PROGRAM

Wednesday 19 May. 19:30 p.m.
Presentation Esteban Vicente. Drawings
Ana Martínez de Aguilar
Museum’s Director
Alfonso Palacio
Proffessor of History of Art. Universidad de Oviedo

Presentation of the catalogue “Esteban Vicente. Drawings 1920 – 2000” published on the occasion of the current exhibition on view at the Museum. In this exhibition the visitor may discover unknown aspects on the of the artist’s creation process. The lecture will be held by the Professor Alfonso Palacio, author of the first monographic study on drawing in Esteban Vicente, included in the publication.

Wednesday 2 June. 19:30 pm.
The Royal Palace of San Martin
Antonio Ruiz
Professor at the School of Arquitecture. Universidad Politécnica de Madrid

Antonio Ruiz, expert in Segovian arquitecture and heritage, will talk on the recent discoveries done during his research on the Enrique IV’s Palace, known in the époque as the Royal Palace of San Martin.

* Free entrance until seating completed. The Museum Friends can make reservations on the following hone number 921462010. Reservations accepted until the day before the conference; Reservations will be compulsory to guarantee entrance.

COURSE

THE FOURTH DIMENSION
OF CONTEMPORARY SCULPTURE

October, November, December 2009

As aesthetic paradigm of artistic occidental classicism, sculpture underwent a deep identity crisis since the beginning of the contemporary revolutionary art until the 20th century. During the aforementioned century its definition was redefined as well as its role, location, material supports and, of course its form. From this radical catharsis, sculpture was reborn under minimal determined conceptual factors, as a three-dimensional object. This criterion was again revised during the last third of the twentieth century, when, as it was remarked by Rosalind E. Krauss in 1979 “a series of surprising things has been called sculpture: narrow corridors with TV screens in both ends; mirrors located in particular corners of ordinary rooms; lines drawn up in the middle of the dessert”,  she finished “it seems as if nothing could claim the category of sculpture. Unless this category could reach the infinite malleability”.

Almost 40 years after, this malleability not only seem to be assumed by sculpture, but also has expanded its field to technological development. Nowadays the irresolution of the sculpture field has reached a critic dimension, due not only to its maximum openness, but also, as in the case of art, it is extended without progress. Last explorations coexist simultaneously with versions from the past recent or distant. This course, programmed as frame for reflection and explanation of an exhibition about Contemporary Spanish Sculpture, revises the different perspectives in the field during the last decades in the whole world, and the aesthetic and social debate born from its undetermined limits.

Francisco Calvo Serraller
Course Director

PROGRAMME

OCTOBER

Wednesday 21, 7:30 p.m.  
The realm of silence. Contemporary Spanish sculpture, between the object and its absence, 2000 – 2010 Francisco Calvo Serraller
Permanent Member of the Real Academia de Bellas Artes de San Fernando
Professor of Art History, Universidad Complutense de Madrid

Wednesday 28, 7:30 p.m.
Voices, words and thoughts turned into sculptures   
Miguel Fernández-Cid
Art Critic

NOVEMBER

Wednesday 4, 7:30 p.m.
The persistence of the monument after its announced death       
Simón Marchán Fiz
Permanent Member of the Real Academia de Bellas Artes de San Fernando
Professor of Aesthetics and Art Theory, U.N.E.D., Madrid

Wednesday 11, 7:30 p.m. 
The colossus and the double
Guillermo Solana
Artistic Director. Museo Thyssen – Bornemisza, Madrid

Wednesday 18, 7:30 p.m.             
Round-table meeting                               
Juan Navarro Baldeweg, Antonio López, Eva Lootz
Artists

Wednesday 25, 7:30 p.m.
Expanded field: sculpture as landscape          
Javier Maderuelo
Professor, School of Architecture and Geodesy. Universidad de Alcalá, Madrid

DECEMBER

Wednesday 2, 7:30 p.m.   
Entropy and waste. The volatilized city             
Ángela Molina
Philologist and Art Critic

Wednesday 9, 7:30 p.m.   
Telling from experience, sculpture for hire (Politics, architects, town planners and sculptors)
Antoni Llena
Artist

Wednesday 16, 7:30 p.m. 
Eighties Sculpture: Visionary or Revisionist?
Lynne Cooke
Deputy director of conservation. Museo Nacional Centro de Arte Reina Sofía, Madrid

REGISTRATION

From 6 to 20 October, 2009, 9 a.m. to 3 p.m. from Monday to Friday

REGISTRATION FEE:
General Rate: 60 euros.
Reduced Rate: 40 euros. Over - 65s and students (Proof of student status required)
Friends of the Museum: 30 euros

PAYMENT METHODS:
Fees may be paid into account number 2038 9412 49 6000162931 at any branch of Caja Madrid. Fees may also be paid by bank transfer to the same account number. The payment slip must then be presented at the museum.

GENERAL INFORMATION

LOCATION: Museum’s Auditorium

Sponsored by:

CAJA SEGOVIA
Obra Social y Cultural

MATRYOSHKA

Production and proyect: Museo de Arte Contemporáneo Esteban Vicente
In cooperation with: Segovia 2016
Original idea, art direction and visual creation: Naia del Castillo
Music direction and performer: Gunnlaug Thorvaldsdottir
Date: This performance took place last June 6, 2009 at the Museum’s Auditorium

MATRYOSHKA

The Museo de Arte Contemporáneo Esteban Vicente presents the performance Matryoshka in contribution to the event of the Full Moon Night. Segovia 2016 organizes the event every year as candidate to become European Cultural Capital, this year’s night will be devoted to Museums.

