Activities

The documentary “Música en las manos” by the film-maker Cristina Otero, dedicated to the Zamora born orchestra conductor Jesús López-Cobos, will see its premiere in the Doc España section at Seminci in Valladolid. The documentary is a compilation of the travels and conversations between Otero and the Maestro from 2011 through to May 2017, passing through cities such as Madrid, Toro (where he was born), Lausanne, Berlin and Vienna, and starts with the rehearsals he conducted with the “Joven Orquesta Nacional de España” (National Youth Orchestra of Spain), on a tour dedicated to Beethoven.  In the Director’s words “Cobos emphasised teaching music from an early age, not to make professionals out of them, but to make them better people”. The documentary highlights how López-Cobos, throughout his life, encouraged children, youths and adults to open their lives up to music, which he saw as something not only artistic, but something human, that he always managed to instil in the members of his orchestras.

Objetivo Mordzinski is a photographic approach to Spanish-American literary creation through the gaze of artist Daniel Mordzinski, who has been making portraits of writers for more than three decades and has published many books of photographs on literature, particularly Spanish-language literature. The show is directly connected with the nature of the international Spanish-language conference that will host it for the first time: the VII Congreso Internacional de la Lengua Española, which is due to take place in San Juan, Puerto Rico, in March 2016.     The exhibition features approximately 220 photographs (nearly 100 of which are new). These core exhibits are accompanied by a section linked to the Puerto Rico conference, with images of writers from this country and of Mario Vargas Llosa and Emilio Lledó, who are guests of honour at this year’s edition. The exhibition is focused on attempting to convey to audiences the international and multicultural nature of the Spanish language and its magnificent role in structuring the Spanish-American community, the American continent and, in general, today’s world. The artist’s photographs show a living, dynamic and varied literary reality shaped by three generations of men and women who have built the collective imaginary from words in their countless books, poems, festivals, songs, plays and essays. Objetivo Mordzinski  is an ongoing project aimed at constructing this geography that is intangible but visible to readers and viewers from all over the world – literature in Spanish – and underlining its importance as well as that of Spanish itself as a language, industry and standard bearer in the world. 

Brompton Design District is a partnership between leading international brands, independent retailers, local restaurants and cultural institutions. Founded in 2007, it is the leading District during the annual London Design Festival with a dedicated programme of temporary exhibitions, talks and installations. Curated by Jane Withers Studio, BDD has hosted pioneering and innovative contemporary design exhibitions and earned a reputation as a leading international design destination. Brompton Design District 2019 has a theme of Nature/Nuture and it will host a new version of La Chabola Pavilion, designed and constructed by Spanish designer Jorge Penadés, with the support of AC/E's Programme for Internationalization. La Chabola makes the maximum intervention possible with minimal means. Taking inspiration from support and stability provided to muscles and joints by Kinesio Tape which aids the body’s natural healing process, Penadés has brilliantly translated the efficiency of the body and natural healing into an architectural context. This origin in biomimicry perfectly fits Brompton’s theme of Nature/Nurture and highlights the vital connection between nature and humans. Using minimal materials, the improvised shanty-esque pavilion is visually delicate, yet constructively powerful. La Chabola is an innovative architectural exercise based on an experimental constructive system that has ramifications for lightweight shelters, and can be further translated into furniture, interiors, or larger architectural proposals. La Chabola will be reconstructed in different configurations in a different location around Brompton over 3-4 days in a form of nomadic architecture adapted to different contexts. Bringing a performative aspect to the installation, visitors will be invited to watch the pavilion’s construction each day and learn about construction techniques and joints. The pavilion will be exhibited as part of the V&A’s prominent Exhibition Road Day of Design on the final day of the London Design Festival when Jorge Penadés will lead a public workshop. Penadés has also been invited to give a talk during the Day of Design. Originally created for Concéntrico, the International Architecture and Design Festival of Logroño, Brompton Design District has selected this work by Penadés for further development; and recognises him as a talented young designer whose work we wish to bring to an international audience.

#ElViajeMásLargo #VCentenario | "The Longest Voyage: The First Journey around the World" is an exhibition and documentary programme that reflects on the attitude of man before a long trip into the unknown. It connects the first circumnavigation of the Earth with the individual challenges of the present and the collective challenges of the future. The project begins in 2018 with the exhibition following the steps of Magallanes and the preparations of the first circumnavigation with the traveling exhibition "The Dream, 1518-2018", and will continue with the celebration, in 2019, of a great exhibition in the Archivo General de Indias in Seville around the first circumnavigation of the Earth and the importance of "travel" for the evolution of mankind. The Magellan–Elcano circumnavigation was the first voyage around the world in human history. It was a Spanish expedition that sailed from Seville in 1519 under the command of Ferdinand Magellan, a Portuguese, in search of a maritime path from Spain to East Asia through the Americas and across the Pacific Ocean, and concluded by Spanish navigator Juan Sebastian Elcano in 1522. Elcano and the 18 survivors of the expedition were the first men to circumnavigate the globe in a single expedition. Following Magellan's death in Mactan (Philippines) in 1521, Juan Sebastián Elcano took command of the ship Victoria, sailing from Borneo, the Spice Islands and back to Spain across the Indian Ocean, round the Cape of Good Hope and north along the west coast of Africa. They arrived in Spain three years after they left, in 1522. EXHIBITION MAP

This exhibition is made up of about 150 documents, artworks and materials related to the great poet Leon Felipe, among which are photographs, paintings, sculpture, documents, press and books. Born in Tábara, Zamora on April 11 (1884), 2018 sees the commemoration of the fiftieth anniversary of his death in Mexico, where he lived in exile until his passing in 1968. Felipe Camino Galicia de la Rosa, better known as Leon Felipe, was one of Spain's major poets. Although his style is very personal and difficult, he is usually ascribed to the poets of the Generation of '27. The exhibition covers his life and work, revealing the intense life and literary career of this apothecary, actor, lecturer, teacher, translator and outstanding Spanish poet. It is a great opportunity to get to know this influential personality of the Spanish letters who traveled and developed his academic work in Equatorial Guinea, the USA, Panama and finally Mexico, where he obtained a great recognition. His legacy, of which a part is presented here, was acquired by the City Council of Zamora in 2002 and is estimated at some 2,500 manuscripts, unpublished loose poems, plus 5 other book-length manuscripts that were never published, alongside correspondence, photographs, and other belongings of the poet of the "Verses and prayers of the traveler".

