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2 0 0 9 / 2 0 1 0
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2 0 0 9 / 2 0 1 0
I N D E X
P R ES EN TAT I O N
L A B O R ATO RY
Production areas and facilities Artists with a study at Can Xalant Projects by resident artists Training Courses Workshops Productions Other Productions Agreements and collaborations Work Meetings
R ES I D EN C E
P RO G R A M M E
E XC H A N G E
P RO G R A M M E
Can Xalant, R. Roncero, A. Gagliano, A. Parada, J. Navarro, R. Caminal,
L. Marte, V. Luyo, A. Icaza, J-P. Peynot, C. Ibañez-Tarter, E. Marín,
Les Salonnières, Airvoland, AccNeo, M. Salicrú, D. Mutiloa, a77,
F. Caiazza, V. Vázquez, J. Llobet & L. Fernandez Pons, Y. Özcan Kaya,
I. Salas, C. del Fierro, C. Dias, J. Mitjà, C. Astudillo, P. Faus, C. Ruiz,
J.M. Calleja / F. Páez, D. Montlleó, Alterarte, A. Delgado, La Capella
Exchange with the El Levante Centre in Rosario (Argentina) Exchange with the Platform Garanti centre in Istanbul (Turkey) Redesearte Paz: Base 7, Sao Paulo / Matucana 100, Santiago de Chile Exchange with the mis in Sao Paulo (Brazil) Exchange programme with the crac in Valparaíso (Chile) Exchange with the Lugar a Dudas Centre in Cali (Colombia)
C U R ATO RS H I P
Catalan and Spanish: Delícia Burset and Versus, s.c.p.
Seminars, conferences, round tables and presentations
D I V U LGAT I O N
Exhibitions and Shows
L I S T
50 61 67 68 74 78 79
P RO G R A M M E
Albert Ibanyez Images
de Barcelona, L. Pérez P RO G R A M M E
English: Raymond Lang P RO G R A M M E
Copyright Deposit B-16868-2011
N A M ES
S O N S
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An article on modern culture recently appeared in the La Vanguardia newspaper describing young artists in Barcelona. The two-page report came under a biblical-sounding headline of Sons of MACBA and provided the names and other details of a heterogeneous group of young artists who form, according to journalist Teresa Sesé, the current scene of contemporary art in Barcelona. The headline refers to a remark made by artist David Bestué, who acknowledges how his generation has managed to take part in official studies and other training areas thanks to the programmes and exhibitions held at the Contemporary Art Museum in Barcelona, and how this has been highly beneficial to enable him to form critical views of modern art against the backdrop in a Catalonia short of international projects but highly active in more local programmes. Actually the people listed in the article were all from similar backgrounds. They had studied at the Faculty of Beaux Arts in Barcelona, were Sons of Beaux Arts and successful to a greater or lesser extent sharing a greater or lesser fraternal love for the academy. That the word Beaux Arts sounds outdated, and the acronym of macba more modern, is obvious. Also, some of Bestué’s works currently form part of the museum collection and his remark seemingly refers to the fortune young artists have had in being able to access first-hand information and knowledge thanks to macba’s programmes and activities, an essential complement for their university studies. I know many of these artists personally, some as students whom I met in the classes at the faculty. I wish to state that the people in this group of young artists, who have now become legitimized following the publication, particularly thanks to the branding on the headline, have also passed through other smaller scale but also indispensable production projects and programmes. There is one highly important factor which is more real than the genealogical tree of macba in their definition as artists and in the divulgation of their projects: most of them have been selected for, awarded or supported by, tutorial programmes and competitions aimed at young artists who live in Catalonia. Among these, the competition of Sala d’Art Jove, the projects at Can Felipa, the Miquel Casablancas Award in Sant Andreu Art Contemporani, the productions by bcn producció, training at Hangar or Can Xalant in Mataró, the residences at the Nau Estruch in Sabadell, etc. All have attended at least one of these training, production and divulgation centres where they took part in workshops, debates and discussions on art and aesthetic enmity.
Presenation. Sons of Can Xalant · 7
The photograph of the group which accompanies the article looks musical. There are sixteen people, two of whom are girls, and each is carrying a device with a light with which they are drawing a circle around their faces. They are relaxed and are looking straight at the camera, as if they were on a record cover, and I’m certain others are missing who were not available on that day to appear in the photograph. I imagine art gallery owners eagerly writing down their names in their notebooks and thinking about possible future investments using the article as a standard to rate each artist’s value. I’m certain many readers have gone over this photo and pointed at a friend or recognized the face of the artists who theretofore were unknown! Feelings of both envy and enthusiasm. As my thought goes back to the title of the article, I take another family photograph of the new artists in our midst and imagine the brand Sons of Can Xalant, celebrating the fifth anniversary of the Centre de Creació i Pensament Contemporani in Mataró. Throughout the many programmes produced at Can Xalant, young artists and others now internationally renowned have been residents at the centre, dwellers of a common home, in sum, part of an affiliation. By having access to a studio in the grand old farmhouse, either as visiting foreign artists or as international artists invited to direct a workshop, both have lived in the home and have awoken with the noise of the parakeets who build their nests in the palm tree growing in the courtyard. They are all in our group photograph. It is a reciprocal way to acknowledge us all and highlight the role of the cities on the outskirts which provide an opportunity of training, production and divulging work by young and not so young artists who reside in our community. Our sons of Can Xalant have lived at the centre, attended the workshops and stayed at the residence. They have received aid for their productions, companionship during the ride and given a hand to help them professionally. There have been many and they have produced creative work such as video, photography, performances, painting or projects in public areas. The documentation centre contains information on them all and visitors may share their workshops and presentations, open day parties and journeys across the county territory. We are also acquainted with the Sons of Can Xalant. Indeed, we are a genealogy grafted from macba!
Labelled in this picture: Seventy-five resident artists at Can Xalant since 2006. a77 (Lucas Gilardi, Gustavo Diéguez), Abdoul Aziz Cissé, Accneo (Josep Domínguez i Jaume Aguirre), Airvoland (Teresa Rubio y Charela Diaz), Albert Ibanyez, Alejandra Delgado, Alterarte, Alvaro Icaza, Amasté, Ana Patricia Palacios, Aníbal Parada, Antonio Gagliano, Ayankoko, Beatriz Salinas, Caetano Dias, Carles Palacín, Carolina Ruiz, Cecilia Font, Cecilia Postiglioni, Cevdet Erek, Claudio Astudillo, Claudia del Fierro, Cristina Ibañez-Tarter, Cristina Lucas, David Mutiloa, Edgar Clement, Erkan Özgen, Eva Marín, Fabricio Caiazza, Fredy Serna, GaleríaCallejera (Viviana Corvalán, Pablo Rojas Schwartz), Gilles Coudert, Jean Philippe Peynot, Joan Navarro, Josep-Maria Martín, Julián Waisbord, Katalin Soós, Kiko Montoro, Laura Marte, Laurent Malone, Laurent Quénéhen, Marc Salicrú, Margarita Pineda, Maria Oms, Marie Maurel, Mònica Anglada, Monika Bálint, Nelson Garrido, Octavi Royo, Pau Faus, Raimond Chaves, Raül Roncero, René Francisco, Rirkrit Tiravanija, Roser Caminal, Salonnières (Laura Cardona, Ester G. Mecías, Cèlia Prats, Meritxell Romanos, Marta Xibillé), Scmute, Stalker, Stefano Romano, Tadashi Kawamata, Taniel Morales, Tomás Ruiz-Rivas, Tore Honoré Boe, Verónica Aguilera, Verónica Luyo, Walmor Corrêa, Yasemin Özcan Kaya.
Pilar Bonet Art Historian and Critic of Art, professor of Contemporary Art at Barcelona University and Ramon Lull University. Member of the Can Xalant board of governors.
8 · Presentation. Sons of Can Xalant
Presenation. Sons of Can Xalant · 9
R AÜ L
RO N C E RO
View of the exhibition The value of symbols (Espai F, Mataró, 2010) Detail of the project Welcome to Mataró (2009)
A N TO N I O
GAG L I A N O
Grammars of the opportune moment (2009) Drawings printed on paper 360x200 cm Extract of the project The bellies of Sergei Pankejeff
A N Ă? B A L
PA R A DA
Reflection on an exhibition level (2009) Video
J OA N
N AVA R RO
Self-portrait (2010) Escupelo 09 (2009)
RO S E R
C A M I N A L
L AU R A
M A RT E
The Dovecotes in el Carmelo, Heroes of Urban Resistance (2010) Series of 30 photographs, postcard format
V E RÓ N I C A
A N D
Á LVA RO
I C A Z A
Searching for relatives (2010) Verónica Luyo - Celeste Venica JINA (2009) Video 2’34’’ Verónica Luyo UB Collection (2009) David F. Mutiloa / Joaquin Reyes / Glòria Fernandez / Álvaro Icaza Títol de transport (2010)
Álvaro Icaza - Verónica Luyo Mouthpiece (2010) Video 2’34’’ El mar (photocopies) (2010) Animation 1’00’’
El mar (drawing) (2009)
Work in progress
J E A N - P H I L I P P E
P E Y N OT
Ego (2009) Mural painting (227 x 700 cm)
C R I S T I N A
I B A Ă‘ E Z-TA RT E R
Transcription of a football match broadcast in real time (2010) Frequency Alphabet. Letters sorted according to use (2010)
M A R Í N
SA LO N N I È R ES
Lligams (2009) Tacones para hombres. Forbidden Places (Framis for men) ( 2009) In collaboration with the artist Alicia Framis. Nivell-Zero, Suñol Foundation Complexes (in process) Photographic journey
Drawing instructions (2009) Performance and talk. Cercle artístic de Sant Lluc, Barcelona
A I RVO L A N D
First international launching of three control towers into space orbit: Dubai, London and Beijing (2009-2010) Projection one channel 3 loop videos lasting 40â€™â€™
ACC N E O
Red Velvet Cake (2009) Tower of Babel (2010)
M A RC
SA L I C RĂš
DAV I D
M U T I LOA
Interference I, II, III (2010)
Installation (250 x 250 cm)
Three anomalies in the architectural space interfere with an art presentation
Desorientats anĂ˛nims (2010)
S/T (no entry) (2009/2010)
Photographic series (variable measures)
An electric fence makes access to exhibitions difficult
C A N
X A L A N T
Workshop We Can Xalant Mobile constructions for ephemeral actions in public places (2009)
E XC H A N G E E L
L E VA N T E
RO SA R I O
W I T H
T H E
C EN T R E ( A RG EN T I N A )
E XC H A N G E T H E
W I T H
P L AT F O R M
C EN T R E
GA R A N T I
I S TA N B U L
( T U R K E Y )
Jasmina Llobet & Luis Fernรกndez Pons Towelflag (2009) Fabricio Caiazza Sincita Matarรณ (2009)
Ephemeral intervention Yasemin รzcan Kaya
Teories de la vida quotidiana (2010) - Video installation
You Kant Max Mix (2009)
Run (2010) - HDfilm 3'40"
R E D ES E A RT E B A S E
M AT U C A N A SA N T I AG O
E XC H A N G E /
M I S
W I T H
T H E
( B R A Z I L )
10 0, D E
C H I L E
Caetano Dias Irene Salas
Eu Brasileira (2009)
Claudia del Fierro
Temporary facilities (2009)
Lines. Everyday moments of maximum intensity #XXI (2010)
E XC H A N G E I N
W I T H
VA L PA R A Ă? S O
T H E
C R AC
( C H I L E )
Claudio Astudilllo Barra
Sound Cartography as Visualizing Urban Data in Barcelona (2010)
The Unfinished House (2010)
E XC H A N G E LU GA R
C EN T R E
W I T H
T H E
D U DA S I N
C A L I
H O U S E A
( CO LO M B I A )
TA K EN
L I T E R A L
O P EN
OV E R:
E X P E R I EN C E. 2010
Verónica Luyo and Álvaro Icaza Carolina Ruiz
Images of the exhibition Fall-Winter: Carolina Ruiz lands in Mataró (2010)
Estimate to close Can Xalant 5,000 DinA4 folios
The forgotten limits
Loving and Je suis lĂ
Here am I I am Here / Artist working to gain visibility
Interventions on several walls in rooms at Can Xalant
Series of framed photographs
Large format painting
Bohemian landscape with mount mille ( jointly with Caspar David Friedrich)
Construction kit of â€˜Mr-Alginateâ€™
Printed on cloth / Installation
Marc SalicrĂş Resident effect In Memoriam
David F. Mutiloa
Installation in the courtyard of Can Xalant
L A B O R A T O R Y
P R O G R A M M E
P RO D U C T I O N
The Laboratory Programme prioritizes the use of the areas and equipment we provide as a service to artists and others involved in the world of culture who submit projects in the periodical competitions held. This includes renting studios and other work areas, renting and/or providing equipment and audiovisual and multimedia resources, training workshops and workshops with internationally renowned artists.
A N D
A R E A S
FAC I L I T I ES
Studios and work areas The centre provides six work spaces for artists which can be applied for through open competitions. The period an artist may stay in one of these areas is at least one month and two years at the most, with contracts that can be renewed each six months following the submittal of a report. We also provide spaces for rent which may be used as video and photography sets or as multipurpose areas to carry out occasional projects there. Equipment and multimedia resources The centre has three video production and post production, audio and multimedia laboratories, with the possibility of contracting specialised technicians to aid the artists who need these. › Video editing and post-production workshop. Equipped with Final Cut PRO HD 7 studio system. Compatible with DV/DV cam, HDV, DVC Pro 25/50 and DVC Pro HD formats. › Recording studio, editing and audio post-production workshop. Equipado con el sistema Pro Tools HD 2 profesional. › Multimedia production and digital image treatment workshop. Programación de interactivos multimedia, retoque de imagen digital, diseño de páginas web, ampliaciones fotográficas, ediciones de CD-ROM, etc.
Laboratory Programme. Production areas and facilities · 49
A RT I S T S
W I T H
X A L A N T
C A N
S T U DY
Raül Roncero (Mataró) www.raulroncero.com He holds a degree in Fine Arts from the University of Barcelona and was resident artist in Can Xalant until 2009. His work revolves around the importance of images today. The idea of representation is present in all his works, images with malleable meanings that are the result of social conventions, and which represent and influence both the individual and collective psyche. Models, stereotypes and symbols fill his projects, in which he holds contempt for the ideas of perfection, elitism and admiration which are often attributed to this kind of representations when used by public and private institutions. Since 2005 he has taken part in several exhibitions of which, worthy of mention are: Ikas-Art 2008 (Bilbao, 2008), The Air that I Breathe (Sala d’Art Jove, Barcelona, 2009), Happy Body (Agent Double, Geneva, 2009), Untitled 09 (Faculty of Fine Arts, Barcelona, 2009) and the individual exhibitions The value of symbols (Espai F, Mataró, 2010) and Prototypes (galeria Absolute Art, Barcelona, 2010). He recently won the 9th edition of Mostra d’Art Jove in Mataró. Margarita Pineda (Medellín) www.margaritapineda.net She studied Fine Arts at the University of Antioquia in Medellín. In 2000 she moved to Barcelona to study a PhD in sculpture titled “Public Space and Urban Regeneration: Art and Society” at the University of Barcelona. Her art work focuses on taking
50 · Laboratory Programme. Artists with a study at Can Xalant
one’s own and other’s experiences through a core around which one’s experience of habiting is organised and framed within the order of context and life experiences, with techniques and basic materials provided and conditioned by the surroundings. Under this title she has carried out several projects and research which are established both in public spaces and exhibitions. Antonio Gagliano (Barcelona – Argentina) antonio-gagliano.blogspot.com He holds a degree in Painting from the Universidad Nacional in Córdoba (Argentina), a Master in Museology and Critical Studies from the PEI (macba), and has been resident in 2008 and 2009 at Can Xalant. He has recently participated in exhibitions such as Social Jeopardy, wishful minorities in Spain in the 1970s-1980s (macba, 2010), Ref. 08001 (Nogueras Blanchard, 2010) and The Girl who Dreamed of a Match and a Canister of Petrol (Sala d`Art Jove, 2010). He is now preparing a series called “The Eccentric Lesson” which is the result of the competition Terrassa Comissariat 2011 and participated in Can Felipa Arts Visuals 2010, among other projects. He writes regularly for interARTive and Pequeño Deseo, a publication of the of Casa 13 residence centre in Argentina. Projects: › Visiting Friends (Drawings on paper- *Editorial/research Project (underway)/ 2008 to date.) How often have we read–in notes or when reviewing the storyline of any project- notions such as appropriation, sham or discourse repeated in a loop again and again? Visiting Friends is an ongoing editorial project which tries to formulate a laidback approach on some of the concepts and systems of relationship organized into modern day practices through drawings. Apart from appealing to
what could be called “the memory of words”–i.e. highlighting their movements and ramifications through a kind of intensive genealogical exercise- the project attempts to heighten the tension of a textual Frankenstein-like landscape full of resources taken from such disparate places as cultural studies, marketing rhetoric or small format music reviews. › The bellies of Sergei Pankejeff (Drawings printed on paper, video, texts from theatre plays, conference and guided visit to els Encants Market in Barcelona. *Espaidos, Sala Muncunill, Terrasa. Series “Kairos, moments of clarity”. Alongside Leandro Cardoso, April 2009. http://www.a-desk.org/spip/spip.php?article249) Following an invitation to participate in a series of exhibitions which provided a view of art, quality time and opportunity, I offered to highlight the persistence of some old promises that are completely dysfunctional now. Thus beside Leandro Cardoso–a Brazilian resident researcher based in London- we developed a fictional narrative using as a basis the medical records of Sergei Pankejeff, Freud’s mythical lycanthrope patient. The general idea of the project was to question how we now idealize the relationship between art practices, managing time and including objects in social spaces through an emblematic biography –this time reviewed in a perverse speculative tone. Aníbal Parada (Barcelona – Argentina) anibalparada.blogspot.com Aníbal Parada exhibited individually at L’Espai Cub as winner of a production competition at La Capella (Barcelona 2010). He has participated in collective exhibitions such as Vibrations (supposedly) Random in the Antigua Casa Haiku (Barcelona, 2010), Ref. 08001 at the Galeria Nogueras Blanchard (Barcelona, 2010), at Loop 09-10 (Barcelona
2009-2010), On my Behalf and SAL, Miquel Casablancas, Sant Andreu (Barcelona 2009), Ingravid, Museu de l´Empordà (Girona, 2009), Synesthesya Espacio Cero, (Thessalonica, Greece, 2009), Toys, Scalamata Gallery (Venice, Italy, 2009), and ...First the strategy later the collapse, Can Felipa Arts Visuals (Barcelona, 2009). He now resides in l´Estruch (Sabadell, 2010). Projects: › Reflection on an exhibition level (2009) I place an illegal beer vendor as a human statue in the Rambla in Barcelona and ask him to use the typical posture as when he offers his products for sale. “Reflection on an exhibition level” is the result of an administrative method which uses the psyche of immigration calibrating and boosting the tourist business in Barcelona, but one which displaces immigrants by implementing speedy policies of gentrification and job insecurity. This is a pirouette as occurs with hidden economies, which often sustains part of the tourist business –such as selling cans of beer on the street- while simultaneously being punished with fines and permanent police raids. This is perhaps a self-critical exercise highlighting an unregulated but everyday job on the streets of Barcelona. Joan Navarro (Mataró) Joan basically focuses on painting. Paintings with little to do with reality, rules, but reflexive, nothing left to chance. His works often depict interior conflicts, imaginary worlds or paranoia. His paintings allow us to view all his personal anxieties and experiences. Joan Navarro believes everything stems from an idea, a challenge or an illusion. In sum small inventions, small challenges in essence. Every work has its motivation, it is an inner struggle to create
Laboratory Programme. Artists with a study at Can Xalant · 51
something new, a game with the creative magic you have inside (...). Joan Navarro entered the residence of Can Xalant in 2008. From there he began a period of practice as an artist and developing works such as: Espais 2010, El nen de Can Xalant (08/10) and Vicos+vicions 09. And later works that form part of the collection “Travelling to the Psyche” are: No mind can decide over your heart, Spit it out 09 and Andele 2010. Recent works that form part of the collection “Critica’m”: Qüotidians 2010, My territory 2010 and U.S.A. 09. Roser Caminal (Barcelona) My projects focus on issues surrounding intersecting themes such as leisure, articulating the sources of identity and their representations in public space from a critical viewpoint of the global neo-liberal system. I’m currently analyzing football as a social reflection of the processes of identity and cultural hybridizing through international movements, local/ global dichotomy and gender. My work covers several lines and their confluence in the public space from a critical viewpoint on the neo-liberal capitalist system. These lines are: - Leisure time. Analyzing how people think of and manage their leisure time as opposed to those offered as an already predetermined product of consumption. This kind of leisure usually bears a strong influence on other issues of my interest since it creates common social links and identities. - The creation of networks of sociability based on the practice and/or filiations of sport on the street. - Football as a reflection of society and its processes of identity/de-identity and cultural hybridizing derived from emigration and local/global dichotomy.
