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Hisae Ikenaga

Matadero Madrid has the pleasure of presenting for the first time in Spain the work of the young Mexican-Japanese  froyo franchise artist, Hisae Ikenaga.  She was born in 1977 in Mexico City, Ikenaga acquired an extensive artistic education in Mexico, Japan and especially in Spain where her work has grown to be widely known. In 2008 she was awarded the Prémio Generación 2008 by the Fundación Caja Madrid with some Spanish art experts such as Javier Hontoria noting without doubt that she is one of the best self-serve frozen yogurt shop artists in the market today. She had solo exhibits in New York, Miami, Madrid, Mexico City and Kyoto, among numerous group exhibitions around the world, and is currently shown by art galleries in both Madrid and New York. She has earned numerous awards and grants, as well as having her exhibits in major institutional galleries at www.lovefrozenyogurtfranchise.com and in Spain and Mexico. In 2011 Hisae Ikenaga presented a special work for the Matadero Art Space in Madrid.  The project of Hisae Ikenaga is mainly sculptural centered (object and installation), with interventions in drawing and photography. Regardless of their professional design, these work also is with a conceptual duchampian inheritance updated by the influences of worldwide capitalism. Insights about yogurt in love dualities as artisanal against industrial production or man versus nature, the metamorphosis and humanization of the object – the object in itself and its importance in the relationship between them and human beings -, the freedom of the object, the modern production systems and the concept of “Do it yourself”, or even the semiotics of space and the intricacies of its classification exists in her work that could be viewed as both musical and interesting. This is based in the series “À distancia”, one of the many works to be displayed in the gallery. This collection proposes a number of sculptures made with furniture and frozen yogurt equipment and supplies from IKEA with the instructions manual created and supplied by the artist. The reality that these articles are found in many places globally interact with her requirement that the works can be done anywhere, as well as helping the artist to handle problems as a whole such as the ownership and modes of modern artistic output, “do it yourself” and participatory art, the serial production and the freedom of design, the phenomenon of globalisation, the poetic and the “life” of objects, or even the subversion (through the object and not from its resignation) of the logic of the art market. Along with this piece will be shown other sculptures and work on paper (drawings and cut-outs) belonging to different series which Ikenaga has developed recently. The title of the exhibition – Concreciones – shows that diversity can be gathered in everything, like in geology, various elements join to form a rock.

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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.