lab latino is born in 2010, and was initially presented by Arte Actual/FLACSO, space located in Quito dedicated to the reflection and exhibition of contemporary arts, and PENSART, organization of cultural and artistic mediation settled in Madrid. Both are now coordinators of the lab latino project, a platform of collaborative networks for the artistic production based on a philosophy of the Minga (Commons).
In 2011 Gescultura joins the base team organization as a lab latino’s co- manager. For two main reasons: on one hand, their permanent work in collaboration with communities and their methodological knowledge to experiences of proximity with citizenships; and on the other hand for their contribution in the field of cultural management, for sharing tools and knowledge of cultural action applied to artistic practices in the Latin American context.
Also in the 2011 lab latino decided to expand to other nodes in Latin America with a similarity to the Ecuadorian social and cultural situation. At this point Materia Gris (collective of Bolivian curators) enters as interlocutor and as our Bolivian partner, whose representative participated in the first laboratory in Quito.
For 2012 lab latino is invited to actively participate in the programming of the Biennale of Arte Paiz in Guatemala. The lab is held in collaboration with Ciudad de la Imaginacion, from Quetzaltenango.
lab latino is a network of Latin American projects, based on the exchange of knowledge, experiences, and emotions, to professionalize the management of the cultural actors of the region and establish collaborative networks. Its axis concept is the MINGA, ancestral practice of Andean populations in South America, which sets collective work with as socially useful end.
Its objectives are:
– To generate working tools for the conception and execution of creative projects.
– To create networks of collaboration and exchange of local and regional resources.
– To foster emerging projects and support already positioned ones in the network.
– To systematize and organize the experiences at the level of cultural artistic processes.
– To promote lines of professional training in the sector based on the Decalogue of Good Practice guidelines.
– To visualize the peripheral and local production in international contexts.
– To design and implement common strategies for sustainability and joint funding.
Our methodology is based on the work from intensive theoretical – practical, face-to-face artistic production laboratories with the actors in the network. At each venue, there are selected around 15 creative projects of artists, cultural managers and curators of Latin America, with emphasis on those who are outside the established international circuits. These projects are monitored by experts from the sector and boosted for their execution and regional dissemination. Subsequently the dynamic of exchange is based on a formula of best practice; those selected projects will travel to other venues as model of learning. In this way the network is built since 2010 from the specific meeting of the laboratories held in Quito-Ecuador, La Paz-Bolivia, Quetzaltenango – Guatemala and Madrid-Spain. A series of virtual meetings of Exchange using social networks are made in a second time. In addition a virtual web-based platform (www.lablatino.net) that allows the visibility of the process and provides mechanisms for the projects.
Intimate Projects, Lab of professionalization of cultural actors, within the framework of
XVIII Biennial Paiz of Guatemala
Description: From a reality characterized by a great disarticulation between cultural actors, important segmentation of artistic initiatives, Ciudad de la Imaginacion proposes the search for coincidences and the facilitation of interaction points. A cultural policy and international cooperation, homogenizing, Ciudad de la Imaginacion suggests dissonant artistic discourses. Facing an audience of the city that is related to the art of passive way, Ciudad de la Imaginacion beats for the construction of a reflective, critical and active subject. The project selected by all participants as best practice was Quito Chichito.
