Since humanity developed astronomical awareness, it has celebrated solstices and equinoxes with festivals full of all kinds of rituals. The Church would appropriate these dates, calling them Christmas, Saint John, Saint Joseph, or La Merced, but we must not forget their pagan origins. In this winter solstice concert, CoroDelantal MACA takes us into artistic worlds and rituals from which we will emerge transformed and with our listening heightened.

Do you dare to come as an audience member?

Concert performed by CoroDelantal MACA and soprano Laura Giménez as soloist, directed by Sonia Megías.

Since humanity developed astronomical awareness, it has celebrated solstices and equinoxes with festivals full of all kinds of rituals. The Church would appropriate these dates, calling them Christmas, Saint John, Saint Joseph, or La Merced, but we must not forget their pagan origins. In this winter solstice concert, CoroDelantal MACA takes us into artistic worlds and rituals from which we will emerge transformed and with our listening heightened.

Do you dare to come as an audience member?

Concert performed by CoroDelantal MACA and soprano Laura Giménez as soloist, directed by Sonia Megías.

The Udnámekam project. A magical history of music emerges as a consequence of the importance given to the necessary pedagogical work to be carried out with audiences that show reluctance toward contemporary art.

The show consists of a musical journey through a magical history of humanity and the music of the world, starting from the idea that neither time nor space exist, but rather are a fiction of the human mind in order to be able to understand and measure its reality. On this journey we will see how music develops from its birth, where music begins to be made without the existence of musical instruments, passing through its different evolutions until reaching current music that does nothing more than reconnect us with the beginning of everything.

Our audience will learn, always in a playful, stimulating way and interacting with the artists, the characteristics of music from different eras and places. This journey will have several stops where they will be able to experience the sensation of accompanying the artists with different rhythms, moving their bodies according to the proposed sounds, discovering how and who emits special sonorities, imagining the sound proposals in a drawing, or becoming a conductor and leading the artists in the interpretation of a musical piece.

By Lumina Ensemble, Sonia Megías and Eva Guillamón with images by Mitar Terzic. Within the 2022 public call for subsidies for the development of cultural and artistic projects by the Alicante City Council.

The Udnámekam project. A magical history of music emerges as a consequence of the importance given to the necessary pedagogical work to be carried out with audiences that show reluctance toward contemporary art.

The show consists of a musical journey through a magical history of humanity and the music of the world, starting from the idea that neither time nor space exist, but rather are a fiction of the human mind in order to be able to understand and measure its reality. On this journey we will see how music develops from its birth, where music begins to be made without the existence of musical instruments, passing through its different evolutions until reaching current music that does nothing more than reconnect us with the beginning of everything.

Our audience will learn, always in a playful, stimulating way and interacting with the artists, the characteristics of music from different eras and places. This journey will have several stops where they will be able to experience the sensation of accompanying the artists with different rhythms, moving their bodies according to the proposed sounds, discovering how and who emits special sonorities, imagining the sound proposals in a drawing, or becoming a conductor and leading the artists in the interpretation of a musical piece.

By Lumina Ensemble, Sonia Megías and Eva Guillamón with images by Mitar Terzic. Within the 2022 public call for subsidies for the development of cultural and artistic projects by the Alicante City Council.

Performance by 5th and 6th Year Students of Contemporary Dance from the José Espadero Professional Dance Conservatory in Alicante.

Once again, as has been tradition at the Museum for the past ten years, dance takes over the different rooms with a performance by Contemporary Dance students from the Professional Dance Conservatory who will present a traveling show through all the rooms of the Museum.

Free admission until capacity is reached.

For an entire year and once a week, Giorgia Lupi and Stefanie Posavec sent each other postcards reflecting data from their personal lives. Things like: "what music you like, how much time you spend alone and accompanied or what sounds surround you", became beautiful drawings made from their personal data.

All these postcards are collected in the book "Dear data" where we also find the guidelines and ideas that the two artists discovered during the experiment. In this "I, Artist" workshop we will learn about this project by Giorgia Lupi and Stefanie Posavec, through the "visual diary" format, experiencing artistic expression through personal data.

Coordinated by Va de cuentos and María Maraña

MAV, Women in the Visual Arts, with the support of the Community of Madrid and the Ministry of Culture and Sports, and in collaboration with the Lázaro Galdiano Museum, present the MAV 2022 Gala: a commemorative event that brings together three acts: a tour of BMAV22 Biennial Women Visual Arts 2022, IX MAV Awards and the X Anniversary of the M-Arte y Cultura Visual Magazine.

