912760227

Curated by escuelita with David Bestué

With the participation of: Manuel Asín, Ángel Bados, David Bestué, Rubén Grilo, María Langarita and Víctor Navarro, Mario Montalbetti, Julia Morandeira, Lucia C. Pino, Manuel Segade, and others to be confirmed.

What does worlding the world mean? Worlding, in short, refers to practices that interlace materiality and semiotics, in which the subject and ground are fused in a continuous weft. It is a noun turned into a verb, to underscore that it is an active (ontological) process; that, rather than a mental figure, it is a relentless form of embodied production. In addition it is also a proposal based on our gesture of basely translating the English neologism ‘worlding’ into Spanish as ‘mundanizar’, thus invoking the gestures of a familiar, modest, mundane form of doing. An invitation to imagine possible forms of addressing the world familiarly.

As opposed to the uncontrolled dematerialisation of the digital image and its violent consequences explored in the previous edition, the working space of this year’s Image Symposium is the rematerialisation of visual thinking: today, the urgency is the adscription to practices that make a world. Practices that promiscuously explore the spectrum of disciplines and redefine the visual in its overflows, understanding that every encounter implies connection and intersection, and therefore, paying special attention to its forms of articulating the world. Donna Haraway summed it up as follows in her Staying with the Trouble: “It matters what matters we use to think other matters; it matters what stories we tell to tell other stories; it matters what knots knot knots, what thoughts think thoughts, what descriptions describe descriptions, what ties tie ties. It matters what stories make worlds, what worlds make stories.”

Bearing this in mind, this symposium wishes to inspire new ways of naming that are also ways of doing: ways of worlding the world that are already happening and for which we could reconstruct a selective tradition that outlines them in a genealogy situated in the contemporary space of cultural production in Spain. Today the conventional visual image is exceeded, not by its sign, as happened in the eighties, but by the disappearance of the image in various forms of baroque embodied excess. This semiotic and textual excess has led in recent decades to an excess of form (as palpable, for instance, in the deconstructive architectural movement) which, at once, has led to writers, artists and architects shifting their interest to aspects that re-connect with the details and the material proper to each way of doing: the poet Mario Montalbetti defines poetry as a context of resistance against the visual, the sculptor Lucía C. Pino defends the wide range of (physical, symbolic, political, narrative, speculative and other) connotations housed in the specific use of materials, and architects like Langarita and Navarro work with temporal notions when they distinguish between Bust and Pelt.

Following these positions, these three days will be a space for encounter and intersection between various forms of production that counteract the overwhelming virtuality and reproduction of images today. Instead, they propose thinking about their articulations in presence, in their forms of being and making worlds, and so give them back a specifically worldly language, flesh and place.

The IMAGE SYMPOSIUM is a programme dedicated to collective reflection on the theory and practice of visual cultures which is celebrating its first 25 years in 2018. It takes place over three days within the framework of a forum of debate, comprising a symposium and an open call for projects. The three thematically defined and interconnected days include a visit to the urban residues management plant in Valdemingómez.

LECTURES

THURSDAY 18 OCTOBER 17:00 - 20:30. Seeing / Saying World. It is generally accepted that our perception of reality is shaped by language and how it is used and produced. Investigating the potential of creating signifieds and articulating their signifiers —their concretion, phase-lags, knots— therefore involves forms of making worlds. The first day of the symposium examines the relationships woven by language—and more specifically the language of poetry—with visuality and contemporary art, with the purpose of exploring the ways in which the notions and strategies applied by linguists and poets can be implemented within the field of art.

17:00 Introduction to XXV Image Symposium by Julia Morandeira and Manuel Segade

17: 30 David Bestué. Give Meaning. In this lecture I wish to look at the relationships between matter and language through my own works and through references to the work of poets, linguists, artists and architects. The point of departure is the need of each era to construct meaning and the difficulty today of working with the symbolic, which has lost value to the utilitarian. During this process, language has become too pragmatic and instrumental and the word has lost ambiguity. This situation excited my interest in working with the idea of matter, over and above form. Matter is always in motion: when History moves on, when the original use of an object is no longer known, the matter remains, like an anchor to the present. I like this quality because it represents a triumph of the concrete and specific over the abstract in a time like the present, in which there is an increasing investment in virtuality and a growing degradation of the concept of reality.