Participating agents and their projects:
Luis Yat (proyecto Canal Cultural y residencia artística Lago Atitlan),
Dionisio Rene (Grupo de Hip hop Tuztuhil),
Miriam Guadalupe (coordinadora Centro Augusto Monteroso de Quetzaltenango),
Eddy Camposeco (coordinador del Centro de artes de Huehuetenango),
Pepe Muguez (artista visual),
Norman Morales (artista del colectivo La Torana, proyecto Taller de grabado y grafica experimental ),
Morena Joachin (artista visual, proyecto Artefacto), Bonifaz Diaz (Proyecto obra de teatro “Irse”),
Josue Reyes (Proyecto Escuela de artes escenicas Totonicapan),
Alberto Arzu (Proyecto Fanzine Calavera),
Manuel Chavajay (Proyecto Canal cultural en el Lago Atitlan),
Marco Roquel (Artista, proyecto Comalapa),
Carolina Villatoro (Proyecto de investigación sobre narconovelas),
Javier Cruz y Fiacha O´Donell (Invitados de España, colectivo Poliedros Verdes Poliedros),
Mafo L. Jaramillo (Invitada best practices de Ecuador, con el proyecto Quito Chiquito)
Best practice Guatemala: Luis Yat: residencia artística del lago atitlan y Dionisio René con Grupo de Hip hop Tuztuhil, como unión de su práctica contemporanea con la tradicción indigena.
Professionals invited (in person and via Skype)
Santiago Olmo, art curator and curator at the Guatemala Art Biennial 2012.
Alexis Callado, independent art curator and adviser. He had personal tutorials with each of the participants during the lab days. He played an important role focused in helping them to take their careers out.
Luisa Fuentes Guaza, independent art curator. She has worked very closely with Latino American countries.
Basurama, a forum for discussion and reflection on trash, waste and reuse in all its formats and possible meanings. The Madrid-based collective had worked in many art contexts around the world.
Kadija de Paula, cultural manager with ten years of experience working with artists and cultural organizations in Canada, USA and Brazil. She mediates the project: residencias_en_red [iberoamericana].
Anabela de Acebedo, cultural critic based in Guatemala. She has a PHD in Guatemalan Literature.
Results and conclusion:
lab latino Quetzaltenengo represents a turning point in the context of Guatemala, being an opportunity of meeting of different national artistic initiatives so far unpublished. The lab was an integral part of the programming of the Biennial Arte Paiz, under the philosophy of “coexisting, sharing”. It resulted in a revitalization of the national scene and a horizontal reflection and critique of the constant transformation of an identity and culture approaches indigenous and their own forms of expression. Emphasizing the structural fracture that makes feasible the visibility and transfer of artistic codes of the Andine indigenous as part of a discourse of contemporary art. Currently it is working in the regeneration of an honest circuit with indigenous vision and its form of expression.
lab of professionalization of cultural actors / in collaboration with Materia Gris and Foundation Aesthetic Andean at Cinemateca,
La Paz – Bolivia /October 2011.
Description: After the production lab of cultural projects of Quito, held in 2010, and continuing the initiative to generate networks with Latin- America, a new laboratory of active cultural agents is generated in Bolivia. The coordinator was Maria Teresa Rojas, an independent curator based in La Paz (member of Materia Gris) and who attended lab latino Quito I.
The opportunity of the lab focuses on the inauguration of the Centre Cultural of Spain in La Paz where it is necessary to visualize the Bolivian artistic activity in order to establish a permanent schedule with its artistic agents. Together with the Bolivian local agents, Gescultura, Central Dogma
collective (as a best practice of Ecuador) and the Spanish collective Poliedros Verdes Poliedros participated. All of them worked one week on methodologies of production of cultural projects based on criteria of good practices, sustainability and viability of the same. Through group dynamics and the participation of experts from the sector, projects are envisioned for its follow-up, support and visibility in different Latin American contexts. Highlighting, lab latino La Paz was made to coincide with the Biennial of Art SIART, putting in dialogue Bolivian agents, guests from Ecuador and Spain and artists and curators invited to Biennial from Brazil, Chile, Colombia and Mexico.
Javier G. Vilaltella, crítico, filósofo, historiador del arte y antropólogo cultural.
Martí Manen, curador independiente.
Maria José Magaña, responsable de artes plásticas y arquitectura del Instituto Cervantes.
Zoe Mediero y Azucena Klett, Intermediae, Area de las Artes del Ayuntamiento de Madrid.
Maria Teresa Rojas, curadora y gestora cultural, Fundación Estética Andina, Bolivia.
Paulina León, artista y gestora cultural, Espacio Arte Actual, Ecuador.
