ACTIVITIES

The Virtual International Congress "21. One year, two commemorations, diverse Histories of America, 1521-1821" is held virtually between December 14 and 18, 2020 to reflect on various commemorations that take place in 2021 in America, such as the conquest of Mexico by Hernán Cortés in 1521 with the fall of Tenochtitlan and the independence of Mexico, Central America and Peru in 1821. The objective of the Congress is to promote the participation of Spanish, European and Latin American researchers. At the end of the congress, two books will be published with all the papers presented. The congress is made up of three symposia that will deal with the following topics: Conquest and Colonization Revolutions and independences History and visual culture  

Presentación de la Colección Ultramar de la editorial Sílex. Este a o 2021 se cumple el bicentenario de las independencias de los dos virreinatos más antiguos e importantes de América: Nueva España, que devino en México, Centroamérica y Perú. Esta conmemoración es un buen motivo para reflexionar y comprender históricamente el proceso de las independencias iberoamericanas. La colección Sílex Ultramar, con el apoyo de Acción Cultural Española, quiere ser un referente con estas publicaciones en los estudios históricos del continente americano desde el siglo XVI hasta el siglo XX. ♦Síguelo en streaming: Programa Bienvenida: Lucía Sala, Directora de la Fundación Ortega – Marañón. Saludo institucional: Ángeles Moreno Bau, Secretaria de Estado de Cooperación Internacional. Presentación del Acto: Isabel Izquierdo, Directora de Programación de Acción Cultural Española. Presentación de la Colección Sílex Ultramar: Ramiro Domínguez, Director de Sílex Ediciones S.L. y Manuel Chust, Director de la Colección. Mesa redonda: Acerca de las conmemoraciones en Iberoamérica: Manuel Chust (Universidad Jaume I de Castellón). Emilio Luque (Universidad de Sevilla). María Luisa Martínez de Salinas (Universidad de Valladolid)  Dionisio de Haro (Universidad Rey Juan Carlos). Despedida: José Andrés Torres Mora, Presidente de Acción Cultural Española.

#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

PHOTOGRAPHY AND SOCIETY, 1843-1920 The exhibition wants to get closer to the giant figure of Galdós through the evocative power of photography and its quality as a mirror of the past and a source of memory. Under the curation of Publio López Mondéjar, a rigorous historian of Spanish photography, we present hundreds of portraits of the master, most of which are shown in this exhibition for the first time. But the exhibition is not limited to the recreation of a photographic portrait of Galdós, but rather places the writer in the historical, social and cultural context of the Spain of his time.   One of the areas of the exhibition focuses on the representation of the settings in which he spent his life, especially in cities such as Las Palmas, Madrid, Toledo and Santander. In a third area, the portraits of the characters who starred in Spanish history and culture during the years of the writer's life are gathered, from Isabel II, Amadeo I, Alfonso XII, Alfonso XIII, Emilio Castelar, Antonio Cánovas, Práxedes Mateo Sagasta, Baldomero Espartero, Juan Prim, Clarín, Emilia Pardo Bazán, Ruperto Chapí, María Guerrero, Margarita Xirgu and other outstanding figures of the century that is already beginning to be known as the Century of Galdós. In different display cabinets a selection of the photographic reports dedicated to Galdós is exhibited in the most important illustrated publications of the time, such as The Spanish and American Illustration, ABC, Blanco y Negro, El Figaro, Por those worlds, El arte del Teatro, Nuevo World, The Sphere, The Country and Graphic World.

New Generations is a European platform that investigates the changes in the architectural profession since the economic crisis of 2008. They analyze the most innovative emerging practices at the European level, providing a new space for the exchange of knowledge and confrontation, theory and production.   AC/E supports the participation of the following architects and creators to present their projects: Pablo Ibáñez Ferrera, Akshid Rajendran, Lucia Tahan, Gianpiero Venturini, Deborah Lopez, Mar Santamaria, Davide Curatola, Antonio Borlado y Mireia Luzarraga Since 2013, they have involved more than 300 practices from more than 20 European countries in their cultural agenda, such as festivals, exhibitions, open calls, video-interviews, workshops and experimental formats. Its aim is to offer a unique space where emerging architects can meet, exchange ideas, get inspired and collaborate.