La nueva Dramaturgia española está viviendo un momento de expansión creativa y productiva. Continuando con la fructífera colaboración de 2017 y 2018, AC/E apoya nuevamente al Cervantes Theatre London y la Spanish Theatre Company en la organización del III Ciclo de Nueva Dramaturgia Española, al II Ciclo de Teatro Español Contemporáneo y el I Ciclo de Siglo de Oro Español. En esta ocasión, todas las propuestas quieren mostrar lo mejor de nuestra cultura en femenino y para ello se ha seleccionado un impresionante elenco de dramaturgas, directoras y actrices para poner a las mujeres del teatro en valor. El Cervantes Theatre es un escaparate que muestra lo mejor del teatro en lengua española en Londres. Esta temporada presenta una selección de algunas de los mejores autoras españolas, en producciones y lecturas dramatizadas, desde clásicos modernos a obras maestras contemporáneas. III CICLO DE NUEVA DRAMATURGIA ESPAÑOLA (May - Jun 2019) El III Ciclo de Nueva Dramaturgia Española, que se celebrará en la primavera de 2019, complementa las puestas en escena o lecturas dramatizadas de los textos seleccionados de autoras españolas con la publicación bilingüe (español e inglés) de los mismos, resultado de los acuerdos alcanzados por la COMPAÑÍA con el King’s College, para sus traducciones al inglés, y con la editorial Antígona para su edición. Programa Puesta en escena - LA REALIDAD de Denise Despeyroux, 1 al 18 de mayo. Lectura dramatizada - /DES)DE LOS ESCOMBROS de María Prado, 24 y 25 de mayo. Lectura dramatizada - LOS VIEJOS MAESTROS de Eva Hibernia, 31 de mayo y 1 de junio.    II CICLO DE TEATRO CONTEMPORÁNEO ESPAÑOL (Sep - Oct 2019) Además, con el propósito de dar a conocer en Londres algunas piezas emblemáticas de autores contemporáneos vivos, de prestigio y trayectoria consolidada, las partes han decidido organizar de nuevo, en otoño de 2019, el II Ciclo de Teatro Español Contemporáneo, que se complementará, igualmente, con la publicación bilingüe de los textos de las autoras españolas, en el caso de que no exista una previa edición del mismo, dando a conocer, fundamentalmente al público estudiante, algunos textos que forman parte de sus currículos escolares.     Programa Puesta en escena - LOS OJOS DE LA NOCHE de Paloma Pedrero, 11 a 28 de septiembre.  Lectura dramatizada - CORRE de Yolanda García Serrano, 4 y 5 de octubre.  Lectura dramatizada - GENTE ESTÚPIDA de Daniela Fejerman, 11 y 12 de octubre.  I CICLO DEL SIGLO DE ORO ESPAÑOL (Oct 2019) Como novedad, y para cerrar el año, la colaboración se amplía a un tercer proyecto, la organización de una Lectura Dramatizada de una obra del Siglo de Oro español escrita por una dramaturga que se complementará con una conferencia sobre la autora y la traducción de la misma, que se presentará bajo el título Aproximación al Siglo de Oro Español. Programa  Lectura Dramatizada – VALOR, AGRAVIO Y MUJER de Ana Caro de Mallén, 19 de octubre, con la presencia de la autora Juana Escabias. 

The 12th edition of the PROYECTOR video art festival has the participation of about 50 artists, selected by open call and invitation, in a programme consisting of video installations, interventions, projections in the public space, workshops and conferences. AC/E supports the participation of 3 international speakers to participate in the Professional Meeting II: A look to the southeast. These are Lucia King, director of VisionMix (United Kingdom), which presents the practice of 3 leading video art artists in India and Pakistan; Elisabeth Piskernik and Gabrielle Camuset, both from Le Cube (Morocco), present the research project “Traveling Narratives”, a program that seeks to foster interactions between cultural structures in North Africa through residences, exhibitions and artist projections .