David Bestué is an artist and curator of the XXV Image Symposium. As an artist he has exhibited his work in Realismo, at La Capella (Barcelona, 2014), La España Moderna in García Galería (Madrid, 2015) and ROSI AMOR, at Museo Reina Sofía (Madrid, 2017), among others. He has penned a book on Enric Miralles (Enric Miralles a izquierda y derecha, 2010) and on the recent history of architecture and engineering in Spain (Formalismo Puro, 2011 and Historia de la fuerza, 2017).

18:30 Mario Montalbetti. The Limit of the Poem. What I wish to consider in this lecture is the radical gap between saying and seeing. For reasons I will explain during my lecture, I will confine my scope to the poem. The main idea is the following: the limit of the poem is not the unsayable, because, after all, the unsayable is part of the sayable. We are always saying what cannot be said, as if the unsayable were a parasite which is too small to be seen through the lens of language —but which “is there” nonetheless. Nor is silence a limit because silence is also an invention of what we say; silence always follows a having-said. The thesis then is that the limit of the poem, the limit of the sayable, it not the unsayable but the visible in an absolute sense. And that is possible if we accept the radical blindness of the poem.

Mario Montalbetti is Professor of Linguistics at Pontificia Universidad Católica del Peru. His poetry has been complied in Lejos de mí decirles (Aldus, Mexico 2013). His recent publications include an essay on Blanca Varela, El más crudo invierno (FCE, Lima 2016) and the collection of poems Notas para un seminario sobre Foucault (FCE, Lima 2018).

19:30 Debate moderated by Manuel Asín. Manuel Asín is the coordinator of the film department at Círculo de Bellas Artes de Madrid and is a programmer for MNCARS, CCCB, SEFF, etc. He has published articles in Trafic, Concreta and Caimán, and he sits on the editorial board of this last-named journal. He has co-authored Desde Shakespeare (Calambur, 2017) with José Antonio Escrig and he ran the Intermedio publishers from 2010 to 2015. He also lectures at EQZE (Tabakalera, San Sebastián) and the Master LAV (Madrid).

FRIDAY 19 OCTOBER 12:00 - 14:00 & 17:00 - 20:30. Neo-baroque, neobarroso, neobarroso. The second day of the Image Symposium focuses on excess —material, formal, textual and in meaning— from a historical perspective, through a visit to the municipal waste management centre and two specific case studies. The first is the concept of Neo-Baroque, championed in art practice and art history during the nineties by authors like Severo Sarduy, José Luis Brea and Néstor Perlongher, among others. The second is the Deconstructivism architecture movement, derived largely from the impact of the work of the philosopher Jacques Derrida in the eighties, which gave rise to a purely formalist and spectacular style. Both cases demonstrate how positions underpinned by philosophical and political approaches—the result of epochal complexity—end up igniting texts, works and constructions.

12:00 Visit to the Valdemingómez Technology Park. The Las Dehesas waste treatment centre at the Valdemingómez technology park, designed by the Ábalos y Herreros architects studio between 1996 and 2000, is the place where urban waste from Madrid is sorted and processed. The visit wishes to question how we can compost an art practice and a future from the destruction and management of the abundance of waste material produced in the present.

The visit will last two hours, from 12:00 to 14:00. As the plant is not accessible by public transport, a bus will be available for participants who have signed up beforehand, which will leave CA2M at 11:15.

17:00 Critical session with Lucía Jalón. Learning to navigate the underground, playing with darkness. Trial and error towards a new architectural image.

18:00 Manuel Segade. After the Empty Ceremony, After so much Death. In the eighties, the geopolitical South introduced a thinking that defended the Neo-baroque as an exuberance of the sign speaking of itself, as a modality of excess that threatened conventional symbolic orders. Thinkers like Néstor Perlongher (Argentina) or Severo Sarduy (Cuba) and artists like Pepe Espaliú (Spain), wrote in a race against time while the AIDS crisis advanced all around them. If contemporary art is a selective tradition, the present must be inscribed in a genealogical guideline for which there are words that have not been handed down to us: an eminently baroque work of mourning with which to understand art practices as an unstoppable epidemic, as a space of proliferation of signs in bodies, and vice versa.

