Residency ProgrammeMatadero Madrid—AECID

El RanchitoChilePuerto Rico

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Residency ProgrammeMatadero Madrid—AECID

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El Ranchito. Matadero Madrid—AECIDResidency Programme

—Guest Countries: Chile—Puerto Rico

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Pause/Continue is the title chosen jointly by the eight artists taking part in this edition of the programme, a name that ascribes importance to the intermittent and evolving nature of artistic practices. Over five weeks the artists were given the chance to work in the Nave 16 studios at Matadero Madrid to determine the course of an artistic research endeavour crystallising in pro-jects ranging from videozine to documentary drawing, experimental publication, work with textiles, sound installation or ethnographic research.

This edition of El Ranchito reasserts the inte-rest in fostering international exchanges with Latin America and demonstrates the valuable results of the close partnership established in recent years with AECID, the Spanish Agency for International Development Cooperation. Two countries have been invited to participate in this edition of the internatio-nal residency programme. They are represented by Beta Local, a non-profit organisation headquartered in San Juan, Puerto Rico, which promotes aesthetic practice and thinking, and the Centro Cultural de Es-paña in Santiago, Chile, an institution that fosters the

internationalisation and mobility of Spanish creators outside of Spain.

The El Ranchito programme is an exercise in com-munity building between creators from different coun-tries; it encourages experimentation with new modes of production, as well as exhibition and interpretation of contemporary art. The artists selected in this edition through a public call process include: Spanish artist Irene de Andrés and Solar. Acción Cultural – who will continue in June the second phase of their residencies at Beta Local – as well as Spanish artists Pepe Murcie-go and Quiela Nuc + Raúl Querido, who will complete their exchange in September at the Centro Cultural de España in Santiago. Furthermore, Puerto Rican artists Alana Iturralde and Joel Rodríguez and Chilean artists Patricia Domínguez and Javier Rodríguez, have com-pleted their residencies at Matadero Madrid.

El Ranchito was launched in 2011, in view of Ma-drid’s abundance of exhibition spaces and shortage of spaces devoted to production and experimentation. The programme is strongly tied to the city’s artistic and cultural scene, and gained ground in 2013 with a new

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phase of internationalisation enabling Madrid’s artists to share space with creators from different countries and also travel to other artistic residencies around the world. Expansion of the project was made possible by the strategic alliance between Matadero Madrid and AECID; since 2014 the programme has welcomed 18 creators from countries like Argentina, Brazil, Finland and Columbia, and has fostered the mobility of another 18 local creators. Its endeavours in this area will conti-nue in 2015 with exchanges at the Tokyo Wonder Site (Japan) and the Changdong Art Studio (Korea).

We would like to give a special thanks to the par-ticipating institutions that have made this new edition possible: the National Council for Culture and the Arts of the Government of Chile and the Consulate Gene-ral of Spain in Puerto Rico, as well as the eight partici-pating artists, without whom the project would have been impossible.

— C a r l o t a Á l v a r e z B a s s oDirector of Matadero Madrid

— I t z i a r T a b o a d aDirector of Cultural and Scientific Relations (AECID)

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Irene de Andrés—The Second Voyage

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the military exercises of the 20th century’s great wars, the invention of the radar and the proliferation of military bases to ensure mastery of the oceans, ultimately leading to the concept of travel for the purpose of tourism, as consumers of territories. 21st century travellers no longer restrict themselves to merely collecting images; they also demand to experience unusual settings and “authenticity”.

In our century, tourism has taken root as the new method of co-lonisation, and it is directly linked to the original purpose of travel. Due to its particular history, Puerto Rico will be one of the first places to explore the trails that different travellers have left on the island.