A summary of the edition is presented, reviewing the five proposals selected in the grants call, as well as the invited proposals that have become part of this edition's programming.

As for the proposals selected in the grants call, they were: Body in Atelier: Art, Design and Feminist Activism, Dulce Pinzón and Tamara Ibarra; Manifesta of the 2% Laboratoria Women Acting in Museums, Tania Lombeida Miño; On the Edge of Time, Raquel Algaba; Hosting the Gaze, Artxibo: Tamara García and Sara Berasaluce; and Celebració, EXCHANGE Live Art.

The Assessment Commission was composed of Cèlia del Diego (former director at Centre d'Art la Panera), Iris Lam (cultural manager and curator), Daniel Silvo (artist, curator and independent researcher) and MAV partners Isabel Sanz along with María Jesús Abad Tejerina and Anxela Caramés, who are also part of the board of directors and the BMAV working group.

The MAV association has also collaborated with INTERSECCIÓN, Festival of Contemporary Audiovisual Art. The event took place in Galicia during the month of October. The jury, composed of Anxela Caramés Sales (curator), Isabel Pintado Palacio (artist), Rosario Sarmiento Escalona (curator) awarded Cat & Éiméar McClay for A Body is a Body is a Body, a video in which Catholicism, witchcraft and queer desire collide in 3D animated frames. It also awarded two MAV honorable mentions to: Monica Mura for Sonic Thought, an exercise in writing without ink that becomes sonic to remain trapped between the digital and analog medium to perpetuate itself as a Möbius strip; and to Laura Tabarés for The Soft Boy, a creepypasta audiovisual that narrates the encounter with the Softboy, a soft and smooth being that

represents an archetype to unravel soft/tender masculinity and its role in the sophistication of sexist violence.

IX MAV Awards

The winners in the IX Edition of the MAV Awards in the five categories are: for the trajectory of an Artist/Creator, Carmen Calvo; for the trajectory of a Gallery Owner, Begoña M. Deltell of Aural Gallery; for the trajectory of a Manager/Curator, Rosa Mª Castells; for the trajectory of a Theorist/Critic, Marián López Fdz. Cao; for an individual or collective project carried out in the last two years, The Memory of the Shaved Women by Art al Quadrat.

To these five awards is added the Special Collaborating Partner Award granted by the MAV Board of Directors to the M-Arte y Cultura Visual Magazine. The award winners will accompany us at the MAV 2022 Gala on November 30 at the Lázaro Galdiano Museum starting at 6 p.m.

The jury of the IX MAV Awards, composed of: José Luis Pérez Pont –as a specialist appointed by the Board of Directors, María Gimeno –representing the MAV 2022 award winners, Paula Noya and Claudia Martínez –MAV partners chosen by lottery, Esther Regueira and Alejandra Bueno –as Board representatives, and Olga Méndez –as secretary, with voice and without vote, ruled on the MAV 2022 Awards on October 24 via Zoom meeting, after the voting period of the MAV Partners that defined the finalists.

X ANNIVERSARY M-ARTE Y CULTURA VISUAL MAGAZINE

We celebrate ten years of the M-Arte y Cultura Visual magazine which aims to address art and visual culture from a gender perspective, presenting other perspectives and sensibilities, from the conviction that

to achieve a society of equality between men and women, it is necessary for images to open up to new interpretations, diverse and shared, in the tolerant understanding of differences. That is why it is not a magazine dedicated solely to disseminating what women contribute to art, nor is it made exclusively for female readers.

Conceived by MAV as an open space, with the plural contribution of artists and specialized professionals, we speak about the current state of art and the management of artistic heritage without losing sight of visual symptoms

in our country and in the international panorama, raising reflections and debates of interest to the entire community of visual arts at least in Spanish-speaking countries.

When form was a matter of State.

Comments on the exhibition: Art in a Barren Land 1939-1959 curated by Nacho París.

Friday, November 18 at 6:30 p.m. Free admission until capacity is reached

Early Francoism—whether Falangist or National Catholic—had a determined cultural endeavor: first more of empire, crucifix and race, of academic or popular art, and later more Spanish and mystical, avant-garde and international. But that State—praying to God and striking with the hammer—prohibited or promoted, always decidedly, certain artistic forms or others as it saw fit. That was a fundamental part of its policies, whether for indoctrination or internationalization. And in those script changes, it found the determined support of the American friend—welcome Mr. Marshall, Hiroshima and Nagasaki—who was also fiercely committed to demonstrating, through art, that capitalism was the natural territory of individual freedom. For less time than Francoism enjoyed did Hitler's Germany—a tyrant who had dreamed of being an artist and from whom Oskar Kokoschka snatched a scholarship in Vienna—develop its fierce classicist cultural project, of extermination and "degenerate art."