Manuel Segade is the director of CA2M and curator of the XXV Image Symposium. His doctoral research focused on a revision of theatricality and allegorical linguistic structures in 1980s sculpture through the work of Juan Muñoz. Since 1998 he has been working with fragments of a cultural history of late-nineteenth century aesthetic practices, centred on the production of somatic and sexualised subjectivity (Narciso fin de siglo, Melusina, 2008). His latest projects explore gestural approaches to curating and other forms of discursive distribution.

19:00 Session to be confirmed

20:00 Debate moderated by David Bestué and Julia Morandeira

SATURDAY 20 OCTOBER 11:00 - 14.30. Making Object. Addressed from art practice and from a speculative yearning, the third and final day of the Image Symposium poses questions on how the image makes worlds through art. For some time now many artists have been working with a mundane and colloquial practice, counteracting spectacularisation through an affective, subjective and critical making. Here we will propose a rethinking of the object and the making of the object, a conversation on and from sculpture, understood as presence more than as image and which introduces discursive tools associated with linguistics and matter.

11:00 Critical session with Delas

12:00 Ángel Bados in conversation with Lucía C. Pino and Rubén Grilo. Ángel Bados, (let me do it) …… Perhaps it might be enough to distinguish the phenomenal quality of the countenances of the digital, which, after all, sustain our gaze, from those other images that, while affecting us corporally, manage to connect us symbolically with what refuses to be said. But it is not easy.

Even knowing the fascinating power of some countenances, and even if art production that was not matter-based were unthinkable, because the very active edification of our representations depends on it, our everyday work shows us that matter is more silent and opaque, and outside of meaning. And that it undermines structure. This means that the closure of meaning becomes highly improbable, unless we admit that, alongside an effort at saying the right thing, there is a parallel yearning for gratification. And it would be precisely there, in the intersection of the course of signification with the flow of desire—which “is without object”–where, perhaps, what is beyond meaning can knot itself as an effect of creation and of poetry.

Ángel Bados has had recent solo exhibitions at Galería Moisés Pérez de Albéniz, Madrid, in 2013, and at Carreras Múgica, Bilbao, in 2017. He is currently exhibiting work in the group show El Otro soy yo, at Koldo Mitxelena in San Sebastián. In 2017 he took part in the symposium Pensar en arte. Lo educativo como síntoma, held at the Azkuna centre in Bilbao. In June 2018 he took part in L’occasione with the slogan “Hecho con las manos”.

Lucía C. Pino, an assemblage is not a fissureless whole

1. an assemblage is not a fissureless whole
2. an assemblage is not just the sum of its parts
3. assemblages cannot be updated
4. assemblages fluctuate around attractors
5. assemblages are not firmly grounded on attractors
6. an assemblage can be a sculpture
7. the specific cryptic of the sculpture is the rehearsal of an enigma
8. an enigma can contain desire, desire is an assemblage
9. an assemblage can be a relationship
10. a sculpture can be an assemblage that can be prosthesis, which can be a moment of suspension which is an enigma.

One of my aspirations is to evince how, as humans, we are witnessing, among other phenomena, a loss of communicational or relational sensibility with otherhood as a result of textual and formal linguistic excess (and also in terms of artificial construction, including programming languages, images and big data). What I wish to invoke here with sculpture is to underscore that the relationship between matter, economy, politics, desire and critical theory is not a metaphor, analogy or exemplification. This praxis helps me to study and rehearse possible scenarios. I intuit which direction to take, one that passes through fields of learning which are often remote from me.

For me sculpture is an activity that can be understood as the place of a specific negotiation between many variables that arise in a geometric locus.

Lucía C. Pino has exhibited her work at, among others, CCCC in Valencia; at Espai 13 Fundació Miró, ASM, Ana Mas Projects, Et-hall, Galería dels Angels, MACBA and Casa Asia in Barcelona; Filmoteca Regional de Murcia Francisco Rabal; Pragda Big Screen Project, New York; Larraskito, Bilbao; Galeria Aulenti Triennale, Milan; and D/ART/ Sydney.

