Activity

Over the course of three sessions, we will learn how to produce our own publications, such as fanzines and posters . We will look at different fanzines and low-cost publications, from punk to DIY, queer, photocopies, cut and paste, appropriation, drawing, photography, etc.

Guerrilla communication strategies will be developed aimed at creating a collective publication for distribution at points chosen by the participants.

TARGETED AT YOUNG PEOPLE BETWEEN THE AGES OF 16 AND 23

Activity organized in collaboration with Dirección General de Juventud

Espacio Mutante believes that the end of the school year is the perfect time to take over the museum for a whole week and to build a space where we can spend time together, where we can share and create something between everybody. For this reason we invited the artist Cristina Celada to carry out a summer workshop, where she will help us to experiment with copy-based creative strategies.

A “sweded” film is an amateur homemade remake of a blockbuster movie. In other words it is a precarious, handmade copy and at the same time—or as a direct result—it is truly creative, cheeky and independent. For a whole week we will appropriate all sorts of audiovisual referents like youtube videos, film scenes, trailers, video clips and so on in order to transform them and make a personal and transferrable adaptation.

In this workshop we will dress up, act, build sets and even, on one of the days, camp out in the museum itself. Everything it takes to create our own remake using humour and economy of means.

Enrolment free from 15 June

“It’s hard to describe exactly what it is like: it has something monstrous, something from science fiction, a thing that you can’t put your finger on but which gradually starts to make sense, that takes place unseen, different layers, the power of the imagination, suddenly seeing something unexpected, two different realities, what inflates, what shines …”

The projects by the artist María Jerez always have this thing that is never easy to explain. Works that are based on emotions, processes of trial and error that create unexpected connections and reconnoitre forms of imagination still waiting to be explored.

ESPACIO MUTANTE has invited María to give a creative workshop in December for young people from the ages of 13 to 21. Over two consecutive Saturdays we will create a space for making, experimenting and taking risks. A workshop in which we will submerge ourselves in new creative universes and work with a combination of processes and strategies close to theatre, dance, film and the visual arts.

Aimed at young people between the ages of 13 and 21

How do we look at art? How do we position ourselves in front of an artwork? How do we interpret works of art? How do we share them? These are just some of the questions that arose over the last year in Sub21. But, you are probably asking yourself, what is Sub21? Well, this is the perfect opportunity to introduce ourselves, and the reason why we are organising an event open to the general public in which we will explore the guidelines of what we could call CA2MISM.
 

We wish to create a safe space where we can share different ways of seeing things. An accessible space where there will be a closed code that speeds up the space’s learning process.

—As Sub21 then.
—But open.
—Ah! A sect!
 

Admission free while places last

A middle-aged woman kisses and is being kissed by an infinity of strangers. Volunteers of different ages, genders, identities, sizes, intentions and formats, in an endless succession. The act of kissing creates encounters, dialogs, battles, uncomfortable intimacies, a banquet of bodies, something unique, a choreography of mouth gestures, an intellectual orgy in order to exchange tastes, an installation of impossible positions, a photo album in motion. On the 8th of May in the CA2M and on the 9th of May in La Casa Encendida, a video will be shot with everybody who would like to participate in this action of kissing a stranger. Later on, the video will be screened at different places in Madrid.

This visual project is connected to the parallel choreography piece, Three Ways To Master A Kiss Or A Twenty-Five-Minute Kiss At Your Neck (Los Besos), the rerun of which, with a cast of 10 artists from Madrid, will be shown in Teatro Pradillo during the last week of May 2015. Both The 122, 202, or 222 Kisses... In Madrid and Three Ways To Master A Kiss Or A Twenty-Five-Minute Kiss At Your Neck (Los Besos) are the result of a research on the act of kissing and on the kiss as material for choreography, produced over the last ten years by artist Aitana Cordero.

In collaboration with Teatro Pradillo and La Casa Encendida

Brief Festival is a celebration of creativity and an inspirational gathering of some of the best professionals in graphic creation every year in Madrid. The programme for the festival includes conferences, workshops, encounters, projections, exhibitions and much more.

On 3 October CA2M is hosting the festival with a master class by Jesús Micó on The Cuadernos phenomenon at Kursala: my strategies for action and my conception of the photo-book, debates on The Presence of Design in Spanish Cultural Institutions and Shhh! We’re Being Watched with guests speakers Sofía Rodríguez Bernis (Director of Spain’s National Museum of Decorative Arts), Emilio Gil (designer and exhibition curator, founder of Tau Diseño), Manuel Fontán del Junco (Exhibitions director at Fundación Juan March), Puño, Manuel Bartual (Co-founder of Orgullo y Satisfacción) and David García (partner in Yorokobu) among others. The day will be brought to a close with a musical performance by Owen Roberts.

Created by the Culturoid collective, Brief Festival is back again this year with an event concept that embraces the whole month of October and will take place at several venues throughout the city. The month of graphic creation.