Maria Ozcoidi, mediadora Cultural, Pensart, España.
Vanesa Cejudo, mediadora cultural, Pensart, España.
Adriana Aramayo. Dúo Abrelata. Bolivia;
Alejandra Delgado. Artista. Bolivia;
Alejandro Archondo. Editorial Lengua Biperina. Bolivia;
Álvaro Manzano. Creador Audiovisual. Bolivia;
Andrés Mayo. Gestor Cultural y Artista. Bolivia;
Canela Palacios. Dúo Abrelata. Bolivia;
Carlos Andrés Idrobo. Asociación Cuna. Bolivia;
Claudia A. García. Investigadora. Bolivia;
Fiacha O´Donnell. Poliedros verdes poliedros y Colectivo El Gato con Moscas. España;
Fernando García. Director de Espacio Martadero. Bolivia;
Geraldine O´Brien. Gestora y Artista. Bolivia;
Javier Cruz. Artista. Poliedros verdes poliedros y Colectivo El Gato con Moscas. España;
Jose Luis Jacome. Colectivo Central Dogma. Ecuador;
Mauricio Ovando. Filosofo. Espacio El Espejo. Bolivia;
Maria Scheneider. Gestora cultural y curadora. Bolivia;
Paola de la Vega. Gescultura. Ecuador;
Silvia Velarde. Asuntos Culturales y Prensa en la Embajada Real de los Paises Bajos. Bolivia;
Sofía Orihuela. Artista Visual, Gestora Cultural coordinadora del Instituto Cultural Boliviano Alemán. Bolivia;
Tanía Navarrete. Colectivo Central Dogma. Ecuador
Results and conclusion:
allowed the strengthening of links with actors who had previously participated in the Latin Lab Quito and Madrid. The involvement of Gescultura to the general coordination of lab latino. The laboratory encouraged collaborative working lines between Ecuador, Bolivia
and Spain, giving a series of contacts and exchanges for future collaborations, as they were Central Dogma with Lengua Viperina Publishing project; Gescultura with the collective Poliedros Verdes Poliedros/El Gatoconmoscas. And took hold joint work and the methodologies that Pensart, Arte Actual and Gescultura will apply in the following venue: lab latino Quetzaltenango 2012.
lab of professionalization of cultural actors /
Arte Actual Space FLACSO, Quito – Ecuador / November 2010
Description: This first lab is brewing with the objectives of providing a space for non-formal professionalization to Ecuadorian cultural actors and strengthens links between Ecuador and Spain. The 5 days of work led to: generating working tools for the design and execution of projects of artistic creation; systematizing and organizing experiences at the level of artistic cultural processes; promoting lines of training of professionals in the sector based on the Decalogue of Good Practices; devising and implementing common strategies for sustainability; and creating networks of collaboration and exchange of knowledge between Ecuador and Spain. We selected 3 projects as best practice to participate in the following lab in Madrid, which were: Heritage of San Roque (Gescultura), AMAME (Ñucanchik People), and Sincronia Dispar (Pedro Cagigal)
Maria Ozcoidi y Vanesa Cejudo, Pensart, España
Paulina León y Marcelo Aguirre, Arte Actual , Ecuador
Flavia Introzzi, responsable de contenidos del espacio off limits de Madrid;
Pablo España, miembro del colectivo DEMOCRACIA; Eva Quintas, projects director Culture Pour Tous, Montreal;
Amelie Aranguren, directora de actividades culturales en Fundación Federico García Lorca y ex directora de espacio 1 Museo Nacional Reina Sofía
Rie Okada, gestora cultural de Yamaguchi Center for Arts and Media (YCAM);
Javier Duero, comisario independiente y miembro de PENSART;
Daniel Villegas, artista, comisario e investigador.