Rubén Grilo, Untitled. A talk on epic-free sculpture, Makitart, recybernetic, Dearest GearBest, strong poetry, representational solitude, pre-communication, prerange, RTFMtwice-ism, pretrance, infraoriginality, neo-exclusivity, infrartisan, indoor theory, algorithmic liberalism, refractory proletariat, anarcho-cynicism, environmental violence, software-driven realism, recycled violence, soft recognition, managerial figuration, managerial realism, horizontal class, low-fiction, filtrism, pseudoacceptance, commonism, prop-philosophy, anarcho-artisan, de-intentioned display, personal-tainment, studiocore, competitive poetry, critical gentrification, visual-lepsy, infrasubjects, allegorical standardisation, autoecology, networked nature, algorithmic leisure, radical gimmick, functional alienation, climatic postmodernism, cynical mechanism, mechanic cynicism, high originality, time-based conceptualism, Top-Part Art (TPA), beige art, handmade-core, downloadable wars, climatic alienation, conceptual unicity, conceptualism, democratic standardisation, infraexclusivity, sensory authorship, expressive labour, anticreativity, multicultural industrialism, narrative standardisation, LAB TURN, free reality, sustainable-core, multi-ecology, poor Pop Art, alter-simulacra, emotional unity, paradoxical-tainment, parafiguration, pseudomaterialism, weak unity, silent politics, merge-core, corporate poetry, antimechanisms, drone empowerment, para-authorship, expressive unicity, etc.

Rubén Grilo studied at University of Barcelona and at Rijksakademie van Beeldende Kunsten in Amsterdam. He has exhibited at Fundació Joan Miró (Barcelona), Nogueras Blanchard (Madrid), Hildesheim Kunstverein, V4ULT (Berlin), Union Pacific (London), CIRCA Projects (Newcastle upon Tyne), 1646 (The Hague), Supplement (London), Wilfried Lentz (Rotterdam) and MARCO (Vigo), among others.

13.30 Debate moderated by Julia Morandeira
Julia Morandeira is a researcher and curator of XXV Image Symposium. She co-directs La Escuelita at CA2M together with Manuel Segade and is a mediator in the ConComitentes project funded by Fundación Daniel y Nina Carasso in Spain. Her practice revolves around long-term curatorial projects such as Canibalia; Be careful with each other, so we can be dangerous together; Nothing is true, everything is alive; and Estudios de la Noche.

Las JORNADAS DE ESTUDIO LA IMAGEN es un programa dedicado a la reflexión colectiva en torno a la teoría y la práctica de las culturas visuales. Se desarrolla durante tres días en una estructura de foro de debate, compuesta por un seminario, talleres y una convocatoria pública de proyectos. Esta edición se estructura a través de tres jornadas (Ver / decir mundo; Neobarroco, neobarroso, neoborroso; Hacer objeto) definidas temáticamente e interconectadas entre sí. En continuidad con la propuesta, los comisarios han diseñado un dispositivo a partir de obras de la colección del CA2M y elementos expositivos del centro, buscando que encarne y resuene con los debates que aloje. También, han editado una publicación online que recoge textos claves en relación a las cuestiones que el simposio aborda, con el fin de amplificarlas.

ENROLMENT COMPLETED

Moderated by Eva Garrido and Marta van Tartwijk

We avoid touching, fluids and drops of saliva. We cover our mouth, our nose and hands. Our reading group over the last few years has explored the oddities of the body and queer bodies. Now that reality is like science fiction, we will turn our attention to the aliens, vampires and bearded women which we have met along the way.

Last year, Birds Fuck in the Air endeavoured to address and think about the different textures of desire and its strange manifestations. Given the unforeseen imposition of the prohibition of touching, a distance was established that nonetheless could perhaps increase the idea of eroticism. And how lovers start to write to each other. We write a lot. Even distances become elastic and we can feel something touching us, that words and tongues walk all over us.

The task of writing, like desire, is perhaps always an unfinished task. One writes to continue writing. The stroller, by definition, is not going anywhere in particular, but is driven by the mere desire to walk. Going nowhere in order to maybe eventually arrive somewhere.

