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Last spring we started a workshop for all kinds of bodies which, at the same time, have had all kinds of experiences on dancefloors, parties and festivals. The proposal consists in practicing in trios a series of classic dances for two. We will try to imagine what it is like for three people to dance a tango, a pasodoble or any other dance step. Perhaps it will be much more difficult to follow the rhythm and the steps, but maybe in doing so we will discover new ways of moving. Tania Arias Winogradow is a dancer, choreographer and now a mother. She works collaboratively with other artists and continues looking for allies to improve her Russian. A workshop for all kinds of bodies which, at the same time, have had all kinds of experiences on dancefloors, parties and festivals. It might be that art is, exists, without us people. It is more than likely. But if we feel that it is something that accompanies us, that it is there by our side, it is because it calls out and says something to us. As it does so in its own way, we—ever attentive to the signals it emits—listen and feel free to respond in many different ways. Sometimes we try to so with its own tools and sometimes we look for ones that we think prevent us from going too far, that beat about the bush or even over the tree tops. We almost always reply to art and, to this end, we fall back on words, whether written or spoken. We start speaking from below, from within and from without—those places in which, some time ago now, Donna Haraway recommended that we should place our situated gaze. We use our body and mind to translate what art says to us and, while we are dealing with it, things arise about ourselves about which we had never stopped to think. Knowing it and knowing ourselves. We judge and we even try not only to come up with a criterion which furthermore, and this is even more complicated, must also be intelligible and be able to be shared in order to strike up conversations with others that have more than two speakers. And so we continue, looking forward to more and more questions that will keep coming up. There you have it. CA2M organises educational activities on contemporary art and thinking that can be framed within the tradition of community colleges. The courses it offers address some of the key issues for a proper understanding and interpretation of art today. These activities can be divided into two parts: the first consists of the presentation of a theme by a guest speaker and the second part involves a debate open to the audience. But this structure can also change to adapt to more experimental formats depending on the guest at each session. Ancient rhetoricians argued that conceiving different figures of discourse was a moderate exercise that served as training to overcome greater difficulties. Among them, description was defined as a kind of narration able to translate the visible. Its literary attributes were clarity and vividness, and the style of writing had to adapt to the nature of the theme. This description, which also demanded for the thing to be described to be treated as an inanimate object devoid of will, was not conceived for works of art. When the description is specialized in this type of artefact especially paintings , evoking something that is believed to be full of life demands going beyond the sense of sight; it is necessary to complete what one sees. The history of this kind of discourse is very long, but above all else we are interested in its potential to be elaborated in the present. What do we say about art when we describe it? How do we give a name to the cry, the pain or the pleasure, separately or all together? And what do we do with movement? Even though we know that there is no such thing as a transparent text, would it be possible to recover one that might be close to the piece and to the immediacy of the impression? Something that could provide a response to the erotic of art that Susan Sontag called for no less than in to replace hermeneutics, interpretation? We are going to make the most of the exhibition Absurd Humour: A Constellation of Folly in Spain, curated by Mery Cuesta, to try to tell things in a different way. We were never told that it would be intellectuals that encouraged many of them to make their debut. We will explore the potential of talking about art with a gaze from below, from underneath, through and in crossfit. Be ready for surprises. Gloria G. St Teresa, the squatter mystic, must have had her good reasons to think that the body was a prison. As good as the reasons of the declassed Madame Bovary to start to desire her husband only when she was burning with desire for a lover. Is everything that moves a body? Is all that glitters gold? Their first piece, Catalina explores sexual pleasure, repression and its consequences both on stage and in real life. What does an art critic do? This very question has intrigued various generations. Do they measure artworks with strange implements? Do they cruelly interrogate artists until getting to the bottom of their true intentions? Do they rub crystal balls in the intimacy of their offices? In this session we will try to demonstrate that, as is usually the case, reality is a lot more straightforward. As the work of a critic is basically a work of writing, we will focus on the complications involved in summarising, commenting on and evaluating an exhibition. To this end, we will take a look at some interesting, and even praiseworthy, examples. Afterwards, you will have an insight into the most carefully-guarded and shameful secrets of art criticism: for instance, that it is almost always written by people in pyjamas with dishevelled hair. He writes regularly for ArtForum and Babelia, as well as other cultural publications. His exciting adventures can be followed on unmaletinmarron. The situation is the following: someone, somebody close, asks us, maybe by phone, maybe during a stroll together, maybe during a car ride, about a film. This is the starting point for Cinema