The Museo de Arte Contemporáneo Esteban Vicente supports the production of a two young artists’ project, Naia del Castillo (Bilbao, 1975) sculptor, photographer and videoartist; and Gunnlaug Thorvaldsdottir (Reikiavik, Islandia, 1976) performer, composer, poet and considered one of the thirteen best innovative vocalists in the world.

VISUAL CREATION. Naia del Castillo

Matryoshka is a being emerging from another in an eternal circular movement. It is an expression of life, the unstoppable cycle of fertility. Is a powerful and big doll hidden in her hair, which is expression and shelter. Her feet are tied up, she can just move her body. She wears different dresses she will take off slowly.

The voice and the music will accompany every stage of the doll in a constant destruction and reconstruction. Moments of suppression, growth, plenitude, death and revival.

Matryoshka is a female figure that opens and reveals herself to us from the calm.

MUSIC DIRECTION. Gunnlaug Thorvaldsdottir

Matryoshka opens a new door through the material, slight movements and the sound. The performance is organized in compositions and several improvisation themes.

The viewer is conducted into the interior of the Matryoshka passing through multiple vocal styles, from the aggressive ones to others softer, through acrobatic blows of melody to experimental manipulation of keys.

NAIA DEL CASTILLO (BILBAO, 1975)

Bachelor in Fine Arts at the Universidad de Bellas Artes del País Vasco in 1998.
MA in Fine Arts at Chelsea College of Art, London in 1999.

Between 2000 and 2006 she has lived and worked in Rotterdam, London, Barcelone and Paris enjoying different grants such as the ones of Caja Madrid and Injuve. In 2007 she was granted by the Spanish Academy of Fine Arts in Rome. Currently she is artist in residence at the International Studio & Curatorial Programme in New York.

Her works have been shown in the United States, China, Corea or Japan. Amongst her more remarkable solo shows are the ones at Artium, Museo de Arte Contemporáneo de Vitoria; the Santos Gallery, Houston; Sala Alcalá 31, Madrid; or the Gallery Distrito 4 in Madrid. This show entitled Oferndas y posesiones was awarded as the best exhibition in the Off Festival of PhotoEspaña 05.

Her work has been selected by prestigious curators to participate in group shows such as the festival Fragilities, curated by Marta Gili or Rosa Olivares who selected her to represent Spain at Parisphoto05. In 2007 she was selected by Francisco Calvo Serraller to take part at the exhibition Doce Artistas en el Prado where she was invited to recreate two pieces form the Prado Museum. These works were afterwards showed at the Museum with a great success. She has also been chosen by Timothy Persons to be one of the artists in the exhibition Spanish Photography that will be opened next October at the Kulturhuset Museum of Contemporary Art at Stochkolm and that will travel to Scandinavia, Germany and the United States.

Her work is in the collection of Museums such as the Museo Nacional del Prado, Museo Nacional Centro de Arte Reina Sofía, Artium, Centro de Arte Contemporáneo de Málaga, Museum of Fine Arts of Houston or the Maison Européenne de la Photographie in Paris amongst others.

GUNNLAUG THORVALDSOTTIR (REYKJAVIK – ISLANDIA, 1976)

At a younger age she started performing surprising sounds with her voice and at the age of three she started to communicate with birds. In her teens the national attention was focused on her imitations of the birds sign and her vocal skills, appearing in the radio and television, and developing performances and musical improvisation. From that moment on Gunnlaug has taken part in discs, films soundtracks and radio performances.

Between 2003 and 2005 she was invited to work at the music department of the Fabbrica Center of Art and Investigation in Italy, where she has collaborated with the composer Andrea Molino as a soloist in the Multimedia Orchestra for the piece Credo. Her first solo album Survival Machines evolved into a performance for the Centre Pompidou in Paris performed in October 2006. She has performed also in London, Bangkok, Berlin, Venice, Lille and Reikiavik.

Recently Gunnlaug has created the soundtrack for the short film A’mare, awarded with the UNICEF prize at the ZINEBI 08 Festival in Bilbao. She also appears at the documental of Kettill Larsen and participate in the CD Blood, muscles, air  in which the thirteen best vocalist in the world are present.

Currently she lives in Rome, where she is working with the composer Maurizio Squillante to perform the role of Roxanne in his next opera Alexander, that will be presented in Autumn 2009. She is also working on a piece with the legendary Japanese singer Michiko Hyriama and she is also working on her new album with the musician William Barton.

COURSE

THE ROLE OF DRAWING

Drawing is, in Richard Serra’s words, “another kind of language”. A universal one that from its origins it is been used to express and explore forms and ideas, it is also been used as testimony or document, as the support of other arts, as an art in itself.

The role of drawing has changed according to thought changes, sensitivity and the trajectory of the arts. In different moments drawing has been considered as the father of arts: painting, sculpture and architecture; in others, as sketch of these arts considered higher. It is been hold in high regard as an autonomous and complete work and it takes part of the recent alliance with the new media.

This course, as a complement of the exhibition New York / New Drawings. 1946 – 2007, has been programmed with the aim of analyse the role of drawing throughout the history. A special attention is devoted to the last century artistic manifestations, to the continuance of drawing as an independent genre in the visual arts environment. Likewise, relationships are set out with other disciplines such as music, dance, architecture… to suggest that drawing, in Elizabeth Finch words, “has been elemental to representation, as well as to creativity, since the first hand traced the outline of a shadow”.

