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Can Altay

Can Altay’s project takes as starting point the cooperation which has been developing among the inhabitants of Carrícola (Valencia) for the last decades. The village started ecologically cultivating the whole extension of its lands at a moment when this model of sustainable agriculture was only emerging. Now, they are still pioneers, for all the neighbours are involved in commercializing their production and revitalizing the village. The project joins a recent initiative to establish a weekly market of local vegetables, and, along with Campo Adentro, proposes forms of encounter, support and circulation of the initiative.

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Patricia Esquivias

Esquivias draws from her memories of the place and her childhood experiences of living in a farm to explore the notions and preconceptions of the countryside that someone alien to this environment might have of its economic and social workings whilst expanding its reference network with the aim of tracing a possible history of the relationships between cities and countryside in Spain.

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Mario García Torres

The proposed intervention at Malpartida, Caceres, takes into consideration the rich and complex history of the place; its strategic placement amongst the routes of migratory herding (transhumance) -the main economic driver for centuries- its prominence during the Republic and during the times of the Popular Universities, which have evolved into different approaches to rural development. The arrival of the Fluxus artist Wolf Vostel in the 60´s, who became deeply involved in the village´s life, eventually led to the conversion of the old wool wash houses into the most important Fluxus museum in Europe. Mario García Torres establishes relationships between the memory of these events and the current reality of this Extremaduran village, reflecting as well on his own experience of rural Mexico

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Antje Schiffers y Thomas Sprenger - Myvillages

In the artists words: "I offered farmers to paint their farm. My aunt had such a picture. In exchange for the painting I asked the farmers to film and provide commentary on their farm, their operations and their work. We stay one week. A week is the period of time which the farmers usually have to make the video and which I have for the painting. The farmers film themselves, what they always do. They depict themselves. Thomas edits the videos, sometimes on the spot if an immediate film premiere is planned in the community hall. One could say that I paint pictures that could be painted in a week. Is that a short or a long time? Are they reasonably good pictures or are all pictures just reasonably good? With what justification does someone painting something and not something else? I do not have to pose these questions. I offer to paint a farm, thus claiming to be able to do it, and then it is done. Depending on the weather, I stand spend days standing at the site and everyone can immediately recognize it: Artist at work. Until now we have been in England and Wales, in Austria and the Netherlands, in Romania and Macedonia, in Germany and Switzerland."

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Emma Smith

The School For Tourists is an on-going project by Emma Smith starting with Grizedale Arts as part of her residency in the Lake District (UK). The intention of the project is to examine the ways in which we connect to place and to discuss some possibilities for a new kind of tourism, one that offers more to both the host and guest. The week-long workshop examines existing tourism, as well as the historical and sociological impact of the tourist, questioning what we might consider good or bad practice. Through a process that is hoped to be rewarding and fruitful, the project explores the potential of a more sustainable future that might solve some of the social, cultural and economic problems inherent in the current ‘pay and go’ tourism. The School aims to create a sincere exchange between host and guest, an exchange of enriching and inspiring value to both parties.

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Wochenklausur

For the first time, WK focuses on a rural environment in order to come up with proposals related to the existing social dynamics in Sanabria. More specifically, they take up and carry on the legacy of the Plan42. For ten years now, this plan has facilitated the presence in this area of many agents of rural development and the sensibilization of its population about fire prevention. The global nature of the plan and its numerous activities and effects range from educating adults and fostering the creation of farmers associations to generating new cultural activities or marketing local products. Plan42 was cancelled this year due to the region’s budget cuts. WK intention is not only to emphasize the accomplishments of Plan42, but also to be witness of its ripening and bearing of fruits. Along with Campo Adentro WK will work towards the improvement of the living conditions of Puebla de Sanabrias’ farmers, who call themselves “winter firemen”.

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