1.Vdeo sobre la exposicin Mapping Madrid, IED Madrid Pincha en la imagen y disfruta del vdeo!

2. ET l Istituto Europeo di Design celebra con Mapping Madrid su participacin enhe Istituto Europeo di Design has taken part in PhotoEspaa for the third consecutive PHotoEspaa por tercer ao consecutivo. De esta forma, junto a otras actividades year, with Mapping Madrid. In this way, along with other activities, such as La mirada como La mirada mgica, confirma y refuerza su apuesta por las artes visuales y mgica [The Magical Gaze], it confirmed and strengthened its commitment to themuy especialmente por la fotografa mxime en este ao acadmico en el que nuestrovisual arts and more especially to photography particularly in this academic year, which sawcurso de fotografa ha iniciado su andadura, puesto que este medio es, sin duda, uno de the beginning of our photography course, given that this medium is, undoubtedly, one oflos modos privilegiados de comunicacin en el mundo contemporneo, dominado clara- the principal means of communication in the modern world, which is clearly dominated bymente por la imagen como forma ms poderosa de construir los relatos de nuestros das. the image as the most powerful way of constructing the stories of our times. Si el primer ao dentro de PHotoEspaa la exposicin de Alberto Corazn permiti que The first year in which PHotoEspaa took place, the exhibition of the work by Albertonos acercsemos a piezas mticas de la Transicin poltica de la Espaa democrtica, alCorazn allowed us to get nearer to mythical pieces from the political transition of demo-tiempo que permita observar el paso de conductas conceptuales a procesos editorialescratic Spain, while also enabling us to observe the change from conceptual behaviours toque hoy da son corrientes; el ao pasado se vio confirmada esa necesidad de reivindicar editorial processes which are common today. Last year, on the other hand, saw the confirma-una tradicin del diseo, las artes y la comunicacin a travs de una muestra que conttion of the need to claim a tradition in design, the arts and communication by way of an ex-con protagonistas tan conocidos como Nobuyoshi Araki, Joseph Beuys, Daniele Buetti,hibition featuring such well-known artists as Nobuyoshi Araki, Joseph Beuys, Daniele Buetti,Cabello/Carceller, Alfredo Jaar, Thomas Ruff, Montserrat Soto o Erwin Wurm.Cabello/Carceller, Alfredo Jaar, Thomas Ruff, Montserrat Soto and Erwin Wurm. En 2009 el IED ha querido dar un paso ms, en sintona con la propia evolucin de la insti-In 2009 the IED wanted to go a step further, in harmony with the evolution of the institutiontucin, tras consolidar un programa cultural continuo y concebir su propuesta didctica yitself, following the consolidation of a continuous cultural programme, and planned its di-cultural como un gran laboratorio, que crece gracias a la aportacin de todos aquellos que dactic and cultural proposal as a great laboratory, which would grow thanks to the contribu-demuestran su pasin por la creatividad. El Palacio de Altamira e IED Master se ofrecen, tion of all those who could demonstrate their passion for creativity. The Palacio de Altamirapues, como puntos de encuentro y qu mejor manera de demostrarlo que idear un proyec-and IED Master are therefore acting as meeting points, and what better way to demonstrateto que reflexiona sobre el propio festival en el que se encuentra la exposicin, invitando a this than by devising a project that reflects on the very festival in which the exhibition is onofrecer distintos puntos de vista sobre el mismo.display, welcoming different points of view on the subject. En este caso, gracias a Mapping Madrid se activa un proceso cuyo mayor inters resideIn this case, thanks to Mapping Madrid, we activated a process whose greatest interest lay precise-precisamente en la colaboracin de todas aquellas personas que han decidido participar ly in the collaboration of all those who had decided to take part in a common project. As a whole,en un proyecto comn. En su conjunto, el resultado ha sido muy satisfactorio, puesto que the result was very satisfactory, given that it has permitted an examination of the ways of repre-ha permitido reflexionar sobre formas de representacin del mundo, como es el mapa,senting the world, such as the map, in order to discover the subjectivities which lie behind thempara descubrir las subjetividades que hay detrs de todas ellas, pero sobre todo, las distin-all, but above all, of the different perspectives that exist to make the place where we live visible.tas perspectivas que existen para hacer visible el lugar donde vivimos. And all this has been possible thanks to a firm and appropriate commitment to the newY todo ello ha sido posible gracias a una fuerte y pertinente apuesta por nuevos medios ymedia and formats, which enable us to promote one of the key features of the IED: whoeverformatos, que permiten potenciar una caracterstica clave del IED: quien est dentro de l comes across the show should not be a mere spectator, but an active part of what is happen-no debe ser un mero espectador, sino una parte activa de lo que ocurre en su interior. As,ing. In this way, a project takes shape, which has managed, with todays resources, to con-cobra forma un proyecto que ha logrado construir con medios actuales una nueva visinstruct a new vision of what it means to make a map, in this case, of the city which has beende lo que significa hacer un mapa, en este caso de la ciudad que acoge al IED desde hace home to the IED for fifteen years, and from which it is possible to offer other ways of learningquince aos y desde la que es posible ofrecer otras formas de conocer la cultura del proyecto. about the culture of the project.Riccardo Marzullo Riccardo Marzullo Director del IED Madrid Director of the IED Madrid 1011 3. 1. Ciudades lquidas. Madrid y Transurbancia de Tete lvarez 3. Ciudades lquidas. Madrid de Tete lvarez Foto: Tete lvarez Foto: Marta Orozco 2. Transurbancia de Tete lvarez 4. Ciudades lquidas. Madrid de Tete lvarez Foto: Marta Orozco Foto: Marta Orozco 4. Para qu un mapa? I. Todo empez el da en que un hombre decidi observar los alrededores. Empeado en recono- cer su entorno ms inmediato, este observador Pablo Jarauta antediluviano escogi un punto elevado y co- menz a girar sobre s mismo. En primer lugar, divis los cobertizos de su aldea. Luego, el huer- to, con sus hortalizas y sus endebles frutales. Ms all, pudo ver el ro, y un poco ms lejos, las robustas cabezas del ganado. Sigui el obser- vador con los ojos bien abiertos hasta que top con una gran montaa. Cegado por esta impo- nente imagen, decidi dar el da por terminado. A la maana siguiente, el observador regres al punto elevado y reinici el examen visual de sus alrededores. Primero, contempl a los nios de la aldea corriendo desbocados tras un conejo. Despus, una charca plagada de ranas. Se abri entonces ante sus ojos una llanura que no tena fin. El observador se sorprendi: una delgada lnea una el cielo con la tierra, impidindole ver ms all. Haba dado con el horizonte. Ex- traado, regres a la aldea, encendi un fuego y reflexion durante horas. Haba identificado todos los elementos de su entorno, pero aquella reverberada lnea le ocultaba las cosas ms leja- nas. El observador haba encontrado el lmite de su visin: al igual que una montaa, el horizonte tambin velaba su mirada.En el intento por formarse una imagen del mun- do, el observador haba descubierto que sus al- rededores abundaban en misterios y enigmas, que existan lmites y zonas incgnitas. Los elementos de su entorno no bastaban para re- El mapa ha entrado en la poca de la sospecha, ha perdido su presentar el mundo en el que viva, hacan falta inocencia. Ya no podemos, hoy en da, contemplar una historia de la nuevos lugares regidos por nuevas lgicas. De cartografa sin una dimensin antropolgica, atenta a la especificidadtal modo, el observador decidi que si bien no de los contextos culturales, y terica, que refleje la naturaleza misma poda ver ms all del horizonte, s que poda del objeto, sus poderes intelectuales e imaginariosnombrarlo. Regres nuevamente al punto eleva-(Christian Jacob, LEmpire des cartes,)do y de frente a la llanura fue sealando con el14Mapping Madrid IED Madrid & PHE0915 5. dedo diferentes puntos en el horizonte, asignan-de su aldea ya tena utopas: en su cabeza dor- dos por meros nombres de lugares inexisten- damente por todo el orbe, podra parecer que do un nombre a cada uno de ellos. Estos nom-man despiertos incontables nombres que sea- tes, por mares sin orillas, por objetos y seres los mapas han perdido su componente utpico bres sealaban lugares que no existan pero que laban la existencia