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Hache, i, jota, ka, 
ele, eme, ene, a, 
que si tú no me quieres, 
otro niño me querrá.

[‘H, I, J, K,

L, M, N, A

If you don’t love me

Another boy will.’

Spanish children’s song called El Patio de mi Casa]

Children’s songs serve as the common thread of memories, generations and lives separated in space and time. They are clearly meant to be fun, but they can also be educational. What do children’s folk songs teach us? What reality do they reflect? We are not trying to constrain creativity but instead aim to analyse what the lyrics of these songs from another era say, a time when girls were frightened away by spiders, men put their wives in a pumpkin shell, and ladies trotted but gentlemen galloped.[AS1] 

We’ll mix elderly people’s memories and young people’s intuition to turn those perennial children’s songs into songs of our lives today by changing the lyrics, trying out new instruments and inventing a dance for any age. We’ll have fun with the entire family as we use music and play to help us reconsider those intergenerational tunes and make them more ours, more open, more contemporary, in a bid to give them many more years of life.

PROGRAMME

FEBRUARY

Saturday 17 February from 4:30—6:30 pm

Saturday 24 February from 11am—1 pm

MARCH

Saturday 9 March from 4:30—6:30 pm

Saturday 16 March from 11am—1 pm

NOTE:  We recommend this activity for children aged 5 and older. However, any younger children in your group/family are more than welcome. We will try to adapt the pace to all participants.

In 2016, Atilio González and Elia Maqueda set up a group (Ruiseñora) and had a daughter, and these two events have largely determined their lives since then. They have published several records on the Raso Estudio label, a mix of electronic and traditional music, the project’s hallmark and one of the first in the new line of work to revive folklore by looking at the past in order to face the future. They have held family concerts with audiences and often hold concerts for their own family (they always compose, rehearse and record at home). They have also coordinated workshops and artistic projects in museums like the Reina Sofía and the Vostell Malpartida.

In this programme, we are inviting different artistic collectives who are families to imagine the shared space where they can pool their creative processes and interests and create together with other people, a space where age and skill don’t matter, a new space-time where you can share with your people, neighbours, chosen families, grandparents, grandchildren.

Uneven Dance is a workshop where you can practise typical partner dances as part of a trio. It is designed for all body types and for those who have had all kinds of experiences on dance floors, in nightclubs and ballrooms. Dancing in threes means we have to arrange ourselves in a different way, and the resulting movements and dances become radically new.  

Throughout this workshop, many of the binary assumptions that have accompanied the history of dance and dancing will be questioned. Its main objective is to find other ways of connecting with dance and its history, in order to enjoy the most beautiful and vital aspects that dancing as a community offers us: the pleasure of feeling part of something shared, the joy the body feels when it is moved, the surprise felt when the invisible and the unknown become manifest, the magic that comes from bodies being in tune with the world and the sensation of creating meaning as we dance.  

Oihana Altube is a dancer and choreographer who is trained in Dance Movement Therapy. She works on the margins of Dance and the Living Arts.

Ciudad Sur (‘Southern City’) is a space for shared experimentation launched in 2021 which, taking Móstoles as its starting point, aims to explore the many facets and many riches that generate a sense of belonging in the cities that make up the Madrid’s metropolitan area.   

In this third edition, we will approach Móstoles as post-tourist guides, travelling together through a series of architectures composed of layers of time, experiences and lived moments around what we call free time, based on a proposal of shared experimentation in which this dormitory town will become a holiday destination. 

Leisure, what we call ‘free time’, is one of the things we desire most, a place where we indulge in experiences - lived or projected – which are associated with enjoyment.  

