actividades.ca2m@madrid.org

actividades.ca2m@madrid.org

Curated by Isabel de Naverán in collaboration with Escuelita.

One year later, the question that underpins these conferences, challenges us, if possible, even more directly For which bodies, for what histories. In the face of the general uncertainty and the absolute lack of historical precedence that we are going through, this question confronts us with the contingency of history in the materiality of our bodies given the very violence that a brutal and savage irruption like this pandemic entails. We are confident that the curatorial threads - which were once amassed with rigour and care, and which are now being taken up again with the understanding of a vital transformation - continue to make sense.

These conferences rethink the preconception that situates bodies as a consequence of the historical circumstances in which they live, as, although history makes bodies, they also make history. The latter is told through images that, unlike bodies, remain fixed and mute, forcing us to reckon with history, rather than just narrate it. The images seem to bring the events to a halt and are often relegated to a one-to-one correspondence with the facts. Here we are presented with the concept of listening to how some of them reveal themselves in order to contradict and contravene their own narratives, while at the same time rebelling, warning us of other stories that emerge in their re-reading and in the dispute against the ordering of time. Seen in this way, some images do not remain mute: they mutate and act at the same time as they are enacted, manoeuvred and sustained. Bodies are also enacted and subjected by other corporealities, those that inhabit their gestures apprehended by the knowledge of a tradition or by a certain way of relating and disposing themselves in their varied worlds. The question of the title imagines a making of bodies and images that, in a state of mutual listening, establishes connections that are out of time, anachronistic, and syncopated, defying the linearity that predisposes a before and an after.

The twenty-sixth edition of the conference continues along the same vein of the previous ones, delving into the relationship between images, gestures and performativity. This edition sets out to think about images through the making of choreography and performance, its practice, and its specific materiality.

It is conceived of as a study programme which, subject to prior registration, brings together a group of people interested in and committed to the issues raised. A meeting in which speakers and attendees share time, conversations and experiences over three interlinked sessions. The first two focus on specific artistic and choreographic processes that explore notions of history, tradition, and transmission from body techniques that allow us to speculate about processes that can be described as a recognition of a gestural archive, an estrangement from one's own tradition, or listening to alternative modes of presence. From within these parameters, we seek to expand the study to a dialogue with partnering agents of art, anthropology and philosophy, in the intersections of knowledge. A third session will take place on Wednesday morning, in a pine forest near the museum, and is organised as an open-air walk with the intention of collectively sharing and offering feedback on the reflections and debates experienced during the previous days.

Speakers: Ana Folguera, Thiago Granato, Pablo Marte, Ameen Mettawa, Julia Morandeira, Rita Natálio, Isabel de Naverán, Eszter Salamon, Manuel Segade, Estrella Serrano.

 

DOWNLOAD THE PROGRAM HERE 

Fechas texto cabecera
5, 6 and th JULY
Intended for
Inscripción:
-
Acceso notas adicionales

CAPACITY: 25 PEOPLE

Entradilla

One year later, the question that underpins these conferences, challenges us, if possible, even more directly For which bodies, for what histories. In the face of the general uncertainty and the absolute lack of historical precedence that we are going through, this question confronts us with the contingency of history in the materiality of our bodies given the very violence that a brutal and savage irruption like this pandemic entails. We are confident that the curatorial threads - which were once amassed with rigour and care, and which are now being taken up again with the understanding of a vital transformation - continue to make sense.

Subtítulo
FOR WHICH BODIES, FOR WHAT HISTORIES
Categoría cabecera
XXVI IMAGE SYMPOSIUM
Audiovisual principal
Pie media

Wrap, History and Syncope by Isabel Naverán. Picture: ©Andrea_Rodrigo

Collaborate
Type of Thinking / Community
Ocultar imagen principal
Desactivado
Duration
5th JULY 17:00-22:00H | 6th JULY 11:00-21:00H | 7th JULY 11:00-14:00H
¿Es un ciclo?
Desactivado

«After a very long winter, you see a green parrot perched on a blossoming almond tree. You would never have seen this in Madrid not long ago, but now it’s a common sight. We don’t know how we’re going to get back on track, and one thing we’re left with is celebrating a world that’s not going to be exactly the same. There are many things, even more when celebrating is part of the process of leaving behind, and moving forward. That path that is knowing what we follow. A public place, for everyone, green, high up, free, and specific. A place like a picnic.

