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QUAM 2015 | Public interest and collective creation

quam 2015 webSANTIAGO CIRUGEDA-RECETAS URBANAS

From 20th to 24th July 2015

From 10 am to 2 pm and from 4 pm to 7 pm

Escola d’Art i Superior de Disseny de Vic (Rambla de Sant Domènec, 24 Vic)




This initiative of ACVic is supported by hablarenarte, and in collaboration with the Oficina de la Iniciativa Cultural (OSIC) of the Generalitat de Catalunya, Escola d’Art i Superior de Disseny de Vic and the Universitat de Vic-Universitat Central de Catalunya.


It forms part of the international Collaborative Arts Partnership Program (CAAP ) project, which aims to research collaborative practices, and to study the proliferation of new approaches to community work.

SANTIAGO CIRUGEDA-RECETAS URBANAS

LABORATORY WORKSHOP IN URBAN RECYCLING

Transformation of a former industrial space into a new space for cultural and social use. A workshop using the dynamics of collective creation to develop a project with the aim of transforming the old tanneries of Vic into a new social and cultural project for the city. Analysis of the current situation, ideas and solutions for transformation, and the collective construction of a physical model which will bring together the process and the proposal.

KEY WORDS
Auto-construction, participation, self-management, recycling, responsibility.

SUMMARY

The Adoberies (Tanneries) is a building of significant value located in Vic, which unfortunately has suffered progressive deterioration over the past few years.
The great challenge, and the special characteristic which makes this workshop especially interesting, is its aim to create a forum where academics and social networks may work in collaboration, coordinating their specific knowledge and contributing their personal efforts in a real case such as the rehabilitation of a unique heritage building in Vic, presently in a ruined state, and the development of a cultural project upon the site.

To achieve this objective, we believe that active participation, and the presence of representatives of various associations and groups from Vic, at the very start as well as during the workshop, are essential. For this reason, we propose a series of sessions during which existing requirements,  proposals for possible recovery and management models, as well as interested parties in the recovery of the Tanneries, may be specified.

During the workshop there will be open sessions, with representatives from social groups.

For the workshop's fifth and final day, an exhibition of results is planned as a summary of results, an exercise in synthesis and debate, sharing academic and social perspectives raised during the previous sessions, and setting up the foundations for the continuity of the project.

WORKSHOP OBJECTIVES

1. To assess the structural state of the building, as well as to prepare proposals for its rehabilitation, by means of phased stages of recovery, developed within ongoing workshops of low-budget self-construction.

2. To collaborate in the campaign to motivate Vic's citizens to become involved in the Tanneries proposals. The workshop will serve to determine the level of interest and commitment among Vic's various associations and groups, as well as within the university sector, in recovering and making use of the tanneries as a venue for encouraging social initiatives.

3. To create an educational space between university networks and the general public, using the rehabilitation as a process of appropriation and acquisition of the right of use, always keeping in mind the end result of creating as active and as heterogeneous a community as possible.

4. To define the legal framework for the continuation phase of the project (for example, developing agreements for the transfer of public goods for cultural use.)

5. To define the management model for the continuation phase of the project.

6. The evaluation and revision of projects developed in order to encourage and involve other authorities and citizens' groups.


RECETAS URBANAS
Santiago Cirugeda and company [www.recetasurbanas.net] and [www.arquitecturascolectivas.net]

After 7 years of solo work we set up the RECETAS URBANAS (Urban Recipes) studio, which continued to develop, in different spheres of the urban reality, projects of subversion which helped  make this complicated social life bearable. From the systematic occupation of public spaces with refuse skips], to the construction of false appendices to facades, patios, roofs and even gapsites, all the while negotiating between legality and illegality in order to remind ourselves of the enormous control to which we are subjected.



As part of the studio's work, we have realised architectural projects, have written articles, and have taken part in various cultural and educational media (masters' degrees, seminars, conferences, exhibitions , etc.).

In 2007 we presented the book Situaciones Urbanas, which demonstrates legal strategies and social demands through architectural projects.


In 2007 we founded the international network Arquitecturas Colectivas

In 2008 we presented the documentary Spanish Dr€am, along with Guillermo Cruz, which exposes the causes and effects of the housing bubble.