They were convulsive times, terribly violent, that ended the lives of many, that pushed so many into exile. (And another State cultural project, that of Cárdenas' Mexico, would be a refuge, a new home for artists and intellectuals). Times in which science, culture and reason of state walked hand in hand with horror, leaving a hangover of astonishment and skepticism toward the Western civilizing project. Times in which art was radically conditioned by history and political thought.

Nacho París

Dilettante, art enthusiast (still without knowing what it is or when it happens), has coincided with it by interpreting various roles that time and fortune have proposed to him: that of student, that of spectator, that of artist, that of theorist, that of critic and writer, that of activist, that of transporter and exhibition installer and that of curator or curator—as one prefers—. (And very briefly and with little success that of pedagogue). Consequently he has drawn, photographed, edited videos, has written and spoken, has hung his own paintings and those of others and organized some of his own and others' exhibitions. And in all of this, so as not to feel alone, he has created and participated in various collectives.

AD LIBITUM how I have freed myself from my chains

Ad libitum is for Andrés Marín to dance to the beat of his own will, at full rein, from a total freedom, an overwhelming improvisation. And, above all, from a total availability to the moment, to the place, to the other, whether found on stage or among the audience. The choreographer lets his body speak, which has so much to say and imposes itself on him, breaking the shackles of reason. To heed the demands of that body and bring it into dialogue with the inherited and assimilated sediments that are the foundation of a patiently accumulated flamenco knowledge. Andrés Marín has learned to unlearn and has understood what Antonio Machado said when he wrote "Traveler, there is no path, the path is made by walking." It is what he proposes in this solo: to build before us a path through which he invites us to penetrate the depth of the seguiriya or the rhythm of the bulería and offers us his dance as an act of freedom

ANDRÉS MARÍN

National Dance Prize 2022

Giraldillo for Dance 2020

Andrés Marín is one of the most singular flamenco dancers in the current flamenco panorama. His productions have focused on flamenco tradition and specifically on classical cantes, but not from a conventional perspective, but rather through a highly personal style and an aesthetic of absolute contemporaneity. Choreographic, artistic and musical director of his own company, his creations reflect the expressive freedom of a profound artistic research. From there is born a poetics rich in suggestive images, at the service of his commitment to art and to himself. At present he stands as one of the great renovators of the genre.

Andrés Marín was born in Seville in 1969. Son of flamenco artists, he has lived art since childhood, both through dance in his father's school and through cante, of which he is a great enthusiast and deep connoisseur. If there is a trait that defines his trajectory, it would be that of independence and non-affiliation to any company or school beyond paternal teaching. An unclassifiable autodidact, he began his professional career in 1992 as a soloist and choreographer for various shows and events until founding his own company in 2002.

In all of Andrés Marín's works, experimentation and risk reign, elements that the artist considers essential for flamenco art to remain alive: Beyond Time (2002), Asymmetries (2004), The Dawn of the Last Day (2006), Avant-Garde Jonda (2006), The Sky of Your Mouth (2008), The Passion as One Sees It (2010), Op.24 (2011), Marrow (2012), Ad Libitum (2014), Yatra (2015), Blank Canvas (2015), D.Quixote (2017), The Perfect Vigil (2020) and Ecstasy Ravel (2021). His creations have been welcomed by the main European circuits, both of the flamenco genre and contemporary dance, among which are the Maison de la Danse in Lyon, the Teatros del Canal in Madrid, the Théâtre National de Chaillot in Paris, Sadler's Wells in London, the Flamenco Biennial in Seville, Montpellier Danse, the Musée National Picasso-Paris, the Opera of Lille, the Lucent DansTheater in The Hague, the National Opera of Latvia, the Théâtre de la Ville in Paris, the MC2: Grenoble, Festival de Danse de Cannes, the Biennial of Flamenco Art in Paris, the Festival de Nîmes, the Festival de Jerez, Flamenco Comes from the South, the Salle Pleyel in Paris, the ¡Mira! Festival or the Mercat de les Flors in Barcelona.

