C.A.S.I.T.A. was designed as a way of understanding the cultural sphere with infinite functions at the service of people interested in carrying out activities where art is above all seen as a tool for creating engaging, thought-provoking, relational and action strategies for everyday practice. Its cooperative character stresses the idea of an experimental community understood as a constant process of multidisciplinary exchange. We think reflection should always lead us to practice and we believe it is possible to achieve this practice through interaction.
We want to create a place where different approaches to the subjects in question can be compared and contrasted and form an integral part of a creative artistic process. Our projects and all their components and creations are carried out collaboratively and designed to open up to the greatest number of people with different forms of participation.
1. What made you choose art as a profession?
Because it offers opportunities to experiment with reality.
2. How would you define your work?
A collaborative practice as a means of cultural production of symbols and experiences that includes our processes.
3. What subjects are you interested in?
Production systems, the logic of desire, the mechanisms for producing subjectivity.
4. What resources – formal or otherwise – do you use in your work?
Drawings, interviews, audiovisual productions, creating situations, and raising the visibility of creative processes.
5. What relationship does your work have with reality? What are your raw materials?
Our work is part of reality; it starts and ends with it.
Situations of personal and social conflict.
6. What, according to you, is the point of art?
It’s a way of researching and modifying reality.
7. How do you hope the public will receive your work? What audience are you aiming at?
We’re aiming at all audiences with the aim of acting on their dimension of public acts.
8. What qualifications have you got? What do you value most from your time in education?
We studied art at different universities. We value the people we shared it with.
9. How would you define your current professional situation?
And in the future?
Our professional situation is precarious, intense and full of hopes and expectations.
10. Many artists say it’s difficult to make a living from their work; how do economic considerations affect you when it comes to work? Do you think this has a bearing on your work?
Economic factors affect us; we talk about this more on our site www.ganarselavida.net.
We think it has a bearing on our work in terms of the time and means for creating it.
11. What do you look for or expect from your relationship with promoters and curators? What advantages and difficulties have you found with these relationships?
It’s a complex relationship, but one that can be very enriching. We hope to share our objectives with them and hope that they get involved in our processes of experimentation and artistic research.
12. What do you think sets the arts scene in Madrid apart from elsewhere? What would you say are its pluses and minuses?
Cultural policies in Madrid don’t address contemporary issues and one result is the precarious situation of many cultural producers, as well as a lack of open dialogue between members of the artistic and cultural collective in Madrid.
On the positive side, at least there is an arts scene, in contrast to other places. And in Madrid there are constantly changing interesting social situations.
Colectivo C.A.S.I.T.A. (Loreto Alonso, Diego del Pozo y Eduardo Galvagni)
Viven y trabajan en/Lives and works in: Madrid.
Loreto Alonso Atienza
Licenciada en Bellas Artes, Universidad Complutense de Madrid.
Doctora en Bellas Artes, Universidad Complutense de Madrid.
Diego del Pozo Barriuso
Licenciado en Bellas Artes, Universidad de Salamanca.
Eduardo Alberto Galvagni
Profesor de Bellas Artes, Escuela Nacional de Bellas Artes Prilidiano Pueyrredon, Buenos Aires.
Exposiciones Individuales/Solo Exhibitions
Caja negra, Rotor, Graz, Österreich. Proyecto de Investigación distribución y difusión.
Potlatch niño, Espai d`art contemporani de Castelló, EACC, Castelló. Acción parateatral.
Ganarse la vida, Intermediae, Madrid. Proyecto prototipo de producción, exhibición y distribución.
Mientras vivas en esta casa, Ayuntamiento de El Escorial, Madrid; Vicerrectorado de Cultura, Universidad Complutense de Madrid; Medialab-Prado, Madrid; Fundación Cursos de verano de la Universidad Complutense de Madrid, Casa Miñana, El Escorial, Madrid. Exposición, intervenciones artísticas y encuentros.
IRP/BUZONES, Mirador 03, Berzosa de Lozoya, Madrid. Proyecto de investigación colaborativa.
Exposiciones Colectivas/Group Exhibitions
EN [CAJA], Facultad de Arquitectura, UdelaR Universidad de la República, Montevideo. Activación de la Caja Negra.
Ruidocracia, Ayuntamiento de Madrid; Medialab-Prado, Madrid. Encuentro artístico y sonoro.
Actividades Académicas/Academia Related Activities
“C.A.S.I.T.A.”, CAMON, Madrid.
“C.A.S.I.T.A.”, Urban Buddy Scheme, Madrid Abierto, Madrid.
“C.A.S.I.T.A.”, XVI Ciclo de conferencias L'art Avui a la Marina, Ciudadanía y Activismo Cultural, Grup de Reüll, Alicante.
“C.A.S.I.T.A.”, Harder, Better, Slower, Stronger!, Reflex, La Noche en Blanco, Matadero Madrid, Madrid.
“C.A.S.I.T.A.”, Fundación Antonio Camuñas, Universidad Europea de Madrid.
“C.A.S.I.T.A.”, QG do Gia, Encuentro entre colectivos artísticos españoles y brasileños, Matadero Madrid, Madrid.
“C.A.S.I.T.A.”, Encuentro de colectivos con el Ayuntamiento de Madrid, Centro Cultural Conde Duque, Madrid.
Becas y Premios/Awards and Grants
Ayudas a la movilidad para Artistas, Ministerio de Asuntos Exteriores de España. (Beca/Grant)
Ayudas a la Movilidad Internacional de Creadores, Matadero Madrid, Madrid. (Beca/Grant)
Ayudas a la Creación Artística, Matadero Madrid, Madrid. (Beca/Grant)