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18 April
Sara Buraya Boned/Museo Nacional Centro de Arte Reina Sofía (Madrid), Marco Baravalle/S.a.L.E Docs (Venice)

Institutions, others, these

Histories of Experimentalism

18 April

Saturday 18th April 3PM

Streaming available through this webpage and our social media channels
In Spanish without subtitles

Histories of Experimentalism
Length 2h

Age restriction:

To be age rated by CCE

With the support of: Centro de Estudos de Teatro and Instituto Cervantes. CET is financed by national funds through FCT – Foundation for Science and Technology.

Since 2019, the Histories of Experimentalism series has revealed unique studies about key-moments of experimentalism in the performing arts between the 1960’s and today. Structured transnationally, the series encompasses various contexts, seeking to question dramaturgic and aesthetic contaminations. In April, we will look into case studies of archives and what can be construed from their content as “common”, as a form of collective belonging to the past (which is always multiple and contested). This is followed by a conference that will analyse institutions, for it is through these that a number of concrete political, aesthetic and existential practices are transmitted.

Sara Buraya Boned works in the Department of Public Activities of the Museo Reina Sofía, where she was the Coordinator of Cultural Programs (2013-2015. She is currently part of the Museo en Red, where her research and institutional work are traversed by feminisms, the new institutionality, the urban communities, the archive and the memory of social movements and care policies

Marco Baravalle is currently a research fellow at INCOMMON (IUAV University of Venice). Other fields of research include the relationship between art and activism, creative labor, gentrification, and the positioning of art within neoliberal economics. In addition to his acedemic activity, he is a member of S.a.L.E. Docks, a collective and an independent space for visual arts, activism, and experimental theater located in what had been an abandoned salt-storage facility in Dorsoduro, Venice.  

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The “festivalization” of performing arts in cultural institutions, the dissemination of blockbuster museums and the proliferation of art biennales are part of a panorama where “cities-as-brands-” present themselves “attractively” within a global tourist market. This conception treats culture and art as part of a lifestyle that promotes aggressive gentrification, leading to the shutting down of a series of independent historical-cultural spaces. This is the backdrop for a conversation about the possibility and necessity of today’s cultural institutions taking on a critical role.


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