#ArteYcómic | This portable exhibition surveys the art of picture stories or comics with examples by various Spanish illustrators (Ana Galvañ, Antonio Altarriba/Keko, Fermín Solís, Laura Pérez Vernetti, María Hesse, Mauro Entrialgo, Max, Pablo Auladell and Santiago García/Javier Olivares) who, using a personal and diverse language, address classical and contemporary art in their work through artists such as Bosch, Velázquez, Buñuel, Frida Kahlo, Duchamp and Picasso, among others. It also reflects the illustrators’ thoughts on various aspects of the art world: exhibitions, museums, fairs, biennials, artists, curators, critics, institutions, audience… Cartoon strips first arose in the late nineteenth century as a mass medium linked to the daily press and have undergone major changes since then. For a long time they belonged to the culture industries geared to children and teenagers, and enjoyed a small market share in the field of humour or satire for adults. Following the emergence of American underground comics and the popularity a few European illustrators and publishers enjoyed in the 1960s, the generation of so-called independent, alternative or avant-garde comic art made a powerful appearance in Spain in the 1980s, securing a foothold through fanzines, self-publishing and small independent publishers. In the twenty-first century came graphic novels and with them a new generation of illustrators, among whom women at long last enjoyed a growing presence, and initiatives such as the inclusion of comic books in major art museums.   But comic books cannot be limited to minority and specialist spaces and deserve to be present in all fields, in keeping with their popular origins. This is the aim of the exhibition, which opens in the spring of 2019 as part of the contemporary art and culture project Cáceres Abierto, and will subsequently travel to various Spanish festivals and cities.

Throughout the last centuries countless Basques crossed the Atlantic, sometimes with dishonest intentions, others with the hope of looking for a new opportunity, but always guided by a restless and adventurous spirit. Between 2003 and 2019, photographer David Quintas organized several photographic expeditions to Latin American countries, the United States and Canada, covering more than 20,000 kilometers of asphalt and immortalizing places, names, customs, anecdotes and architectures that still preserve the stamp of Basque emigrants. . ‘Basque Way’ crosses the continent from end to end and recovers surprising and exciting testimonies from those who went to America without a return ticket. To honor the memory of those lives, as bland as they are extraordinary, the street exhibition is made up of 12 cubes that run through 12 stories (‘destinations’) and a great variety of contextual photos (‘road stops’). The 12 destinations are written by the journalist and writer Martín Ibarrola, they describe events and historical figures with a style halfway between the journalistic and the literary. Stories of lives that, although they have been extensively documented, do not enjoy the media or social recognition they deserve.

The Velez Blanco Renaissance and Baroque Music Festival turns 20 years old. In these two decades, Renaissance and Baroque music has played again in the monuments and spaces of the rich historical heritage of Vélez Blanco; Professors and professors of the highest level have taught classes to students from all over Spain, and the general population has enjoyed lectures, concerts, etc. making the Festival a shared success and emotion. The organization of these concerts, which have the support of AC / E, has followed the line outlined by other editions of the Festival, with a quality program in which groups and soloists with a proven track record participate, and which they intend to continue making known the rich Spanish musical heritage. In parallel, a set of activities are organized that make the Festival occupy all hours of the day. Among them, the Academy of Renaissance and Baroque Music with training courses and musical improvement, the International History Seminar, a series of conferences.

ARCOmadrid is the international contemporary art fair in Spain that, since 1982, has been one of the main platforms of the art market, and an essential piece in the international circuit for the promotion and dissemination of artistic creation. This edition, which is held exceptionally in the month of July, presents a careful selection of national and international galleries in its different programs. The main axis of the fair's general program is made up of first-rate galleries selected by the Organizing Committee. The space for discovering new proposals at the fair has a selection of galleries made by Övül Durmuşoğlu and Julia Morandeira.

#50FotosConHistoriaExpo |  is an exhibition that surveys the history of photography in Spain over the past eight years. It shows the history behind fifty or so pictures to provide viewers with a better grasp of the essence of the work and the photographer, as well as their importance in the evolution of this discipline. They represent fifty different gazes full of nuances: documentary photographs, portraits, photojournalism, street photography and artistic photographs come together in ‘50 Photographs with a Story’.  The writer Eduardo Galeano stated that human beings are not made up of atoms but of stories. And if storytelling is the basis of our memory and all our desires, it is also, by extension, the basis of photographic language. Photography is therefore not a universal language: photographers each use a tool – the camera – to shape their own voice, their own search, their own dialogue with the observer. And at the centre of this dialogue there is always an underlying story, which can be related to the historical context, to the technique or to the people in the photograph, but always to the photographer’s gaze. 