Among our desires as a group, this year we wish to recover one, to read a single book. Perhaps it is the right moment to think together about distances and the potential of strolling. This motor action of putting one step forward and then the other, to take our bodies to different places, opens up a horizon of possibilities and readings to discover the world through the body and the body through the world.

Imparted by: Marta van Tartwijk.

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An amateur choir is a creative project in which all types of voices are welcome. The choir doesn’t just sing songs but aspires to embrace all the sounds in the world. That’s why it sings through silence, mumbling and stuttering and with sounds that sometimes involuntarily escape the body like laughter and screams..
 

During confinement we managed to counter our fears by singing to and with each other over the phone. We find melodies in the washing machine, stories through the window and a new language of gargling and birdsong. Now we are really looking forward to seeing each other in person once again and finally going together to Zarzalejo to sing with the choir of the artist Amalia Fernández.

Hi, I’m Galaxia La Perla. I like to express myself through dance, voguing, runway, makeup and fashion both in physical and digital spaces.

I always work from an activist antiracist perspective and I greatly appreciate the creation of safe, community spaces. Over the next few days this workshop will draw a space through movement, transforming our body, exploring dance through play. There are many ways to enjoy dance and in this workshop we will experiment with what each individual can create through the everyday and close at hand.

Admission free during workshop hours until full capacity is reached. Capacity: maximum 20 people. Open to anyone who is interested.

CA2M’s Vegetable Garden on the Roof has been going for eight years. Over that time, we have experienced a profound process in which many different people have participated, making it a meeting point based on working together and sharing knowledge.

Since its beginnings, the idea behind the Vegetable Garden on the Roof was for it to be a space that would go beyond being an organic farming school and would form a community. This goal has been achieved; today it is a focal point for people with many accumulated years of learning, a place of enjoyment and coexistence based on the practice of agroecology and permaculture. It is also a place for the recovery of traditional knowledge of the farming world and a reflection on the challenges of being sustainable.

Today, the community of CA2M’s Vegetable Garden on the Roof faces the challenge of opening up to new people without forgetting the enthusiasm for research and experimentation that motivates existing participants. This course will give an opportunity to those who are interested in getting started in agroecology and permaculture, at its most basic levels, yet still meet the needs and pace of learning of those who have been protagonists from the start and who require more specific workshops with very advanced content. To do this, during the first part of the course, we will work two hours on alternate Fridays, to give possibilities to those people who due to work or personal circumstances could not attend the conventional schedule.

In collaboration with Instituto de Transición Rompe el Círculo.

PROGRAMMING. THE MOST NATURAL VEGETABLE GARDEN

THE POWER OF PLANTS 11 AM

5 FEBRUARY | Plants That Look after Our Health 1. 11 AM
It is easy to know what the healing powers of some common plants are, but it is not easy to know how to use them. Learn to differentiate medicinal plants, their properties and uses. 

12 FEBRUARY | Plants That Look after Our Health 2. 11 AM
This workshop will teach you how to prepare oils, ointments and simple macerations that can be made at home. 

19 FEBRUARY | Plants That Look after Our Health 3. 11 AM
Delve into the world of natural cosmetics with some simple recipes that can easily be made at home.

26 FEBRUARY | Plants That Look after Our Health 4. 11 AM
Learn about the benefits of having plants at home, which ones are best suited for each room, and how to care for them.

THE NO-PLOUGH VEGETABLE GARDEN 5 PM

5 MARCH | No-Dig Gardening. How to set up a vegetable garden without ploughing the land. 5 PM
The belief has always been that, before planting a vegetable garden, we have to turn over the soil. This system explains why we should not do it and how we can prepare the land for cultivation.

12 MARCH | How To Get Rid of Weeds in a Vegetable Garden (Workshop at Gabriel Celaya School). 5 PM
One of the reasons why we plough the soil is to remove weeds before planting but, in doing so, we provide their seeds with the perfect conditions to multiply. So, what should we do?

26 MARCH | Preparing Raised Beds. Hugelkultur and raised beds. (Workshop at the Gabriel Celaya School) 5 PM
Learn different ways to prepare soil and keep it fertile for as long as possible without having to work it.

