Exhibitions 2015

These pieces reflect upon the specificities of the audiovisual medium, through topics like the conversion to digital or, the aesthetic and narrative transformations resulting from the use of certain technological devices. The ambiguous reference to the handy quote by Marshall McLuhan (the medium is the message) is a clear positioning opposed to the faith on progress of the ideologist of the global village and founder of the theory of the electronic communication. Therefore, these videos feature some nostalgia for the physical processes, choosing the hybrid media for creation where technology and ways of doing result in a confusion between media and goals. Artists & Works: Miguel Aparicio,Horizontes, 2013 María Cañas, La mano que trina, 2015 Daniel Couberta Touzón, El hombre invisible, 2004 Alberto Gracia, microfugas#1, 2008 Gregorio Méndez Sáez, I'm Feeling Lucky, 2010 Andrés Pachón Arrones, Dioramas, 2013 Enrique Radigales, Dossier: La Ventana de la Escisión, 2008 ZEMOS98, El tenista, 2006

'Warm-Up' is an immersive sound installation focused on the chaotic sound emitted by an orchestra when the musicians warm up before they tune their instruments. 'Warm-Up' introduces the public into the intimate space between musician and instrument. Through this proximity, the installation becomes sensory, that is to say it strives to reach not only the ear of the listener, but also his sense of touch. And then the "La" is heard. All the instruments tune in. At the end of the loop, they are all in unison. It is a sound common to all orchestras, and yet it is never the same. Project developed by the Canadian artist Andrée-Anne Roussel during her residence in the SoundLAB in the context of the agreement between LABoral and Avatar.

This exhibition invites visitors to enter the fascinating universe of José Val del Omar (1904-1982), one of the most original and obscure filmmakers in Spain, who understood cinema as a total art and who based his work on the most avant-garde experimentation. The show includes materials of different nature that the artist used in his work: essays, poetic and technical texts, documents (like the patent of cross-talk and the filmmaking standards BiStandard e Intermediate), prototypes for sound equipment (like the Spanish Phoneme Stand), or photographies and collages. The lab PLAT (Picto Lumínica Audio Tactil), recreated in shows from the original objects that made it up, is one of the cores of this proposal. El PLAT (1974-1982) concentrates the last works by José Val del Omar, an unfinished project and in constant mutation where the filmmaker set up an experimentation workshop and it was the place where he spent the last years of his life, focusing on the production of a corpus of audiovisual variations, texts and collages, that have been kept in their original location until today. His two short films Aguaespejo granadino (1953-55) and Fuego en Castilla (TactilVisión del páramo del espanto) (1958-60) will also be shown in the exhibition. Val del Omar is a exhibition organized by the Museo Nacional Centro de Arte Reina Sofía and produced by Obra Social “la Caixa” and LABoral Centro de Arte y Creación Industrial.

The works included in this exhibition are not aimed to be any sort of anthology, even though they swing around two historic pieces that mark two pioneering moments in the development of animation. The idea, on the contrary, is to explore how illusion and space relate when time becomes flexible and subjective. The Space of Illusion aims to show the versatility of a set of techniques in order to provide alternative answers, and even contradictory ones, to personal space configurations that are ultimately able to trigger some changes in the experience that, in principle, were supposed to belong only to time.

'Behind the Scene', the winner project of the Production Grant DKV Seguros-Álvarez Margaride in its third edition. It is an installation where the artist will present simulations of advertising banners that, using halogen lights, will display messages and images made with bodily letters, whose interpretation will be affected by atmospheric agents, activated by means of a free hardware called Arduino. The possibility that these messages are mixed randomly, concealed, or match each other, will show the lack of connection between the original idea of the sender with the final message understood by the receiver.

The exhibition proposes a critical reading of the visual archive compiled throughout the ten years of life of Laboratorio Arte Alameda from Mexico City—a space committed with the exhibition, documentation and research of the practices that engage and dialogue with the relationship between art and technology in the city. The core axis of (Ready) Media revolves around art practices using media and technology, as well as the aesthetic-political questionings that said practice has aroused in Mexico since the early years of the twenty-first century. Curator: Gustavo Romano Artist: Iván Abreu, María José Alós y Artemio Narro, Francis Alÿs y Rafael Ortega, Oscar Rodrigo Alonso Inclán, Víctor Alzina, Rocío Aranda de la Figuera y Uriel López España, Antonio Arango, Adrián Arce, Diego Rivera y Antonio Zirión, Marcela Armas, Ensamble Áspero, Peter Avar, Ulises Barreda, Iñaki Bonillas-DJ Sondera, Alfredo Borboa, Bruno Bresani, Germán Bringas & Julio Clavijo, Tania Candiani, Domenico Capello, Ulises Carrión, Ricardo Castillo, Rocío Cerón y Bishop, Mayra Isabel Céspedes Vaca, Arcángel Constantini, Ángel Cosmos, Juan José Díaz Infante y Arturo Márquez, Antonio Coello, Cremance, Jessica Cruz, Ximena Cuevas, Manuel de Elías, Mario de Vega, Juan Carlos de la Parra, Ana de la Rosa y Lorena Rossette, Paulina del Paso, Iván Edeza, Manuel Enríquez, Felipe Ehrenberg, Carolina Esparragoza, Gilberto Esparza, Generación Espontánea, Antonio Fernández Ros, Nuria Fragoso, Fernando Frías, Arthur-Henry Fork, Arturo Fuentes, Guillermo Galindo, Andrés García Franco, Anni Garza Lau, Guillermo Gómez-Peña, Juan José Gurrola, Ariel Guzik, Alejandra Hernández, Alejandra Islas, Enrique Ježik, Jesse Lerner y Rubén Ortiz, Los Lichis, Erika Loic, Fernando Llanos, Israel Martínez, Sara Minter, José Manuel Mondragón, Taniel Morales, Manrico Montero, Ricardo Nicolayevsky, Txema Novelo, Gabriel Orozco, Andrés Padilla Domene, Elena Pardo, Punto pig, Phantom Power, Iván Puig, Grace Quintanilla, Daniel Reyes, Jorge Reyes y Lidia Camacho, Roberto Reyes, Juan José Rivas, Víctor Manuel Rivas-Dávalos, Manuel Rocha Iturbide, Gregorio Rocha, Alfredo Salomón, Luz María Sánchez, Guillermo Santamarina, Juan Sebastián, Rodrigo Sigal, Rogelio Sosa, Rosario Sotelo, Wilfrido Terrazas, Adriana Trujillo, Naomi Uman, Luis Emilio Valdés, Mauricio Valdez, Bruno Varela, Verbobala, Juan Pablo Villegas. Co-production: LABoral Centro de Arte y Creación Industrial & MEIAC Museo Extremeño e Iberoamericano de Arte Contemporáneo. http://www.laboralcentrodearte.org/en/exposiciones/ready-media

Based on the Archive of Asturian Artists, Eight Views of a Landscape that Never Fully Materialises shows, in addition, different ways of approaching contemporary videographic production. While trying to dig out the pas of our present through the alleged objectivity of the documentary format, fiction is eventually up to its old tricks. Even if it questions traditional drama and its illusionist tricks, its role is to be the vehicle for our understanding of the world: An artifact able to bring our relationship with the world with a more human scale. Curator: Alfredo Aracil Artists: Ramón LluísBande, Elisa Cepedal, Colectivo DV, Cristina Ferrández, David Ferrando, Alicia Jiménez, Marcos Merino, Amalia Ulman