The jury has selected Jorge Suárez-Quiñones Rivas for presenting a candidacy: “the most solid, coherent, exciting and at the same time simple, direct”. This same artist was a finalist last year for the same residency. The jury is made up of Dirk Snauwaert, WIELS Artistic Director, Simon Thompson and Sylvie Eyberg, mentor artists for the Residency Program, Zoe Gray, WIELS Senior Curator, and Eva Gorsse, Head of the Residency Program. The finalists have been Christian García Bello (2) and Anna Moreno (3). Acción Cultural Española (AC/E) organizes with the WIELS contemporary art centre (Brussels) the participation of a Spanish artist in its prestigious international residency programme between July and December 2021. This agreement has the collaboration of the Ministry of Culture of the Embassy of Spain in Belgium. The purpose of this call is to facilitate the creation of collaboration networks, to promote the mobility of Spanish creators, to promote artistic production through the offer of residences for artists and the provision of workspaces, as well as to strengthen links with international cultural institutions.   ANNOUNCEMENT Deadline: Until April 18, 2021 Period of residence: Between July 12 and December 24 (except changes caused by the COVID-19 epidemic) Object of the call Facilitate the creation of collaboration networks, promote the mobility of Spanish creators, promote artistic production through the offer of residences for artists and the provision of workspaces, as well as strengthen ties with international cultural institutions. Participants Artists over 21 years of age, not students, with the capacity to act and of Spanish nationality or residents in Spain and in possession of the NIE who have contributed to the Spanish art scene in recent years, were able to participate in the call. Endowment The resident has: - Travel from your place of residence in Spain to Brussels and back. - Work study of 40 m2 and for individual use within the WIELS headquarters and in the period foreseen for your residence. - Accommodation in an individual apartment fully equipped and close to WIELS, including electricity, water, heating and internet costs and in the period foreseen for your residence. - The amount of 800 euros for each month of stay, for maintenance and production aid. - Access to WIELS facilities, as well as participation in the activities carried out within its Resident program (subject to possible restrictions or limitations due to the Covid pandemic) - Weekly tutorials (face-to-face and / or virtual) by artists and creators integrated into the staff of tutors of the WIELS Residency Program. - A field trip in or out of Belgium - travel and accommodation expenses will be covered, except for meals. - A public presentation / conference during the residency (virtual or face-to-face, the format of which will be decided in consultation with the other residents and the WIELS team) - Visits to the studio of curators, artists or critics invited by WIELS. - Inclusion of your project in the WIELS resident artists web archive. All required documentation and application deadline: *See conditions of the Call (PDF) > *Application form (PDF)>   For more information and submission of documentation: residency@wiels.org

Throughout the last centuries countless Basques crossed the Atlantic, sometimes with dishonest intentions, others with the hope of looking for a new opportunity, but always guided by a restless and adventurous spirit. Between 2003 and 2019, photographer David Quintas organized several photographic expeditions to Latin American countries, the United States and Canada, covering more than 20,000 kilometers of asphalt and immortalizing places, names, customs, anecdotes and architectures that still preserve the stamp of Basque emigrants. . ‘Basque Way’ crosses the continent from end to end and recovers surprising and exciting testimonies from those who went to America without a return ticket. To honor the memory of those lives, as bland as they are extraordinary, the street exhibition is made up of 12 cubes that run through 12 stories (‘destinations’) and a great variety of contextual photos (‘road stops’). The 12 destinations are written by the journalist and writer Martín Ibarrola, they describe events and historical figures with a style halfway between the journalistic and the literary. Stories of lives that, although they have been extensively documented, do not enjoy the media or social recognition they deserve.

Anno Zero is a Festival of contemporary Spanish theater in Rome, which was born with the intention of bringing together a plurality of artistic voices live. This 2nd edition of the Festival once again presents works by young artists alongside those of established figures, who have been proposed to adapt their works to the city of Rome and the Italian language. All this with the aim of contributing to the cultural dialogue between Spain and Italy, making young professionals known and making performance in Spanish incorporated into the programming of Italian theaters, art centers and festivals. Anno Zero is a tribute inspired by Roberto Rossellini's film about the post-war German reconstruction years. This cycle is a gesture of the Academy of Spain in Rome with the collaboration of AC / E to indicate a change of collaborative and artistic model, in which it prevails to work with memory, the document, the participation of the public and, in general, the art of action.

Juan Vico is the writer selected for the Malba Residence with the support of Acción Cultural Española (AC/E). The residence was originally going to take place in 2020, but has been postponed until 2021 due to the COVID-19 pandemic. The author will be able to follow it between August and September 2021 in Buenos Aires (Argentina).​ Malba Literatura and Acción Cultural Española have launched the REM + AC/E programme whereby a grant will be awarded to a Spanish writer every year to enjoy the Malba Writers’ Residency. The programme is aimed at foreign writers and is designed as a forum for exchange and literary creation based on an invitation to spend five weeks in Buenos Aires as part of their artistic and professional development. REM +AC/E programme. This programme arose from the joint aim of the Malba Writers’ Residency and Acción Cultural Española to foster the internationalisation of Spanish and Argentinian creators and encourage collaboration between authors, publishers and managers of both countries. The residency is aimed at Spanish writers and offers the possibility of living five weeks in Buenos Aires as part of their artistic and professional development. The Malba Writers Residence proposes an urban experience that allows contact with various cultural manifestations of the city and is also a platform that promotes networks of artistic collaboration. This new call for applications for the REM +AC/E 2020 programme has taken place in October through Malba’s website. The international jury appointed by the museum will shortlist three candidatures, which they will pass on to AC/E to assess and select the beneficiary. > See conditions > More info