Irudika y Acción Cultural Española (AC/E), en colaboración con Fundación Vital, Fundación Bilbaoarte Fundazioa y la Cité Internationale de la Bande Dessinée et de l'Image de Angulema, lanza esta convocatoria dirigida a profesionales de la animación gráfico de nacionalidad española o en posesión del N.I.E., para solicitar una residencia de ocho semanas en varios lugares de España y del extranjero. El plazo para enviar las solicitudes termina el 15 de octubre de 2019. La residencia busca facilitar la creación de redes de colaboración, promover la movilidad de los creadores nacionales, fomentar la producción creativa y fortalecer los vínculos entre instituciones culturales españolas y extranjeras. El/la residente elegido/a deberá desarrollar un proyecto personal de animación, una cortinilla de entre 20 y 60 segundos, que será utilizada en el próximo Festival Irudika 2020 y disfrutará de la residencia en varias etapas y lugares: - Fase 1: VITORIA-GASTEIZ. ESPACIO ZAS. 6 de febrero 2020. - Fase 2: BILBAO. Del 7 de febrero al 4 de marzo 2020. FUNDACIÓN BILBAOARTE FUNDAZIOA. - Fase 3: ANGULEMA. Del 4 al 27 de marzo de 2020. MAISON DES AUTEURS DE ANGOULÊME (Francia). - Fase 4: BILBAO. Del 27 de marzo al 5 de abril 2020 en la FUNDACION BILBAOARTE FUNDAZIOA, con posible visita a la BOLOGNA CHILDREN’S BOOK FAIR (del 30 marzo al 2 abril de 2020) - Fase 5: VITORIA. Del 5 al 7 de abril de 2020. FUNDACIÓN VITAL FUNDAZIOA. Convocatoria Condiciones para poder optar a la residencia Podrán participar todas aquellas personas físicas, con capacidad de obrar, mayores de 18 años y con nacionalidad española o en posesión del N.I.E. (Número de Identidad Extranjero, otorgado por el Ministerio del Interior de España). En caso de resultar elegido/a como beneficiario/a de la residencia, deberá acreditar que o bien está en posesión de la tarjeta sanitaria española y europea, o un seguro privado que cubra las posibles eventualidades médicas que puedan darse durante el periodo de residencia. El/la residente se compromete a facilitar a la organización un listado de necesidades técnicas con un mínimo de un mes de antelación antes del comienzo de la residencia. Aquellas necesidades que no puedan ser cubiertas por la organización deberán ser aportadas por el/la creador/a, o adaptar su técnica a los materiales cedidos por la Maison des Auteurs de Angoulême o Bilbaoarte. El/la creador/a se compromete a asistir y hacer uso de manera responsable de los espacios en todas las etapas de la residencia artística. Los organizadores no se hacen responsables de la ruptura o extravío del material tecnológico en uso y/o pertenencias de los residentes. Como se ha expuesto en el punto anterior, el/la residente elegido/a deberá desarrollar durante la residencia un proyecto personal de animación, una cortinilla de entre 20 y 60 segundos, que será utilizada en el próximo Festival Irudika 2020. Al final de la residencia se realizará una exposición donde el/la animador/a exhibirá su proceso de trabajo y la animación producida durante la misma mediante fragmentos animados proyectables de un mínimo de 30 segundos de duración. El/la animador/a se compromete a entregar la cortinilla animada con créditos y lista para su utilización el 7 de mayo de 2020. Igualmente, el/la profesional se compromete a hacer referencia futura a que este proyecto es resultado de una residencia convocada por Irudika con el apoyo de AC/E. Dotación El residente seleccionado dispondrá de: 1. Dotación económica de 2.100€ brutos cuyo pago se hace en tres fases: - 100€ brutos (sujetos a una retención de un 15%) para cubrir los gastos de alojamiento de la noche del 6 de febrero en Vitoria. - 1.000€ en concepto de bolsa de viaje y dietas de manutención (sin IVA ni retención). Esta cantidad está destinada a cubrir los gastos de desplazamiento (local y entre las distintas ciudades del proyecto), manutención y material, y, en el caso de Bolonia, también el alojamiento. Dicho importe será entregado al comienzo de la residencia (6 de febrero 2020). - 1.000€ al finalizar el proyecto en concepto de Premio Animación Irudika 2020 (sujeto a una retención de un 19%) el 6 de abril de 2020. 2. Alojamientos, espacios de trabajo y medios técnicos: - Fase 1: VITORIA-GASTEIZ. ESPACIO ZAS. 6 de febrero de 2020. Llegada a Vitoria el 6 de febrero de 2020 por la mañana para atender a prensa. Durante la tarde participará en una tertulia de la mano de Kike Infame organizado por Euskal Irudigileak en Zas Kultur Espazioa. Se le hará entrega de 100€ para cubrir el alojamiento de una noche en Vitoria, cuya reserva podrá ser gestionada por la asociación de ilustradores/as vascos/as y el equipo de Irudika en caso de que el/la residente lo necesitara. Ese mismo día también se le entregarán 1.000€ para gastos de desplazamiento, manutención y materiales. - Fase 2: BILBAO. Del 7 de febrero al 4 de marzo de 2020 Estancia en apartamento de dos habitaciones, a compartir con otro residente, con conexión a internet. Espacio de trabajo: FUNDACIÓN BILBAOARTE FUNDAZIOA, en el que podrán trabajar de lunes a viernes de 09:00 a 21:00 horas. Aquí podrán contar con el apoyo de los/las técnicas de taller de medialab, nuevas tecnologías, trabajo y escultura y tendrán derecho al uso de una sala/estudio para trabajar conjuntamente con otros profesionales. - Fase 3: ANGULEMA. Del 4 al 27 de marzo de 2020 Residencia próxima al espacio de trabajo disponible en la Maison des Auteurs de Angoulême. Contarán con un apartamento de dos habitaciones, con conexión a internet, a compartir con otro residente. - Fase 4: BILBAO (27 de marzo- 5 de abril 2020), con posible visita a la BOLOGNA CHILDREN’S BOOK FAIR (30 marzo-2 abril 2020) Residencia en apartamento de dos habitaciones a compartir con otro residente. Espacio de trabajo: FUNDACION BILBAOARTE FUNDAZIOA, donde podrán hacer uso de las instalaciones para trabajar las artes finales de las imágenes creadas con los medios de la fundación (impresión en plotters y serigrafía) y donde disfrutarán del asesoramiento relativo a la instalación de su obra para la exposición final. En la exposición final el o la animadora podrá exponer el video animado realizado durante su residencia, así como material relativo al proceso de creación, bocetos, y fotogramas, etc. En el caso de que el/la residente decida viajar a la Bologna Children’s Book Fair, el desplazamiento y la estancia allí correrán a cargo del/la residente. Desde Irudika se le facilitará el pase a la Feria y una invitación al evento promocional de Irudika en la ciudad, así como el acompañamiento por parte del equipo de Euskal Irudigileak. - Fase 5: VITORIA. FUNDACIÓN VITAL FUNDAZIOA. Del 5 al 7 de abril 2020. Residencia en hotel gestionado por Irudika. El/la profesional expondrá su obra junto a la de otro/a residente en la Fundación Vital Fundazioa del 6 al 28 de abril. El montaje se realizará el domingo 5 de abril de 2020, por lo que el/la animador/a se compromete a entregar los fragmentos de vídeo el viernes 3 de abril para ser visionados antes de la instalación en la exposición. El 6 de abril por la mañana se llevará a cabo la rueda de prensa, y por la tarde la inauguración de la exposición. Previo a la inauguración el/la creadora/a hablará de su trabajo y de la experiencia de la residencia y se le hará entrega del Premio Animación Irudika 2020 consistente en 1.000 euros brutos (sujetos a una retención de un 19%). Requisitos Para valorar la concesión de la ayuda, los candidatos deben presentar: - Curriculum vitae, anexando algunos de sus trabajos más representativos realizados entre 2016-2019, de una duración mínima de 30 segundos y máxima de 10 minutos en formato mp4 y de un peso máximo de 100 Mb. - Descripción del proyecto de cortinilla sobre el que se va a trabajar en la residencia, con una extensión máxima de 10.000 caracteres, en el que se explicará cómo se tiene previsto realizarla, su temática y las técnicas que se emplearán. Igualmente puede acompañarse de dibujos, bocetos, o diseños. - Una carta de motivación. - Declaración jurada de que el candidato es el único autor de las obras presentadas. Las personas interesadas deben enviar su candidatura a la siguiente dirección de correo electrónico info@irudika.eus incluyendo en el asunto: Residencia Animación Irudika Nacional. Selección Un comité, convocado por Irudika y del que formará parte AC/E, revisará las candidaturas recibidas, y seleccionará al candidato final, formalizando directamente con el elegido las condiciones de la residencia. El fallo del jurado será inapelable. La decisión del jurado se comunicará a través de las páginas web de www.irudika.eus y www.accioncultural.es, y al/la beneficiario/a en la dirección de correo electrónico que haya facilitado. El Comité de Valoración podrá declarar desierta la convocatoria en caso de considerar que ninguno de los trabajos presentados reúne los méritos suficientes. Fecha para envío de candidaturas: desde el miércoles 11 de septiembre hasta las 23:59 horas del 15 de octubre. Ningún expediente será aceptado después de esta fecha. Condiciones de la convocatoria 1. Propiedad intelectual. Los participantes responden de la originalidad y autoría de los proyectos que presenten, y garantizan que ostentan legítimamente todos los derechos de propiedad intelectual sobre los mismos y, en este sentido, garantizan el uso pacífico por parte de los organizadores y le eximen expresamente de cualquier responsabilidad por los daños y/o perjuicios que directa o indirectamente, el incumplimiento por su parte de esta garantía pudiera ocasionar. El seleccionado autoriza expresamente a los organizadores a utilizar su nombre en la manera que estime conveniente dentro de los fines de la presente convocatoria. 2. Protección de datos. Los participantes aceptan que los datos personales facilitados en virtud de la presente convocatoria pueden ser objeto de tratamiento en los ficheros de datos de carácter personal (participantes en concursos, contratación y facturación) de titularidad de los organizadores con la finalidad de poder gestionar la presente convocatoria. Podrán ejercitarse los derechos de acceso, rectificación, cancelación y oposición dirigiéndose a EUSKAL IRUDIGILEAK – ASOCIACION PROFESIONAL DE ILUSTRADORAS/ES DE EUSKADI Apartado de Correos 10038-48005. Bilbao o Email: info@euskalirudigileak.com 3. Derechos de imagen de los participantes . Los participantes aceptan aparecer en imágenes (fotografía, vídeo, etc) tomadas durante el periodo de residencia para su posterior difusión informativa o promocional, y autorizan dicho uso. 4. Aceptación de las bases. Los participantes, por el mero hecho de presentarse a la convocatoria, aceptan las presentes bases. 5. Difusión de la actividad desarrollada durante el periodo de residencia. El beneficiario se compromete a mencionar que parte del desarrollo de la obra presentada tuvo lugar durante la residencia convocada en 2019 por Irudika con apoyo de Acción Cultural Española en todas las acciones de difusión y/o edición de la obra que sobre la misma tengan lugar con posterioridad a su disfrute. De la misma manera se citará a: Fundación Vital, Fundación Bilbaoarte Fundazioa y la Cité Internationale de la Bande Dessinée et de l'Image de Angulema y cualquier otra entidad colaboradora y se acompañará la pieza con sus logotipos en los créditos del vídeo final. Si precisa más detalles, puede escribir a la dirección: info@irudika.es

