PLATO COMBINADO___________LA NUEVA MONTERA

LA MESÓN DE PAREDES rebosa gente. Locales repletos. Los paquis venden a todas horas. Sin límite. Los cafetines cafelatte están llenos de jóvenes turistas y locales autónomos trabajando online. El trapero yungbeef se pasea por la plaza recién lavada a chorro con mirada esquiva. Lo veo desde mi café mañanero. Voy alrernando, infiel al despertar. El joven trapero entra en una peluquería afro llena de gente, y dos mulatas, que escuchan música sentadas en la puerta con sus móviles a todo gas, ni se inmutan. Por supuesto no escuchan canciones del jovenbeef, ni de ctangana, las notas visibles de nuestro trap urbano; sino repiten una y otra vez los últimos ritmos de Badbunny, tal vez el nuevo rey del pop caribeño. Las sinergias relacionales parecen fluir mejor en el mundo latino que en el ibérico. Badbunny ya homenajeó a casi todos sus maestros en sus primeras barras, los cita en sus rimas y colaboran asiduamente, incluido el OMEGA de Santo Domingo, que sigue entre rejas. Los reiterados disstracks entre los chavales hispanos inhiben colaboraciones que generarían otro músculo más exportable de la música local. No se alientan entre sí. Aquí mejor romperse a hostias verbales que subir juntos. Los políticos igual. Nada en común. Ni programa ni actitud. Da grima. 

Sigo caminando cuesta arriba y paso junto a los cines IDEAL, muy remozados y anodinos, viva el popcorn, donde está ya formada la fila junto al muro para la ración de comida diaria. Hay pan. La exhibición de los hambrientos frente a las parroquias es un clásico de la caridad cristiana madrileña. Predominan los hombres, de ropas marrones y con fardos. En la acera junto al túnel está sentado muy tranquilo un clásico del boxeo madrilleño, el Potro de Vallecas. Tuvo mejores días, pero sigue vivo, la droga no ha podido con él. Me alegra que venga a comer y buscarse la vida por el centro. En Sol las latinas con plumas sobre el trasero se mezclan con los ositos y otros muñecos peluche de la televisón, habitados todos por un trabajador de parque temático autónomo. LOS LÍMITES en la regulación y en la apolicación de las normativas es una las claves de la calidad de vida en Madrid. Llenamos estadios y calles en cada fiesta programada. Nos gusta el teatro, la zarzuela, las raves, el cine, los toros, las performances, el vermut, el yoga, las cañas, el flamenco, las copas, los vinos, las raciones, las tapas, y los platos combinados, a unos más que otros, los pepitos de ternera, las bravas y cada vez más el sushi, el poke y los tacos de carnitas. Modas que llegan. Sigo bajando por la calle Carretas que ya es LA NUEVA MONTERA. Todo nuevo eje peatonal es una fábrica de ciudad decorado. La noche es otra fauna, y las prostitutas afloran y la policía transita sin molestar a nadie.

LLOVERAS TWINS 190917 UNSTABLE INSTALLATION SERIES

The streets are full of people. Stores are full. The indians sell everything at all hours. The coffee shops are full of young tourists. The yungbeef walks through the square with a clumsy look. I see him enter the afro hairdresser from my morning coffee table.  The mulatto girls who listen to music sitting at the door with their mobile phones at full throttle are immuted. Of course they do not listen to his latess songs, or tanganas, our local heroes of the urban trap, but repeat again and again the last rhythms by BadBunny, perhaps the new king of hispanic pop. Relational synergies seem to flow better in the Latin world than in the Iberian one. Bunny has already paid tribute to almost all of his teachers, he quotes them  and they all collaborate, including the classic dominican omega,el fuerte de santo somingo, which is still behind bars. Repeated diss tracks inhibit collaborations that would generate another more synergistic muscle in their music carrers. Here the key is better to break the rival than to climb together. The politicians alike. Nothing in common. Neither program nor attitude. I continue walking uphill and next to the ideal cinemas, very renovated and bland,  popcorn kingdom, the line is already formed next to the wall for the daily food ration. The display of the hungry in front of their parishes is a classic of the Christian charity of Madrid. Men predominate, in brown clothes and bales. On the sidewalk today a boxing classic from Madrid, el potro de Valllecas, poli diaz sits very calmly. He had better days but he is still alive, the drugs have not been able to wash him away. I'm glad he comes to eat and look for some streetlife in the city center. Down in sol, the Latin women with feathers on their buns are mixed with the bears and other dolls from tv shows, all of them inhabited by an autonomous theme park worker. Non-regulation is one of the keys to the quality of life in Madrid. We fill stadiums and streets at each scheduled party. We like the theater, the zarzuela, the raves, the movies, the bullfights, the performances, the vermouth, the yoga, the reeds, the flamenco, the glasses, the wines, the portions, the tapas, and the dishes combined,some more than others, veal in breas, bravas and every time we eat more sushi, poke and tacos. I keep going down carretas that is already the new montera. Every new pedestrian street makes the city a new scenography and a new play. The night is inhabited by another fauna. Prostitutes emerge and the police travels without disturbing anyone. We don't like to be told where to go or what to do, we are voracious and we take everything at reach.