In this exhibition in one scene, artist Alvaro Urbano (Madrid, 1983) uses as a case study the celebrated Hexagon Pavilion, designed by architects José Antonio Corrales and Ramón Vázquez Molezún. The building, now languishing in a ruinous state in Madrid’s Casa de Campo park, was first presented as the Spanish Pavilion at the 1958 Brussels World’s Fair and is considered an important example of modern Spanish architecture. After years of abandonment, it is hard to believe what it once was and what it contained. Here—where the architecture and vegetation seem to be frozen in time, where the building itself holds a pictorial and sonic landscape that speaks of the past experiences lived within its walls, and where a pair of raccoons intermittently dwells—an endless twilight bathes the space in color and brings it to life. Like an unscripted film that captures daily existence, The Awakening constructs a parallel life for an exhausted building in order to revive seemingly dormant histories. Curator: José Esparza Chong Cuy

Conceived as a polyphony of voices and viewpoints on contemporary artistic production, the 34th Bienal de São Paulo – Faz escuro mas eu canto [Though it’s dark, still I sing] asserts the right to both complexity and opacity, in expressions of art and culture, as well as in the identities of individuals and social groups. To this end, the 34th edition has adopted a new format, aimed at creating a multiplicity of distinct situations in which the encounter between artworks and the public can take place.The curatorial team, which consists of Jacopo Crivelli Visconti, Paulo Miyada, Carla Zaccagnini, Francesco Stocchi and Ruth Estévez, hope to highlight how the interpretations and meanings attributed to artworks are elastic and influenced by a number of factors, including possible dialogues with other artworks shown around them. The adjustments and changes, which have being multiplied due to the Covid-19 pandemic, are an integral and relevant part of the process of insistence, transformation and fine tuning that has gone into the design of the 34th Bienal. AC/E supports the participation of Spanish artists to showcase their work and creativity.

#ArteYcómic | This portable exhibition surveys the art of picture stories or comics with examples by various Spanish illustrators (Ana Galvañ, Antonio Altarriba/Keko, Fermín Solís, Laura Pérez Vernetti, María Hesse, Mauro Entrialgo, Max, Pablo Auladell and Santiago García/Javier Olivares) who, using a personal and diverse language, address classical and contemporary art in their work through artists such as Bosch, Velázquez, Buñuel, Frida Kahlo, Duchamp and Picasso, among others. It also reflects the illustrators’ thoughts on various aspects of the art world: exhibitions, museums, fairs, biennials, artists, curators, critics, institutions, audience… Cartoon strips first arose in the late nineteenth century as a mass medium linked to the daily press and have undergone major changes since then. For a long time they belonged to the culture industries geared to children and teenagers, and enjoyed a small market share in the field of humour or satire for adults. Following the emergence of American underground comics and the popularity a few European illustrators and publishers enjoyed in the 1960s, the generation of so-called independent, alternative or avant-garde comic art made a powerful appearance in Spain in the 1980s, securing a foothold through fanzines, self-publishing and small independent publishers. In the twenty-first century came graphic novels and with them a new generation of illustrators, among whom women at long last enjoyed a growing presence, and initiatives such as the inclusion of comic books in major art museums.   But comic books cannot be limited to minority and specialist spaces and deserve to be present in all fields, in keeping with their popular origins. This is the aim of the exhibition, which opens in the spring of 2019 as part of the contemporary art and culture project Cáceres Abierto, and will subsequently travel to various Spanish festivals and cities.

#50FotosConHistoriaExpo |  is an exhibition that surveys the history of photography in Spain over the past eight years. It shows the history behind fifty or so pictures to provide viewers with a better grasp of the essence of the work and the photographer, as well as their importance in the evolution of this discipline. They represent fifty different gazes full of nuances: documentary photographs, portraits, photojournalism, street photography and artistic photographs come together in ‘50 Photographs with a Story’.  The writer Eduardo Galeano stated that human beings are not made up of atoms but of stories. And if storytelling is the basis of our memory and all our desires, it is also, by extension, the basis of photographic language. Photography is therefore not a universal language: photographers each use a tool – the camera – to shape their own voice, their own search, their own dialogue with the observer. And at the centre of this dialogue there is always an underlying story, which can be related to the historical context, to the technique or to the people in the photograph, but always to the photographer’s gaze. 

