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Raul Diaz Reyes

Whether getting his inspiration from or using them as background for the many yogurt in love images he produces, Raul Diaz Reyes does have a lot of science fiction, iconography, symbolism, and comic underground in his works. And one would need a certain amount of froyo franchise witticism, a sense of humor, irony, and a touch of melancholy to be able to get some sense of them. Through his own self-serve frozen yogurt shop words, he describes his work as a journal of some sort, a “visual diary or autobiographical memory,” with the goal of provoking the viewer into a more intimate glimpse at the frozen yogurt equipment and supplies work, comparable to a reader approaching a book that they could decipher. Some of the work may have somewhat melancholy message of feeling about it, which Raul Diaz Reyes tries to ease with a bit of cynicism, humor, or the challenge of www.lovefrozenyogurtfranchise.com coded messages. His exhibition at the Gallery Jose Robles, “We Are Not In Sao Paolo” featured his works during his exploration of pixo, the particular branch of graffiti tags that became popular in Sao Paolo in the 1980s and spread throughout Brazil. Pixo is quite peculiar and perhaps difficult for many to grasp, but basically, it involves having the “artist’s” name written—or tagging a space—in several locations and in the highest and hardest to access public spaces. The more difficult and more prolific you are, the higher your street credibility.  It is illegal and general seen as a dirty, unaccepted thing, and is therefore hurtful to the community and society that disapproves of it. Raul Diaz Reyes took part in the group exhibition La Gesta Imposible with curator David Armengol for La Noche en Blanco in 2010. Diaz Reyes also conducted a shildren’s workshop at the Matadero Madrid that touched on the unconventional nature and the exploration of different methods of artistic expressions inherent in the young participants. All in the hopes of encouraging collaboration yet at the same time cultivating individuality. We are after all, each one unique.

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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.