SOCIOPLASTICS

There has been a growing focus of interest in relational and intersubjective processes within different contexts. Psychology, sociology, biology or neuroscience, among other disciplines, cease to focus on the specific entities that were conventionally defined as individuals, to become interested in the fluid network of relationships in which they are inserted. Art is also no stranger to this paradigm shift that involves shifting the boundaries of the hitherto narrow concept of the individual, to include in it the relationships it establishes. The artistic object has been raised for many years as interacting with the different subjects that surround it and even immersed in its own network of significant relationships. In this sense, a whole theory has been developed that focuses more on the reception of the work of art than on its production. But still, the differences between work-object, subject-producer and subject-receiver have been maintained. In the last 10-20 years, however, and in close relationship with so many factors that it is impossible to analyze them in this space, there is a type of artistic representation that also seeks to erase these limits, proposing a type of art that consists precisely in the relationship.

If some kind of artistic object is generated in the event of this relationship, it will also form part of the relationship and the work, further enriching the relational network, but the mere production of objects is not in itself the purpose. A characteristic of this type of relational art is the concern generated by the perception of the general impoverishment of the relational sphere mediated by globalization and the forms of relations imposed. It is not a question of preferring archaic or obsolete forms of relationship over technological innovations in this area, but rather of resistance to the forced reduction of the repertoire. From these perspectives it is understood that the dismantling of some relational modes is due to interests that intend to dismantle the social generative capacity, so that potentially transformative relationships are replaced by comfortable relationships, without conflicts and uncritical. Many proposals of relational art, therefore, by promoting a reestablishment of relational repertoires that lead to the generation of social changes, even at the microlocal level, reactivate movements at the neighborhood and neighborhood level with a view to recovering all their transformative potential.

In the neighborhood of Malasaña an intense relational activity is taking place that unfolds from the LAPIEZA space on Palma 15. On previous occasions we have referred to this space in the neighborhood as one of the most dynamic in relation to the genesis of ecologies cultural. It may be necessary to explain something about how this site works. It is a room that, as the name implies, presents a “piece” constituted from the contributions that different people make. This piece is transformed, in parallel to the relationship that is established within the space. But in addition, the relational field meets the street, in periodic cultural-relational activities such as Palma Central, an event that brings together various cultural entities of Palma Street once a month.But let's go back to LAPIEZA. There, through periodic "mutations", the whole of the installation (formed, remember, by the contributions of various producers) is transformed at an increasing rate through accumulation strategies and what N. Borriaud calls semi-nautical. Semi-nautical is the process by which new communication channels are established between signs of different types. From this perspective, art in LAPIEZA ceases to be a process of generating objects to become an activity dedicated to establishing new connections and senses between the different signs that surround us. 

Given that LAPIEZA defines itself with a “socioplastic” vocation and as a space dedicated to Junk Art, it is evident that the new connections and senses that are generated in its field tend to try to make social processes conscious and intervene on them, for which they are used strategies such as performance and various activities that could be framed in procedural art, but also do not give up the socio-plastic manifestation in the form of video, installation or even seemingly more traditional forms such as painting or sculpture. When this is the case, the elaboration from pre-existing objects is privileged, and not due to a superficially ecological recycling vocation, but in the context of the semi-nautical described, as a way of reintroducing prematurely discarded signs in the sense circuits that retain significant power for the elaboration of diverse narratives.

It is obvious, therefore, that in this process objects are generated, but its main mission will be to serve as a link or exchange station between signs that were previously isolated, The relational socioplastic that promotes LAPIEZA is not restricted to a single spatial scope such as the events organized in the room. They are not even limited to the space of Palma Street in the context of the Palma Central cultural event. They expand throughout the neighborhood of Malasaña and surrounding areas in synergies between different environments, and also occupy virtual spaces such as the relational community created in the social network Facebook, or the blogosphere through the blog lapiece cleaning and all the ramifications that start from them. We hope that in this new season that opens, LAPIEZA will continue to contribute to the enrichment of the relational sphere and its socio-plastic transformation, from the Malasaña neighborhood to the entire globalized world.

ERDE EARTH________________COLLECTIVE EXHIBITION INNSBRUCK MARCH 2020

UNSTABLE INSTALLATION SERIES



 

CRISTINA GARCÍA RODERO

ALICE MÁSELINÍKOVA

EL INTRUSO 525

http://antolloveras.blogspot.com/2014/01/el-intruso.html

MARLBOROUGH

ESCULTURA MONUMENTAL
https://galeriamarlborough.com/exposicion/escultura-monumental-i

ÁVILA 20.02

JORDY KERWICK

2

EVA KOTATKOVA

STEFAN JOHANSSON

LOTTE LIND

VINCENT MAUGER

LUPO BORGONOVO

HENK STALLINGA

RECREO