V Art Biennale of ONCE Foundation

The Biennale of ONCE Foundation was created in 2006 as response to the need of people with disabilities to access to the culture in a standardized way, to eliminate prejudices on artistic creation and to give effect to the professionalization of people with disabilities in the world of Art. In this sense, the Biennale pursues two major goals of ONCE Foundation: accessibility (accessible culture for all the people, working from different policy areas, universal accessibility...) and inclusion (access for disable artists to the circuit of the Art market, achieving social inclusion and employment). 
 
In 2014, the fifth edition of the Biennal, on view at Cibeles CentroCentro from May 21 to September 15, thematically revolves around human diversity and body "valuing difference as a quality of being and disability as a potential, including being one of the key objectives", according to the organization of ONCE Foundation.

According to the director of Universal Accessibility of ONCE Foundation, Jesús Hernández, "the Foundation seeks to convey the concerns of the institution through the Art Biennials. In this regard, in previous editions it has addressed the issue of language and landscape to discuss accessibility and, in the current issue, we talk about human diversity to claim that we are all different but all have the same rights. "

Serie HUMANAE, de Angélica Dass

The 5th Contemporary Art Biennal of ONCE Foundation presents, with a careful selection made by the curators Miguel Cereceda and Giulietta Speranza), the work of 39 artists, with and without disabilities, that show their interpretation of the world and their personal way to communicate.

De Natura Deorum, de Carlos Aires
The exhibition, included in Photoespaña 2014, includes works by José María Cano and his son Daniel Cano (who suffers from Asperger syndrome), Luis Perez-Minguez (prestigious photographer with physical disabilities and part of the 80´s madrilian "movida"), Cristina García Rodero (Spanish photographer first woman in the international photo agency Magnum), Victor Meliveo (photographer and video artist visually impaired) and other names as Angel Baltasar, Javier Campano, José Manuel Egea, Carlos Franco, Miriam Jiménez, Ramón Losa, Eduardo Matute (DUDU), Paloma Navares, Carme Ollé i Coderch, Ricardo Dew, Ricardo Rojas, Ángel Rojo, Rafael Sanz Lobato, Cuco Suarez, Vicens Talens, John Tower, Kurt Weston, Marina Abramovic, Carlos Aires Miquel Barcelo, Daniel Canogar, Pedro Castrortega Angelica Dass, Esther Ferrer, Daniel Firman, Jorge Fuembuena, Germán Gómez, Kaarina Kaikkonen, Leiro Francisco, Isabel Muñoz, Jaume Plensa, Bernardi Roig, Serrano and Marina Belen Vargas.
Equipo de MÁSCARAS, dentro del Ciclo de Cine de la V Bienal Fundación ONCE.
The Biennal proposes a diverse accesible program of activities, workshops, round tables, performing arts (dance, theater) and film series. This year also, the Biennal features works by artists like Jaume Plensa, provided by the MACBA (Museum of Contemporary Art of Barcelona); Marina Abramovic, provided by Telefónica Collection; Miquel Barceló or Juan Muñoz, from the Helga de Alvear Collection.

 

Thirteen years have passed since its beginnings, and in all this time the Video Art Festival PROYECTOR has grown and consolidated its position as an essential event in this discipline. Since its inception, the initiative has tried to give visibility to a discipline that has always been relegated to the background in the usual exhibition circuits. Although video creation is not new, since it emerged by its own in the 60s of last century, the way to get to know it and enjoy it has not always been easy. On many occasions, the exhibitions only included a few isolated pieces within the main route, as if the video was the anecdotal contribution to the whole. However, our daily lives are invaded by moving images, and there is a paradox that video art, despite being a format of artistic expression very much in tune with the habits of today's society, remains a minority discipline

Frame from “Hel City”, by Gregorio Méndez Sáez, 2019

To some extent, PROYECTOR was born to reverse this situation, to value video as a creative format and to offer a wide, itinerant space to host a multitude of proposals, coming from inside and outside our borders. In this time, the growth of the festival has led it to travel the world, but also, to be a benchmark that each year arouses more interest. In the open call to receive proposals, they reach almost half a thousand, and a hundred works selected by the jury are a representative sample of different ways of understanding video creation, with pieces mainly from Europe, Latin America, Southeast Asia and the Middle East.

In turn, PROYECTOR wants to be more than a video showcase and offers a large program with talks, workshops, masterclasses, meetings with artists, visits and concerts. A complete experience that always has the moving image as a backdrop.

El Instante Francisco Ruiz de Infante. El bosque que se mueve (errores de medida)

In this evolution, another circumstance stands out: video is a creative format that has its own codes, but it is also one of the disciplines most open to artistic hybridization and the widening of uses. The video may, therefore, be the genuine idea of an author who conceives an autonomous project to be carried out in this format, but it can also be the complementary result of an action or the documentary record of a previous performance being recorded to guarantee its survival. The versatility of the moving image and the potential that it has acquired in recent years allows us today to speak of numerous branches of art that focus on the fusion of languages and the integration of techniques and methodologies from other sectors, and in many of them, the video is still a cornerstone. So it is with technological art, interactive sound art, performance recording, the transformation from big data to image, artificial intelligence, and a long etcetera. Precisely for this reason, PROYECTOR offers a panoramic vision of this reality, with an extremely interesting program that plays with the variety and wealth of proposals.

Frame from “Herdança”, by Thiago Rocha Pitta, 2007

The 2020 edition will run from September 9th to 20th. As usual, the program displays in various venues throughout the city of Madrid, each of which will house a small section of the activities. This year the festival will count with the collaboration of the Casa Árabe, White Lab, Cruce, El Instante Fundación, ¡ésta es una PLAZA!, Extensión AVAM (Matadero Madrid), Institut Français de Madrid, Medialab Prado, Quinta del Sordo, Sala Alcalá 31, Sala El Águila, Secuencia de Inútiles and White Lab, in addition to the collaboration of the INELCOM Collection and the video art collection of Teresa Sapey.

The festival is also the ideal place to articulate the cultural fabric, since it involves numerous professionals in the sector, from curators to creators, from centres managers to critics and teachers. The 2020 program also has the collaboration of the FUSO Festival and the Museo Reina Sofía, which are providing some of their pieces for the exhibition.

In short, an appointment that lovers of contemporary art should not miss and that promises many novelties in this 13th edition.