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Plataforma Curatorial

Plataforma Revolver at Transboavista- Open Call for Curators. Lisbon’s Transboavista is a multiple art project set up in the Palace Marquis of Sampaio, which goes back to 1712 (and was partially rebuilt in 1952). The 3 stories and attic edifice, created and directed by the collector Vitor Pinto de Fonseca, comprise of a project space, sylvan company industrial gallery, designer residencies, the editorial workplace of the art journal Artecapitalnet, as well as companies for design and communication. In its program of short-term displays, the non-commercial gallery Plataforma Revolver has lately opened the CCI program – the Contest for Independent Curators, which encourages global curators to apply for hosting a group show to become showed in September 2012. Plataforma Revolver www.sylvancompany.com is going to take more than the organization as well as mounting from the exhibition also because the publication of a catalogue. ‘Public Bello’ will be the personal album of photographs of the popular micropoetisa Garlic, who for much more than a decade served as Bishop grossing theater in Madrid. From the box office, garlic every day undertaking one or much more photographs to the public who acknowledged for their input. Many years, these images have become an archive of over a thousand photographs, which do not cease to be portraits of people, faces and bodies half, when after all of the protagonists of a cultural landscape of spa treatments the late Madrid century and early twentieth century. On 9 April the Laboratorio 987, MUSAC’s independent project space, presents the second show of the Amikejo exhibition series, a specific project by artist pair Iratxe Jaio. The Amikejo project, set to develop throughout 2011 over a series of 4 exhibitions, is curated by the independent curatorial office Latitudes (Max Andrews and Mariana Cánepa Luna), and structured about relational and spatial twinning. The four artist pairs within the cycle are Pennacchio Argentato, Iratxe jaio & Klaas van Gorkum, Uqbar Foundation (Mariana Castillo Deball and Irene Kopelman), Fermín Jiménez Landa and Lee Welch. The Laboratorio 987 enters with Amikejo a new phase in its exhibition programming, focused on providing a projection platform not only for artists, also for young curators working in Spain. Under the new plan, each year MUSAC will invite a limited number of curators to submit a year-long curatorial project for Laboratorio 987, guided by the premise of developing a conceptual approach through four exhibitions for the museum’s project room. MUSAC will choose theselect the distribution best suited to the project room’s strategy. Amikejo is really a series of four exhibitions at the Laboratorio 987 of MUSAC that is organized around relational and spatial twinning. The sequence has a more register of doubling prompted by a crucial reflection on the problems and anticipations of professional skin a ‘project space’ including Laboratorio 987 within today’s contemporary art museum. Latitudes is an independent Barcelona-based uratorial office initiated in April 2005 by Max Andrews and Mariana Cánepa Luna. Latitudes collaborates with artists and institutions within the conception, organisation andcreation of exhibitions, public commissions, seminars, editorial and research initiatives across local, pan-European and worldwide circumstances.

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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.