Madrid Procesos '09



Julio Falagán



Group Company, def. wikipedia:

Called group of companies, in law and in economics to that conglomerate upon which all of the same parent company, because it has a sufficient economic stake in its capital to take the company decisiones.Grupo Falagan is a sad reflection on social status of the artist. One of the main problems of the artists is to not be able to exercise their vocation and having to split into other jobs to make ends meet. Art does not feed the artist, most are forced to subsist on a second job, or rather, first. My project refers precisely to this, to the other works of the artist, to those to whom you have to go in order to produce art: Waiter, pizza delivery, dieñador graphic dependent reponedor, employee of Burger King, etc..
G.E.F. involves the manipulation of advertising business cásicos closed in order to announce new fictitious companies devoted to art. He labeled these voids or abandoned and barely imperceptible mimetically always using the same name, for example:
"Library Falagan, specializing in art books and subsistence"
"HARDWARE Falagan, the best tools for frustrated artists".

Colectivo Niño Viejo: "Almas Latentes"



The project "LATENT SOULS" comes from a series of small interventions made by the group "Old Boy" in the city of Valencia. Our intention was to use the city as audiovisual media for the expression of the various proposed critical, about the development situation of the city. Small actions interfered in the urban space to alter, satirize him and transgress, offering a critical view and staff "public space" through playful actions.

One of our first proposals was the "Demolition alive", which was to use wall collapsed buildings as projection support. Each of the components of "Old Boy" and others, devised a series of characters and actions (in video format) that later would be combined with each other as a exquisite corpse the day of the screening.
With the use of these spaces as audiovisual support our intention was to draw us a very concrete: The strong transformation of Spanish cities due to economic development in the past 40 years, property fever and the devastating proliferation of unscrupulous promoters (backed many cases by the institutions).
These initial proposals and the theme that revolves around them have prompted us to develop the "LATENT SOULS", with which we intend to show a more direct narrative proposal and investigate at once on a different visual language based on the live-cinema, installation and interactive cinema.
To carry out the screening was previously required a job search those locations that best conformed to the project objectives. This search was concentrated in the center of Madrid, primarily in the neighborhoods of Lavapies, Chueca and Malasaña.
We finally settled on the site located on Cross Street # 20. The site is located at a crossroads, a kind of space that allows visibility of the median from different angles and for a large group of people. Although the median is not the exact type of ruin we wanted (with traces of the old), it has other advantages over the rest of the locations visited. The first is that it is the only one which can clearly the divisions of the old rooms, offering the possibility to cover the whole façade with projections, due to the size of the projection distance and that gives us the adjoining space. The second is that, unlike other medium, the traces of the wall have been erased with white paint and yellow with thermal insulation, which would facilitate the readability of the projection.
Other advantages: the proximity of the site to the Puerta del Sol, in addition to the proximity of an old curious comedy theater.

María Castelló

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The project "Anyway, it had become a different place" (original title: "Der Rückbau") reflects on the symbolic act that has made the process of dismantling the iconic Palast der Republik in Berlin, staged in the center historic city for 34 months.