de lugares imaginarios. Mien- prodigiosos incluso por una proyeccin deentregndose enteramente a una lgica de la explicaban el entorno del observador: parasos, tras dibujaba frgiles diagramas de las murallasnosotros mismos. Estos elementos tan propiosobjetividad, que los mapas solo sirven para avernos, islas, dioses, monstruos, abismos... que de su ciudad, de sus ros y sus campos, el mundode la utopa como de la cartografa hacen del orientarnos, para desplazarnos sin riesgos de daban cuenta del curso de los ros, de los ciclos se llen de nombres que anunciaban por doquiermapa un proyecto sobre el mundo. No se trataun lugar a otro, para encontrar una calle, una del da y la noche, de la relacin con la naturale- lugares de luces y sombras. Estos nombres noya de representar fielmente un territorio, sino tienda o un hospital. za, del origen y el destino. El observador habatardaron en saltar del lenguaje al mapa, pues sede cmo queremos que sea. En el mapa se ci- completado su imagen del mundo: a los ele-haban consolidado como piezas fundamentalestan ciencia y literatura, observacin e imagina- Los mapas son un reflejo mentos de su entorno haba sumado una inter-en el proceso de la elaboracin de una imagocin, se dan por igual distintos procedimientos de la cultura que los ha minable lista de nombres, de lugares inexisten- mundi. Las utopas, esa construccin del afuera que lo encaminan hacia una voluntad de com- realizado, en ellos pueden tes que terminaron por configurar sus creencias,cartogrfico, forman parte del mundo tanto como pletar el gran mosaico del mundo, de compren- encontrarse, aunque sea sus costumbres, su relacin con el mundo. la tierra y el mar. Recordemos brevemente lo queder nuestras formas de vida, de aprender a re- de la Atlntida nos cuenta Platn: Hubo terribleslacionarnos con la alteridad a partir de nuestro en los espacios en blanco, II. Esta pequea historia sobre cmo un obser-temblores de tierra y cataclismos. Durante un da entorno. En un mapa la representacin se tornaen sus silencios, los vador cualquiera construy su mapa del mun- y una noche horribles, todo nuestro ejrcito fueproyecto, va ms all del objeto y se sumerge diferentes proyectos de do esconde un esquema que podra sernos detragado de golpe por la Tierra, y del mismo modoen la inmensidad de la superficie terrestre, en cada poca gran utilidad a la hora de comprender el papella Atlntida se abism en el mar y desapareci. la curva sin fin del horizonte, en lo inagotable que juegan las producciones cartogrficas hoy He ah por qu todava hoy ese mar de all es dif- de nuestros sueos. Recordando de nuevo las Sin embargo, es precisamente este exceso de en da. Se trata de un esquema muy simple que cil e inexplorable, debido a sus fondos limosos y palabras de C. Jacob, la condicin necesariaprecisin y objetividad de nuestros das el que ha estado presente a lo largo de toda la his- muy bajos que la isla, al hundirse, ha dejado (Ti- para el nacimiento de la cartografa no es tantonos exige un retorno a los inicios de la carto- toria de la cartografa y que atiende al hechomeo 24c-25a). Las utopas construyen el mundo,la conviccin de su materialidad, sino la con-grafa, a nuestro observador, a los tiempos en de habitar una esfera y a la imposibilidad de se hunden dejando fondos limosos, huella geol- viccin de la posibilidad de su materializacin.los que poco o nada se conoca, al momento una imagen total y directa de nuestro mundo.gica de un lugar inexistente. Los mapas nacieron como proyecto, nacieronutpico de la construccin del mundo. Como Ciertamente, el hecho de habitar una superfi- como el lugar natural de las utopas, pues stassealara en su da John B. Harley, la cartogra- cie curva priv a nuestro observador de una Observar los alrededores,solamente existen en su representacin. fa raras veces es lo que los cartgrafos dicen imagen de su mundo, esfrico e inaprensible. Para salvar esta dificultad y ante la necesidadconstruir el afuera: he ahV. Ahora bien, podramos pensar que actual- que es. Los mapas no son objetivos, precisos o neutrales, esconden poderes intelectuales e de una imagen total que explicara el funciona- el fundamento de todomente estas historias han quedado desfasadasimaginarios que los sitan como una valiosa miento de su entorno y, en definitiva, de todomapa, sus entraas, por una pretensin cartogrfica encaminadaproduccin cultural. Los mapas son un reflejo el universo, el observador tuvo que construirsu razn ltima hacia la objetividad, la precisin o la neutrali- de la cultura que los ha realizado, en ellos pue- la imagen que quedaba ms all del horizonte, dad, que ya no queda sitio en este mundo para den encontrarse, aunque sea en los espacios en la primera frontera. Observar los alrededores,IV. En este sentido, la construccin del afue-las utopas, pues no hay rincn de la Tierra queblanco, en sus silencios, los diferentes proyec- construir el afuera: he ah el fundamento dera transforma por completo la naturaleza de no haya sido descubierto, clasificado o explo-tos de cada poca. Hoy en da nos vemos ante todo mapa, sus entraas, su razn ltima. la produccin cartogrfica. En este esquema tado. Vivimos en un mundo conocido, hemos la imperiosa necesidad de crear nuevos pro- o proceso los instrumentos necesarios para el dispuesto en el cielo ojos electrnicos que es- yectos sobre el mundo, nuevas representacio- III. Podra decirse que la tarea de representar elestablecimiento de una imagen del mundo nocrutan el territorio, que nos localizan, que ha-nes que den cuenta de las fracturas existentes espacio es tan antigua como la de imaginarlo. Encoinciden con los utilizados en la representa-cen de la representacin del mundo un asuntoen este mundo pretendidamente homogneo. otras palabras, los mapas son tan antiguos como cin de nuestro entorno. La escala, los clculos, asptico, casi funcional. Ahora que lo conoce-En esta direccin, los mapas seguirn siendo las utopas. El primer hombre que traz un dibujo el cartabn o el cuadrante quedan ensombreci- mos todo, que podemos viajar rpida y cmo- el mejor lugar para nuestras utopas.16Mapping Madrid IED Madrid & PHE09 Mapping Madrid IED Madrid & PHE0917 6. Why a Map? I. It all began the day man decided to observehis surroundings. Determined to recognise his Pablo Jarautamost immediate environment, this antediluvianobserver chose an elevated place and began toturn around. Initially, he saw the huts in his vil-lage. Then he saw the vegetable plot, with itsfeeble fruit trees. In the distance he could see theriver, and, a bit further, the robust heads of cattle.The observer kept his eyes open and continuedto look into the far-off distance, where he couldsee a huge mountain. Unable to see beyond thisoverwhelming view, he decided to stop for theday. On the next morning, the observer returnedto the elevated spot and continued to examinehis surroundings. First, he contemplated thechildren in the village, running excitedly after arabbit. Next, he noticed a pond full of frogs, andit was at this point that an endless plain openedup before his eyes. The observer was surprised:a thin line connected the sky and the earth, mak-ing it impossible for him to see beyond it. Hehad found the horizon. Puzzled, he returned tothe village, lit a fire, and thought about it forhours. He had identified all of the elements inhis surroundings, but that shimmering line con-cealed the most distant things. The observerhad found the limits of his vision: like a moun-tain, the horizon veiled his gaze. In his attempt to build an image of the world, theobserver had discovered that his surroundingswere full of mysteries and enigmas, that therewere limits and unknown areas. The elements The map has entered a phase of suspicion; it has lost its innocence.around him were not enough to represent the Today, we can no longer contemplate a history of cartography without world in which he lived; it was necessary to taking into account its anthropological dimension, subject to itsfind new places ruled by new propositions. So specific cultural contexts, and its theoretical dimension, which reflectsthe observer decided that, whilst he could not the nature of the object itself, its intellectual and imaginary powerssee beyond the horizon, he could at least name(Christian Jacob, LEmpire des cartes)it. He returned to the elevated place and, fac-18 Mapping Madrid IED Madrid & PHE0919 7. ing the plain, he pointed his finger at different it. In other words, maps are as old as Utopias.cess, the instruments needed for the creation of representation of the world an aseptic, almost parts of the horizon, giving each a name. These The first man to draw his village was display- a view of the world do not coincide