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Jeronimo Hagerman

Creative, different and very interesting are the facilities of the Mexican artist Jeronimo Hagerman (Mexico City, 1967) that has been presented over the past few months in various stages of the Spanish geography. His work deals with nature and how it interacts with the art and ozone generator vice versa. In fact, the artist himself states in his thesis perfectly governing aesthetic and artistic production can be seen on their website. His work has developed around the analysis of the relationship that exists between the subject and abroad, emphasizing as create linkages between the individual and emotional nature. His pieces have covered some aspects of modern myths of civilization against the wilderness, among which are the domestication, the landscape as aesthetic value and the location of the human problems facing the human nature as opposed to part of nature. He started his career producing sculptural installations and photography ozone air purifier which documented the short distance sometimes between the artificial and natural. In 2010 he had an exhibition project of Murals. The Murals Practices contemporary Renaissance offers a panoramic murals practices today and the great diversity in this artistic field. Temporary wards of the Joan Miró Foundation will be the meeting place and create a group of contemporary muralists arrived from around the world. All these artists use the wall for great compositions, but each does so with a style and a voice of their own. From the traditional paintings of a group of women of ethnic Soninke, from Djajibiné (Mauritania) to the compositions of the Swedish interactive Jacob Dahlgren, past the walls of the Mexican plant Jeronimo Hagerman, among others, the sample allows us to check the validity ozone generators and constant renewal of a format that has accompanied the creation of man from time immemorial. When an artist is willing to create a green space, has plenty of creativity and enjoys great sense of composition, nothing puts you ahead, not even the tiled floor do not let anything grow – and this is what have given Jerónimo Hagerman to create a delicate Here and now Radical Garden in the Atrium of San Francisco of Mexico City, meters of floor paved nondescript gray, where nothing can grow in normal conditions. For this reason, this artist of urban gardens, has had to enforce a multitude of containers recycled truck tires and industrial drums, which has placed all the vegetation of the garden, developing a beautiful composition in which a bird’s eye view, be seen circles of different sizes within the cualesse planted giant bamboo, water lilies and microdermabrasion machine grass of intense shades of green. Another chance to enjoy temporary green spaces in cities like Madrid is when where the gray spreads like a virus, for all public spaces. In the rest of the work of this artist gardener, has also thought a lot about urban spaces both interior and exterior, with little chance of developing natural life in them.

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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.