Co-organized by the Dallas Museum of Art and the Baltimore Museum of Art, this is the first U.S. exhibition in over 35 years dedicated to the Spanish artist Juan Gris. Cubism in Color: The Still Lifes of Juan Gris highlights the artist’s pioneering and revolutionary contributions to the Cubist movement by focusing on his fascination with subjects drawn from everyday life. Through more than 40 paintings and collages that span all major periods of the artist’s evolving practice, the exhibition reveals the transformation of Gris’s innovative style and principal motifs from 1911 until 1926, one year before his tragically early death at age 40. His exquisite compositions explored the boundary between abstraction and representation, tension and stasis, color and form. As a thorough examination of Gris’s still lifes, Cubism in Color provides an opportunity to reconsider the legacy of this important yet underappreciated modernist master. See the full press release. Cubism in Color: The Still Lifes of Juan Gris is co-organized by the Dallas Museum of Art and The Baltimore Museum of Art. Additional support is provided by the Robert Lehman Foundation. and Acción Cultural Española (AC/E). The Dallas Museum of Art is supported, in part, by the generosity of DMA Members and donors, the National Endowment for the Arts, the Texas Commission on the Arts, and the citizens of Dallas through the City of Dallas Office of Arts and Culture. Dallas Museum of Art · Curator Commentary: “Cubism in Color” Caption: Juan Gris: ´Newspaper and Fruit Dish´, 1916, oil on canvas, Yale University Art Gallery; ´The Painter’s Window´, 1925, oil on canvas, Baltimore Museum of Art.

Brossa Poetry is a comprehensive survey of the work of this pioneering artist, from his early books to his latest visual investigations, and including his work in the theatre, cinema, music and artistic actions. Joan Brossa (Barcelona, 1919-1998) was first and foremost a poet, but we believe it is necessary to see this in relation to his way of working, his poiesis. This exhibition establishes a dialogue and confronts Brossa’s work with the poetry of artists such as Marcel Marien, Nicanor Parra and Ian Hamilton-Finlay, as well as the poets of Lettrism, visual, concrete, experimental and expanded poetry, and Fluxus. Brossa was a poet, but his works stood at a crossroad of languages. Frequently collaborating with other artists, musicians, filmmakers, dancers, comedians and even magicians, his work constantly went against the grain and beyond the limits between disciplines. Brossa developed his artistic practice in the 1940s in a social-political context marked by Franco’s dictatorship and in a cultural milieu characterised by the absence of avant-garde and innovative proposals. From the beginning, Brossa’s work was one of aesthetic renewal, based on literary and artistic research. Up until his death, his extensive production never ceased to develop new forms of expression and ways of experimenting with different media. In 2011, the Museu d’Art Contemporani de Barcelona was made the depository of the Fonds of the Fundació Joan Brossa, which contains the legacy of the artist. The Fonds consists of manuscripts, documents, correspondence and his personal library, among other materials. It is a unique tool for understanding Brossa’s extremely interesting work. The exhibition that MACBA, with the support of Acción Cultural Española, AC/E,  is preparing for 2017 approaches Brossa’s work by reappraising his influence and interrelationship with the practice of other artists. The project brings to the fore the constellations of artists around Brossa, his interrelationship with works he may have been unaware of, but which allow us to establish parallels and seek dialogues and tensions. It also aims to emphasise the performative aspects of Brossa’s poetic practice, his poiesis. Accompanying the exhibition there will be a publication exploring these aspects, realised in collaboration with Roger Bernat, Isabel de Naverán and Maria Salgado. To secularise this great poet is not an easy task and this is the challenge facing this project, half way between Marx and Mallarmé: to give Brossa back his simple and popular voice, the voice of the people, whether they wear a hat or not; the voice of a light bulb, a train ticket, a playing card, a set of handcuffs or confetti. 