with those functional, task. Now that we know everything, names referred to places that did not exist but ing Utopian behaviour: in his mind countless used to represent our surroundings. The scale, and that we can travel easily and comfortably which explained the observers surroundings:names that pointed at the existence of imagi-the calculations, the triangle and the quad- all over the world, it would seem that maps paradises, underworlds, islands, gods, mon- nary places lay in slumber. As he drew fragile rant are overshadowed by names of inexistent have lost their Utopian component, giving sters, abysses..., all of which revealed the course diagrams of his villages walls, of its rivers and places, by shoreless seas, by prodigious beingsthemselves over entirely to a logic of objectiv- of the rivers, the day and night cycle, the rela- fields, the world was filled with names whichand objects even by a projection of ourselves. ity; that maps only serve to show us the way, to tionship with nature, and its origin and destiny. heralded places of light and shadow. These These elements, as representative of Utopiafurnish us with safe directions from one place The observer had completed his picture of the names soon went beyond language to the map,as of cartography, render the map a project on to another, to find a street, a shop or a hospital. world: to each element of his surroundings he becoming essential pieces in the creation of the world. It is no longer a case of faithfully had attached an endless list of names, of non-an imago mundi. Utopia, that building of the representing a territory, but of thinking aboutMaps are the reflection existent places which eventually defined his beliefs, his customs and his relationship with cartographic outside, is as much a part of the earth as the land and the sea. Let us briefly re-what we want it be like. In the map, science andliterature, observation and imagination, come of the culture which the world.member what Plato told us about Atlantis: But together; it pools together a range of proce-produces them, and afterwards there occurred violent earthquakesdures that lead it toward a desire to complete show, even in their II. This tale, about how a random observer built his own map of the world, conceals a pattern and floods; and in a single day and night of misfortune all your warlike men in a body sankthe great mosaic of the world, of understandingour forms of life, of learning how to relate with blank spaces, in their that could be very useful to us in our attemptinto the earth, and the island of Atlantis in like the otherness of our surroundings. In a map, silences, the various to understand the role played by cartographic manner disappeared in the depths of the sea. representation turns into project; it goes be- projects of each time productions today. It is a very simple patternFor which reason the sea in those parts is im- yond the object and sinks into the immensity of which has existed since the early days of car-passable and impenetrable, because there is athe surface of the earth, into the endless curve However, it is not precisely our times excess tography, and which is connected to the factshoal of mud in the way; and this was caused of the horizon, into our inexhaustible dreams. of precision and objectivity that demands a of inhabiting a sphere, and the impossibil- by the subsidence of the island (Timaeus 24c- Returning again to the words of C. Jacob, thereturn to the early days of cartography, to our ity of obtaining a total and direct view of our 25a). The world is built on Utopias, which sink, necessary condition for the birth of cartogra- observer, to the time when little or nothing was world. Undoubtedly, the fact that our observerleaving limestone beds, the geological trace ofphy was not so much the certainty of its mate- known to the Utopian moment when the world lived on a curved surface prevented him froman inexistent place. riality, but the certainty of the possibility of its was constructed. As John B. Harley pointed obtaining a complete view of his world; itsmaterialisation. Maps emerged as a project, as out, cartography is rarely what cartographers spherical nature made it impossible to grasp. To observe histhe natural place for Utopias, as these only exist say it is. Maps are not precise and neutral ob- To overcome this difficulty, and, in the face of in their representation. jectives: they hide intellectual and imaginary a need for a total view which could explain the surroundings, to buildpowers which lend them the status of valuable workings of his surroundings, of the universe,the outsider world: here V. We could think that, nowadays, these storiescultural products. Maps are the reflection of ultimately, the observer had to build the image lie the foundations of have been rendered obsolete by a cartographicthe culture which produces them, and show, which lay beyond the horizon, the first frontier.desire which aims for objectivity, precision and even in their blank spaces, in their silences, the To observe his surroundings, to build the out- any map, its core, its neutrality; or that there is no space left for Uto-various projects of each time. Today, we find side world: here lie the foundations of any map,ultimate raison dtrepias in this world, as there is no corner of the ourselves facing a pressing need to create new its core, its ultimate raison dtre.Earth which has not been discovered, classifiedprojects about the world, new representations IV. In this sense, the building of the outside and exploited. We live in a known world; wewhich reflect the fractures of our supposedly III. It could be said that the task of represent- completely transforms the nature of carto- have dotted the sky with electronic eyes thathomogeneous world. In this sense, maps will ing space is as old as the task of imagininggraphical production. In this pattern of pro-scrutinise the land, locating us, rendering thecontinue to be the best place for our Utopias.20Mapping Madrid IED Madrid & PHE09Mapping Madrid IED Madrid & PHE09 21 8. 22 Mapping Madrid IED Madrid & PHE09 Mapping Madrid IED Madrid & PHE09 23 9. 3. Salida 1. Mala noche Carlos Lpez Maria Zlaten del Castillo Lpez 2. VS 4. Entrada Javier RamosCarlos Lpez Maria 10. Objetividad y representacin Cartografas de la realidadportamientos fotogrficos, procedentes de Realizar un mapa no ha sido histricamente prcticas artsticas alejadas del uso purista del una tarea neutra, siempre conlleva una mira- medio en las vanguardias artsticas como esMirada, fotografa y mapa da. Todo mapa ha surgido como consecuencia de una determinada ideologa o bajo criteriosel caso de Man Ray, pero sobre todo en aque-llas manifestaciones conceptuales de los aos Pedro Medinacon frecuencia arbitrarios que condicionan sesenta, que suponan un paso ms dentro de las formas de representar el mundo.esa polmica en torno al estatuto artstico de lafotografa latente prcticamente desde sus or- En esta ocasin, el diseo de una cartografagenes, debido a su carcter no aurtico, deriva- se liga a un medio: la fotografa, tan subjetiva do de su reproductibilidad, y de esa supuesta como cualquier otro lenguaje artstico, pero objetividad mayor que otros medios privilegia- que popularmente se identifica con un mediodos todava por creencias de tipo romntico. que documenta el mundo como mayor obje- tividad que otros. Al hacerlo, pronto surge la Su uso documental para registrar obras de tradicional cuestin de fondo sobre la rela- arte efmeras, junto con las expresiones cin entre objetividad y realidad. conceptuales, transform a la fotografa enun medio para la experimentacin que dabaEstas consideraciones an lastran diagns-lugar a nuevas formas y prcticas, as comoticos sobre un lenguaje que era emergente,a una reflexin sobre la misma fotografa ycomo aquellos maravillosos textos de Walter su rol respecto a la sociedad y el arte, con-Benjamin en los que reflexionaba sobre cmo virtindose en el camino para alzar la idea aduplicar el mundo, retratndolo con mayor la categora de objeto, al tiempo que el lugarfidedignidad. Benjamin lleg a hablar de un idneo para prcticas escenogrficas nue- museo imaginario basado en la afirmacin vas, aunque su principal papel segua siendode Godard a propsito de Le Carabiniers: co- como medio.leccionar fotografas es coleccionar el mundo.Sin embargo, los nuevos comportamientos Pero dejando de lado la relevante aparicinartsticos han transformado esta funcin, pa- de una nueva forma artstica, que procedesando a reflejar irnicamente el mundo o ade la crisis de los gneros artsticos tradicio-constatar la irrealidad de la realidad comonales, y que encuentra precisamente en