actividades.ca2m@madrid.org

Ostro is the name of a southerly wind, a hot and humid wind that in most cases doesn't blow for very long.

This live arts series kicks off in March like a warm breeze, bringing the meaning of the body to the museum’s galleries.

Once a month, different performing artists will be invited to develop a proposal in the museum space of their choice to involve the building’s architecture in the flow of movement, body and audiences.

Throughout the year, a series of performative proposals will be held in different parts of the museum. We want to forge bonds between dance, performance and the museum space, connect the creative processes of performativity, and enjoy diverse formulas that explore the body and its possibilities in the museum to generate a permanent space where movement is the protagonist.

The Museo CA2M is collaborating in the fifth and latest edition of Domingo, the performing arts festival hosted by La Casa Encendida and curated by Fernando Gandasegui that over the last five years has brought together national and international artists to encourage experimental languages.

As in previous editions, Domingo 2025 revolves around listening to what is happening on the current scene, delving deeper into the main themes that the programme has explored over the years: the convergence and opening of different disciplines, generations and geographical regions; the protagonism of the voice and the performativity of sound; the power of the political and sensitive agency of images and imagination; the exercise of joyful criticism in art practice; the proposal of alternatives for encounter and transmission between audiences and artists; somato-political practices in southern Europe; and, above all, the promotion and dissemination of radically experimental languages to counteract the flattening effect of neoliberal trends.

Thursday 13 March SUI. Free admission on a first come, first served basis.

• 19:00 ORELLES VOLADORES Nilo Gallego
• 20:15 CLARALINDA, CLARALINDA, CLARALINDA Luísa Saraiva

ORELLES VOLADORES. Nilo Gallego 19:00h Approximate duration: 1 hour

In Orelles voladores, Nilo Gallego surrenders to his experience as a percussionist and sound recordist while inviting the audience to search for a new music theory and a new sense of tuning through simplicity and honesty. Because every sound that reaches our ears, bounced back and filtered through all the materials it encounters along the way, has a story to tell; a story which, over the years, we learn to ignore over and which this piece invites us to rediscover.

Orelles voladores is a percussion concert in which the artist encourages us to form a percussion orchestra with our eardrums, and use the act of listening as our drumsticks. The concert changes every time it is performed, adapting to each space and situation. For this occasion, the performance will also feature the percussionist Frankuu Carrascosa and An Amateur Choir, the open project based at the Museo CA2M that has been operating for eight years and of which Nilo himself is a member.

Nilo Gallego (Ponferrada, León) is a musician and artist who gives performances in which experimentation with sound is the starting point. His pieces always have a playful element and seek interaction with the immediate environment and the ordinary. He is a member of the experimental action collective Orquestina de pigmeos (with Chus Domínguez) and regularly works with creators like Silvia Zayas, Alex Reynolds and the company Societat Doctor Alonso. He plays drums, percussion and electronic devices, and in addition to musical creation he designs soundscapes for contemporary theatre and dance companies. He has presented his work at national and international live arts festivals. He also designs tools and runs educational workshops based on listening and sound creation.

Credits Creation and performance: Nilo Gallego. Collaborations: Frankuu Carrascosa and An Amateur Choir. Audiovisual coordination and accompaniment: Chus Domínguez. Writing support: Álex Reynolds.. Co-production: TNT (Terrassa Noves Tendencies) Festival; Residencies with the support of : Espai nyamnyam, El Consulado Fonteta, Espacio Los Barros, La Poderosa and L’Estruch.

CLARALINDA, CLARALINDA, CLARALINDA Luísa Saraiva 20:15h Approximate duration: 40 minutes

Claralinda, Claralinda, Claralinda is a choreographic songbook in which Luísa Saraiva shares her practice and extensive research on the physicality of singing, the limits of the female voice and the haptic nature of sound. Analysing different types of songs and instruments and travelling through excerpts from her works, she explores the sonic possibilities between breathing, sound and singing through a movement practice that visually presents the physical effort involved in controlling the breath. The songs are added, transformed and improvised according to the research and process in which Luísa is engaged at a given time. Her musical universe is inspired by traditional folk songs from central and northern Portugal.