PROGRAM

MARCH

Thursday 26
7:30 p.m.
The head and the mind. Uses and functions of drawing
Carmen Bernárdez
Professor of Art History 
Universidad Complutense de Madrid

APRIL

Wednesday 1         
7:30 p.m.
The key of the modern: From Goya to Manet
Manuela Mena
Head Curator. 18th Century Painting and Goya
Museo Nacional del Prado

Wednesday 15
7:30 p.m.
Painting and drawing in the first half of the 20th Century
Valeriano Bozal
Art Historian

Monday 20
7:30 p.m.
On Some Moments of Drawing, 1966 to Now
(Simultaneous interpretation)
Elizabeth Finch
Co-curator of the Exhibition and Curator of American Art at the Colby College Museum of Art

Wednesday 29       
7:30 p.m.
Drawings in movement    
Ángel Corella
Main Dancer and Artistic Director
Corella Ballet Castilla y León

MAY

Thursday 14
7:30 p.m.                              
Drawing and music: minimalism conections
Tomás Marco
Composer

Wednesday 20
7:30 p.m.
The beautiful distance between two points
Joaquín Vaquero Turcios 
Painter
De la Real Academia de Bellas Artes de San Fernando

Saturday 23                         
7:30 p.m.
 American music avant-garde  
CONCERT: Ensemble Aula 13

                                             
Sponsored by:

JUNTA DE CASTILLA Y LEÓN
THE HARRIET AND ESTEBAN VICENTE FOUNDATION

REGISTRATION

REGISTRATION  PERIOD:
March 10 to March 25, 2009, 9 a.m. to 3 p.m. from Monday to Friday.

REGISTRATION FEE:
General Rate: 60 euros.
Reduced Rate: 40 euros. Over - 65s and students (Proof Of student status required).
Friends of the Museum: 30 euros.

PAYMENT METHODS:
Fees may be paid into account number 2038 9412 49 6000162931 at any branch of Caja Madrid. Fees may also be paid by bank transfer to the same account number. The payment slip must then be presented at the museum.
Payments may also be made in cash or by credit card in the Secretary’s Office.

GENERAL INFORMATION

LOCATION: All acts will take place in the Museum Auditorium at 7:30 p.m.

CONCIERTO: FREE ASSISTANCE. (Reserved seats for the persons registered at the course)

COURSE

ABOUT FRAGILITY

PRESENTATION

Since Italo Calvino  chose levity in 1984 as the first of his Six proposals for the next millennium, this term and others close to it (frail, transparency, liquidity …)have been spread of in order to characterize a period of time defined by big social changes, ideological scarcity and production of intangible goods. Matter, now we know, is made of levity and to it we aspire as liberation of the existence´s gravity. The beauty of the explorations of the frail, slight and transparent has a touching result not only from an aesthetic point of view, but also because itself represents the spirit of our time.

The aim of this course is offering several additional visions from the different disciplines that share the analysis of fragility as metaphor of reflections of a different nature. Conceived in parallel to the exhibition entitled “Fragile”, the different interventions look around contemporary art with special attention to the influence of oriental aesthetics. They also talk about literature, that has given shape to the discourse fragility. From a humanist or aesthetic point of view, the fragile is nowadays recognized as a human character. Also in a discipline as architecture, faced to permanence, is fragility present. At last, sound is made of fragility, intangible and fleeting par excellence.

PROGRAM

OCTOBER

19:30 h.

Valeriano Bozal, Art Historian

19:30 h.

José M. Parreño, Curator of the exhibition and Deputy Director of the Museum of Contemporary Art Esteban Vicente

 Wednesday, November 5

19:30 h.
Oriental aesthetics and thought in occidental art in the second half of the twentieth century
Chantal Maillard, Writer and philosopher

19:30 h.
Inhabiting the clouds

ednesday, November 19

19:30 h.
Hardly sounding anything. Audible atmosphere and space definition.
Carlos de Hita, Landscape sound Technical

19:30 h.

Menchu Gutierrez, Writer

 Wednesday, December 3

19:30 h.
Aesthetics, art, weak thoughts: or how do help Gianni Vattimo ideas to understand contemporary art.
Miguel Ángel Quintana, Adjunct Professor at the Human Sciences and Information Faculty, Universidad Europea Miguel de Cervantes

19:30 h.
Cinderella´s shoe
Gustavo Martín Garzo, Writer.

REGISTRATION PERIOD:
October 7 to October 21, 2008, 9 a.m. to 3 p.m. from Monday to Friday.

REGISTRATION FEE:
General Rate: 60 euros.
Reduced Rate: 40 euros. Over - 65s and students (Proof Of student status required).
Friends of the Museum: 30 euros.

PAYMENT METHODS:
Fees may be paid into account number 2038 9412 49 6000162931 at any branch of Caja Madrid. Fees may also be paid by bank transfer to the same account number. The payment slip must then be presented at the museum.
Payments may also be made in cash or by credit card in the Secretary’s Office.

LOCATION:
All acts will take place in the Museum Auditorium on Wednesday at 7:30 p.m.

Plazuela de las Bellas Artes s/n
40001 Segovia
Tlf: 921 46 20 10
Fax: 921 46 22 77
e-mail: museo@museoestebanvicente.es

ACTIVITIES PROGRAMME EXHIBITION

Yang Fudong

June 17 2008
Tuesday
19:30 h.

Modern day art in China. Policies and poetics of the contemporary.

Núria Querol. Doctorate in curatorial studies of contemporary art by the Royal College of Art in London and specialist in Chinese contemporary art.

June 18 2008
Wednesday
19:30 h.

CONFERENCE

Yang Fudong.