S8) Mostra de Cinema Periférico and Acción Cultural Española (AC/E) organize this residency with the aim of continuing a line of work that seeks to open new paths for emerging creators, facilitating the creation of exchange ties with an institution of international relevance as LIFT-Liaison of Independent Filmmakers. Bruno Delgado has been selected as a resident at LIFT for his project Frame maneuvers to port. The duration of the residency will be between 4 and 6 uninterrupted weeks tin 2021 and will be subject to the availability of the LIFT facilities in Toronto and the pandemic situation. Frame maneuvers to port is a film-performative proposal whose main location is Port Lands, the port area of ​​Toronto, which is complemented by shots of the port of A Coruña. The project takes the port landscape of both cities as a confluence territory so that the geometric, rhythmic, material or chromatic motifs of the first echo with those of the second. Parallel to this territorial exploration, he raises another one on the filming and projection devices themselves, focused on the formation of the limits of the frame and the edges of the projection. On a metaphorical level, Frame Maneuvers to Port equates the film's window (and frame) to the pilotage area of ​​ports. Both are bounded areas where maneuvers take place. Bruno Delgado has a degree in Architecture from the Polytechnic University of Madrid. In addition to collaborating on various publications, he has been editor of Lumière magazine since 2017 and will shortly publish “Locations / Lieux en Revue Les saisons” (Paris, 2020). Invited speaker at the MFA Collaborative Theater Making master at Rose Bruford College of Theater and Performance (London, 2020). His latest projects include: Un baile con Fred Abstrait (25 ', super 8, 2020), Vue de l'exposition, Un film abstrait (3', super 8, 2019), Locations (7 ', super 8, 2019) ), A color film (29 ', super 8, 2019), Reel In Color # 11 (3', super 8, 2019) and as spatial projects: Double layer in Art Brussels (2019), A strong imagination produces the event in INJUVE (2019) and group exhibitions: MOVIMCAT (2020), FRACTO Film Stream (2020), Cine Estudio en Casa (Círculo de Bellas Artes de Madrid, 2020). OPEN CALL Deadline: until 23:59 (GMT + 1) on November 26, 2020. Beneficiary Publication: December 2020.​ All those people born or resident in Spain, with an accredited artistic career, who wish to carry out an audiovisual project in analog format (35mm, 16mm, Super 16mm, 8mm or Super 8mm) may participate in the call. The duration of the residency will be between 4 and 6 uninterrupted weeks to choose between mid-January and March 2021 and will be subject to the availability of the LIFT facilities in Toronto.​ See conditions >

“A JOURNEY TO THE INNER SPAIN. THE DEMOGRAPHIC QUESTION: MEMORY AND OBLIVION. ” ALMA TIERRA is the result of a photographic journey that has led José Manuel Navia to explore several territories especially significant to show the demographic crisis in the inland Spain. The project is an Acción Cultural Española production that takes the form of an itinerant photography exhibition and a co-edited book with Ediciones Anómalas, with texts by Julio Llamazares. A lyrical and visual tour of that “dying world”, as Miguel Delibes called it, an inland Spain that, although hit hardly, resists to disappear completely.

ARCOmadrid is the international contemporary art fair in Spain that, since 1982, has been one of the main platforms of the art market, and an essential piece in the international circuit for the promotion and dissemination of artistic creation. This edition, which is held exceptionally in the month of July, presents a careful selection of national and international galleries in its different programs. The main axis of the fair's general program is made up of first-rate galleries selected by the Organizing Committee. The space for discovering new proposals at the fair has a selection of galleries made by Övül Durmuşoğlu and Julia Morandeira.

#AzañaExpo | Manuel Azaña Díaz (Alcalá de Henares, January 10, 1880-Montauban, November 3, 1940) is one of the most relevant figures in the contemporary history of Spain, both admired and reviled. He was a politician, writer and journalist, president of the Council of Ministers (1931-1933) and president of the Second Republic (1936-1939). He had a prominent role at the Madrid Athenaeum, of which he was Secretary and President. He collaborated in different newspapers, edited the magazine España and founded La Pluma. He received the National Literature Prize in 1926 for a work on Juan Valera and was a notable translator from English and French. In his political dimension, Azaña is one of the main promoters of the arrival of the Republic in April 1931. The great debates of the period have his outstanding, and sometimes controversial, intervention: the Statute of Catalonia, the Agrarian Reform, the issue religious or women's vote. Not surprisingly, the Republic was identified with Azaña and Azaña with the Republic and was blamed for the outcome of the Civil War, if not its very beginning. The Exhibition aims to provide a complete image of Manuel Azaña, in its triple dimension: human, intellectual and political, underlining, in addition to his work as Minister, Head of Government and President of the Republic, his status as a prestigious intellectual, as well as the harsh conditions of his exile, which ended with his death in the French city of Montauban, where his memory is still present eighty years later. Following a chronological sequence that allows us to understand his career in different periods: his childhood and youth in Alcalá, his subsequent development in Madrid, the exhibition delves into three crucial stages in the history of Spain: the Second Republic, the Civil War and Exile. . About two hundred works from both the BNE and other Spanish and foreign institutions will be exhibited in the exhibition. For this commemoration, very little known photographs and videos have been rescued, which allow us to get closer not only to the figure and the work of Azaña, but also to the memory of his time.

PHOTOGRAPHY AND SOCIETY, 1843-1920 The exhibition wants to get closer to the giant figure of Galdós through the evocative power of photography and its quality as a mirror of the past and a source of memory. Under the curation of Publio López Mondéjar, a rigorous historian of Spanish photography, we present hundreds of portraits of the master, most of which are shown in this exhibition for the first time. But the exhibition is not limited to the recreation of a photographic portrait of Galdós, but rather places the writer in the historical, social and cultural context of the Spain of his time.   One of the areas of the exhibition focuses on the representation of the settings in which he spent his life, especially in cities such as Las Palmas, Madrid, Toledo and Santander. In a third area, the portraits of the characters who starred in Spanish history and culture during the years of the writer's life are gathered, from Isabel II, Amadeo I, Alfonso XII, Alfonso XIII, Emilio Castelar, Antonio Cánovas, Práxedes Mateo Sagasta, Baldomero Espartero, Juan Prim, Clarín, Emilia Pardo Bazán, Ruperto Chapí, María Guerrero, Margarita Xirgu and other outstanding figures of the century that is already beginning to be known as the Century of Galdós. In different display cabinets a selection of the photographic reports dedicated to Galdós is exhibited in the most important illustrated publications of the time, such as The Spanish and American Illustration, ABC, Blanco y Negro, El Figaro, Por those worlds, El arte del Teatro, Nuevo World, The Sphere, The Country and Graphic World.