9 APRIL | Vermi-Compost at Home. 5 PM
Compost is essential in a “no-dig” garden. Learn how to create homemade vermi-compost using kitchen waste to make your own compost. (waste, composting)

16 APRIL | Seedbeds Using a Biointensive Form of Agriculture. 5 PM
Let’s start planting and preparing our first seedbeds for this spring.

23 APRIL | Biodiversity – above and below. 5 PM
Learn how to maintain biodiversity both on the soil’s surface and in its subsoil, both of which are fundamental for keeping it fertile.

In colaboration with: Instituto de Transición Rompe el Círculo.
 

All the activities at CA2M are for free

In recent years, there has been an increase in the number of independent magazines published in a physical format, produced low-cost and distributed in limited editions. From the fanzine to the artist book, these publications are all spaces in which to promote and reflect on current-day cultural production.

As part of our program of library activities, CA2M will open a space for research and reflection revolving around independent editorial projects. An initiative that aims to create an archive of editions that are difficult to classify with a view to spreading and preserving this type of publication.

From the month of May, a permanent enquiries space will be set up to display fifteen new independent publications per month and provide a forum for encounters and presentations.

Enrolment free:

_ Mover el fuego (23 de octubre)
_ Las cosas te dirán quién eres si las escuchas (6 de noviembre)
_ Volver al fondo (20 noviembre)

We have been left exposed, without a sense of time or the certainty of touch. Our realities have been turned on their heads, upsetting our sense of direction. We want to take advantage of this fluctuation to explore the art of uncertainty, the unknown and the unpredictable, but also what is already being inscribed in the landscape for some time now.

And we will do so on bus trips, spending some time together, stepping outside the boundaries of the museum, mobilising our imagination in other places, thinking about other ways of being together, allowing ourselves to be moved anew, keeping in step in both conversation and listening. We propose pushing the boundaries of the Region of Madrid to see the museum from a distance by visiting places that generate surroundings which allow us to imagine in an unfettered way.

CA2M organises educational activities on contemporary art and thinking that can be framed within the tradition of community colleges. The courses it offers address some of the key issues for a proper understanding and interpretation of art today. These activities can be divided into two parts: the first consists of the presentation of a theme by a guest speaker and the second part involves a debate open to the audience. But this structure can also change to adapt to more experimental formats depending on the guest at each session. For this session we are organizing three bus trips together with artists, researchers and curators to places linked to their artistic practices..

23 OCTOBER. Mover el fuego. Trip with José Luis Giménez + Cuqui Jerez + Maral Kekejian

We invited José Luis, Cuqui and Maral to tell us about their experience as the creative team behind the fireworks for Veranos de la Villa, Madrid’s summer festival, between 2016 and 2019. To this end, we travelled to Villarejo de Salvanés, the town where the Vulcano fireworks factory is located. At the helm of this family-run business is José Luis Giménez, the master pyrotechnic over these years. The performing artist Cuqui Jerez will explain her experience in creating the more choreographic side of the firework displays and the cultural manager and programmer Maral Kekejian will tell us about the genesis of the idea and the role of the fireworks in the festival.  

The goal of the joint teamwork was to create a contemplative spectacle that would set up a dialogue between time and space, form and material, from the idea of celebrating the city, its sky, its parks ... and the art of being together. We will visit the Vulcano fireworks factory in Villarejo de Salvanés so that José Luis, Maral and Cuqui can tell us about the shows they made together, combining choreography with the sky of Madrid. 

José Luis Giménez is a pyrotechnic at Pirotecnia Vulcano. Cuqui Jerez is a performing artist. Maral Kekejian is a programmer.

6 NOVEMBER. Things will tell you who you are if your listen. Trip with Raquel G. Ibáñez

We recount our dreams out of an obscure need: to make them more real by living with someone else the singularity that belongs to them and that would seem to address them one person alone. Maurice Blanchot.

In 2017 the journal Peerj published a report on the research carried out by the physicist Gabriel Mindlin, analysing the neuronal activity of the zebra finch (Taeniopygia guttata) during the day and night and how it is related with its song. Among other things, the study determined that, while asleep, these birds make very different melodies to the ones they make repetitively—as sound patterns—when they are awake. 

