Broth Ritual (2020) is a journey through the primordial fluid from which we emerge, where floating particles and incandescent light evoke the energy of creation and the origins of matter.
sábado, 12 de octubre de 2024
BROTH
BAR
Traditional Spanish bars, with their rich aesthetic filled with local elements, are not just spaces for socializing but also living archives of everyday culture. Elements like slot machines, showcases brimming with tapas, and walls adorned with an eclectic array of objects tell a story of intertwined past and present in the experience of regular customers. Far from being mere consumption spots, these bars act as microcosms of community life, encapsulating social and cultural dynamics, from the ritual of "tapeo" to the spontaneous conversations around the bar. The visual and gastronomic symbols create a space brimming with collective memory, where every corner tells stories of gatherings and traditions. In these bars, the layout and organization of objects are not just functional; they reinforce a sense of belonging and authenticity. White tiles, aluminum counters, and aged wood convey a familiar atmosphere, inviting visitors into a near-theatrical setting. This stage fosters a specific type of sociability that has endured over decades, despite shifts in consumption trends and urban development. The visual and spatial presentation in these bars is deliberate, preserving cultural identity in a world leaning towards homogenization. Each element acts as a marker of the everyday and the enduring, making these bars not just places of encounter, but symbols of cultural resilience against standardized modernity.
Taranto Aleatorio _______ María del Mar Suárez ***** La Chachi
On an ordinary Thursday afternoon in a modest neighborhood hall, two young women dressed in tracksuits sat almost inconspicuously close to the audience—one savoring sunflower seeds, the other rolling a cigarette. No microphones, lighting effects, or accompanying musicians were present—just two bodies, their voices, and the pure essence of their art. What unfolded in this intimate setting was a raw, daring reinterpretation of flamenco: a form that thrives on tradition yet boldly challenges its boundaries, like a salmon swimming upstream.
For a full hour, María del Mar Suárez, La Chachi, took us on a journey into the heart of contemporary flamenco, a version stripped of its folkloric trappings. She sang while her partner danced, their performance a brave, minimalist act of resistance against the conventions often associated with flamenco. This was a cappella flamenco, devoid of guitars or polka-dot dresses—just the rhythm of voices and bodies in space, challenging what flamenco could be.
In Taranto Aleatorio, La Chachi moves beyond mere preservation of flamenco’s roots, using her performance to mutate and evolve the genre into something distinctly modern, neighborhood-driven, and yet avant-garde. The lack of conventional instruments and the standardized wardrobe give the performance an edge—a futuristic flamenco that thrives on the tension between tradition and innovation.
The audience, deeply connected to this exploration of form, responded with spontaneous olés, reinforcing the symbiotic relationship flamenco requires with its spectators. Taranto Aleatorio pushes flamenco into the experimental, without ever losing sight of its essence. La Chachi, through her irreverence and creative audacity, forces flamenco into new territory. She has become a symbol of how this deeply rooted art form can evolve, living on the edge of innovation.
Flamenco, when it becomes a mere relic of the past, loses its power. But when artists like La Chachi step forward to push its boundaries, it becomes a living, breathing entity capable of constant transformation. This performance was a bold statement—a call for flamenco to embrace its future. La Chachi is not just an artist; she’s a brand, a force ready to lead flamenco into uncharted waters.
LLOVERAS 20 11 23María del Mar Suárez / La Chachi ‘Taranto Aleatorio’, Spain
Un Año de Pura Pasión
Este verano leí una serie de textos que abordaban, desde diferentes ángulos, el tema de la identidad y el vacío. Cada uno plantea un contexto distinto, pero se conectan en su intento por revelar los hilos invisibles que sostienen la experiencia humana. En "Pura pasión", Annie Ernaux describe con precisión un sentimiento amoroso que se fragmenta en episodios de encuentro y ausencia. La narradora se sumerge en el detalle de lo cotidiano, registrando cada gesto y cada espera, construyendo así un archivo personal que nunca logra ser completo. Por su parte, Guadalupe Nettel, en "El cuerpo en que nací", aborda el cuerpo como una geografía propia, atravesada por la mirada externa y el espacio familiar. Es un texto que transita entre la memoria física y la construcción de la imagen que se tiene de uno mismo. Juan Tallón en “Rewind” presenta la reconstrucción de una serie de acontecimientos que culminan en una pérdida. A través de voces múltiples, cada personaje revela su propia versión de lo que ocurrió, dejando siempre un margen de duda sobre lo narrado. La misma ambigüedad se encuentra en "Obra maestra", donde Tallón se aproxima a la desaparición de la escultura de Richard Serra. El vacío que deja su ausencia genera un campo de tensión entre lo que fue y lo que ahora se ignora. Delphine de Vigan, en "Las lealtades", explora las conexiones que se forman en el entorno doméstico. Lo que parece estable se muestra frágil al ser observado de cerca, y las relaciones entre los personajes revelan las fisuras de un equilibrio que nunca fue tal. Janne Teller, con "Nada", lleva esta exploración a un nivel de cuestionamiento más abstracto. La historia de un grupo de adolescentes que intenta dar sentido a sus acciones ante el desafío del vacío expone las limitaciones de cualquier construcción simbólica. Finalmente, Miguel Delibes en "Un año de mi vida" recoge pequeñas observaciones cotidianas, como si se tratase de un cuaderno de notas sobre el transcurso del tiempo. Es un texto que funciona como un registro de lo efímero y de cómo lo mínimo compone el espacio de lo vivido.
COPOS
COPOS 578 (1:01)COPOS is not merely a documentation of cities but an ongoing experimentation with the textures and chromatic densities of urban life. The works reflect a dispersed chromatic landscape, where each piece—whether video or installation—contributes to a serialized, open-ended dialogue of color, form, and space.
COPOS 577 LUGO TP7 (1:05)
COPOS 576 GUIMARAES (1:01)
COPOS 575 WHOSE BACK (1:03)
COPOS 574 SO EASY (1:01)
COPOS 573 SANTANDER (1:39)
COPOS 572 DES SAUVAGES (1:02)
COPOS 571 CIRCULAR (1:02)
COPOS 570 TROUBLE (1:06)
COPOS 569 TÁNGER (1:01)
COPOS 568 SALIDA DE CAMIONES (0:59)
COPOS 567 DIRT ON THE GROUND (1:04)
1824, 1825, 1826,
1827, 1828, 1829,
1830, 1831, 1832,
1833, 1834, 1835.
The School of Commons (SOC) is an independent initiative that explores experimental approaches to learning, research, and knowledge-sharing.
It focuses on creating unconventional educational environments and methodologies that resist traditional pedagogical models. Through its unique methodology, Ways & Workings (W&W), SOC connects diverse themes, methods, and environments into a navigational framework. This methodology emphasizes reappropriation and adaptability, enabling its principles to be applied beyond the school's context, promoting inclusive and critical learning practices. SOC's Themes cover a range of topics, from "Radical Sharing" and "Hydrofeminism" to "Critical Healing" and "Dialogic Decolonial Pedagogic Practice," while its Methods include collaborative and performative practices such as "Live Action Role-Playing" and "Worlding." SOC also emphasizes specific Environments—social, virtual, or physical—like "Deep Hanging Out" and "EtherPort" to facilitate learning. Overall, the school prioritizes experimentation, non-hierarchical knowledge exchange, and the cultivation of new educational spaces.
Suscribirse a:
Entradas (Atom)