SALA MIRO

Video installation with audio, drawings and sculpture (2009).

Sala Miró from aníbal parada on Vimeo.

Sala Miró from aníbal parada on Vimeo.

For my final project at university I displayed as an installation my proposal of creating an opening from the Sala Miro, an emblematic exhibition space found on the second floor of the Faculty of Art in the University of Barcelona, to the exterior.

SALA MIRÓ / En mi proyecto final para la universidad despliego en una instalación mi propuesta de abrir al exterior la “Sala Miró”, un espacio expositivo emblemático ubicado en el segundo piso de la facultad de Bellas Artes de la UB. Luego de tres dias de derribada una de sus paredes principales (la que conecta con la vía pública) se reconstruye la sala con nuevos materiales.


*(Roca Umbert, Granollers, 2009).

REFLECTION REGARDING EXHIBITION

Video installation with audio (2009).









I positioned an illegal street vendor of beer in the Rambla in Barcelona as a living statue. I asked him to adopt the typical posture they use when selling their product. “Reflection On Exhibition” results from an administrative model that uses the symbolism of immigration to gauge and promote the city's tourist apparatus, but at the same time displaces the same immigrants, implementing rapid policies of gentrification and unstabilised work. The result is a catch similar to that which occurs in black economies, which often sustain tourist demand - as in the case of illegal beer selling - while simultaneously penalising with fines and continual raids. The work acts as criticism by giving visibility to unregulated work that is nevertheless a part of daily street life in Barcelona.


REFLEXIÓN A NIVEL DE EXPOSICIÓN / Pongo a un vendedor ilegal de cervezas a posar de estatua en la Rambla de Barcelona. Le pido que utilice la postura típica en la que ellos ofrecen sus productos de venta. "Reflexión a nivel de exposición" es resultado de un modelo administrativo que utiliza el imaginario de la inmigración para calibrar y potenciar el aparato turístico de la ciudad, pero que al mismo tiempo desplaza a los propios inmigrantes, implementando políticas aceleradas de gentrificación y precarización laboral. Se trata de una pirueta similar a lo que ocurre con las economías sumergidas, las cuales muchas veces sostienen parte de las demandas del turista -como es el caso de las cervezas/beer- mientras que simultáneamente son penalizadas con multas y redadas policiales permanentes. Al igual un ejercicio autocrítico de dar visibilidad a un trabajo no regulado pero cotidiano de la vía pública de Barcelona.

*(Centro Civic Casablancas, Barcelona, 2009).

MASTURBATION WHILE WATCHING THE PIECE “10 PEOPLE PAID TO MASTURBATE” BY SANTIAGO SIERRA ON THE INTERNET

Stills frames. (2009)







I masturbated watching the piece “10 people paid to masturbate” by Santiago Sierra on the internet.
http://www.santiago-sierra.com/200012_1024.php


MASTURBADA MIRANDO LA PIEZA DE SANTIAGO SIERRA POR INTERNET “10 PERSONAS REMUNERADAS POR MASTURBARSE” / Me masturbo mirando la pieza por Internet de Santiago Sierra; “10personas remuneradas para masturbarse”.
http://www.santiago-sierra.com/200012_1024.php

*(Can Felipa, Barcelona, 2009).

6 MINUTES PER HOUR OF CONTINUOUS BELLS LASTING 6 HOURS IN THE NAME OF ART

Video installation with audio (2009).











Within the framework of activities for the Miquel Casablancas Prize 09 I proposed an exercise in radical publicity for one of the new proposals for construction in the neighbourhood: converting the old Meridiana dog track into the new Arts Centre in Barcelona.


6 MINUTOS POR HORA DE CAMPANADAS CONTINUAS DURANTE 6 HORAS EN EL NOMBRE DEL ARTE / En el marco de las actividades del Premio Miquel Casablancas 09 propongo un ejercicio de publicidad radical para otra de las nuevas propuestas edilicias del barrio: convertir el viejo Canódromo Meridiana en el nuevo Centro de Arte de Barcelona.

*(Public intervention. Project for “SAL” by Miquel Casablancas, Sant Andreu 09).