"Everyday", the curatorial proposal for the XII International Architecture Biennale of São Paulo, addresses the everyday as an opportune framework for investigating how architecture might advance as a specialized practice of environment making in the 21st century. The São Paulo Biennale constitutes, from such a vantage point, an ideal venue as the everyday there is an agent able to both impact and empower architecture, for better or worse. Everyday is structured according to three themes: Everyday Stories, Everyday Resources, and Everyday Maintenance. Each showcases pertinent architectural and urban projects, research, speculative works and installations, as well as other spatial interventions that relate to the contemporary dynamics of the everyday realm. AC/E supports the participation of the Spanish artists invited by the Biennial Andrés Jaque - Office for Political Innovation with its project "Transparencia social", Beatriz Colomina with a conference entitled "La cama dentro de Relatos de lo cotidiano", Isabel Martínez Abascal ( Launches Atelier), with its project "Pavilion - Library," and Unparelld'arquitectes with "Tales of the everyday" presented in the Ágora space.

AC/E supports one more year the 14th edition of the Hay Festival Segovia with the organization of the exhibition of the experienced photojournalist and graphic editor Ricardo Martín, "The faces of time". A journey through our recent history through magnificent portraits of characters from culture and politics. Adolfo Suárez, the then queen Sofia, an emerging Felipe González, Lola Flores in her dressing room, the photographer Annie Leibovitz, a young Miquel Barceló, Mario Vargas Llosa, Umberto Eco, Andy Warhol, Patricia Highsmith ... and so on until more than sixty Faces Ricardo Martín captured throughout his long professional career. Images that were taken to inform the immediate news and that the passage of time has become true artistic works.

“Stay Twice” is the first institutional solo exhibition in Germany by Beatriz Olabarrieta. Olabarrieta’s work deals with the visual representation of communication and language. It reflects on the relationship between literal and metaphorical meaning, text and materiality, message and sign, in order to examine the standardized, codified and disembodied forms of communication of the information society. Olabarrieta stages texts and signs as messages that do not find their addressees, that fail to make effective statements, or refuse to be concretely assigned. For Bielefeld, in collaboration with Armin Lorenz Gerold, Hendrike Nagel, Romy Kießling and Zach Furniss, Olabarrieta has created a setting with new works extending across the entire Kunstverein. In “Stay Twice”, objects become figures, symbols become bodies, and signs become characters, so as to open up an imaginative space in which changed contexts of meaning are constituted. Beatriz Olabarrieta (born in Bilbao, Spain) lives and works in Berlin. Upcoming solo exhibitions include Espai 13, Joan Miró Foundation, Barcelona, Spain (2019), and CentroCentro, Madrid, Spain (2020). Selected recent ones include “Ask the Dust”, Museum of Contemporary Art Santa Barbara, California, US (2018-19); “New Clear Family”, Frankfurt am Main, Berlin (2018); “The only way out is in”, The Sunday Painter, London, UK (2017); “Book! Don’t tell me what to do”, Parallel Oaxaca, Mexico City, Mexico (2017); “Dumb Bells”, Saturdays Live, Serpentine Galleries, London, UK (2016). Recent group shows include “The Garden Bridge”, Brücke-Museum, Berlin (2019); “M. Quelque Chose”, Les Bains-Douches, Alençon, France (2018); “Los Algoritmos Suaves”, Centre del Carme, Valencia, Spain (2018).

