives in Bremen, Hamburg, Rome and at  MoMA in New York (2007). In 2008, Madrid held his solo exhibition Espejos en la niebla

www.basiliomartinpatino.com

Philippe-Alain Michaud is an art historian and curator of the film collection of the Musée d'Art Moderne, Centre Georges Pompidou, Paris. Author of Sketches: histoire de l'art, cinéma (2006) and Aby Warburg et l'image en mouvement (1998). Curator of Le mouvement des images (Centre Pompidou, 2006-2007) and Comme Le Reve Le dessin (Louvre / Centre Pompidou, 2002).

Santu Mofokeng is a photographer and writer. His work is an investigation into the construction of social identity and history, landscape and memory, especially in the context of the history of South Africa and Apartheid. He has exhibited recently at Rivington Place, London (2009), Iziko-South African National Gallery, Cape Town (2007), Venice Biennale (2007) and Africa Remix (2006-2008). He has participated in Documenta 11, Kassel (2002).

The Otolith Group is composed by Anjalik Sagar-artist, writer and curator, and Kodwo Eshun, writer, artist, DJ and curator, professor of the Master in Visual Culture at Goldsmiths College, London. Their  recent projects include: the performance Communists Like Us, and A Long Time Between Suns, two-part exhibition of the films by Otolith, visual essays narrated from investigating the future, past, present and the future itself, mixing fiction, personal files and documentaries, both in London in 2009.

Pedro G. Romero is an artist, editor and researcher, working primarily on two projects: Archivo FX, an extensive file of visual material on the anti-sacramental iconoclasm in Spain between 1845 and 1945, and Máquina P.H., a series of projects on flamenco. He is member of the arteypensamiento team at the International University of Andalusia, where he has coordinated SI, Sevilla Imaginada.

www.fxysudoble.org

Fernando Sánchez Castillo is an artist. His work moves and subverts symbols of power deployed in public spaces. Among his recent exhibitions include: Divertimento, Galería Juana de Aizpuru, Madrid (2009), The Unresolved ... Vleeshal, Holland (2008), 7 +1, MARCO Vigo (2008), and Abajo la inteligencia, MUSAC, Leon (2007). He participated in the Havana Biennial, Bucharest, Istanbul and Sao Paulo.

Eyal Sivan is a documentary filmmaker, producer, essayist and professor of production in the School of Social Sciences and Cultural Studies (East London University). Among his award-winning films stand out: Itsembatsemba, Rwanda one genocide later (2004), Route 181, Fragments of a Journey in Palestine-Israel (2003) and The Specialist (1999), fiction based on file of the trial of Adolf Eichmann and inspired in Eichmann in Jerusalem Hannah Arendt.

Francesc Torres, artist, curator and writer. His work invites a constant reflection on the mechanisms of power, memory, ideology and violence. His work has been exhibited, among others, in: IVAM, Valencia, Bilbao Guggenheim, Fundació Joan Miró, Barcelona: Whitney Museum and MoMA in New York, MNCARS, Madrid, or MACBA, Barcelona, where he conducted a retrospective in 2008, Da Capo.

DIRECTED BY

Mónica Portillo is curator and art critic. From 2002 to 2007 he was director of the department of education and public programs at Mudam Luxembourg. Editor of Le petit Jean de la Ciotat de l'art contemporain (2007), Lamento (2007) and Mark Lewis. Arrêt sur ​​images (2006).

Sergio Rubira is curator and art critic. Associate Professor of History of Contemporary Art, UCM, Madrid. He is part of the cultural production agency RMS La Asociación. He has been deputy director of EXIT publications between 2006 and 2009 and is currently external editor of the photography magazine EXIT.

Fechas texto cabecera
20th – 23rd MAY 2009
Intended for
Entradilla

Las Jornadas de Estudio de la Imagen intentan ser un lugar de discusión y reflexión alrededor de asuntos relevantes para la configuración del sujeto contemporáneo. En este marco, la historia y la memoria tienen actualmente una fuerza y visibilidad que desborda la esfera académica y constituyen un vivo debate social y cultural. La Historia oficial, única y lineal se ha quebrado para dar origen a memorias múltiples, reivindicadas como identidad y como conjunto de valores políticos y culturales.

Categoría cabecera
jornadas imagen
XVI IMAGEN SYMPOSIUM
Type of Thinking / Community
Temas Pensamiento
Ocultar imagen principal
Desactivado
¿Es un ciclo?
Desactivado

In 2018 we are introducing a publishing project in conjunction with the printers ROMA. Together we wish to think about some of the practices proposed by the art centre’s Department of Education and Activities and to then share them in printed format.