laafirmaba Kate Linker. Obviamente, estas nue- fotografa un campo idneo para desarrollarvas prcticas encuentran cabida en evidenteslas potencialidades icnicas de la imagen, enrevisiones del problema de la representacin. el contexto de esta exposicin se privilegiasu dimensin como documento o archivo de Un muy breve balance de lo ocurrido desde el la realidad. asentamiento de la fotografa dentro del siste- El mapa es abierto, es conectable en todas sus dimensiones,ma del arte a mediados de los ochenta, destaca La propuesta de Mapping Madrid enlazara desmontable, reversible, susceptible de recibir constantementeprincipalmente la reivindicacin artstica decon posturas que fomentan la procesualidad modificaciones [] Haced mapas y no fotos ni dibujos la fotografa documental y el asentimiento misma, como fenmeno de representacin (Gilles Deleuze y Felix Guattari, Rizoma) de lo que podra denominarse nuevos com-y como constancia de aquellas manifesta-26Mapping Madrid IED Madrid & PHE09 Mapping Madrid IED Madrid & PHE0927 11. ciones de carcter temporal condenadas a propio espacio fsico. Ante este hecho, cabemapas desata potencialidades, rehace el terri- muestra suficientemente contrastada, no obs- desaparecer o que se conciben precisamente preguntarse cmo representar entoncestorio una y otra vez, cada vez con nuevas ytante, s parece coincidir con buena parte de en su estar in progress. Es, pues, el lenguaje esta realidad?diferentes consecuencias. reconocidos diagnsticos de nuestra poca. fundamental y el instrumento que constata Remontndonos un poco en el tiempo, po- lo ocurrido. Realizar un mapa noY cmo se produce esto hoy da? Quizs condramos hablar de la sentencia de Nietzscheha sido histricamentelos nuevos medios se pueda dar esa feliz co- en su paradigmtico Der Fall Wagner, donde A la consustancial reproduccin mecnica implcita en el propio concepto de fotogra-una tarea neutra, incidencia de mapa e imperio dira Borgesen el famoso relato sobre el Arte de la Carto- toda dcadence literaria est caracterizada por una condicin: la vida ya no habita en el fa, lo que facilita la recepcin masiva de la siempre conlleva unagrafa, de georrepresentacin y cosmovisin todo. Extraemos de Nietzsche y de todos sus obra y la democratizacin de su produccin,mirada. Todo mapa podramos decir nosotros.epgonos que la realidad se vuelve fragmen- ahora aparece la posibilidad de la utilizacin ha surgido comotaria, constatando que no hay un valor central de nuevos medios, ms proclives a la interac- cin y la creacin de piezas colectivas, dondeconsecuencia de una Esta situacin debera llevarnos a un posicio-namiento que impida que sucumbamos a la en la poca que le d sentido, como ocurra, por ejemplo, en la Edad Media, donde el dios la participacin se vuelve algo natural en esa determinada ideologa fascinacin por la forma expresiva, estable- cristiano era medida de todas las cosas y el transformacin del espectador en usuario, lo o bajo criterios conciendo un mnimo anlisis sobre el mundo engtico o el romnico eran las formas que ha- que aporta un enriquecedor poliperspectivis- frecuencia arbitrariosel que vivimos para preguntarnos por qucan visible una relacin homognea y unvo- mo. De esta forma, esa caracterstica de ima- gen multiplicable adquiere ahora una dimen-que condicionan las acudimos a este tipo de representacin?, espertinente para poder hablar sobre la expe- ca con el mundo.sin mayor, al mismo tiempo que se potenciaformas de representar riencia de nuestra poca? Parece coherente La propuesta de una relacin de pertenencia con la obra queel mundo con los tiempos que corren alejarse de postu-Mapping Madrid tiene ms que ver con la colaboracin en elras que adopten el autoritarismo que profesa proceso y la emocin activada en el mismoJean Baudrillard parte precisamente dequien cree en una verdad y pensar ms bien enlazara con posturas que con la posesin fsica de la obra. la cartografa como paradigma de una re-en un mundo lbil, donde todo se vuelve po-que fomentan laferencialidad perdida, llegando incluso a sibilidad y no necesidad.procesualidad misma,Por otro lado, nos encontramos con el mapaafirmar en Cultura y simulacro que el terri-como fenmenocomo un formato que tambin se percibetorio ya no precede al mapa ni le sobrevive.A pie de calle, enseguida aparecen trminosingenuamente como algo objetivo, pero que En adelante ser el mapa el que preceda alcoincidentes como global, tecnificado, acele- de representacin y como aparece al inicio de este texto y sobreterritorio precisin de los simulacros y el rado, injusto, en el que nada permanece, sin como constancia detodo en Para qu un mapa? de Pablo Jarau-que lo engendre. valores, aunque se puede resumir como un aquellas manifestacionesta conviene observar como otro medio ms mundo marcado por la comunicacin plane- de carcter temporalpara contar una historia y hacer evidentesAl respecto, conviene recordar las matiza-taria, ms que sin valores, en construccinformas de ver el mundo. ciones que realizaba Andr Corboz en El te- hacia otros nuevos (sostenibilidad, igualdad condenadas arritorio como palimpsesto, al comparar dosde gneros y razas) y, sobre todo, un mun-desaparecer Al margen del relato construido por Pablomaneras de relacionarse con el territorio (la do que ha devenido moda, es decir, donde ni Jarauta, quisiera aportar un par de notas, contemplacin del paisaje y el mapa): El convicciones, ni instituciones, ni productosPor otro lado, partiendo del anlisis de la ciu- sobre todo para establecer su relacin con mapa se diferencia del territorio precisamen- estn dados de una vez para siempre, siendo dad como la gran forma de rastrear la vida el mbito de la ciudad, un contexto en elte a travs de actos de seleccin. Como prc- el reino de lo efmero.en la lnea de Georg Simmel, destaca un que se generan relaciones y donde se acu-tica creativa el mapa no reproduce sino que autor como Marshall Berman, quien constata mulan formas de habitar, pero que induda-descubre realidades previamente invisiblesEste primer acercamiento al universo que nosque todo lo slido se desvanece en el aire; blemente hoy debe ampliarse ms all del o inimaginables [] La construccin de losrodea no tiene valor de prueba, por no ser unapor tanto, no hay certezas ni puntos de refe-28 Mapping Madrid IED Madrid & PHE09 Mapping Madrid IED Madrid & PHE0929 12. rencia a los que poder aferrarnos con seguri-en la confluencia de puntos de vista se pue- esta forma es capaz de configurar un paisajede un proyecto que destaca por su carcter dad. La vida as ha ganado en incertidumbre, da encontrar un nuevo atractivo en el mundodiferente de nuestro entorno. participativo y, por tanto, por una autora que pero tambin en posibilidad. gracias a la curiosidad. finalmente es colectiva. Mapping Madrid Hay que desentraar ste es el panorama y, por tanto, habr queQu significa, pues, representar hoy elEl siguiente paso era convertir esta web en una maraa confusa atender al sistema de formas que determinanmundo? Mapping Madrid se concibi con una instalacin en el Palacio de Altamira, es- de hechos cuya el proyecto para averiguar el conjunto dela intencin de crear una nueva manera de tablecindose como premisa que el visitan-ideas al que ataen, estudiando si lenguaje ygenerar un mapa, donde lo participativo sete se sintiera parte de la obra y no un mero complejidad crecientepoca se corresponden al ofrecer aquello que alza sobre lo impuesto como supuestamen-espectador de la misma. La instalacin, rea- reclama diversos relatos debera ser su ltima finalidad: proporcionarte objetivo, entendiendo la fotografa como lizada junto a Jarl Einar Ottestad y Anders que hagan visibles las un espacio que habitar.un medio privilegiado y democrtico paraRestad, consiste en una proyeccin cenital rpidas metamorfosisacercarnos a nuestra realidad. Adems, co-de la ciudad de Madrid sobre la que aparecenDe vuelta una vez ms sobre el lenguaje, po- bra tambin relevancia cierta idea de deriva, indicadores con los lugares que han sido foto- de nuestro tiempo dramos acudir a un trmino que reciente-como concepto de transicin entre la geogra-grafiados. El visitante interacta con esta pro- Pero para no extendernos en este punto, con- mente utiliz Juan A. lvarez Reyes para una fa fsica de la urbe y una topologa interioryeccin convertido en un ratn de ordenador cluir con la sentencia de Zygmunt Bauman, exposicin sobre animacin contempornea.e intersubjetiva, con el fin de hacer posibleshumano, que activa el mapa de Madrid para quien ha enunciado, con extraordinaria for-Se trata de fantasmagora, que no solo esnuevos espacios creativos.adentrarse en el mismo y acercarse entonces tuna meditica, que habitamos en un mundoel ttulo de la primera