MITOLATORIO began its journey in April 2020. During the pandemic, it functioned as a digital collaborative map of contemporary myths. It was a way to stay connected with the outside world, redefining public space from our homes.
In 2024 we resumed the project, this time adding in-person meetings to redefine public space as a group. To carry it out, we have the support of MACA, the city's contemporary art museum. We linked ourselves to the museum by taking its exhibition content (the works from its collections and its temporary exhibitions) as the starting point for our open process of fabulation.
In this Mitolatorio 2.0, we selected works that suggest to us that fictional seed and that open an interesting debate by putting them in relation with urban space and its landmarks. The mediation of the works and places is based on carrying out creative actions with them as objects, to promote critical and expanded observation of the work and subjective, bodily, and also critical exploration of urban space.
To the significant power of the work-place binomial, we thus add two contributions: that of the mediated plastic creation practices from María Maraña's workshops and laboratories, and that of the proprioceptive exploration techniques and identity fabulation from Sergi Hernández's interactive practices.
The Mitolatorio began its journey in April 2020. During the pandemic, it functioned as a digital collaborative map of contemporary myths. It was a way to stay connected with the outside world, redefining public space from our homes.One of the pillars of the Mitolatorio has always been urban redefinition, because reviewing our emotions about public space empowers us within it, because paying special attention to it makes us more aware of its peculiarities, and it helps us value all elements of the public and urban landscape by placing on the samelevel the architectural (a building with an emblematic façade), the vegetal (the tree in the plaza where we played) and the human (the neighbor who always sat on the same park bench), among others. We believe that this perspective can becomeradical in an unexpected way if it is carried out from the perspective of a work from the Museum previously seen, smelled, and creatively discussed.The mediation of the works and places will be based on carrying out creative actions with them as objects, to promote critical and expanded observation of the work and subjective, bodily and also critical exploration ofurban space. To the significant power of the work-place binomial we thus add two contributions: that of the practices of mediated plastic creation from the workshops and laboratories of María Maraña, and that of the techniques of proprioceptive exploration and identity fabulation from the interactive practices of Sergi Hernández.