In 2011 we presented the documentary EN LA RED and published the book Architectures Colectivas by  ViboK publisher, which demonstrated the networking among international groups.
2014 RIBA International Fellows. London
2015 Global Award for Sustainable Architecture, Paris
Currently, we are continuing to alternate between political negotiations and exercises of urban alegallity, and are constructing the Arquitecturas Colectivas network, offering information, protocols and a glass of beer to groups who might wish to collaborate.




PUBLIC INTEREST AND COLLECTIVE CREATION

“Avui se li demana a l'artista que abordi temes d'interès públic. Actualment, el públic democràtic vol trobar en l'art les representacions d'assumptes, temes, controvèrsies polítiques i aspiracions socials que activen la seva vida quotidiana” ...“Avui en dia hi ha més gent interessada en produir imatges que en mirar-les”. Bori Groys (2014).

As an introduction to the orientation of this edition of the Quam 2015, we refer to this quote by Boris Groys, which makes reference to two fundamental questions in contemporary creation. One is the need for art to connect with everyday life, so that the viewer may identify the public interest of artistic production, by means of themes latent in the immediate and surrounding social and political context. The other is the growing interest in becoming a producer of images. The ease with which current technologies allow the production and low cost global distribution of images, the greater availability of time, the magic of constructing images, and the heightened interest among hardware technology industries in encouraging content producers (who will consume their services), have worked together in creating a situation in which content production has risen massively, while interest in the product has declined.

Prompted by these two circumstances, an element has made a forceful appearance in the context of contemporary art, which we call the mechanisms of collective creation, that is, those processes generated among several individuals in the pursuit of joint and participatory creation.. Therefore, if, by public interest, we understand those elements necessary to connect with "users" based upon social, political and cultural themes in which these “users” are involved,  then collective creation occurs when these users become co-authors or co-producers. In essence, we are talking about the ways in which contents and methodologies may empower audience-users to participate and come together in contemporary artistic practices.

Collective creation is a way of constructing, imagining, planning or of making or doing which is neither new within nor unique to the fields of arts and architecture, but which introduces more socialised options of making or doing. Collective creation places value upon the individual in relation to the group, widely distributes methods of production, disinhibits and multiplies individual creative capacity, involves negotiation, and requires a balance between listening, proposing and taking action. The novelty which it brings to the field of art is that it focuses less interest in the viewer, understood as a consumer, but allows the viewer to become part of a process which combines concept and execution, becoming one more creator within the context of a co-production, which at the same time dilutes and causes the idea of the creator as isolated individual to disappear, while also creating shared mechanisms by which several creators may assume a shared responsibility.

In this edition, QUAM 2015, we will attempt to deal with, or to discuss, which issues of public interest have arisen within the contemporary context, which also allow for clarification through joint and collective action.

Who is aimed at?

Artists, architects, educators, social scientists, cultural managers, creatives interested in the connections between cultural, educational or social policy, It is also aimed at students from these and other disciplines sharing a common interest in these connections.

Participants of the workshop:
Andreu Teruel Cano, Berta González Carnicer, David Oliva Torras, Emilia Capella Llovera, Helena Muñoz Villena, Joanot Cortés Fàbregas, Mechu López-Bravo Pérez-Constanzo, Mercè Parés Martínez, Pilar Sanmartín Capdevila, Rosa Campalans Griells and Roser Matamala Bacardit.



BACKGROUND
The Quam is a pioneering activity, in both the Catalan and Spanish contexts, comnbining research, debate, training and production, specialising in the field of contemporary art.



Starting in 1988, it has been conducted annually, without interruption, to the present day. Over the years, and adopting various approaches, the workshops and conferences at Quam have been an opportunity for further training of new artists, critics or mediators related to contemporary artistic practices.


Since 1991, H. Associació per a les Arts Contemporànies has taken on the burdens of organisation and management, and has always attempted to respond to the needs of the moment. This explains the changes of direction which have occurred at various stages and, above all, the attempts to trace out possible futures. During all these years, many directors have assumed the leadership, each of them imbuing Quam with their own perspective, together building a collective experience which has gathered together several generations of artists, curators, mediators, managers and educators. It has incorporated many voices and different methods, defining a programme which is plural, inclusive and connective, while also remaining permeable to the prevalent concerns of any moment in time.  


