Tuesday, March 22, 2016

Open Call for Artists in Residence Dados Negros AIR 2016

Dados Negros Centre welcomes two artists in residence during the month of July 2016 by procuring a place to research, create and reflect, facilitating the development of the creative process of their projects, which will be evaluated prior to their stay in the center by AIR a public call open until April 26, 2016.

This program is open to international artists, linked to any artistic discipline and offers a maximum of 2 places with a stay of 1 month.

Check out the rules of the open call AIR Dados Negros 2016  


 'Dados Negros' poem by Dionisio Cañas
 Landscape surrounding Centro Dados Negros
Night in Centro Dados Negros

Residency Programme Rules AIR 2016

The Pepe Buitrago Foundation organises its first Residency Fellowship for Artists.

Dados Negros AIR 2016 is a programme whose aim is to offer support to both Spanish and international artists. An artist is defined as a person whose work is related to the creation and production of contemporary art concepts, and who wishes to develop a research or creative project.

Duration: One month at the facilities of the ‘Dados Negros’ Holography and Art Centre in Villanueva de los Infantes, Ciudad Real.

Date: July 2016.

Grant: Each Residency Fellowship is accompanied by a grant of €300.

Accommodation: The ‘Dados Negros’ Centre will provide all the selected artists with a double room with a private bathroom, a common kitchen-dining room area and a workspace shared with other Residency Fellowship artists.

Workspaces: The schedules for the workspaces and the spaces themselves will be agreed upon depending on each project’s needs and the availability of the Centre’s spaces.

Expenses to be paid for by the artists themselves: Travel, food allowances, medical coverage/accident insurance.

Agreement: The artists selected agree to offer a training activity for the local community that is related to their respective Residency projects. This training activity can be in the form of a free lecture for the attending public or an intensive workshop – for which the artist will receive 70% of the fees paid for by the attending participants. (The remaining 30% will go to the Foundation to cover expenses). If artists choose the training activity, they must send detailed information about it, together with their Residency project.

The obligations of the beneficiaries
• To fully fulfil the period for which their Residency Fellowship was granted.
• If the artist cannot undertake the residency on the dates allocated, they must give at least thirty (30) days written notice.
• The artists authorise the Pepe Buitrago Foundation to copy, fully or in part, and only for purposes of the promotion and diffusion of the Programme, the artworks created during the Residency Fellowship. In addition, they shall mention in all works and initiatives resulting from their Residency period their relationship with ‘Dados Negros’ and the Pepe Buitrago Foundation the statement: “With the support of ‘Dados Negros’ Holography and Art Centre. Pepe Buitrago Foundation”.
• The artists must ensure the maintenance of the spaces and materials and regularly attend the Centre as established. Noncompliance of said maintenance, as well as any absence that could jeopardise the development of the project in the period established will result in a severance of the relationship with the Centre.
• Artists must take out their own Accident Insurance to cover any personal harm suffered during their stay at the Centre. Important: This Residency Fellowship does not include medical coverage. Each resident artist must personally take out medical coverage valid for their period of Residency at ‘Dados Negros’. The Pepe Buitrago Foundation and the ‘Dados Negros’ Centre is not liable for medical expenses.
• The artists agree to return the space used in the same condition they initially found it in.
• The artists selected agree to mention the support received from the ‘Dados Negros’ Holography and Art Centre and the Pepe Buitrago Foundation in all public communications regarding the project developed during their Residency Programme. The ‘Dados Negros’ Holography and Art Centre and the Pepe Buitrago Foundation are not liable for any damage or loss that the materials and artworks created could suffer as a result of any type kind of incidence (fire, theft, flooding, etc.).

Selection: The selection of artists will be carried out by the Dados Negros Centre’s Programmes Committee taking into account the artistic quality and creativeness of the applicants’ works, their training and/or professional path, the nature and feasibility of their proposals, and the projects’ suitability to the resources that the ‘Dados Negros’ Centre can offer.

Decision: The artists selected will be informed of the decision on 30 May 2016, and their names will be posted on the Foundation’s website, http://www.dadosnegros.com.

To apply for a Residency Fellowship, the following documents must be sent:
1) Application form. Attached here, and filled out with your personal details
2) Copy of id Card/Resident’s Card or Passport
3) Proposal or project to be carried out. Title, short description, work plan, personal reasons for applying. Photographs or sketches of the planned work
4) Residency project and a brief cv
5) Portfolio of previous work (optional)

For documents 3, 4 and 5, only pdf files (up to 8 Mb) will be accepted. Projects can be sent either in Spanish or English. Applications with incomplete information will be considered invalid.

Deadline for receipt of applications: 26 April 2016 

Send your application: 

By email: contacto@dadosnegros.com

By post:
Centro Dados Negros
C/ Fuente Quintana, 3
13320 Villanueva de los Infantes
Ciudad Real - Spain

Your participation in this selection process involves your full acceptance of these rules, as well as that of the decision of the selection panel.
Should you need any further information, please email us at contacto@dadosnegros.com and write “2016 Artists Residency” in the subject line.

