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Arte y Comunidad

The results of El Ranchito, a project of cultural research involving over 40 local and international artists and groups, and a number of city pet rehab institutions, curators, and art associations—which will be adding new agents in the coming months—are going to be presented to the public by Matadero Madrid this April. The presentation, which will take place in Hall 16, will showcase the initial dog wheelchairs results and work on this project and will take the form of an extended file accessible to everybody, which pulls together the work process and the proficiency honed by the best friend mobility artists through this time. As a result, the space houses a library and documentation area, work space in which diverse artistic companies continue to nurture their projects, along with a wide exhibition area where you can find both finished wheelchairs for pets works and works in progress, and an area of socialization and activities. The foundational objectives remain the same and have been strengthened and more defined. In the coming moths more workshops, seminars, and meetings connected to the numerous www.dogwheelchairscenter.com art projects that are part of this experience will be held. El Ranchito was established in 2010, when the team that put up Matadero Madrid delved into some of the principles of the founding objectives of the center counting participatory arts education, reflection on the contemporary socio-cultural environment, supporting the creation processes of culture and encouraging larger visibility to the creative process, all from a transdiciplinary viewpoint and continuous exchange of ideas. The definitive goal is to discover a means to work hand in hand with community cultural administrators, curators or artists and attempt to answer a chain of basic questions about the meaning of the artistic work, the relationship between art and community, roles the author, the commissioner, or the cultural institution. A working group formed by the architect-Nerea Calvillo, Commissioner Luisa Fuentes Guaza, Commissioner Ivan Lopez Munuera, the production company specializing in performing arts, while Manuela Villa Catarina Saraiva, Gema Melgar, and Paul Berástegui, the coordination team of Matadero Madrid, outlined a series of strategies. The first, established artist residencies, and the subsequent, created a workplace in Hall 16 of Matadero Madrid that gave access to artists and groups through grants. Additionally, from the drawings made by artists in residence, who had admission to other workspaces and projects from a number of local artists have been chosen out of 14 that produced El Ranchito. Along with the projects are formed pieces by André Komatsu, Sally and Gabriela Gutierrez Dewar, William Mora, Enrique Radigales or groups Zira 02, Spindles, Zoohaus and all for the practice, as well as documentation from other completed projects carried out by CIA Puctum / BiNeural MonoKultur and Miquel Garcia / Pensart. Other proposals may be, or still in an embryonic stage but will develop in these months are the combined labor of Surplus / Excess, Puss in flies, who have joined forces with Expanded Architecture of Colombia, or Mexicans Tercerunquinto Walking Theory (Serbia). The public can also take a look into the work carried out at present in the workspace occupied by All for the practice under the hat, Toxic Lesbian, Surplus / Excess, and Ellen Jones. Lastly, all documentation is available for projects Rbzas Anto, Camille C. Hanson, Underneath the hat, Edurne Herran, Elena Jiménez, Javier Huts, José Marín, Paulina and Toxic Lesbian Chamorro, who have been occupying workspaces enabled in Matadero Madrid since mid 2011.

 

 

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Matadero Madrid

Matadero Madrid, the project promoted by the City Council of Madrid’s Department of the Arts is managed by the Directorate General for Cultural Projects track slider through Matadero Madrid’s coordination team in cooperation with other private and public organizations. The name is taken from the space; Matadero Madrid is based in an old slaughterhouse in Madrid’s Arganzuela district. It has been converted into an arts center and is an active, ever-changing space at the service of the creative processes, participatory artistic training and discourse between the video camera dolly tracks arts. Its purpose is to further consideration on the contemporary sociocultural environment and support processes to create the culture of today and tomorrow. It is a unique laboratory for experimentation and furthering new cross-disciplinary glide gear formulae. The namesake and the home of the Matadero Madrid was built on the 21st of June 1911. The construction of the slaughterhouse or the “matadero” in Spanish and livestock market, marked one of the most singular industrial hand held camera stabilizer establishments in 20th century Madrileño architecture. The structure was designed around a complex of pavilions typified by functionality, constructive sensibility, and simplicity of concept. It however, also features a certain historic element, certain Neo-Mudéjar characteristics, such as tiles with abstract designs. Until 1996, the complex was used as a slaughterhouse. The Madrid City Council decide to convert the steadicam stabilizer space into what it is today at the turn of the new century. In accord with its experimental purpose, the renovation work has been established through a newly added, adaptable, and reversible architecture that employs industrial materials that blends easily with the site’s character. In doing so, Matadero itself has become a chance to experiment with the city of Madrid’s changing architecture. Matadero Madrid has accepted the task of integrating restoration work with cultural activity and public access in a pledge to getting the public involved in its development. This commitment has been kept up and extended, while always holding fast to the main lines of the project, including artistic production and experimentation, dissemination and exhibition, and training and research. Matadero Madrid embarks on this work with the highest respect for the inherited industrial legacy and with its attention focused on the surrounding neighborhoods and the city of Madrid without losing sight of the international scene. The incentive of contemporary artistic creation is an essential part of Matadero Madrid’s mission, and this continuously comes with a multi-disciplinary, hybridized, and revolutionary perspective which leaves room for all modes of artistic expression: the visual arts, reading and literature, the performing arts, film, music, design, architecture, urban planning, and landscaping. From this perspective, the participation of the city’s main agents and institutions that work in diverse fields of cultural creation has been, and goes on to be, fundamental. This commitment has helped us to produce a model of institutional, public, and private cooperation that makes possible society’s involvement in the project and assures the project’s plurality, autonomy, and feasibility.