The structure of Quam has usually combined the organisation of seminars, open to the public, during which various papers are presented, with practical workshops involving a smaller group of people. The following is a list of past directors, along with the years in which they participated in this experience:

1988-1996 Florenci Guntín; 1997-1999 Rosa Pera; 2000 Carles Guerra; 2001-2002 Martí Peran; 2003 Hilde Teerlinck; 2004 Glòria Picazo; 2005 Montse Badia; 2006 José Miguel Cortés; 2007 Fito-Arturo Rodríguez; 2008 David G. Torres; 2009 Andrés Hispano; 2010-2014 Ramon Parramon.


Areas of general interest proposed by QUAM
- Combining expertise in the arts field with topics more open to other disciplines and fields.

- Encouraging projects proposed within the field of education as well as the arts, which attempt joint involvements, within contexts of shared permeability. 

- Combining creativity, education and mediation, laying down relational networks among individuals, groups or communities (sociability), and elements appropriate to the site (symbolic, historic or thematic.)

- Strengthening those processes and the various joint and collective actions arising.
- Attempting to establish a medium or long term relationship with the context, and to join up informally with other local activities. 

- Attempting to make widespread those practices which seek to socialise, that is to say, open projects which may be re-appropriated, reproduced and reformulated.

- Analysing case studies using innovative teaching methods.

- Opening up new pathways between artistic institutions, educational institutions and citizens, in order to promote creative interactions.



Registration for the SANTIAGO CIRUGEDA workshop

Limited places. The deadline for registrations is 16th July 2015.

Places will be reserved by order of receipt of payment.

A short CV and a note explaining reasons for wishing to attend must be attached to the registration form.



Selection Committee: Santiago Cirugeda, a representative of 'Hablarenarte, Ramon Parramon and Maite Palomo


[registration form for Santiago Cirugeda workshop
]

An attendance certificate may be issued by the University of Vic - Central University of Catalonia, on request.

Price
The workshop is free.

Options (please indicate requirements on the registration form)
Accommodation and lunch are optional for workshop attendees.

Lunch (for 5 days): 35 €

Accommodation and shared double room with bathroom, including breakfast (for 5 days): 70 €

Accommodation (breakfast included) and lunch (for 5 days): 105 €


Grants
Two grants will be awarded for accommodation and board during the workshop. Selection will be based on CV and letters of motivation.

 

logos quam 2015

Workshop with the collaboration with Arxiu Comarcal d'Osona.

This activity is part of the Collaborative Arts Partnership Programme (CAPP)
http://www.hablarenarte.com/es/proyecto/id/collab-arts

CAPP is supported by the European Union's Creative Europe programme.

Collaborative Arts Partnership Programme (CAPP):

Members of the national network: ACVic (Vic, Cataluña), Centro Huarte (Huarte, Navarra), Medialab Prado (Madrid) and Tabakalera (Donsoti)
Members of the CAPP international network: Create Ireland (Dublín, Irlanda), Agora (Berlín, Alemania), Heart of Glass (Liverpool, GB), Kunsthalle Osnabrück (Osnabrück, Alemania), Live Art Development Agency (Londres, GB), Tate Liverpool (Liverpool, GB), Ludwig Múzeum (Budapest, Hungría) m-cult (Helsinki, Finlandia) and hablarenarte:

The first part of the CAPP programme, developed between 2015 and June 2016, is aimed at organising artistic workshops, designed by and for artists, and will be carried out in four national cultural centres between July 2015 and February 2016. 



CAPP is supported internationally by the European Union's Creative Europe Programme, and nationally by the Spanish Government's Acción Cultural Española Nacional level (AC / E)as well as by Spanish member-participants.

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TWITER AND FACEBOOK:
#QUAM2015
#CAPP_EU

MORE INFORMATION:
This email address is being protected from spambots. You need JavaScript enabled to view it.
t. 93 885 37 04

QUAM Artistic Director: Ramon Parramon
QUAM Technical Director: Maite Palomo

 

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