Complete rules and registration form at the following link:


Thursday, February 13, 2014

José Manuel Navia - Tablas de Daimiel National Park, Spain 2010


Today i came across this photographer José Manuel Navia and his body of work Tablas de Daimiel National Park, Spain 2010. Browsing through the photographers of agence vu i noticed this body of work. I was intrigued how José had captured the magic of this national park and created a strong narrative that follows this story. I was most intrigued by his portraits and the way he has photographed them in a very natural way. Im not saying that they haven't been staged however they still feel as if he wasn't present when the photograph was taken. This is interesting to me as i am still tumbling through the possibilities of how i could photograph the portraits that will be part of my body of work. I also liked how he has photographed the landscapes within this body of work and how they all carry the same colours, relating to each other and creating a flowing feeling to the images as they unravel. Here is the caption that accompanies this body of work;
Tablas de Daimiel National Park (Parque Nacional de las Tablas de Daimiel) is a nature reserve in south-central Spain on La Mancha plain in the province of Ciudad Real. It is a floodplain wetland in an arid part of Spain created where the Cigüela river joins the Guadiana river.
It enjoys international recognition as a wetland on the list of the Ramsar Convention. The European Union designated it a Special Protection Area for birds . It is home to many bird species, some year-round residents, some migratory. Among the flora, aquatic plants are the basic substrate of the Tablas, and the only trees present are the tamarisk trees. It is one of the most important aquatic ecosystems of Spain and was probably the main inland wetland.
The wetland landscape is characterized by recurrent seasonal inundation which until recently was maintained by both river flooding and groundwater discharges. The Tablas are provided with two types of water making an unusual ecosystem: the Guadiana contributes fresh water, while its tributary the Cigüela is brackish.
The Tablas de Daimiel had a long tradition of waterfowl hunting. Spanish kings from Infante Don Manuel in the 14th century to Alfonso XIII at the turn of the 20th century, hunted in these parts. The water resources of the area also provided fishing and power for mills. One of the major human modifications in Las Tablas and around until the 20th century were the mills. It came to count up to 14 mills, some of which dates back to medieval times. The mills were social centres where the wheat was ground, fishing and hunting was sold and you could eat, sleep and exchange products.
In recent years demand for water for agriculture in the area surrounding the park has reduced the amount of wetland. Overexploitation of water resources has caused the water-table to drop. The key aquifer has not been able to refill because of illegal wells and canalisation of the rivers. Early in 2010 the situation was improved by heavy rainfall and an emergency transfer of water from the Tagus. 

From Thomas King Documentary Photography Blog
More José Manuel Navia works in: http://jmnavia.blogspot.com.es/2013/10/nostos-navia.html 

Sunday, October 6, 2013

Jorge Fuembuena

Jorge Fuembuena (Zaragoza, 1979). Live and works in Madrid and Nantes
He explores the boundaries of the subject and the fragile boundary that separates the individual from another, and investigates the relationship between human and his environment.
He has developed his creative process in Artist Residence Programs such as the Contemporary Art Center in Essaouira ( Marroc), the Upernavik Museum (Greenland) or the Noass Art Proyect in Latvia.
Fuembuena’s work has attracted many accolades. In 2011, he was awarded with Air Fellowship. Kultuuritehas Polymer. Tallinn, OCEMX Mexique D.F. Prize , Art Generations Caja Madrid 2011 and ARCO portrait Photographer or as well as finalist in both the International Festival Emergent. In 2009, he was announced as the Emerging Artist Award in the St.Isabel of Portugal Art Prize .
As well, he was awarded with the Sta. Maria de Albarracin Grant or the Encontro New Artist Grant . His work has been selected in Photoespaña 2011 Festival and nominated in the 2011 European Sovereign Art Prize ( Hong Kong) or Fotomuseum Wintherthur Plat(t)form 2013.
His work has been published in magazines such as OjoDePez, EFE24, New_Papers , 30y3, PMS 485C,...
His work has been exhibited both nationally and internationally and is included in public and private collections such as Buñuel Foundation or CDAN.
Light without Shadows
Lola Garrido

Light is the first animal of the invisible.
José Lezama Lima 

Truth exists, only falsehood has to be invented.
Georges Braque, Pensées sur l'art