With the motto Re: conect, the Frankfurt Book Fair, which takes place from October 20 to 24, 2021, is in this edition a face-to-face event, but with additional digital formats.   The face-to-face activities aimed at the general public - somewhat more restricted this year - take place only in the Festhalle and the Gourmet Gallery and the Weltempfang, the fair's political program, is no longer held. The digital part of the program acts as multimedia stages for exhibitors, authors and creative artists, bringing together the international publishing industry and the creative industries in a virtual space. Spain, which will be the Guest of Honor at the 2022 Frankfurt Book Fair, has designed a program of meetings with authors, publishers and professionals from the book sector. This program is organized by the Directorate General for Books (Ministry of Culture and Sports) and Spanish Cultural Action (AC / E), in collaboration with the Federation of the Publishers Guild of Spain. The Frankfurt Book Fair (Frankfurter Buchmesse) is the world's most important market for print and digital content. It is also an extraordinary social and cultural event. Every October, editors, publishing experts, writers, creative professionals and fans come from all over the world to network, have conversations, negotiate, make decisions, be amazed and celebrate the book and the reading. It is then that Frankfurt becomes the focus of the world's media and publishing industries, bringing leading innovative technologies and world literature at your fingertips.

COMPETITIONS GROUPS AND CLASSIFICATIONS IN CHESS24. FINAL CLASSIFICATIONS  ⇒ See the Final Classifications (5 groups) (new: 17 June 2021). Includes teams that will go to the final at Expo Dubai 2020. PRELIMINARY PHASES (10 Dic -15 Mar)​ Competitions starts from 10 December 2020 at the Chess24 PLATFORM ⇒ See Registered TEAMS ⇒ See Registered Countries ⇒ See General information Groups 1 to 26: ⇒ See calendar and pairings of the preliminary phase. Groups 27 a 37: ⇒ Group Composition ⇒ See calendar and pairings of the preliminary phase (If any team, which had to play in February, is not in those groups, contact us at infochess@expospain2020.es)​ ⇒ See classifications of the three  preliminary phases ► Registration period finished 12 November 2020. ► For more information about rules and entry forms: → Download dossier ► More info: infochess@expospain2020.es | expo@chess24.com​ Chess is a universal game (191 countries in the International Chess Federation) that goes back over a thousand years. It came to Europe through the Arabs, who in the 8th century brought it to the Iberian Peninsula. The chess that is played throughout the world today was created in Spain at the end of the 15th century, when the queen became the most powerful piece. From there it spread to western Europe and the Americas. Its common language allows people to communicate regardless of race, language, religion, age or gender. The Spain Pavilion in Expo Dubai 2020, in line with the theme of this universal exposition of "Connecting Minds, Creating the Future" invites all member countries to participate in an event that aims to "increase intelligence for life" and expand awareness of the potential of chess as a key educational tool, as supported by sound scientific studies. Given the unanimous opinion that education is the best tool for ensuring an intelligent future, what better than a game that consists of thinking and developing many different values? Moreover, there are also very reliable studies that consider chess the best mental gymnastics for delaying or preventing the ageing of the brain and Alzheimer's. Event organization and schedule The event we propose is unprecedented in the world of chess in terms of the potential participants involved, as it is open to all the countries (almost 200) that will participate in Expo Dubai 2020. Combined with its duration, this scope will make the competition a global model for interconnected chess via the Internet. 2.1. Age range of the school participants Any player born after  31 December 2003 can participate (any category up to Sub16 inclusive). 2.2. Participation in the Tournament All interested schools may enter, provided that they have the minimum technological requirements for participating in the competition (details below). Countries participating in Expo 2020 are asked for their support in publicizing the event; and the countries that have a team classified for the finals are asked to help by paying their teams' travel costs to Dubai and giving visibility to the presence of their teams in the Expo. 2.3. Registration and selection of the teams Each educational centre interested in participating must register by a computer application installed on the official Tournament portal. It will have to provide details on its activities related to chess. This system provides the opportunity for all the schools to take part, while also stimulating those who have incorporated chess into their activities, or want to increase its importance. When a team classifies classifies for the on-site final, the country will pay the costs of the trip and stay for its teams in Dubai, as well as ensuring the visibility of their presence in the Expo. 2.4. Participants per team Each team will be composed of: 7 first-team players 2 reserves There will also be: one captain; and an adult delegate responsible for the team during the whole competition. Section 3, the Tournament Rules, explains these requirements in more detail. Schools are urged to make their balance between male and female players as equal as possible. 2.5. Speed of the games The games will be played over 20 minutes, with 10 more seconds per move for each of the two players. The time will be controlled by an online chess clock for each game. The average duration of a game will be around 60 minutes. 2.6. Schedule and competition phases The competition will consist of three phases: • A registration period for the countries that are interested: until 12 November 2020. • Online classification phase: from 16 November 2020. • Knock-out rounds in 2020, taking into account the school calendar. The finalists will be decided in 2021. • The on-site final phase will take place in Dubai. 2.7. Number of teams in the on-site final phase in Dubai The number of teams that will reach the final phase in Dubai will be a minimum of 10 and a maximum of 12. They will have passed the elimination phases, with a total of 90-108 young people, depending on the number of teams that reach the final. 2.8. Technological requirements for entry To ensure the competition operates correctly, the participating schools will have to guarantee that the teams entered have access to certain minimum technological resources, as follows: > Fast fibre-optic or ADSL connection. > Computers with one of the latest Windows operating systems (Windows 8 or 10) >Ability to communicate with those responsible in the competition administration via email/ Skype/WhatsApp on the days when each team is playing.