pieza de animacin a las fotografas presentes en la web. De esta caracterizado por una modernidad lquida.de la historia del cine, realizada en 1908 por La idea original y desarrollo se debe a Javiermanera, el espectador no siente que est fren- A travs de varios textos ha definido el espa- Emil Cohl, probablemente inspirado por elMaseda, quien propuso un proyecto que te a la exposicin, como si le fuera ajena, sino cio actual como una sociedad de la incerti- fantasmagore tienne Gaspar Robertson. Laconsista en construir el mapa de PHotoEspaa y dentro de la misma, continuando as el carc- dumbre, donde todo es lquido, inconsis-ilusin ptica avanzaba como espectculo ende Madrid a travs de la colaboracin ciudadana ter participativo de la web. tente, evanescente, no hay tiempo ya paraun Pars cuyo origen moderno describi Ben-en una web bajo el lema Danos tu visin de que unas condiciones de vida y de accin jamin a travs de las sugerentes luces de la PHotoEspaa 2009, reflexionando as sobre lleguen a convertirse en costumbre, siendo metrpoli, sus pasajes, los flneurs, la prensa, el evento y la ciudad que acogen la exposicin. Mapping Madrid la precariedad el signo de nuestro tiempo. la aparicin de la fotografa es decir, fan- De esta forma, en www.mappingmadrid.com,se concibi con la Y ante esta realidad, Bauman aboga por untasmagoras como las denomin Benjaminweb desarrollada por Blogestudio, se empieza espacio pblico global, donde se realice unque servan para sintetizar los imaginarios de a construir un escenario colectivo e in progress intencin de crear anlisis general de los problemas a escala la segunda mitad del siglo xix.con las imgenes tomadas por cualquieruna nueva manera de mundial y donde se haga presente una res- persona, debiendo estar todas geolocalizadas, generar un mapa, donde ponsabilidad planetaria. Igual que entonces, ahora hay que desentra-es decir, el usuario que participa en la web sube lo participativo sear una maraa confusa de hechos cuya com- su fotografa y la direccin del lugar en el queLa reconstruccin de esta historia permiteplejidad creciente reclama diversos relatosha sido tomada. alza sobre lo impuestorepensar algunos conceptos y uno que se que hagan visibles las rpidas metamorfosiscomo supuestamentevuelve necesario en este contexto es el dede nuestro tiempo. De esta forma, podramosEl resultado es una cartografa visible onlineobjetivo, entendiendo la habitar, entendiendo por el mismo las con- considerar la imagen (fotogrfica) definidaen la que se pueden apreciar distintos puntos fotografa como un mediodiciones en las que se desarrolla la vida coti-de vista sobre un mismo espacio, convirtien-diana y la accin colectiva construida simul-no por su permanencia sino por su condicinde elemento en continua transformacin, te-do Madrid en un collage de imgenes y accio- privilegiado y democrticotneamente por distintos ciudadanos. Ya noniendo muy en cuenta la superposicin de nes. Pero lo principal es la relacin entre mi- para acercarnoses posible un habitar armonioso, pero quizsplanos y miradas, para preguntarnos si derada y lugar fotografiado, construida a travsa nuestra realidad30Mapping Madrid IED Madrid & PHE09 Mapping Madrid IED Madrid & PHE0931 13. Asimismo, la visualizacin de las piezas fo-teoras comunicacionales en red de Manuelen aspectos de mercado de la obra de arte,des lquidas. Madrid amplan el mapa a una togrficas sobre el mapa viene completada Castells a esa vuelta a lo ciudadano aunquecomo puede ser actualmente el grupo sueco dimensin que envuelve al espectador. Esta por otra proyeccin. En ella se pueden con- entendido como ciberespacio, es decir, un m-Pirate Bay, pasando evidentemente por otras fragmentacin y cambio de escala procede templar las fotos de forma ms inmediatabito metaurbano universalizado, tal y como loen las que se atienden las razones comunicati-de un plano de Madrid de los aos cincuenta; por medio de una galera en la que se po- postula Paul Virilio.va y poitica del arte, cuyas referencias puedenque puede contemplarse en su totalidad preci- tencia la percepcin de recorrido a la horaser nombres clsicos como Kant, Habermas osamente en la esquina superior izquierda de la de seleccionar las fotografas presentes en Sobre esta unin de cartografa y represen-Danto y su concepto de mundo del arte.Transurbancia presente en la misma sala. la web. tacin fsica de la imagen generada por los usuarios-fotgrafos, vuelve a actuar el espec- Pero ms all de esta dimensin orientada a laLo primero que impresiona de estas obras es su El resultado es obvio: la propia dinmica ex- tador-usuario, generando un flujo de ida y praxis, en Mapping Madrid se da un paso ms majestuosidad que, no obstante, tiene algo de fa- positiva genera la sensacin de pertenencia vuelta desde el que entender el funcionamien-dentro del terreno de la representacin y de la miliar. Los contornos de estos mapas son an re- a una obra colectiva en la que el espectador- to de los nuevos medios unido a la percepcinidea de construccin de un mapa. Ello se debe conocibles y cubren las paredes como si fueran usuario es quien la crea y la activa, constru-de un entorno que es nuestro, porque vivimos a la ltima parte de la exposicin dentro del Ga- un antiguo tapiz que se ajusta perfectamente yendo un mapa personal y compartido en el en l y tambin lo construimos.binete de Exposiciones del Palacio de Altamira, al espacio, pero que nos descubre otra realidad que podemos contemplar distintas visionesque consiste en los tres fragmentos de la ciudadcuando nos acercamos a l: todos los elementos de Madrid y de PHotoEspaa, por lo general Algunas de estas consideraciones estabanlquida de Madrid y la Transurbancia, realizadasse vuelven lquidos; experiencia que incluso se alejadas de visiones ms institucionalizadas, presentes en el ciclo de conferencias cele-por Tete lvarez, un conjunto de fragmentos deasemeja a aquellas superficies de agua poco pro- demostrando una frescura muy atractiva.brado el pasado mayo, poco antes de inau- ciudades con la capacidad de construir un nue-fundas que podemos ver en Google Earth.gurar Mapping Madrid, titulado La ciudadvo relato sobre el mapa y la realidad global. La propia dinmicahbrida, que congreg a varios expertos,Empiezan a relacionarse entonces trminos expositiva genera la bajo la direccin de Jos Luis de Vicente,Densidad y fluidez como mirada cenital, planimetra urbana, sensacin de pertenencia para reflexionar sobre visualizacin urbanahacen posible tomar fragmento o labilidad, puesto que el punto dea una obra colectiva en la y mapeado colaborativo. Como afirma J.L. el mapa como base partida va a ser igual que en la Transurban-que el espectador-usuariode Vicente: ha nacido la ciudad en tiemporeal, donde los ciudadanos modifican sobrecartogrfica para cia, las imgenes satelitales y procesos quelas transforman, en este caso en un lquido es quien la crea y la activa,la marcha sus patrones de comportamiento, iniciar una exploracin denso, que diluye ya no la foto sino el antiguo construyendo un mapa y la funcin y significado de los lugares sede la ciudad, unmapa del casco histrico de Madrid.personal y compartidoreconfigura constantemente. Parece que itinerario en el que el en el que podemosestuviera hablando de la exposicin de laque nos ocupamos, y es que algunos de losejercicio de perderse,Como cuenta Tete lvarez: Densidad y flui-dez hacen posible tomar el mapa como base contemplar distintas contenidos impartidos fueron precisamen-la desorientacin, seacartogrfica para iniciar una exploracin de la visiones de Madrid y te: mapeado colaborativo (la ciudad sub-una nueva forma deciudad, un itinerario en el que el ejercicio dede PHotoEspaajetiva representada por sus ciudadanos) o reencuentro anteperderse, la desorientacin, sea una nueva for-gobernanza 2.0 (democracia participativa y De esta manera, se entrelazan conceptos tecnologas digitales).lo desconocido ma de reencuentro ante lo desconocido. Pero,sin duda, esta metamorfosis del mapa en algo como los de ciudad, cartografa y mirada, unaLa vinculacin entre lugar y fotografa es una lquido enlaza directamente con diagnsticos percepcin cuya importancia puede recorrer- Sin duda, desde aqu podramos sacar muchasconstante en la obra de Tete lvarez, como sobre esta poca, como aquella metfora del se en la historia, pero que sigue estando de derivas sobre los actuales sistemas polticos y puede comprobarse en series como Confines mundo contemporneo que ha popularizado gran actualidad, como demuestra buena par- la necesidad de participacin ciudadana, des- o Desterritorios. En este caso, las piezas com- Zygmunt Bauman, que ya comentbamos con te de la produccin terica actual, desde las de las teoras de Toni Negri