Luisa Saravia is a choreographer who lives between Porto and Berlin. Her artistic practice investigates the language of the body and voice, situated at the intersection between movement and musical composition. Her work is deeply influenced by research on the physicality of the voice and a contemporary, non-essentialist perspective of folklore and tradition.  Luísa studied psychology at the University of Porto and dance at the Folkwang Arts University in Essen, Germany. She has worked with artists from different disciplines, such as Lea Letzel, Carlos Azeredo Mesquita and Senem Gökce Ogultekin. She has received grants for several art research programmes and in 2019 she was selected for the danceWEB programme and was a choreographer-in-residence at K3 | Tanzplan Hamburg. In 2022/2023 she received the Tanzpraxis grant from the city of Berlin. Since 2020 she has been an activist in the field of mental health in performing arts, promoting workshops and lectures.

Credits Choreography and performance: Luísa Saraiva. Instrument: Inês Tartaruga Água. Acknowledgements: João dos Santos Martins and Associação Parasita.

In association with: 

On Wednesday 12 February Museo CA2M presents Swiftly Arose and Spread Around Me: Interventions for Sticky Thinking (Act 2), launching the second part of the curatorial research undertaken by Sergi Álvarez Riosalido within the framework of the seventh edition of the Encura Residency programme. La Cuarta Piel, Sandra Mar, Maya Pita-Romero, Laura Ramírez Ashbaugh and María Rojas will take part in the inauguration of this research process.

Encura is a research residency programme that aims to promote, expand and complexify curatorial research processes by intertwining the artistic contexts of Barcelona and Madrid, encouraging and enabling curatorial research that doesn’t result in conventional exhibition projects. The programme is co-led by  HANGAR, Museo CA2M, Casa de Velázquez and hablarenarte.

The second act of this curatorial research project is conceived as a performative and reflective gathering inspired by the study of sticky thinking and the diverse potential of slime as a political, ecological and affective concept.  The event will feature a series of interventions on key themes such as the mediation of viscosity in human and more-than-human relationships and the radical connection between bodies, fluids and environments.

Sticky thinking is developed as a conceptual and sensory framework that blurs the boundaries between bodies, objects and environments, exploring the dynamics of connection and transformation. Drawing on the intimate contact described by Walt Whitman in a poem that inspires the title of the project, sticky thinking takes saliva as a medium which, as it flows and spreads, unites the human with the more-than-human, the scale of our body with the infinitely large and the infinitely small.

Danez Smith amplifies this perspective through poetry from a queer, racialised and HIV-positive standpoint, where fluids, as lubricants, activate an intimate practice while serving as a political metaphor for exchange and relation. Here, viscosity becomes a means to resist normativity and embrace a relational understanding of identities and bodies beyond imposed boundaries.

Authors like Karin Anna Pittman and Karen Barad also explore the sticky as a mediating element: connections “lubricated” by viscosity and stickiness are not merely links between pre-existing agents but generative forces of new, overflowing ways of being and knowing.

Sergi Álvarez Riosalido (Sabadell, 1992) is a researcher, curator and writer. He has a bachelor’s degree in Communication (UAB), a master’s degree in Comparative Studies in Art, Literature and Thought (UPF), a postgraduate diploma in Contemporary Thought (UCM), and a master’s degree in Contemporary Art Curating (Sorbonne Université Paris IV) thanks to a grant from “La Caixa”. He took part in year zero of the independent study programme “Organism: Art in Applied Critical Ecologies” organised by TBA21. With a special interest in curatorial practice as a collective process of co-creation, his research focuses on themes such as the subversive dimension of love, desire and tenderness, and the ways of creating community and the materialities that underlie the present.

He has taken part in exhibition and research projects at institutions such as the CCCB (Barcelona), Jeu de Paume (Paris), Centre Pompidou (Paris) and La Casa Encendida (Madrid), among others. He is the author of the monograph on the experimental filmmaker Jonas Mekas, titled No aceptaremos las ataduras (Brumaria, 2017), and he has contributed to publications like Found Footage Magazine, Cinema Comparat/ive Cinema, Exit-express, A*Desk and others.

