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Of the 200 hundred candidates, a handful of artists have been selected by a judging panel to take part in a residency program in the countryside. Each of them will propose a specific area where they will carry out their project. These artists of different ages and disciplines all come from a variety of rural and urban backgrounds, however they are united in their interest to create greater synergy between art and the countryside, resulting in the enrichment of both. The seven projects selected by the panel of judges have already been announced and several more will be added after the shortlist is drawn up or following an invitation. The additional projects will be confirmed shortly. The development of these projects is the result of collaboration between Campo Adentro and the different host organisations.

Those artists who have already presented work to be included in the final exhibition in 2013 have also been registered.

Different stays between 1st April and 30th August 2011 have been planned for the artists in the areas taking part in the Campo Adentro program. The artists will live alongside the locals for a set period of time in order to submerge themselves in the culture of the region and produce works in different areas of the peninsula which represent modern rural paradigms.

All artists will be provided with a local contact person they can refer to, a training workshop on how to approach rural projects, a working space, accommodation and materials in order to produce the work. The commissioners and judges will be on hand to provide support throughout. The entire process will be recorded and documented for its inclusion in a publication and a final exhibition will take place in the area of residency.

The aim of the Campo Adentro Residency Program is to put into practice those ideas expressed during the International Conference in the first stage of the project, whilst simultaneously investing creatively in rural issues.

Artists will be encouraged to experiment with both site-specific and procedural collaborative art approaches, as well as portraits and critique. The transformation or creation of elements found in rural life today is also part of the program.

Antonio Ballester
Madrid 1977

Vallehermoso, (La Gomera)

Antonio Ballester's work takes as its starting point the fact that up to six different types of handicrafts are concentrated in the town of Vallehermoso, focusing his project on working jointly with artisans, and questioning the boundaries between art and craft. He will be introduced into an another world, confronting it sensually, without knowing what to do; understood as an exercise in rational emancipation where the important thing is to unlearn and experience.

In this project, the relationship established with nature by using materials such as banana leaf, palm, mud and wicker, is very important. As well as a direct relationship with the countryside, being these tasks belonging to minority cultures because of their primitive and barely functional character.

Modernity has been a strategy/tactic in an artist's development which has been denied to the craftsman. And the purpose of this residence will be to find a common point in the primitive of the two discourses.

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Espada y Monleón
María Espada, Madrid 1978
Carlos Monleón, Madrid, 1983

Puente Pumar, (Cantabria)

After an initial phase of acclimatisation and exploration of the local environment, we will consider a number of possible interventions in the landscape and cultural fabric of Puente Pumar and surrounding villages.

During this first phase, it will be crucial to identify local resources as well as responsible agents.

Local restaurants are places where products are processed and consumed within the region. We propose to immerse ourselves in a local restaurant, to learn some of the region's culinary customs and practices. In collaboration with local chefs, we will become involved in the menu progressively over 4-5 days. The menu and the sensuous immediacy of the food will provide the nexus of the union between local produce and tradition and our outsiders' interpretation of the menu.

A festive banquet will be celebrated coinciding with local festivals in September.

We are interested in considering new ways to insert produce within the urban environment, the transition from rural to urban, the legibility and intelligibility of the territory (which goes by the name of packaging)

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Isaías Griñolo Padilla
Bonares (Huelva), 1963

Reverberación – sobre el progreso y retroprogreso en Tierra de Barros / Reverberation – on progress and retro-progress in Tierra de Barros
Tierra de Barros, (Badajoz)

Artistic research complemented by an open workshop for collaborative concepts. The aim is to capture the relationship of movement between thought patterns and working methods which have nothing in common. In this way, Reverberación will attempt to collect the remains left behind by the resistance to the oil refinery planned in Tierra de Barros (Extremadura). This will involve joint collaboration between the artist and Plataforma Ciudadana Refinería No. A workshop will be organised after visiting and establishing contact with the local community so that they can define the final project.

The exhibition will be made up of a variety of materials: working documents gathered during the first part of the workshop (posters, flyers, press cuttings, studies, poems, videos, etc.) and a number of other activities will also take place in this room like poetry reading, talks and projections.

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Paco Inclán Cervera
Godella (Valencia), 1975

Hacia una psicogeografía de lo rural / Towards rural psycho-geography
Valladares, (Pontevedra)

This project is based on the creation of situations that make it possible to reflect on/analyse the area from artistic and psychological perspective of its inhabitants. This combines performance art, a study of the social environment, the landscape and travel which he uses to demonstrate the effect the countryside has on the affective behaviour of individuals, in this case small-scale farmers and the village residents. Different activities will take place throughout the residency: a collective video (Lipdub) will be filmed, the passage of time in a space will be documented using photography, and other themes will be explored, such as: the displacement of the rural flâneur or how to live in the town for 120 hours without any money.

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Aviv Kruglanski & Vahida Ramujkic
Tel Aviv (Israel), 1970 y Belgrado (Serbia), 1973

Micro-culturas / Micro-cultures
Villarubia, (Córdoba)

This project is developed through a series of gatherings in which the artists and the local people will get to know one another. After this, they will identify local produce, both wild and farmed. Other events will be taking place (happening-workshops, dinners, concerts, etc.) and methods of transformation will be explored in a “culinary laboratory”, in which the fermentation process will be carried out and documented. The connection between the cultural spaces we call domestic culture will be embodied in a tapestry or “embroidered documentary” in the final exhibition. An open archive of the knowledge collected, as will as a booklet containing all the practices and recipes of the residents of the Guadalquivir valley will be displayed.