There is a leisure with which we live every day, that which marks the pauses in the flow of daily activity, such as the time we dedicate to sport and its promise of a balanced, healthy, desirable life. But there is also leisure that functions as an escape route, a time and a place where limits are widened: popular festivals, nights out... and of course, the idea of true leisure, and the search for total disconnection: holidays. A long pause that allows us, at least for a while, to pretend to live under another logic, to try to be other people.                                                                                                                

As dormitory towns grew, low-cost ‘getaway’ flights multiplied, definitively linking holidays with the idea of travel. To this end, the tourism industry offers us a myriad of destinations to match our dreams and our wallets, deploying a whole travel imaginary in which this desired ‘freedom’ can take shape. A catalogue of beautiful scenes often constructed in contrast to everyday spaces, based on a play of opposites. From urban grey to the infinite blue skies and seas; from the brick of the city to the white of the Costa Brava, or the warm gold of the sun... But never the ‘brown coast’. This ‘coast’ is Madrid’s metropolitan area, which will be the setting for the activities proposed in this programme, where we will reflect on the evolution of the urban, political and social criteria that have built this city’s landscape of leisure infrastructures. 

The sessions will take place between October 2023 and May 2024: 3rd of October, 7th of November, 12th of December, 16th of  January, 20th of February, 12th of March, 16th of April and 7th of May 2024. 

Coordinated by: Irene de Andrés, La Liminal and Estrella Serrano.

Irene de Andrés was born in one of the world’s most desirable destinations - the island of Ibiza - which has inevitably led her to investigate the evolution of the concept of leisure and the very meaning of travel throughout history, from the first settlers to today’s tour operators. Spas, cruise ships and nightclubs are the key settings for the artist who, through film, sculptural pieces and graphic work, creates journeys through time and through different waters, connecting different historical events that make us reflect on the model of tourist consumption, especially designed for the working class. 

La Liminal is a cultural mediation collective that investigates the city and uses the urban tour as a tool to analyse public space collectively. Our aim is to experiment with the urban landscape in order to propose new readings that focus on those stories that have been made invisible over time, those we have not sufficiently valued, in order to construct alternative discourses that are based on collective learning and that allow for a re-appropriation of the idea of public space as a common good. 

This audio-visual programme is based on the hypothesis that the ecological crisis also manifests itself in the image as a crisis of representation. Like the gap in our modern cultural heritage that convinced us of the difference between culture and nature and taught us to look at the latter from a distance, either as an object of study and exploitation or as a landscape-spectacle on which to project human emotions and adventures, the only stories worth telling.  

Today, some arts are rebelling against this history of ‘disenchantment’ and its impact on visual culture. Wishing to repair the earthly link, they seek other practices of the image that bring with them other ways of being in the world. There is no common pattern to these emerging forms. Some question the word ‘nature’ and argue that there is a continuum between organisms and technologies, infrastructures and ecosystems. Others study the agency or cognition of non-humans or evoke futures of multi-species habitability. Some call themselves films, others audio-visual installations, others film experiences or even experiences of sensory perception. These practices are formally and aesthetically diverse, but draw on a similar vocation: to create visual vocabularies that break with the naturalistic imaginary of modernity and give the world back its enchantment. These new myth-images accompany us, as Bruno Latour would say, on our necessary journey back down to Earth. 

The cycle is made up of four audiovisual works, each of them framed by an introductory activity where we will expand, through the artistic practice of local agents (Coco Moya, Carlos Monleón and Claudia Rodríguez), the central themes they address in relation to the climate crisis and the problems of its representation also in images. With a programme of talks, workshops and collective exercises, they will work in a space for exchange in which to rethink together the current ecological moment. Each day will conclude with a debate between the invited artists, the public and the curators of the cycle.

Note: In order to attend the full programme of activities, prior registration is required.

The screenings are free admission until full capacity is reached.

Tuesday 10th October

• 18:30-19:30h “"In the critical zone. Postnatural landscapes, data centres and trans-scalar alchemies" inaugural talk by the Institute for Postnatural Studies.
• 19:30-20:30h Projection: Armin Linke, "Alpi" (2011, 62min).
• 20:30-21:00h Open discussion to the public with María Ptqk and Institute for Postnatural Studies.

Wednesday 11th October

• 18:30-19:30h  "Club de piedras", speculative workshop with Coco Moya.
• 19:40-20:15h Projection: Cao Minghao and Chen Jianjun, "Observing Point" (2019, 17 min) and "Habitat, Geology and Energy Basis" (2021, 15 min).
• 20:15-21:00h Open discussion to the public with Coco Moya, María Ptqk and Institute for Postnatural Studies.

