A Resource for Performing Artists, Scholars and Audiences.
How does the language of performance (made up of practices and procedures) open up opportunities to observe the world, to describe what cannot be described in words? How can action/performance art practices embody conflicts and call into question the measurements and proportions we use to observe/describe the world?
We invited five female ‘artivist’ peers who live in the Community of Madrid, in Segovia, in Paris and in Algiers to immerse themselves in the five core themes that the group UCMM2 came up with during the first six-month period of reflection: City Dance, HeteroDissident Families, On Hold, Corpographies and WTF Institutiøn!
One action every month. Five months. Five places. Or six. Everything could change. City of Madrid 2018-2019. Spain, Southern Europe. Racist raids, reloading icon, rampant touristification, acts of neighbourhood resistance, subversive creativity and the smell of dried piss. This set of actions aims to connect bodies, groups, communities, practices and existing problems. What could happen in the present continuous? Touching and being touched here and now. An radical conversation? It’s all about honesty, collaborative work, material and immaterial conditions, methods, ethics and authorship.
Investigating the dynamics of a “globalised city” by means of specific actions can lead us to unexpected, beautiful and transformative places. Bodies/obstacles to economic power reconvene. Eyes that annoy the dominant discourse meet, dissent, learn, love each other. Or not. On hold. (Re)production of parenting. (Ex)change of public institutions that aren't for the elite. Diverse experiences, incarnations, origins. Feminist and radical corpographies. Like wild flowers, we dance bare-chested, in front of the main door to the cultural parliament.
Photography by Mounir Gouri
In the vicinity of Matadero and Nave Intermediae
“Je n'arriverai probablement jamais à écrire un roman, mais je sais que je pourrai raconter mon histoire avec toi L'autre" (I’ll probably never write a novel, but I know I’ll be able to tell my story with you, the other).
The artist employs the melhfa (a traditional shawl used in particular by Sahrawi and Algerian women) as an object of expression that symbolises beauty and resistance, in addition to acting as a dance partner. The melhfa and houria (freedom) give life to a person who sings, dances, observes and communicates with the other beings that inhabit the city. Houria is a travelling action that reminds us of the importance of freedom in our personal and communal lives.
Souad Douibi (Algiers, 1982). A visual artist whose performance work focuses on modernising traditions and writing down personal ideas through the use of labels, which she sticks on walls, pavement, and bodies. For each action she designs a specific outfit and makeup look. In each action, she invites social reflection on the specific context of the relevant city and on artistic practice itself.
Photography by Yelena Cvejic
In the vicinity of Matadero Madrid
Dissident maternities for a violent and contradictory landscape that perpetuates disdain for the task of reproduction. A bothersome body, a brave migrant woman, raises a child in the Mediterranean. A Capitoline Wolf travels through plots of land devastated by capitalism. City buildings to educate fatherless children. Working for free, for love. Until when? Waiting.
I’m waiting for my child to arrive. The child doesn’t come right away. Children make you wait; their arrival, raising them, takes time. I tell of the different forms of my identity. With songs in Serbian, I connect my experiences with parenting, creation and resistance Sentences that start with “Once”. I rip apart, reshape and transform fabric. I define a circular territory of care and emotions. Waiting for one of my children to arrive.
Yelena Cvejic (Belgrade, Serbia, 1967). “Fake artistic freelancer, self-taught in three languages and aspiring self-managed grandmother”. A visual artist resident in Madrid and mother to two post-adolescent children. Cvejic's art combines works in textile, photography, video and performance art. Her aim is to create “circular stories” by bringing different disciplines together.
Photography by Abel Loureda
Madrid city centre (see route)
In geometry, a translation is a transformation in Euclidean space by means of a given vector, ü, such that every point P of an object or shape is shifted to a corresponding point P. Translations can be understood as direct movements without a change in direction. Therefore: 1) The translated shape is identical to the original shape. 2) The translated shape retains the same orientation as the original shape.
The artist will travel to twelve landmarks in the city of Madrid: the Prado Museum, the Madrid Stock Exchange, the Congress of Deputies, Museo del Jamón (“Ham Museum”) bar and restaurant, the seat of the regional government of Madrid, El Corte Inglés, Casa de Las Alhajas (formerly the Monte de Piedad de Madrid savings bank), Reina Sofía Music School (previously República Argentina state school), El Cabo Noval Gardens, the Senate and Sidrería A'lareira cider bar and restaurant.
Nieves Correa (Madrid, 1960). A multidisciplinary artist who uses her own presence as a tool for creation by means of camera actions, installations, public art, electronics and video. Creator and director of the independent platform Acción!MAD, which fosters the creation, dissemination and promotion of action and performance art.
A project coordinated by Laura Corcuera in collaboration with the team of Una ciudad muchos mundos, a programme run by Intermediae, Matadero Madrid.
Una ciudad muchos mundos is a group of people and collectives inspired to unite by a drive to investigate against a backdrop of different origins and different life, migratory and disciplinary backgrounds. It’s a mixed space that includes racialised and non-racialised individuals with different nationalities (European and Latin American) and sexual expressions. Despite the disciplinary heterogeneity (between the artistic, the curatorial and social intervention), there is a certain proximity to academic and educational spaces. The group is made up of the Ayllu collective, the C.A.S.I.T.A collective, Paloma Calle Alberdi, Laura Corcuera, Massimiliano Casu and Carlos López Carrasco, in addition to the facilitators: Santiago Barber and María Fernanda Moscoso, and the coordinator Carmen Lozano.