ArtBanchel 2018

Este sábado, os esperamos en La Catorce Quince para un encuentro con José Luís Alexanco. Todas las infos aquí:

5 de mayo de 17:00 a 19:00.

Los talleres abrirán a las 16:00.

En La Catorce Quince, avenida Pedro Diez 25 4º derecha, en Carabanchel, Madrid.


Exhibition at Museo CAV La Neomudéjar

Le Maschere Nude

Exhibition at Museo CAV La Neomudéjar, Madrid, Spain

11 January – 5 March 2017

c/Antonio Nebrija s/n, Madrid


When exile is internal, that which is intimate is denied. The depersonalization or even dehumanization of a being takes on many aspects that are not necessarily the fact of individuals making History(ies) but also the fact of individuals transmitting History(ies), which although it is always taught in the singular form, is in fact plural.

But while memory can disappear, the impression, the one written in the flesh, is indelible. It is transmitted in spite of time and place.

It is in the folds of what is intimate that the impression is revealed and summons the individual to manifest it.

And when the past becomes real time again despite its forced marriage to silence, it becomes likeness and image must become repentance.

Ludivine Allegue

In Residence at la Neomudéjar Museum – Madrid (ES)



November 2015 – April 2016 (both inclusive)


Museo – Centro de Artes de Vanguardia – Residencia artística Internacional –LA NEOMUDÉJAR– calle Antonio Nebrija s/n 28007 MADRID – SPAIN

What for?

Le Maschere Nude – On family, individual and collective memory, stories and history. “[…] from one painted [portrait] to another, it is a plural collective memory that newly finds physical expression. A senso comune where the flesh of one joins the flesh of the world.”*

Disorient – What happens when we lose our perimeters, our orientating devices, our socio-cultural or emotional pillars? (in collaboration with performer-artist Valentina Lacmanovic)






*L. ALLEGUE. (2012) « senso comune », in L’intime, le privé, le public dans l’art contemporain. E. Chiron, A. Lelièvre (Dir.). Paris. Publications de la Sorbonne, p.p. 165-173. ISBN 978-2-85944-700-7

Hubo un lugar: Personal involvement, creative process and scientific value

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Hubo un lugar [there was a place] is an art project and an art research on the potential of the investigation of individual cases to progressively build a collective and composite memory. It starts from a site specific work in Spain, which in turn starts from the testimony of a former Spanish republican refugee (see: –


I will focus on the question of the reconciliation between the objective and subjective approaches within an art and research project that embraces testimony, historical research, creative process and personal involvement, and I will envisage potential methods for the purposes of such reconciliation.


20 June 2014, Amphithéâtre I, Place du Panthéon, Paris.

Colloque international « Le processus créatif dans les arts performatifs, visuels, sonores et littéraires »

19 & 20 juin 2014 à l’université Paris 1 Panthéon-Sorbonne

Hubo un lugar | Witness #1: Juan*

Hubo un lugar


Witness #1 : Juan*

« Mon cher fils »


December 15th, 1971


My dear son,


            On December 26, 1971, you will be 21 years old. In French law, this is the age of legal majority which grants you full exercise of your civil, moral and political rights. However, it also makes you entirely accountable for your actions and words before the existing laws that nobody should ignore.


            I therefore believe that the time has come for me to tell you about certain information pertaining to your origins, your birth, your childhood and also explain some of the opinions I have about the problems we have approached together on numerous occasions.

            To make this letter as clear as possible, I have divided it into five chapters, which, in light of the information contained in each, are of varying lengths.




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Chapter IV – Revolution and social system


            When I was 16 (1932), I became an activist for “Juventudes Libertarias Gallegas” (Galician Libertarian Youth Movement) which was linked to the F.A.I. (Iberian Anarchist Federation). My authors of choice at the time were Bakounine, Kropotkine, E. Malatesta, E. Reclus, Ricardo Mella, J.J. Rousseau, Miró and Federica Montseny as well as his father F. Uracles, but I , of course, also read C. Marx, Engels and L. Tolstoï.

            Spain had just declared the 2nd Republic (April 14, 1931) and was finally emerging from the dictatorship of General Primo de Rivera – father of José Antonio, founder of the Falange – that had enslaved the country from 1923 to 1930.

            A strong wind of freedom was blowing over the nation’s citizens and institutions and we thought the time was just right for a successful Revolution to take place. Why? Because at that time in Spain, capitalism was ignorant from a social point of view and too conservative from a political point of view. Hoards of workers were scraping a living together from their meagre wages and most of the time, couldn’t afford even a minimal level of comfort in their lives. Moreover, it was a six-day working week, sometimes even seven in certain professions and in certain regions; workers had no annual leave and no social security or any of the other advantages we have today, advantages which were later dragged out of the ruling classes through repeated strikes and protest movements of all sorts.