52 · Laboratory Programme. Artists with a study at Can Xalant
The starting point arises while observing events that take place in public areas; when something attracts my attention I relate it to some theoretical concept and start a project, examining its feasibility and theoretical and visual impact. My projects aim to highlight certain issues –making viewers think about what’s happening around them in everyday life – and get the group studied involved in the project. My works are of an anthropological and social nature which determines the way they are designed, produced and resolved. Although the work process is backed by initial ideas, it is open to contributions made by those involved, since they and their behaviour are the focus of the project. Projects: › Blue and Yellow Sundays (Video) An anthropological-like documentary which studies the world of the “hinchada canaya”. It consists of six chapters which cover the context that makes the hinchada possible, the uncontrolled support provided by the followers regarding the objects of symbols and cult which make up their history of personal relationships with the group. Building, divulging and circulating myths which form the historical story. Taking public spaces in a struggle with the rival team in the city by the hegemony of the territory, interurban dynamics of the hinchada to temporarily occupy territory which is not theirs, the temple of madness, the local playing field, a place which releases the emotions that supporters repeat each football day as an endless proof of their initiation. › The Dovecotes in el Carmelo, Heroes of Urban Resistance (Series of 30 photographs, postcard format). This series substitutes the iconography of spectacular places for a more vindictive kind. The dovecotes in el Carmel neighbourhood, which are presented because of their subjective use of public space as heroes of urban resistance. The series is
put into four formal groups; persons, architectural styles, activity and context. Group Identity // Are we all here?? (Video. Urban action carried out by Acció Cultural Metropolitana in the programme Les Barraques Festa Major Alternativa, Sabadell.) The activity consists of a series of interviews with citizens during the main feast day in Sabadell to try to create a debate on the models of integration and exclusion/ integrating immigrants into the city’s collective psyche. The Storyline Upside Down. (Group work in collaboration with Rogelio López Cuenca. Mapa alternativo de Mataró. http://www. mapademataro.net) The work unfolds starting from the emblematic points of a series of stories not included in official history which always overlooks subaltern groups, characters in this map who show their particular view of Mataró in a coming and going between local and global, spinning tales based on the presence of women in industry and textile factories. “Life in Blue and Yellow”: Canalla Embassy /Great to be crazy, A feeling I can’t stop / The drumrolls / Noise. Group of videos which complete the documentary I filmed in 2008 providing a fresher self-representative view of supporters and a study begins on football supporters on an international level and the role of belonging to a group while building identities of DIY. Here am I I am Here / Artist working to gain visibility. Produced for the exhibition House taken: a literal experience. Directed by Andrea Pacheco González for Open Day 2010.
Laboratory Programme. Artists with a study at Can Xalant · 53
Laura Marte (Barcelona – París) www.lauramarte.com For Pythagoras the Earth was a sphere which revolved around a great fire with the other planets in orbits at harmonious distances which, while turning, produced the music of spheres (not heard because we always hear it the same). J. M. Valverde, Vida y muerte de la ideas. The main characteristic of my works is that all are directly involved with reality. I offer interventions in public space which show another tautological way of observing the everyday landscape. After creating a dialogue with space I distort its strategies to create in situ, a new symbolic or physical landscape. A way of seeing what we don’t see (because we always feel it the same). Projects: › Fringes of art_ -RR_PP. Roser Caminal/Laura Marte This work explores the city limits, society and art. The methodology consisted of a series of derives actives for public space in Mataró with the aim of relating the social and urban surroundings with Can Xalant. During the Efímer Club 2009 we conceded our exhibition space to Mums Gaye, where he exhibited his photographs for the Senegalese residents in Catalonia and an audiovisual work in which he explains and defines his work. The aim to show the figure of the artist is a result of a social construction. › Despaisajes Despaisajes is the re-editing of all the videos related with the guerrilla actions of Camouflage, for the exhibition Camouflage in La Casa Encendida, the videos linked to the Camouflage project and how a billboard was covered by a poster which showed photography of the real landscape that lies behind it. A way to emphasize the obvious: when landscape hides behind a billboard, it no
54 · Laboratory Programme. Artists with a study at Can Xalant
longer exists because it can’t be seen besides the advertising load it carries. By means of appropriation this landscape becomes visible again in its (symbolic) representation. › The story turned upside down www.mapademataro.net “Map of Mataró” forms part of the project “El revés de la trama” conceived and based on the Derrotas alternatives workshop: Now/here Mataró (Can Xalant, September-October 2008). A work group that resulted from this meeting and made up of Roser Caminal, Ismael Cabezudo, Laura Marte, Cecilia Postiglioni, Daniela Ortiz and Anna Recasens worked with Rogelio Lopez Cuenca in research on limiting “another” geography of the city by tracing routes likely to allow us to cover the local history of one or more ways to enabling us to show simultaneously aspects which are normally seen as isolated, boxed in and frozen in time, under siege in specific spaces; a transversal view which actually starts from some unmapped geographies of everyday life, placing them in relation with the global processes of which they are both consequences and characters. In the end the non serious discourse shows only the repressive presence of what it does not say and these “unspoken words” might be an emptying which undermines everything spoken from the inside. › Doppelgänger Produced for the exhibition House taken: a literal experience. Directed by Andrea Pacheco González for Open Day 2010. Verònica Luyo y Álvaro Icaza (Perú – Barcelona) Álvaro Icaza and Verónica Luyo work both as a group, individually and with other colleagues in projects of which the core is the notion of flow, travel (as journeys or mobility), space (as a place for social interaction) and fringes or borders.
Álvaro Icaza alvaroicaza.wordpress.com I carry out my work from the crossroad (seen as friction and/or hybridizing) which arises between two scenarios and which, to a certain extent, could be different. I use my past and present experiences while going through the process of getting used to this physical and social space where everyday events gradually fluctuate between the unusual and vice versa, i.e. a crossroads and reconsideration of experiences in both directions, ignoring them and making them habitual, a place where I show my insecurity when faced with what so far I have understood as art production and/or practices. Projects: › Titol de transport (Project selected for the competition Mònica al carrer (Arts Santa Mònica). Intervention in les Drassanes and surroundings. Work in progress, 2010). This project aims to reflect on the use of public money and the means of financing culture. By using money awarded in competitions for production, I propose reimbursing fines imposed for travelling on the Barcelona metro without a ticket and returning the money to the public. The plan has two parts. First reimbursing the fines imposed for travelling without a metro ticket. Second, a debate will be organized to foment dialogue among people from diverse and opposing public spheres (linked to the world of art, public transport, etc.), to reflect on the idea of the public aspect of transport, space and art. › UB Collection (David F. Mutiloa/Joaquin Reyes/Glòria Fernandez/ Álvaro Icaza. Works acquired by the UB Collection in 2006, 2007 and 2008 with original packaging). Each September the University of Barcelona’s faculty of Fine Arts holds Sense Títol, an exhibition
Laboratory Programme. Artists with a study at Can Xalant · 55
in which the most representative works of the final year of studies are presented and which also serves to acquire works for their collection. As participants we had access to some of the works acquired by the University of Barcelona’s art collection from the three previous editions of Sense Títol. These works were to be moved from the place they are kept (storage) to the exhibition area we were assigned. The layout of these works in the new space was to keep the conditions similar to those in storage (place, packaging, etc.). Verónica Luyo Notes for a Frankenstein text Braindead 1 or the Death of an Author I start from a condition. Physical to begin with. A mistaken response of the immunological system triggers disorganized chemical confusion. Histamine invades me. It’s impossible to think, my body soaks up the panorama leaving me disabled and taking me out of context. The call is diffused through my blood. Little by little my body will begin re-conquering and expanding the space I occupy. My body is a battleground too. It appears on the folds of my skin. There where one muscle ends and where another begins, where the muscles form a limit. Or on the parts that you no longer recall. Behind the knees, under the elbow, between the neck and nape, through the ear passage to the surface of the eye... At that moment, they, the last steps of bodily hierarchy on its outer limits, constitute the Conceptual Place of Being Out of Step. The limit is above all a line of reference: the border of a field of meaning beyond which that which still does not belong to a definition lies, because we can’t or don’t want to include it.2 Head of a Black Man Painting, part of the MNAC collection. “Portrait of Minorities” comments the museum in its edu-
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cational catalogue so delicately that it sharply contrasts with the crudeness of its portrayal and the layout of the room full of portraits, all facing forward. Identity, joining “idem” and “company” sounds impossible. He does not look at us and cannot look at us, we cannot see his face complete, we’ve turned him into a head. In trying to become “objective”, Western culture made “objects” of things and people when it distanced itself from them, thereby losing “touch” with them. This dichotomy is the root of all violence.3 The white looks, the only true ones dissect me. They look me up and down, I’m moored, nailed to here.4 Now we’re on your back. The Other Me5 Inflamed red, I can’t recognize myself in a mirror. I have become disproportioned. The one in the mirror is Someone Else. The antihistaminic has no effect. It’s difficult to breathe, cold sweat, ravings. My tongue bothers me. Detongued. We are the ones of the español deficiente. We are your linguistic nightmare, your linguistic aberration, your linguistic mestizaje, the subject of your burla. Because we speak with tongues of fire, we are culturally crucified. Racially, culturally and linguistically somos huérfanos –we speak an orphan tongue.6 Waiting room Limbo where we all know our Body has brought us.
Everyone in their own secret way. They look at me I look at them they turn their eyes away. We will play for a long while. I have no chance. Someone is guiding me from outside.7 Could we do something better? In the waiting room: you put up with it. If patience were an organ it would be the equivalent to my stomach. Memory of Body / If you blink, you lose With time I was able to anticipate the situations, recognize the symptoms from a distance, to face my vulnerability. Being on the look-out is a condition of those who never imagine conjugating verbs in future perfect. La facultad is the capacity to see in surface phenomena the meaning of deeper realities, to see the deep structure below the surface. It is an instant of “sensing”, a quick perception arrived at without reasoning. When we are against the wall, when we have all sorts of oppressions coming to us, we are forced to develop this faculty so that we’ll know when the next person is going to slap us or lock us away. We’ll sense the rapist even when he’s five blocks down the street. Pain makes us acutely anxious to avoid more of it, so we hone that radar. Among which would be the vibrating body of Rolnik and the Deleuze’s becoming animal, Anzaldúa considers this concept part of a memory apprehended from the body based on fear, a survival strategy. This way of turning the perception inside out, allowing us to be affected by the other which oozes its presence from a spatial position to intentions / wishes reveals a silenced face, another construction. I can’t get that journey with ayahuasca out of my mind, the plant that became snake took me over, grew from the centre, from the mouth of the stomach to the outside, hands feet fingers nails. I
was boiling from my throat to exhaling. I saw that everything was made by design, lines and points in party pantone, the other skin alive with things, being born and dying at the same time, never a dull moment. The sea cannot be fenced El mar does not stop at borders 8. Movement, flow, distance, travel, unfinished journey. The moment-space between places, before arriving and after leaving. Nepantla is translated as in between, it’s the Nahuatl reference to live without borders, at the crossroads. To vindicate myself as a mass, a complicated person. 1
Peter Jackson’s first film. The zombie is reduced to its
Cottino, Paolo. La ciudad imprevista.
Anzaldúa, Gloria. Borderlands / La frontera.
Fanon, Franz. Piel negra, máscaras blancas.
urgent needs and solving them.
Story by Mario Benedetti and the name of an Argentine rock band referring to a phrase by Rimbaud “Je est un autre”.
Anzaldúa, Gloria. Borderlands/La frontera. Refers to Chicano Spanish and its condition as a “bastardized” language.
Fanon, Franz. Piel negra, máscaras blancas.
Anzaldúa, Gloria. Borderlands/La frontera.
Projects: › Searching for relatives buscandoparientes.blogspot.com (Verónica Luyo/Celeste Venica. Intervention in public space. Project selected for the Idensitat # 5 competition.) This project consisted of generating a situation of exchange between a foodstuff originally from America –the potato- and an object, photography, history, etc., which described the psyche of this continent in Europe.
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The activity allowed us to obtain a series of materials which, like stored information, can be used to trigger other works, research, or as material for consultation. This material is built between recollections (sometimes as idealized nostalgia or opinion of a certain social-political circumstance), confrontation with another situation, stereotypes promoted by the media or souvenirs; provided by every person who accepted the exchange. Also left is the register of an exchange in communications between strangers who shared lunch and stories, in the street, and who perhaps never before would have thought of having any contact. › JINA (Video) Jina Ishii arrived from Tokyo 40 years ago and stayed in the Spain of that time. When speaking to her, one can see how living outside her country has led to her feeling closer to the different customs and ways which supposedly correspond to the culture she was born in. So it is clear to see how laving one’s territory shapes the process of building and rebuilding identity. Joint works Álvaro Icaza and Verònica Luyo: › El mar (drawing) (Animation and pencil on paper) Drawings made by tracing the same aerial view of the Atlantic Ocean. The movement is created by the inability to make one image the same as the other. The sea cannot be fenced el mar does not stop at borders. A border is a dividing line, a narrow strip along a steep edge. A borderland is a vague and undetermined place created by the emotional residue of an unnatural boundary. It is a constant state of transition. The prohibited and forbidden are its inhabitants. Los atravesados live here: the squint-eyed, the perverse, the queer, the troublesome, the mongrel,
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the mulato, the half-breed, the half-dead; in short, those who crossed over, pass over or go through the confines of the “normal”. Gloria Anzaldúa El mar (photocopies) (Animation and photocopies) Six hundred and fifty photocopies made based on an aerial view of the Atlantic Ocean. All together these show the transformation of this image until it disappears. In this animation the movement is provided by the loss of information on every copy made. Non binding estimate Produced for the exhibition House taken: a literal experience. Directed by Andrea Pacheco González for Open Day 2010. Mouthpiece (Video) We take part in the video Ne me quitte pas, performed live by Jacques Brel, without sound. By focusing on the movement of Brel’s mouth this is the only significant vestige left of silenced lyrics and melody. What was once a complementary thing in communication becomes its basis. Music starting from its performing nature. Discourse becomes gesture. Failed Attempt (Series of slides) This series of slides was made one the limits between Barcelona city and Badalona. We had planned to reach Mataró with plenty of time but got sidetracked in the attempt to arrive.
Jean-Philippe Peynot (Barcelona - París) He lives and work in both Paris and Barcelona. Architect and artist, staff writer for the Archistorm magazine, he is now conducting research in the philosophy of art and measuring modern art. The following work may be highlighted in his career: an industrial building (Bondoufle, France, 2002), installations in public space, L’Espace sans qualité (Pati Llimona, Barcelona, 2003), Quatre Chemins (Centre
Cívic Guinardó, Barcelona, 2004), Virus Palmera (Place de la Mairie, l’Hospitalet, 2006) and publications among which can be found a book on Antoni Tàpies, Tàpies: 1, 2, 3, Bang! (2006) and another on Bernar Venet, Bernar Venet. 1 pour 1 (2008), both published in Paris by Archibooks. He participated in the Lilliput festival in Barcelona (2010) with the installations Xóchitl, E veig a Vós, Foc, llum. Jean-Philippe Peynot is currently developing art work where text turns into image to bring poetry close to painting. Cristina Ibañez-Tarter (Vilassar de Mar) www.ibaneztarter.com She holds a degree in Fine Arts from the University of Barcelona and the Akademie der Bilden den Künste in Vienna. Her work is based on the practice of procedures which tries to use reality as the main contextual concern. The notion of process accepts randomness and error, the participating factor or co-production, features which are often mentioned in the artist’s work. Register as a unifying feature is the modus operandi from which most of her work stems. Collecting files with unedited material forms a personal experience, where sorting as a productive activity forms views which differ from the original and acquire meaning. In this way the pieces begin with a search for registers which will later be manipulated, stored, resorted, postproduced or simply shown as a new form of classifying reality. This accumulation of data is often linked to repetitive processes where the unit of time, limited by space and seen as a limit or container becomes especially important. Unuseful time, the need to fill a specific time, the feeling of wasting or limiting time as a contingent unit becomes a challenge regarding productive activity.
Projects: › Wasting time. Your ideal partner. This consists of a camouflaged Internet web platform as art work. The page contains a test with questions about personality to define the perfect partner and forms part of other pages of the same kind. The difference appears after the user spends some time doing the test and due to a series of conditions realizes it will never end. http://testparejaideal.blogspot.com › Wasting time. 100 hand-made copies of a 7cm box Installation with 5 shelves measuring 2 metres long which hold 100 handmade paper boxes. Each attempts to come as close as possible to the original and this is a reflection on productive time regarded as work which seems mixed up due to the absurd sense of this activity. › S/T. Casa tomada, una experiència literal Produced for the exhibition House taken: a literal experience. Directed by Andrea Pacheco González for Open Day 2010. › Frequency Alphabet. Letters sorted according to use Sometimes the established way to sort out paradigms is not the most coherent. Based on the Western alphabet, letters are re-sorted according to the frequency of their use in Spanish. Based on this premise the video graphical project arises when the new alphabet is repeated in this order and stops when it reaches the letter which builds the sentence, thus creating a temporary state in writing which comes from the frequency of the new order. › Words used in weather forecasts sorted according to number of repetitions Weather forecasts are part of a specific jargon where vocabulary is concrete and limited. Based on forecasts made in the month of December, statistics were compiled from which all the words
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used are extracted and sorted according to the number of repetitions. › Transcription of a football match broadcast in real time. A live football match and the reception of this information by viewers comprise different times. First there is real time in the match where the events take place. These are received by the commentator who immediately explains objectively what is happening. This filter reaches a third time which is the reception of the information by the viewer. The art offer consists of adding a fourth time which is transcribed in the form of a video with real time information where inevitably content is lost due to the different speeds of broadcast. Eva Marín (Barcelona) She holds a degree in Fine Arts from the University of Barcelona and did her Erasmus at the Faculty of Art, Media and Design at University of West of England, Bristol. My career in art moves between two work methods; one, photography and the discovery on my own of situations by searching for the unexpected and oddness in everyday life. And two, work in collaboration with persons who are called to participate in projects done in situ or who are characters of the work. In both methods however, there is the same spirit of uncovering the landscape: the natural one, the built one and the emotional one. Projects: › Forgotten Limits Produced for the exhibition House taken: a literal experience. Directed by Andrea Pacheco González for Open Day 2010. › Maps of Happiness (work in progress) This project aims to reconstruct the emotional landscape of people who take part in it. These people must provide a number of places which
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remind them of moments of happiness in their lives, give the coordinates of the exact spots and rate the level of intensity of happiness that they experienced in these places. The final result of the project is maps of altitude curves where the summits represent the high points of happiness and the valleys are places where they were less happy. Also included are photographs of the places chosen by each person as they are today. › What are you dreaming? (work in progress) People are asked to deposit their dreams in a cushion/urn; the project consists of a publication which must serve to document the destruction of the cushion so as to extract the dreams it contains and reflect the interpretation I make of each dream found in the urn by a photograph. › Complexes (work in progress) Complexes is a photographic journey over the bodies of participants. The final result is different video projections for each participant with the photographs of different parts of their body, and the audio of the person portrayed relating their physical complexes and how this affects their daily life.
P ROJ E C T S
R ES I D EN T
A RT I S T S
A large number of artists currently work in groups or involve other collectives in their projects. To provide a service for this kind of artists we offer the chance to use other areas by occasionally turning the centre into a platform for meetings and debates, work and production. Also in some cases there are artists who request an area to produce a specific project or artists who due to the dynamic feature of their work do not require a specific area to work. From this style stems the concept of projects residents which began in 2006 with the project Rieres i Rambles created by the Stalker group. Saló de te (Mataró-Barcelona) www.salodete.org Les Salonnières is a group of artists formed by Laura Cardona, Ester G. Mecías, Cèlia Prats, Meritxell Romanos and Marta Xibillé. Since 2006 they have conducted projects involving the intervention of dialogues. They aim to establish a genealogical tree based on the fact of creating relationships and networks in the circuit of art, education and society, connecting the different agents who form part of these. This habit stems from the French Salonnières of the 18th century, and from which they have recovered conversation as a political habit and the creation of networks based on proximity and knowledge. Thus, they use performances, dialogues and action to investigate new forms of exchange and production of knowledge. Their production is about building physical, symbolic, emotional and, above all, experimental
spaces where they can construct creative, stimulating, thought provoking experiences with different agents. Their aim is to manage, organize and materialize shared art events and experiences which use dynamics based on relationships to provoke discussions on the people with whom they work. To date Les Salonnières have participated in art and educational projects, performances, roundtables, workshops and congresses with artists such as Alicia Framis or Rirkrit Tiravanija in centres such as Arts Santa Mònica (Barcelona) or Can Xalant (Mataró). Occasionally they have received support from entities such as University of Barcelona or the Cultural Agency of Mataró. Airvoland (Barcelona) Airvoland is an aero-cultural agency which since 2007 has observed the today’s use of the sky to create specific projects in the art world and also actions designed by the aeronautical industry and its context. Compared with just 20 years ago, flying has become an everyday activity thanks to which we move freely over the planet. More people fly more often and the experience has become quite tedious. Airports and planes are waiting areas and are sometimes simply boring. In contrast to this, the world we live in is more interactive and the needs and expectations of the users of the sky are inevitably changing. At Airvoland we created the concept of “Air-Creative-Time” based on which we invent and develop strategies and projects which aim to improve the experience of people related to the action of flying. Projects: › Bohemian landscape with mount mille. (Airvoland in collaboration with Caspar David Friedrich) Produced for the exhibition House taken: a literal experience. Directed by Andrea Pacheco González for Open Day 2010.