of Memory: the exercise that we sometimes undertake when we are asked a question about a movie we have seen and which, after the question, we start to talk about in words. This translation-transmutation of words to images is the origin of this theoretical endeavour on the relationship between cinema and orality and indeed with other artistic disciplines. I am interested in the gesture involved in the re-enactment, in the place in which the speaker and the listener situate themselves. During this session we will try to explore this gesture, which speaks to something very primitive and essential: the creation of images through the word. And now the question: In what way does cinema, as a popular art form and exercise in shared viewing, cut through us and become part of our personal biography? We will therefore try to trace how the cinema we have inside us every time we see and have to talk about a film becomes present in our lives and in other disciplines of contemporary art. His career combines programming with his own personal creation. To keep a secret, you have to tell it. Having a secret is to become part of a chain of custody; to have a secret is really more a case of the secret having you to transmit itself through you. This becoming a medium, putting yourself at its service, is what having a secret could mean. A secret is a currency: it circulates, without any inherent value in itself other than what it has in common between us, an intimacy, a belonging, a commitment. What is the potential of the secret for resistance? Is what is most visible the least vulnerable? From the strategies of art, the formless formats of the secret are operations to create meaning against all odds. Building meaning despite not existing in law. The efficacy of a code that overflows its ornamented camouflage. Why are artists so fond of secret societies? Do they like the ambiguity between existence and the invisible? To bring up a specific case, we could talk about Sociedad Secreta de la Ciudad de las Damas, a conclave of women whose most recognised achievement is to have kept in anonymity hundreds of women artists who did not wish to enter the annals of Art History. Coco Moya is a musician and artist. He experiments with secrets, geomancy and altered perception, forms of knowledge and relations that exceed means of communication to convert us in a medium of communication. On two prior occasions, a group of people got together to listen to others talk about a work of art that had made a special impression on them, for whatever reason. Each person speaks with their own voice and narrative recourses, because there are no images. The piece will be revealed with words, without being seen, through the story and only for those who are present to listen to it. Nor will there be any kind of register other than what the people who are present are able to recall when they leave the hall. And so we will have to keep all our senses alert, to allow ourselves to be carried along by the intensity aroused by a keen awareness of the ephemeral nature of the experience and activating the memory. This is its third iteration. Andrea Galaxina is an art historian, fanzine fanatic and founder of the Bombas para Desayunar micro-publishers, from where she produces and conceives fanzines. Carlos Copertone is a doctor from the University of Extremadura, specialized in city planning and zoning. He has edited books on art and architecture for Caniche Editorial and has also carried out curatorial work. He develops his work in the field of research, curatorship and teaching, with a special interest in gender and queer studies in Latin-American cultural contexts. Para apuntarte a la lista de espera escribe a actividades. This latest encounter is conceived as a circular dialogue addressing some of the questions that cut across the different sessions integrated in this proposal, with the goal of questioning and evaluating key ideas in its development and conception, as well as the resulting perceptions. The If The Others Did Not Exist; Or The Mirrors project has proven itself to be a critical structure able to afford a unique space of confidence and commitment between artists, audience and institution, placing each of the parts involved in a horizontal and propositional scenario that has enabled a re-evaluation of the relationships that the artistic experience is able to facilitate. And everything in spite of cinema. We shall talk about pieces from our collection which we will see in different contexts: the storerooms they are kept in and in the exhibition galleries. Since then, it has hosted over 70 exhibitions and doubled the number of visitors. Currently directed by Manuel Segade, the art centre has staked out a position for itself in Spain as one of the forerunners in articulating narratives on artistic contemporaneity and it is now recognised as a benchmark in contemporary art in Spain. At the same time it has managed to integrate itself into the social fabric of its hometown and its surroundings thanks to its programme which is free and aimed at all kinds of audiences. Its geopolitical position to the south of Madrid —with an immediate cultural catchment for over one million people and, in a wider radius, the five million inhabitants of the region in general— has helped to consolidate a space committed with innovative mediation strategies whose goal is to ensure that art fulfils its role in intellectually stimulating society and contemporary culture. This course, tirelessly twirling and entranced, we will continue revolving around doubts and the astonishment induced by the inexplicable: what is art and what is not art. We will take advantage of the fact that we are a little dizzy and we will explore the desire to leave our bodies and our minds and wander. That is, with a lot of emotion and a lot of feeling. We wish to set out on different paths, to examine with awe what we believe we know well and we will go to where we thought though can we be sure? We will let art take us by the hand and we will let ourselves be carried