In the many interviews Midlin gave about his study of the zebra finch, he underscored a certain radicalness in the fact that these birds were conditioned by a mechanism during sleep that incites them to do things that they do not do during the day: as if the little birds were liberated at nightfall from the inherited and learnt singing of their waking hours. As if there were two different birds. As if the arrival of night-time opened up a wider range of intonations. 

It is impossible to transcribe these sounds by means of a keyboard. Biiibiiip / bipiiiiiiririiiipipi - bi. It’s absolutely futile. They exist even though language fails miserably in the attempt. On 6 November it is very unlikely that we will see the zebra finch awake, although we will try to inhabit those hard-to-explain places like birdsong. This excursion to Robledo de Chavela is an excuse to share the artistic concerns and obsessions of Raquel G. Ibáñez who, throughout the course of the day, will focus on exploring dreamlike experiences and a quest for the impossible. To this end, the duration of this activity will stretch beyond the threshold of twilight.

Raquel G. Ibañez is an artist and curator. 

20 NOVEMBER. Back to El Fondo. Trip with Sofía Montenegro

We were planning a sound trip to Casa de Campo. Looking at the lake, we were talking about floating and how to talk and be heard from the shore, until my uncle got off the boat we were looking at. This encounter closed the last scene in what would be El Fondo con Delfín. The beginning, a trip in a cable car and in between, various intertwined events. One of them, the still unresolved puzzle of how the body of a dolphin suddenly appeared a few years ago in the centre of the park.

Now, another meeting has been called to start afresh and enter once again into the landscape. We will let ourselves be carried along by sounds, conversations and autumn discoveries.

Sofía Montenegro (Madrid, 1988) lives in Barcelona. As an artist, she works with image, sound, text and performative practices.

* Places are limited. The coach will leave at 4:30 pm from the roundabout between Avenida de la Constitución and Paseo de Goya (Móstoles). We will first gather at the entrance to the museum at 4:00 pm. The return will be at 9:00 pm to the same location. During the trip participants are invited to take part in the group reading of a publication chosen for the occasion.

INTEMPERIE ***
 

Anyone interested in art today. No prior knowledge necessary.

A new call will open in December.

(silence) – SSH – SSH – SSH – SSH – SSH – SSH – SSH – (silence) – UUU – UUU – UUU – UUU – UUU – UUU – UUU – (silence) – SSH – SSH – SSH – SSH – SSH – SSH – SSH – (silence) – HEL – LO – HEL – LO – HEL – LO – HEL – LO – HEL – LO – HEL – LO – HEL – LO – HEL – LO – WE – ARE – HEL – LO – WE– ARE – HEL – LO – WE – ARE – HEL – LO – WE – ARE – HEL – LO – WE – ARE – HEL – LO – THE– CHOIR – HEL – LO – CHOIR –HEL – LO– CHOIR – HEL – THE – CHOIR – HEL – THE – CHOIR – HEL – LO – HEL – LO – HEL – LO – HEL – LO – HEL – LO – HEL – LO – HEL – LO – HEL – LO – HEL – LO – HEL – LO – HEL – THEY – ARE– THE– CHOIR – THEY – ARE– THE– CHOIR – THEY – ARE– THE– CHOIR – THEY – ARE– THE– CHOIR – THEY – ARE– THE– CHOIR – WE– ARE– THE– CHOIR– WE– ARE – THE– CHOIR – WE– ARE– THE– CHOIR – WE– ARE– THE– CHOIR – WE– ARE– THE– CHOIR – WE– ARE– THE– CHOIR –

An amateur choir is a creative project in which all types of voices are welcome. The choir doesn’t just sing songs but aspires to embrace all the sounds in the world. That’s why it sings through silence, mumbling and stuttering and with sounds that sometimes involuntarily escape the body like laughter and screams.

During confinement we managed to counter our fears by singing to and with each other over the phone. We find melodies in the washing machine, stories through the window and a new language of gargling and birdsong. Now we are really looking forward to seeing each other in person once again and finally going together to Zarzalejo to sing with the choir of the artist Amalia Fernández.

INTEMPERIE ***

Programme with the support of the Daniel y Nina Carasso Foundation