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Convocatorias

All announcements and notices of Matedero Madrid since the establishment of this site can be found here, from the earliest to the newest snore eliminator entries of 2012. We began with the announcement for the “Court Arganzuela” project, the experimental theater production of Cia. Puctum about the transformation of the district. This project got its anti-snoring mandibular advancement device funding from the Grants for Contemporary Creation of Matadero Madrid. Next came “Reserva Ciudad,” an art project by Jana Leo. This one was a participatory art project in which, following the snore eliminator mouthpiece model of a “reserve or national park” he intended to preserve the urban environment. The project asked participants to take part in collecting data on the city of Madrid to be passed on to the mapping. The team was up of people of various ages with expertise in anthropology, sociology, architecture, graphic design, protography, urban laws and regulations, filing, and literature and they all performed their snoring mouthpiece tasks under the direction of the artist. In 2009 we also announced the “Premio Europeo de diseño y medio-ambiente” or the European Design Prize and the Environment. Proposed by the DIMAD, the Madrid Designers Association and Foundation Design Madrid along with some principal personalities from the world of design, architecture, and education. The establishment of the European Design Prize and the Environment best_ed provided a platform to advance awareness through the widest possible means of dissemination, good practice in design incorporated into production processes and products thereof, environmental values and sustainability guidelines, which contribute to the betterment of the social and consumer habits and current manufacturing procedures. In 2010, one of the our biggest announcements was the “Convocatoria de Intervención en Plazas” or A Call to Action in the Squares. Similar to the last edition of The White Night Curator Program, the aim of the evening is to convert art through the main thoroughfares and squares of Madrid. The program is rooted in participatory vocation, shared culture, as well as the subject of the Game, Basurama sought to go a step further with one of his first proposals and made ​​an open call for artistic intervention of five emblematic squares Madrid: Plaza de Santa María Soledad, Torres Acosta, Plaza of the Commanders, Lavapiés, Tirso de Molina Square on May 2. Meanwhile, 2011 showed a slew of announcements on the site. Matadero Madrid posted several presentations, workshops, and scholarships all throughout the year beginning with “Convocatoria El Ranchito,” a call to facilitate the creation of collaborative networks and the promotion of artistic production by offering residencies for artists and layout of work spaces. It is intended for artists and cultural agents relating to any creative or artistic and having their residence or principal field of action in the city of Madrid. It was followed by many, many others.

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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.