Isabel Cervera. Exhibiton curator and professor of Asian art History. Universidad Autónoma de Madrid.

July 19 2008
Saturday
22:00 h.

Chinese poems from yesterday and today.

Pilar González España. Poet, translator and professor of chinese language and culture. Universidad Autónoma de Madrid.

Lin Yue. Professor of Chinese culture and economics. Universidad Autónoma de Madrid.

Lan Xi, Specialist in the chinese musical instrument Pipa.

Free admission until completing the Auditorium capacity.

All activities will take place in the Auditorium of the Contemporary Art Museum Esteban Vicente.

Sponsored by Amigos del Museo (Friends of the Museum Asociation)

Circus Metaphors
Free admission

The impression made by the circus on art is not confined to the plastic arts.  Notable composers have written pieces of music for or about the circus. Almost since its birth the cinema has also touched upon the theme. But is it that the circus and circus performers – tight-rope walkers and clowns, tamers and contortionists – are also metaphors of our own lives? This program of activities will demonstrate how different art forms and disciplines deal with the circus theme. There will also be conferences to analyze its influence in art and modern culture.

PROGRAM

FEBRUARY
Wednesday 13 – Presentation The Invisible Circus – Poetry and Prose about the Circus in Spanish Literature.  Torre de Tinta Collection. Raúl Eguizábal  Anthologist and exhibition curator.
Wednesday 20 – Film The Circus 1928 (Charles Chaplin). Shown in Spanish.
Wednesday 27 – Film At The Circus 1939 (Marx Brothers). Shown in Spanish.
MARCH
Wednesday 5 – Film The Greatest Show on Earth 1952 (Cecil B. DeMille). Shown in Spanish.
Wednesday 12 – Film La Strada1954 (Federico Fellini)
Wednesday 26 – Film The Elephant Man 1980 (David Lynch). Shown in Spanish
APRIL
Wednesday 2 – Conference: The Circus in Art. Francisco Calvo Serraller, Professor of Art History, Universidad Complutense, Madrid. In Spanish.
Wednesday 9 – Recital: Circus Music and the Music Circus. José Luís Téllez, musicologist.
Wednesday 16 – Conference: The House of Possibility, Gustavo Martín Garzo, writer.
Wednesday 23 – Magic performance: To the Beat of Wonder, Juan Tamariz, magician.
Wednesday 30 – Video projection: Artists in Action. Le Cirque de Calder (1961), Carlos Vilardebo; Mori el Merma (1978), Francesc Catalá-Roca; Momentos del Cirque Prin (2007), Luís Alaejos.
MAY
Thursday 8, Friday 8. Saturday 10, Sunday 11
Street performance “Joan Miro’s Grotesque Puppets in Merma Nuncamuere”. Directed by Joan Baixas. To coincide with this program the Titirimundi puppet theater festival has organized the following shows at the Esteban Vicente Museum Auditorium: “Circo en los Hilos” (Circus On Strings) by Victor Antonov and “Entre Diluvios” (Between Floods) by the La Chana theater company.
VENUE
All events except the street performance will take place on Wednesday at 19:30. in the Esteban Vicente Museum Auditorium.
Friends of the museum may reserve seats in advance by telephone or e-mail.
Sponsored by:
CAJA SEGOVIA. Obra social y cultural.

COURSE
THE TREMOR OF TIME
ARTISTS AND THEIR FINAL WORK
Directed by
FRANCISCO CALVO SERRALLER
INTRODUCTION
Unlike other human activities, be they physical or intellectual, in which work is governed by more conventional or objective models, art calls for its exponents to put their experience to the test seen from their unique, subjective angle. It is for this reason that artists and writers take comparatively longer to mature, yet it is also why they are less plagued by the decline of the body. Indeed we even find the paradox that sometimes less is more, i.e. that physical or existential losses give greater and better depth to what they wish to transmit to us through images and stories or the two things together. In the plastic arts there are many examples of this dazzling swan song of the genius, for instance the final stages in the lives of Miguel Ángel, Tiziano, Hals, Poussin, Rembrandt, Goya, Monet, Renoir, Degas, Picasso and Matisse. This course, which bears the famous phrase which Chateaubriand used to evoke the unsteady strokes of the aged Poussin, “L’admirable tremblement du temps!” (the admirable tremor of time), aims to analyze the curious and significant phenomenon of vitality which is shown in the “last work” of the great artists. With this in mind, the course looks to the testimony of great Spanish artists, scientists, writers and philosophers who have not only proven their great skill and ability in their respective fields, but may also bring us their experience of life as they have entered that final span of existence.
Francisco Calvo Serraller
PROGRAM
WEDNESDAY, OCTOBER 3, 2007
7:30 p.m. Introduction
Francisco Calvo Serraller, Professor of Art History at the Universidad Complutense (Complutense University) in Madrid.
WEDNESDAY, OCTOBER 10
7:30 p.m. Conference: “Las Pinturas del Silencio” (Paintings of Silence)
José Jiménez Lozano, Writer
WEDNESDAY, OCTOBER 17
7:30 p.m. Conference: “Una Poética de la Mirada” (Poetics of Viewing)
Antonio Gamoneda, Poet
WEDNESDAY, OCTOBER 24
7:30 p.m. A Conversation with Gustavo Torner.
Gustavo Torner, Artist.
WEDNESDAY, NOVEMBER 7
7:30 p.m. Conference: “La Expresión Corporal «pintando»” (Physical Expression “Painted”)
(Millares and Guerrero)
Alberto Portera, Neurologist
WEDNESDAY, NOVEMBER 14
7:30 p.m. Conference: “El Camino Imposible Hacia la Luz" (The Impossible Path Towards Light)
Cristino de Vera, Artist
WEDNESDAY, NOVEMBER 21
7:30 p.m. Conference: “Una Experiencia Personal” (A Personal Experience)
Luis de Pablo, Composer
REGISTRATION
Registration Period:
September 17 to October 3, 2007, 9 a.m. to 3 p.m. from Monday to Friday.
Registration Fee:
General Rate: €50.
Reduced Rate: €25.
Over-65s and students (proof of student status required): Free of charge.
Friends of the Museum: Registration is required.
General Information:
Payment Methods:
Fees may be paid into account number 20389412496000162931 at any branch of Caja Madrid. Fees may also be paid by bank transfer to the same account number. The payment slip must then be presented at the Museum.
Payments may also be made in cash or by credit card in the Secretary’s Office.
Location:
All acts will take place in the Museum Auditorium.
Esteban Vicente Museum of Contemporary Art
Plazuela de las Bellas Artes s/n
40001 Segovia
Spain
Tel: (+34) 921 462010
Fax: (+34) 921 46 22 77
e-mail: museo@museoestebanvicente.es
Sponsored by: CAJA MADRID

