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Alex Brahim

The Ultrashow is an annual comedy show that started six years ago and performed solo by a renowned ozone generator stand-up comedian, Miguel Noguera . The show is just like a typical “stand up comedy” where the host cracking up their best punch lines in front of the audience and just holding an ozone air purifier. The comedian climbs up on a stage with a role where he has prepared a list of ideas-about a thirty – and discusses them one by one in a humorous manner. The ideas do not have any story link together.  The explanation of the ozone generators are improvised; there is no trial or supporting text, which only uses the previously annotated list the titles of the ideas selected for the show. Being a stand up comedian is a unique career choice, with its own difficulties and rewards. Noguera really have the passion to make people laugh. He makes his performance look effortless. He once said that the work of a standup comedian can be boiled down to three major phases; planning, performing and promoting. Aside from the Ultrashow, Miguel Noguera also composes his comedic ideas in written form and accompanied by microdermabrasion machine images, like the book ultraviolence. CUVO, curated by Alex Brahim comedy program, is a self-running show that brings the involvement of six performance artists born or based in Barcelona which includes, Lydia Lunch, Esther Planas, Sonia Gómez , Pere Faura, Miquel Noguera and Anamor. The expertise of Alex Brahim makes the show more spectacular and very interesting aside from the talents of the performers. Alex Brahim deals with cultural management, production, programming and communication.  He creates and curates independent programs regularly and cooperates permanently with trends-related media and with a number of artists and art collections.  He is also the Co-founder of DIBINa (Digital Büro of International Art), an artistic and creative communications platform based in Barcelona. He has developed projects for art centers like Casa Encendida, CCCB, Matadero Madrid, Off Limits, Círculo de Bellas Artes, Sala d’Art Jove and Museu de L’Empordà and is frequently asked to speak in various schools and universities art activities. The work of these artists, with very different careers, use body language and voice as props, producing a unique layout and style: their show or performance shows the personal characteristic and the writer’s persona in front of the audience. Artists will play a part in the show and will be given fifteen minutes each, delivering a fresh piece produced specifically for CUVO that will combine a predefined arrangement with an improvised performance. CUVO is held every 2nd week of December at the Café Theatre of the Spanish Ships. This project has been carried out with the help of the Aid for Contemporary Creation Matadero Madrid 2010 Madrid City Council.

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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.