Tuesday 17th October

• 18:30-19:30h "Un canto de nácar", workshop with Carlos Monleón.
• 19:40-20:25h Projection: Sonia Levy, "For the Love of Corals" (2018, 23 min) and "Creatures of the Lines" (2021, 19 min).
• 20:25-21:00h Open discussion to the public with Carlos Monleón, María Ptqk and Institute for Postnatural Studies.

Wednesday 18th October

• 18:30-19:30h “Volver a la naturaleza”,  "natural" writing workshop with Claudia Rodríguez-Ponga.
• 19:40-20:30h Projection: Ana Vaz, "É Noite na América" (2021, 50 min).
• 20:30-21:00h Open discussion to the public with Claudia Rodríguez Ponga, María Ptqk and Institute for Postnatural Studies.

Audiovisual curator: Maria Ptqk.

Curated and coordinated by: Institute for Postnatural Studies.

Maria Ptqk is a curator, researcher and cultural manager. Born in Bilbao in 1976, she has been working in the cultural sector since 2000. She works as a curator, project manager and consultant. She has worked, among others, with Medialab Prado (Madrid), Azkuna Zentroa - Alhóndiga Bilbao, CCCB in Barcelona, Jeu de Paume Visual Arts Centre (Paris), La Gaité Lyrique (Paris), GenderArtNet (European Cultural Foundation), Donostia-San Sebastián 2016. European Capital of Culture, LABoral Centro de Arte y Creación Industrial (Gijón). She has been a member of the Basque Council for Culture (2009-2012) and of the scientific committee of the VI Encuentro Cultura y Ciudadanía (Ministry of Culture and Sport). She has curated the exhibitions "Soft Power" with Proyecto Amarika Proiektua (Vitoria-Gasteiz, 2009), "A propósito del Chthuluceno y sus especies compañeras" (Espace virtuel du Jeu de Paume, Paris, 2017), "Reset Mar Menor. Laboratorio de imaginarios para un paisaje en crisis" (CCC Valencia, 2020), "Ciencia fricción. Life among companion species" (CCCB Barcelona, 2021). She is currently curator of the Getxophoto 2023 festival, advisor to the art publisher and producer consonni and the Chaire Arts & Sciences (École polytechnique, l'École des Arts Décoratifs - PSL, Fondation Daniel et Nina Carasso) and member of the programming committee of ISEA Paris 2023 (International Symposium on Electronic Art).

The Institute for Postnatural Studies (IPS) is a centre for artistic experimentation from which to explore and problematise postnature as a framework for contemporary creation. Founded in 2020, it is conceived as a platform for critical thinking, a network that brings together artists and researchers concerned with the problems of the global ecological crisis through experimental formats of exchange and open knowledge production. From a multidisciplinary approach, IPS develops long-term research focused on issues such as ecology, coexistence, politics and territories. These lines of research take different forms and formats, including seminars, exhibitions and residencies as spaces for academic and artistic experimentation.

‘I didn't expect such a sound to come out of such a small body. It was very impressive, she wanted to do the same with her voice: not to disguise it, but to dress it with other voices, her voice, her throat, as if another voice was coming from inside her, as if she were speaking, not with another, with herself, having a conversation, for example, about what disappears, from babbling to the last breath without passing through the middle, with a new everyone-voice, what would it be like? A mouth with many tongues, a ventriloquist who comes to us to multiply our voices, to transcribe the sound like when that leaf sounded like a twirler, as if it was telling us come on, let's go, its sound, that amplified experience, we had to draw the sound out of the ground, what does that mean? I don't know, it was like a breathing game, I was obsessed with feeling that sound, focusing attention on what you hear after singing, the throat clearing, the swan song with many tongues, the song that accompanies the moment just before going to sleep, doing it until we were voiceless together.’ 

An amateur choir is a creative project in which any kind of voice is welcome to participate. Every other Thursday, the choir does its own research sessions as well as sessions with artists who work with voice and listening.  