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› First international launching of three control towers into space orbit: Dubai, London and Beijing. (Projection one channel 3 loop videos lasting 40’’) At airports in three growing cities something unheard of happens: their air traffic control towers lift off like rockets to orbit the earth! These animated images directly relate the growth of the cities with their airports: the bigger and better their design, equipment and location, the greater their development will be. Also these videos link the idea of earth and space, borders used every day more, while shaping the persistent desire to get to know places beyond our planet. Airvoland reproduces the exciting countdown of all space lift-offs to go along with these three control towers on their new journey through space. With this pilot project, Airvoland turns into an Aerospace Cultural Agency specialized in space tourism, a new way to travel which will soon send us all into orbit! › Airplane clock (Video) This fixed view of the mythical skyline of Barcelona lasting 60’: the sculpture of Christopher Columbus pointing to the Americas. A sign of other times, the monument contains the history of travel and the first transatlantic voyages, where another possible origin of our global world may be found. On this static image superimposed air traffic heading for Barcelona airport can be seen on a winter’s morning. After watching this for a while, the cadence of the passing planes makes it easy to predict a certain fraction of time providing the city’s residents an updated measurement of time similar to a sand clock. Airplane clock recoups ideas of the past still valid in our days: the desire to travel and discover other worlds and the forms of mobility. A reading of his-
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torical times and the hysterical time which rules our watches and clocks. › Cénit Barcelona (Digital printing of a photographic collage) Not all the people in Barcelona have their feet on the ground. What happens to all those people who cross its sky in planes and temporarily inhabit its air space? This photographic collage is a hypertrophied metaphor of the amount of passengers that fly over Barcelona every day. A panoramic view of the city includes its particular skyline: on one hand, the ground with its buildings; on the other the dynamic and frenetic sky, due to the flow of planes. The airplanes shown correspond to the companies that operate with journeys beginning or ending in Barcelona in which thousands of tourists land daily in our city and briefly “occupy” it. The condensing of air space corresponds with the density of urban land, the main gateway of which is its sky. This false snapshot works as a portrait of contemporary reality which holds the sky as its main character: continuous movements between connected areas speeded up. Additionally from the sky passengers can enjoy the panoptical view of the city. A vertical interpretation which allows all its icons to be seen at a glance. AccNeo (Maresme) Mr alginate Josep Domínguez and Jaume Aguirre (AccNeogrup) have worked together since 2006. Their work is a fusion of performance and new technologies. The Incívics was a resident project in Can Xalant in 2009 and Ca l’Estruch in 2010. AccNeo-grup made use of their stay at Can Xalant to work on the personality of ‘Mr alginate’. This character came to life in Can Xalant following an event held in the courtyard, which disas-
sociated Superincívics from their ‘birth universe’ sSpace, the group’s experimental laboratory (http:// accneo.com) to make it grow from other contexts. The works conducted during the residence period revolved around this character, while providing it with experimental referents starting from an itinerary of performances and his own imagination thanks to the works-waste. So, Mr alginate exists on two planes of reality: physical and audiovisual. Idea To create a being that is dispossessed of culture and placing it in different situations in such a way that it has to interact with the context and all that is related to discover alternative possibilities of expression in the process of communication and social relationships. By removing the cultural habits of Mr alginate everything is achieved by altering his sensorial perception based on the characteristics inherent in dental alginate (temperature, smell, change in material state...). Projects: › The performance at sSpace This focuses on the moment of waiting for the consolidation of Mr alginate’s body. This interior space where everything that happens around it is seen from a distance and this enables a naked reflection of the usual stimuli. › Red Velvet Cake Around the event held at Can Xalant appear a series of video pieces such as Red Velvet Cake (2009) which makes use of the language of videotutorials to explain it while establishing a wink of the eye to pie fights or Bodhincivic (2009) which goes over the mystic atmosphere of the process. › Chariot Race At the cccb, Chariot Race, in the format of a video-installation shapes a space of parallel times
which link the different stages of process when building a character. Tower of Babel Making-of with fragments of audiovisual material on making a documentary which deals with the problem caused by lack of communication between different groups who live in a large city. We were assisted by Ilham Mahure, an artist from Iraq, and the Association of United Deaf Artists -ASU- (http://www.asubcn.org). At the Casa de la Cultura in Girona (2010) the attendants are challenged to show a transgressing attitude at the opening concert at the festival inund’Art. At the entrance to the event a video shows the Superincívics destroying pressurized cans of cream while getting messy in the process. In the interlude between the music bands AccNeo-group mounts a structure full of cans of cream right in the middle of the audience, offering them the necessary feature to start off an unexpected situation at the party. X-pectator X-pectator places Mr alginate in the audience attending a show of short films in an exhibition room coinciding with the Loop festival in Barcelona. One denounces his state as a viewer when uncovering a member of the audience unable to understand what is happening around him. Suddenly a video gives a stimulus t the enigmatic character, which connects him to a peculiar audiovisual situation. Construction kit for ‘Mr alginate’. Produced for the exhibition House taken: a literal experience. Directed by Andrea Pacheco González for Open Doors 2010. Action The christening of the Superincívics meeting at Can Xalant by conducting a performance to link our project to other works found in the courtyard.
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The action takes place in two basic parts: the initiating ritual (under Tadashi Kawamata’s structure) and a walk through the courtyard. koﬁq. scmute (Mataró) In the early 20th century the Futurists proclaimed the birth of a new art, “the art of noise”, as a natural evolution of the modern language of music. According to Russolo, instruments could be replaced by machines. scmute is the alter ego of Marcos Bernabé, trained as a software developer and self-trained as a sound artist influenced by contemporary musicians such as Pierre Schaeffer, Iannis Xenakis, John Cage or Curtis Roads. His current work consists of developing software able to decompose sound into fractions called grains and re-sort them by a new model of organizing sound. koﬁq is a contemporary sound work between concrete music, microsounds and music composed by computer. The first cut –kofiq– starts from the sounds sources as diverse as prepared instruments or recordings of the outside of Can Xalant. By using rapier-like processes fractions of these recordings are taken and organized into series or clouds of sounds. The two following cuts –eora and zyo- use the first cut as raw material and by a completely autonomous process decomposes it into parts that are mixed forming a new work. The names of the different cuts were chosen by a system that creates words by concatenation random vowels and consonants. The work was created at Can Xalant, Centre de Creació i Pensament Contemporani in Mataró. koﬁq may be freely downloaded from the website of netlabel tecnonucleo.org. Marc Salicrú (Mataró) He is currently studying second year Art Studies at Escola Pia in Mataró. I try in a not too serious
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way to join and open up a small way in this world of madmen. The younger member of the group always has to learn and gain knowledge, and now I am lucky enough to have an opportunity to do so among colleagues, friends and artists who force you to go on, creating, thinking and finding one’s place in research. With a fixation as a scenario writer I am trying to build a personal language using photography, animation, video and sound with a material aspect influenced by painting, drawing, installations and irony that capture my creative motivation and the power of an original intention. Political and social reflections, literary introductions, provocation, instinct and personality which lead to a peculiar mixture of techniques and formats that meet in a search for something we don’t know what we are looking for, but is useful for training. Projects: › Bcn in the rain and TMB (Video) Based on the early form of animation using flipbooks made with post-its and joining animation by stop-motion, a funny kind of game of space and shapes is created which represent a simple story starting from an initial character which travels on a tram in Barcelona. Sound as a feature of reference to space and related to action.
› It rises-Comes down-Falls-and-Flies over (Video) Starting from the technique of stop-motion, an atmosphere of mystery is created around the scene, an unreal fantasy which throws the visitor due to its impossible movements. Two characters which are recreated inside beings that fly over the area and break the real movement. Temporary spaces disappear. › In Memoriam (Installation) Produced for the exhibition House taken: a literal experience. Directed by Andrea Pacheco González for Open Day 2010. › TIC (Installation) Joint project with In Memoriam. White canvas based on articles modified by the Constitutional Court and documents collected from the Avui newspaper published 29 June on the announcement of the change in the Statute, hand written over the 250cm2 of canvas, different views, modifications and opinions previously grouped together, leaving the space blank of the word that (everyone) does not want to mention. › Naturally Against Nature (Installation) Project of a counter-design of space, boosting the aesthetic function and displacing its use, disrupting the balance of what could have been a good design. Like a critique of an almost impossible event to survive over the years. A closed space, fauna, living land, everyday events. › Anonymous disoriented (Photography) (work in progress) The production of photographic series formed by three images which shows a situation, an action and a place which determine a concrete event, sometimes badly interpreted. Playing with modifying reality, starting from the theory of Marc Augé which refers to ‘The no places, a anonymous space can be seen without being considered as such, where the set becomes the important feature.
› Santes15 (work in progress) Participant in the project created by Eloi Aymerich, with the collaboration of Can Xalant, 15 short films are created on different events in Les Santes, the Feast in Mataró. Together with Narcís Rovira, we made one of these 15 short films lasting 5 minutes. As a central theme we took the dragon bearing fire (correfoc) and the event of the Escapada a Negre Nit and tried to innovate by excluding ourselves from the traditional style of other groups, and produce a project starting from the technique of stop-motion to re-create an image of the moment as a freezing of it. Almost 17,000 photos which dance to the rhythm of an ear-piercing sound as the basis of the moment, the energy, the fire, the Feast. David F. Mutiloa (Pamplona- Barcelona) www.davidfmutiloa.com …I do what I’m told, I don’t slurp my soup, I take out the rubbish, I blame the innocent, I buy fur coats, I push the crippled, I sell my body for a high price, I raze homes, I ignore the police, I accept bribes, I explore my anus, I constantly create alarm, I fabricate myths, I kick the furniture, I steal alms, I pass my infections on to friends, I dirty my name, I throw myself into the void, I praise my superiors, I spit on my parents, I cheat, I step on the grass, I lose my calm, I harass my partner, I ask for money, I throw away food, I clean up the evidence, I leave without paying, I sterilize my cat, I piss anywhere, I abhor the masses, I manipulate results, I eat turtle eggs, I lie when I have to, I insult foreigners, I cut down trees, I exploit a lady, I point with my finger, I spit on the ground, I explore all my bad habits, I dirty the street, I found a sect, I waste time, I forge documents, I bribe my teachers, I butt into conversations, I cause accidents, I scare old people, I interfere in decisions, I don’t look after the plants, I leave my kids,
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T R A I N I N G
I cause people to throw up, I ignore traffic sign, I worry the public, I betray my family, I use the weak, I create panic, I invade lands, I have no regrets, I shoot without looking, I accuse the absent one, I hit children, I want to die young, I drink drive… Projects: › S/T (excess) An unexpected uncomfortable presence interfering in the correct staging of an art event. Produced for the exhibition House taken: a literal experience. Directed by Andrea Pacheco González for Open Day 2010. › Any resemblance to real persons or events is unintentional. Three drawings lead to an act of hidden violence. In an exhibition three publications directly related to one of the people attending are presented but turned into recycled paper. The original publications are not shown and the possible references to these are so poor that only the person attacked is able to understand them. For her the work is an act of violence and critique by those closest to her. › Interference I, II, III. Three anomalies in the architectural space interfere with an art presentation. Part of the grey paint covering the floor of a room was removed, revealing the original ceramic floor hidden underneath. One of the fluorescent lights blinks all day. An anomalous texture appears on one of the walls. › S / T (no entry) An electric fence makes access to exhibitions difficult. In an art presentation entrance is made difficult by an electric fence. The installation, which looks like a formal sculptural game gives quite a shock to one who comes into contact with it. These circumstances alter the viewing of the works exhibited.
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› Transaction (Álvaro Icaza/Gloria Fernández/David F. Mutiloa/ Joaquín Reyes. Sala d’Art Jove 2010. Projects of creation · Generalitat de Catalunya · Barcelona). Transaction. 1 1 f. [LC] [DR] Action of reaching a settlement. 1 2 f. [LC] [DR] The resulting arrangement. 2 f. [LC] [ECT] Deal, especially when selling or buying. The award in money given by the Sala d’Art Jove for the project Transaction was completely converted into legal tender coins. The exhibition room was invaded by some 72,000 coins, mostly one cent coins, providing exhibition visitors the chance to keep part of the prize awarded by the Generalitat (Regional Government). The inconvenience arises when they consider such factors as the weight and volume of the coins, the way they are dispersed around the room, the low value of these or knowing you are being watched by others at all times.
A N D
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WO R KS H O P S
Reality Cinema (February 2009) Course directed by producer Lupe Pérez. The seminar “History and aesthetics in documentary cinema”, focused on the shapes, narrative constructions and history of so-called reality cinema. It delved into the recognition of tension existing between documentary and fiction, the differences between the truth outside and inside cinema and discussions on ethics and producing documentaries. Final Cut Pro. Basic and advanced (May and December 2009 /March, June and October 2010) Courses directed by Xavier Martínez. Introductory course into the technology of Final Cut Pro, the most common non-lineal digital editing program in the world. Compatible with almost any video format. Digital Photography (June 2009) Course directed by Daniel Caño. The course on digital Photography in art processes was focused on providing support in professional practices for artists who use digital photography in their processes of creating or communicating and to provide a solid basis which allows later self-learning.
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WO R KS H O P S
Disruption (April 2009) Workshop directed by Rirkrit Tiravanija and Martí Peran. A project presented by Josep-Maria Martín, organized by Pole Art Action, HEAD, Haute École d’Art et de Desing Geneva, HEART Perpignan and Can Xalant. The workshop was presented as a meeting and exchange platform between art students from different cities. The starting point was the group’s arrival at Can Xalant with the aim of staying at the centre for a week, day and night, to produce work which would be presented on the last day. Participants in the workshop: Resident artists at Can Xalant, students from the faculty of Fine Arts and Escola Massana in Barcelona, students from Pole Art Action, HEAD (Haute École d’Art et de Desing Geneva), students from the HEART school in Perpignan, Students from l’École Supérieure des Beaux-Arts de Montpellier Agglomération. We Can Xalant (June/July 2009) Workshop directed by a77 and Pau Faus. This workshop presented a reinterpretation of the old construction by Japanese artist Tadashi Kawamata in Can Xalant’s courtyard and to develop a mobile unit as an extension of the centre toward public space. This project was aimed at collective building, based on a network of institutions and persons representing the closest nucleus of Can Xalant. For one week artists and architects worked to transform two old caravans and turn them into new facilities for the centre.
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We Can Xalant is a project by the group a77 and Pau Faus and was part of Activa Disonancias 2009 –which pairs companies with artists or research centres–. Previous to the workshop, Les Salonnières organized a workshop at Can Xalant with children from the Centre Obert del Pla d’en Boet to work based on the idea of mobile units and to define their possible uses. Participants: Pla d'en Boet Neighbours Association, Centre Obert Pla d’en Boet, L’arca del Maresme. www.wecanxalant.blogspot.com
We Can Xalant www.wecanxalant.blogspot.com Mobile constructions for ephemeral actions in public places a77
Can Xalant, Centre of Contemporary Creation and Thought in Mataró, is a centre of residence, experimentation and art production in Catalonia whose work is characterised by such aims as being a critical observer of local art, blending different art styles and building networks with institutions from other places in the world. In 2006 Can Xalant invited Japanese artist Tadashi Kawamata to build one of his renowned constructions, this one known as Beach Bar Mataró, in its gardens. The artefact shortly became closely identified with the place and achieved the status of an institutional icon. Following a blaze which unfortunately destroyed the emblematic installation in mid 2008, Can Xalant commissioned a77 to build a new structure to occupy the area, normally reserved for staging many events and where the Open Doors –Efímer Club- meeting is held, which takes place in July every year to mark the end of the season, as well as other multimedia and musical shows. a77’s answer to this commission not only aimed to reshape the structure of Can Xalant’s courtyard but also to provide auxiliary mobile units, initially related to some of their earlier works regarding the production of Nomadic and ephemeral installations which are sometimes taken out of the exhibition areas and used in public places, removing the art projects and social cultural initiatives from Can Xalant and bringing them closer to a public who would not usually come into contact with this kind of event. Leaving Can Xalant to visit public places would thus add a new complement to the concept of Open Doors. Trànsit Projectes’ area of R&D+i considered the possibility of extending the experiment by including this project in the Activa Disonancias programme in Catalonia in its first season in 2009, and invited Pau Faus to take part following an open international competitive selection process. The aim was to take advantage of the opportunity to explore new ways of analysis and local intervention, proactive collaborations, new thoughts on mobile, flexible architectural structures for cultural uses, and new approaches and thoughts to the way things are usually done.
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The a77 team then worked in collaboration with Pau Faus, a Catalan architect who is a member of the Osservatorio Nomade Group in Barcelona and author of the recently published book “La Ciudad Jubilada”, which describes the informal vegetable gardens on the floodplains of the rivers around Barcelona. The construction in this project is regarded as being an exercise of social awareness and has been interpreted as a task with multiple facets since it lead not only to the specific material project but to define a social network both in the work of producing an artefact and in everything related to its future uses. That is why we defined a profile of uses for the town of Mataró such as a series of programmes related to childhood and children as the final aim. The Salonnières artists group developed a three-week workshop with children from the Centre Obert, located in the same neighbourhood, to discover and imagine with them the possible uses of the objects to be built. In order to achieve such an objective, an intensive communications process was undertaken, to achieve interaction among those taking part in it who, furthermore, have close ties with the place where the construction was carried out. A blog was also set up as a communications tool and is an ongoing collective work platform (www.wecanxalant.blogspot.com). We Can Xalant is a hypothesis on the dimensions of visibility. It involves showing a myriad of resources and persons who form part of one and the same environment with the suspicion that their nearness conceals forms among relationships, underlying affinities and objective implications. The work was developed and based on three approaches: 1-The material approach was based on recovering material from Tadashi Kawamata’s burnt down installation, collecting and recovering waste materials from recycling depots as the cheapest possible procedure closest to the work place. Support was obtained from the company which manages the city’s waste to provide building material. We also contacted nearby campsites to obtain caravans which were no longer used. We then organised a Laboratory of Nomadic Architecture and Self-Construction. For one week we carried out the collective construction of a system which finally consisted of putting the structure in place and getting the two caravans ready: one for part of the structure built on a higher level as a multi-purpose room for Can Xalant with a view over the Mediterranean and another mobile module for art and social activities in public places. The ramp used to raise the caravan to the higher level was then turned into a sloped garden once its original mission came to an end.
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2-The social approach was based on the identification, evaluation of efforts and modus operandi of close and immediate participants which led to building up a network of individuals and groups, defining and setting up the action programmes. Subsequent meetings with the Neighbours’ Association also enabled them to take part in the activities of the Nomade module called CX-R, finally inaugurated in a public place and held as a collective event where the neighbours provided some of their usual cultural activities mixing them with works by the resident artists at Can Xalant. On the following day the whole system was inaugurated in the garden at Can Xalant as the stage of the annual concert organised by the Efímer Club with groups from several countries. 3-In between the above is the time approach: an attempt to collectively build time. An ephemeral strategy or policy of the moment. The programme of activities was fuelled by suggestions from several artists for future actions. Several art and social projects have already confirmed they will use CX-R. The usual conception of an institution shapes, models and establishes identities. The establishment, the habitation or creation of habits amounts to a time statute. But how long can we bear the ephemeral?
We Can Xalant Concept: a77 (Gustavo Dieguez & Lucas Gilardi) Project and construction: a77 + Pau Faus Organiser: Can Xalant. Centre de Creació i Pensament Contemporani de Mataró. Cultural Management: Trànsit Projectes (I+D+i) Institutional Platform: Disonancias Activa (Catalonia). Collaborative innovation between artists and companies. Laboratory of Nomadic architecture and self-construction. Participants: Roser Caminal, Mercè Jara Muns, Mauro Giovannini, Mariana López, Joan Navarro, Cèlia Prats, Ivan Riba, Meritxell Romanos, Xavier Rodríguez, Bernat Sancho, Sandra Sàrrias, Ester G. Mecías, Patricia Ward, Marta Xibillé. Location: Mataró. Barcelona Year: 2009
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Loaned Narrative. Stories based on other’s files (February/June 2010) Workshop directed by Raimond Chaves. This workshop on audiovisual narrating presented by the Colombian-Catalan artist invited participants to think of the different creative and technological processes that endanger the conventional notions of copyright, works, art objects, their instances of validation and areas of divulgation, with the offer of making new stories based on crossing the issues raised by concerns, worries and interests of the participants. Acoustic Laptops (May 2010) Workshop directed by Tore Honoré Boe. Sound art workshop taught by artist Tore Honoré Boe. The main aim was to get participants to build their own acoustic laptop to take it home with them. For the last 20 years Tore Honoré Boe (Kristiansand, Norway, 1969) has participated actively on the fringes of global music and art exchange networks. One of his most famous projects is the founding of Origami Republika, an open network which welcomes artists from all over the world and all styles. He has appeared in many art publications and made hundreds of concerts and performances worldwide. This activity was promoted by the cultural association Tecnonúcleo, in collaboration with Can Xalant. Tecnonúcleo, a not for profit organization based in Mataró, originating from netlabel tecnonucleo.org, promotes activities related to sound art through concerts and workshops.