This programme was shaped around the theme of tradition in an intuitive way, and we say intuitively because it was not actively sought and it was not until everything had been designed that we actually recognised this fact. Tradition understood in an expanded form, placed between the material and immaterial of this moment we are living. And who says when it is and when it is no longer like that? Throughout the sessions we see the most literal translation represented by craftsmanship, by mythology and inherited customs, but we also see that this whole world is reinterpreted, remixed, subverted, and left open to the air of the tensions of today’s world. In this open sky, questions and suggestions appear about what tradition means, to be tradition but also to make and create it. To believe it. Sometimes the folkloric appears, sometimes the ceremonial. Things that we know exist but that we have never seen also appear, which, because they are part of our dreams, also belong to us. At other times, there are interpretations that are so mixed in their languages and influences that they overflow. Yet, at the same time, when overlapped they create an image in which you can recognise yourself in the background. These are very local picnics. In them, there is a continuous reference to what is part of us and what we cannot be detached from. This happens and is interspersed, and suddenly it brings us to common ground where we can be together. And there is, in all this, a moment of self-reference of what the actual tradition of the picnic is and the place that is this terrace. We want to transfer these two things to other places, to other formats and, in short, to be able to live in the different ways we have always appreciated. A terrace can also be a forest.

We have skipped a spring. This is what we thought before everything happened, now we don’t want to wear shoes. We’re telling you this because it’s true. All that remains is for us to invite you to look together with us at what is coming from what has already passed.

Curated by:

Maral Kekejian and bwelke (Juanito Jones, Lorenzo García-Andrade and María Buey)»

 

PROGRAM

  • T 27/05 | OPENING:  Javi Álvarez y Javi Pérez Iglesias; Maider López; Enrico Dau Yang Wey.
  • T 03/06 | DIRECTOS: Ylia; SLVJ; Bazofia.
  • T 10/06 | KATA GURUMA : Aitana Cordero y David Cárdenas
  • T 17/06 | EN EL AIRE: Jonás de Murias; Kike García + Jesús Bravo; Lara Brown; Eliseo Parra
  • T 24/06 | NOCTURNO: Bosque R.E.A.L y Cuqui Jerez
  • T 01/07 | 1th OF JULY: Orquesta; JASSS.

 


NOTA SOBRE EL ACCESO

  • Recuerda que el aforo es limitado, por lo que cuando realices tu inscripción, te enviaremos un email confirmándote que tienes entrada.  Una vez lo recibas, podrás pasar a recoger tu entrada en la recepción del Museo el día de la sesión de Picnic hasta las 21.15h.  Si a esa hora no la has recogido, se pondrá a disposición del público.
  • Si no puedes venir por alguna razón, por favor avísanos cuanto antes para que alguien de la lista de espera pueda ocupar tu plaza.
  • Este evento respeta las medidas seguridad y las restricciones de aforo indicadas por las autoridades sanitarias, por lo que el público estará sentado y con la distancia de seguridad apropiada.
  • Cuando vengas, por favor sigue todas las indicaciones del personal de la organización para que tanto el acceso como el desalojo se haga siguiendo las normas de seguridad.
  • Por tu bien y el de todos, si tienes síntomas compatibles con el Covid-19, no acudas al Centro.

 

cartel picnic 2021

Type of activity
Dates
27 may – 1 july
Intended for
Temas
Acceso notas adicionales

Prior registration required. Form available one week before each session. LIMITED CAPACITY: 90 people.

Entradilla

As a Picnic Society, the CA2M invites several curators each year to design a program for the terrace of the Center. Every Thursday from the end of May to the beginning of July our terrace will become a space in which we will develop a program of activities in which the physical and the sound are mixed with the educational and participatory.

Actividades asociadas
Materiales de prensa
Subtítulo
This is as far as we've come
Categoría cabecera
Picnic Session 2021
PICNIC SESSIONS 2021
More information
Audiovisual principal
¿Es un ciclo?
Desactivado
Con el apoyo de
Duration
6 sessions
Biografías

Even if we wanted to, we cannot kill our dead. There are certain tasks that the dead summon us to do. And so, we carry them with us in our day to day lives, in small gestures or flashes of very intense emotion. How to share the losses, that which remains bound to us, the strange impermanence, that eagerness to bury our hearts, the confusing and incessant buzzing blue pain? Mourning is a political task, it builds community, it is a ritual of caring that reproduces life. Mourning unites us. I often talk to my friends about this, I believe that our grandmothers were the last ones to truly understand that death was part of life. They knew how to reconnect with the soil, and now perhaps it is time for us to create other rituals, other ways of being, of living and of dying.

Between January and June 2021, Marta Echaves carried out extensive research into mourning, its representations, politics and rituals. She was accompanied by the choreographer Esther Rodriguez Barbero, the artist Julia Montilla and the researcher Maria Rosón. From that series of meetings and conversations emerge certain questions and approaches which have shaped the programme of public activities That Blue Buzzing Sound.

