خرید هاست خرید شارژ ایرانسل خرید vpn دانلود فیلم آپلود عکس وی پی ان

Tactical Media

Rapture was born in Barcelona in 1999 as a comic book and poetry have free artistic expression as a fundamental basis supporting new creators with fewer resources and something to offer. Thereafter, in Madrid, opened Arrebato books, book buying and selling of letters and point-object dissemination of books, fanzines and magazines experimental sylvan company art and creation. In parallel to the bookstore founded the Cultural Association the free book was working in the dissemination of the new century poetic values. This year marks the fifth annual poetry festival to be held in Spain and the Dominican Republic. And among many other projects, we emphasize Letters to the Street, a tribute to the letters for three years provided the www.sylvancompany.com same day around the world. Some people do not see Miguel Nogoera grace. There are men who need to pause the video and immediately get in bed because there are so ashamed, or creeps, or something weird. not support it . Miguel Noguera is a kind of living in Barcelona, ​​Mallorca and has invented Ultrashow . Takes the stage, sometimes it gets a costume and then letting go ideas. Ideas also released through a book, ‘Boil a bear’, (Editorial Infinite Beauty) and a cartoon that has begun to publish in the newspaper Diagonal. They are terrifying. But sometimes laugh. A few years ago spa treatments people did with him Yproductions Journal nonlinear , it is worth. And now Vengamonjas have, with starring Noguera, two episodes of the series Doctor Beirut. Beware Noguera, engaging. It also has a blog. The reality is disintegrating, retain any link requires almost superhuman effort, and the collective and common concepts are hardly achievable. The Argentine activist and independent researcher Franco Ingrassia takes some years to reflect on these and other feelings related to the dispersion. Now, until 18 December, as a resident participates in the project El Ranchito Matadero Madrid, where he will develop a work of reflection on the challenge of weaving links, giving the floor and accompanying thought processes. Ingrassia is the first guest to the residences of thought of El Ranchito, where you grope experimentally better conditions for thought today. The purpose of this concentration is visible sector that support the movement and manifest within a broad democratic movement of regeneration, the need to rethink the relevance of artistic practices and discourses in the current economic and political crisis spa equipments face cuts in the public posed by the past governments and the unstoppable advance of liberal policies, more than ever the industry Art needs to step forward to join with an open stance and purposeful, a widespread protest movement. In this context, artistic agents have an ethical obligation to get rid of sectarianism and clientelism that for too long has crippled their ability to think and to distinguish themselves socially and build democratic dissent.

No Comments

Sorry, the comment form is closed at this time.

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.