The Condeduque Center for Contemporary Culture, part of the Madrid City Council’s Department of Culture, Tourism and Sports, will offer this November the New Creation performing arts shows by Bruno Beltrão, Barbados in 2022 by Pablo Remón in collaboration with the Autumn Festival, and four jazz concerts on the stage of the Auditorium by Pablo Fresu (Programming of JAZZMADRID’22), Manuel Borraz (winner of the 2022 jazz residency in Condeduque), Steve Coleman and Ernesto Aurignac.
In the cinema section, three films will be screened and the 15th edition of My first film festival will be held, there will be a dialogue of thought under the motto If you don’t shut up they will humiliate you: cancellation and culture and the scenic conference A thousand sibyls with María Arnal , José Luis De Vicente and Eduard Escoffet in word.
In the art section, it will be possible to visit the artistic installations The Non-Return by Cecilia Paredes, Pueblo Potemkin by Julius Heinemann, and the exhibition Una voz/una imagen by the curator María Virginia Jaua and there will be four participatory mediation activities: An open secret, The dances of my memories, (Re)turn to the patio and Dance, remember, resist.
Paolo Fresu_ Heroes-Tribute to David Bowie (November 2. Music)
Included in the program of the JAZZMADRID’22 festival, now comes this new project by trumpeter Paolo Fresu, overflowing with instrumental beauty. The key lies in paying homage to David Bowie’s songbook, a specialist —like Fresu— in reinventing himself and surprising himself.
Manuel Borraz_Dual Reality_V Condeduque jazz residency (November 11. Music)
The pianist and composer Manuel Borraz (Madrid, 1994) presents the essence of one of his most contemporary and transgressive projects at the Condeduque Auditorium, completed together with the drummer Daniel Saénz. The pianist from Madrid appears after winning the 5th Condeduque Jazz Residency, in which this young jazz player worked on the new songs of this audacious formation that is now premiering within the framework of the JAZZMADRID’22 festival.
Steve Coleman & Five Elements_MDWMTR (November 18. Music)
The alto saxophonist Steve Coleman is currently one of the great references of that renewal that jazz experiences when it is combined with other musical aesthetics such as rap or simply with urban culture. Founder of the M-Base collective, one of New York’s great avant-garde jazz laboratories, Coleman has also investigated the African and Caribbean origins of jazz, especially Cuban music.
Ernesto Aurignac Ensemble_Monje Cruz already said it…Ná is eternal (November 25. Music)
Monje Cruz already said it… Ná is eternal is the new compositional project by saxophonist Ernesto Aurignac. With instrumentation that evokes impressionist and expressionist sounds, this world premiere, commissioned by Condeduque, presents the characteristic sound of the Aurignac label: suggestive, flying, playful music, very personal jazz, free classicism, synthesis and revolution of sound, appointment and novelty.
Bruno Beltrão / Grupo de Rua_New Creation (November 12 and 13. Performing Arts)
In 2005, the European scene was fascinated by H2, a white and minimalist choreography from Brazil that, from a superlative elegance, offered another look and other expressive possibilities to hip hop, beyond battles, feats, virtuosity and shrillness. Now Bruno Beltrao presents New Creation, his recent work, which brings Beltrao back to maturity.
Pablo Remón_Barbados 2022 (from November 23 to December 3. Performing Arts)
After the dazzling success of his latest work, Los farsantes, the playwright, screenwriter and director Pablo Remón looks back to gain momentum. What premiered at the long-awaited Pavón Kamikaze Theater in 2017, which was called Barbados, etc., is not the same as what is now going to be called Barbados in 2022. The reason for this utopian commitment, to rewrite the play every five years until it can no longer be done, is “to make it remain always alive”, according to its author.
Scenic conference A thousand sibyls with María Arnal, José Luis De Vicente and Eduard Escoffet
In this scenic conference, Maria Arnal, José Luis de Vicente and Eduard Escoffet weave their voices with images, videos, texts and soundscapes to explore the stories that are hidden behind the fascinating ancient character that is the Sibyl. Starting from the mystical, philosophical and feminist dimensions of this unusual pagan rite, they narrate their project to adapt the Cant de la Sibil·la to the 21st century.
Cecilia Paredes_The no return (November 9 to January 22, 2023)
The installation The No Return by the Peruvian artist Cecilia Paredes metaphorically represents the individual’s search for his or her path. A cartography of the loss suffered by its main actors, the migrants, as a result of personal and cultural situations that have been imposed on them. She presents us with a metaphor about leaving and arriving and the stories and events that make up these life events.