La Cuarta Piel is a community of practices that translates the extractivist processes that sustain human life in cities. It does this through hedonistic situations that materialise the ecological relationships of these complex processes to assimilate them with the human scale. This exercise of intermediation facilitates the communication between knowledge, species and territories. The collective contributes to publishing projects and initiatives dedicated to territorial transformation and cultural mediation. Together or separately, the members of La Cuarta Piel have taken part in the Vienna Biennale (2017), the Venice Biennale (2018), the Quito Architecture Biennale (2022) and the Krakow Biennale (2017, first prize).  They have also exhibited at Negre (Las Cigarreras, 2021), designed and produced ephemeral installations for A Cel Obert (2020), Insólit Festival (2019), Galeria de Arquitectura Porto, HANGAR Lisbon and Medialab-Prado and stage sets for Productores de Sonrisas and Sorolla Producciones. Their educational backgrounds range from UPM (Madrid), UA (Alicante), UCM (Madrid) and ETSAB (Barcelona) to PUC (Chile), UNAM (Mexico), Tongji (Shangai), UWE (Bristol) and the Accademia di elle Arti de Venezia, and they have taught at the ETSAM, Universidad Diego Portales and UA.

Sandra Mar (Valencia, 1995) is an artist working in the field of sculpture. Her practice revolves around this medium and the line as immediate expressive processes, addressing a manner of construction in which the material dialogues with the body it touches. In her work she reflects on contemporary emotional and affective themes, which she links to the quasi-romantic relationship established with the matter. She has held solo shows at Galería Rosa Santos (València) and has taken part in group exhibitions at Pluto (València), Galería Rosa Santos (València), Institut Français (Madrid), La Casona (Reinosa, Santander), IVAM (València), Galería Fran Reus (Palma de Mallorca), Taca (Palma de Mallorca), Zape (Alboraia, València), Centro 14 (Alicante) and Art Nit (Campos, Mallorca). She was involved in the sixth edition of the Residencias Artísticas Reinosa, the 2024 Space Grant and the Programa Confluències, IVAM (València). She won the Makma Acquisition Award at Abierto València 2024 and the Casa de Indias Acquisition Award at CerArtmic 2024.

Maya Pita-Romero (Madrid, 1999) is a visual artist who uses installation and sculpture to investigate the transformations of ecosystems and their link to bodily processes. She explores intimacy through monstrosity, the abject, fear, tenderness and delicacy, creating new imaginaries and forms of care through fictions in which our bodies and nature are intertwined with traditional wisdom. Her works are constructed from organic elements and materials that change, alter and evolve over time, like plants and textiles which, through components like latex, acquire different flexibilities and formal possibilities, highlighting the similarities between human bodies and the plant world.

My name is Laura Ramírez Ashbaugh (Madrid, 1988) and I’m a choreographer, dancer, educator and DJ living and working between Madrid and Amsterdam. I hold a degree in Physical Theatre from RESAD and am currently taking the DAS Choreography master’s course in Amsterdam. I have previously studied dance and choreography at the Martha Graham School (New York), SNDO (Amsterdam) and PAF (France).

I am/was a member of the Mediation and Education Department at the Museo Nacional Centro de Arte Reina Sofía but I am currently conducting my research and practice concerning the museum space in relation to dance at the IVAM and Galería NF. My practice involves dance, sound and choreography. My practice focuses on liminal spaces, sound and feeling with the beat. I use images and fiction to think about choreographic methods and to explore languages of movement that are overlooked in the forms we already know in order to create intermediate spaces that may give rise to new logics that help us to understand the body’s perceptual and intuitive qualities. Right now, I’m totally obsessed with hormones as a choreographic practice and tool, and with horror images.

María Rojas (Zaragoza 1987) is an artist and researcher whose work uses photographic images to create installations that explore different types of materialities, reverting digital or fluid processes to textures and forms. Her work focuses on the limits of language and space, transcending the boundaries between digital and natural. In this succession of boundaries, gesturalism occupies a prominent position in her work as a vehicle for presenting fictionalised spaces through observation and change, and through small actions that help us to narrate new realities. She has a diploma in Sculptural Techniques from the Escuela de Arte de Zaragoza, a degree in Fine Art from UCLM and the Instituto Superior de Arte in Havana, and a master’s degree in the Development of Photographic Projects from Blank Paper, Madrid. She has worked in Berlin as an arts administrator and as a photographer for the Ministry of Culture in Praia, Cape Verde. As a speaker, she has given talks on creative processes at the Círculo de Bellas Artes in Madrid, she worked as a curator for EXP.20 Barcelona and ArtConnect, and she directed the Cyclo art and music festival, winner of an Injuve award. She is currently developing her next project at Casa Velázquez in Madrid.