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Approach to experimental photography (May 2010) Workshop directed by Nelson Garrido. Through this workshop an approach to experimental photography as made with artist Nelson Garrido based on a presentation of his personal work. The programme included a theory part which sought to raise discussion by analyzing the work of artists such as Cindy Sherman, Natacha Merritt, Jeff Koons or Yasumasa Morimura, and others, and a practical part where participants did an exercise by guidelines established during the workshop. www.nelsongarrido.com nelsongarrido.blogspot.com
From Private to Political Space: Coming out of the closet (October 2010) Workshop directed by Josep-Maria Martín. This workshop turned Can Xalant into a place to promote participation, research and reflection of the transformation of private into political space. Meaning that “coming out of the closet” includes not just sexual issues: personal themes that contain individual responsibility are rarely valued although they form a basic part of systemic development, whether in space, time and groups. Organized by Pole Art Action head, Haute École d’Art et Design de Geneve and Can Xalant, the workshop took place for five days where the participants stayed night and day at the centre to produce group works which were presented on the last day. Opening lecture by Jorge Luis Marzo. Presentation of "The astronomer Gardener ", an art project by JosepMaria Martin in collaboration with Rafael Peñas. Participants: head School in Geneva (Haute École d’Art et de Design), Escola Massana, ub University of Barcelona and artists resident at Can Xalant. Workshop of Circuit-Bending (December 2010) Workshop directed by Juan Matos Capote. The aim of this workshop was to provide each participant with the knowledge and necessary practice to modify an electronic circuit in their own studio by the end of the workshop. Starting from the idea of Circuit Bending seen as creative modification, based on short circuits, low voltage electronic equipment –toys, pedals with effects, etc.– so as to create new musical instruments and sound generators. This activity was promoted by the cultural association Tecnonúcleo, in collaboration with Can Xalant. Tecnonúcleo, a not for profit organization based in Mataró, originating from netlabel tecnonucleo.org, promotes activities related to sound art through concerts and workshops.
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P RO D U C T I O N S
Mataró Grant In 2009 Can Xalant held an annual competition to award a grant to produce and present a visual arts project in any format or produce and present research work on theory in the field of visual arts (exhibition, report, publication, learning material, etc.) on the city of Mataró. The projects selected in 2009 were “Welcome to Mataró” by Raül Roncero and “Yesterday’s Shadows” by Francesc Paez and J. M. Calleja. The “Welcome to Mataró” project provides a reflection on the state of tourism in modern society, studying this economic driving force and examining the promotional strategies used by it, especially regarding the world of souvenirs as a object of tourism and as a feature representing a specific place. “Yesterday’s shadows” by Francesc Paez and J. M. Calleja, an experimental short feature film, shows a house full of features and symbols typical of the city of Mataró: diplomas from the world of nativity scenes and images of Mr Robafaves and family, postcards of miniature cathedrals, prayer cards, virgins, etc., fans typical of the Santes fiesta in Mataró accumulate perfectly in piles. A complete symbolic, religious and popular universe which allows our imagination to wander, which takes us back inevitably to an erstwhile time which no longer belongs to us. The result of both projects was presented in December 2009. The project selected in 2010 was “Decorating life from the 1960s in Mataró. History of a 10-year phenomenon in the city of Mataró” by Martí Anson.
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In the early 1960s a curious phenomenon appeared in Mataró, anonymous project that created links in the social environment of the time. Architect Jordi Capell –a significant character in the development of local architecture–, was the one who began to turn the wheel helped make many houses in Mataró have furniture by Joaquim Anson. Starting from this personal relationship between both, Capell made Anson’s house and Anson furnished the house with his own designs, a simple practical system to optimize the material and lower the costs. When a friend saw the furniture he asked him to make some for him too and thus, with word of mouth a phenomenon arose that distributed the furniture all over the city. The project aims to follow up this process over the whole city of Mataró seeking families and furniture that exists or existed, trying to compile a photograph collection of the time and new photos of the furniture. With photographs, interviews and diverse opinions he tries to create an archive to explain what happened to that phenomenon and what it meant for families in Mataró. Finally a book will be published on this phenomenon in Mataró.
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Production and exhibition grant: Espai Nivell Zero at Fundació Suñol and Can Xalant Can Xalant and Nivell Zero area in Fundació Suñol in Barcelona jointly organize an annual competition to award a grant to produce and exhibit a video project. The project selected in 2009 was Cruel Stories. The Explorer’s two Missions by producer and documentary director Lupe Pérez, resident in Mataró. Las dos misiones del explorador is one of five audiovisual pieces that form part of the Cuentos Crueles project. Each of these pieces discuss representation through a poetical document shaped based on tiny fragments of individual and collective memory. These pieces made with waste materials found and audiovisual features obtained on Internet –a medium full of restrictions and filters imposed by unidentified censors-, become a reflection on these limitations which distort and falsify the view of reality and how this can favour or interfere with our observation and discernment. The video installation was presented at Nivell Zero at Fundació Suñol in June 2010. In the 2010 competition the project Black Round Table by artist Daniela Ortiz was selected which offers the production of a video documentary on a Senegalese artist who lives on the streets of Barcelona, using the work of this artist as the starting point of this project, the Soviet avant-garde and modern architecture to create a comparative story and make an analysis of the Senegalese artist’s work based on visual and biographical similitude, the insecurity, the contexts of production and his hopes.
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Production and exhibition grant: Fundació ArtAids and Can Xalant In 2009 Can Xalant and Fundació ArtAids prepared a grant for producing an unpublished video project related with the subject of aids. The project selected was Still sick by Verónica Aguilera, an artist from Mataró. A series of events take place in the video portraying the illness and people catch it: starting from a first aid thermal blanket a series of actions evolve where the actors meet, act, destroy, devour, wrap or are wrapped. A subtle metaphorical reflection that uses “wrappers” to deal with the subject of protection bearing in mind the threat of the illness or something that attacks us. The video was presented at the Loop Festival in May 2010. Sala d’Art Jove The Catalan Youth Agency of the Generalitat (Regional Government) of Catalonia and Mataró Town Hall’s Institut Municipal d’Acció Cultural signed an agreement with the aim of establishing the conditions of cooperation between both organizations to facilitate art creation and production made by young artists through Can Xalant. In 2009 the projects Evolutions: Stills, 2009 by Raül Roncero and Comrades, citizens, brothers and sisters! By Iztiar Zorita and Oihane Espúñez were presented. For the latter a workshop featuring theatre and video was held with the cooperation of the Neighbourhood Association in Pla d’en Boet produced by youth from Mataró who would later become actors in the video presented at Sala d’Art Jove. In 2010 the video Most difficult, nothing by artist Iván Gómez was produced.
Idensitat Since 2007 Can Xalant has participated in Idensitat, an art project which investigates ways to perform in the field of public space with creative works related to the place and territory by making projects based on a combination of open competition and invitation with the aim of promoting work for specific contexts –Calaf, Manresa, el Priorat, Mataró or el Prat de Llobregat. For ID#5 Rogelio López Cuenca was invited and he produced the project El revés de la trama, conceived based on the workshop Derrotes alternatives: Now/here Mataró which the artist had produced at Can Xalant in late 2008; a group which resulted from the workshop –Roser Caminal, Ismael Cabezudo, Laura Marte, Cecilia Postiglioni, Daniela Ortiz and Anna Recasens- worked together with López Cuenca in research on limiting “other geographies” in Mataró and a list of routes to allow us to travel through its history based on the textile factories in the city. The result of this project was Mapa de Mataró. www.mapademataro.net
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OT H E R
P RO D U C T I O N S
AG R E E M EN T S A N D
› Patricia Ward “Of the same and of the other”. Video edition. “Emotional Architecture”. Video project and part of the “We Can Xalant. Laboratory of Nomadic Architecture and self-built” workshop. The video was shown during the presentation of the caravan CX-R. Mobile Unit. › Roser Caminal “Recorrido Canaya”. Video editing. Video recording of the research done by the artist during her exchange in the city of Rosario (Argentina) with the el Levante centre in 2008. › Glòria Safont-Tria “Un rècord per Pellestrina”. Video edition. › Àngela Guerrero “Fundació Fenosa”. Video edition. “Fundació Duran i Sanpere”. Video edition. › Jonàs Sala i Adrià Sala “Untitled”. Documentary in progress. › Airvoland “Skyline BCN”. Video and digital printing. › Esther g. Mecías “Wings”. Video edition. › Domènec i Marta Ramoneda “No place like home”. Video edition. › Martí Anson “Can Fábregas”. Video edition / “Por del porter al penal”. Retoc video. › Joan Solé “Les Santes”. Video edition. › Anna Marin “Mirleft”. Video edition / “Dar Tt” Video edition.
› Xavier Arenós “Arquitectura desplaçada”. Video. (Canòdrom, Barcelona) › Observatori Nòmada Barcelona “Canòdrom / Canòdrom.” Video edition (Canòdrom, Barcelona) › Betlem Estrany “Recorregut vital”. Video edition (exhibition “Santi Estrany. Recorregut vital”. Can Palauet, Mataró) › Dani Montlleó “The Stuarts”. Video edition. › Jean-Philippe Peynot “Poems”. Video edition. › Verónica Aguilera “Parkplatz”. Video edition. › Josep-Maria Martín “Digestive House”. Video edition (Arts Santa Mònica) › Aleix Gallardet “Traditional Religious Chants in the High Pyrenees”. Video edition (CAN de Farrera) › Eva Marín “Forgotten Limits”. Video edition. › Verónica Aguilera “Lived Time”. Video edition.
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CO L L A B O R AT I O N S
acca, Associació Catalana de Crítics d’Art Cooperation between acca and Can Xalant takes place at a series of work meetings with the participation of some five to ten art critics from acca to get to know the projects produced by resident artists at Can Xalant. Centre de Formació i Prevenció. Programa Alterarte In 2006 an agreement as first signed with the Centre de formació i prevenció de Mataró, a non-profit association which works with the mentally ill, so that they may come every Thursday morning to carry out activities related to visual arts at the multi-purpose room on the ground floor. Sala d’Art Jove. Regional Government of Catalonia Cooperation agreement between the Regional Government of Catalonia’s Youth Agency and the Institut Municipal d’Acció Cultural of Mataró Town Hall with the aim of establishing the conditions of cooperation between both organizations to facilitate art creation and production made by young people through Can Xalant, Centre de Creació i Pensament Contemporani. This agreement serves to regulate the access and use of the facilities and equipment at Can Xalant by artists previously selected to exhibit at Sala d’Art Jove managed by the Youth Agency of the Generalitat (Regional Government) of Catalonia.
Fundación Suñol, Barcelona In 2008 we signed a cooperation agreement with Fundació Suñol in Barcelona to provide a production and exhibition grant for a video-graphic project each year, beginning with the project Goggle Earth, núm.1. Els ulls arran de terra by Isaki Lacuesta and Isa Campos (2008), Cuentos Crueles. Las dos misiones del explorador by Lupe Perez (2009) and Black Round Table by Daniela Ortiz (2010). Zona Intrusa Zona Intrusa is a pedagogical and art project held every year in secondary schools in Mataró, organized by imac. Between October and November 2009 Zona Intrusa 3 took place in which the caravan CX-R in Can Xalant was used as a mobile device which moved from school to school every Friday afternoon to show the neighbourhood the works carried out during the week. Fundación Tecnocampus Mataró In 2008 we began a cooperation agreement with TCM Audiovisual to hold in Can Xalant a presentation of technological innovation projects by companies linked to the audiovisual field. Escola Universitària Politècnica de Mataró In 2009 a training agreement was signed with Escola Universitària de Mataró allowing students who had reached half way in their studies on the Graduate course in Audiovisual Media to do training as interns at Can Xalant for six months, carrying out jobs related to the profession being studied. UB Faculty of Geography and History A training agreement was signed to allow students on the Master in Advanced Studies of Art History to carry out their training at Can Xalant.
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WO R K
Xarxaprod Can Xalant is a member of Xarxaprod, a network of visual art production areas in Catalonia, in which 25 other centres are also members. The network has a webpage where a data bank may be found on the areas, equipment and resources in each, and programmes and schedules. This tool aims to provide artists with a systemized research of the resources and areas most suited to their production needs, and to help communication and cooperation among members of the Network. www.xarxaprod.cat Network of Latin-American art residences Can Xalant belongs to the network of Latin-American art residences, a platform directed by the Centro Cultural Español in Sao Paulo, which promotes project production and international art residences. http://residenciasind.blogspot.com Tecnonucleo In 2009 a cooperation agreement was established between Can Xalant and Tecnonucleo –an association in Mataró which promotes emerging sound languages by publishing sound recordings in the public domain and promoting concerts and other activities in the field of multimedia art-, so as to organize activities and workshops related to sound art and experimental music.
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M E E T I N G S
Master in Exhibition areas. Escola Elisava (2009-2010) Presentation, visit to Can Xalant and theory class directed by Rosa Pera, director of the Centre d’Art in Girona, Bòlit. Meetings work Xarxaprod › Nau Côclea, Camallera (March 2009) › cacis, Calders (July 2009) › tpk de l’Hospitalet (December 2009) › WorkshopBDN, Badalona (April 2010) › Faculty of Fine Arts, ub (December 2010) Work meetings on the project “Redesearte Paz” in Medellín (2009) and Santiago de Chile (2010) Meetings to establish the exchange network of the project “Redesearte Paz”, an international network of Cultural Agents with the aim of strengthening the social thread by activating models of participation and awareness with modern art methods. The project began in 2005 with cooperation between Galería de Arte Contemporáneo Paul Bardwell in the Centro Colombo Americano in Medellín and Trànsit Projects in Barcelona. “Redesearte Paz” is formed by Centre Matucana 100 (Chile), Base 7 (Brazil), el Centro Colombo Americano de Medellín (Colombia), Funarte (Nicaragua), Centro Cultural Cachao (Venezuela), El Levante (Argentina) and Can Xalant.
iii International Modern Art Symposium of Paço das Artes in Sao Paulo, Brazil. (October 2009) Can Xalant was invited to participate in the iii International Symposium of Modern Art at Paço das Artes, which was held in Sao Paulo from 25 to 27 October 2009 and focused on Experiences in modern art: fields, crossroads, articulations. Breakfast Meetings. tcm Audiovisual In 2009 and 2010 several breakfast meetings were held at Can Xalant organized by tcm audiovisual where technolgical innovation projects by companies linked to the audiovisual field were presented. 1º Encuentro de Arte en la Periferia (Cordoba) (November 2010) Can Xalant was invited to participate in several work meetings focused on fringe art projects, together with other production centres and art projects from all over Spain. Spaces for art production (Madrid) (December 2010) Can Xalant was invited to take part in a work meeting related to art production and its influence in different fields. The meeting was organised by avam (Associated Visual Artists in Madrid) and Matadero. Others › Meeting of the aavc › Summer School Xarxa Transversal › Work meetings for the Master on Advanced Studies in Art History by the ub › Work meeting for the programme of advanced studies of modern art A*Study carried out by A*Desk
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R E S I D E N C E
P R O G R A M M E
Can Xalant houses a residence at the centre to provide resident programmes for foreign artists. The residence is one of the most effective tools for promoting Can Xalant as a simultaneous production and training area and to establish exchange and cooperation projects with other centres and cultural organizations to foster networking and enrich the programme. Two types of residences are possible. One that is considered as cooperation with other cultural centres which enable us to take advantage of the presence of international artists in Catalonia to carry out activities in Matar贸: resident artists are invited to conduct a project or teach a workshop and exhibit their art work publicly (Residence programme); and also the international artist residence based on exchanges with other (Exchange programme)
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The Foreign Viewpoint and the Experience of Being There I wish to share a few scattered thoughts on the type of art practices not only determined by the context but also to which another determining feature is added: the viewpoint of an outsider. This feature is definitive in the dynamics created by the work processes that constitute what should be the experience of resident artists. The advantage of resident artists is precisely that their indefinite status allows them to access places, cross disputed lands, get to know the fighting communities and become a privileged witness of everyday events, activities which often, due to their own cultural, social or political dynamics are forbidden or otherwise full of difficulties for the local producers of culture and the institution which houses resident artists. I could quote many examples but will briefly explain one; in 2006 I was invited by the Jerusalem Center for Visual Arts as a resident artist in Jerusalem and was commissioned to present the result at a later date in an exhibition. As everyone knows, the Israeli-Palestinian conflict is one of the longest running and most complex ones in the world. For over sixty years both communities have “lived” in permanent conflict in a dormant war with moments of extreme violence. The territory is the reason for the dispute in a context of occupation and the core around which the political agenda in the area gravitates. Each inch of land struggles with all sorts of religious rhetoric, administrative strategies and acts of war. Jerusalem is actually two cities which reject and ignore each other. Neither side ever crosses the “border” which separates them. It is precisely in such extreme circumstances that the ambiguous status of “resident artist” displays all its possible effectiveness: it allows you to cross the borders and visit places that are absolutely forbidden for the locals. Using a concept developed by Pep Dardanyà1 based on the definition of an artist “as if” used by anthropologist Octavi Rofes: the artist as an anthropologist, urban planner, activist, researcher, manager, producer, teacher, etc., many more categories may be added to the resident artist: the artist as a traveller, the artist as a flaneur, as a reporter, a secret agent, a parachutist. One image often used, and always with negative connotations when referring to public art, to art involved in specific social contexts, is the metaphor of the artist as a “parachutist”. The negative image of the transplanted artist who falls from the sky with a parachute into a strange context, ignorant of the local artist’s work methods, who knows context well and is involved in the community and thus is more efficient may often be true. Yet as Octavi
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Rofes so accurately states in his book “What is public about public art?”2 This image’s efficiency to convey a message just once should not make us forget that the issue is much more complex. The parachutist obviously falls from the sky yet comes from one specific context and falls into another specific context. Once the parachute has been collected, he has just one option left if he wants to succeed in his objectives: to sharpen his senses, explore, reconnoitre the territory, discover the hidden secrets and establish contact with the local interlocutors. This story concerning the supposed kindness of the local faced with a parachutist backs a concept that is becoming increasingly more common among some cultural managers and –what is more serious- among some artists whose complete cultural production must previously be ordered by the audience and he must therefore submit himself to what the majority request. Yet travel leads to new knowledge and, in the words of Octavi Rofes, “Ideas, like plants, need outside influence. We need parachutists and inappropriate audiences are needed for knowledge to prosper, only outside sources guarantee the fertility of local knowledge.”3 In sum, the foreign viewpoint can be turned into an efficient tool to promote contradictions, question and wonder about the context itself.
Domènec Visual artist and member of the Can Xalant board of governors.
Pep Dardanyà, “Espacios de contagio. Centros de creación, nuevas prácticas de pro-
ducción y formas de colaboración en el ámbito de las artes visuales”. September 2009 2- Octavi Rofes, “Què té de públic l’art públic?” in Ramon Parramon (ed.), Art, experiències i territoris en procés, (Idensitat, Manresa, 2007) pages 19-23 3- Idem.
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Rirkrit Tiravanija (Santpatong, Thailand) (April 2009) Rirkrit Tiravanija was invited, along with curator Martí Peran and artist Josep-Maria Martín, to conduct a workshop titled Disruption, planned as an exchange platform between groups of art students from different cities (Geneva, Perpignan, Montpellier and Barcelona), in which all participants could reside in the centre for a week. Considered an important exponent of relational art, Tiravanija’s work focuses on creating architectural spaces where the public can participate actively through activities such as food, music or reading, questioning the limits between artist and public, art and everyday activities; the essence of his works lies in group work, interrelations, communication and the event. a77 (Buenos Aires, Argentina) (June-July 2009) http://plugandlivesystem.blogspot.com Gustavo Diéguez and Lucas Gilardi are two architects who form the a77 group. Their projects combine art, architecture, sociology and urban planning, with an interest in reusing industrial scrap and recycling applied to experimental housing, forming ephemeral institutions, promoting social dynamics in public spaces and self-managing cultural areas. They promote experimentalism n housing through their concept “Plug and live system” and are members of the group projects on urban planning Rally Conurbano and Charlas de Gasolinería linked to a modern look at territorialism in the metropolitan area of Buenos Aires. During their residence period they conducted the project We Can Xalant. Laboratory of Nomadic Architecture and self-construction with Catalan architect and artist Pau Faus.