Julius Heinemann_Pueblo Potenkim (October 7 to December 4. Art-installation)
Julius Heinemann uses the representative power of the Condeduque patio in his installation Pueblo Potenkim to address the issue of perception in relation to physical space and reflect on digital reality from the poetics of its visual language. To the basic tools of pictorial abstraction, such as scale, light, plane and perspective that Heinemann has been using in his artistic interventions, the historical narratives that give the project a conceptual basis are added.
A voice / an image (Until next November 20. Art-exhibition)
Collective exhibition curated by María Virginia Jaua, with the focus on the work of creators in the national context and in which the analysis of everyday images found from the perspective of different creators comes into play. A voice / an image is a series of short videos by thirteen artists (Ignasi Aballí, Ángela Bonadies, Gonzalo Elvira, Esther Ferrer, Pedro G. Romero, Dora García, Narelle Jubelin, Eva Lootz, Antoni Muntadas, Javier Peñafiel, Álvaro Perdices, Paloma Polo and Isidoro Valcárcel Medina) who make a reading of an image chosen by them.
Funeral Parade Of Roses_Toshio Matsumoto (November 2)
Few places like Japan confront tradition and modernity, spirituality and debauchery, conservatism and transgression so directly. In that post-war Japanese society, indebted to its age-old cultural patina and westernizing pop movements, Toshio Matsumoto surprised and shocked with the stories of these young transsexuals willing to forever change the solemnity of the land of the rising sun.
15th edition of My first film festival_Workshops (November 5 and 12)
My First Festival is a film competition for the little ones to dream, discover new worlds, stimulate their imagination and creativity, and awaken their critical thinking and ability to reflect and learn new things. After the projection, the little ones decide with their vote the prizes of the public of the festival. The experience is completed with the offer of creation workshops, in which boys and girls discover the origins of cinema and different trades related to it.
15th edition My first film festival_Film sessions and concerts (November 6, 13 and 20)
My first festival is organized by MODIband, a cultural entity specialized in the distribution and programming of a type of children’s cinema that does not reach commercial theaters. MODIband is committed to independent, auteur cinema, capable of developing the aesthetic sense of the youngest, bearer of positive educational values and capable of contributing to a good audiovisual education of boys and girls. The entity values the short film, a cinematographic format quite unknown among children.
The stranger of the lake_Alain Guiraudie (November 23)
One of the great sensations of the 2013 Cannes Film Festival was this risky mix of romantic drama and rural thriller in Stranger by the Lake. The explicitness of its sexual scenes and the tension maintained throughout the film mobilized the critics and the jury, obtaining Alan Guiraudie the award for best director. An award that would extend a few months later in Seville with the Golden Giraldillo for the best film awarded by the Seville festival.
Frank Ripploh_Taxi Zum Klo (November 30)
Perhaps it was the explicit rectal examination shown in Frank Ripploh’s film that led the British Board of Film not to allow it to be shown on the islands until 2011. But it could also be Ripploh’s portrayal of gay bohemian Berlin , shortly before the AIDS virus ended up sweeping away that debauchery. What the meeting could not prevent was that Taxi Zum Klo obtain immediate status as a cult film.
An open secret (Until May 2023. Mediation)
An open secret is a process of disseminating practices and lines of work, as well as listening that the Condeduque Center for Contemporary Culture activates with the aim of fostering a greater connection with its context to encourage the generation of networks and the strengthening of the network. social and cultural not only of its immediate context, but of the city itself.
The dances of my memories (Until December 2022. Mediation)
Red Tambourine (Javier Vaquero and Oihana Altube). (April-June 22) Rojo Pandereta (Oihana Altube and Javier Vaquero) seek to delve into folkloric and traditional dances through oral and corporal transmission, holding meetings with older people who have not been professional dancers but with an emotional bond and emotional with the action of dancing. Tickets available one week before at www.conduquemadrid.es.
(RE) back to the patio (Until June 2023. Mediation)
(RE)back to the patio mutates in this third edition to put the Condeduque patio and the game at the center of its project. The game as a space for experimentation, learning and research where the world is put in parentheses and, simultaneously, in which the world is discussed, shaken and reworked. This edition aims to answer questions such as: what do families play? o How have the games changed?
Dance, remember, resist (Until May 13, 2023. Mediation)
Coordinated by Claudia Claremi, the series consists of two salsa and vogue dance conferences. We understand these dances as complex cultural productions of resistance and dissent, and we demand recognition of their origins given that, in their international expansion and practice, they have suffered from exoticization, whitewashing, commercial exploitation and cultural appropriation.