along. To places as close as our own skin, which will be dyed and renewed; as far away as we could possibly imagine, because it is still waiting to be, and besides, does not wish to define itself. We will make a different kind of contact with what is around us in order to take distance with customs and habits. We feel like losing control. And stretching time and space: an infinite and eternal present and reinvented places it is difficult to return to. And if different when we do return, let it be because we will have known each other in a different way through other things and other people. And now that we no longer look at the world in the same way as when we started, we will understand it better. We will experience life by letting ourselves be carried along by whatever happens and art as something that transforms. CA2M organises educational activities on contemporary art and thinking that can be framed within the tradition of community colleges, aimed particularly at young and adult students. The courses it offers address some of the key issues for a proper understanding and interpretation of art today, to use it to think. Whenever it gets a tattoo, the day becomes Sunday. Without a prior conscious decision, tattoo sessions end up as a kind of ritual. A strangely intimate bond is formed through the penetration of ink and metal. The skin is broken, impregnated and changed for ever. And it is this forever-ness that gives everything a certain mystic quality. It is beautiful to be the vehicle through which the materialisation of the desire of another is channelled. It requires such total concentration that the present takes on absolute splendour. Julio Linares. Saga of antiquarians, then a pirate, scientific servant, master of feng shui and painter. Now choose your sex. Now choose your form. Now choose your colour. Now choose your texture. Now choose your voice. The system informs that there is an already existing image. During the process, an algorithm is developed that allows resetting and reconfiguration of a new archive. Please wait. What is matter and what is artifice? In art, one is here and there. Are there states of total concentration and isolation when creating? How does one create when one is doing something else? Creating, building, in fantasy, in intoxication, in illness, in care, in waiting, in ecstasy and in tears. We will explore practices that, more than between, are in. Some arise explicitly, but we can look back at others which, in principle, seem to be something else and seem different from another perspective. A friend once said that if I was a stone, I would be a poor brittle kind of stone like sandstone or serpentine, or maybe schist. Or maybe not even rock but clay, or not even clay but earth. I am only earth. I give way. I try to fit in. I am still here and I am still earth, but I am full of footprints and deep holes and traces and alterations. We want to talk about the world, which is made of earth. To think about material and its processes in order to talk about things. And to talk about ceramics. We have understood some things better after we have touched earth. We always started by speaking of ourselves, and then we spoke about earth; what it can do. Amalia currently works at CA2M. Luisa is a self-taught ceramist, active in Adult Learning since the beginning. The production of space through dissident practices. The construction of non-normative spaces begins with acts of resistance against dominant structures that create networks of dissidence in the city and which, in many cases, can be mapped. The queer appropriation of space is one of the clearest examples to demonstrate how the hierarchies of spatial distinction can be distorted, altering preconceived binary ideas that have to do with perceptions of the public and the private, the legal and the illegal, and so on. The production of space is not just the remit of city planners, architects and builders, but is also the result of social action and cultural construction. Through the study of different dissident practices localised throughout history and their corresponding cartographies, we will demonstrate how users can pervert and generate personal spaces by means of tactics of re-appropriation. Through a series of practical awareness-raising exercises we will analyse the implications of the experience in the territory, paying attention to how we feel what it is we feel and how we organise the perceptions and kinesic behaviours they generate. Taking this as our starting point, we will analyse how we communicate with our surrounding environs and what kind of mental maps we create, both individually and collectively. More information at actividades. Since , 18 May has been designated International Museum Day to raise public awareness about the role museums play in society. Anyone interested Anyone interested. Activity type. Target audience. Anyone interested. Registration form. Tania Arias Winogradow. Images gallery. Fire Trees. Odd-Numbered Dance Workshop. More information and contact. Media footer. Gallery footer. Is it a cycle? Popular University. Directed by. Selina Blasco. Acceso notas adicionales. Sobre elegancia, tacones y brilli-brilli. Cada cuerpo en su grito y dios en el de todas. Entiendo las cosas cuando las escribo. Cinema and video. Attendance open and free while places last. Si no existieran los otros; o los espejos. Maximum of 20 people per group. Recorridos performativos. Visitas sin hablar. International Museum Day Directed by Selina Blasco Aimed at anyone interested in the art of today. No prior knowledge required 23 January Tatuarot. Whisky and religion Julio Linares Whenever it gets a tattoo, the day becomes Sunday. And with the magic and power of the present, the miracle of transmutation takes place. We will look for an art of being in two things at once, subversively and pleasurably. VenidaDevenida are architects and artists. Derivas del yo en el entorno: caminar para explorar nos. Associated links. Subscribe to Anyone interested.

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