GIBCA's (Göteborg International Biennial for Contemporary Art) 2019 central motif and method is the notion of “entanglement” and proposes to imagine the world outside the binaries and structural separations imposed by modernity. What images and narratives might reveal the inseparability and non-negotiable dependency of all of us on each other and the world, prompting changes to the way we live that could in turn change the present into a sustainable future? AC/E supports the participation of Spanish artist Ibon Aranberri with his work "Sources without qualities" (2017) and Elena Aitzkoa with "Los agujeros y la presión atmosférica son demasiado viejas".  The artistic practice of Ibon Aranberri is one of the most distinct of his generation, combining conceptual, sculptural and political aspects in artworks that often excavate and re-present local histories with contemporary relevance. For GIBCA 2019, Aranberri is invited to exhibit at the Göteborg Konsthall as part of a section of the biennale focusing on the simultaneously utopian and alienating, liberating and violent, aspects of abstraction. Aranberri’s work ’Sources Without Qualities’ (2017 - ) has its origins in the Arms Industry Museum in Eibar, Guipuzkoa, where the artist did research in relation to his commission for the San Sebastian European Capital 2016 project Tratado de Paz curated by Pedro G Romero. Elena Aitzkoa works with sculpture, poetry, performance and video. At GIBCA 2019 she is invited to present a group of recent sculptures. Her sculptural work often combines natural materials such as stones and flowers with man-made ones, proposing relationships of co-existence between the poetically sensual and significant, and the mundanely trivial and throw-away. Often using textiles to tie things together in unexpected combinations, her compact sculptures sometimes seem to work like firm embraces – tightly wrapping objects and materials up with each other to form new, self-contained assemblages of form and feeling. The practice of sculpture has been central to her production in recent years, a process that leads to the production of a single body that encompasses a heterogeneity, and also attempts to bring about a sometimes uneasy coexistence of different bodies in a single space. GIBCA presents acclaimed national and international contemporary art. Each biennial consists of several major exhibitions taking place both in established art institutions as well as the public space. A rich educational program is developed for children and youth and program activties include guided tours (in four different languages), artist talks, conferences and performance. The organiser of GIBCA is Röda Sten Konsthall, who are the applicant for this current funding opportunity.  

Fundado en Logroño en 2012, FIVER es la plataforma más importante de apoyo, producción, formación, archivo y difusión de danza audiovisual basada en España. Con Base en Logroño y Madrid, Fiver extiende su radio de acción en diferentes españolas y europeas al largo del año.www.fiverdance.comEn su VII edición, FIVER ofrece una experiencia inmersiva en el mundo de la danza audiovisual compuesta de instalaciones, proyecciones, muestras de videodanza internacionales, talleres de formación, encuentros sectoriales. Este año en Madrid se entregan los Premios Fiver con el apoyo del Gobierno de La Rioja y por primera vez en España se realizan showcase y sesiones de pitching. Fiver espera así contribuir para la internacionalización de artistas y proyectos españoles ante programadores.

Bergen Assembly 2019, titled Actually, the Dead Are Not Dead, encompasses an exhibition and a series of events taking place at various venues in Bergen. At the centre of the project is a preoccupation with life – with an understanding of life beyond the binary oppositions of life and death, nature and culture, human and animal, subject and object, healthy and sick, past and future.  Actually, the Dead Are Not Dead examines how to redefine our alliances with those who are not presently living. The project proposes communicating with the spectres of the past and the future and taking responsibility for those who are no longer, or not yet, here. This responsibility defies the subjugation of life to the politics of death, ranging from the destruction of the material and idealistic basis of life for countless people, or the deadly rejection of refugees, to the destruction of the planet. Actually, the Dead Are Not Dead revolves around the reclamation of life, fathoming the potential of artistic practices to imagine life differently. Bergen Assembly 2019 is conceived by a group of twelve curators, artists, theorists, and activists. This core group develops the programme in the form of individual, shared, and overlapping projects to which it invites further artists and contributors from other fields. AC/E supports through the PICE grants the participation of the following Spanish artists:  Paula Pin con “GynePunk” - 3 workshops;    Paul B. Preciado con “Parliament of Bodies”; Julio Jara con “Los mil y un cartones” (Thousand and One Cardboard) ; Daniel García Andújar con “How to Understand the D’Hondt Method (Democracy)”; Teresa Lanceta con “Gallineros”; Israel Galván con “La Fiesta” (Modification) - Video instalación y espectáculos. María García Ruiz con la exposicion “Political Party”; Tomás de Perrate, Fran Cabeza de Vaca, David Pielfort, Isaías Griñolo Padilla, María Salgado y Niño de Elche con “Canciones De La Guerra Social Contemporanea”, en el contexto de los días de apertura de “Bergen Assembly 2019.  

Bergen Assembly 2019, titled Actually, the Dead Are Not Dead, encompasses an exhibition and a series of events taking place at various venues in Bergen. At the centre of the project is a preoccupation with life – with an understanding of life beyond the binary oppositions of life and death, nature and culture, human and animal, subject and object, healthy and sick, past and future.  Actually, the Dead Are Not Dead examines how to redefine our alliances with those who are not presently living. The project proposes communicating with the spectres of the past and the future and taking responsibility for those who are no longer, or not yet, here. This responsibility defies the subjugation of life to the politics of death, ranging from the destruction of the material and idealistic basis of life for countless people, or the deadly rejection of refugees, to the destruction of the planet. Actually, the Dead Are Not Dead revolves around the reclamation of life, fathoming the potential of artistic practices to imagine life differently. Bergen Assembly 2019 is conceived by a group of twelve curators, artists, theorists, and activists. This core group develops the programme in the form of individual, shared, and overlapping projects to which it invites further artists and contributors from other fields. AC/E supports through the PICE grants the participation of the following Spanish artists:  Paula Pin con “GynePunk” - 3 workshops;    Paul B. Preciado con “Parliament of Bodies”; Julio Jara con “Los mil y un cartones” (Thousand and One Cardboard) ; Daniel García Andújar con “How to Understand the D’Hondt Method (Democracy)”; Teresa Lanceta con “Gallineros”; Israel Galván con “La Fiesta” (Modification) - Video instalación y espectáculos. María García Ruiz con la exposicion “Political Party”; Tomás de Perrate, Fran Cabeza de Vaca, David Pielfort, Isaías Griñolo Padilla, María Salgado y Niño de Elche con “Canciones De La Guerra Social Contemporanea”, en el contexto de los días de apertura de “Bergen Assembly 2019.  