a otras centradas prendidas bajo el ttulo genrico de Ciuda- anterioridad; establecindose esta relacin no32 Mapping Madrid IED Madrid & PHE09 Mapping Madrid IED Madrid & PHE09 33 14. solo literalmente, sino sobre todo gracias a que surbancia se convierte en un crisol de fotogra- ver la pennsula de la India rodeada de agua, transformaciones y discutir sobre las mismas comparten aquel sentimiento de incertidum- fas satelitales que configuran una imageny otra, mucho ms cercana, que desencadenadesde diversos puntos de vista. bre y fugacidad que impera entre nosotros. ms compleja. Como explica Tete lvarez: Laprocesos de identificacin y nuevas formas demirada cenital no es una mirada actuante en concepcin de un espacio al aparecer ahoraEsto abre las posibilidades de lo que se po- Como confiesa scar Fernndez: La metfo- el espacio que intenta dominar, sino que se relacionado con otras realidades. dra denominar estticas migratorias o ra de lo lquido y del fluir define la experiencia circunscribe a un mbito simblico. La tran- centradas en la idea de viaje, precisamente urbana actual. Tanto es as que est minando surbancia es el mtodo que propone Stalker Podemos reconocer las planimetras regula- porque el hombre contemporneo es viajero todos los resortes de la ciudad, haciendo que (colectivo de investigacin urbana) para atra- res de metrpolis europeas junto a la trama por antonomasia, un sujeto desarraigado, sin la propia idea de urbe se desmorone y sea sus- vesar, recorrer y mapear los terrain vague. Se urbana difusa de otras grandes ciudades no destino, condenado a vagabundear sin cesar tituida por ncleos de poblacin ms o menos trata de cartografiar una (otra) configuracinracionalizadas y entregadas a un tipo de en busca de unas certezas que este mundo informes. Lo ms interesante de este proceso urbana construida a partir de lo que Manuel extensin ms natural y catica. Distintas no le puede dar. Quizs solamente nos queda hacia lo lquido es que est afectando incluso Castells llama una nueva lgica espacial ba-escalas y pocas se entrelazan, pudiendo re- asumir el trnsito que aporta imprevisibili- a las viejas ciudades. Mientras la memoria de sada en flujos de informacin, frente a la l- conocer El Vaticano, Caracas o Madrid, entre dad, la dispersin de los caminos, la asime- los lugares se fija cada vez ms gracias al fe- gica de la organizacin social arraigada enotros muchos lugares, pero cobra mayor signi- tra de todos los recorridos y el mestizaje de nmeno turstico, la realidad de estos lugares la historia de los lugares y territorios localesficacin en aquellos momentos en los que se costumbres y lenguajes. se diluye cada vez ms rpido. Resulta de ello inmediatos. Otra cartografa que permita rea- cruzan elementos inesperados o con un aire una nueva forma de turismo-nostalgia que lizar una deriva, entendida como tcnica dede familia, como ocurre cuando coinciden un En conjunto esperamos que Mapping Madrid visita el recuerdo de lugares histricos. Sola- paso ininterrumpido a travs de ambientesro y una autopista reales junto a la grfica haya colaborado a reflexionar sobre el len- mente su recuerdo porque, en realidad, stos diversos y que gracias a los flujos nos des- de los trenes de cercanas de Madrid. guaje elegido para narrar esta realidad, des- nunca existieron o, como mucho, hace mucho place de un lugar a otro. cubriendo que todas estas representaciones tiempo que han dejado de ser lo que nos cuen-Como es obvio, la construccin de nuevas co- hacen evidente la riqueza que albergan mu- tan de ellos. En un mundo de homogeneizacin de com-rrespondencias y significados se multiplica chos fragmentos de subjetividad, ofreciendoportamientos culturales y estructuras arqui-a medida que nos sumergimos en la imagen, una breve muestra de cmo la idea de mapa sta es una reflexin que se complementa per- tectnicas, como plantea Marc Aug con sus teniendo como principales protagonistas la puede redefinirse a travs de nuevos medios y fectamente con la otra obra presente. Como no-lugares o Rem Koolhaas con su ciudadIndia (como forma y por el mapa de ferroca- acciones colaborativas. decamos, tambin reclama dos distancias o genrica, lo que queda es un interesante labo- rriles de la misma) y Madrid (presente como formas de acercamiento a la misma, activando ratorio donde no se desprecia el movimiento plano histrico, en fotos satelitales y con el Se ha apostado, pues, por la imagen elec- cada una de ellas procesos de reconocimiento hacia la similitud a travs de un tapiz de di-protagonismo de la red de sus trenes de cerca- trnica como el medio capaz de reflejar la diferentes. En el caso de la Transurbancia, se ferencias que pueda establecer una visin denas), pero esencialmente lo que surge en esta fugacidad de este momento, aprehendiendo hace ms evidente aquel acercamiento cenital conjunto sin perder una identidad que ahora confluencia de flujos y espacios es la metfora por un instante el discurrir indefinido de la que entroncara con sentencias como la de Mi- cobra significado en su relacin con las dems.del viaje como gran imagen. vida y el naufragio de un sujeto que busca chel de Certeau en La invencin de lo cotidiano, un discurso que plasme la experiencia de un segn la cual la mirada ha dejado de ser humana Partiendo de este contexto, la propuesta deParece coherente, al considerar la realidad universo que ya no es refugio. La metfora para ser como el ojo de Dios que todo lo ve, aho- Tete lvarez consiste en la visin que se cons-como algo fugaz y en trnsito. Aparece una del viaje se torna entonces un mecanismo ra, situados en el piso 110 del World Trade Cen- truye a travs de un cmulo de superposicio-vez ms una forma de representar acorde con idneo con el que percibir la experiencia ter, toda la ciudad se convierte en un panptico. nes donde grfica y fotografas satelitales de el anlisis que hicimos de las caractersticas contempornea, y esta exposicin vuelvegrandes ciudades del mundo se unen, siendoesenciales del momento actual, un universo a ella para reposar por un momento en un Esta mirada cenital es la que experimenta en su eje el recorrido de los trenes de cercanasque est redefiniendo continuamente las re- lugar: Madrid, en el que permanecer bajo su primera persona el visitante a Mapping Ma- de Madrid. Este collage plantea dos visiones: laciones entre colectivos e identidades, para condicin de obra abierta, susceptible a ms drid en la primera instalacin y que en la Tran- una, primera, de conjunto, que nos permitira establecer un foro donde experimentar estas miradas e interpretaciones.34 Mapping Madrid IED Madrid & PHE09 Mapping Madrid IED Madrid & PHE09 35 15. Cartographies of RealityObjectivity and Representationdocumentary photography and the consolida- Gaze, Photography and Map Historically, producing a map has not beention of what could be defined as new photo- a neutral task; it always entailed a gaze. Allgraphic behaviours, originating from artistic maps have emerged as a consequence of a practices which had little to do with the pur- Pedro Medinacertain ideology, or by following often arbi- ist use of the medium in artistic Avant-Garde trary criteria, which condition the means oftrends as is the case of Man Ray-, and, more representing the world. strikingly, in the conceptual expression of the 1960s. These disciplines took the contro- On this occasion, the design of a map isversy regarding photographys art status to linked to a specific medium: photography. another level, which had been undermining This format is as subjective as any other artis-the medium almost since its origins, given its tic language, but has generally been seen asnon-auratic nature, its susceptibility to repro- a medium capable of documenting the world duction and its alleged greater objectivity in with greater objectivity than others. In doingcomparison with other media which still enjoy so, it is never long before we come up againstthe advantages of the romantic notions that the eternal background issue regarding thesurround them. relationship between objectivity and reality. Its documentary role in capturing ephemeral These considerations are still weighed down works of art, along with conceptual expres- with diagnoses on a language which was stillsion, transformed photography into a me- emerging, as could be seen in those wonderful dium for experimentation, giving rise to new texts by Walter Benjamin in which he reflect- forms and practices, as well as the ability to ed on a way to duplicate the world, in orderreflect upon itself; it also has a role pertain- to portray it more accurately. Benjamin wenting to society and art, paving the way to grant as far as speaking of an imaginary museum,ideas