PROGRAM OF ACTIVITIES
La Palabra, Experimentada, Filmada, Contada, Bailada (The Experienced, Filmed, Spoken and Danced Word).

April and May 2007
INTRODUCTION
The Imagined Word, i.e. painted, sculpted, photographed, objectualized, illuminated, drawn, mobilized, etc. Texts, phrases, letters, words, books in continuous dialogue and complicity with the universe of shapes, colors, textures and symbols. Two creative spheres which complement and enrich one another.
And alongside it there are other possible views: “La Palabra Experimentada” (The Experienced Word), a look at non-discursive poetical processes; “La Palabra Filmada” (The Filmed Word), a plural encounter of the cinema, literature and the plastic arts; “La Palabra Contada” (The Spoken Word), poetry made voice and performance; and La Palabra Bailada (The Danced Word), the mobile and rhythmical view of dance.
PROGRAM OF ACTIVITIES

Thursday, April 12– CONFERENCE
“Iconoescritura y Estética” (Icono-writing and Aesthetics)
Fernando Millán.

Thursday, April 19– DOCUMENTARY
“Cuadernos de contabilidad de Manolo Millares” (The Accounting Ledgers of Manolo Millares).
Direction and Screenplay: Juan Millares Alonso. (2005)

Thursday, April 26 – POETRY PERFORMANCE
Dissection of poetry in public.
Marina Oroza

Thursday, May 3 - DANCE
“Disparate Número 5” (Folly Number 5)
Mónica Valenciano
All activities will take place at 7:30 p.m. on Thursdays in the Auditorium at the Esteban Vicente Museum of Contemporary Art.
Free admission.
Friends of the Museum may reserve seats beforehand by telephone or e-mail.

Exhibition: Naturally Artificial. Spanish Art and Nature, 1968 – 2006.
A SERIES OF CONFERENCES
From Landscape Painting to Ecology: The Environment and Artistic Languages

NOVEMBER 2006

The deterioration of the environment has negative consequences for health and the economy. The landscape changes, its inhabitants move and production models which guaranteed sustainability die out in a forward rush with a worrying outcome. These problems, which some consider to be mere malfunctions of our kind of economic and industrial development which need correcting, and others consider to be inherent to and inevitable parts of the same, are one of the issues which today constitutes a challenge for politicians and economists and in the future will do so even more. Yet the ecological crisis is, in short, a cultural crisis linked to the type of “contract” which humans have established with nature. Since the end of the 1960s, art has been able to detect the importance of these problems, and works which analyze them occupy a distinguished place in recent creation, be it as a confirmation of a different way of relating to nature, a condemnation of the damage done to it or a contribution to its recovery. This course brings together distinguished specialists from very different fields and aims to offer a wide and controversial view of the situation described above. Alongside this series of conferences, there will also be two workshops which will enable participants to put into practice many of the issues raised during the course on a theoretical and expository basis.

PROGRAM

Tuesday 7
7:30 p.m. Conference. “Osos que se ahogan y ancianos sin medicinas. La crisis ecológica se agrava en el siglo XXI” (Drowning Bears and the Elderly Without Medicines. The Worsening Ecological Crisis in the 21st Century).
Jorge Riechmann, Researcher at ISTAS (Trade Union Institute for Work, the Environment and Health), Madrid.

Wednesday 8
7:30 p.m. Conference. “Pensadores en el Jardín” (Thinkers in the Garden).
José Luis Pardo, Lecturer, Faculty of Philosophy and Arts, Universidad Complutense (Complutense University), Madrid
Thursday 9. Double Program.
7:30 p.m. Conference. “El Lugar del Arte en el Contexto de la Crisis Ecológica Global” (The Place of Art in the Context of the Global Ecological Crisis).
José Albelda, Lecturer, San Carlos Faculty of Fine Arts, Valencia.
9 p.m. Workshop Introduction. "El Artista Como Agroecólogo” (The Artist as an Agroecologist).
Fernando García-Dory, Artist

Tuesday 14
7:30 p.m. Conference. “El Land Art Como Escenario de una Época" (Land Art as the Stage for an Era).
Tonia Raquejo, Lecturer, Faculty of Fine Arts, Universidad Complutense (Complutense University), Madrid.

