When you don't want to face a definition, a label; when you like performance, live art and music; or video art, sound art and dance... To play with the words of the dictionary that refer to any aspect of contemporary creation, and you want to be a participant in that concept puzzle. For whom art is more than a contemplative action. With this sum of ingredients, La Caixa launched last year the "Night Found! Festival", an event in which all forms of artistic expression have a place and that seeks to offer a space for the most emerging, most groundbreaking productions in today's contemporary scene, both national and international.

Image of “Walking Out”, 2011 (via bernatdaviu.com)

Although the initiative has a stable programming part, most of the activities concentrate on an intense day designed to awaken the most restless senses and open up the future of art. On November 16th, CaixaForum Madrid will open the scene to different artistic disciplines, offering the viewer a wide range of possibilities. From video-art to electronic and experimental music, through illustration, performance, poetry and contemporary dance.

One of the highlights of the program is the performance of Violeta Gil and Abraham Boba in a literary-musical performance entitled "Before you throw away my things." Violeta's personal story comes at a time of vital transition, when, after living for a while in the United States, she returned to Spain after the worst years of the crisis. The result of this experience is this poem-book, which will be recited with the live music of Abraham Boba, a renowned sound artist.

Imageof the artwork by María Arnal and Ilan Manouach: “Shapereader Chorale”

We must also highlight the appointment "E gira tutto intorno alla stanza", a performance starring Bernat Daviu and a group of dancers choreographed by Mar Aguiló. This proposal rescues a recently extended practice in some avant-garde cities in which young people dance spontaneously in public spaces. On this occasion, the dance will take place in tune with the pieces exhibited in the room, in a dialogue generated in the context of the exhibition “The painting. A permanent challenge ”, with works by Spaletti, Ryman or Ángela de la Cruz. As Daviu explains, the purpose is to generate several layers of discourse, one over the other, although they do not always have a unique meaning and can be discordant.

Besides, you can enjoy "Shapereader Chorale", a performative action by María Arnal and Ilan Manouach. This meeting is articulated as an experimental workshop to inquire about musical composition, tactile exploration and vocal interpretation so that participants can collectively create a unique musical piece.

In addition, there is also room for the little ones with the performance of Spaghetti Monster (Anastasia Bengoechea). This graphic and creative humorist will share with the public her creative process with hints of humour and lots of energy.

After their appointment at CaixaForum Barcelona, last October, the Night Found arrives at the Madrid headquarters on November 16th. Get ready!

ABIERTO INFINITO. LO QUE EL CUERPO RECUERDA. CICLO DE PERFORMANCE X ART MADRID'26

Art Madrid, committed to creating a discursive platform for artists working within the field of performance and action art, presents Abierto Infinito: lo que el cuerpo recuerda, a proposal inspired by Erving Goffman’s ideas in The Presentation of Self in Everyday Life (Amorrortu Editores, Buenos Aires, 1997).

The project unfolds within a theoretical framework that directly engages with these premises, conceiving social interaction as a stage of carefully modulated performances designed to influence others’ perceptions. Goffman argues that individuals deploy both verbal and involuntary expressions to guide the interpretation of their behavior, sustaining roles and façades that define the situation for those who observe.

The body — the first territory of all representation — precedes both word and learned gesture. Human experience, conscious and unconscious alike, is inscribed within it. Abierto Infinito: lo que el cuerpo recuerda departs from this premise: representation inhabits existence itself, and life, understood as a succession of representations, transforms the body into a space of constant negotiation over who we are. In this passage, boundaries blur; the individual opens toward the collective, and the ephemeral acquires symbolic dimension. By inhabiting this interstice, performance simultaneously reveals the fragility of identity and the strength that emerges from encounter with others.

PERFORMANCE: TRAYECTORIA. BY AMANDA GATTI

March 6 | 7:00 PM. Galería de Cristal of the Palacio de Cibeles.

Amanda Gatti. Escaparate. 2023. DT-Espacio. Photograph by Pedro Mendes.

The proposal expands Amanda Gatti’s research initiated in La Plasti Ciudad del Cuerpo — an ongoing series of performance and installation presented since 2023 in spaces such as Fundación Antonio Pérez, Galería Nueva, CRUCE, and the Acción Spring(t)/UCM Congress — where she explores the relationship between her body and objects found in urban space. There, body and materials are articulated through a constant negotiation between functionality, weight, and support, generating temporary architectural compositions.

In Trayectoria, this research shifts toward the act of dragging: a gesture that makes visible the friction between body, objects, and space. The corridor ceases to be a neutrality to be crossed and becomes an operative intermediate zone, where form and content — veil and what is veiled, as Walter Benjamin points out — become confused. The space, saturated with objects turned into a mobile chain, clears and remakes itself with each step. Clearing, for Benjamin, is already an experience of space: each advance sustains this unfinished separation, always oriented toward a destination that may never be reached.

La Plasti Ciudad del Cuerpo #3. Amanda Gatti. Performance documentation. CRUCE 2054 exhibition, Galería CRUCE. Photograph by Pedro Mendes.

Displacement is not limited to material friction: it also becomes a symbolic inscription of that which every life trajectory drags along. The objects — remnants of past uses — function as metaphors for what remains attached to the body even when it no longer serves any function. The performance makes visible the condition of moving forward while carrying heterogeneous weights: material, affective, social. Thus, the gesture of walking linked to these objects turns the route into a writing in motion, where each step simultaneously activates a physical transit and a vital transit. Trayectoria proposes that every life is also a dragging: a continuous recomposing from what we insist on carrying with us.

The action operates objects as verbs: to push, to tense, to trip, to pull. From it emerges an operativity that involves the entire body and exceeds the visual. The image ceases to be representation and becomes gesture: a gesture that founds new spatial forms, that overflows, that produces an ephemeral mode of reappropriation of the corridor.

The trajectory thus becomes an affective map inscribed in the body, a way of merging with the environment by putting past and future, durability and wear, utility and obsolescence into friction. The action returns to public space what was taken from it, but now stripped of function: freed from meaning, freed from commodification, freed to be imagined otherwise.

ABOUT AMANDA GATTI

Amanda Gatti (1996, Porto Alegre, Brazil) is an artist and researcher whose practice unfolds across performance, video, photography, and installation. She explores the intersections of body, object, and space, investigating how we occupy — and are occupied by — the spaces around us. Drawing from experiences of displacement and the observation of domestic and urban environments, her work conceives the body as mediator and archive, transforming found objects, spatial arrangements, and everyday gestures into ephemeral architectures and relational situations.

She studied the Master’s in Scenic Practice and Visual Culture at Museo Reina Sofía/UCLM (Spain, 2023) and the Bachelor’s degree in Audiovisual Production at PUCRS (Brazil, 2018), where she received scholarships such as the Santander Universities grant. In Spain, her work has been presented in institutions and contexts such as Museo Reina Sofía, Fundación Antonio Pérez, Galería Nueva, CRUCE, and Teatro Pradillo, as well as in exhibitions and festivals in Brazil, Germany, Ireland, the United Kingdom, and the United States. She currently resides in Madrid, with secondary bases in Brazil and the United Kingdom.