POLICE DISRUPTION / Basic Lesson on the control of the other for artistic communities.

Video installation with audio (2009).










I invited two local police officers to intervene in an art workshop by giving a class on the theory and practice of the most efficient techniques for immobilising a person.
Intervention carried out in the Can Xalant Centre, Mataró, within the framework of the DISRUPTION workshop by Rirkrit Tiravanija, Josep María Martín and Martín Perán.


POLICE DISRUPTION; lección básica de control sobre el otro para comunidades artísticas / Invito a dos policias locales a que intervengan un workshop artístico, realizando una clase teórico-práctica sobre las técnicas más eficaces para inmovilizar una persona.

Intervención realizada en el centro Can Xalant, Mataró, dentro del marco del workshop DISRUPTION, por Rirkrit Tiravanija, Josep María Martín y Martín Perán. En colaboración con Pep Dardanya y con estudiantes de Ginebra y de Perpignan.

*(Biennal de Valls, Tarragona, 2009).
*(Obra adquirida por la Facultad de Bellas Artes de Barcelona para Patrimonio U.B.).

EVA4

Photography 50x70cm (2009).







EVA is an official institution located in the historic quarter of Barcelona by the Drassanes city wall. It assists more than 1400 drug-users with its methadone programme. Every Thursday for four consecutive weeks I organised a guided tour of the centre, given by Esther Henar, the Director of the institution.

EVA4 / EVA es un espacio situado en el casco histórico de Barcelona, en la muralla Drassanes. Se trata de un espacio institucional de venopunción asistida que acoge a más de 1400 usuarios de drogas. Cada jueves durante cuatro semanas consecutivas organizo un tour guiado por este centro, de la mano de la Directora de la Institución: Esther Henar.

http://interartive.org/index.php/2009/09/eva4-parada/

*(Espaidos, Sala Muncunill, Terrassa, 2009).

L ´AGE DE MAÇANET

Video installation with audio (2008)



I was invited to participate in a contemporary culture festival. Following the rejection of my three projects, I developed a fictional documentary in which I recorded the process of making the rejected pieces.

L´AGE DE MAÇANET / Fui invitado a participar a un Festival de cultura contemporánea. Luego de que se me rechazaran tres proyectos, elaboro un documental-ficción donde registro todo el proceso de los trabajos censurados, acentuando la imposibilidad de diálogo entre los habitantes del pueblo y las expectativas discursivas del evento.


*(Can Felipa, Barcelona, 2009).
*(Ingràvid, L'empordà Museum, Girona 2009).
*(Empordá contemporary culture festival. Maçart 11, 2008).

LOOKING FOR ALEX BRAHIM

Video installation with audio (2007).









“Wanted” is a project by the LaPinta collective which tries to analyse, question and evaluate the existing relationships between artists and curators. Within this framework I proposed that for a whole morning an artist and a curator undertake a mutual search for each other in a predetermined physical space in the city of Barcelona. The artist carried a chessboard and the curator the pieces and could only play when they found each other. The activity became/turned out to be rather more complicated than it seemed it would at the outset.

http://interartive.org/index.php/2009/02/anibal-parada-video/

BUSCANDO A ALEX BRAHIM / “Se busca” es un proyecto del colectivo LaPinta que intenta analizar, cuestionar y evaluar las relaciones existentes entre artistas y comisarios. En este marco propongo que durante toda una mañana un artista y un comisario emprendan una búsqueda mutua en un territorio físico predeterminado de la ciudad de Barcelona. El artista lleva un tablero de ajedrez y el comisario las fichas y sólo encontrándose pueden jugar la partida. La actividad se torna bastante más compleja de lo que aparentaba en un principio.


*(Espacio Cero, Thessaloniki, Grecia. 2009).
*(Espacio de consulta, Centro de Arte Santa Mónica, Barcelona 2008).

BLINDSCAPE

Video installation with audio (2007).




After sharing a week with blind people who we met in a workshop, a Flamenco dance teacher
and I closed ourselves in a empty room in total darkness. Dressed for the occasion, she danced without being able to see. Meanwhile, I “spied on” and filmed her with an infrared camera.

