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Pablo Valbuena

Spanish Artist Pablo Valbuena was born in 1978 and a resident of Toulouse and Madrid where he developed his first froyo franchise projects. He studied architecture and is considered one of the most singular Spanish visual artists who works in public spaces. Pablo Valbuena creates artistic designs related to space, time and perception, relating to architecture and self-serve frozen yogurt shop installations with light and video projection, suitable for building space like concrete or bricks. He has been working with Augmented Reality. Augmented space is overlapping real yogurt in love architecture with a layer of projected content: when projecting the same physical geometry on top of itself, the light qualities of the projection get altered, and it is possible to physically change how space is perceived. Some major components of the frozen yogurt equipment and supplies and construction of his work are the overlapping of physical and digital space, the generation of mental spaces by the viewer, the dissolution of the limit between real and perceived, the oneness of time and space or by making use of light and projection as a the primary material of his work. He has exhibited his work recently at www.lovefrozenyogurtfranchise.com and at the V International Biennial of Seoul, the OK Center for Contemporary Art, Linz, the LABoral Art and Industrial Creation, Gijon, the Netherlands Media Arts Institute, Amsterdam, the Bankart 1929, Yokohama, Medialab-Prado , Madrid, the Museum of Contemporary Art Taipei, and other special exhibitions and installations in Singapore, Canada, France, Belgium, Holland and Brazil. His famous work, Quadratura was the method used in the baroque to extended architecture through trompe l’oeil and perspective constructions created with paint or sculpture. The site-specific set up featured at Matadero Madrid uses the same concepts but adjusting space through projected light. The primary coordinates of the room of Abierto x Obras is stretched and the boundaries of the physical space blended. As an alternative for building architectures with actual components, the projection of lines and planes of light which produces the illusion of unique spaces, redrawing them, stretching them, and clearing them. Just like the spectacular installations at The Hague City Hall in Netherlands or on the facade of the MUAC art gallery in Mexico City. In Madrid, Pablo Valbuena’s art can be spotted on public areas like la Plaza de las Letras in Medialab Prado, Madrid and Murcia City Hall. Enhanced statues are centered on the limited quality of space. Approaching sculpture as volume in continuous transformation rather than a static mass, these works bring theatrical elements to three-dimensional sculpture-screens. For this reason two layers are overlapped. On the other hand, the physical part, which takes over the actual space and shapes, the volumetric foundation that serves as support for the second layer, a virtual projected layer that allows to manage the transformation and sequentiality.

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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.