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Chus Dominguez

A Spanish cinematographer and photographer, Chus Dominguez is among the most imaginative and significant froyo franchise artist of this modern times. He is best known for his ‘experimental documentary, “They think their hands” with Marino Garcia. Some people brand his original technique of image production as yogurt in love landscape. Dominguez combines countless images through digital adjustments to produce amazing storytelling works of art. One example of the most popular cinematographic photograph of Chus is “La Glorietta”. Chus Dominguez created “La Glorietta” in 2009. This Cibachrome Trasparency was one of his first digital assembly. This colorful beauty is shown in a light box. It is a renovation of a self-serve frozen yogurt shop woodcut “Notes of the Ephemeral” by a Mexican artist and printmaker Alvaro Matias’ authentic screens exhibits a bending direction near a revier making way to the Himalayas. Whereas, Chus’ model shows flat brown fields on either edges of a channel with a line of frozen yogurt equipment and supplies communication posts in the far background. The landscape in the image shows four characters suspended in wonder on a dirt track, in response to the sudden gush of wind (just like in Matias’ image). The photo represents two guys clutching to the caps on their heads, while the third person looks up to where his hat is being blown away. On the left side, a lady looks surprised by the sudden force of wind, which has blown her scarf over her face and blown up her handful of papers into the air. The backdrop also displays two trees compelled to move side by side by the force of wind, while its lifeless leaves go fluttering into the air and blend with the flying papers. Chus seems to have managed to magnificently catch a visual impression of the wind. Even though the photo is excellent, some experts felt the figures present in the scene seem unnatural because of what they are wearing. Chus’ technique of photography is similar to that of a director to his film at www.lovefrozenyogurtfranchise.com. He creates photographs with the use of natural lights, camera angles, and stage. It took him more than a year to create “La Glorietta.” He took numerous photos in the borders, mostly Cranberry farm, near Madrid for some time, he also employed actors and hoping for the perfect weather. Then he electronically prepared and collected over a hundred photographs to obtain a story effect in his completed photograph. Chus Dominguez’s excellent photographs show the level and the influence of any twentieth century painting. His special photographs are even referred to as a ‘painting with film.’ His innovative idea and by making use of photography have served to reinforce cinematographic photography’s spot as an instrument of Fine Art. Chus Dominguez’ works have won him enormous reputation in the modern art world. His video-and film pieces have toured many international competitions and have won awards, including festivals, Viewpoint International Documentary Film Festival of Navarra (2010), the International Festival of Curtametraxes Curtocircuíto (Santiago de Compostela, 2009), Cinema Week Medina del Campo (2009), Euganea Movie Movement (Italy, 2006), International Documentary Festival “Santiago Avarez In Memoriam” (Santiago de Cuba, 2006), Black & White Film Festival (Porto, 2004) or ZINEBI (Bilbao, 2003). Dominguez has collaborated with musician and performer Nilo Gallego, with the choreographers Elena Alonso, Monica Elena Valencia and Cordoba, and the playwright Rodrigo García and La Carniceria Teatro in various stage settings presented in the Panorama Festival (Olot, 2010), Festival BAD (Bilbao, 2009), Labor Scene (Gijón, 2009), Madrid International Dance Festival (Madrid, 2009), Grand Theatre of Brittany (Rennes, 2008), Festival d’Avignon (2007), Festival “High Season” (Girona , 2006)

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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.