Understanding research as a way of accompanying other projects that also address our contemporary relationship to death and grieving, That Blue Buzzing Sound focuses on sharing practices and poetics that make it possible to grasp experiences when language fails us and the end is centre-stage.

Marta Echaves. She is the coordinator of activities in Spain for the publishing house Caja Negra. She has written for artists' catalogues and publications and is, alongside María Ruido and Antonio Gomez Villar, the editor of Working Dead. Post-work scenarios (La virreina at the Centre of the Image). Interested in writing and historical research, her projects aim to revisit images and metaphors by focusing on intimate experiences and anecdotes as detonators of poetic memory devices. “La Contrarrevolución de los Caballos” was an investigation into heroin and HIV in the context of Spanish neoliberalism, which took on various formats and was shown in places such as Can Felipa, MACBA, MNCARS, ARCO... More recently, she presented her research into post-dictatorship paranormal memory with the conference "De las Acechanzas" (On the Hauntings) at the Domingo Festival.

Type of activity
Dates
12 and 13 november
Intended for
Temas
Acceso notas adicionales

12th November 18:00 - 21:00 13 November 11:00 - 14:00. Capacity: 20 PLAZAS

Entradilla

Between January and June 2021, Marta Echaves carried out extensive research into mourning, its representations, politics and rituals. She was accompanied by the choreographer Esther Rodriguez Barbero, the artist Julia Montilla and the researcher Maria Rosón. From that series of meetings and conversations emerge certain questions and approaches which have shaped the programme of public activities That Blue Buzzing Sound.

Subtítulo
Workshops and public activities
Categoría cabecera
Ese zumbido azul
THAT BLUE BUZZING SOUND
Pie media

Este río es este río, action by Pepe Espaliú, Urumea river, summer 1992. Arteleku. La barca, Marina Gonzalez Guerreiro, Tamuxe river, summer 2019. Author's photograph

¿Es un ciclo?
Desactivado
Duration
Two days workshop

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

At CA2M, we believe that attention to gender diversity should be central to the programme of any contemporary art museum. This new pandemic year marks 40 years since the emergence of HIV, and touching has once again become something forbidden. This is why this project by choreographer Aimar Pérez Galí seemed a particularly apt choice to open LGTBQ+ Pride’s spotlighted week of demands, to which our programming tries to give voice and, above all, body in a sustained way throughout the year.

 

TOUCHING BLUES

When you start with a creative process, you never know where the path will lead. That is why we say that the act of creation is a kind of dialogue with the unknown, a close relationship with that of which we are unaware. In 2015, when Aimar Pérez Galí first began work on his project The Touching Community, he only knew that he knew too little about the impact of the AIDS pandemic on the dance community. He embarked on a project of research, seeking out survivors, reflecting and questioning himself, reading and writing letters to the dead dancers whose names and stories he learned. This was his way of confronting the silence that, over the years, has been used to conceal and forget the horror and pain caused by that pandemic, which still continues today. The project grew and branched in surprising directions as Aimar encountered people and their stories, as silenced names were spoken by the mouths of witnesses, as he received answers. First came the lecture-performance A system in collapse is a system moving forward (2016); then the stage performance The Touching Community (2016); followed by the exhibition The Touching Community / Correspondencia and the active work The Touching Community / Greenberg_1992, both in 2017. Next came the tactile research laboratories of the Touching Improvisation Lab (2017-2020), followed by the publications Lo tocante (2018) and Cuadernos sobre el tocar (2019). Finally, in an unexpected and almost surprising contribution, he released the video Touching Blues (2021) during the new pandemic.

Touching Blues, like the rest of the project, is made for commemorative reasons: we keep doing these things, we keep returning to the topic, because we still need to remember, listen to and celebrate the bodies of those who suffered and suffer from HIV/AIDS.  Blues is a laid-back, melancholy kind of music. And blue anchors the chromatic universe of this work of art. We learned about this blue from Derek Jarman and his ‘blue boys’; although this blue has something sad about it, strangely enough, it also has a bright, festive and celebratory note.

Before, we clung to living things and the inevitable vanishing that gives dance its natural quality because that is what allows us to relate directly to the bodies of the dead and to celebrate them through our skins. But now, given everything we are learning with this new pandemic, suddenly video - the ability to transform our bodies into a playable image - has taken on a whole new meaning.

Touching Blues is a two-dimensional image projected onto a vertical plane. This does not have all the complexity, infinite variety of points of view and foci that are possible with a live performance. It condenses all the multidimensionality of the present into a perfect square that appears to hang on a wall like a painting, like a two-dimensional image that can appear over and over again identically. Here, our bodies become patches of light that move on a screen, hypnotic textures that make us see what is no longer there, what has already happened and is already gone.