Co-produced by: Artaziak, CA2M, Fundación Telefónica, MACBA, Matadero Madrid, Las Lindes, Pedagogías Invisibles, Tabakalera-Centro Internacional de Cultura Contemporánea and Transductores.
Methodology by: [Inter]sección / Gabinete de Crisis de Ficciones Políticas
With special acknowledgement to Luis Camnitzer 

How can we reconfigure the art institution from the transformative pedagogic practices that inhabit it?

In the year 2050, a state of worldwide climate emergency has been declared and the various international organisations are looking for solutions to reduce the impact of human activity on the planet as much as possible. In its latest report, the UN announced that the cultural model of museums and art centres is completely unsustainable due to the quantity of ecological, material and energy resources needed to maintain it. Given the state of emergency, the report decreed the closure of all museums and art centres within a period of 12 months.

A series of Crisis Cabinets (of political fictions) was called in order to tackle the situation and to study a series of measures to take within the stipulated deadline. Given the fragility of many of the contents of said institutions, the first Crisis Cabinets will be dedicated to “The Museum is a School”, (borrowing the title from Luis Camnitzer’s work). This Crisis Cabinet will transform museums and art centres into “schools” to learn, test, rehearse, analyse, produce, post-produce, etc.T

he Museum is a School is the title of a seminar divided over five sessions conceived to rethink the relationship of cultural institutions and critical / transformative pedagogic practices. Each session will begin with a Crisis Cabinet of political fictions and will then continue with a working group and a debate on the theme The Museum is a School. These inter-institutional encounters, to be held over the 2015/2016 academic year, will enable a series of art institutions and pedagogic collectives to mark out common ground based around the following goals:

1. Broaden the radius of reflection on institutional policies and education through the exercise of radical political fiction. 
2. Agree on shared goals, working methodologies, projects, urgencies and challenges.
3. Foster the creation of an emotional community among the participating agents and institutions and a space of intensive care in which collaborative links may be forged.
4. Define working strategies between collectives and institutions with the purpose of effectively transforming the art institutions that we inhabit and that inhabit us.

SESSIONS:

MATADERO MADRID
20 Nov 2015
CA2M
16 Jan 2016
FUNDACIÓN TELEFÓNICA
7 Mar 2016
MACBA
18 Apr 2016
TABAKALERA
To be confirmed

Venus:

1. Visual depiction of the goddess Venus.
2. A prehistoric statuette of a female figure usually carved in stone, ivory or bone.
3. An exceptionally beautiful woman.
4. (obsolete) Physical desire, sexual appetite.

How many images of Venus can you recall? What would you do if you were one of them? How can the position of Venus be occupied from a feminist and critical perspective, breaking with the dichotomy between subject and object? Is it possible to enact this re-appropriation through a process of working with performance? Can this feminist re-appropriation be used to articulate other non-patriarchal, non-racist and non-heteronormative art histories? How can we re-appropriate the works of Manet, Gaugin, Velázquez, Picasso and Yves Klein, to name just a few of those classic and contemporary geniuses?

Taking Venus as a paradigmatic figure of the position assigned to women within the hegemonic narrative of art history, the workshop Venus. Feminist Remakes proposes, through a process of working with performance, to re-appropriate manifold artworks, both classic and contemporary, which have gone towards cementing the mythology of the artist as genius, and helped to structure the two opposing positions of subject and object. Viewing the remake as a political strategy of subversion and at once as a possibility of rewriting, we will undertake various feminist remakes in which we will occupy, displace and go beyond the multiple Venuses that populate the history of art.

Colektivof is a duo comprised of Eva Garrido and Yera Moreno, who have been working together since 2007 on various projects which address, from the optic of feminism, the relationship that bodies establish with time and space, positing new ways of experimenting with the everyday that subvert normative reality. These works are materialized in varying formats including performances, workshops, photographic archives, writing, videos and research projects: http://colektivof.com/

Aimed at artists, cultural producers, performers, educators, fine art and art history students 

Enrolment free until 30 May. Download the enrolment form, fill it in and return it to actividades.ca2m@madrid.org Participation in the workshop will be confirmed on 1 June

Project selected in the call organised by MAV for inclusion in the Women’s Views Biennial 2016, for its feminist content in consonance with good practices, social return and the recovery of feminine memory.

CA2M is a partner of the fourth edition of The Future Generation Art Prize, a worldwide competition established by the Victor Pinchuk Foundation in Ukraine

All artists up to the age of 35 of all backgrounds, working in any medium, anywhere in the world are encouraged to apply. Supporting the application process, more than 600 correspondents all over the world will be nominating artists for the prize and over 50 Partner Platforms worldwide will be ambassadors for the Future Generation Art Prize to encourage artists within their regions to apply.

The main prize will be awarded by an international jury in the amount of US$ 100,000, split between $60,000 in cash and $40,000 investment in the production of a new work. In addition US$ 20,000 will be awarded to up to five Special Prize winners, nominated by the Jury. A Public Choice winner will be selected through online voting and announced at the Award Ceremony.