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Raimond Chaves (Lima, Peru) (February-June 2010) www.puiqui.com Artist Raimond Chaves resided twice at Can Xalant in 2010 on the occasion of his workshop “Loaned Stories”. Chaves’ work focuses on sketches, installations and mainly on group projects or workshops to actively intervene in the local context where these are held. The social-political theme of his projects is mostly based on specific problems in Latin America such as drug trafficking or political violence. Edgar Clement (Mexico City) (November 2009) Edgar Clement’s residence period in Can Xalant is the result of an agreement with the cccb for the artist to work at the centre and produce a work with José Quintero for the exhibition El (d)efecto barroco. Políticas de la imagen hispana directed by Jorge Luis Marzo and Tere Badia and opened in November 2010. Edgar is considered to be one of the best illustrators and cartoonists in his country, and he is currently working on “Los Perros Salvajes”, a webcomic which may be followed on internet at www. interzone.produccionesbalazo.com. His residence period at Can Xalant allowed him to work in animation and audiovisual media. Tomás Ruiz-Rivas (Madrid) (December 2009) Residence period of artist Tomás Ruiz-Rivas from Madrid, who participated in the Parabellum 12 mm. series directed by Martí Peran and Andrea Aguado at Centre d’Art Ca l’Arenas in Mataró. He presented the video installation Fosa común, conducted with Günter Schwaiger. Artist and exhibition curator, he is the founder of Ojo Atòmico –antimuseum of modern art in Madrid. Artist Tom Lavin is working on the Spanish identity and historical memory.
Alejandra Delgado (La Paz, Bolivia) (March-April 2010) http://seconalsodico.blogspot.com Artist Alejandra Delgado resided at Can Xalant thanks to the agreement signed with the Culture Office of the Spanish Embassy in Bolivia which offered one of the winning artists of the Youth Art Award at the Biennial of Art in Bolivia SIART, a residence period at Can Xalant for one month and a half. Alejandra Delgado is an artist who has mainly moved in the field of performance and body action,
and also video and photography, on many occasions using he body as the axis and main source for her work. Starting from she opines on the possibility of appearing as a stage where unreal or unusual events occur and also as an artificial feature through which stories or documents, chronicles of real or false visits pass through. During her stay at Can Xalant she conducted research on the role of women in the city’s textile industry since the early 20th century. Cooperation: Fundació Jaume Vilaseca Tore Honoré Boe (San Fernando, Gran Canaria) (May 2010) Tore Honoré Boe resided at Can Xalant when he presented his Workshop on Acoustic Laptops coordinated by the Mataró association Tencnonucleo. Boe is a Norwegian sound artist who has lived in the Canary Islands for years. He has actively participated for 20 on the fringe of global music and in art exchange networks. One of his most important projects is founding the Origami Republika, an open network which welcomes artists from all over the world and all styles. He has appeared in numerous art publications and has staged hundreds of concerts and performances around the world. Nelson Garrido (Caracas, Venezuela) (May 2010) www.nelsongarrido.com Nelson Garrido resided at Can Xalant coinciding with the exhibition Liberando al Libertador staged at the Casa Amèrica Catalunya in May 2010. During his residence period at the centre he conducted a workshop “Approach to Experimental Photography”. Garrido began his training in photography at the workshop of artist Carlos Cruz Deu, in Paris. He is the first Venezuelan photographer to be awarded the National Arts Prize (1991). He has participated in numerous individual and group exhibitions
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around the world. He is the founder of an NGO (Organización Nelson Garrido), a photography school and alternative cultural centre in Caracas. GaleríaCallejera (Santiago, Chile) (May 2010) www.galeriacallejera.cl GaleriaCallejera was one of the projects invited to participate in the project Ceci n’est pas en voiture / Parking 01. Portable Museums which was held at Can Xalant in June. GaleriaCallejera, –formed by Pablo Rojas Schwartz and Viviana Corvalán– is a multidisciplinary art gallery unusual for its nature of being mobile being able to travel great distances to exhibit art work or to just park in streets and squares to serve people who do not usually attend conventional museums or galleries. This means the work can attract a much wider range of heterogeneous public that influences the critique of the work. Ayankoko (Tokyo, Japan) (July 2010) Ayankoko is a project on sound art by David Vilayleck a Frenchman established in Japan who participated in the music programme of the Efímer Club on Open Day at Can Xalant. Trained guitarist with influences that come from jazz, electro and traditional music, he decided to turn to electronic-ambient with a noise point. All his works are published on virtual labels such as headphones, dog-eared records, amp-recs, clinical archives, con johnco records and TecnoNucleo and with the Creative Commons licence. He develops structures and tensions in the modern sound art field.
She holds a degree in Spanish Linguistics and Literature from the Universidad Catòlica de Chile, where she also obtained a degree in Aesthetics and Art History. She is member and producer of Salinas Marambio, office of Assembling projects, design and publications, where she has staged exhibitions for several exhibition areas in Chile, such as the Galeria Gabriela Mistral, Galeria Concreta, Matucana 100, Corporación Cultural de Las Condes, besides productions for Metro de Santiago, unicef and unchr. Her residence at Can Xalant was tanks to the cnca Fondart scholarship (Consejo Nacional de la Cultura y las Artes) in Chile. Since 2006 she has been the producer of La Nueva Gráfica Chilena and Feroces Editores, projects whose main aim is to divulge and manage graphical experimentalism and art research. She currently works as coordinator of the area of exhibition productions at mavi (Museum of Visual Arts) and manages several independent projects, such as AA - AnuarioArte. During her residence she conducted research on the methodologies and residence programmes, laboratory, exchange and curatorial creation held at the centre with the aim of strengthening the establishment of national and international production and divulgation networks, enabling dialogue with
similar institutions on an international level, increasing access and participation and she organized and systemized Can Xalant’s documentation centre. Cristina Lucas (Madrid) (December 2010) Residence by artist Cristina Lucas, who participated in the series Warlike, atlas of a difficult world directed by Magdala Perpinyà and Jordi Font at the centre d’art Ca l’Arenas, presenting a video Pantone -500 + 2007.
Beatriz Salinas (Santiago, Chile) (September-December 2010)
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E X C H A N G E
P R O G R A M M E
The relationship with other international centres similar to Can Xalant has enabled an exchange programme based on open competition and later selection which has allowed Catalan artists to reside for a period abroad while Can Xalant housed an artist selected by the centre with which an agreement was signed. In 2009 and 2010 6 different exchanges were staged: with the El Levante centre in Rosario (Argentina), with Platform Garanti centre in Istanbul (Turkey), with crac in Valpara铆so (Chile), with the Lugar a Dudas centre in Cali (Colombia), with the mis in Sao Paulo (Brazil) and with Base 7 in Sao Paulo and Matucana 100 in Santiago de Chile in the Redesearte Paz project 2009.
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C EN T R E ( A RG EN T I N A )
Can Xalant and the El Levante centre in Rosario began their exchange agreement in 2008 in which the rules were established for open competition where artists and/or curators from both countries could apply. In 2009 artist Fabricio Caiazza stayed at Can Xalant in February and March and artist Vicente Vázquez staged an exchange in Rosario in May and June. Fabricio Caiazza (February-March 2009) http://soyfaca.com.ar Holds a degree and is lecturer of Fine Arts at the Faculty of Humanities and Arts at Universidad Nacional de Rosario, Argentina. Since 1995 he has worked in collaboration with artists, experts and activists in Argentina and Spain in aesthetic events linked to public areas and the media, researching ways to build free programs and seeking analogies with the field of arts. During his stay at Can Xalant he conducted his project Sincita Mataró, which consisted of seeking fragments of texts in the blogosphere and locations in the city to install them n the shape of a sign. These locations stemmed from the relationship he built with several citizens in Mataró. Thus, he moved the fragments of hand-painted texts from blogs, and installed them in urban spaces in Mataró. Finally, through photographs which documented these installations, the texts were returned to the blogosphere.
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Vicente Vázquez (May-June 2009) http://weareqq.com Vicente Vazquez is an expert in Graphic art and Advertising (advertising graphic art) and studied Fine Arts at the uclm, University of Castilla-la Mancha, Cuenca. He is a member of the weareQQ group. During the exchange, the artist staged the project You Kant Max Mix, a cooperation project based on recording new remixes on Max Mix 5, the first recordings of mixes published in Barcelona by Max Music Productions in the 1980s. He uses as his basis the first remix recordings published in Spain to mix them again by changing the original composition of Max Mix 5 by adding new beats and sounds to the original audio tape and by divulging the idea of authorship in more group work. You Kant Max Mix has as a backdrop a reflection on copyright, new digital media and their gradual and careful formalization towards the strict harsh “Charge Law”. The webpage is a blog which includes important data on the project. So far he has uploaded both current news concerning the dispute of managing rights, the culture of remix and openings to music practices whose economies exemplify feasible alternatives to the current dominant model of production and distribution.
P L AT F O R M I N
W I T H
T H E
GA R A N T I
I S TA N B U L
C EN T R E
( T U R K E Y )
Can Xalant and the Platform Garanti centre in Istanbul began their exchange agreement in 2007 when the rules for open competition were established where artists and/or curators from both countries could apply. In 2009 artists Jasmina Llobet & Luis Fernández Pons resided at the Platform Garanti centre in Istanbul during July and August, and artist Yasemin Özcan Kaya did so at Can Xalant in September and October. Jasmina Llobet & Luis Fernández-Pons (July-August 2009) www.jasminallobet.net Jasmina Llobet and Luis Fernández-Pons live between Berlin and Barcelona and have worked as an art group since 2002. The project conducted in Istanbul was Towelflag, an ephemeral intervention in the public space in Istanbul. A piece of white towel measuring some 60 metres hanging from two existing flagpoles n the facade of the former headquarters of Platform Garanti Contemporary Art Centre, situated in on of the most central streets in Istanbul. The white flags fall from the flagpoles –found on the third floor – and enter the windows on the first floor, passing rooms and corridors till reaching the washrooms, where they end up hanging from a towel rack, and can be used as a hand towel. In the midst of a noisy explosion of vendors, neon lights and the overwhelming visual and acoustic cacophony of this street, Towelflag is presented as a tranquil and partially hidden work, fully accessible only by the building’s security guard, the only person who can use the flag as a towel.
Yasemin Özcan Kaya (September-October 2009) www.yaseminozcankaya.com Yasemin graduated from the Department of Ceramics at the University of Mimar Sinan, and from 2005 to 2007 participated in the exchange programme developed by North-Rhine Westphalia, Germany. Her work is based on the crossroads of art and politics, civil society, cultural and social policies and gender identities. Her most recent projects are mainly photography and video installations. During her stay at Can Xalant she conducted the project Theories of Everyday Life. The project focused on detecting the tiny details and habits of some people when doing daily tasks –making biscuits, designing furniture or sorting clothes – they do this with an almost obsessive pattern. The result will be a video which will talk about these apparently insignificant daily jobs that become significant according to who does them and how they are done.
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R E D ES E A RT E B A S E
M AT U C A N A SA N T I AG O
E XC H A N G E /
10 0, D E
in relation to this stereotype. Later debates were held and an exhibition with the photographs and videos recorded.
M I S
W I T H
T H E
( B R A Z I L )
C H I L E
This exchange forms part of the project “Redesearte Paz”, an international network of cultural agents with the aim of strengthening the social fabric by activating models of participation and awareness through methodologies of modern art. Matucana 100 (Chile), Centro Colombo Americano de Medellín (Colombia), Base 7 (Brazil), Funarte (Nicaragua), Centro Cultural Chacao (Venezuela), El Levante (Argentina) and Can Xalant (Spain) are the centres that participated in 2009 in these exchanges between art centres. Irene Salas (Barcelona) was the artist chosen to stay at Base 7 (Sao Paulo) in October, and Claudia del Fierro (Santiago de Chile) was chosen to stay at Can Xalant between October and November. Irene Salas Exchange with Base 7 (Sao Paulo, Brazil) (October 2009) Holds a degree from the Faculty of Fine Arts at University of Barcelona and is currently studying a Master referring to the study of Women, Gender and Citizens at the same University. Her work focuses on provoking a reflection on social aspects related to the situation of women in the world through videos, photography or installations, combining strategies of journalism, documentary or conceptual art with dynamics of social work. During her stay at Sao Paulo she made the project Eu Brazileira, a reflection on how the stereotype of Brazilian women projected in the media affects them, where 38 women of different ages and social classes participated, and interviewed
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Claudia del Fierro Exchange with Matucana 100 (Santiago de Chile) (September-October 2009) www.claudiadelfierro.org Holds a degree in fine Art from the University of Chile, and her latest projects have been related to groups or small communities working from the search for disputes. Her work is performance oriented. The behaviour of humans in groups and the relationship between he centre and margin is a constant aspect of her work. During her stay at Can Xalant she worked with styles related to newly arrived migrant gypsies who temporarily occupy public areas and the differences of how the gypsy people are identified within the hegemony of the local area where they live. This difference and its connotations for the local surroundings were the leitmotif of this work. After conducting thorough research, a script arose for a video which addressed the issue of the differences, not only the differences of ethnic groups that are marginalized but also the differences as needs to build identity, survive as a group, provide culture programmes to allow modern art production. Both this material and the styles of landscapes and journeys form a video-installation that was the result of the project. Participants: Associació Cultural Gitana de Mataró and el Maresme, Pla d'en Boet Neighbours Association, Aula de Teatre de Mataró.
In 2009 Can Xalant began an exchange programme by invitation with the mis (Museum of Image and Sound) in Sao Paulo. During the months of November and December 2009 Brazilian artist Caetano Dias resided at Can Xalant and Jordi Mitjà, the Catalan artist selected resided at the mis in July and August 2010.
ceptual in nature, finds inspiration in the images of everyday life which the artist constantly records. He collects experiences, images, invents situations, delves into collections and provides actions to examine the simplest human reactions when faced with unexpected circumstances. He extracts and invents from reality, in the form of treating film or creating publications or objects, his work raises doubts about the individual, social behaviour and art.
Caetano Dias (October-December 2009) Educated as a painter he began a series of installations, sculptures and videos after 2000 which delve into the relationship between identity/body/space. Recently he conducted several interventions in public and urban spaces and videos on social issues. He has participated in events such as the 3rd Bienal do Mercosul (Porto Alegre), the Bienal do Barro de São Paulo, Biennial of Valencia and also in festivals such as Festival Internacional VideoBrazil or Festival de Cinema Latinoamericano de São Paulo and has exhibited at the Museu de Arte Sacra de Bahia, Art and Media Centre ZKM (Germany) and in other South American cities such as Maracaibo (Venezuela) or Quito (Ecuador). During his visit to Can Xalant h made several videos and photographs related with the centre’s surroundings and the people who carry out activities there. Jordi Mitjà (July-August 2010) www.jordimitja.com Jordi Mitjà’s work, formally heterogeneous, con-
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E XC H A N G E W I T H I N
T H E
P RO G R A M M E C R AC
VA L PA R A Í S O
( C H I L E )
Can Xalant and the crac (Residence Centre for Contemporary Artists in its Spanish initials) in Valparaiso, Chile organised an open competition to select two artists for the exchange residence between both centres, coinciding with the fact that in late 2010 the third Universal Forum of Cultures was to be held in Valparaíso. Since the first Universal Forum of Cultures took place in Barcelona in 2004, the exchange was planned as a research project on the features and changes caused to both Barcelona and Valparaíso due to holding the Forum. Furthermore the exchange was planned as an extended residence so that both chosen artists could work together from March to December 2010. The artists and architects Pau Faus (Barcelona) and Claudio Astudillo (Valparaíso) were chosen for this exchange. http://residenciaexpandida.wordpress.com Claudio Astudillo Barra (April-May 2010) http://arquitecturadisidente.wordpress.com Claudio is an architect who studied at the Universidad Técnica Federico Santa María in Chile, and is a member of the Arquitectura Disidente group and the former editor of the students of architecture group Criptonita. He has edited the book titled Propagations: Exploring New Scenarios and Technological Research Fields (2008), has conducted research into the field of architecture such as “Exploring software as a tool of capitalization” (2008) and “Intelligent Cover Reacting to Climate Stimuli” (2009), in the Students’ Academic Research Programme (PI>A) at utfsm in Chile.
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During his visit to Can Xalant he conducted the project titled Sound Cartography as Visualizing Urban Data in Barcelona: the Forum of Cultures in Barcelona led to a series of transformations on the city’s urban landscape and has not had much success in improving the existing social fabric, which can clearly be seen in the public spaces designed for the Forum. Sound Cartography is a project about developing a cartographic methodology which seeks to determine the intensity of usage of public spaces by visualizing places ranging from the Forum to the Parc del Besòs, opposite the poor la Mina neighbourhood.
Pau Faus (August-September 2010) www.paufaus.net He obtained his degree in Technical Architecture from the etsab, and combines his work as an architect with several creative and research projects focusing on the dynamics which are part of everything we understand as being public space. A number of these projects have taken part in exhibitions in places such as the cccb in Barcelona or La Panera in Lleida and others are the result of personal initiatives or specific commissions from towns or independent exhibition directors. He has published a book titled Retired City, taught workshops in Brazil and Argentina and staged several shows and projects with Osservatorio Nomade. During his visit to Valparaíso he staged the project titled The Unfinished House. Based on the premise presented by the Forum of Cultures held in Valparaíso –the old town in the city was declared a World Heritage site by unesco, and the core theme of the Forum was the idea of “heritage” from a tourist and market perspective, without bearing in mind the social networks that form it. The project started from the need to define and uncover vestiges of heritage in Valparaíso which avoided this hegemonic logic. Hence in the Cordillera hills, far from the tourist areas of the city, an area which has a quite peculiar style of housing, it was decided that a study would be conducted on one of these houses to establish the factors that determine its morphology and ways of life therein. A platform was built on the chosen house, whose roof is at street level and hangs on the edge of a ravine on four different levels: the house is genealogical since its style is directly related to the history of the family who lives there; the house grows as the family grows, and this does not occur in other places and cities, it becomes another kind of heritage.
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E XC H A N G E LU GA R I N
C A L I
W I T H
D U DA S
T H E C EN T R E
( CO LO M B I A )
This exchange by invitation was begun between Can Xalant and the Lugar a Dudas centre in Cali in 2010, and focused mainly on people related with each centre. Hence, Carolina Ruiz, artist and coordinator of the exhibition programme in the “la vitrina” area of the Lugar a Dudas centre was a resident at Can Xalant from October to December 2010; in turn Pilar Bonet, exhibition organiser, teacher of the History of Art at the University of Barcelona and member of the Can Xalant managing committee, was invited to visit the Lugar a Dudas centre from January to March 2011. Carolina Ruiz (October-December 2010) Artist and coordinator of the exhibition programme in the “la vitrina” area of the Lugar a Dudas centre, Carolina belongs to the El Camión group of artists, the Sangre de Palomo group and is cofounder of the Casa Tomada group. In late 2010 she organized an exhibition titled The Golden Branch in the Fine Art Projects Room in Cali. As an artist she has developed ways in which to use any medium, object or situation to exhibit her ideas on art and its position in the world, allowing herself to be carried by need and fate. During her visit to Can Xalant she conducted an exhibition project in the form of sketches, objects and photographs generated during the trip and stay at the centre, which were exhibited at the Espai Can Xalant in Can Palauet and she also gave a conference on the functioning and dynamics of the Lugar a Dudas centre.
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C U R A T O R S H I P
P R O G R A M M E
The Curatorship Programme could be described as a compendium of all the activities organized by Can Xalant or commissioned by other specialized cultural agents with the aim of generating thought and debate on specific issues related directly to production processes. Most of these activities -seminars, presentations, round tables or conferences- are involved with other programmes, especially residence programmes.
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Google Revolution. Arts in the 21st century: on the influence of Google Presented by Jordi Carrion (March 2009) Seminar which held debates on the influence of Google and the internet search tools for modern art: novels, theatre, arts, cinema... Four projects were also presented on the theme of internet and selected by a public competition held by the centre. Programme: › Screening of the film titled The Net by Lutz Dambeck (2004). › Conference by Joan Fontcuberta, visual artist. › Round table: Arts in the Google era with Caen Botto (musician and multimedia artist) and Alfredo Sanzol (theatre director). Moderated by Jordi Carrion. › Goggle Earth 1.0 by Isaki Lacuesta and Isa Campo. Screening of a video and discussion with Isaki Lacuesta. › Round table: Literature in the era of Google with Germán Sierra and Rodrigo Fresán (writers). Moderated by Jordi Carrion. › Presentation of art projects related to Google with the D_forma group, Andrea Vicente and Alexandre Galera Vernet. Presentation of work by Fabricio Caiazza (resident at Can Xalant). › Conclusions of the meetings by Doménico Chiappe and Ramon González Férriz (writers). › Fernández&Fernández. Video-literature session with Agustín Fernández Mallo and Eloy Fernández Porta (writers).