“Espacios Naturales Intervenidos. Proyectos de Arte en la Naturaleza en España (Interventions with Nature. Art Projects in Spain’s Nature Settings).
Grego Matos, artist and researcher.

Wednesday 15. Double Program.
5:30 p.m. Visit and Introduction* El Romeral de San Marcos (The San Marcos Rosemary Garden)
Julia CasaravilIa, President of the “Asociación Amigos del Jardín y del Paisaje” (Association of Friends of the Landscaped Garden), Segovia.
7:30 p.m. Conference. “El Jardín Como Obra de Arte” (The Garden as a Work of Art).
Javier Maderuelo, Professor, School of Architecture and Geodesy, University of Alcalá Henares, Madrid.

Thursday 16
7:30 p.m. Conference. Bioarte (Bioart).
Mónica Bello, independent curator.

Tuesday 21
7:30 p.m. Conference. “Guadarramismo: Deporte, Estética y Cultura (Guadarramism: Sport, Aesthetics and Culture).
Pedro J. Nicolás, Lecturer, Faculty of Geography and History, Universidad Autónoma de Madrid (Autonomous University of Madrid).

Wednesday 22
7:30 p.m. Round Table. “Proyectos I” (Projects I).
Fernando Gómez Aguilera, Director, Fundación César Manrique, Lanzarote, The Canary Islands.
Teresa Luesma, Director, CDAN (Center for Art and Nature), Fundación Beulas, Huesca.
Moderator: Mercedes Replinger, Lecturer, Faculty of Fine Arts, Universidad Complutense (Complutense University), Madrid.

Thursday 23. Double Program.
7:30 p.m. Presentation of the conclusions made at the “Artista Como Agroecólogo” Workshop.
8 p.m. Round Table “Proyectos II” (Projects II).
Carlos de la Varga, Gallery Director, El Apeadero, León.
Mesa Esteban Drake, Artist, “Becas de Paisaje”, Segovia.
Bodo Rau, artist, River Garden of Culture and Ecology in Huerta, Salamanca.
Moderator: Javier Hernando, art critic and lecturer, Faculty of Geography and History, University of León.
* All conferences and round tables will take place in the Museum Auditorium EXCEPT the visit and introduction to the Romeral de San Marcos which will take place, weather permitting, in the San Marcos Garden itself. (Address: Calle Marqués de Villena, 6, in the Segovia district of San Marcos). If the weather prevents this, the event will be held in the Museum Auditorium.
REGISTRATION
Registration Period
October 16 to November 06, 2006, 9 a.m. to 4 p.m. from Monday to Friday.
Registration Fee

WORKSHOP
“El Artista Como Agroecólogo” (The Artist as an Agroecologist)
Led by Fernando García Dory.

Introduction
How can an artist work when he or she wishes to work outside the town or city limits or the established artistic channels? He or she has to explore the aesthetics of an ecosystem in harmony, of organic rhythm, of bacterial culture, of the fermentation of milk, of a shepherd’s journey with his livestock which scatters seeds as it crosses valleys and mountains…
It is possible to work in sculpture, video installations or drawings with agroecological intent – which we might define as a multidisciplinary approach aimed at the ecological use of natural resources – and also with energy flows, cycles and shapes which are growing or in entropy. The artist thereby redefines him or herself as a facilitator, a catalyst for processes, whilst facing the challenge of articulating a cultural strategy regarding the rural setting, using new communication tools and artistic languages. This Workshop has been designed to look at these themes, sparking off creativity in relation to what is happening.
The object being to restore the altered course of man and nature’s joint evolution, Workshop participants will use collective social action by means of participative and democratic control systems both in production and circulation. We are dealing with new practices in collaborative art – which evolved from Environmental Art – and which we can now relate to agroecology to design new projects according to the needs of each participant.
Speaker:
Fernando García Dory (Madrid, 1978). Fernando García Dory studied Fine Arts and Rural Sociology and wrote his doctoral thesis on agroecology at the Instituto de Sociología y Estudios Campesinos (Institute of Sociology and Rural Studies). He is a founding member of the Plataforma Rural (Rural Platform) and has promoted various agroecological initiatives, cooperatives and a variety of actions in European countries as well as in Latin America (Ecuador) and Asia (India). He has participated in exhibitions at cultural institutions including the MACBA (2001); the Faculty of Fine Arts at the Universidad Complutense (Complutense University) in Madrid (2002); Casas y Calles (2004); Medialab Madrid (2005); the Zamora Ethnographic Museum (2005); and the Carnegie Mellon University in Pittsburg (2005). In his work he links artistic languages with biological processes and new scientific contributions, developing strategies for social self-organization linked to the modern-day issue of agriculture. He is currently working with shepherds in Asturias.

Sessions

Thursday, November 9
9 p.m. – 9:30 p.m. Public Introduction to the Workshop in the conference program framework.

Saturday November 11. Introducción Teórica e Intercambio de Ideas en Torno al Arte y la Agroecología. Planteamiento de Proyectos” (Theoretical Introduction and Exchange of Ideas Concerning Art and Agroecology).
11 a.m. – 11 a.m. Participant introduction.
12 p.m. – 2 p.m. Art and ecology projects.
2 p.m. – 3 p.m. Lunch.
3 p.m. – 6 p.m. Preparation of participants’ projects.

Tuesday November 14.
Case studies and project monitoring.
5 p.m. - 7 p.m. Project tutorials.

Saturday November 18.
“Nuevas Cuestiones para la Intervención Artística Desde un Enfoque Agroecológico y Evaluación de Proyectos” (New Issues for Artistic Intervention From an Agroecological Approach and Project Assessment).
10 a.m. – 2 p.m. Revision of participants’ projects.
2 p.m. – 3 p.m. Lunch.
3 p.m. – 6 p.m. Preparation of conclusions.