The portrait’s appearance becomes strange when cold and inert faces emerge from the mirror. Jorge Fuembuena draws the world with a luminous gaze that crosses the glow and triggers a definite sensory confusion, a style of photography that at times is lucid in its near invisibility. His is a visual aesthetic that makes one think of what is ideal, static and transparent, and of the timeless work of modernist romantics, a non-saturated, highly subjective way of seeing, so emotionally distant that it is almost impersonal.
The dramatism provoked by this full luminosity that can even blind us invokes the celestial and returns a clearer image to us.
Jorge Fuembuena’s photography is free of shadows. Beyond their white boundaries, a stony calm prevails in his images, caused by their radiant characters capable of extending a halo of light and inspiring in the viewer a powerful illusion. Observing Fuembuena’s images, you tend to think that the light has still not arrived, that the perceptible has vanished and that some thread of a dark shadow will arrive immediately.
In his essay Camara Lucida (1980), Roland Barthes asserted that if you couldn’t delve deeply into photography it was because of its evidence. In the past, photography was used to record an unfathomable reality; it was like a live trace of an unrepeatable moment. Contemporary photography is also light writing, but its language is the perfect bait for a trap. Jorge Fuembuena’s photography is a good example of these aesthetic coordinates, an exercise in full luminosity that becomes magic where the transparency in the image’s limpid shapes confronts sparks of dark signs that make it very difficult to decide whether the message is real or invented.
His shots imply a certain mystery or bear something unexpected without revealing any secrets. And if we continue to speak the normal language of commonplaces they touch on truths that continue to be important as time advances. To put it briefly, these carefully selected photographs are not only beautiful, they are as far as they can possibly be from what is trivial or gratuitous. Jorge traps us with a fantastic luminosity and deploys a mysterious poetic atmosphere that envelops, seduces and captivates us, making us believe that these blurred photographic images are the perfect representation of what is real.
And in doing so, he defines post-modern art in good measure, because he defends a purified aesthetic that encloses an ironic, penetrating discourse. In this direction, current emerging art makes spiritual contact with the mannerist movement. Refined manners, wrapped in a gracious environment are no more than a mask for complicated moral difficulties.
In this artist’s photography one senses a delicate synthesis emanating from irony. His characters are shown as concentrated yet uneasy and they are part of settings that have been devised based on a discourse of studied iconography. Aby Warburg – the father of the iconological trend – would tear apart every gesture in search of telling notes on personality, a condition that reveals the portrait’s subject by resorting to the collective unconscious, which offers more data than what is shown by simple appearance.
This discourse contains less clarity that it seems, and to illustrate one of the series with greatest perspective, Fuembuena recruits a group of characters to bring them face to face with their backs to reality. These are portraits that disturb, that bear a personal seal. The same impatient sensation is produced by the Holidays series of landscapes. This cycle of images confronts a reflection on “artisticity”; at first they seem to be ordinary everyday snapshots of mundane subjects. Only a closer approach leads to a critical introspection that reaches a metaphysical dimension: a kind of ecstatic concentration between the human being and his world.

Sunday, September 29, 2013

Onions in RC Monfero

This year we have collected some production of organic onions in the garden of RuralC Monfero.
In February´s waning moon we planted onions we had preserved to get seeds.
In late April we transplanted 2 "cientos" (hundreds is a measure used in this zone, "ciento, "medio-ciento") of "chata" onion (Galician onion type) .
In late August 2013 we have collected seeds for next year and the 2 cientos already grown, of which we´ll save some for replanting to get new seeds.
We have dried the others in the "hórreo" (Galicia´s traditional raised granary) and after we have braided them. By this way we can hang up to preserve them better.
You can see some pictures of this process.

Special thanks to our neighbour Gerardina who helped us in the whole process.

Monday, June 3, 2013

Araya Rasdjarmrearnsook

Conceptual artist Araya Rasdjarmrearnsook works and teaches in Thailand. For the Two Planets series Rasdjarmrearnsook made photographs and videos of Thai farmers on their home ground confronted by massively framed masterpieces of 19th century French art.
In an interview here Rasdjarmrearnsook explained the intention behind the project:
  I am currently working with traditional sculpture and painting which will be videoed. I want to make and film a masterpiece; but a masterpiece for Thai farmers. No-one talks about Thai farmer’s values. Here I will use video not to register the so-called real but as a vehicle for expressing something like fantasy.

Sunday, May 19, 2013

Pickles with outbreaks of gorse

About the gorse, Ulex europaeus, those shrubs that sting and hinder paths, there are many stories in Galicia, as that which tells how someone made fuel for his car defying oil multinationals; this tale of a countryfolk who used to say, "men from that land gnaw gorse "or some popular songs about green gorse.

This year, following a guide of plants and wild fruits of César Lema, we have begun to make pickles with flowering tops (flowers not yet open).

They are peeled, putted in jars, covered with vinegar and salt and saved in closed jars. Then you can eat them as if they were capers.

There´s an old recipe since 1622, transcribed by Pamela Michael (1980), which provides advice on how to make pickles with outbreaks of gorse.

We can use them to accompany salads, pasta or fresh cus-cus.

Tuesday, December 18, 2012

New container in Alg-a

On September 2011, Cidade da Cultura de Galicia hosted the I Encuentro de Artistas Jóvenes where 100 young creators could share and discuss about current position of the artist and the future of contemporary art production.

After meeting participants were invited to make a presentation in a container located at Cidade. This proposal was the collective project "Container Inside".
A modular structure attached to Biblioteca de Galicia, or what is the same, a container as exhibition space, library and documentation center. A space with proposals of creators participants.

Container arriving at Cidade da Cultura.

On summer 2012, and before arrival of the second edition of his meeting, it was time to decide what to do with this container
From Rural C we proposed to donate to Alg-a Lab, association with whom we work and collaborate, developping different projects.
Following discussions of the participants, this was the option granted by people. So the container arrived in Alg-a, in Valadares.

Now, to use, reuse it and reuse it again in its new location.

Performance by Paulina À la Plage at Alg-a Lab on new container´s opening day.