Agua de Borrajas is a Spanish expression meaning something like “it came to nothing” and is used to speak about something that is left over and hard to capitalise. Borraja is the Spanish for borage, an uncommon annual herb that people do not often know about or recognise, and which people do not pick when it grows in public spaces, which means that it keeps growing and can be gathered by anyone who knows and values it. To prepare it for eating you have to carefully remove the fine fluff that covers the leaves and stalks. Borage is a sturdy plant yet highly perishable and has beautiful blue flowers.

Each one of the processes will have its own particular formal characteristics and will have a bearing on, among other things, the means of production of the printing, suggestions for each project, and what receives the best response.

Fechas texto cabecera
2017
Intended for
Entradilla

In 2018 we are introducing a publishing project in conjunction with the printers ROMA. Together we wish to think about some of the practices proposed by the art centre’s Department of Education and Activities and to then share them in printed format.

AGUA DE BORRAJAS
PUBLISHING PROJECT: AGUA DE BORRAJAS
Type of Thinking / Community
Ocultar imagen principal
Desactivado
¿Es un ciclo?
Desactivado

In 1979, shortly after the date established by Malcolm McLaren as the beginning of punk, a pioneering essay by Dick Hebdige was published, Subculture. The Meaning of Style. In this text, contemporary to some of the movements he wanted to study, Hebdige adopted the methodology of Cultural Studies, which breaks down the hierarchies that separate High and Low Culture, in order to examine how the Post-World War II subcultures in Great Britain had been born, and to define the strategies they had followed in opposing the established order. Hebdige's outlook partly differed from that other, romanticized and nostalgic one, which some later authors projected on their particular constructions of punk and its antecedents, and took up the notion of conflict as a starting point in his analysis.

It was a case, first of all, of a class conflict, since all these movements - the Teddy Boys, the rockers, the mods, the skinheads and the punks - appeared among English working class youths, who were resisting the limitations imposed on their own class, as was the case, especially, with the elegant mods, or the ideals of the middle class, and as, eventually, was the case with everybody. The development of these groups also involved a racial conflict, since they were formed by white people, and were opposed to the subcultures developed in those years among the Afro-British population (even though the later would sometimes be their very base), as was manifested in the confusing relationship between the first wave of punk and the Rastafari movement in the West Indies. Nevertheless, Hebdige ignored another conflict - that of gender - which would reveal itself later, with the texts of Angela McRobbie, who would ask herself about the role played by women in the development of subcultures, the riot grrrls, and the re-appropriation by homosexual collectives of some of the resources used by punk.

In the search for a genealogy of these subcultures, Hebdige traces out links between these groups that would break away from the norm and the avant-garde of the late nineteenth century and the beginnings of the twentieth century, based on the importance of style for them, as something significant, and the consequences that this had in how they used objects, decontextualizing them and turning them into symbols of dissidence. These tactics used by subcultures lead him to work on the notion of bricolage, which, generalized and simplified, could be extended to the use of assemblage, collage, and DIY by punks and other subcultural groups.

In this selection of recent books, magazines, and fanzines, self-published, or released, in their majority, by independent publishers, we have assumed some of the aspects mentioned in Hebdige's essay. On the one hand, we have tried to trace out a history, brief and incomplete as any other, of the subcultures that came before punk, or that appeared at the same time, taking up as a departure point the figure of the dandy, and pointing out its links to the historical avant-garde. On the other hand, we have included editions that revise the publications of the punk movement, and some of its most relevant figures. We have also attempted to show how some current artists contemplate this movement, and what followed it, what has been termed post-punk. He haven't included only nostalgic projects, something we know is over and can never be recuperated, but we have also looked for other publications, that analyze punk with anthropological detachment, or question it from a feminist and queer vantage point.

Sergio Rubira is a Lecturer in History of Art at Madrid's Complutense University, and Academic Secretary of the Máster in Contemporary Art and Visual Culture, UAM, UCM, and Museo Reina Sofía. He is an editor at EXIT magazine, and a contributor to El Cultural de El Mundo.

Free entrance.

Fechas texto cabecera
FROM 22nd MAY 2015
Intended for
Entradilla

In 1979, shortly after the date established by Malcolm McLaren as the beginning of punk, a pioneering essay by Dick Hebdige was published, Subculture. The Meaning of Style. In this text, contemporary to some of the movements he wanted to study, Hebdige adopted the methodology of Cultural Studies, which breaks down the hierarchies that separate High and Low Culture, in order to examine how the Post-World War II subcultures in Great Britain had been born, and to define the strategies they had followed in opposing the established order.

