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Carlos Marquerie

Carlos Marquerie is a noted Spanish playwright, stage director, painter, stage designer, and ozone generator illuminator. He began his career by studying under sculptor and puppet maker Francisco Peralta, whose work ethic he considers a great ozone air purifier influence on him. Despite maintaining a pretty low-key profile and staying out of the conventional theater circuits, Carlos Marquerie has managed to himself become an enormous influence on a generation of playwrights, performers, and choreographers from The Butcher Angelica Liddell. Marquerie was a member of the storied ozone generators group The Tartana, in the time of the Spanish transition. “In 1977, after the end of the Franco dictatorship, it was fascinating to work on the street and meet people face to face. We made a puppet not festive, poetic, very carefully. But over time street theater went microdermabrasion machine commercial. Municipalities, including those governed by the left, they wanted to appropriate that spontaneous movement, through a popular celebrations in which the artistic sense lost. This theater became festival and parade.” Over the years, the evolution of Carlos Marquerie’s work is quite clear; it has become some sort of an autobiographical research. For Marquerie, expression through writing came much later, he felt a drive to comprehend the events happening around him and to him, and to make public the private—some of them, at least. Mixing in personal texts, parts of his own experiences, into his writing—at one point, he wrote three pieces that appeared as monologues in one of his plays—as a way to process his own feelings. Marqurie continues to explore and broaden his creative range but not forgetting to share and give back in the process. Being that he is a key figure in the Spanish art and culture scene and a strong example of a contemporary way of looking tradition. He continues to take part in the community by being active in the events at the Matadero Madrid particularly workshops such as Why The Body: The Workshop on Earthquake Monica Valencia 2010 and Participación En El Laboratorio Escenas Discursivas De Walking Theory Y Artea.

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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.