“Puerto Rico, a former Spanish colony, is a small tropical island that nonetheless has an extensive range of ecosystems. Its rich history, which has had ties to the Spanish crown since the early days of colonisation in 1493, as well as its natural wealth, make Puerto Rico a very familiar country of great natural beauty. Puerto Rico retains the charm and hospitality of yesteryear, while offering all of the amenities of a modern destination”

—Viajes El Corte Inglés (Travel Agency)

When we think of the tropics we picture what is considered to be a modern paradise: a palm-lined beach, white sand and crystal clear waters. This destination, a favourite for summer tourism, has filled with resorts and ports where cruise ships can dock in search of the exotic. Having arrived at our “all-inclusive” destination, it is fitting to establish a dialogue touching on different eras, sources and perspectives by examining the evolution of the concept of travel. It begins with the first colonists, eager to “dis-cover” and conquer new lands, before being imbued with symbolic meaning by the 19th century Ro-mantics, battered by tempests and doomed to shipwreck. Next come

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Dearest Friedrich,

I've got news. I've found a statue in Madrid where a horse had the right to auto-represent himself on a marble sculpture. He chose to have wings and to lift up his front legs. I'm sending you a picture of the sculpture under construction. It shows two workers resting beneath it during their lunch break. They de-dicate their time to caress the horse's marble body with their hands, just as the horse requested.

I frequently find myself thinking about your story with the horse in Turin. A few years ago, not in Turin but in Chile, I witnessed an ex-hausted horse fall to his knees and collapse on the ground. When I saw that the horse refused to stand up and its owner was raising a stick to hit him, I threw myself over the horse and hugged him. I cried with him for about five hours. We wept together for all the living beings that coexist through the relationships of work, duty and affection.

Friedrich, since we as a society haven't given the horses the right to self-govern, maybe the day will come when they will stop being cultural ob-jects, working in the fields, or having to go to war, to be used colonize, give us status, be handed over as tax, gifts, sacrifices, bestow us with folkloric

identity, ideals of freedom, entertain us, accompany us, be our guides, healers, be a machine.But if that day arrives, we should know that they will have to transform themselves into pixelated light. Then our conver-sations with them will be one-way or one dimensional. Our displays of affection will be quantitative and we will have to come up with rituals to remember them through a kind of di-gital animism (as my friend Jan would say). We will make a final sacrifice to transform them into light and pixels so we can then live with their images. Their eyes will be the last to pixelate and we will have to make sure they're at the highest resolution possible.

All the horses caretakers, the ones who live with them, have been given the job to document the horse’s bodies, textures and temperatures by touching them in order to record the information for the future. I've actually met two of them. Jesús in Navalcarnero and Angel in Loja. They allowed me to video record their process. In my next letter I will tell you how they touch and caress them using the sense of touch to see in order to remember them.

Looking forward to hearing from you,

P.

Patricia Domínguez—Their eyes will be the last to pixelate

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Alana Iturralde—Fragility Manifesto

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Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto

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Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto Fragility Manifesto

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Pepe Murciego—Cavalier Perspective

perspective.(from the Medieval Latin perspectiva [ars], optics).

1. The art of drawing solid objects on a two-dimensio-nal surface so as to give the right impression of relative positions, size, etc.

2. Artwork or picture drawn in this way.

3. A set of objects that can be seen by the viewer from a particular position, especia-lly when they are far away.

4. Misleading and deceitful appearance or picture of things.

5. The point of view from which an issue is considered or analysed.

6. View, considered in principle to be closer to reality, bac-ked up by the distant, spatial or temporal observation of any event or phenomenon.

7. Possibility that can be foreseen during the course of some kind of business. U. m. in pl.

cavalier.(from the Latin caballus, caballarĭus).

1. adj. A horseman (archaic). 2. adj. Said of a person:

offhand, supercilious, blasé. Cavalier IN intention, IN tenacity, IN endeavour, IN opinion.

3. A courtly gentleman, esp. as a lady's escort.

4. Supporter of Charles I in the English Civil War.

5. A Spanish gentleman.6. Someone important or of

elegant bearing.7. Noble (II term of courtesy).8. Old Spanish dance.9. A pile of surplus earth placed

next to and on top of debris.10. Mil. In French, the "cavalier"

is an artificial hill behind the walls that allows soldiers to see the enemy above the walls.

11. archaic. Soldier on horseback.

cavalier perspective.1. f. The cavalier perspective,

also called cavalier projection or high view point, is a way to present a three-dimensional object on a flat drawing, and more specifically a type of oblique projection.

Real Academia Española, Oxford Dictionary, Wikipedia.

