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Archimobile

Archimobile is a billboard, a records center and a piece of snoring mouthpiece art in itself. What’s kept inside is the work of one hundred artists of seventeen different nationalities, all for some reason linked to the city of Madrid. Works of art, photography, installations, videos, architectural structures, drawing designs and more are displayed. Archimobile works as an eye opener to modern artistic trends for social organizations, both local and international, and is designed to support the participating snore eliminator artists in their pursuit for exposure by enhancing their accessibility. Archimobile, created by El Último Grito, has two objectives: making information within reach, and preserving trustworthiness as a steady goal. “Archimobile has a face that is presented to the people and another that is kept in private. The front structure of the anti-snoring mandibular advancement device opens up, becoming a billboard that promotes itself, while within it provides all the services needed to view the archive”, one of the designers said when asked about this transportable art. Therefore Archimobile brings cultural organizations, event planners, curators, cultural facilitators, art experts, media, other snore eliminator mouthpiece artists and the public closer to the work developed by its artists, using a friendly and attractive approach. Its materials have the following: a biography of each artist, a description about the artists’ work in survey format, important reviews of the works, brochures and a video interview with each artist. The one hundred artists included in Archimobile are selected ex profeso for each of the visits it makes, chosen from the artists and collectives belonging to the Archivo de Creadores de Madrid, with an ever-growing number of artists joining each year. The artists in the Archivo de Creadores de Madrid are selected by renowned curators, and invited to participate by Matadero Madrid, the guiding force behind both projects.  These curators include: David Armengol, David Barro, Democracia, Susana Blas, Cabello/Carceller, Javier Duero, Ruth Estévez, Horacio Fernández, Javier Hontoria, Iván López Munuera, Manuela Moscoso, Tania Pardo, Alberto Sánchez Balmisa, Virginia Torrente and Roberto Vidal. Promoted by Matadero Madrid, the artist archive known as Archivo de creadores de Madrid operates as a catalyst for relations among artists, between artists and curators and between artists and the institution. This is a fundamental piece for building an emotional community around contemporary artistic creation, and a first step in building a node of artist archives housed in Matadero Madrid that is complemented with the work of performing artists. On 17 April, Archimobile opens in Carpe Diem. Art and Pesquissa to complement the International Conference Cycle 2010. On this occasion, Suhail Malik, Professor, Department of Art, Goldsmiths University of London will speak on The Price of Art. Other speakers to coincide with the presence of Raphaela Platow are Archimobile, Director and Chief Curator of the Museum of Contemporary Art in Cincinnati and Brett Littman, Executive Director of The Drawing Center in New York.

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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.