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Google Revolution. Conclusions Ramón González Férriz and Doménico Chiappe “The first time I searched the internet with Google I saw not only pictures from the past and the future –pure literature–, but the weirdest thing was seeing the present. That is the real discovery: pure present = instant = nihilism.” Agustín Fernández Mallo. Excerpt from the Afterpop multimedia reading. Fernández & Fernández “Besides being a “social network” Facebook is a format, a coded device where the links grow and grow, each figure in its own box. In this context the repertoire of possible situations and responses is limited, conventional and coded; it is just a shadow of the old language of friendship.” Eloy Fernández-Porta. Excerpt from the Afterpop multimedia reading. Fernández & Fernández i Cyberspace is a universe of information which seems impossible to understand and is too vast for the human mind since it lacks the parameters that put in order chaos, time and space. Google, as the most efficient search engine in the world today, pretends to be a code based on mathematics which grants objectivity to a vast subjective area (brands, links, visits, clicks, clicks and more clicks adding up to numbers). Its help is limited. With this prospect in mind, artists have a challenge, a mission: to tidy up this mess by creating works which can provide the data gathered in Google or other examples of cyberspace with coherence and meaning. Thus artists raise their voices, mankind before the world, the “conscience” of algorithms. As they use this raw material sprinkled in units of contents, nodes and digital nuclei they rebuild, recreate: they forge a memory. From this information, a vast amount of information (linked or opposed; contrary, contradictory or subaltern) they form a source of knowledge. However, one paradox which arises when creating a work of art is that all the knowledge produced by the artist by searching Google’s archives becomes just information and loses its profundity and is lost in the binary until rescued by a user who is able to understand its artistic quality and the knowledge enclosed therein. So we have a paradox: it both fights an excess of information and feeds it. But by feeding it, it becomes encrusted in the enemy’s
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gastric apparatus to enable it to fight two great viruses which search engines tend to inoculate in the artists who use it: the banality of art, which brings about what Joan Fontcuberta calls “third generation surrealism” when “any idea is carried out because it requires no special effort”, and the pedantry Google, which occurs when the artist pours out the information found in the search engine without possessing any knowledge, from which springs a work directed more at random than by artistic will. Google and the other search engines have still to overcome the barrier of the written word as an interface of cyberspace. It’s impossible to search for an image based on an image. We search for images by words. Like smells, sounds and abstract things. The artist attempts to transform this situation and aims to make the word turn into another kind of art. Thanks to Google and other search systems, cyberspace deletes the existence of tropological rhetoric (the chance to use a word to describe a concept which is not) and the invention of new words. Both the recovery of this discursive malleability and the rebellion against Google’s imposing the use of words as the only way to describe and find the universe. Breaking with this limitation also contributes to breaking down the barrier of language (a word in Spanish is normally found in a Spanish language website provided by a Spanish search engine, and this “conditions the material which appears” as Fontcuberta puts it) and dissolves the national border that set up the search engine, because of commercial and cultural reasons of the user. Consciously in some cases or unconsciously in others, this act of resorting to the written word to demythicize it involves infringing the pure discipline and obliges the artist to take on a multidisciplinary role, not only when relating to another type of art, such as literature or photography, or visual in the case of a man of letters, but also in the field of computers and the possibilities of programming as a new language on the one hand and as a source of documentation on the other. Cyberspace allows and requires that art be multimedia (a combination of arts). Multimedia art must not be confused with the digitalization of arts. Migrating from one format (negatives or printed paper) to another (.jpg or the Kindle electronic book) maintains the language found with the invention of the first format. It does not substantially modify its expression; but perhaps it does so in the way an artist works; and particularly the distribution channels and commercialization and the access to techniques, but not talent, necessary to achieve the work. When one accepts the possibility that a user may be involved in the work (another situation provided by cyberspace), the multimedia work is then called hypermedia, based on interaction and through academic con-
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ventions. The receiver takes on another role and builds his own “virtual identity” as Caen Botto puts it. This need for the user to interact, and in a type of multimedia work even creates and keeps the work by feeding it with improvisations from the public, requires a component of leisure as a quality which encourages participation and “parodies itself”, as Agustín Fernández Mallo says. One resorts to fragmentation as a structure and sometimes to the apparent intimacy reflected upon the user as a topic. And the public is offered “searching as an aim”, exercising “exospection which, unlike introspection, investigates the external memory created by internet”, in the words of Germán Sierra. Multidisciplinary forms lead to collaboration work and this refutes the concept of authorship as we have known it for the last one hundred years: one usually works in collaboration though with an artistic aim (otherwise we could not regard it as being art). In one space the convergence of authors’ voices is heard, creative consciences, which lead to hyperphony: polyphonics in the area of the work’s creation, both in its conception and construction. Hyperphony is becoming an increasingly more common feature in multimedia art. Thus the concept of authorship in works influenced by information contained in internet (are there any nowadays that aren’t?) is destroyed in two ways. First there are many creators of the work, under different roles and different arts. Second, starting from interaction and the artistic practice of using information from the users of internet, what percentage of a work belongs to the producer of the recycled information and is reconverted into a work? Who owns this “universal mind”, as Alfredo Sanzol calls it, which stores “homemade” and “introspective” contents? Thus a second paradox appears: a shadow of doubt is cast over the concept of author while the fast easy publication tools, such as Blogger or Picassa, promote this. The appearance of improvised authors, as those who publish their works on internet with no professional aims and however can achieve as much dissemination as those supported by the establishment, feed upon and join diasporas of critical work and hierarchical indexation which has until now dominated the world of art. Thanks to the commercial, not cultural character of search engines such as Google, when you type in a word, texts of similar relevance appear though their contents are not alike as regards public interest or wisdom. Google presents a false democratization which is dictated on the one hand by the commercial rules of auctioning spaces and words; and on the other, because the system to evaluate the websites can be manipulated by the work of technical experts dedicated to
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“positioning” within the search engines, something which requires investment of capital which increases according to where one wants to be when someone types in a word on Google. To combat the excess of information and the backroom of positioning in the search engines, knowledge must be used to “know how to search”. If the multimedia works are oriented towards some kind of didactic vocation it is towards this “teaching how to search”, which is achieved by providing the user with alternatives so that he may interact with the works so to become familiar with the interface, for him to obtain new tools, for him to free himself through art. Artists reconstruct the universe united by Google. They don’t copy it, they don’t trust the hierarchy imposed by the search engine which they see as a middle man. Doménico Chiappe
ii Google is probably the largest archive ever, but it is also clearly heir to a largely humanistic tradition: of trying to locate, classify and amass a legacy of knowledge as representative as possible. In part this was journalism, literature, cinema or photography, but perhaps Google has more affinities –though the family atmosphere may not be so obvious at first glance– with the official institutions, almost always depending on the State, which for centuries have tried to gathered a specific part of human knowledge: the great national libraries, such as the United States Congress library or France’s; the great museums, such as the British or el Prado, the Copyrights, ISBN and on different scales, all are devices which accumulate data. In all the differences between Google and these institutions are small or great: Google is a listed private company and so responds to the interests of its shareholders, not of an alleged general interest; it is so amazingly large because it does not store anything but simply orders it, particularly because its field of action is not limited to just one format such as a book, painting, etc.; and besides its access is ubiquitous and straightforward. As a result of these three reasons –is private nature, large size, ubiquity– Google has raised certain suspicions among its users which the other more or less similar but much older totally physical institutions I spoke of had not. As Agustín Fernández Mallo puts it, for example, Google facilitates access to information so much that it inter-
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feres with knowledge; for Alfredo Sanzol and Jordi Carrión, it may be a landfill in which to seek something of value among the tons of waste, Joan Fontcuberta says that it may become a perfect mechanism of censorship which does not need anything to be censored but it is enough to just dilute it, Rodrigo Fresán states his worry about the difficult control of one’s own identity in the Google world and Eloy Fernández Porta maintains that, “from an epistemological viewpoint”, the Google results are not exactly “knowledge”, but a mere “act of searching”. Of course all this is well founded. And yet, the ontological component of Google which Fontcuberta mentioned in his opening speech, i.e., the revolutionary way it has changed the way we regard information, is due to a different fact which is defined rather well by Germán Sierra when he says that, despite the fact that in the 21st century we are still unable to be teletransported, at least we can teletransport information thanks to Google. When newspapers appeared in 18th century England they had one clear aim: it was their job to gather information which appeared centrally –particularly in Parliament– and carry it to the outlying areas, whether this is the streets of London or other cities throughout the country. This was more or less the journey taken by information in the modern western world: from the centres of power to the outlying places of power, from capital to province, from the metropolis to the rest of the world thanks to the intermediation of a figure –the printer, journalist, editor, merchant– backed only by his technical ability and the reliability of his product. Well, Google has transformed this system of radial distribution of information by using the main characteristic of internet’s architecture: the absence of a centre. Everything in internet is nucleus and outlying places at the same time: the servers stored at the New York Times or Le Monde may actually be either in premises located in the Sonora desert or in a basement in Harlem; the videos in YouTube may be on one of the ship-servers which take advantage of the ocean waves to provide it with energy or in an industrial estate in Bavaria; a blog may be written in Mataró, stored in Helsinki and read–and gathered– in Canberra. This –gradual and still quite one-sided– evasion of the radial system of distribution of information has led to a crisis for the traditional middleman. The man who, armed with his experience and knowledge of traditions, closer to or further from the cultural and political establishment and with access to industrial production could tell the difference between good information and junk has been –partially, I insist– substituted by an algorithm that knows no hierarchy more than popularity or publicity.
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Something similar may be said of the analogy which was at first established between Google and the large traditional archives: these are always found in a political centre and are guarded by professionals accredited by the State which both establish criteria on the information which is worthy or not of entering the collection and the codes which order and limit the access to this information. With Google all this is just a little blank box in any computer or telephone in the world and the skilful civil servant is a mathematical operation. Of course this produces an effect of breaking down the hierarchy which affects not only the production system and the way information is received but also the economic model whereby both things are regulated, which is singularly important for the industry of journalism, culture and art. Yet despite what some see as risks –and which was repeated by Sanzol, Botto, Fresán, Carrión and Fontcuberta: fenced off by the principle of authority, dissolving the truly valuable among the banal things, comparing junk with news, no control over identities or copyright– the breaking up of hierarchy has beneficial consequences: the first is that it compels the users searching in Google to be discerning, to not trust the truth of what he has obtained, and therefore not to maintain with information the submissive relationship he often shared due to the weight of authority of certain newspapers or cultural institutions. The second is that, although it does nothing like democratizing knowledge at least it does place it at the fingertips of almost everyone. Newspapers, the modern edition and bourgeois art created a new kind of citizen: the informed citizen who took part in public matters thanks to the knowledge in this field which was provided by industrial communication. It is not clear what Google has created or is creating –An exploring citizen? A megaconsumer of data? Cosmopolitans locked in their rooms?–, but without a doubt this is something ambiguously new. It is quite probable that, despite its limitations internet is the closest to the perfect market that Adam Smith longed for. Yet in this quasi perfect market something that worried Smith has arisen and has fought –at least on paper– all kinds of capitalism: monopolies. Yes: Google has achieved something close to a monopoly in indexing internet. To the extent that following an idea put forward by Doménico Chiappe, one might almost say that Google has become a kind of internet State: it not only has a certain monopoly of violence which decides what is legitimate and what is not –with advertising policies which censor contents, with its apparently indifferent but active opinions on pornography, with collaboration from totalitarian regimes through realpolitik– but it also knows more about all its users than Orwell could ever have imagined when he wrote 1984.
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The big question is how Google will use this practical monopoly, if it already is or will become what Octavio Paz called a “philanthropic ogre”: that which, moved by some apparently unbeatable intentions, ends up leading to something evil. The only answer to this question will be experience: those of whom place our trust in the Google search engine for our labour of creation or middleman, for those of us who have all our labour and personal relations in Gmail, for those who keep up to date on a daily basis with Google Reader, we see the photos of our friends in Picassa and keep up to date with video art and music thanks to YouTube, the risk that Google will turn bad is great: much more than if our newspaper lies to us, our telephone line is cut off, our art critic cheats us or our TV set or radio only broadcast junk. Google’s motto from the start has been “Don’t be bad.” Most of us have no reason to think that it has been so far. But it is true that some things –companies, states, churches– inspire a perfectly reasonable fear when they are large and insist on their indifference. And Google is huge. And really good.
Disruption (March 2009) Conference by Rirkrit Tiravanija and presentation of the work by participants in the workshop. Presentation of the projects conducted during the workshop directed by Rirkrit Tiravanija and Martí Peran, in which students from the Haute École d’Art et de Design in Geneva, the Haute École d’Art in Perpignan, the Escola Massana in Barcelona and the Fine Arts faculty at the University of Barcelona took part.
Ramón González Férriz
Videoman. Presentation (May 2009) A project by Fernando Llanos. vii edition of Loop 2009. Coinciding with the vii edition of Loop 2009, Fernando Llanos discussed his project of video-interventions against specific urban backdrops. The artist was presented by Laura Baigorri. Fernando Llanos has been working for four years on this project, investigating the different ways of forming relationships, using video, the surroundings and people there. The artist makes us think about the kind of conscience that a society can generate where the masses obstruct, standardize and ignore. His thoughts in video format are projected in different places in the city which have been previously studied. The ephemeral, mobile nature of the project involves persons through a closed circuit system that records the reactions of this participative group which its creator has defined as “urban acupuncture”.
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Concert by Simone White (March 2009) Concert by American folk singer Simone White, organised by Tucan Bigotudo in conjunction with imac.
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CX-R Mobile Unit (July 2009) We Can Xalant Project CX-R, the mobile unit which was the result of the We Can Xalant. Laboratory of Nomadic Architectures and Self-Construction project, went into the streets to introduce itself in a popular event held in collaboration with the Pla d’en Boet neighbours association. The CX-R. Mobile Unit aims to develop new strategies of analysis and intervention on the territory, explore collaboration dynamics and provide new thoughts on mobile, flexible architectural structures for cultural use. The aim is to establish a link with initiatives created both at Can Xalant and other local cultural organizations. At the presentation was Joaquim Navarro, president of the Pla d’en Boet neighbours association, a77 and Pau Faus, heads of the We Can Xalant project. Programme: Popular outdoor snack provided by Les Salonnières; performance by Paramont Crew, a group of young Hip-Hop artists from Pla d’en Boet; screening of the videos Emotional Architecture by Patricia Ward, participant in the We Can Xalant workshop, and Politics in Works by Itziar Zorita and Ohiane Espuñez, the result of the Theatre and video workshop for young persons with the participation of young people from Mataró and collaboration from the Pla d’en Boet neighbours association. Open Day and Efímer Club (July 2009) The fourth edition of Open Day showed work carried out by resident artists throughout the year and provided a programme of avant-garde music and other art styles under the title of Efímer Club. A new structure was also presented that was created during the workshop titled We Can Xalant. Laboratory of Nomadic Architectures and Self-Construction by a77 and Pau Faus with cooperation of participants in the workshop.
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The day’s programme included open workshops by resident artists at Can Xalant and an exhibition –in different areas of the centre– featuring some of the work done in 2009 and a selection of videos made at Can Xalant during the year plus a selection of animated videos titled Animated Inspiration. Catalan Independent Animation Show. Furthermore, the meeting also featured the music programme of the Efímer Club, during which Howe Gelb (Tucson, USA), Dent May and his Magnificent Ukelele (Jackson, USA), El Petit de Cal Eril (Guissona), Nueva Vulcano (Barcelona) and Heliogàbal DJ’s (Barcelona) performed. Presentation of a video by Itziar Zorita (October 2009) Presentation of the project Comrades, citizens, brothers and sisters! by Itziar Zorita with the cooperation of Oihane Espúñez, made for the Generalitat of Catalonia‘s Sala d’Art Jove, in the series titled Agitation and propaganda. Video project on political rhetoric which included cooperation by a group of young people from Mataró to stage excerpts of great political speeches which have marked the history of the 20th century. With cooperation from the Pla d’en Boet neighbours association. Presentation of the DISONANCIAS Catalunya project (November 2009) DISONANCIAS is a platform aimed at companies, research centres or public institutions that may be interested in cooperating with artists to encourage innovation. DISONANCIAS Catalunya 2008/2009 included four research projects carried out between January 2008 and October 2009. In November 2009 the following projects were presented –Telefónica R&D and Carme Romero, Eidola and Jazmin Basc, GTD and Moy, TV3 and Diego Soroa– and the
project We Can Xalant by Trànsit Projects, a77 and Pau Faus which formed the Activa_Disonancias 2009 project, made at Can Xalant. Presentation of the Mataró Grant 2009: Welcome to Mataró and Yesterday’s Shadows (December 2009) Presentation at the Can Palauet conference hall of the winning projects of the Mataró Grant 2009 Welcome to Mataró by Raül Roncero and Yesterday’s Shadows by JM Calleja and Francesc Pàez. The Welcome to Mataró project provided thought on the world of souvenirs as a tourist object and as a feature representing a certain place. Roncero published a collection of 100 symbolic features of the city of Mataró in postcard format with the aim of discrediting the idea of symbols as a perfect feature and model of admiration. In turn, Calleja and Pàez presented their experimental short feature film Yesterday’s Shadows focused on the passing of time based on a house full of symbols and features belonging to Mataró. Mataró. The Opposite of the Storyline. Presentation of the project for Idensitat-Mataró 2009 (December 2009) Presentation of the project Mataró in the Can Palauet conference hall. The Opposite of the Storyline by artist Rogelio López Cuenca, invited to stage the project for Idensitat #5. The artist presented the
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”other” map of the city of Mataró, made jointly with Roser Caminal, Ismael Cabezudo, Laura Marte, Cecilia Postiglioni, Daniela Ortiz and Anna Recasens, and the result of the research work on alternative and transversal routes around the city based on the history of textile manufacturing in the city. www.mapademataro.net The Creole Touch. Conference by Raimond Chaves (February 2010) Artist Raimond Chaves presented a conference featuring music called The Creole Touch his current work in progress titled Notes for a Critical Theory. The presentation by Raimond Chaves coincided with an exhibition by artists resident at Can Xalant and the presentation of the two latest issues of the magazine Roulotte published by ACM, Associació per a la Cultura i l’Art Contemporani in Mataró. Origami Boe. Concert by Tore Honoré Boe (May 2010) Concert by Tore Honoré Boe, director of the workshop titled Acoustic Laptops. Tore uses any source of sound to create abstract sound narratives, sometimes ultra-minimalist and other times more intense. His creations are free from any pre-established backdrops but obviously owes something to he composers of new music. The activity was organized by the Tecnonúcleo cultural association jointly with Can Xalant.