Thursday, November 23
7:30 p.m. Public announcement of the conclusions reached during the Workshop.

PARTICIPANTS
Agroecologists and scientists from other related disciplines, artists and art theorists with particular interest in the relationship between art and nature who wish to carry out projects in this field.
REGISTRATION
Registration Period
October 16 to November 10, 2006, 9 a.m. to 4 p.m. from Monday to Friday.
Registration Fee
General Rate: €72; Over-65s, students and teachers (proof of status required): €60; Friends of the Museum: €40. Friends of the Museum. With the option of registering for the course “Del Paisajismo a la Ecología: Medio Ambiente y Lenguajes Artísticos (From Landscaping to Ecology: The Environment and Artistic Languages) with a discount of 50%.
GENERAL INFORMATION
Payment Methods

• Fees may be paid into account number 2069 0001 90 0001662183 at any branch of Caja de Ahorros de Segovia. Fees may also be paid by bank transfer to the same account number. The payment slip must then be presented at the Museum.
• Payments may also be made in cash or by credit card in the Secretary’s Office.

A SERIES OF CONFERENCES
Material Sensible (Sensitive Material)

“Fundación La Caixa” Contemporary Art Collection

March 9 – May 21, 2006

PROGRAM
Tuesday, March 21

Stories, emotions. A tour of the exhibition.
By Helena Tatay, Exhibition Curator.
Tuesday, April 18

«Mirad Alto. Veréis Que Miran Otros Ojos» (Look Up High. You Will See That Other Eyes Are Looking). Video creation and photography.
By Marta Gili, Head of the Department of Photography and Visual Arts at the “Fundación La Caixa”.
Tuesday, April 25

Transformaciones Contemporáneas de la Imagen: Postfotografía, postcinema, postmedia (Contemporary Transformations of the Image: Postphotography, Postcinema, Postmedia).
By José Luis Brea, Lecturer in Art and Aesthetics, Universidad Carlos III (Carlos III University) and art critic.
All conferences will take place at 7:30 p.m. in the Auditorium at the Esteban Vicente Museum of Contemporary Art.
Free admission.
Friends of the Museum may make a telephone reservation for each of the conferences by calling 921 462010 before 2 p.m. on the day of the conference.
Sponsored by the Friends of the Museum

LOS MUSEOS DE ARTE CONTEMPORANEO EN ESPAÑA: UN BALANCE CRÍTICO (CONTEMPORARY ART MUSEUMS IN SPAIN: A CRITICAL ASSESSMENT
October, November and December 2005.
Of the almost ten thousand museums which exist in Spain today, half have opened in the last quarter of a century. Naturally, the museums are of all kinds, but we do not need to look at the figures to surmise that a large part of the recently created museums are related to art and above all to contemporary art. To explain this phenomenon of growing social and institutional interest in contemporary art in Spain, we only have to look at Spain’s history, not only because of the prejudices which may have existed during the Franco years with regard to the art and culture of the times, something we might call “live creation”, but also because of the recalcitrant difficulty with which Spain, which found itself in a period of decline from the seventeenth century onwards, underwent the process of modernization. It is therefore logical that after Spain definitively became a democracy and received international recognition as such, a collective yearning spread for all modern types of expression and especially for forms of expression in the arts in which Spanish artists’ contributions to the avant-garde of the twentieth century were, in spite of everything, decisive. At any event, it would be a mistake to think that this proliferation of contemporary art in Spanish museums is a local issue; rather it is a simultaneously international phenomenon, a fact which confirms how interesting it is. This course will therefore provide not only a generic reflection of why this unusual and progressive general attention to the art of today, including emerging art, has come about, as well as the history of the process which has led us to it, but also at the critical state of the issue through the direct testimony of the people running the most distinguished contemporary museums in Spain. All in all, we believe that with a selection taken from the collections of one of the leading and most prestigious contemporary art museums in Spain, the IVAM museum in Valencia, the critical debate will, so to speak, have been “laid out”.
Directed by Francisco Calvo Serraller
PROGRAM
OCTOBER

Tuesday 11
Introduction to the Conferences.
By Francisco Calvo Serraller of the “Real Academia de Bellas Artes de San Fernando” (San Fernando Royal Academy of Fine Arts). Professor of Art History. Universidad Complutense (Complutense University), Madrid
Wednesday 19
El Instituto Valenciano de Arte Moderno (The Valencia Institute of Modern Art)
Consuelo Císcar, Director. Institut Valencià d'Art Modern, Valencia
Wednesday 26
CGAC: Posibilidad y Sentido (CGAC: Possibility and Sense).
Miguel Fernández Cid, Director. Centro Galego de Arte Contemporánea (Galician Centre of Contemporary Art), Santiago de Compostela.