Applications will close on 11 September 2016. An exhibition of the work of up to 20 shortlisted artists will be shown in Kiev at the Pinchuk Art Centre from February 2017 to April 2017. The winner will be announced at an Award Ceremony in Kiev in April 2017. The exhibition will go on show at the Venice Biennale in May 2017, presenting the work of all the shortlisted artists to a broad international public.

The pioneering Future Generation Art Prize established by the Victor Pinchuk Foundation in 2009 is a worldwide contemporary art prize created to discover, recognize and give long-term support to a future generation of artists. Judged by a distinguished jury, The Prize aims to make a major contribution to the careers of younger artists involved in the dynamic cultural development of societies in transition, many of whom have found it difficult to get their voices heard.

65 artists have been showcased in past Future Generation Art Prizes from all continents of the world and over 30 countries, including Angola, Argentina, Austria, Canada, Chechen Republic Russia, Chile, China, Cuba, France, Germany, Iran, Israel, Italy, Japan, Lebanon, Mexico, Netherlands, Peru, Poland, Portugal, Russia, South Africa, Sweden, Turkey, Ukraine, UK, USA and Zimbabwe. Past Main Prize winners have been Cinthia Marcelle, Brazil; Lynette Yiadom-Boakye, UK; Nástio Mosquito, Angola and Carlos Motta, Colombia.

The Future Generation Art Prize Board is founded and chaired by the Ukrainian businessman and philanthropist, Victor Pinchuk, and the Prize is organized by the Pinchuk Art Centre in Kiev. For over 12 years Victor Pinchuk has developed philanthropic projects in Ukraine and internationally. In 2006, he consolidated these activities under the Victor Pinchuk Foundation, with the mission to empower future generations to become the change makers of tomorrow.

The Foundation focuses on education, healthcare, providing access to the inspiration of contemporary art, and fostering Ukraine’s international integration. The internationally acclaimed Pinchuk Art Centre in Kiev, with its world class exhibition program, is a dynamic focus for the development of understanding of contemporary art in Central and Eastern Europe. The centre includes over 3,000 sq ft of exhibition spaces with free entry to an extensive exhibition and education program, and has received over 2 million visitors since it opened in 2006.

Future Generation Art Prize Board members are: Richard Armstrong, Director, Solomon R. Guggenheim Foundation and Museum, New York; Eli Broad, Founder, The Broad Foundation, Los Angeles, USA; Andreas Gursky, Patron Artist, Germany; Damien Hirst, Patron Artist, UK; Dakis Joannou, Founder, DESTE Foundation for Contemporary Art, Greece, Sir Elton John, Founder Elton John AIDS Foundation and Sir Elton John Photography Collection, UK; Jeff Koons, Patron Artist, USA; Glenn D. Lowry, Director, The Museum of Modern Art, New York, USA; Takashi Murakami, Patron Artist, Japan; Alfred Pacquement, Former Director, Musée national d’art moderne, Centre Georges Pompidou, France; Miuccia Prada, Founder, Fondazione Prada, Italy.

Victor Pinchuk, Founder and Chairman of the Future Generation Art Prize, said: “I am passionate that the work of young artists in all parts of the world is recognized. Not only as a creative force in their countries, but also to support them to make an impact on a world stage reflecting the power of culture to unite people, and bring about positive change in society.”

he performance Quarter of an Hour of Metaphysical Culture is a presentation of physical training created from a poem by the same name by the Romanian poet Ghérasim Luca. The goal is to situate the metaphysical ideas contained within the poem (life, death, emptiness, anxiety, ideas, shivers), without any drama, based on a repetition of physical and sound exercises. The poet provides the “meta” and the performers the “physical”.

This performance is the first piece in a wider collection within the project La Conquista de lo Inútil (The Conquest of the Useless), which examines what we normally consider as unimportant, ineffective or unproductive. https://vimeo.com/user12478543/

Oscar Gómez Mata was born in San Sebastian, and lives and works in Geneva. He is an actor, director, and also playwright and scenographer, who started out working in the theatre in Spain in 1987. He was a cofounder of the Legaleón-T company, with whom he created shows until 1996. In Geneva in 1997, he founded the L’Alakran company where he has conceived, written and directed various shows.

Admission free while places last

The performance is part of El Lugar Sin Límites, a project exploring two common ideas: the idea of home and the idea of story. Set in conflict within the space of the performance, the aim is to make them clash together, producing sounds, sparks and unexpected encounters. For this purpose, artists were invited to provide voices, bodies and experiences to this ongoing reflection.

This year the idea is to observe the construction of a place to inhabit, a place to sit, observe, speak and listen. To be able to make a home together, to guide us through a territory that we decide together, to build a space for meeting and, in addition, to still believe in the possibility of continuing to tell our story to one another.

The programme is accompanied by places for reflection and encounter for artists and between artists and the audience.