tutored by professor and curator Martí Peran. Parking 01. Portable Museums is part of the Ceci n’est pas une voiture project, which is designed to be a study on documentation and reflection of building mobile devices as features for a comprehensible idea about museums or, instead, as an alternative to these. Three stages of the project are highlighted with this aim: Parking 01. Portable Museums (consultation area); Parking 02 (Exhibition); Parking 03 (Seminar and publication). Parking 01. Portable Museums aims to investigate, reflect on and reconsider the way exhibitions are held and contribute new thoughts on institutions, the system and strategies of the socialization of art, and aims to connect the different portable and autonomous devices designed to be directly involved in the urban fabric or serve as an infrastructure to conduct activities, promoting alternative ways of institutionalizing and fostering processes of open or group art. During the inauguration a number of projects were presented by Rosa Pera (Travelling. Portable Culture), Domènec (Project Motocarro, ID #5-Manresa), Pablo Rojas Schwartz (Galería Callejera), Lluc Mayol (Fanzinoteca Ambulant), Tomás Ruiz-Rivas (Portable Contemporary Art Centre), Tom Lavin (Defence Museum in Madrid). http://museusportatilsparking01.blogspot.com
Parking 01. Portable Museums Ceci n’est pas une voiture. Research project and consultation area (May 2010) In collaboration with the ub Master of Higher Studies on the History of Art, Can Xalant presented Parking 01. Portable Museums, a research and consultation project organized by students of the master,
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Presentation of Mataró – Parking 01: Portable Museums Tomás Ruiz-Rivas As we don’t have much time and since I have also to present two projects, the Defence Museum in Madrid and the Portable Modern Art Centre, I have decided to focus on several background issues and I trust that the documentation exhibited in the hall will be clear enough for those who come to see it to later be able to compare the theory to practice. When discussing the subject of portable museums several highly complex themes must be covered: one, museums as institutions, backed by a whole history and discourse which must be carefully analyzed. Furthermore the things that were limited to a certain kind of radical art practice some years ago, the portable, ephemeral kind, are now being absorbed by the centre of power: recently two absolutely mainstream architects, if you will allow me to use the English term in the pejorative sense, built portable devices, the Prada Transformer by Rem Koolhas and the Chanel Mobile Art by Zaha Hadid. The Centre Pompidou has also just announced that it will shortly have its own mobile site. Just like artistic creation, formal innovation has not been a content for ages, in this sphere one may say that what’s in the street and can be moved does not guarantee anything. And this brings us to the next subject of my dissertation: art in public spheres. The kind of radical art practices associated with these portable museums are included in, though perhaps somewhat particularly, as we will see later, a general notion of art in public places. This expression is amazing, for we all have a more or less defined image of what this means, but it is composed of three words that cannot be explained separately. For example, leaving aside art, what do we mean by space? The Cartesian corporal substance, Kant’s a priori categories? The truth is that modernity’s abstract, uniform space has been broken up and, according to Marxist thought, has become historical, i.e., linked to the production systems of each society and its political structures, subjected to a process of dialectic change. According to French anthropologist Henri Lefèbvre space is a product. He defines and explains this in his best known book Production de l’espace from 1974. Each society creates spaces according to their production systems, and these areas also determine the development of the latter. For example capitalism created the modern state to substitute the former dominion of lords. Land was freed from its dynastic ties and the peasants from their ties with land leaving the former available for buying or selling and the latter for hiring or firing. The internal customs posts which were set up as
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privileges for certain ranks were disposed of and in their place borders were set up with other states which not only controlled the movement of goods but also capital and workers. The movement of new workers was to shape two characteristic areas: industrial cities and at a later stage, borders. Unlike the city of early modernity, Lefèbvre specifically describes the city of the Quattrocento in Tuscany, when the colonized substituted the servants, and where dialectics arose between the emerging urban area portrayed in the paintings of the Sienna school and the countryside, a relationship which the French scholar sees expressed by the driveways of cypresses. In industrial cities large numbers of humans were concentrated and subjected to the hardships of the factories. The dialectics with the countryside disappeared or became what we know as landscape, a cultural artefact that highlights the “otherness” of the old rural world, and ways of transit became areas of conflict, the place where class struggles built up. In our days the relocation of industries and the way our economy has become dependent on services have dispersed the army of workers, and these same ways of transit where once violent confrontations took place are now leisure areas where the middle classes consume experiences based on culture. We have gone from the city-factory to the city-show, from a place where goods were made to a place which manages itself as a good. And this will oblige us to review the categories used thus far, beginning with public spheres. The landscape, this vision of civilization upon nature one might continue, which has been built from as far back as the Dutch painters of the 18th century, the romantic Germans and French and English landscapers from the 19th century, has disappeared. Land Art materialises the end of the opposition between city and countryside, and in these interventions an expanded urban stretch invades what was previously considered odd to humans and their jobs: deserts, remote places, uncultivated land. The areas we inhabit and through which we travel change with our bodies, are built and undone. What I would like to underscore in this short introduction is that spaces are not pre-existing but must be constantly built. For us, people concerned with the institutions of culture and their ability to create public spheres, this is highly relevant. Urban public sphere must be seen from this political viewpoint. It cannot be identified as more or less free areas of movement of human beings, or equipment, whether these be parks, museums, sports fields, etc., provided by the state or private corporations for all or almost all citizens. On the contrary, public sphere, as German urban planner Kathrin Wildner tells us, is not characterized by stability and continuity but is a series of processes and situations. It is therefore a space of negotiation,
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disputed material and debatable. It arises, is used and negotiated heterogeneously. The continuous encounters and negotiations of different interests and values, attributions of meaning which may sound contradictory are what distinguish public spheres. Museums, as specific public spheres, should be submitted to a continuous process of construction or regeneration based on this negotiating between different subjectivities. Actually their origin lies in the need to separate public and private things into different spheres. It should be recalled that the Louvre is the result of making the French royal family’s collections public, and the need to define a new subject: the bourgeois. According to Simon Sheikh, museums contributed to portraying and legitimating the new bourgeois’ own subject of reason. More exactly, this issue, the fictitious identity of owning goods and the pure, simple human was in itself a complex process of self-representation and self-legitimating, i.e., closely linked to representing themselves culturally as an audience. Despite the above our experience of museums is quite different. The pretension of a unitary and homogeneous public has long vanished. This subject, furthermore both independent and proprietary, was male and white. As women joined public life first, and later racial minorities, the appearance of postcolonial subjects, with their huge complexity and other disputed identities, such as gays and lesbians or religious groups, has deeply transformed the notion of public and has given it more political relevance. According to Michael Warner the public is a place of discourse organized for the sake of discourse. It is autotelic, its aim is itself; it only exists as an aim by which books are published, shows broadcast, websites auctioned, opinions provided. It exists only because something is addressing it. According to Jorge Ribalta the public does not exist as a predefined entity which can be attracted and manipulated, but is formed by open, unpredictable forms, in the process of building discourses through their wide-range of ways of divulgation. This is where a new concept arose: the counter-audience. In her book edited by Calhoun, Nancy Fraser tells us about Habermas and the public sphere and how members of socially subordinate groups –women, workers, coloured and gays and lesbians– have usually found it beneficial to create alternative audiences. I propose –she goes on– calling them counter-audiences to emphasize that they are parallel arenas of discourse, where members of socially subordinate groups invent and divulge counter-discourses to formulate oppositional interpretations of their identities, interests and needs. And to get back to Warner, according to his book Publics and Counter-Publics, a counter public is constantly aware of its subordinate status. The cultural
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horizon from which it distances itself, beyond which it is situated, is not exactly the general or wider public, but a more dominant one. The discourse it builds is not merely different or alternative language, but one which would be viewed with hostility in another context. Beyond museums, it is the institution of art that must be considered as public sphere. A battlefield as Hans Haacke once said. However changing industrial capitalism into knowledge capitalism (we mentioned above how developed country’s economies have become dependent upon service industries) means, among many other things, incorporating creative work and culture into production. As Debord predicted quite wisely in the 1960s, we no longer consume objects but experiences that can only be gotten from these goods. Habermas’ public sphere is no longer just a space for criticalrational debate as sand for advertising, in the words of the aforementioned Craig Calhoun. The art institution has not only created a gigantic market of objects and merchandising, internationalized by means of a system of no less surprising fairs but is the main character in the transformation of the aforementioned city, from a space of class conflict to a space where cultural leisure is consumed. The character of the public sphere of art in general, and museums in particular, is reduced when these are no longer spaces where society can play out its disputes as hegemonic subjectivities displace and exclude the subaltern ones. This is where the Antimuseum weighs up its thoughts on the so-called alternative or independent sphere of art. In 2003 we opened an area on Mantuano Street, where we began by staging a more or less conventional programme of exhibitions, some directed by us and others proposed by artists which we call the open programme. But around 2005 we realized this kind of activity, i.e. exhibiting cultural objects to a subject, actually an alleged subject, the viewer, did not make much sense to us. To cut a long story, the conclusion was we thought the alternative sphere was “for” the artist. I.e., it offered an alternative to production and divulgation for artists where the works go beyond the exhibition areas of galleries and museums. The alternative area, in this sense, provides artists with a context that is both physical and critical discourse where they can develop their work beyond the demands of the market and censorship of the institutions. Notwithstanding the above, today we must think of spaces which are alternative “for” the audience. I.e., spaces which provide this complex social entity we call the public with a physical, discursive, political context to take shape and gain access to the cultural experience in a way that is at least different from the one imposed by the hegemonic artistic system, both on a lo-
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cal and global scale. A space where the same constituting of public as a social form takes place based on or around opposing discourses. We had simultaneously been working on a media we call Micromuseum, a portable or ephemeral infrastructure, most importantly cheap, to exhibit or produce art in places with a lack of materials and symbols. Here I must add that I have dedicated a lot of time these years to studying both the theory on the public sphere which stemmed from the famous book by Habermas, and also texts on art viewed from Situationism and Land Art to the classics of art and participation, such as Mapping the Terrain by Suzanne Lacy, Conversation Pieces by Grant H. Kester, or those published by the European Institute for Progressive Cultural Policies on its website. The link between these two fields is what gave rise to the arguments herein, and to the two projects now presented at Can Xalant: the Defence Museum in Madrid and the Portable Centre of Modern Art. The former is a complex object which is still changing nowadays without actually defining itself. Even though it is a work of art, it has the power to house other works by other artists, and to this extent it is a museum. It all started at an event that can be explained particularly clearly by the nature of memory: in the neighbourhood of La Prosperidad, which housed the site of el Ojo Atómico hall between 2003 and 2007 lies a bomb shelter from the civil war, forgotten by practically everyone and inaccessible to the public. This hidden place symbolizes the appearance of the involuntary memory, the sparkle that witnesses the past and fights against the conscious mystifying fabric of memory, as Benjamin wrote about Proust in Dialect of Enlightenment. My aim with the Defence Museum in Madrid was to invoke this memory in places where the events took place, now hidden or erased by history or by the work of an institutionalized memory. However the Portable Modern Art Centre is an institution, a full blown museum, the main aim is to create public sphere in a decadent urban area: that of Mexico City. The documentation presented at Can Xalant corresponds to what one might call a pilot experience, a trial where different interlocutors have been sought in different territories to check the adaptation of theory to practice. I shall not go into great detail on the activities carried out since they are included in the aforementioned documents. What is important, and with this I shall now end the paper, is that the model has worked beyond even our greatest expectations. Though not everything that was done at the cpac was to our liking or interest, the way the device is incorporated into the landscape of the informal economy, relationships established with the public, how its presence was used in the streets, the possibilities it opens up
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to individual artists or all these general aspects have been unbelievable. So much so that the CPAC has remained working in Mexico and new projects are beginning directed by Eder Castillo, and applications have been received from groups who found out about its existence in the media. We aim for the CPAC to continue working for at least two years to make the most of this model. We want to see if it becomes a reference as a cultural institution in Mexico City, and we have applied for scholarships and subsidies there, in Spain and the US to finance its long-term development. But for now I invite you to spend a few minutes, 45 to be precise, to watch the documentary we have made about this first trial.
Open Day and Efímer Club (July 2010) The fifth edition of Open Day exhibited works by artists who have been residents in the year in an exhibition titled House taken over: a literal experience, organized by Andrea Pacheco González. A selection of videos produced at Can Xalant during the year was also screened together with a contemporary video-clip show organized by Marcel Pié Barba and Daniel Pitarch. The music programme in the Efímer Club included performances by Mark Eitzel (San Francisco, usa), ZA! (Barcelona), Joan Colomo (Barcelona), Heliogàbal DJ’s (Barcelona), Noish (Barcelona) and Ayankoko (Tokyo) From Private to Public Space: Coming out of the Closet (October 2010) Presentation of projects produced by participants in the workshop directed by Josep-Maria Martín. Presentation of projects created during this workshop, in which students from the Haute École d’Art et de Design in Geneva, the Escola Massana in Barcelona, the University of Barcelona and resident artists at Can Xalant participated.
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Cohabitations? A few questions on art and cities from Valparaíso (December 2010) A meeting in which two work experiences in the city of Valparaíso in Chile were reviewed with the aim of reflecting on art practices, creative strategies and collective pedagogy based on the exchange between Can Xalant and the crac centre in Valparaíso: › Presentation of the Expanded Residence project –fomented by the crac centre in Valparaíso and Can Xalant with support from the Red Iberoamericana de Residencias Independientes–, organized by Pau Faus and Claudio Astudillo, the artists chosen for this exchange. › Presentation of Permanent Classroom –an open research format which is planned as a practice of building a learning community over the metropolitan area of Valparaíso and its current art scene, which started from a workshop in Valparaíso directed by Sitesize, Apariencia pública and crac Valparaíso– directed by Joan Vila Puig and Elvira Pujol (Sitesize).
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D I V U L G A T I O N
P R O G R A M M E
E X H I B I T I O N S
Can Xalant is not an exhibition area, and despite this it is clear that divulgation falls within its functions as one of the support tools for production and training. In 2009 and 2010 several exhibitions and shows were held with works created at Can Xalant –by artists with a studio or projects created in productions or during exchanges or residences with foreign artists. Although a small area was provided in the centre as an occasional exhibition area, most exhibitions of these productions were held at other centres such as La Capella in Barcelona or Nivell Zero at the Fundació Suñol, or the area at Can Xalant called the Municipal Rooms of Can Palauet in Mataró, an area provided by the imac in Mataró as a place to exhibit the activities carried out at Can Xalant.
A N D
S H OWS
Resident artist shows (2009-2010) In January 2009 Can Xalant inaugurated the new area for presenting projects with an exhibition of some of the works created by resident artists in Can Xalant. Since its inauguration new works have been exhibited there regularly. Participants included: Margarita Pineda, Raül Roncero, Joan Navarro, Aníbal Parada, Antonio Gagliano, Col·lectiu Airvoland, Les Salonnières, Eva Marín, Cristina Ibàñez-Tarter, Marc Salicrú, David Mutiloa, Alvaro Icaza, Verónica Luyo, Roser Caminal, Laura Marte, Jean Philippe Peynot, Accneo. Espai Can Xalant at Can Palauet (2009-2010) In April 2009 an area was opened for Can Xalant in the exhibition halls at Can Palauet in Mataró. The aim was to create an information and divulgation point on the project and productions and activities conducted at the centre and as an exhibition area where international resident artists can exhibit the results of their projects carried out in Mataró during their visit. › Show by artist Fabricio Caiazza. Presentation of the Sincita Mataró project conducted during his stay at Can Xalant (exchange programme with the El Levante centre in Rosario) (April 2009) › Presentation of the We Can Xalant and Zona Intrusa 3 projects. Show on the development of the project We Can Xalant, created by a77 and Pau
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Faus and presentation of Zona Intrusa 3, which used the CX-R caravan –built during the workshop- as a travelling exhibition space for eight of the city’s secondary schools. (October 2009) › Show by artists Claudio Astudillo and Alejandra Delgado. Presentation of the work done by the artists during their visit to Can Xalant (exchange with the crac centre in Valparaíso/residence of the Bolivian artist) (May 2010) › Autumn-Winter. Carolina Ruiz in Mataró. Exhibition by artist Carolina Ruiz of the works done during her stay in Mataró. She also made a presentation of the conference hall of the Lugar a Dudas centre in Cali and the art world in this city, (exchange with Lugar a Dudas in Cali) (December 2010). Centri/fugacions (September-November 2009) La Capella, Barcelona. Can Xalant, Mataró/Platform Garanti, Istanbul. By Montse Romaní, Cevdet Erek, Mery Cuesta and Erkan Özgen The exhibition titled Centri/fugacions presented the projects created following the exchange between Can Xalant, Centre de Creació i Pensament Contemporani de Mataró and Platform Garanti in Istanbul during 2007 (Montse Romaní and Cevdet Erek) and 2008 (Mery Cuesta and Erkan Özgen). This show was included in the “Roundabout Encounter Programme” project which promotes exchanges between La Capella in Barcelona and other exhibition centres around the world. Montse Romaní presented a prototype of a chronological chart tracing the period between 1987- 2010 which is considered to be a starting point for a brief history of modern art in Turkey and was complemented by a selection of documentaries and video-essays by Turkish producers; Cevdet Erek presented a selection of drawings and photographs
124 · Divulgation Programme. Exhibitions and Shows
of his different works and a piece of architectural sculpture which he designed to be situated at Can Xalant. Mery Cuesta presented her work Istanbul Zombie 2066, a comic which was the result of research and cooperation carried out with several cartoonists from the Turkey. The comic shows a futuristic critical view of Turkey today. Erkan Özgen presented Origin, a video produced at Can Xalant, which is seen as a metaphor about what it feels like to be foreign. He also presented a selection of other videographic and photographic productions which complement the project made in Mataró. The exhibition was accompanied by complementary activities such as: meetings about Turkish comics and a talk about the art world in Istanbul, organized by Mery Cuesta and Monste Romaní respectively.
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Places that don’t exist (Goggle Earth 1.0) (October-November 2009) Nivell Zero at Fundació Suñol, Barcelona. Isaki Lacuesta and Isa Campo. Exhibition of the videographic project which won a production and exhibition grant organized by Can Xalant and Fundació Suñol in 2008, Places that don’t Exist (Goggle Earth 1.0), a video-installation by Isaki Lacuesta and Isa Campo. The project consists of a series of portraits and films of areas that do not appear in Google Earth (military areas, training camps, government buildings, natural parks where speculators construct blocks of illegal buildings, nudist beaches...), from different places around the world where they travelled to gain information on the real situation ad compare it with the false vision we might get from the computer. This project opposes the hyperrealist and supposedly objective view of Google Earth, with the realist (and also subjective) viewpoint of our images throughout the world of these places that, despite everything, do exist. Still Sick (May 2010) Loop Festival 2010. Hotel Catalonia Ramblas, Barcelona. Verónica Aguilera Presentation of a video that won the production grant offered by Can Xalant and Fundació ArtAids in 2009, Still Sick, a video-installation by Verónica Aguilera, which uses video to carry out a series of actions which describe illnesses and how they are spread, in this case AIDS by using a first aid thermal blanket to produce a series of actions where the actors meet, act, destroy, devour, wrap or are wrapped. A subtle, metaphorical view which uses “the wrap” to deal with the idea of protection against the threat of an illness or something that harms us.
126 · Divulgation Programme. Exhibitions and Shows
Cruel Tales. The explorer’s two missions (July-September 2010) Nivell Zero at Fundació Suñol, Barcelona Lupe Pérez García Exhibition featuring the videographic project which won the production and exhibition grant awarded by Can Xalant and Fundació Suñol in 2009, Cruel Tales. The explorer’s two missions, a video-installation by Lupe Pérez García. The explorer’s two missions is one of five audiovisual works which are part of the Cruel Tales project. Each of these works describes representation by means of a document of poetry which is made up of small fragments of individual and collective memory. The works, produced from recycled materials and with audiovisual elements obtained on the Internet, become a reflection on these limitations which distort and falsify the view of reality and how this can benefit or distort our view and discernment. Cities intervened. ID#5 (July-September 2010) La Capella, Barcelona Project Idensitat 5 Exhibition of art projects produced during the latest edition of Idensitat and at the centres that cooperate in producing these projects. This exhibition included a number of projects that were part of the fifth edition of Idensitat produced at Calaf, Manresa, Mataró, Sondika, Priorat and Barcelona. Each of these cities were used to stage creative activities on different scales, with their own aims but with the intention of including features related to group actions performed in the areas above. The opposite of the storyline by Rogelio López Cuenca was the project presented by Can Xalant. House Taken Over: A literal experience (July 2010) Can Xalant, Open Day 2010
For Open Day 2010 an exhibition was organized featuring work by resident artists at Can Xalant titled House Taken Over: a literal experience, curatorial work by Andrea Pacheco González. This exhibition was held in several places at Can Xalant using the story of House Taken Over by writer Julio Cortázar as the starting point, in which the dwellers of a house are carried away by invisible forces. Each artist created a work in situ based on his interpretation of the story. › Alvaro Icaza and Verònica Luyo. Non-Binding Estimate. Estimate to close Can Xalant 5,000 DinA4 folios. This intervention consisted of obstructing the entrance to Can Xalant with 5000 copies of the estimate to empty it. The idea sprang from moving the story’s aim to a view of the current art world, where the economic crisis cuts the budgets and reach of art institutions. Can we calculate the real cost of closing art production centres such as Can Xalant? › Cristina Ibañez-Tarter. Untitled. Natural Grass Her installation consisted of invading the floors of the communal lavatories with planted natural grass which did not allow anyone to go to the lavatories without stepping on it, and prevented some lavatory doors from locking.
› Eva Marin. The forgotten limits. Video screening This work consisted of a video screening with a loop of photographs featuring the surroundings of the Can Boet farmhouse (the current Can Xalant), narrated by Enric Subiñà, a historian who has carried out research into this farmhouse, and relates how the boundaries which surrounded Can Boet have changed from when it was first established to today. He also explains how the landscape surrounding the farmhouse has been transformed and how the land has been used throughout the ages. The photographs show the landscape of the industrial estate, the university campus, the service roads, and the traffic routes which today surround Can Boet. › Jean-Philippe Peynot. Corner, Ego, Loving, and Jesuis là Interventions on several walls in rooms at Can Xalant. › Roser Caminal. Here I am I am here / Artist working to gain visibility. Actions Two events at several places in Can Xalant during the Meeting. “...the actions are a metaphorical parallelism between the tale House Taken Over, which inspired the title of this exhibition and the artist possessed. Although we artists position ourselves against biopolitics, we are not immune to their consequences. Biowork turns our wish of acknowledgement into a need which traps the artist as the being from the House Taken Over story. A being with which artists sometimes identify themselves and sometimes try to run away, but in the end an annoying being that is present...” › Laura Marte. Doppelgänger Series of framed photographs “Doppelgänger is a German word used to describe a living person’s double. According to this myth,
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the double (doppel) always walks (gänger) beside us. For the last 5 years in the European cities I have visited I have photographed people who were walking beside others who looked very much like them, both regarding clothes and the way they walked.” › Joan Navarro. Untitled. Large format painting › Airvoland ( jointly with Caspar David Friedrich). Airvoland. Bohemian landscape with mount mille. Printed on cloth / Installation Caspar David Friedrich could never have imagined on that day in 1808 when he contemplated and painted the mountains and skies in Germany that a Boeing 737 belonging to Air Berlin would manage to creep into his canvas. Bohemian landscape with mount mille, 2010 is a full scale reproduction of a painting by Friedrich, to which has been added an airplane using digital collage. Starting from this anachronism, Airvoland reviews the history of pictorial landscape art, the genre traditionally used by humans to define and compare themselves to nature. If we stop to look at our surroundings nowadays, it’s difficult to look and not find the wake left by an airplane crossing the sky. Thus the fact that flying has become inevitable in our experience of landscapes. That is why our glance, which describes who we are, when it goes back in time, cannot imagine the sky without a plane flying overhead somewhere. Using this slight but powerful intervention on this painting, Airvoland brings the sky’s collective imagination up to date and reports on new ways to cross and experience our territory. › Accneo. Construction kit of ‘Mr-Alginate’. Video-installation. This kit pays homage to the first anniversary of this character created at Can Xalant.
