Los talleres del Sombrero tienen lugar en la nave de Intermediae. Siempre se comienzan la jornada con una reunión en el terrario, para que voluntarios y organizadores se pongan al día con la evolución de cada participante.
The Sombrero workshops take place in the Intermediae unit. The day always starts with a meeting in the Terrarium, where volunteers and team members catch up with the progress/evolution of each participant.
Es un programa experimental que acoge alrededor de 30 participantes/artistas con discapacidad intelectual y 20 voluntarios/artistas de diferentes disciplinas artísticas. Parten siempre de los intereses de cada participante por lo que los resultados son muy heterogéneos. La idea es facilitar su proceso creativo ofreciendo materiales, alguna indicación útil, e incluso formación específica si el formato lo requiere, pero siempre cuidando la forma particular de expresarse/conducirse/trabajar de cada uno.
AL MATADERO SIN MIEDO se concibe como proceso vivo, siempre dispuesto a la transformación. Atento a las oportunidades que vienen del exterior, por un lado, y a las necesidades de los artistas por el otro. Refleja una de las cualidades de Debajo del Sombrero, la capacidad de adaptación al medio, a las circunstancias, yo diría que es una capacidad casi orgánica.
Actualmente en el taller hay tres grandes áreas de interés: Sonido y movimiento. Pintura y construcción. Dibujo, cómic, animación y video.
Ahora centramos nuestra atención en los artistas.
This is an experimental program that houses about 30 participants/artist with developmental disabilities and 20 volunteers/artists from different artistic disciplines. It has always prioritized the interests of each participant, so results are very idiosyncratic. The program methodology facilitates the creative process by providing materials, some useful guidance or even specific training if it is required, but always taking care of each artist´s particular form of expression. Al Matadero sin Miedo is conceived as a living process, always ready to change. Attentive to the opportunities that come from outside, on the one hand, and the needs of the artists on the other, it reflects some of the qualities of Debajo del Sombrero: the ability to adapt to the environment & circumstances, I would say it's very much an organic capacity. Currently in the program there are three major areas of interest: sound & movement; painting & construction and drawing, comics, animation & video. Now we turn attention to the atrists.
The artist Luis Maria Herrero does not speak. His actions speak for him. His work uses repetitions. It is always exciting to see him reach the edges of what his chosen action allows him to espress..
In this huge canvas, he has been adding layer upon layer of dripping paint, to the point of it becoming necessary to build a kind of gutter beneath where the canvas rests, and where any excess liquid falls. It takes some time to tidy up after one of his sessions.
I recommend visiting page 85 of the catalog for the Mundo Extreme exhibition. There, you can see another great example of his work. A large trunk which has been carved until reducing it to splinters.
Belén Sanchez creates short films where she is the main character. On them, she is usually attacked by villains and finally saved or healed. Each short has its peculiarities, such as´Extreme Dance´. This takes place in an amusement park where she is connected to a ride which slowly returns her to life. ´ La Tetilla ´ (the little boob) develops in a subway car where she plays multiple roles. All these plot variations are within recurrent themes where she is always the connecting thread. Her creative process involves the definition of characters, often representations of herself or alter egos, for which she uses her body as a reference. She also creates the props for each story, as we can see in these photos: golden balls for his next short film "Macarra" (thug), to stroke her body with them and heal.
Belén has had an incredible arc of growth and I love her ability to adapt to each assistant working with her, while she always remains true to herself. In fact her storyboards have not changed much. However, in the materialization of characters and props for each short film she reaches impressive levels of sophistication and expression. She is a perfect example of good collaboration with other artists: she is a mimic ( artistically speaking ) who communicates very well with whoever comes into her orbit, she absorbs everything that serves her, but, as I said before, all her work keeps her stamp.
Angel Jesus Sastre "seems to be building his house, though it actually seems more like a private interior for him and him alone than a house. The walls he raised a year and a half ago formed the first room, which he gradually furnished and floored with very fine-grained wood. He continued to add more chambers and floors around this initial room, turning it into an endlessly expanding project. To these and other details, meticu- lously planned and assembled, Ángel has delicately and carefully added layers upon layers each day. It is only with difficulty that we can glimpse something of what lies inside by peering through one of the tiny windows in the walls of the house, so different from the other type of window which, in opening wide, loses its interior by revealing it to the world". From Mundo Extreme catalogo