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Arte Sonoro

A big and much awaited part of Matadero Madrid’s Arte Sonoro or Sound Art, is the sacred sounds In-Sonora festival. In-Sonora is a cultural association formed to sustain and promote experimental artistic best crystal singing bowls projects connected to interactivity and/or sound from a more expansive viewpoint. Since 2005 In-Sonora has launched an annual gathering in various areas of Madrid, which combined pure sound crystal bowls sound installations and (interactive) objects, experimental events, workshops, discussions, and presentations. All these were accomplished through a public call but mainly with international sacred sounds crystal singing bowls artists. In 2008 In-Sonora began to work with other agents, with national and international projects, abandoning the unique format of annual the sample and looking for a platform closer to the support and dissemination, creating specific projects, and coordinating meetings, residencies and workshops in and out of Spain. In 2009 working with http://www.crystal-singing-bowls.com IDFX (Breda, Holland) Festival Interference of light and sound, for which several Spanish artists developed and showed their work alongside other international artists, Nits d’Aielo, “New Sounds, New Territories” (Salento, Italy), home to artists working with and coordinating SoundRes Anna Raimondo, in which 3 artists worked on the soundscape. ”Saout Meeting” (Tetuan, Morocco) residence of artists in collaboration with the INBA and the French Institute and the coordination of Younes Baba-Ali, where 5 artists presented their work, produced works in a different context, conducted workshops open to students of the city and presented cycles of sound and video pieces. In 2010 she designed and organized a program of installations and interventions in public space for the exhibition Arte Sonoro curated by José Manuel Costa and directed by The House On. In Mexico, along with Ana Lucia Cavalchini and transonic team Montiel, In-Sonora builds up an significant work of supervision between the cities of Guanajuato and Mexico City, holding workshops, exhibitions, conferences, and meetings with local artists, as well as lends a hand in the creation of new work. Continuing collaboration with the Interference Festival in its second edition, proposing two artists for a brief residence in Breda. In 2011 works with ventures such as the National Auditorium of Music and the International Music Day organized by the City of Madrid, among others, working in collaboration in the organization of the seventh shows and other educational programs or projects such as curatorial proposals.

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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.