The 13th edition of GETXOPHOTO International Image Festival addresses the challenges faced by individuals in a present where the processes of acceleration, automation, artificial intelligence and scientific–technological advances are posing new challenges, as we edge closer to the concept of transhumanism. This  edition, following the discursive line of the topic Transitions started two years ago, triesy to address fundamental contemporary issues. ​The four guests invited to participate in this festival, with the support of AC/E through PICE Visitors grants, are Hannah Watson - director and co-founder of a gallery where works by hundreds of world-renowned artists and followed by media - Christian Caujolle - an international benchmark and a prestigious cultural project prescriber - Neil Harbisson - whose presence reinforces the quality of the Festival's programming due to its international projection with an activity that combines artistic, scientific, technological and media content - and Ali Eslami - Iranian artist, pioneer in the exhibition of new technologies and in the development and design of interactive virtual reality experiences that explore new paths in this emerging environment.

MusaE is a project of the Ministry of Education, Culture and Sport and Acción Cultural Española that brings together music and museum heritage from young Spanish interpreters. It is a circuit of concerts and micro-concerts that circulates through state museums. After an open competition for soloists and groups of classical music, jazz and flamenco or traditional Spanish music, residents in Spain who have not turned 36 between March 1 to 31, there will be a programme of concerts fo the following museums:  ​Museo Arqueológico Nacional (Madrid), Museo Nacional de Antropología (Madrid), Museo Sorolla (Madrid), Museo de América (Madrid), Museo Nacional de Arte Romano (Mérida), Museo Nacional de Arqueología Subacuática. ARQVA (Cartagena), Museo del Greco (Toledo), Museo de Sefardí (Toledo), Museo Nacional de Escultura (Valladolid) y Museo Casa de Cervantes (Valladolid). More info at: www.musae.es

Alberto Torres Blandina is the Spanish writer selected to carry out the residency programme at the Toji Cultural Foundation (Korea) between September 1 and November 30, 2019. This residential programme wants to promote the exchange between Spain and Korea of artists and professionals of the cultural sector.  With this initiative, the organizing entities want to facilitate the creation of artistic networks, promote the mobility of national creators abroad, encourage creative production through the offer of residences for creators and culture professionals in all areas and strengthen the links between cultural institutions of Korea and Spain. Alberto Torres Blandina was born in Valencia, Spain, in 1976. He is part of the Valencian literary group Postmodern Hotel. He has published the novels: "Cosas que nunca ocurrirían en Tokio", and "Niños rociando gato con gasolina", in 2009; "Mapa desplegable del laberinto", in 2011; "Con el frío", of 2015 and "Contra los lobos", published in 2016. As well as the collective works: "Hotel Postmoderno", published in 2008; "De La Habana un barco" and "Suicídame", from 2010. He has also published children's literature with "El aprendiz de héroe", from 2009. He was finalist of the 2008 Café Gijón prize with his novel "Niños spicing cat with gasoline" and finalist of the Azorín prize for the 2008 novel with "Hotel Postmoderno". As well as winner of the international prize of novel The Two Rivers 2007 with his novel "Things that would never happen in Tokyo" and winner of the Europe Award of the Médiathèque de Bussy Saint-Georges to the best foreign novel. On the other hand the Korean Kim Jung Haeng (pen name: Kim Ho Yeon) has been the selected author to enjoy the residence in Madrid. Kim Jung Haeng has written the novels "Fauster" (April 2019), "The Ghostwriters" (2017), "The Romantic Rival" (2015) and "Mangwondong Brothers" (2013) which received the Segye-Literary Award. He has also written the adaptation of this novel to the theater "Mangwondong Brothers" (2017, Artplace Hyehwa), the adapted screenplay "The Fortress" (2017) and "Shoot the Sun" (2015). OPEN CALL Deadline: 17 March 2019 The residency for the chosen Spanish author includes: - Return flights, in economy class, from the author’s home city in Spain to South Korea. - Accommodation at the Toji Cultural Foundation. - Meals at the Toji Cultural Foundation dining hall: - From Mondays to Fridays (working days): breakfast, lunch and dinner. - Working Saturdays: only breakfast and lunch. - The dining hall is closed on Saturday evenings, Sundays and holidays. Dinner on Saturdays and breakfast, lunch and dinner on Sundays and holidays will be at the Spanish resident’s own expense. - Internet access and library services, including the loan of books and research material from the library of Yonsei University Wonju Campus. - Any other expenses not listed above will be borne and managed by the Spanish resident selected. Applicants must: · Be older than 18. · Be of Spanish nationality or hold a NIE (foreigners’ ID number) issued by the Spanish Ministry of the Interior. · Have published at least one book with a professional publisher. Have a B1 level (European framework) command of English or Korean. · Once the decision has been announced, the selected writer must submit of a copy of their personal ID and prove they have medical insurance to cover any medical contingencies that may arise during the residency. Applicants must submit the following documentation in Spanish and, preferably, also in English: · Signed Application Formd (PDF) (in WORD format), agreeing to the conditions of the call for applications. · Description of the project they are going to work on during the residency: maximum 10,000 characters accompanied by four full consecutive pages of the project (the dossier must be submitted in electronic form). · Curriculum vitae. · Cover letter. · Photograph(s) of the published book(s). · Press dossier (optional). More information: residenciasliteratura@accioncultural.es For more information and submission of proposals, please write to: residenciasliteratura@accioncultural.es indicating in the subject "Writers' Residence Toji Cultural Foundation". In the case of heavy files (over 3 MB), please use the Wetransfer.com platform or similar.

Javier Serena is the writer selected by the jury to enjoy this residence at the Les Récollets Center in Paris. During his three-month stay, between September and November 2019, he will be able to carry out his work in the old convent of Les Récollets, a reception center with a European and global vocation for artists, researchers, intellectuals and university students. Javier Serena is a journalist and writer. His latest published books are the novels "Atila. Un escritor indescifrable" (Tropo Editores, 2014), and "Últimas palabras en la Tierra" (Gadir, 2017). The programme is organized by Acción Cultural Española (AC/E), the French Embassy / French Institute in Spain and the Marie de Paris, with the support and participation of the Student Residence in Madrid and the Les Récollets Center in Paris for the promotion of the exchange of French and Spanish writers. In addition, this programme aims to create collaborative networks, promote the mobility of national creators abroad, encourage creative production through the offer of residences for creators and strengthen the links between cultural institutions in France and Spain.​   Open Call Until May 16, 2019 CONDITIONS The residency includes travel to Paris, subsistence expenses and accommodation in the Les Récollets de Paris. Candidates must be over 18 and be Spanish nationals or in possession of a N.I.E. (Identification Number for Foreigners) issued by the Spanish Ministry of the Interior; have published at least one book with a professional publishing house; and have a basic knowledge of the French language and culture. Applications must include the following documentation: · Application form, properly filled in and signed by the candidate (print, sign, scan and send it). · Cover letter · Description of the project on which they are going to work during the residency (maximum 2,000 characters). · Biographical and literary CV indicating, among other data, biographical details, education, published works (title, genre, place of publication, publisher, date of publication, number of pages), prizes and distinctions received, as well as other grants or funding previously awarded. · Press dossier highlighting the most salient aspects. · An example of at least one of their published works (preferably the most recent). See conditions PDF > More info: residenciasliteratura@accioncultural.es