Participating agents and their projects:
Alex Schenlenker (Proyecto Consola),
Amelia Viteri (Proyecto al Locro lado),
Ana Rosa Valdez (Proyecto Qué acontece),
Carlos Vizuete (Proyecto Arte en el Trole),
Eduardo Carrera (proyecto Espacio No Lugar),
Hernán Pacurucu (proyecto Nuevas Prácticas Artísticas),
Jhonny Alomoto (proyecto Karoto 500),
Jose Lluis Jacome (proyecto Kanguro Transatlantico),
Julia Silva (proyecto El Germinador),
Karen Solorzano (Proyecto La Naranjilla Mecánica),
Mª Carmen Oleas (proyecto Año de la fotografía Contemporánea de Ecuador),
Ñukancjik People (Proyecto Archivo AMAME),
Paola de la Vega (Proyecto Gescultura),
Pedro Cagigal (proyecto Sincronía Dispar),
Tomás Astudillo (La Guachimania)
meeting with Madrid art scene and cartography of independent contemporary art spaces in Latin-American
/PENSART, Off limits, Tabacalera, Medialab Prado, Madrid – Spain/ December 2010.
Description: After the experience in Ecuador, the second phase of the project in Madrid, took place in different Madrid art spaces: Off limits, Medialab Prado and Tabacalera.
lab latino Madrid I proposes the construction of collaborative networks and platforms that encourage cultural exchange from innovative, sustainable and democratic approaches. One of the instruments in the laboratory is that artistic production methods encourage intrusive tools from multiple disciplines; sharing the same space of exploration where the interdisciplinary borders intersect with speeches and reflections for the elaboration of new production strategies. Therefore the entire artistic and University community are invited to participate in the laboratories.
The participating contemporary art professionals exposed from their different contexts the independent spaces of the culture they represent. Thus, they showed a range of art spaces, platforms and practices of the Latin culture. They pointed out the different forms of production and research of these centers of artistic production, and analyzed the ways of “doing culture” from the particular political, economic and social frameworks of the proposed places.
The best practice’s projects selected in lab latino Quito I: Heritage of San Roque (Gescultura), AMAME (Ñucanchik People), and Sincronía Dispar (Pedro Cagigal), were presented to the different Madrid art centers ( Casa Encendida, Matadero, Casa de America, Centro de Arte 2 de Mayo, Centro de Arte Complutense, and Medialab Prado).
Marcelo Aguirre, general coordinator of Arte Actual, came along. There were different assistants to the different venues. And Pensart team.
Professionals invited (in person and via skype)
Alexis Callado, Cuban independent art curator based in Madrid. He presented a mapping of the Caribbean art scene in lab latino Madrid 2010 and travelled as part of the team to Guatemala advising each of the participants during the days of the lab.
Sol Henaro, art curator. She described all the artistic movements of the Mexican cultural context.
Tony Evanko, director of Casa Tres Patios, Medellin (Colombia). He resumed the Colombian artistic and cultural diversity; and how the Casa is managed.
Rodrigo Quijano, art curator. He explained all the development of the art scene in Peru.
Suwon Lee, cultural manager at Oficina #1, Caracas. She introduced the Venezuelan artistic context.
Dermis León, Cuban independent art curator and art critic. She presented the Chilean art context where she lived for many years.
Eva Mendoza, independent art curator based in New York. She did her PHD in Spanish Artists living in NY at Columbia University.
Fernanda Curi, independent art curator and producer. She described the complexity of Brazil art contexts.
Flavia Introzzi, coordinator at Off Limits Space. She also explained the Argentinian art scene, where she comes from.
Maria Teresa Rojas, independent art curator. She explained the Bolivian artistic and cultural scene.
Laura Turegano, Associate Director at King Juan Carlos I of Spain Center, University of New York. She described the institutional process in the Arts.
Results and conclusion: establishment of a network of contacts among the local agents of the city of Madrid, the projects selected as best practice of Lab Quito I and those professionals who were invited to present the contexts where develop their professional activity. Sharing and gaining rich knowledge from the methods of work and the search for a model of collaboration and sustainability for these projects.