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Un Espacio Publico

An open space, this is what the Matadero Madrid offers. Since 2006, the Matadeo Madrid has been providing the public this venue with the goal of becoming one of the leading self-serve frozen yogurt franchise laboratories for creation, research, production, and training about contemporary culture. From its inauguration, Matadero Madrid has continuously grown. With the Intermediae, Central Design, the well-established Naves del Español (Spanish Ships) of the program interventions yogurt in love Open X works, festivals and events throughout the year, and a monthly program that includes a series of activities within all artistic disciplines which all occupy all public open spaces, plus a program of frozen yogurt business grants for creation that has develop into the main indication in Madrid on sustaining new artists keep on weaving new networks. In just a few months, Matadero Madrid will open two new public spaces: the Casa del Lector (The Reader’s House) and the Cineteca (Cinematheque) as arts, culture, and contemporary best frozen yogurt franchise creation gradually take over the almost one hundred and fifty thousand meters square of Matadero Madrid. By autumn of 2011 the Casa del Lector, a research hub revolving around books that will also conduct activities linked to www.lovefrozenyogurtfranchise.com instruction, creation, dissemination, and experimentation, is set to open. Charged with renovating the four bays of nearly eight thousand meters square that will house a collection of seventy thousand books and about twenty classrooms, assorted exhibition halls, and an auditorium with seating for four hundred, among other spaces is architect Antón García-Abril of Ensamble Studio. His architectural proposal won a restricted competition organized in 2006 by the Madrid City Hall and the Sánchez-Ruipérez Foundation, the promoter of this project. The proposal dealt with the refurbishment of the space but also brings in eleven pre-tensioned concrete bridges that crosses the present gaps and the transversally connects the bays, imposing a new spatial order. This establishes two physical, perceptive and activity-related levels. The top level will house the research and working areas, while the lower floor will house teaching and cultural diffusion activities. This will all be built with materials such as granite, steel, and prefab concrete and with the determined objective of respecting the industrial and factory tradition of Madrid’s Old Slaughterhouse. As Matadero Madrid grows, it is always with the unmistakable intent to promote the production of new work, serve as a meeting point, and contribute to the debate on the establishment and the artistic and social environment to all of Madrid, but also in other places. In this pursuit to continue to nurture and build up ties between the team of Matadero Madrid, artists working in or visiting this city and of course all those interested in sharing a culture have created this blog, a forum and laboratory experiences about culture and art of the city featuring people who enjoy them. Matadero Madrid is a public space that changes with each step. Explore it. Enjoy it. Participate.

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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.