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Lucía Loren & Juanma Valentín
Madrid, 1974

Resistencia / Resistence
Puebla de la Sierra, (Madrid)

This is an audiovisual project that begins with the experiences collected during the period at the Los Apisquillos Cooperative. In 2000, members who were concerned about the emergency situation affecting the countryside, decided to settle in Puebla de la Sierra, a small town in the Sierra Norte in Madrid. From here they resisted the commoditisation of the land and property speculation by using and managing the area and living there. They reclaimed herds of a native breed of sheep which was on the verge of extinction and reactivated the concept of “local” from a social, cultural, political and territorial perspective.

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Memoria colonizada / Colonised memory
Garciaz, (Cáceres)

An approach to the phenomenon of colonisation (new irrigation plans for Caceres and Badajoz in the 1950s) and the birth of a new collective memory which uses photography, video and written and audio materials focusing on different aspects: the affected landscape, the creation of new populations with a unifying architecture, the memory of those mainly affected and the official record (the archive of the former Instituto Nacional de Colonización INC-IRYDA, and the NO-DO archive) focusing mainly on local actors and the residents, through memory, family albums, their testimonies or, in their absence, their families’ testimonies.

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Térence Pique
1984, Mónaco

Sea ABC un triángulo rectángulo en B / ABC is a right-angled triangle, right-angled at B
El Ejido ( Almería)

A reflection on the concept of landscape, researched in two stages using photography and focusing on a specific area, Campo de Dalías, in Almeria. Cross the land and enter the meandering greenhouses like a travelling surveyor: a tangled labyrinth with no clear pathway.

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Pablo Sanz
Madrid, 1981

Sant Bartolomeu del Grau, (Barcelona)

Pablo Sanz's proposal is the realisation of a project based on the exploration of a selected rural environment, with the soundscape as its central axis and starting point. The notions of place, space, memory, perception and above all, attentive listening will be the basis of the work, initiating an ongoing process of field research setting up and defining the direction of the project and the concrete results to be derived from it.

Are there unique sounds in every town, city, landscape, building? What is the 'sonic footprint' of a place? it is possible to speak of acoustic 'identity'? What stories do these sounds tell us, what resonances do they produce in us? Is it desirable to preserve this intangible heritage? is it possible? What do we, and what do we not, consider to be noise? What experiences do 'hidden' sounds offer us? These are some of the many questions that arise and fuel a process which emphasises the immaterial, perception, detail, the everyday, and everything we usually do not perceive.

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Susana Velasco
Madrid, 1977

Old cabins. Outside the Walls. On common land.
Almonaster la Real, Huelva

A small portion of the world, as a starting point - not to forget that this small fragment may well contain everything - a cluster of old cottages on a hillside, outside the nucleus of the village of Almonaster La Real, and also outside the walls of the ancient Arabic fortification.They do not appear on any map, on any route, they have no name. Outside of any focal point, but forming among them a curious centre. A sort of significant landmark from which to measure the distances to remaining events in the surroundings which still retain their validity. This portion of land is not fenced, nor is it limited, so it is not separate from anything, but rather is woven into the whole. It is crossed by roads from far away, barely visible among the wild vegetation. Each of the cottages appears to have been settled for a very different reason to all the others, but in some way they all share proximity, orientation, inclination, correlative continuity of form, relationship to the slope. Almost all of them are small, dens, more like bodies than like architecture, tiny doors, very small patios and some small windows. All these constructions are connected to each other by some common life force, in this situation of varied difference, there is an appreciable pulse passing through them all. Among them, without any document to bear witness to the fact, they form a strange community.

Constructions which housed animals and work tools, mediators between man and beast, and between the beast and the earth. What is really that of cattle-farming? It may be a about one particular human relationship with other animal species, it is curious to place it on a par with agriculture and mining, but in some way, and from this point of view, the idea of explotation which binds them together is clear, as well as the idea of domesticating that which, at liberty, is wild by nature.

We now know that these old cottages are built on public land. And that, in a similar way, other formations appear in the villages of the region. And that somehow they are linked to almost all its neighbours. Those who needed cattle in order to do their work, or pigs to eat had available land, managing to live on very little. This circumstance allows for the development of an investigation on the possibility of land for all, common, shared. In this situation, the exploration of several ideas that are tied to this piece of land, begins : animals / human, history / laughter, work / demolition, the community / the illegitimate.

The works comprising this investigation are the results of different periods of residence throughout 2011

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Julian Weber & Rodrigo Frenk
Schellerten-Niedersachsen (Alemania), 1986 y Méjico DF (Méjico), 1986

Un pueblo de camino / A town en-route
Farrera, (Lérida)

Following a stay in the Farrera, a town in the Catalan Pyrenees, and after organising an introductory event for people to meet one another, the artists will interview the residents and collect their messages and photos. Afterwards, they will walk 150 km to Barcelona and document this using different media. Once they reach the city, they will create a series of postcards using pictures of the town, which they will distribute among souvenir shops in the street, inviting them to send them to the residents Farrera who took the pictures, so that they can finally be presented with the material collected during the stay.

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Lucía Loren & Juanma Valentín ©
Lucía Loren & Juanma Valentín ©
Térence Pique ©
Térence Pique ©
Lucía Loren & Juanma Valentín ©
Lucía Loren & Juanma Valentín ©
Lucía Loren & Juanma Valentín ©
Lucía Loren & Juanma Valentín ©