To do this, we first had to establish a single point of view; this point, suspended above our bodies, allowed us to see ourselves from above, an impossible spot from which no one had ever observed us before. But that was not enough; once our bodies became an image, pace Jackson Pollock, we had to once again ‘hang’ the (blue) floor that we had used as the ‘sand’ base of the action on the wall. In a way that might be called innocent, we have hung the picture on the wall once again, bringing a strange peace to it. It appears almost as if the time for struggle were over, as if a deep and unexpected calm had settled over the whole project once its weight was lifted off the ground.  It seems, therefore, that the rotation of the point of view and the shift to a vertical plane have given Touching Blues the ability to create a type of contemplation that almost becomes a subtle form of devotion. All of this only deepens the memory-focused nature of this project and our decision to honour and celebrate the bodies that came before us, those who were mortal victims of what we still call the ‘HIV/AIDS epidemic’ today. This mission took on a new shape thanks to the appearance of this new work and, of course, thanks to the Cultural Communication Bureau of the Universidad Nacional Autónoma de México through the following: El Aleph - Arts and Science Festival; Ingmar Bergman Special Programme in Cinema and Theatre; the UNAM Theatre Department; the UNAM Dance Department; the Chopo University Museum; and thanks also to the Espai d'Arts Escèniques Casal d'Alella (Barcelona). To them we extend our deepest gratitude for inviting us to continue imagining new dimensions of this project, a project that has done nothing but bring joy, happiness and knowledge to our bodies. 

Aimar Pérez Galí and Jaime Conde-Salazar s.u.s.

May 2021

 

 

Type of activity
Dates
FRIDAY 25th JUNE
Intended for
Temas
Acceso notas adicionales

SALA DE USOS INFINITOS

Entradilla

In late 2015, the Spanish choreographer and performer Aimar Pérez Galí began to study the impact of the AIDS epidemic on the dance community in Spain and Latin America. The resulting work, which makes use of the practice of ‘contact improvisation’, was built as a conversation with the ghosts of those who are no longer with us. This year, in which we are in the midst of a new pandemic, marks 40 years since HIV’s first emergence; once again, touch has become forbidden. This fact brings a fresh relevance to this project, which first took shape at a performance workshop for teachers at CA2M three years ago.

Categoría cabecera
Touching Blues
TOUCHING BLUES BY AIMAR PÉREZ GALÍ
¿Es un ciclo?
Desactivado
Duration
18:30 – 21:00

In May several birthdays are celebrated in Madrid, and we are going to make a gift-tribute to our region. Through two workshops, the artist Clara Moreno Cela shows the public the process of her research on the identity of Madrid. In order for everyone to enjoy this activity, the first day is aimed at families, and the second and third days are aimed at teenagers and adults.

During the two get-togethers we will explore our relationship with the city through music, performance and games in workshops that aim to be a reunion with other people, and is also outdoor fun that makes the most of our terrace. A Chotistón to commemorate the festivities and traditional festivals – called verbenas – that are celebrated on these particular days. A celebration that also belongs to Móstoles – the 2nd of May – that has given us our name; a festivity we want to partake in as spring awakes.

During this workshop we will think, sing and dance about the region we live in. What do we like most about Madrid? What would we change? How would we make it more ours? What if we could answer these questions by having a super-quick party? Sign up with your family and come to the museum’s terrace. Together, we’ll create a collective imagination of Madrid by dancing and singing.  

 

Workshop by Clara Moreno.

Clara Moreno Cela (1993, Madrid) is the daughter of woman who is a bookseller, artist and cultural mediator. Her work bounds between drawing, performance and music, and she loves using literature as a starting point for the creative process. Her solo musical project, called Clara te canta (Clara Sings for You), brings all her passions to light in a straightforward punk way. She likes producing pieces using everyday things and pours her energy into thinking about the function of intuition in Art, the relationships between different species, and supermarket conversations.

 

Type of activity
Dates
30th of April
Inscripción
-
Temas
Acceso notas adicionales

Capacity: 8 families

Entradilla

In May several birthdays are celebrated in Madrid, and we are going to make a gift-tribute to our region. Through two workshops, the artist Clara Moreno Cela shows the public the process of her research on the identity of Madrid. In order for everyone to enjoy this activity, the first day is aimed at families, and the second and third days are aimed at teenagers and adults.

