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Residencias de Artistas

The project Latin America GO.ES addresses the unique appropriation of public space by the Latin American immigrant community in Madrid. This is not to belittle and to recognize the unique cultural experience that is the singular approbation of ozone generator public spaces, consisting of a consistent human tissue through the survival time of these new urban meanings. This recognition would materialize in the implementation of actions and a documentary of these situations and mapping festive edition of Latin American contemporary urban reality in Madrid: a Latin American Leisure Guide in this city. As many of these places are powerful public spaces based on intensive use and appropriation that is made of them, but are weak on the basis of the precariousness of urban facilities, additionally raises the possibility of several years propositional: collective action direct the design community of some direct interventions on these sites to implement light infrastructure, low cost, many of them through materials recovery (from basic ozone air purifier furniture to the implementation of a “puck” or other equipment holiday). These would be actions and prototypes that facilitate the use and the meeting, acting as amplifiers of these public spaces. This material design be included in the digital and physical version of LA Goes (Leisure Guide unconventional Latin America in Madrid). In a second phase, if it thought fit Ranchito, would proceed to implement, through collective self-construction and recovery of materials, some of the prototypes that were designed in the first stage. From the weekend at the retreat, through the neighborhoods you hear salsa and sold areas on a daily basis, to the temporary occupation of residual spaces and peripherals, there is a possible mapping festive Latin American contemporary urban reality Madrid. A priori one can think of some areas of physical and symbolic appropriation, especially in parks and plazas: Parque del Oeste, Moncloa, ozone generators Parks in El Retiro, Casa de Campo, Plazas de la Fuente del Berro, Rodríguez Sahagún (Fuencarral) San Isidro (Carabanchel), Corona Borealis (Aravaca) Pradolongo and Ascao (Linear City), but there are multiple peripheral areas repertoriados not so far produced in the leisure Sunday meetings, in line with what that documents in his series “sun-days” photographer Xavier Ribas. The theoretical framework Sola-Morales worked the concept of terrain vague in its original French, which contains this ambiguity between the sense of vacancy, void-free activity, unproductive and obsolete, but also vague, indefinite, vague, without limits Sola-Morales … added to the terrain-vague a value up to that point had not, considering “area of freedom lucrative alternative to the reality prevailing in the late capitalist city, a reality anonymous”. The (delicate) issue of identity of the immigrant, although the vision of the individual associated mainly to their ethnic roots, cultural and facilitates local statistical classification and compliance ranges participation of institutions, we understand from this project that identity issues are complex and that classification calendoscópicas and “American culture” without forethought may lead us to a Manichean vision of obsolete and the question of identities. The immigrant, tourist or exiled are dominant figures of contemporary culture and their lifestyles, their meanings and identities are fundamental to understanding the contemporary emergency. But to want to appropriate the views microdermabrasion machine of another would be a sham. That’s why the acknowledgment will be made from an emic description methodology, based on participant observation, in which transcends the description of observable facts to inventory the meanings of agents given to these processes of appropriation. It also means dealing with immigration from the standpoint of leisure holiday (which has much to do with the Latin character), in contrast to the dramatic image prevalent in various artistic concept also reinforced by the media.

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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.