This exhibition covers the artistic career of Víctor Moscoso (Oleiros, A Coruña, 1936) through a careful selection of his work. Moscoso was a key figure in the counterculture movement of the 1960s in the United States. Along with other names such as Wes Wilson, Rick Griffin, Stanley Mouse or Alton Kelley, Moscoso marked, through its two main facets, the design of psychedelic rock posters and advertising, and through the production of underground comics, a turn in the visual language of the twentieth century. Moscoso has also designed logos, t-shirts, billboards and animations for radio stations, for which he received two Clio Awards. Additionally, he received an Inkpot award in 1979. He also received an AIGA medal in 2018. Some of his works are part of the permanent collections of the Louvre in Paris, MOMA in New York, the Library of Congress of the United States in Washington D.C. or the Victoria & Albert Museum in London.

#50FotosConHistoriaExpo |  is an exhibition that surveys the history of photography in Spain over the past eight years. It shows the history behind fifty or so pictures to provide viewers with a better grasp of the essence of the work and the photographer, as well as their importance in the evolution of this discipline. They represent fifty different gazes full of nuances: documentary photographs, portraits, photojournalism, street photography and artistic photographs come together in ‘50 Photographs with a Story’.  The writer Eduardo Galeano stated that human beings are not made up of atoms but of stories. And if storytelling is the basis of our memory and all our desires, it is also, by extension, the basis of photographic language. Photography is therefore not a universal language: photographers each use a tool – the camera – to shape their own voice, their own search, their own dialogue with the observer. And at the centre of this dialogue there is always an underlying story, which can be related to the historical context, to the technique or to the people in the photograph, but always to the photographer’s gaze. 

#ArteYcómic | This portable exhibition surveys the art of picture stories or comics with examples by various Spanish illustrators (Ana Galvañ, Antonio Altarriba/Keko, Fermín Solís, Laura Pérez Vernetti, María Hesse, Mauro Entrialgo, Max, Pablo Auladell and Santiago García/Javier Olivares) who, using a personal and diverse language, address classical and contemporary art in their work through artists such as Bosch, Velázquez, Buñuel, Frida Kahlo, Duchamp and Picasso, among others. It also reflects the illustrators’ thoughts on various aspects of the art world: exhibitions, museums, fairs, biennials, artists, curators, critics, institutions, audience… Cartoon strips first arose in the late nineteenth century as a mass medium linked to the daily press and have undergone major changes since then. For a long time they belonged to the culture industries geared to children and teenagers, and enjoyed a small market share in the field of humour or satire for adults. Following the emergence of American underground comics and the popularity a few European illustrators and publishers enjoyed in the 1960s, the generation of so-called independent, alternative or avant-garde comic art made a powerful appearance in Spain in the 1980s, securing a foothold through fanzines, self-publishing and small independent publishers. In the twenty-first century came graphic novels and with them a new generation of illustrators, among whom women at long last enjoyed a growing presence, and initiatives such as the inclusion of comic books in major art museums.   But comic books cannot be limited to minority and specialist spaces and deserve to be present in all fields, in keeping with their popular origins. This is the aim of the exhibition, which opens in the spring of 2019 as part of the contemporary art and culture project Cáceres Abierto, and will subsequently travel to various Spanish festivals and cities.