Our Amateur Choir has included Sonia Megías, Itziar Okáriz, Jaume Ferrete, María Salgado and Fran MM Cabeza de Vaca, Rocío Márquez, Alma Söderberg, Ainara Lagardon, Jhana Beat, Lolita Versache, Bea Narcoléptica, Luz Prado, Los Torreznos, Makiko Kitago, Julián Mayorga, Agnès Pe, Paloma Carrasco, Anto Rodríguez, Elisa C. Martín, Elena Murcia Pinto with Marina Peralta Murcia, Inma Marín with Jon Cañal and Tania Arias Winogradow with Milo-Andrey Ulises, Rolando San Martín, Amalia Fernández, Elena Córdoba, Raquel G. Ibáñez, Alex Reynolds, Black Tulip, tacoderaya, Mónica Valenciano, Ruth Abellán and Arturo Moya, Ojo Último, Monserrat Palacios and Fátima Miranda, Sole Parody, Enrico Dau Yang Wey, Coco Moya, Veza Fernández and Noela Covelo.   

Todos los trabayos son

para las pobres muyeres,

aguardando por las noches

que los maridos vinieren.

Unos veníen borrachos,

otros veníen alegres;

otros decíen: «Muchachos,

vamos matar las muyeres».

Ellos piden de cenar,

ellas que darles no tienen.

"¿Qué ficiste los dos riales?

Muyer, ¡qué gobierno tienes!!»

Popular lullaby collected by Federico García Lorca in his Conferencia sobre nanas, 1928.

A group of mothers in the physical post-partum recovery period will come together to create the lyrics, melody and rhythm of songs to help their babies sleep.

Luz Prado (Málaga, 1985) Musician, violinist and performer. She lives nomadically, working on the stage through sound. Her practice is based on a constant dialogue with the violin and the encounter with other artists through DIY, dance and noise.

Ángela Segovia (Las Navas del Marqués, 1987) I write as much as I can. I have been publishing with the La uña rota publishing house for years. I think of writing as an open space, or rather, I make an effort not to close it; perhaps that's why I tend to mix genres and disciplines, although for me it's really all the same thing, just writing. Always writing.

The fourteenth edition of the Autoplacer (‘Self-Pleasure’) Festival will be held on Saturday, the 23rd of September at the CA2M Museum from 12 p.m. to 9 p.m. It will feature several performances on the Museum's terrace, including Infanta, Seggs Tape, Miss España, the artist Firmado, Carlota and Animadora, the winner of the Autoplacer 2022 Demo Contest, which will be held again this year in October.

There will also be techno sets playing in the SUI (Sala de Usos Infinitos on the ground floor), featuring a concert by Stephen Please and the special participation of Radio Relativa, a community, independent and experimental online broadcaster, which will be in charge of the Dancefloor's techno music programming, as well as sets by Feet & Gostoso (the creators of Radio Relativa), Loyalty XIX, Gideo and Emilia Grima.

Autoplacer 2023 will also feature various guest projects related to self-publishing, design, illustration and comics in the entrance hall, accompanied by the music of various festival collaborators on the turntables.

PROGRAMMING FOR SATURDAY, 23RD OF SEPTEMBER FROM 12 P.M. TO 9 P.M.

- Featuring concerts by:

• 12:30 FIRMADO, CARLOTA
• 13:30 ANIMADORA
• 17:00 SEGGS TAPE 
• 18:00 MISS ESPAÑA
• 19:00 INFANTA

- Dancefloor with Radio Relativa:

• 15:00 STEPHEN PLEASE LIVE
• 16.00 FEET & GOSTOSO
• 18:00 LOYALTY XIX | GIDEO 
• 19:30 EMILIA GRIMA

- Guest projects

LA INTEGRAL | TURBULENTAS EDICIONES | CUIR MADRIZ | AUTSAIDER CÓMICS | LA GRANJA EDITORIAL | KIT CANÍBAL | PRIETO & CUERVO

- FREE ENTRANCE UNTIL FULL CAPACITY IS REACHED -