the status of objects, at the same time as based on Godards claim regarding Le Carabi-it became the ideal setting for new scenogra- niers: collecting photographs is to collect thephies, although its main function continued to world. However, new artistic behaviours have be as a medium. transformed this role, and have moved on to presenting an ironic view of the world, or on toHowever, leaving aside the relevant emergence establishing the irreality of reality in words of a new art form, which had its origins in the of Kate Linker. Obviously, these new practicescrisis suffered by traditional art genres, reveal- are reflected in the clear revisions to the theme ing photography to be an ideal field for the de- of representation.velopment of the iconic potential of the image, in this exhibition it is its dimension as document The map is open; it is connectable in all of its dimensions; it is A very brief outline of what has happened or archive of reality that is most examined. detachable, reversible, and susceptible to constant modifications [] since photography became an established dis- make maps, not photographs and drawingscipline within the art system, in the mid-1980s,The proposal contained in Mapping Ma-(Gilles Deleuze and Felix Guattari, Rhizome) reveals, mainly, the artistic reividincation of drid is linked to positions which encourage36Mapping Madrid IED Madrid & PHE09 Mapping Madrid IED Madrid & PHE0937 16. processuality itself, as a representation phe- out a doubt, expand beyond the physical space And how is this produced today? Perhaps the of the accepted diagnoses of our era. If we go nomenon and as proof of those temporary ex- itself. In the face of this, one could wonder hownew media will make it possible to arrive atback in time, we could speak of Nietzsches pressions which are doomed to disappear, or are we, then, to represent this reality? that happy coincidence of map and empire asstatement in his paradigmatic Der Fall Wag- which have actually been conceived as beingBorges said in his famous story on the Art of ner, where all literary dcadence is character- in progress. It is, therefore, the essential lan-Historically, producingCartography and, as we could say, of geo-rep-ised by the condition: life no longer inhabits guage, and the instrument which documentsa map has not been aresentation and cosmovision.the whole. Thanks to Nietzsche and all his what has taken place.neutral task; it always epigones, we realise that reality has becomeThis situation should lead us to a position fragmented, that there is no central value In addition to the mechanical reproduction entailed a gaze. Allwhich prevents us from succumbing to the which lends meaning to our era, as it did, for that is inherent to photography, and which maps have emerged fascination for the expressive form, estab- example, in the Middle Ages, where the Chris- facilitates mass reception of the work and the as a consequence of lishing a minimum analysis on the world in tian God was the measure for everything, and democratisation of its production, we are now seeing new media that are better suited to in-a certain ideology, orwhich we live, in order to ask ourselves why where Gothic and Romanic styles were thedid we resort to this sort of representation? forms which lent visibility to a homogeneous teraction and to the creation of group pieces, by following oftenIs it necessary in order to speak about the and univocal relationship with the world. in which participation is the most natural ele-arbitrary criteria,whichexperience of our time? It would seem con- ment in our transformation from viewers into condition the means ofsistent with the times we live in to distance On the other hand, starting from the analysis users, which lends the process an enriching sense of polyperspectivism. In this way, therepresenting the world ourselves from attitudes which adopt the au- of the city as the most important way of tracingthoritarianism professed by those who believe life according to Georg Simmels arguments idea of reproducible images acquires a greater Jean Baudrillard took cartography as his start- in a single truth, and instead think about a it is worth noting an author such as Marshall dimension, whilst, simultaneously, the sense ing point, seeing it as a paradigm of lost refer- fluid world, where everything becomes pos- Berman who stated that all that is solid melts of ownership toward the work is increased in entiality, even going as far as to claim, in Cul- sibility instead of necessity.into air; therefore, there are no certainties a way which has more to do with taking part in ture and Simulacrum, that territory no longeror reference points which we can safely hold the process and the emotion it activates, than precedes, nor survives, the map. Henceforth It was not long before words such as global, onto. Consequently, life has increased in un- with the physical possession of the work.it will be the map that precedes territory the technified, accelerated, unjust, where nothing certainty, but also in possibility.precision of simulacra and that engenders it. stays the same, lacking in values, etc. entered On the other hand, we find that the map is an- everyday language, although they can be sum- The proposal contained other format which is seen, naively, as some-In this respect, it is worth remembering themarised by the idea of a world defined through in Mapping Madrid is thing objective, but which as is stated at theclarifications made by Andr Corboz in Theplanetary communication which, rather than beginning of this text, and, above all, in Pablo Territory as Palimpsest when he comparedlacking values, is building new ones (sustain- linked to positions which Jarautas Why a Map? it is worth observing as two ways of relating to territory (the contem-ability, equality between the sexes and the rac- encourage processuality just another way of telling a story and reveal-plation of landscape and the map): The map es, etc.), and, above all, a world which has beenitself, as a representation ing different views of the world.is differentiated from the territory precisely by taken over by trends, i.e., where no conviction, phenomenon and asmeans of acts of selection. As a creative prac- institution or product can be around forever, Leaving aside the Pablo Jarautas narrative, tice the map does not reproduce, and insteadin what is a sort of kingdom of the ephemeral. proof of those temporary I would like to contribute a couple of notes,discovers realities which were previously in-expressions which are mainly to establish the maps connection withvisible or unimaginable [] The constructionThis first view of the universe around us does doomed to disappear the realm of the city, a context where relation- of maps unleashes potentials; it rebuilds the not have any value as proof, as it is not suffi- ships are constructed and where ways of living territory again and again, with new and differ- ciently measured against any other evidence, In order not to expand too much on this point, are accumulated, but which today must, with- ent consequences each time.but it does seem to coincide with a great many I will conclude with the words of Zygmunt38 Mapping Madrid IED Madrid & PHE09 Mapping Madrid IED Madrid & PHE09 39 17. Bauman, who stated, with excellent timing, that define the project, in order to discover the with the aim of finding a new way of creating The next step was to turn this website into that we inhabit a world defined by a liquid group of ideas to which they refer, determining a map, in which the action of the participantsan installation at the Palacio de Altamira, modernity. In his works he has labelled the whether or not language and era are matched is more important than supposedly objective following the premise that visitors should current space a society of uncertainty, wherewith regards to what should be their ultimate approaches, in an interpretation of photogra- be made to feel as part of the work, not just everything is liquid, inconsistent, evanes-purpose: to provide a space to be inhabited.phy as a privileged and democratic medium,mere spectators. The installation, produced cent, and where there is no longer time forcapable of bringing us closer to our reality. along with Jarl Einar Ottestad and Anders conditions of life and action to become estab- Returning to language, we could resort to a In addition, the idea of being adrift becomes Restad, consists of an azimuthal projection of lished; precariousness, ultimately, is the signterm recently used by Juan A. lvarez Reyes inmore relevant, as a concept for the transitionMadrid, on which the places that have been of