In addressing this issue, I can not link the avatars of this building and starting my stay in Berlin. During the time period between November 2003, when he was in the German parliament voted to demolish the castle, and in February 2006 they began the slow process of "removal", attended the gestation process of various social movements involved in conservation and cultural initiatives that during this time of indecision and parliamentary votes took place in and around the building.
The building lived since 1990, a situation of uncertainty, compounded by sanitation he was subjected to removing asbestos from its construction. As the architect Rem Koolhaas, one could not reconstruct what had been the Palast der Republik, being an example of integrated architecture that would be impossible to reproduce today, but the state of "discrepancy" prior to demolition, as Koolhaas calls, offered many possibilities as to its use. The demolition of the building is a symbolic act of removing a period of history. And I think this feeling has permeated the city we lived that or we have an interest in this process. The reconstruction of the Prussian castle (Berliner Stadtschloss) that took the place of the Palast der Republik, felled by the socialist regime, is but a confirmation of this craving for removing a period gives the impression that "illegitimate" in the history of the city . I think this is a decision in favor of a tourist image of Berlin, more tied to stylistic uniformity of the historic center, than the will of historical review.
Before leaving the city where he had lived for six years I attended at the beginning of the slow process of "dismantling" has been subjected to the Palast der Republik for 34 months. It seems incredible that thirty years have taken two months to "dismantle" the building of what it took to build it. I am interested in a particular way in which the spectacle has become the demolition of the building, and the use of political intentionally proclamations that have surrounded him, as an act of consolidating democracy. I think this prolongation has been somewhat intentional demolition, firstly for the sudden disappearance was not and could Berliners slowly leave most of its history, and the other as part of the tourist image of Berlin that "deletes the traces "of its socialist past.
This is not an exercise work of "ostalgia" 2, but to reflect on how they are managing the historical memory of the city, and more broadly, about our involvement as critical and reflective inhabitants of an urban environment, our relationship with its buildings, its symbols and our individual memory. In August 2007 I left the ruin in the process that had become the Plast der Republik. now nothing remains of the building, and I bet my reunion with Berlin, city ​​that is constantly changing since 1989, writing and symbolic body to its more recent history, many absences holds for me.
For the exhibition presented eight drawings, in which had incorporated fragments of texts he had received. Of the texts that appeared two of them were in Castilian and the rest in German (the language respecting each person had chosen to write) and were as follows:
- "I realized that I have never been clear exactly what it is or what it can mean for Berliners."
- "What reasons actually played a role in the decision to demolish the Palast and why they were not asked to East Berliners for your opinion?"
- "Anyway, it had become a different place and I was no longer the little boy then."
- "No one could believe that the Palast der Rebublik were to be demolished, but is not there!"
- "You had to see it dying, as long as possible, so that you could only think of his takedown and never fully".
- "When you sat in Lustgarten at dusk and the sun was shining, then the Palast still looked like a palace, as bright as if it were made of gold."
- "Perhaps they did not want to know anything about history or just wanted to close that chapter once."
- "It is as if the area was cursed. Now they have thrown the Palast want to rebuild the castle. Maybe in a few years want to rebuild the Palast".
Also presented the image of the window in my studio along with the drawing of the grid indicating its position in the front, and finally, a projection with the reflections of the same window, which in turn generated a new reflection on the wall .

Andrés Senra: "Auslandia"



During the months of July and August drew Auslandia's dream, a journey as a historical document on different moments in the life of its inhabitants, drawings and drawings folio 100x70cm: Berlin in a tropical paradise, in a rainforest, youth alcoholics with organic architecture parks where lions coexist with deer, residential areas where men and women live segregated cannibals bourgeois families or doctors who observe the body of a young man in the main hall of the Pergamon Museum. During these months also recorded video of the "Paradise". This video does not arise with a poetic narrative structure but where characters lurk in Edenic space where you have to reinvent the language, contemplate nature and live in a state of liminality where signs disappear reference contemporary society.

During my stay in Berlin in September and October of 2009, I looked for locations, Record and edit two videos:
1. Paradise (mentioned above).
2. Auslandia: Approached with a classic narrative structure mockumentary. This piece is a portrait of daily life in Auslandia, a voiceover tells the lives of citizens, the video focuses primarily on the architecture of the city and its inhabitants assumptions. The images refer to "Invasion of the Body-Snatchers" by Don Siegel, 1956. The documentary is complete with images of violence and police repression and military conflicts, too, I got in touch with people who want to participate the documentary recounting his experience as immigrants. The idea was to recreate Berlin but with new spatiotemporal references, some of the locations were: Treptower Park (abandoned amusement park spherical building), Teufelsberg, Teufelsee, Alexander Platz, Brandenburg Tor, Shöneweide, Planetarium Berlin and Ernst- Thalman Park.
Furthermore I finished the series of 30 small drawings (I initially set out to do 15) Small format they intended to give a broad overview of the location and concerning, processes and relationships between man and nature in Auslandia. These drawings were photocopied for exhibition visitors could take them.
Finally I made the post of the 3-portrait photographs of 1 meter 55 cms of the supposed inhabitants of Auslandia.
The project was completed with the design of an invitation for the exhibition arose from the connection points between the work of Maria Castelló Solbes and mine, with the help and monitoring Klimmer Marisa Maza and Melanie. Finally we seek solutions to common aesthetic presentation of the work and installation of the exhibition. The exhibition took place in the gallery of the foundation attached to Karl Hofer-residence studies during the last week of October.