3_Eras is an unpublished text by José Luis Brea based on the film version of the book Las tres eras de la imagen. This film, made by María Virginia Jaua and José Luis Brea, included visual and sonic imagery.
En 2017 el Departamento de Educación del CA2M preguntó a los asistentes de Pero... ¿Esto es Arte? si alguien era coleccionista. A raíz de esto nos contactaron nueve personas con las que nos fuimos encontrando para hablar de sus cosas y de la vida.
El libro I.V.M. Oficina de Gestión, editado por el CA2M y Entreascuas Editores, reúne el resultado del trabajo de la Oficina de Gestión de Ideas, en particular los 107 proyectos que fueron admitidos y contestados.
Ciudad Sur is a shared experimental space begun in 2021 which, taking its starting point in Móstoles, wishes to explore the many faces and manifold riches that generate a sense of belonging in the cities within the metropolitan area of Madrid. Its second edition is called Brota invisible (Invisible Flow).
MCA2M announces an open call for the submission of research projects to be presented at the 27th Image Symposium, whose theme is club culture: club culture as the act and practice of expanding the field of given representations of subjectivity, of producing fictions of somatic permanence, fluctuations in desire, possibilities of dissidence towards the social distribution or other relationships between the body and temporality.
The Research, Data, Documentation, Enquiring and Causation Department (DIDDCC) is a temporary and intermittent structure, directed by Sergio Rubira, that constitutes a space for the study and collaborative research of the museum institution and what it means to call the CA2M by that name
"There are other worlds, but they are in this one”. We wish to apply this sentence by the surrealist poet Paul Eluard to our neighbourhoods, to our towns and cities, to our everyday surroundings. Which is why we claim that “There are other Móstoles, but they are in this one”.
Even if we wanted to, we cannot kill our dead. The dead have summoned us to undertake certain tasks, and so we carry them around with us in our lives every day, in little gestures and flashes of very intense sensations. How can we share these losses, the part of them that has stuck to us, their strange temporalities, the hankering to bury our heart, the pain of Blue — the uncertain stumbling Buzz —?
One can recognize in the texts by Manel Clot a multiplicity of incipient ideas, obsessive desires, rough references, the validity of nostalgia, inopportune utopias and sudden fatigues that traverse the fleetingness of the sentence and dominate his thinking almost permanently. They are not anachronisms but rather reminiscences of the 1990s.
The need to ask ourselves about the possibilities for engaging today with the live arts has encouraged SUSANA to pose questions from where we observe, reflect on and implement the reality in which we inhabit. How do we create an axis that structures this reality in order to address it?