BLINDSCAPE / Luego de compartir una semana con gente ciega por motivo de un taller, una profesora de baile flamenco y yo nos encerramos en una habitación vacía y en completa oscuridad. Vestida para la ocasión, baila con la imposibilidad de ver. Mientras tanto la “espío” y la registro con una cámara de vídeo infrarroja.

*(ScalaMata Gallery, Venice, 2007).
*(La Fabrica del Vapore. Milano, Italia 2007).

THIS IS THE OTHER SIDE

Public intervention (2006).





As a final result of the “Going Public” workshop, the organisation proposed a public intervention: to design publicity posters for every country illustrating the pieces made during the workshop. The posters were displayed on a barrier which had been constructed to prevent the passage of the public to an area of public works in construction. My proposal consisted of a sign marking ”the other side”, an inaccessible reality.


THIS IS THE OTHER SIDE / Como resultado final del workshop “Going Públic”, la organización propone una intervención pública: un diseño de posters publicitarios representativos de cada país ilustrando sus respectivos trabajos realizados durante el taller. Los posters son expuestos en una valla construida para impedir el paso de personas a una obra pública en remodelación. Mi propuesta consiste en una señalización para remarcar el otro lado, una realidad inaccesible y en construcción.

*(Workshop, “Going public, atlantic mediterraneo”, Formigine, Italy 2006).


THIS IS THE OTHER SIDE / LETTER ON THE WALL

With his intuitive pushing, Anibal invited us to work on his idea. Actually, in the beginning of the process he has no concrete or absolute idea. Simply, it was in to do something that will make us feel good. He says that art is something that makes us happy, excited and fresh. Later, we realized that the idea of “urban installation” is a kind of border for us in the public space considering its place; it was designed to appear in front of the castle. And the castle is a very strong symbol for the history and the identity of the city. We worked very near to it, but we could never get in it and see inside legally since it was under construction. Construction is a part of our lives and we live with it in big cities, hating the noise and junk. And the presence of the castle as a “forbidden place” is of course very sexy for young artists…
But we realized that we wanted to talk within the context of control in the public space or about the “urban installation” We still do not know what it exactly means. We know “urban” and “installation” but we are not sure about their marriage. Isn’t it is a kind of decoration using the very significant material of six countries without any processing? During the week, we searched the possibilities of realizing our project. We thought that maybe it would work if we would do an intervention in the castle, at the backside of the wooden wall where the urban installation is going to be presented. We wanted to be sure (and show) that we see also the backside of the wall. Suddenly, Cristina came up with a golden sentence that gives the exact meaning-feeling; “THIS IS THE OTHER SIDE” -with her unique expression. Yes, we know it is very conceptual and it is 70’s but we loved it. And we moved to 80’hjhjkös and decided to paint that sentence (I still remember Anibal’s response about the discussion of the colour: “of course BLACK!”) And we tried it. Actually, we felt that we do not want to be vandalist or something but we know that (Cristina likes it…) it is a kind of activism. No no… We only want to communicate because this event is obsessed and oriented with the exhibition, I mean with the production like every business today… But we are more interested in the process. Sorry. So yes we tried it. But we have been seen by the man on the tower of the castle. And the workers said that we can not stay in the castle legally… When teenagers were painting flags as politically correct citizens, we were sitting and thinking what to do in order to spot that there is another side like children. So, when walking around we found an notice placed on the castle but communicating with outside. I am not sure about the translation (Anibal and Cristina said that) it is talking about “not doing something bad for the green area” We decided to produce a poster using the same design language with the notice and writing our sentence. When Deniz heard this idea, she seemed more excited than ever, and said “now, it is a work of art”. Maybe, it is… Now we feel more comfortable. First, it is not on the back of the wall, which means that everybody outside can see it. And secondly we did not have to do somethi ng aggressive. We transformed something for communication. 90’s and so on…
So now it is a gkjhghköworkshop for us. And would like to think and talk about it, if you like… It is always good to think that THERE IS THE OTHER SIDE, isn’t it?

adnan/anibal/cristina/deniz