A restless artist, always in search of new ways to immerse flamenco tradition in uncharted waters, Andrés Marín has collaborated with artists from various disciplines throughout his career in the conviction that flamenco can dialogue without complexes with other arts:

Pilar Albarracín, visual artist. Video action "I Will Dance on Your Grave" (2004) Blanca Li, choreographer. "Poet in New York" (2007-2008) Nominated for the Max Awards as Best Male Dance Performance for his role as Lorca. Llorenç Barber, experimental composer (bells). "The Sky of Your Mouth" (2008-2011) Bartabas, director of the equestrian and musical theater Zíngaro. "Golgotha" (2013-2016) Kader Attou, hip-hop dancer and director of the National Choreographic Center of La Rochelle (CCN) "Encounters" (2014) and "Yatra" (2015-2018) Ensemble Divana, musicians from Rajasthan. World Sacred Spirit Festival 2016, Jodpur (India) Laurent Berger, playwright and contemporary theater director. "D.Quixote" (2017-2019) Marie-Agnés Gillot, Étoile dancer. Christian Rizzo, choreographer, audiovisual artist. "Magma" (2019-2021) José Miguel Pereñíguez, visual artist. "The Perfect Vigil" (2020) Jon Maya, Basque dantzari. "Yarin" (2022)

The artist combines his choreographic and artistic activity with the direction of Andrés Marín Flamenco Abierto, a production office and dance studio of his own based in Seville.

[caption id="attachment_33761" align="aligncenter" width="600"] Andrés Marín in a moment of his show Blank Canvas. My Impure Flamenco' ©Javier Fergo[/caption]

This is an educational and outreach activity, coordinated by Carlos Izquierdo that consists of guided tours through the MACA and its immediate surroundings in which sound is the protagonist and attendees enjoy a formative and experiential experience.
Through these sound walks, visitors will learn about the connection that exists between the museum's collection and activities with music and sound art, as well as the relationship that Eusebio Sempere had with composers Cristóbal Halffter, Tomás Marco and Luis de Pablo.
AGES: All types of audiences. Minors accompanied by an adult.
Note: Some sections of the visit involve some physical exercise, such as climbing stairs. Not suitable for people with vertigo.

From the Height of Tall Buildings

Choreographic Poem (Contemporary Dance) inspired by the homonymous poems about the 2 great universal, timeless and intergenerational enigmas, love and death, written by Billy Cowie himself and virtuously performed by Luciana Croatto in a universe of movements, choreographic structures and rhythms foreign to the times of current hypercapitalism. The music has been created especially for the work.

From the Height of Tall Buildings is a thirty-minute solo dance around the two great themes, Love and Death. As for the question of love, we have a timeless setting, the enigma of love, why do we fall in and out of love?, what happens with unrequited love?... With respect to death, we face the enigma of what happens afterwards (if anything happens) and how we give meaning to life while we continuously face this inevitability. In From the Height of Tall Buildings, the questions about these themes are articulated through various poetic texts, music and dance.

[embed]https://youtu.be/TwSPhpkmlUA[/embed]

Choreography: Billy Cowie.

Dancer / Performer: Luciana Croatto.

Musical Composition: Billy Cowie.

Voice-over: Clara García Fraile.

Texts: Billy Cowie.

Lighting: Rodrigo Ortega Portillo.

Production Director: Samuel Retortillo.

Production Company: Madrugada producciones.

Co-production: Choreographic Center of La Rioja.

Research Support: International Film, Dance and New Media Festival, FIVER.

Creation Support: Government of La Rioja

Events organized by the Juan Gil Albert Institute of Alicantine Culture, the MACA and the Miguel Hernández University. Participants include Olga Cuadrado, Rafa Cervera, Óscar López and Carlos Navas.

Digital communication and/or analog communication. The difference between a digital system and an analog one is that the former develops through discrete, finite values, while the latter does so with continuous, infinite values. Viewed this way without mediation, without interpretation, neither from the world of technology nor from that of philosophy, it doesn't say much and, at the same time, it says everything, since it evokes, in a somewhat poetic manner, the bone of contention of communication, and therefore, of the transformation of information into knowledge, in the contemporary world.

While in the first ComunicAlc Events, in 2021, debate centered around the false dichotomy between local and global, in 2022 the division of the cultural world between the analog and the digital is put on the table, not as a confrontation, but as an approach.

The people who are part of the two round tables, as well as the speakers, come from very diverse fields of cultural management and communication, sharing their experiences, dialoguing about them, the differences perhaps are not so great.

Coordinates: Miquel González Ivars

Moderates: Eduard Aguilar Lorente

Program

Free admission until capacity is reached.

[embed]https://www.youtube.com/watch?v=noSDZ85c3Eo&ab_channel=MACAAlicante[/embed]