Todo por la Praxis
Todo por la Praxis
The Todo por la Praxis collective was set up in 1999. Drawn from very different areas of theoretical activity, its members are organised as an intellectual collective and an active political subject: an ongoing Project Lab that acts as an agent of change in the symbolic field of artistic practices. Todo por la Praxis defines itself as a Lab for producing and amplifying aesthetic projects of cultural resistance - a Lab offering tools for intervention in public urban space to create active opposition praxis.
Our action centres on the urban area and public sphere and always tries to create spaces in opposition to structures of domination, setting up strategies to appropriate civic public space and laying bare processes of speculation, gentrification, mechanisms of urban segregation and mechanisms of social control. Our ultimate goal is to create a catalogue of socially effective direct-action tools.
Todo por la praxis
Viven y trabajan en/Live and work in: Madrid.
Exposiciones Colectivas/Group Exhibitions
En Caja, Plataforma, Centro Cultural MEC, Montevideo. Street Games
7º Encuentro Internacional de Arte Urbano, Quito.
Muestra de Artes Visuales Creación InJuve, InJuve, Madrid.
Proyecto Habitar, Centro Cultural de España, Miami; México D.F.; Montevideo.
Madrid Abierto 2008, Asociación Cultural Madrid Abierto, Madrid.
Empty World, Liquidación Total, Madrid.
Home Sweet Home, Kunstainer, Espai d’Art Comtemporani, Tarragona.
La boite a sardines, Espace Temporaire, Genève.
Sin Estado, ADN Galería, Barcelona.
Becas y Premios/Awards and Grants
Concurso de propuestas para el uso temporal de solares, Urbanaccion, Madrid. (Seleccionado/Selected)
7º Encuentro Internacional de Arte Urbano, Al-Zurich, Quito. (Premiado/Prize winning)
Madrid Abierto 2008, Asociación Cultural Madrid Abierto, Madrid. (Seleccionado/Selected)
2º Convocatorias de Ayuda a la Creación Contemporanea, Matadero Madrid. (Premiado/Prize winning)
XV Edición Circuitos de Artes Plásticas y Fotografía, Comunidad de Madrid. (Premiado/Prize winning)
“Todo por la praxis”, Muestra de Artes Visuales Creación InJuve, InJuve, Instituto de la juventud, Madrid, 2009, Cat. Exp.
“Todo por la praxis”, Al-Zurich 7º Encuentro Internacional de Arte Urbano, Tranvía Cero, Quito, 2009, Cat. Exp.
“Todo por la praxis”, Madrid Abierto 2004-2006 Intervenciones Arte Público, Asociación Cultural Madrid Abierto, Madrid, 2008, Cat. Exp.
“Todo por la praxis”, El Arte de Habitar, Málaga, Diputación Provincial de Málaga, 2008, Cat. Exp.
“Todo por la praxis”, XV Edición Circuitos de Artes plásticas y Fotografía, Madrid, Comunidad de Madrid, 2004, Cat. Exp.
Juan de Austria 31 1ºD
1. What made you choose art as a profession?
Because it was the perfect territory for setting up a project lab to act as an agent of change within the symbolic field of artistic practices.
2. How would you define your work?
A lab offering tools for interventions in public urban space, always with the aim of creating activist opposition praxis.
3. What subjects are you interested in?
Our action centres on the urban area and public sphere and always tries to create spaces in opposition to structures of domination, setting up strategies to appropriate civic public space and laying bare process of speculation, gentrification, mechanisms of urban segregation and mechanisms of social control.
4. What resources – formal or otherwise – do you use in your work?
Everything we have to hand. Any kind of format is valid for intervening in the public space, from stencil graffiti to architectural tools. We use video and photography to document work.
5. What relationship does your work have with reality? What are your raw materials?
Our work is linked directly to specific problems, since it responds directly to requests from collectives, social movements and neighbourhood associations.
6. What, according to you, is the point of art?
To act as an agent of change to uncover and reveal conflicts and be an effective social tool.
7. How do you hope the public will receive your work? What audience are you aiming at?
We’re always interested in the reaction of the public, but we’re more interested in effective interventions in the contexts we work in and the reaction of users.
8. What qualifications have you got? What do you value most from your time in education?
We’re a multidisciplinary collective made up of architects, photographers, webmasters, lawyers and fine-art graduates. This heterogeneous mix lets us work with different formats and contents.
9. How would you define your current professional situation? And in the future?
At the moment, things are going well, although we find it difficult to finance projects. In any case, we’re continuing to produce projects and the future looks bright, as we’re creating informal networks.
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?
We’re at an advantage here in that we don’t just live off art, which means we can come up with independent ideas. However, the production of projects is often limited by financial constraints.
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?
These agents have played a key role in our work, since they make it possible to carry out our work and have backed, supported and promoted projects. We hope to carry on finding willing curators like this.
12. What do you think sets the arts scene in Madrid apart from elsewhere? What would you say are its pluses and minuses?
We don’t think it’s very different from the arts scene in other cities. On the plus side there’s Madrid’s central location compared to other cities. On the down side, there are very few public institutions interested in artistic practices and those that do need to select a far wider range of projects.