Subtítulo
ONE FANZINE A DAY
UN FANZINE AL DÍA
GENEALOGIES OF PUNK, POST-PUNK AND AGAINST PUNK
Type of Thinking / Community
Ocultar imagen principal
Desactivado
¿Es un ciclo?
Desactivado

This installment will focus on the legal-philosophical concept of the commons, which refers to all assets that are not privately owned. The commons legislates and defines all assets that may be freely used by all the members of a given community. The commons can be used to describe tangible (forests, squares, etc.) and intangible assets (musical compositions, designs, etc.), as well as social (democracy), natural (ocean floors) and cultural elements (languages), as long as they are publicly and collectively managed.

CD CONTENTS

Music
Antonna
Los Caveles
Prisma en llamas
Wild Honey

Video
Zemos98

Text
Jordi Claramonte

Images
Miguel Brieva

PARTICIPATING BANDS

ANTONNA. Today, technology is advancing at a terrifying pace, and one of the consequences is that nobodies like this guy can record whole albums in their own homes and brazenly offer them to respectable, law-abiding citizens on the web. Accompanied by a raucous drum machine, an acoustic guitar and a moustachioed bassist, Anntona has released En la cama con Anntona, with a style which some have likened to Magnetic Fields and Mojinos Escozíos. Somewhere halfway between these two bands is this incredibly fresh pop pieced together with second-rate rhymes and more than first-rate melodies. Anntona is a good guy and he’s willing to prove it, regardless of who he has to trample on in the process.

ANTONNA

LOS CLAVELES. Marcos played the saxophone with Au, but what he really wanted to do was play his own songs, which had a sound somewhere between Golpes Bajos and Josef K, so he started playing with Santos and Jordi, and it turned out that their sound was something more between Monochrome Set and Ciudad Jardín. Later they brought in Papeles and Miguel, and then Papeles and Miguel left and they brought in Sergio, and meanwhile they released two CD-Rs and gave a handful of concerts that won them a lot of fans, because they sound fresh and fun and have a lot of hit songs. 

LOS CLAVELES

PRISMA EN LLAMAS. Hugo, formerly of the band Margarita, and Pablo, formerly of Ensaladilla Rusa, are the two halves of Prisma en Llamas. They will soon be releasing an EP with songs that are a perfect genetic cross between Jesus and Mary Chain and El Último de la Fila. They offer us six songs of tension, like a rubber band that is about to break but refuses to snap with the restraint of the satiated glutton. Melodies that slide smoothly into your ears and down to your trachea and stay there, where the acoustics are better. Prisma en Llamas is one of the most agreeable surprises of 2010.

prisma en llamas

WILD HONEY. The official history of pop tends to tiptoe over a lot of albums which the most obsessive music buffs consider true touchstones. Wild Honey, the title of Guillermo Farré’s project, takes its name from the grossly underrated Beach Boys record – an album of marvellous songs where everything falls discreetly into its proper place. But marvels are never really discreet, and even the slightest effort to listen a bit more closely will soon reveal how great this album truly is. Wild Honey is that kind of band. Epic Handshakes and Bear Hug, Wild Honey’s debut album, features music that practically oozes love. You can hear echoes of Brill Building, The Zombies, early Scott Walker, the Sherman Brothers’ Disney soundtracks, Michel Legrand, Curt Boettcher, bubblegum pop, everything along the line from the upbeat sentimental tunes of American music from the first half of the 20th century to a pocket-size Sufian Stevens and Jens Lekman with an innocent voice and gaze. Dressed-up pop that strives to be beautiful and is: solid tunes, impeccable arrangements and tributes.

Type of activity
Dates
2010
Intended for
Temas
Entradilla

Este número versó en torno al procomún (traducción al castellano del concepto jurídico-filosófico anglosajón commons), concepto que designa todos aquellos bienes cuya propiedad no se encuentra en manos privadas. El procomún legisla y determina todos aquellos bienes que pueden ser libremente utilizados por todos los miembros de comunidades dadas. Pueden ser parte del procomún tanto entes tangibles (bosques, plazas…) como bienes intangibles (composiciones musicales, diseños…), entes sociales (democracia), naturales (fondos marinos) o culturales (idiomas), siempre y cuando la gestión de los mismos sea pública y colectiva.

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Categoría cabecera
DOROPAEDIA 8
DOROPAEDIA#8 PROCOMÚN
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CD CONTENTS. www.doropaedia.net

VIDEO SCREENINGS
Produced by Basurama

ROUND TABLE DISCUSSION
Emmanuel Rodríguez, publisher and researcher for the Metropolitan Observatory.
Carlos Fernandez Liria, Full Professor at the Faculty of Philosophy of the Complutense University of Madrid in the Department of Metaphysics and Knowledge Theory.
Jaime Palomera, anthropologist specialising in the conflict situations which emerged in the Parisian outskirts.