            Yet the breaking point which creates a revolutionary atmosphere is the moment when “the majority of the population of a given country note with fear, bitterness and desperation that, even with hard and sometimes dangerous labour, they still cannot meet their basic needs”. This, of course, creates a wave of deep discontent and revolt that is extremely conducive to the creation of a large-scale movement with the aim of total disruption of the country’s social and political structures. It is then that the dissent needs to be guided and controlled…

            After several general or partial, national or local strikes, that were always strongly suppressed by the republican government in place at the time, the general power struggle was born in Spain on July 18, 1936, with the uprising of the Army and the Marine against the Republic… And you know what happened next!…

            It is probable that the youth of today are better equipped intellectually than we were in 1936; but I don’t think you have the same spirit of revolt against despotism, or a deep seeded revolutionary upbringing, a feeling of hatred towards the property-owning class, a spirit of defiance, audacious and generous, the disdain for life if it cannot be lived how one wants to live it, and, above all, the solidarity, solidarity between all people at all levels, that we built at the time by overcoming immense difficulties and by often sacrificing our leisure time and our personal future to the cause.

            And yet, despite all of this, despite the subversive readings, the revolutionary gatherings, the secret meetings, the personal sacrifices and even the blood that we spilled, we didn’t get anywhere on the road to freedom we had chosen. Well, we did, actually…we ended up in forced exile on foreign land where, little by little, we broke up, like a block of ice in the sun…



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*Another name is used in order to protect the privacy of the family who is affected by this testimony.

L’intime, le privé, le public dans l’art contemporain

Parution de mon article “senso comune“, dans L’intime, le privé, le public dans l’art contemporain. E. Chiron, A. Lelièvre (Dir.). Paris. Publications de la Sorbonne, p.p. 165-173. ISBN 978-2-85944-700-7.

Les auteurs ainsi que les directrices de l’ouvrage, Eliane Chiron et Anaïs Lelièvre, ont présenté le contenu du livre lors de la journée d’étude organisée au centre Panthéon, à Paris, à l’occasion de sa parution.

Les différentes interventions ont été filmées et devraient prochainement être disponibles en ligne sur le site du Centre de recherche en Arts Visuels.

à suivre…

video art “october.” at the Gospel Hall Gallery | the Soup Lab until 1 June

october. was shot at Tiananmen, Beijing (China) in 2007 and Granada (Spain) in 2009 with mobile phones. The sound was recorded the same way at Granada. It is a first approach within a wider project on historical memory reconstruction.

Video can be watched here

Stills here


october. Digital video. Colour. 3:27 minutes

Material used: Sony Ericsson K610i (images, Beijing), Nokia 2630 (images and sound, Granada)

The video is exhibited at the Gospel Hall Gallery by means of a 9.3″ digiframe.

William Kentridge on Memory and how we deal with it

Interviewed by Carolyn Christov-Bakargiev, William Kentridge says:

All my work is part of a single project. I don’t see a great shift. In Il Ritorno d’Ulisse I was looking at the body as a metaphor for our relationship to memory and the unconscious, acknowledging that there are things happening under the surface, which we hope will be well contained by our skin. We hope that our skin will not erupt, that parts of us will not collapse inside. The body in this sense is other to us; we shepherd it along like an ox, hoping it will come quietly to market and not run away. In recent works such as stereoscope I’m interested in the co-existence of all those contradictory strands, and what it means to synthesize them into one subjectivity.

Stereoscope is about the cost of trying to bring these disparate parts of oneself together.

In Cameron, Christov-Bakargiev, Coetzee. “William Kentridge” (1999) London, Phaïdon, p.23.

To watch Kentridge’s Stereoscope, click HERE.

The CAC of Málaga (Spain) is exhibiting Kentridge’s work until 13 May 2012. I just can’t wait to go, see it and meditate. (

“No, this isn’t me”: on hidden memories


Hubo un lugar [reconstructed] 2012

« 3.

No, this isn’t me, someone else suffers,

I couldn’t stand it. All that’s happened

They should wrap up in black covers,

The streetlights should be taken away…

Night. »

1939. Requiem, Anna Akhmatova.[1]

Reconstructing Historical Memory[S]: click HERE to access the project’s page

Hubo un lugar, 40 x 80 cm & reconstructed X-ray (2012)

[1] A. Akhmatova, Requiem. English translation by Lyn Coffin. New York/ London, W.W. Norton & Company, 1983, p. 84.