The Institute for Endotic Research (TIER) seeks to present a transdisciplinary approach that brings together art practice and writing. The programme "Editing Spaces" unfolds as a group exhibition developed through time: every two weeks, one more contribution is added to the space, creating a palimpsest. At the end, there is the space with each contribution and a publication that collects them all. Artist participating are: Discoteca Flaming Star, Alicia Kopf, Josep Maynou, Mattin and Laura Vallés. The work of the artists/curators invited to Editing Space develops from translations from texts to installations, from transitions between the written and the performative. 

In its second edition, Granero starts with the focus on contemporary Ibero-American creation with the artists Kiko Pérez (Spanish), who participates with a Mobility grant of AC/E, and Ana Navas (Venezuelan-Ecuadorian) and the curatorship of Manuela Moscoso (Ecuadorian). The artists will spend some time in residence in León taking the contexts of the city and other nearby rural towns as inspirational environments. In addition to the production work, activities, samples and a final exhibition will be developed. Granero is a project of artistic residencies and cultural programming in León, Guanajuato, which promotes the creation of art in context and in dialogue with local communities. In each annual edition a space of residence and production of contemporary art is offered, to which other parallel activities, an annual publication and exhibitions will be linked. From Granero, artists are invited to develop projects that reflect on the terms territory and landscape.

In this exhibition project, "Entre piedras" (Between stones), the Spanish curator and cultural manager Susana González, at the proposal of the director of the Zapopán Art Museum - MAZ (Jalisco, Mexico), Viviana Kuri, invites the artists Aljcia Kwade, Pedro Cabrita Reis and José Dávila to develop a proposal that offers the possibility of including "site-specific" works in the MAZ. Supported with the help of the mobility grants of AC/E, Susana González prepares during these months the exhibition project in which the chosen creators will perform "site-specific" works for the celebration of the exhibition, influencing the relationship between the architectural space, the artistic work and its social context, in relation to the new sculptural paradigms represented by the creators. In the initial approach it has been thought to carry out an open exhibition project that offers the possibility of including "site-specific" works in the MAZ. With them the story of their works will be highlighted through the process of logical / intuitive / critical work in communication with architecture and using simple materials from the environment, some of them recycled. The project proposes a work that affects the iconic relationship between art and architecture, in the reflective relationship with the building and in the approach to the architectural fact, but above all in the identity, memory and time of the historical-social context where it is inserted.

#OteizaArantzazu | The exhibition is shown in two venues in parallel, on the one hand the Oteiza Museum in Alzuza (Navarra) and the ArantzazuGaur Fundazioa in Oñati (Guipuzcoa). Both samples analyze what the project of Arantzazu meant for Oteiza, a religious commission that was the most committed work of his career, while it forced him to adapt his sculptural concept to the assignment without renouncing modernity and the projection of the work of art as a service to society. The sculptor and all the artists involved in Arantzazu, carried out a common project, in favor of a Basilica that has become today a reference of the artistic renovation of the 20th century.

The Centro José Guerrero in Granada and the Museo de Arte Contemporáneo Esteban Vicente, with the institutional support of Acción Cultural Española as the organiser and the collaboration of the Museo de Bellas Artes de Asturias as the venue, present an exhibition project that links the work of the only two Spanish artists who were part of one of the most important art trends of the twentieth century: American Abstract Expressionism. The exhibition “Guerrero / Vicente” highlights the similarities and differences between two artists whom historiography has traditionally treated individually and separately given their powerful artistic and stylistic personalities. Their formative periods are marked by a number of similarities. Esteban Vicente was born in 1903 and José Guerrero in 1914; therefore, until the central years of their careers, Vicente was always ahead of Guerrero. But they moved in the same environments. They both studied at the Escuela de Bellas Artes de San Fernando. After completing their academic training, they both headed for Paris, then the hub of European avant-garde art. They were both particularly attracted to Matisse, but also to Cubism and the Paris school. They each married an American woman and went to live in the United States, Esteban Vicente in 1936 and José Guerrero in 1949, both as a result of wars. They had started out practising a new representational art that gradually shifted away from mimesis and towards abstraction. For both artists the turning point, the year that marked a change in their artistic language, came in 1950. The most important event in Esteban Vicente’s life was the Talent 1950 exhibition for which he was selected by Meyer Shapiro and Clement Greenberg. That year José Guerrero took up residence in Greenwich Village, where there was a large colony of artists, and began to have dealings with agents, who soon introduced him to the gallery owner Betty Parsons. Each with their particular likes and dislikes, they mixed with De Kooning, Rothko, Kline, Motherwell, Guston, Newmann and Pollock, among others, and from then onwards remained faithful to the dictates of the first generation of American Abstract Expressionism.   Despite their stylistic differences, they both shared the same concern with colour. In Guerrero’s case, it soon became a structural element of the composition. Vicente took longer: his initial concern was the structure of the painting, but in the late 1950s he began to explore how to trap or capture light and achieved this through colour, which also infuses his work with emotion. The works selected for the exhibition, which illustrate their parallel careers, focus on three significant stages in their shared journey: -Their beginnings in representational art, with a selection of their respective landscapes, the genre they most practiced: urban and rural scenes in which there are glimpses of a progressive shift towards abstraction. -The early 50s, marked by a complete, determined espousal of abstraction with no turning back. A determining factor in both cases was their explorations on paper: collage (in Vicente’s case) and printmaking (in Guerrero) were experimental laboratories that allowed them to progress until they felt confident in this new direction. -The 70s, after which they each developed a characteristic voice of their own and achieved full maturity, leading to different approaches to colour field painting. José Guerrero attached great importance to space, its limits, the boundaries between planes, and the areas where colours intermingle; to quote Juan Manuel Bonet, what interested him “was for colour to flow, for the paint to breathe, for the picture to be vibrant, luminous and full of energy”. During these years Vicente built a world of his own based on forms that float in space and give meaning to his work and in which he obsessively worked on colour gradation and saturation and, through it, light. The accompanying exhibition catalogue features a main text by Inés Vallejo, who examines the exhibition from an academic, historical and scientific approach based on the research she carried out for her doctoral thesis (Esteban Vicente y José Guerrero: dos pintores españoles en Nueva York, UCM, 2010). The publication will feature three introductory texts on each of the sections into which the show is divided, written by three important Spanish historians and critics: Juan Manuel Bonet, Guillermo Solana and José María Parreño. 