NOVEMBER

Wednesday 2
Modelo MUSAC (MUSAC Model)
Rafael Doctor Roncero, Director. Museum of Contemporary Art, León.
Wednesday 9
The Guggenheim Museum Bilbao.
Juan Ignacio Vidarte, Director. Guggenheim Museum Bilbao.
Wednesday 16
La Casa Encendida.
José Guirao, Director. La Casa Encendida Centre, Madrid.
Wednesday 23
La Modernización del Gusto: El Arte en La Fundación Juan March (The Modernization of Taste: Art at the Fundación Juan March).
Javier Gomá, Director. Fundación Juan March, Madrid.
Wednesday 30
El Centro Andaluz de Arte Contemporáneo (The Andalusian Center of Contemporary Art).
José Guirao, Director. Andalusian Center of Contemporary Art, Seville.
DECEMBER
Wednesday 14
La Colección del MNCARS (The MNCARS Collection)
Ana Martínez de Aguilar. Director. Museo Nacional Centro de Arte Reina Sofía (Reina Sofía Museum), Madrid.
Wednesday 21
El Museo Thyssen (The Thyssen Museum)
Guillermo Solana, Head Curator. Museo Thyssen-Bornemisza, Madrid.
CONDITIONS
TIME AND PLACE
Assembly Room at the Esteban Vicente Museum of Contemporary Art, at 8 p.m. All sessions will be held on a Wednesday, except the event on Tuesday, October 11.
REGISTRATION FEE
€90: General rate.
€80: Over-65s, students and teachers (proof of student status required).
€72: Friends of the Museum.
Registration Period: September 20 to October 11. Monday to Friday from 9 a.m. to 4 p.m. in the secretary’s office at the Museum. Seats may be reserved by telephone from September 13. Scholarships: The Museum will be offering ten full scholarships and fifteen reduced-rate scholarships.

Payment Method:

• In cash or by credit card in the Secretary’s Office at the Museum.
• Bank Payments: Payment of the registration fee into account number 2069 0001 90 0001662183 at any branch of Caja de Ahorros de Segovia. The payment slip must then be presented at the Museum.

INFORMATION
Esteban Vicente Museum of Contemporary Art. Plazuela de las Bellas Artes, s/n. 40001 Segovia. Spain.
Tel: (+34) 921 4620 10. Fax: (+34) 921 462277. e-mail: museo@museoestebanvicente.es
After each event there will be a brief discussion.
Sponsored by GRUPO DYDES
SCHOLARSHIP APPLICATIONS
Receipt of applications: September 13 to October 5.
The Esteban Vicente Museum of Contemporary Art awards ten full scholarships to:

• University students in the 1st, 2nd and 3rd cycles of the Spanish university system.
• 2000-2005 Graduates of Art History or similar.
• The unemployed.

Documents required:

• Student or registration card.
• Photocopy of the degree certificate or interim document if the certificate has not yet been issued.
• INEM unemployment card.

The Esteban Vicente Museum of Contemporary Art awards ten reduced-rate scholarships to:

• Teachers.
• Museum and art venue professionals.

Documents required:

•   Any document proving status.

IMPORTANT

• Photocopies of all required documents must be presented.
• Photocopies of the documents will not be returned.
• Applications which are not accompanied by all the necessary documents will be rejected.
• The Esteban Vicente Museum of Contemporary Art will inform the successful applicants only that they have received a scholarship on October 7.

CICLO EL CINE DE LOS PINTORES (THE CINEMA AND PAINTERS)
January, February and March 2005.
For over one hundred years the silver screen has been the backdrop for scenes displaying love battles and bloody wars with feigned fire, stories of greed and wickedness, of freedom, of luxurious exoticism and stark reality. Yet cinema, the bright-witted little brother of the Fine Arts has a relationship with the oldest of the Fine Arts, painting, which swings between a jealous inferiority complex and spellbound idolization. This explains the number of excellent films which, within the section of artist biographies in general, have centered particularly on painters, both those who were tragic heroes of a battle won only in posterity (van Gogh, Modigliani, Basquiat, Caravaggio) and those who were rewarded with the recognition of their contemporaries (Michelangelo, Goya, Francis Bacon, Antonio López).
This program will help us understand the mad and the misunderstood, the industrious and rebellious geniuses of painting. Among the variety of films of great interest which have been selected is the exquisite picturesque reconstruction of the life of Rembrandt by Korda, the eloquent portrait of a great self-destructive artist and his intellectual context (Pollock) and one of the most original and daring works of recent years, “Russian Ark”, in which the director, Alexander Sokurov, considered by many to be more of an artist of plastic and conceptual art than a film-maker, manages to turn the State Hermitage in St. Petersburg into much more than a gallery of paintings and a palace full of ghosts from the past.
Vícente Molina Foíx
PROGRAM
JANUARY
Wednesday 26
INTRODUCTION TO “EL CINE DE LOS PINTORES” (THE CINEMA AND PAINTERS)
Vícente Molina Foíx
Thursday 27
FILM – The Agony and the Ecstasy, 1965. Carol Reed.
FEBRUARY
Thursday 3
FILM – Rembrandt, 1936. Alexander Korda.
Thursday 10
FILM – Van Gogh, 1990. Robert Altman.
Thursday 17
FILM - Moulin Rouge, 1952. John Huston.
Thursday 24
FILM – Pollock, 2000. Ed Harris.
MARCH
Thursday 3
FILM – El Sol del Membrillo, 1992. Víctor Erice.
Thursday 10
FILM – Basquiat, 1996. Julian Schnabel.
Thursday 17
FILM – Russian Ark, 2003. Alexander Sokurov.
CONDITIONS
DATE AND TIME
All films will be shown at 7:30 p.m. on Thursdays. The introduction to the program will be given at 7:30 p.m. on Wednesday, January 26. The Museum will remain open and may be visited until the beginning of the film.
LOCATION
Auditorium of the Esteban Vicente Museum of Contemporary Art
Plazuela de las Bellas Artes, s/n
4000 l Segovia
Spain
Tel: (+34) 921 462010
Fax: (+34) 921 462277
Free admission to all films.
After each event there will be a brief discussion.
Sponsored by Caja Segovia.