128 · Divulgation Programme. Exhibitions and Shows
› Marc Salicrú. In Memoriam. Installation in the courtyard of Can Xalant. A reflection on the outrage which arose following the Constitutional Court’s decision to cut Catalonia’s Statute. The demise of the Statute symbolized by a cypress tree planted in the middle of a pot marked by barbed wire which limits the sterile soil, and a shaft of light which illuminates the scene. Concrete, minimalist and with a plaque below in memory of this. › David F. Mutiloa. Untitled (excess) An unexpected uncomfortable presence interferes with an art event. For Open Day resident artists were invited to exhibit their work in public. On the day of the event one of the artists turned up with his movements and senses impaired due to the consumption of large amounts of alcohol and drugs. His presence makes everyone feel embarrassed and uncomfortable. In one of the rooms at Can Xalant is a sculptural installation which, though it bears no apparent relationship with the event, is made from the packaging of all the substances consumed.
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L I S T
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Pacheco González, Andrea
Safont-Tria, Glòria pp. 78
Clement, Edgar pp. 9, 86
pp. 53, 55, 58, 59, 60, 61, 63,
Sala, Jonàs i Adrià pp. 78
Aguilera, Verónica pp. 9, 76,
Colomo, Joan pp. 121
GaleriaCallejera pp. 9, 88, 114
65, 66, 67, 121, 126
Salas, Irene pp. 32, 94
Coudert, Gilles pp. 9
Galera Vernet, Alexandre
Malone, Laurent pp. 9
Páez, Francesc pp. 74, 113
Salicrú, Marc pp. 9, 24,
Airvoland pp. 9, 22, 44, 61-62,
Cuesta, Mery pp. 124
Marín, Anna pp. 78
Parada, Aníbal pp. 9, 12,
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Gallardet, Aleix pp. 78
Marín, Eva pp. 9, 20, 39,
Salinas, Beatriz pp. 9, 88
78, 123, 126, 129 Alterarte pp. 9, 79
Garrido, Nelson pp. 9, 72,
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Paramont Crew pp. 112
Salonnières pp. 9, 21, 61,
Anson, Martí pp. 75, 78
del Fierro, Claudia pp. 9,
Marte, Laura pp. 9, 15, 42,
Pera, Rosa pp. 81, 114
68, 70, 112, 123
Arenós, Xavier pp. 78
Gelb, Howe pp. 113
54, 55, 77, 114, 123, 126
Peran, Martí pp. 68, 86,
Sancho, Bernat pp. 71
Pla d'en Boet Neighbours
Delgado, Alejandra pp. 9,
Giovannini, Mauro pp. 71
Martín, Josep-Maria pp. 9,
Sanzol, Alfredo pp. 102,
Association pp. 68, 76, 94,
Gómez, Iván pp. 76
68, 73, 78, 86, 121
Pérez García, Lupe pp. 67,
Dent May and his
González Férriz, Ramón
Martínez, Xavier pp. 67
76, 79, 125
Sàrrias, Sandra pp. 71
Astudillo, Claudio pp. 9, 34, 96,
magnificient… pp. 113
pp. 102, 104, 110
Marzo, Jorge Luis
Peynot, Jean-Philippe pp. 18,
Sierra, Germán pp. 102,
Dias, Caetano pp. 9, 33, 95
Guerrero, Angela pp. 78
pp. 73, 86
40, 58-59, 78, 119, 123, 126
Ayankoko pp. 9, 88, 121
Domènec pp. 78, 85, 114
Matos Capote, Juan
Pié Barba, Marcel pp. 121
Solé, Joan pp. 78
a77 pp. 9, 26-29,68-71, 86, 112
D_forma pp. 102
Pineda, Margarita pp. 9, 50,
Heliogàbal dj's pp. 113
Mayol, Lluc pp. 114
Mecías, Esther g. pp. 9,
Pitarch, Daniel pp. 121
Tecnonucleo pp. 64, 72,
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Eitzel, Mark pp. 121
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Postiglioni, Cecilia pp. 9, 55,
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Baigorri, Laura pp. 111
El petit de Cal Erill pp. 113
Mitjà, Jordi pp. 33, 95
Tiravanija, Rirkrit pp. 9,
Boe, Tore Honoré pp. 9, 72,
Erek, Cevdet pp. 9, 124
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Montlleó, Dani pp. 78
Prats, Cèlia pp. 9, 61, 71
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Espúñez, Oihane pp. 76, 113
Icaza, Álvaro pp. 9, 16-17,
Mutiloa, David pp. 9, 16,
Pujol, Elvira pp. 121
Bonet, Pilar pp. 8, 98
Estrany, Betlem pp. 78
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25, 47, 55, 65, 66, 123, 129
Botto, Caen pp. 102, 106
Vázquez, Vicente pp. 30, 92
Ramoneda, Marta pp. 78
Vicente, Andrea pp. 102
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Jara Muns, Mercè pp. 71
Navarro, Joan pp. 9, 13,
Recasens, Anna pp. 55, 77, 114
Vila-Puig, Joan pp. 121
Cabezudo, Ismael pp. 55, 77,
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Noish pp. 121
Rodríguez, Xavier pp. 71
Caiazza, Fabricio pp. 9, 30,
Fernández-Pons, Luis pp.
kofiq. scmute pp. 9, 64
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Ward, Patricia pp. 71,
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Fernández Mallo, Agustín
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Fernández Porta, Eloy
Llanos, Fernando pp. 111
Barcelona pp. 78
Campos, Isa pp. 79
pp. 102, 104, 108
Llobet, Jasmina pp. 31, 93
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Caño, Daniel pp. 67
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Lopez Cuenca, Rogelio pp. 53,
77, 79, 114
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Carrion, Jordi pp. 102, 108
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Özgen, Erkan pp. 9, 124
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Chaves, Raimond pp. 9, 72,
Fresán, Rodrigo pp. 102,
López, Mariana pp. 71
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132 · List of names
List of names · 133
TECNOCAMPUS MATARÓ 2006
URBAN ARTISTS ASSOCIATION OF MARESME 2006 - 2007
TECNONUCLEO ASSOCIATION “Acoustic Laptops” Course “Circuit Bending” Course Open Day Concerts 2008 - 2010 MATARÓ BLOGGERS 2006 - 2007
VARIOUS ARTISTS FROM THE CITY 2006 - 2010
LA FIBRA SOCIAL CENTRE “Rieres i Rambles” Project 2007
SECONDARY SCHOOLS GEM, THOS I CODINA, SATORRAS Zona Intrusa CENTRE DE FORMACIÓ 2009 I PREVENCIÓ DE MATARÓ ALTERARTE 2006 - 2010 MOSTRA DE CINEMA 2006 - 2008
ESPAI F 2006-2010
AULA DE TEATRE Various projects 2009
ESCOLA FRETA Zona Intrusa 2009
LOCAL HISTORICAL ARCHIVE Claudia del Fierro Exchange programme 2009 CAN PALAUET 2006 - 2010
EL TALLER Plastic Arts 2008
Cia. TRÀNSIT DANSA 2006 - 2007 HOSPITAL FOUNDATION TCM AUDIOVISUAL 2009 CA L’ARENAS 2006 - 2010 2006 - 2010 MUSEUM OF MATARÓ MATARO POLYTECHNICAL 2006 UNIVERSITY COLLEGE FAVM SANT LLUC ARTISTS’ ASSOCIATION 2008 - 2009 Federation of Neighbours’ ÒMNIUM CULTURAL 2008 Associations of Mataró Yasemin Özcan Kaya Project 2008 Exchange programme SECONDARY SCHOOL PIARIST SCHOOL SANTA ANNA MIQUEL BIADA Secondary school art students 2009 Zona Intrusa Workshop with Marcel·lí Antúnez JAUME VILASECA FOUNDATION 2009 CRONOPIS Zona Intrusa Alejandra Delgado Circus Space 2007-2010 Residence Programme SECONDARY SCHOOL 2010 2010 PLA D’EN BOET ROMA CULTURAL ASSOCIATION OF MARESME Idensitat 07 Project PLA D’EN BOET Claudia del Fierro Audiovisual production NEIGHBOURS ASSOCIATION Exchange programme 2007 - 2009 Various projects MAPASONOR 2009 2009 - 2010 Association of audiovisual CENTRE OBERT PLA D’EN BOET productions “We Can Xalant” Project CETEMSA 2007 2009 Cecilia Font Project Exchange programme 2008 L’ARCA DEL MARESME UNIÓ DE PAGESOS PARAMON CREW “We Can Xalant” Project “Rieres i Rambles” project Pla d’En Boet 2009 2007 CX-R Mobile Unit 2009
XARXA TRANSVERSAL Summer school 2009
FARRERA Centre d’Art i Natura 2007 - 2010
UNIÓ DE CREADORS DE CATALUNYA 2009
GIRONA Bòlit. Centre d’Art de Girona 2007 - 2010
ACCA Catalan Association of Art Critics studio-visits 2008 - 2010
La Mercè Cultural Center 2007 - 2010 IGAC 2007 - 2010 VIC Les HAAC / ACVIC “Ceci n’est pas une voiture” 2007 - 2010
AAVC Visual Artists Association of Catalonia Code of Good Practice in Visual Arts 2008 - 2010 CALAF Idensitat Project 2006 -2010 AVINYÒ Cal Gras 2009 - 2010 LLEIDA Centre d’Art La Panera 2006
PRIORAT Priorat Centre d’Art Idensitat project 2006 - 2010
CALDERS Cacis 2007 - 2010
ST. PERE DE VILAMAJOR ÒRRIUS Centre d’Art La Rectoria Francesc Macià School 2007 - 2010 2009 - 2010 GRANOLLERS Fàbrica de les Arts 2006 - 2010
MANRESA MOLLET DEL VALLÈS S Idensitat Project Ab b Museu Abelló 2006 - 2010 2008 TERRASSA Processos Oberts 2007
Girona University 2007
CAMALLERA Nau Côclea 2007 - 2010
LLINARS DEL VALLÈS T Centre d’Art 2007 - 2010 City Council of Llinars “Rieres i Rambles” Project 2007
A SABADELL Centre C Ca l’Estruch 2007-2010
H L’HOSPITALET TPK A Arts Plàstiques 2007 - 2010 A EL GARRAF EL PRAT ra City Council of Garraf La Capsa j “Rieres i Rambles” Project 2007 - 2010 REUS 2 2007 Salvador Juanpere s Workshop “Literal meanings and Waste” 2007
BADALONA Taller BDN Escultors 2007 - 2010
ALELLA City Council of Alella “Rieres i Rambles” Project 2007 Espai d’art i creació Can Mañé 2009-2010
ST. ADRIÀ La Mina Cultural Center Les Adrianes Association 2008
PALMA DE MALLORCA Agustín Fernández Mallo “Google Revolution” Seminar 2009
ACSUR. Espai de Joves Intercultural Fedelatina Cultural Association ARTS SANTA MÒNICA Various projects 2006-2010 CASA AMÉRICA Nelson Garrido residence 2010 CCCB “Rieres i Rambles”/“Post-it City”/ “El (d)efecto barroco” 2007-2010 DISONANCIAS Catalunya We Can Xalant 2009 ELISAVA DESIGN SCHOOL Master in Exhibition Areas MASSANA SCHOOL ESDI. Higher School of Design LOOP Festival 2006 - 2010 ARTAIDS FOUNDATION ArtAids Grant 2009 - 2010 SUÑOL FOUNDATION Grant Suñol Foundation/Can Xalant 2008 - 2010 TÀPIES FOUNDATION “Going Public 06” 2006
KRTU Seminar “Visible/Invisible” 2006 LA CAPELLA Exhibition “Centri/fugacions” 2009 EL CUB/BCN Produccions 2010 LA PINTA Production Meetings for art projects 2008 MACBA PEI. Programme of Independent Studies SALA D’ART JOVE Generalitat de Catalunya. Productions 2008 - 2010 UB. Fine Arts UB. Art History Master in Advanced Studies of Art History Parking 01. Portable Museums 2010 XARXAPROD. Hangar, Conservas, La Escocesa, Experimentem amb l’Art, Saladestar, Telenoika, Niu BCN, Transports Ciberians. YPRODUCTIONS. Hamaca. Mostra de cinema 2008.
Santiago de Compostela / GALICIA Germán Sierra “Google Revolution” Seminar 2009 Santiago de Compostela / GALICIA CGAC, Centro Galego de Arte contemporánea Audivisual production from the artist Ruben Grilo 2008
San Sebastián / BASQUE COUNTRY Santi Eraso “Visible / Invisible” Seminar Arteleku 2006 San Sebastián / BASQUE COUNTRY Txelu Balboa Residence programme 2007
Madrid / COM. OF MADRID Breixo Viejo and David Cortés “Beckett 101” Seminar 2007 Madrid / COM. OF MADRID Víctor Ullate Ballet Audiovisual production 2008
Córdoba / ANDALUSIA 1 er Encuentro de Arte en la Periferia 2010
Seville / ANDALUSIA Pedro G. Romero “Art and Memory” Seminar 2006
Málaga / ANDALUSIA Rogelio López Cuenca “Visible / Invisible” Seminar 2006 Workshop “Derrotas alternativas: Now/Here Mataró” 2008 Idensitat “Mapa de Mataró” 2009
Madrid / COM. OF MADRID Alfredo Sanzol Caen Botto Ramón González Férriz Doménico Chiappe “Google Revolution” Seminar 2009
Valencia / VALENCIAN COMMUNITY Daniel García Andújar “Visible / Invisible” Seminar 2006 Workshop “News tools to create and publish web contents” 2007
Madrid / COM. OF MADRID Tomás Ruíz-Rivas Residence programme “Ceci n’est pas une voiture. Parking 01” Seminar 2009 - 2010 Madrid / COM. OF MAD Matadero Centro de Creación Contemporánea AVAM Artistas Visuales Asociados de Madrid “Espacios para la producción artistica” Seminar 2010
San Fernando /GRAN CANARIA Tore Honoré Boe Workshop “Acoustic Laptops” Residence programme 2010
Paris / FRANCE Laurent Quénéhen and Marie Maurel Residence programme Exhibition “Points du vue” 2007 Marseille / FRANCE Laurent Malone Projects: “Osservatorio Nomade” and “Rieres i Rambles” 2006 - 2007 Perpignan / FRANCE Ecóle des Beaux-Arts International collaborations 2006 - 2010 Bristol / / BRITAIN Going Public 08 2008
New York USA Alfredo Jaar Workshop “The Aesthetics of Resistance” Residence programme 2006 Texas / USA Luz Maria Sánchez “Beckett 101” Seminar 2007
Mexico City/ MEXICO Edgar Clement Residence programme CCCB 2009
Cali / COLOMBIA Exchange programme Lugar a Dudas Carolina Ruiz / Pilar Bonet 2010 - 2011 Lima / PERU Raimond Chaves Workshop “Loaned Narrative” Residence programme 2010
RESIDENCIAS_EN_RED (IBEROAMÉRICA) Argentina: Casa 13, el Levante, Centro Rural de Arte Bolivia: Kiosko, Martadero Brazil: Capacete, Casa das Caldeiras, Terra una Colombia: Casa tres patios, La agencia, Lugar a dudas, Residencia en la tierra, Taller 7, Trata de artistas Ecuador: Ceroinspiración Nicaragua: La espora Paraguay: Planta alta Peru: Escuelab, Tupac Uruguay: Fac Venezuela: Oficina #1 Chile: CRAC 2008-2010 REDESEARTE PAZ/LATIN AMERICA Argentina: El Levante Brazil: Base 7 Nicaragua: Funarte Venezuela: Centro Cultural Chacao Chile: Matucana 100
Milan / ITALY Claudia Zanfi. AmazeLab International collaborations 2006 - 2008
Caracas / VENEZUELA Nelson Garrido Workshop “Approach to experimental photography” Casa América. Barcelona Residence programme 2010
Mexico City/ MEXICO Taniel Morales Residence programme Centre d’Art Sta. Mònica 2006
A.E.C.I.D. / LATIN AMERICA Spanish Agency for International Development Cooperation 2006 - 2010
EUROPEAN NETWORK RK K OF F CULTURAL CU ULT ADMINISTRATION N ST NIS TRAT TIO ON TR TRAINING A NING NG G CENTERS CE EN NTERS TERS TE 2009 009 - 2010 2010
Havana / CUBA René Francisco Workshop “Pedagogy of art as social work” Residence programme Post-It City. CCCB 2008
Mexico City/ MEXICO Erick Beltran Workshop “Endeless Translation Essays on Visualization and Synesthesia” Residence programme 2006
Medellín/ COLOMBIA Redesearte Paz seminar 2009 Medellín/ COLÒMBIA Exchange Programme Centro Colombo Americano Miquel García / Fredy Serna Verònica Aguilera / Ana Patricia Palacios 2006 - 2007
La Paz / BOLÍVIA Alejandra Delgado Residence programme Siart biennial 2010 Valparaíso / CHILE Exchange programme CRAC de Valparaíso Claudio Astudillo / Pau Faus 2010 Santiago / CHILE Redesearte Paz Seminar 2010 Santiago / CHILE GaleriaCallejera Parking 01. Portable Museums Residence programme 2010 Santiago / CHILE Beatriz Salinas Residence programme 2010
Geneva / SWITZERLAND Haute Ecóle d’Art et Design Workshop "Disruption" 2009 Workshop “From Private to Political Space: Coming out of the closet” 2010 Budapest / HUNGARY Mònika Bálint and Katalin Sóos Residence programme Idensitat 2007 Project
Dakar / SENEGAL Exchange programme Kër-Thiosane Cecília Postiglioni Abdoul Aziz Cissé 2007 - 2008
Venice / ITALY University of Venice Seminar. Venice Biennale 2007 Modena / ITALY Going Public 06 Residence programme 2006
Sao Paulo / BRAZIL Exchange programme MIS Sao Paulo Caetano Dias / Jordi Mitjà 2009 - 2010
Sao Paulo / BRAZIL Exchange programme “Redesearte paz” Project Base 7 Walmor Corrêa / Irene Salas 2008 - 2009
Sao Paulo / BRAZIL III International Modern Art Symposium Paço das Artes 2009
Sao Paulo / BRAZIL Latin American meeting of independent art residences Spanish Cultural Centre 2008
Rosario / ARGENTINA Exchange programme Centro El Levante Cecília Font / Roser Caminal Fabricio Caiazza / Vicente Vázquez 2008 - 2009
Santiago / CHILE Intercanvis artístics “Redesearte paz” Project Centro Matucana 100 Josep-Maria Martín Claudia del Fierro 2008 - 2009
Rome / ITALY Group Stalker Residence programme 2007
Istanbul / TURKEY Exchange programme Platform Garanti Istanbul Cevdet Erek / Montse Romaní Erkan Özgen / Mery Cuesta Yasemin Özcan Kaya/ JasminaLlobet&Luís Fernández Pons 2007 - 2008 - 2009
Shanghai/ CHINA Alicia Framis Workshop “Objects to forget” 2008
Tokyo / JAPAN Tadashi Kawamata Workshop “Temporary Architectures” Residence programme 2006 Ayankoko Open Day Residence programme 2010
Tirana / ALBANIA Stefano Romano Workshop “Crossing the system” Residence programme 2008
Sanpatong / THAILAND Rirkrit Tiravanija Workshop “Disruption” Residence programme 2009
Buenos Aires / ARGENTINA a77 (Gustavo Diéguez and Lucas Gilardi) Residence programme 2008 Disonancias 2009 Workshop “We Can Xalant”
Satellite image of Can Xalant Google earth
Can Xalant is a project that arose from an accord between the Mataró council’s Municipal Institute of Cultural Action and the Regional Government of Catalonia’s Cultural Department, and is managed jointly by Trànsit Projectes and acm, Association for Culture and Contemporary Art in Mataró.
Can Xalant staff Pep Dardanyà (Management) Delícia Burset (Coordination) Susana Muns / Lina Ramírez (Communication) Rafa Ruíz (Technical support) Trànsit Projectes Àngel Mestres (Management support and supervision) Cristina Riera (Coordination support and supervision) Sergi Llampayas (Economic supervision) Òscar Martínez / Eduard Bernal (it support) Carles Llampayas (Human resources) Gemma Lladós (Administrative support) The Board of the Centre Mataró council’s Municipal Institute of Cultural Action Regional Government of Catalonia’s Cultural Department Board of Directors Xavier Arenós (acm), Pilar Bonet (acm), Delícia Burset (Can Xalant), Pep Dardanyà (Can Xalant), Domènec (acm), Gisel Noé (Mataró council’s Municipal Institute of Cultural Action) and Cristina Riera (Trànsit Projectes)
Can Xalant Centre of Creation and Contemporany Knowledge of Matar贸
C/ Francesc Layret, 75 08302, Matar贸 Barcelona
Tel. +34 93 741 22 91 Fax +34 93 741 22 93 www.canxalant.org