خرید هاست خرید شارژ ایرانسل خرید vpn دانلود فیلم آپلود عکس وی پی ان

David Armengol

David Armengol is an independent curator whose work focuses on two main points of snoring eliminator interest: the educational speech inside the artistic production and an analysis centered in the artist’s figure and functionality on contemporary art. David Armengol started his career as a curator by curating the UMPA Project (Movil Platform of Lending Act) in the Mobile Museums in Barcelona (Spain) and Berlin (Germany). He worked on “an investigation about the sonic element inside the usual snore eliminator exhibition spaces of art” (gallery, museum, art center, etc.) and and showed several sonic exhibitions between 2002 and 2007 (Cartografies, Sons Secundaris, Ocupacions Sonores, Sound and Me in CASM-Barcelona or Casino Lights in Sala Rekalde, Bilbao). In 2006, he worked in the snore mouth pieces educational department of Centre d’Art Santa Mònica (CASM) and curated MICA Project, an ephemeral and precarious museum of two months of duration as jury of Concurs d’Arts Visuals Premi Miquel Casablancas. David Armengol then curated P_O_4: Office (proposal based on the production processes on art and not on its final exhibition) in 2007.  He also worked on anti-snoring mandibular advancement device Euphoria Cycle (Euforia. Casos de Optimismo Extremo) in Montcada Space of Caixafòrum Barcelona (2007-2008) and Obsessions Cycle (Obsessions. Exemples de Redundància I Persistència Cíclica) in L’Aparador del Museu Joan Abelló de Mollet del Vallès (2007-2009). In 2010, he had a curatorial residence in Madrid and curated the exhibition La Gesta Imposible (The Impossible Exploit) in Matadero Madrid and several independent spaces of the city (a project with a selection with ten young artist of Madrid). La Gesta Imposible is representative of a group exhibition of budding art context Madrid posed a journey through diverse spaces delocalized independent of the city. An exercise of collusion between artists and curator spaces, which takes as its starting point the anti-heroic deed to produce a particular project macroformato corresponding to the visual arts of the White Night. On the flip side, the concept of a method incorporates classic satire—funny, cynical, even—that delineates the epic gravity and popularity of the hero. On the other hand, the concept of failure to the difficulty of success in this endeavor. A game of opposites that analyzes and problematises the situation suggests that exposure to all stakeholders. La Gesta Imposible explores both the narrative aptitude of artistic practice founded on a central thought supported through the work of each of the participants: the artist as non-practical means capable of altering what we thought safe and unquestioned. In short, an unheroic and less important story is divided into ten chapters autonomous and complementary—one artist—therefore inviting a speech and a journey with no beginning or end.

 

No Comments

Sorry, the comment form is closed at this time.

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.