In collaboration with:

Our migrants’ suitcases are filled with twenty-three kilos of life per crossing. Overweight again? What do you carry when you go? When you come back? Yerba mate to while away the time? Coca leaf to blow on God? How much does a house weigh? Did you squirrel away enough money to bring your dog? Was the skin of the soursop still bristly when you unpacked it? What does your baggage smell like? In these four sessions, we’ll be pulp and seed, green and travel, tenderness and bark to recount the southerly-to-southerly winds that blow over the invented territory of the diaspora. Four encounters to open the soursop (not the melon) and use storytelling to explore the interstices of all our creatures/children.

We invite you to journey through this writing laboratory made up of four interconnected sessions led by Sudakasa: Lucrecia Masson, Gabriela Wiener, Chinî and Hildy Quintanilla Ocampo (Q´inti- Colibrí).

The workshop dates are:

• Friday 29 November 6:30–8:30 pm
• Saturday 30 November 12–2 pm
• Friday 13 December 6:30–8:30 pm
• Saturday 14 December 12–2 pm

Participants must attend three of the four sessions to earn an attendance certificate.

Sudakasa is a community writing and creation space based on migrant experiences; it is a refuge-home and artistic residence that has come to cover our lack of a ‘people’, because our people are across the sea. We have re-appropriated this parcel of olive and almond trees and grapevines from insult and turned it into body, identity and memory of the diasporas so together we can weave other stories of resistance that confront the violences against those from down under.

Lucrecia Masson Córdoba. With impurity as a principle, she is a writer, artist and researcher whose main topics of inquiry are bodies, animalities and other-than-humans. From an anti-colonial stance, she works in different artistic registers, primarily experimenting with writing. What interests her in theory is imagination, and she willingly believes that we cannot think without the body. She published Epistemología rumiante (2017) and Escrituras rumiantes. Cuerpo, exceso, animalidad (2022) and has participated in numerous anthologies. She is a member of the Colectivo Ayllu, with whom she has published Devuélvannos el oro (2018) and participated in events like the Sydney Biennial (2020 and the 35th São Paulo Biennial (2023).

Gabriela Wiener. She is a Peruvian writer and journalist living in Madrid. She has published the books Sexografías, Llamada perdida, Nueve Lunas, Huaco retrato and Dicen de mí and the poetry collections Ejercicios para el endurecimiento del espíritu and Una pequeña fiesta llamada eternidad. Her first stories were published in the narrative journalism magazine Etiqueta Negra. She was a columnist for The New York Times in Spanish and the editor-in-chief of Marie Claire España and has contributed to many international media. She publishes a weekly column for publico.es. She won the National Journalism Award in Peru with a report on a case of gender violence. She is the creator of different performances that she has staged with her family. She wrote and starred in the play Qué locura enamorarme yo de ti. She is a member of@Sudakasa, a collective migrant art and writing project. Undiscovered, the English translation of her novel Huaco retrato, was a finalist for the 2024 International Booker Prize and PEN America. @gabrielawiener

Chinî. She was born in Ka'aguasu, Paraguay, in 1987 during the Alfredo Stroessner dictatorship. She is a poet and marica 108, studied biology and researches frogs and toads from Piribebuy. She migrated to Madrid in 2019, following her mother and sister. She has been a Guaraní Jopará speaker since childhood and adores tereré and mbeju. Professionally, she is currently an arborist and keeps watch over the El Pardo forests in Tres Cantos. She is working on her poetry collection Corpus infecciosa/ 30 comprimidos/ suspensión oral, which examines the wound of HIV-AIDS, migratory sorrow and the traumas of a healthy-ill body. She thinks that the virus has come to her body to rummage through her past and heals it with plant-based remedies. She has been dreaming in Guaraní from the Paraguayan city of Ka'aguasu surrounded by soy harvests and the absence of her mother.

Hildy Quintanilla Ocampo (Q´inti- Colibrí). She is a stage creator, poet, willakuq (storyteller), researcher of Andean theatricalities and oralities and a Qoyllirit’i pilgrim as part of the Quispicanchi nation. In Madrid, she is developing the self-managed Arguedas, Oraliteca Migrante project, which brings Andean and Latin America orality and literature and teaches the Quechua language via Escuelachallay, my little Quechua school in Madrid, as practices that aim to strengthen migrant identities and intercultural dialogue in Spain.