Subtítulo
WORKSHOP FOR FAMILIES
Categoría cabecera
Chotiston familia
THE CHOSTISTÓN: MINI AND SUPER-QUICK TRIBUTE
Pie media

Fotografía: @Raume116

¿Es un ciclo?
Desactivado
Duration
6:30 - 7:30 PM

In May several birthdays are celebrated in Madrid, and we are going to make a gift-tribute to our region. Through two workshops, the artist Clara Moreno Cela shows the public the process of her research on the identity of Madrid. In order for everyone to enjoy this activity, the first day is aimed at families, and the second and third days are aimed at teenagers and adults.

During the two get-togethers we will explore our relationship with the city through music, performance and games in workshops that aim to be a reunion with other people, and is also outdoor fun that makes the most of our terrace. A Chotistón to commemorate the festivities and traditional festivals – called verbenas – that are celebrated on these particular days. A celebration that also belongs to Móstoles – the 2nd of May – that has given us our name; a festivity we want to partake in as spring awakes.

On the first two mornings of May, we’ll create a show-gift to the city we live in. We’ll consider Madrid as a subject to pay tribute to through music, a show, a form of scripted madness. Madrid’s identity will be looked at from a folkloric and playful point of view during a two-day workshop, the result of which may be presented – time permitting – to friends and family.

1st MAY: 10:00 –14:00h | 2st MAY:10:30 – 13:30h

Workshop by Clara Moreno Cela.

Clara Moreno Cela (1993, Madrid) is the daughter of woman who is a bookseller, artist and cultural mediator. Her work bounds between drawing, performance and music, and she loves using literature as a starting point for the creative process. Her solo musical project, called Clara te canta (Clara Sings for You), brings all her passions to light in a straightforward punk way. She likes producing pieces using everyday things and pours her energy into thinking about the function of intuition in Art, the relationships between different species, and supermarket conversations.

Type of activity
Dates
1st and 2nd of May (mornings)
Temas
Acceso notas adicionales

Capacity: 15 people

Entradilla

In May several birthdays are celebrated in Madrid, and we are going to make a gift-tribute to our region. Through two workshops, the artist Clara Moreno Cela shows the public the process of her research on the identity of Madrid. In order for everyone to enjoy this activity, the first day is aimed at families, and the second and third days are aimed at teenagers and adults.

Categoría cabecera
Chotiston adultos
THE CHOTISTÓN. NEO-ZARZUELAS FOR SPRING IN MADRID
Pie media

Fotografía: @Raume116

¿Es un ciclo?
Desactivado
Duration
The workshop lasts 2 days

SATURDAY 24 FEBRUARY. 10:00 - 14:00 & 15:00 - 19:00

SUNDAY 25 FEBRUARY. 10:00 - 14:00

Sweet Fever is a choreographic proposal by the artist Pere Faura, based on the iconic movie Saturday Night Fever. It will be a choral piece in loop in which prolonged repetition shifts between faithful execution, modification, deformation and complete disfiguration while, at the same time, it will strike up a dialogue with other theatrical elements like video, music and lighting, which re-signify this iconic choreography.

Potential participants are invited to enrol in this workshop, which will be run by Faura himself. The end result will form part of the Sweet Fever experience, the piece that will bring the third edition of the “El cine rev[b]elado” season to a close on Sunday 25 February.

Aimed at all those interested in dance, the body and performance. The group of collaborators will include between 15 and 20 people. Don’t forget to bring sports shoes.

Type of activity
Dates
24th and 25th February, 2020
Directed by
Temas
Entradilla

Sweet Fever is a choreographic proposal by the artist Pere Faura, based on the iconic movie Saturday Night Fever. It will be a choral piece in loop in which prolonged repetition shifts between faithful execution, modification, deformation and complete disfiguration while, at the same time, it will strike up a dialogue with other theatrical elements like video, music and lighting, which re-signify this iconic choreography.

Categoría cabecera
Sweet Fever
SWEET FEVER WORKSHOP WITH PERE FAURA
¿Es un ciclo?
Desactivado

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

Type of activity
Dates
From January 15, 2021
Intended for
Entradilla

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.
 

Categoría cabecera
huerto en la terraza
Vegetable garden on the roof workshop 2021
¿Es un ciclo?
Desactivado
Duration
Every Friday. 11.00 - 13.00 hours

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.

Type of activity
Dates
23 October, 6 and 20 NOVEMBER
Intended for
Temas
Entradilla

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. 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.

Subtítulo
Universidad Popular
Categoría cabecera
The Hirayama Fireworks
Exercises in disorientation. Three trips to extraordinary places
¿Es un ciclo?
Desactivado
Duration
Three sessions
Soundcloud con descripción
Volver al fondo. Sofía Montenegro.