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Performance

Divine Chair at Matadero Madrid is a dialogue concerning film, architecture, design, photography, sacred sounds, fashion and art in Madrid’s newest cultural laboratory. It features a performance involving the architect’s static framework and the dancer’s body in motion. Together with the dance group ‘New Movement’ and music producers ‘The Boilerhouse Boys’, Exquisite Corpse features sacred sounds crystal singing bowls performance and visuals arts to understand more about interdisciplinary work and develop an exceptional cultural environment. This exhibition came from the joint work of the AA Interprofessional Studio together with some professionals such as Andy Dean (Boilerhouse), Ariadna Cantis, in-charge of promotion and curation of architectural and contemporary cultural projects, Heiko Kalmbach, a filmmaker, theatre director and video artist, Steve Webb and Nick Crosbie. Exquisite Corpse at Matadero Madrid is a work in progress originated from Madrid and will soon be presented in Paris and London. One of the cultural institutions behind this magnificent pure crystal singing bowls performance is the Matadero Madrid. It is a huge laboratory for art, experimentation and interdisciplinary dialogue. Matadero Madrid, the former slaughterhouse and meat market, is a vibrant and constantly changing space at the service of imaginative functions. It advertises activities, stimulates the best crystal singing bowls in modern creation, and has turned into an amazing lab for experimentation and supporting new crosscutting formulas. Each venture is used to offer an incorporated and multidisciplinary technique to all types of art, with more focus on research, production, training and information. As the restoration progresses at http://www.crystal-singing-bowls.com/, it continues to adapt artistic activity: performing arts, visual arts, design, music, dance, architecture, city planning, landscaping, fashion, literature, thought and film. A lot of various organizations are currently working at Matadero Madrid with the common goal of supporting modern creation in their own field of action: Las Naves del Español, which revolves on the performing arts; Intermediæ, which promotes concept on artistic techniques; and the Design Centre, a program for promoting graphical, industrial, interior and fashion design. These will eventually be collaborated with other public and private institutions involving documentary cinema, literature and new media, architecture and visual arts. The next group that plays a big part in the production of the Divine Chair performance in Matadero Madrid is the New Movement. They’re a group of choreographers with an extensive collaborative experience in performing arts, both as dancers and dance-makers with Europe’s leading Ballet and Contemporary companies. By building a wholesome and encouraging environment for artistic growth, these new groups of artists are producing world-class quality work; continuously encourage fellow artists to promote modern art to a new level. Producing work that is directly introduced in response to various and out of the ordinary theatrical settings, New Movement strives to improve the exposure of their work with hopes of transforming and improving the field of modern art.

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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.