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Avantcomic 2010

This year’s convention, the event held yearly by the cultural association Avantcomic, aimed at promoting glide gear activities associated with comic art, creating different points between authors, publishers, other professionals in the industry, and not the least, the fans of the comic world. Now on its fourth run, Avancomic 2010 will feature Miguel Gallardo and Richard McGuire; both are regular track slider contributors to publications like The New Yorker, McSweeney’s, and The New York Times. Previous Avantcomic events were held at The Lit House in Madrid. The two-day international hand held camera stabilizer meetings have featured publishers, authors, and illustrators such as Tommi Musturi (Finland), Edmond Baudoin (France), Ulysses Culebro, Liliana Cupid, Andrea Bruno Chieregato Edo of the Canicola group (Italy), José Muñoz, Dan Nadel, Lorenzo Mattotti, Dae-Joong, Eun Sung, Kiko da Silva, Angel Street, Jean-Christophe Menu. The first ever Avantcomic, held in 2007, was actually a four-day steadicam stabilizer event with a theme centered around “The Future of Desktop Publishing” and how it affects everyone in the video camera dolly tracks industry, from writers, illustrators, editors, graphic designers, publishers, etc. It featured presentations, workshops, roundtable discussions, and exhibitions. This year’s Avantcomic will be the first to be held at the Matadero Madrid. On the 8th of October, Miguel Gallardo, who is known as a regular contributor for the La Vanguardia newspaper and other publications both in Spain and abroad, such as the Herald Tribune and the New York Times. He also designs covers for leading Spanish publishers. Miguel Gallardo is an award winning artist, he has two from SND (Society of Newspaper Design), one Serra D’Or for “What’s Wrong with this Child?” and a press award for his illustrations APIC in La Vanguardia. On the 9th, Richard McGuire will take on the spotlight. He is a regular contributor for The New Yorker and has written and illustrated children’s books. He first garnered attention for his work when it was picked up by Art Spiegelman for the radical magazine Raw. McGuire’s work has since appeared in The New York Times, Le Monde, Libération, and McSweeney’s. His imaginative take on time and space has also made its way into animation by way of his work on Peur(s) du Noir film.

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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.