CONCERTS
Margarita
Cohete

Type of activity
Dates
2009
Intended for
Temas
Entradilla

Concerts by Margarita and cohete. Round table with Emmanuel Rodríguez, publisher and researcher for the Metropolitan Observatory; Carlos Fernandez Liria, Full Professor at the Faculty of Philosophy of the Complutense University of Madrid in the Department of Metaphysics and Knowledge Theory; Jaime Palomera, anthropologist specialising in the conflict situations which emerged in the Parisian outskirts.

Categoría cabecera
extrarradio
DOROPAEDIA#6 EXTRARRADIO
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“EXPOGRAPHY is the physical-mental-time space in which the fact of seeing and the fact of being seen converge: what we are and what we experience when looking, what we are and what we experience when we are looked at, and what vision is in itself, as something half way between the capacity of the viewer and what emanates from the viewed object. To be activated, any exhibition needs these three terms—the viewer, the viewed and the vision—which, to a certain extent, converge in one single space-time-event-experience.

On the other hand, EXPOGRAPHY is a reflection on the Museum and on Theatre: what happens in each one of these places; the codes governing time and the audience’s relationship with the work imposed by each individual space. We propose the game of altering these codes and experimenting with what is produced as a result. We propose forcing a certain perspective, situating ourselves in places which are physically and temporally different to the usual, and observing the effects these variations produce in us.

The EXPOGRAPHY project takes the form of two totally different works which are the result of the complete deployment of this whole research: COLLECTIVE EXPOGRAPHY and RETROSPECTIVE EXPOGRAPHY. The first work is presented on Saturday 12 January here at CA2M, playing with the temporality of the museum, which requires a commitment from spectators to remain in the museum for the 8 consecutive hours of the experience. In fact, in COLLECTIVE EXPOGRAPHY, people are actually participants and not spectators. Over the duration of this long event, the artistic proposal is mixed with the need to eat, to visit the toilet, to smoke a cigarette and to cohabit the space with others. All these needs are co-opted into the device, which also opens up to other needs and desires. Although apparently very demanding because of the commitment to remain relatively isolated for 8 hours, this experience in fact offers the freedom to leave behind the “prison” of our habits and ways of looking at the world for the duration of the event.

The second work, RETROSPECTIVE EXPOGRAPHY, is more of a “spectacle” or “show” in the conventional meaning of the word, and will be presented one week later, on 17,18 and 19 January at Teatros del Canal.

This research process has been supported and coproduced jointly by CA2M and Teatros del Canal.

Type of activity
Dates
12th January, 2019 / 15:00 - 23:00h
Intended for
Entradilla

“EXPOGRAPHY is the physical-mental-time space in which the fact of seeing and the fact of being seen converge: what we are and what we experience when looking, what we are and what we experience when we are looked at, and what vision is in itself, as something half way between the capacity of the viewer and what emanates from the viewed object.

Subtítulo
A WORK BY AMALIA FERNÁNDEZ (IN COLLABORATION WITH ANTO RODRÍGUEZ)
Categoría cabecera
expografías
EXPOGRAPHY
¿Es un ciclo?
Desactivado
Con el apoyo de

What happens when you grow up with a genderless neutral language and then arrive in a country in which everything is gendered? How can we speak of identity when a language has already determined what is masculine and feminine?

This is what the young Iranian artist Sorour Darabi was faced with when s/he arrived in Montpellier to study dance. Her/his mother language, Farsi, has no masculine or feminine forms. French, on the other hand, constantly forced him/her to distinguish between male and female, even in her/his search for his/her own language of movement. Accepting a word thus became a physical test.

Darabi rebelled against this violent form of authority. Farci.e (2016) is an androgynous solo show that flirts with the boundaries of gender, language and sexuality.

Los Teatros del Canal and CA2M are working together in a programme conceived to mark out a shared working space: the body understood as in permanent construction and, accordingly, in permanent conflict. For Sorour Darabi (Shiraz, Iran), the transition of his own body triggers a radical confrontation with the social body: transgender identity uncovers the power of language over bodies, but also the power of the body to threaten the conventions of language.

Sorour Darabi is a self-taught Iranian artist who lives and works in Paris. After working in the underground network in Iran, s/he went on to study at the Centre Chorégraphique National (CCN) in Montpellier, France.

Type of activity
Dates
31st january, 2019 / 20.00h
Intended for
Entradilla

Los Teatros del Canal and CA2M are working together in a programme conceived to mark out a shared working space: the body understood as in permanent construction and, accordingly, in permanent conflict. For Sorour Darabi (Shiraz, Iran), the transition of his own body triggers a radical confrontation with the social body: transgender identity uncovers the power of language over bodies, but also the power of the body to threaten the conventions of language.

Subtítulo
SOROUR DARABI
Categoría cabecera
darabi
FARCI.E
¿Es un ciclo?
Desactivado
Con el apoyo de
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