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ning up on a bass guitar, the "one two, one two" during a sound check, the search for the perfect fuzz or the perfect delay, testing an audio loop that's out of sync with an electronic beat, a trumpet player warming up for a set, and what's not there in the end product of most music recor-dings, with a few exceptions.

Before coming to El Ranchi-to I took my recording gear around a few bars in Puerto Rico to record the sound checks made by bands before gigs and the sounds between the songs in their sets. I compiled audio of bands playing dub, garage, punk, surf, salsa and electronic music. During my stint at El Ranchito I've been able to continue the recording process in Madrid with help from musicians on the local scene and by visiting some of the nearby bars and alternative venues. The audio clips I’ve recorded will be used later to work on a composition that mixes both contexts. This project is intended as a dialogue about these spaces on the margins of music and doesn't try to draw any definitive conclusions on the issue; it's more of a subjective observation.

Music has been a part of my life since I was a little kid. I remember my grandma's eight-track stereo and that we couldn’t make it work, the old record player in the middle of the lounge at home, the same one we trashed years later trying to do scratching like real DJs and searching for subliminal messages in records by Menudo, the salsa-style bolerazos on z93 FM every Sunday, my crush on Daniela Romo when I heard De mi enamórate, when my father got annoyed with my brother for listening to heavy metal, thinking it was Satanic music, playing air guitar with a broom, rap, mixtapes, all my older brother’s CDs that I scratched, swapping music at school... I could go on reminiscing about my expe-riences with music, but I'm interested precisely in what I don't remember clearly, the negative spaces or the ones on the margins of music.

I've been thinking about these spaces for some time, about what’s there between the songs during a concert in some bar or other, about those jam sessions with friends that never get recorded, the random feedback of an electric gui-tar, the sound an instrument makes when it's being tuned, the chance notes played during a rehearsal, the first chord a musician usually plays when they pick up an instrument, a drummer and a guitarist playing different beats, the strings tighte-

Joel Rodríguez—The margins of music

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— My father was a minister under Sékou Touré. He held a high office. The problem is that Touré died and was re-placed through a coup d’état by General Lansana Conté, who was a dictator, more or less like Pinochet. After rising to power, they killed everyone who wanted to take the right path. Because Sékou Touré aided terrorists, he sold them arms. My father had begun to investigate this issue, because he performed security functions. Then, when this happened, Lan-sana Conté killed everyone who held a high office who was on the good path. One of them was my father (…)

— (…) And after setting out by cart, did you use any other type of transport?

— Sure, loads. On horseback and on camels, to cross the desert. When I was doing it I thought I was going to die, I had no food, I had nothing... there are things I can’t even describe …I thought I was going to die. I didn't know where the south, or the north, were. I only had to flee. The sound of the sand is unique. In the desert a lot of people die. You know,

in the Sahara you can walk 100 kilometres without finding a single town. When I passed through it I went days without eating, wi-thout drinking, until I heard the sounds of the sand. That was mind-boggling.

— Were you scared?— No, I wanted to die. In the

end I didn’t care whether I li-ved or died, because I had no one, but now I do. Because now, at least, I have friends. I have someone, you know? At that time I had no one. I didn’t want to live (…)

— (…) And then they tell you that you have rights, but you don’t have any. They get you simply because you have no papers, and then it’s two days behind bars as if you were a criminal. The truth is, it’s ugly. They arrested one person like a criminal, they took him away in handcuffs, and then two days behind bars. As if he was someone who stole or killed... just be-cause you have no papers ◻

◻ Snippets from the interview of Lamine Sarr —a Guinean immigrant in Spain— based on which I am creating a set of drawings that will appear in the travel journal and life diary of Lamine himself.

Javier Rodríguez Pino—Wayfarers, Part I: the Story of Lamine Sarr

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Graphite on paperDetail

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Quiela Nuc + Raúl Querido—DM693

the production of an ep + concert + 20 video/zines.

The aim is to document and foster creative dynamics in Madrid, in Santiago de Chile, and more, providing a set of clues that bring us closer to a sustainable model of self-management based on the sharing of resources and objectives, incorporating an active, open-ended platform.