#OteizaArantzazu | The exhibition is shown in two venues in parallel, on the one hand the Oteiza Museum in Alzuza (Navarra) and the ArantzazuGaur Fundazioa in Oñati (Guipuzcoa). Both samples analyze what the project of Arantzazu meant for Oteiza, a religious commission that was the most committed work of his career, while it forced him to adapt his sculptural concept to the assignment without renouncing modernity and the projection of the work of art as a service to society. The sculptor and all the artists involved in Arantzazu, carried out a common project, in favor of a Basilica that has become today a reference of the artistic renovation of the 20th century.

Mostra Espanha is a programme of cultural activities that takes place in different locations in Portugal every year. It is aimed at showing the dynamism and creativity of the Spanish cultural industries  as well as offering experiences for the dialogue between the two countries to create common projects. The Mostra Espanha organization is run by the General Directorate of Cultural Industries and Cooperation of the Spanish Ministry of Culture and Sports in collaboration with Acción Cultural Española (AC/E) and the Embassy of Spain in Lisbon. Likewise, each edition has the support of the Government of Portugal, through the Ministry of Culture, various Municipal Chambers, the Cervantes Institute of Lisbon and different public and private agents in both countries. In the sixth edition of this program that opens on June 14 in Oporto and the 18th in Lisbon, it includes activities in around twenty Portuguese cities: Alcobaca, Almada, Belmonte, Braganca, Caldas de Rainha, Cascais, Coimbra, Elvas, Estoril , Évora, Guarda, Guimaraes, Lagoa, Lisbon, Porto, Monsaraz, Penacova, San Martinho das Amoreiras, Serpa, Setúbal, Torres Vedras, and Vila Franca de Xira.

Why are castles important? What are its origin and evolution? The exhibition tries to answer these questions by analyzing defensive architecture from prehistory to the middle ages, from modern to contemporary. The highly didactic percourse of this exhibition  highlights the profound significance and relevance of the castles in Spain. But the aim of this exhibition is also to raise awareness about the need to protect and preserve this important heritage. Therefore, it offers a parallel tour on the history of  specific castles, highlighting the deterioration suffered over the years, the history of its restoration and the policies of guardianship and preservation that currently protect them. At the end of the tour, the visitor can browse the inventory of all castles in Spain. The last section, The Castles of Spain and the Cinema, projects loop images with scenes in which various Spanish castles have been recorded in famous films ("El Cid", "The Kingdom of Heaven", "Bells at midnight" , "Pride and Passion", "Die Another Day", "The Lords of Steel", etc.)

The nordic biennial Momentum presents, on its 10th edition, with the support of AC/E, the works by Spanish artists Regina de Miguel, Francesc Ruiz and Pepo Salazar, as well as curator Marti Manen. Momentum10 combines historical works from the more of 20 years of this biennial celebrated in the town of Moss with new productions. It is presented in several locations starting from the Momentum Kunsthalle and Galleri F15. The total amount of artists in the Momentum biennial is 32 with 18 artists from the Nordic countries and 14 from other countries. ​Momentum is a contemporary art biennial organised in Moss (Norway) with Nordic and international focus. With its first edition in 1998, Momentum is the most established biennial in the Nordic countries and has been presenting important works from international artists affecting on the programming of Nordic institutions. The curators from the first edition were Daniel Birnbaum, Lars Bang Larsen and Atle Gerhadsen. The Spanish curator -based in Sweden- Marti Manen is the curator of Momentum10. Momentum10 looks at historical situations from the biennial itself and presents productions of new artists. The main focus is related to an emotional perception of reality, with the biennial as a time and place to feel with art. A 30% of the works are recovered from Momentum’s history (with artists such Olafur Eliasson or Saskia Holmkvist) and new productions placed in dialogue (for example with the Spanish artists Regina de Miguel, Francesc Ruiz and Pepo Salazar).

'Perforated' by Itziar Okariz and Sergio Prego is the project curated by Peio Aguirre, presenting Itziar Okariz and Sergio Prego as the main artists for the Pavilion of Spain at the 58th International Art Exhibition of La Biennale di Venezia. An exhibition which proposes a perforation, metaphorically and literally, through performance, sound, image, sculpture and architecture. Sergio Prego’s project will occupy the Pavilion of Spain with a sculpture set in harmony with the Venetian landscape and its vegetation. While Okariz’s work will be located indoors, becoming the largest sound and performance installation that has taken place in the Spanish Pavilion. Moreover, for the opening days, the artist has developed a performance program. Itziar Okariz’s art is characterized by actions that question the norm to do with language and the production of the symbols which define us as individual subjects. She approaches the private and public space from a feminist perspective. Sergio Prego, on the premises of artistic strategies from the 60’s and 70’s, redefines the relationships of art and the exhibition space, artistic object and the aesthetic experience. Apart from the body, it is essential to take the material and the autonomy of the Postminimalist sculpture into consideration. Sculpture has traditionally been the most suitable medium in exploring the nature of the body and how it relates to space and time

This project (Actions for new musicians 2019) started out with the aim of establishing a framework for collaboration with Acción Cultural Española to promote the musical careers of talented young people. The proposal features two lines of action: an initial global action in the form of financial assistance so that students pay a reduced matriculation fee for higher music studies and gain access to masterclasses, workshops and specialisation courses. The second consists of various actions to encourage the national and international mobility of the projects created by new graduates from the school. The first action gives a boost to the careers of many talented young people who often cannot afford to access or continue with higher education. Actions designed to foster the national and international exposure of promising youngsters will play a key role in launching their careers and in many cases will mark their first experience abroad and in other regions of Spain, where they can discover new ways of creating and producing or of developing new types of collaboration and projects. WORKING SCHEDULE (2019) - Masterclasses, workshops and specialisation courses. January and February: Personal interviews and working sessions March and April: Rehearsals and production. May and June: Concerts July:  Reduced matriculation fee /1st call for applications August: Concerts August: Concerts September: Reduced matriculation fee /2nd call for applications October, November and December: Concerts