DM693 is a node in a networkLooking throughListening withTurning in placeand around a field with no centreIt seems chaotic, but It is not chaosIt functions at full SwiNg.

All around there are more nodes, AuTonoMOxS nodesThere is communication, back and forth_ creating, disseminatingSharing and growing in (the) common.

Map—Line—IntersectionsWe choose a point, another point, +++ WeAddNOWHere∞

DM693 is a project by QUIELA NUC + RAÚL QUERIDO that seeks to under-score the cultural proximity between Spain and Chile through the impor-tance and the multiplier effect of self-managed activities in the musical and audiovisual fields.

Starting out based on an economy of means and mutual support networks, various initia-tives have been launched, such as

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diagram.1. A figure, composed of lines

that is used to illustrate a defi-nition or statement or to aid in the proof of a proposition.

2. A simplified drawing showing the appearance, structure, or workings of something; a schematic representation.

At a time when artistic practices en-compass everything from the period prior to the idea’s conception to the period following its materialisation, in terms of the expanded field, the theoretical container in which these practices develop also takes on a symbolic meaning that is just as important as the occurrence in itself. Thus, several different journeys are set out as a means of reaching one point from another, in which the blu-rring and interweavings between the different ways of doing things evolve into correlations with the artistic languages themselves.

In the recent past, and in different contexts, various initiatives (routes) have emerged encompassing a wide variety of formats. In and of themselves, these constitute artistic drifts that not only ease the path for today’s creators but also give rise to new languages in the interpretation of the city and, one might say, of the concept of citizenship and culture as responsible for both its immediate su-rroundings and for the super structure.

We thus see the emergence of a new mode of applying arise a new mode of applying outside termi-nologies to new places to new places that generate glossaries, relations-hips and discourse spanning inclusive and collaborative processes, which depart from creative practice as an individual, autonomous happening to establish new coordinates that pose and lay out open questions that go beyond approaches through conceptual connectors.

Solar. Acción Cultural—Diagram

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Democracia

C.I.T.I

Storm and drunk

La Neomudéjar

Salón

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E l R a n c h i t o C h i l e — P u e r t o R i c oR e s i d e n c y P r o g r a m m e s b y M a t a d e r o M a d r i d —A E C I D

OrganisersMatadero Madrid, AECID, Beta Local, Centro Cultural de España en Santiago de Chile

CollaboratorNational Council of Culture and the Arts (CNCA)

With the support ofSpanish Consulate in Puerto Rico

Madrid City CouncilMayor: Ana María Botella SerranoDelegate for Arts, Sport and Tourism: Pedro María Corral Corral

Matadero MadridDirector: Carlota Álvarez BassoManagement: José Miguel MedranoArt Programme: Manuela Villa AcostaInstitutional Relations: Marta García Santo—Tomás

AECID(Spanish Agency for International Development Cooperation)

Director of Cultural and Scientific Relations: Itziar Taboada AquerretaHead of Department for Cultural Cooperation and Promotion: Guillermo Escribano ManzanoHead of Department for University and Scientific Relations: César Espada SánchezHead of Area for Cultural Promotion: Cinthya Breña TestalHead of Area for University and Scientific Cooperation: Héctor Núñez AmorHead of Service: María Jesús de Domingo Ontoso

E l R a n c h i t o C h i l e — P u e r t o R i c oP a u s e /C o n t i n u e

ArtistsIrene de Andrés : www.irenedeandres.comPatricia Domínguez: www.patriciadominguez.clAlana Iturralde: www.iturraldeleon.tumblr.comPepe Murciego: www.perspectivacaballera.comJoel Rodríguez: www.betalocal.orgJavier Rodríguez Pino: www.javierodriguezpino.comQuiela Nuc + Raúl Querido: www.dm693.tumblr.comSolar. Acción Cultural: www.solarizacion.org

CoordinationGema Melgar / Flavia Introzzi / Sonsoles Rodríguez

Catalogue art directionRV.Studio: www.rvstudio.es

Catalogue graphic designDiego Lara

Front Cover ImagePatricia Domínguez

Interludes photographyAitor Baigorri Ozcoidi

PrintingPalgraphic

Organisers

Collaborator

With the support of

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