our time. In the face of this reality, Bauman reference to an exhibition on contemporary an-between the physical geography of the cityphotographed are highlighted. Visitors inter- advocates a global public space in which toimation. The term is phantasmagoria, whichand an interior and inter-subjective topology,act with this projection, as if they had been analyse the problems that affect us all, drivenwas the title of the first piece of animation inwith the aim of opening the way to new cre- transformed into human computer mice, ac- by a sense of planetary responsibility.the history of cinema, produced in 1908 by Emil ative spaces. tivating the map of Madrid to delve deeperCohl who was probably inspired by the fantas-into the city and to discover the photographs We face the need to magore tienne Gaspar Robertson. Optical illu-The original idea for the project, as well as submitted to the website. In this way, viewersuntangle the confusing sions had become a spectacle in a Paris whose its development, comes from Javier Maseda, do not feel as though they are seeing an ex-modern origins were described by Benjamin who suggested the creation of a map of PHo- hibition, something outside their realm, and mass of facts whosethrough the suggestive lights of the metropolis,toEspaa and Madrid by means of citizen par- instead have a sense that they belong to the increasing complexityits landscapes, its flneurs, the press, the advent ticipation, through a website headed: Send us show, in a way which reflects the websites demands a range of of photography, etc. In other words, its phan- your view of PHotoEspaa 2009. He wanted collaborative spirit. narratives which willtasmagoria as Benjamin called them, whichto give rise to a reflection on the event and theconcentrated the collective imagination of thecity which hosts this widespread exhibition. In lend visibility to the second half of the 19th century.this way, at www.mappingmadrid.com, a site Mapping Madrid was swift metamorphosesdeveloped by Blogestudio, a collective stage conceived with the of our timeNow, the same as before, we face the need to was gradually built, using the photographs aim of finding a new untangle the confusing mass of facts whose submitted by the participants. All the snap- way of creating a map, The reconstruction of this history allows us to increasing complexity demands a range of shots had to be geo-located, i.e., the users who rethink a series of concepts, one of which, the narratives which will lend visibility to the swift contributed to the website had to upload their in which the action notion of inhabiting, is particularly impor- metamorphoses of our time. In this way, wephotographs, accompanied by the address of of the participants tant in this context. It refers to the conditions could consider the (photographic) image to bethe place where they were taken. is more important in which daily life takes place, and to the col- defined not by its permanence but by its naturethan supposedly lective action constructed simultaneously by a as an element undergoing constant transfor- The result is a visible, online map which shows variety of citizens. It is no longer possible to mation, keeping in mind the superposition ofdifferent perspectives on a single space, turn- objective approaches, aspire to harmonious inhabiting, but it is pos- perspectives and approaches, in order to ask ing Madrid into a collage of images and ac-in an interpretation sible that the confluence of opinions will help ourselves whether this medium is capable oftions. Its main characteristic, however, is theof photography as us find a new desirability in the world, driven configuring a different view of our surroundings.relationship established between the gazea privileged and by curiosity.and the photographed space, constructed byMapping Madridmeans of a project which stands out for its col- democratic medium, This is the present situation, and, therefore, it What does it mean, then, to represent thelaborative nature, and, therefore, for what is capable of bringing us is necessary to deal with the network of forms world today? Mapping Madrid was conceived ultimately a collective authorship.closer to our reality40 Mapping Madrid IED Madrid & PHE09 Mapping Madrid IED Madrid & PHE0941 18. In the same way, the visualisation of the pho- online communicational theories of Manuel collaboration, ranging from the theories pos- were an old tapestry which fits the space per- tographic pieces against the map is roundedCastells to that return to the notion of citizen- tulated by Toni Negri, to others focusing onfectly, but under closer scrutiny seems to re- off by another projection. Here, it is pos-ship, although it is now seen from the perspec- the market aspects of artworks, such as those veal a new reality: all of the elements become sible to contemplate the photographs withtive of cyberspace, which, ultimately, is an uni- by the Swedish group Pirate Bay, as well as liquid, in a way which is reminiscent of those a greater sense of immediacy, by means of aversalised meta-urban realm, as postulated by those which deal with the communicative and shallow water surfaces we see on Google Earth. gallery which has sought to promote the idea Paul Virilio. poiesis elements of art, with classic exponents of a journey when selecting the photographssuch as Kant, Habermas and Danto and theirAt this point, terms such as azimuthal perspec- from the website.This combination of cartography and physi-concept of the art world. tive, urban planimetry, fragment and labilitycal representation of the images generated by begin to come together, given that the start- The very dynamics ofusers-photographers is also open to interven- However, beyond this dimension aimed at art ing point as in Transurbancia in this project the exhibition creates a tion by the spectator-user, generating an ex- practices, Mapping Madrid has gone one step are satellite images and the processes which sense of belonging to achange flow with which to understand the wayfurther in the field of representation and the transform them, in this case, into a dense liq-new media functions when combined with theidea of the construction of a map. This is due uid that dilutes not only the photo but also the collective work, with theperception of a landscape which belongs toto the last part of the exhibition held at the historic centre of Madrid. spectator-user creatingus, given that we built it and we are the onesGabinete de Exposiciones of the Palacio de and activating the show, living in it. Altamira, which consists of three fragments Density and fluidity constructing a personalfrom the liquid city of Madrid and the piecemake it possible to Some of these considerations were presentTransurbancia, produced by Tete lvarez, and shared map in which at a series of lectures that took place last which is made up of a number of fragments oftake the map as a we can contemplateMay, shortly before the inauguration of Map- cities which have the ability to build a new nar- cartographic basis from different views of Madrid ping Madrid, entitled The Hybrid City, which rative on the map and on global reality.which to initiate an and PHotoEspaabrought together several experts, led by Josexploration of the city, Luis de Vicente, to reflect on urban visualisa- The connection between place and photog- The result is as expected: the very dynamics of tion and collaborative mapping. As de Vicen-raphy is a recurring element in the work by an itinerary in which the exhibition creates a sense of belonging to te points out, we have seen the emergence of a collective work, with the spectator-user cre- the real-time city, where citizens modify theirTete lvarez, as can be seen in pieces suchas Confines [Borders] or Desterritorios [Un-the act of getting lost ating and activating the show, constructing behaviour patterns as they go, and where the territories]. In this case, the pieces shownbecomes a new way of a personal and shared map in which we can function and meaning of places are constant- under the generic title of Ciudades lquidas. returning to contemplate different views of Madrid and ly being reconfigured. He could almost be PHotoEspaa, which are generally far from speaking about the exhibition we are examin-Madrid [Liquid Cities. Madrid] lend the mapa dimension which envelops the viewer. Thisthe unknown the usual institutionalised images, displaying ing here, as some of the lecture contents werefragmenting and change in scale comes fromAccording to Tete lvarez, Density and fluid- a very attractive sense of freshness. in fact collaborative mapping (the subjectivea Madrid street map from the 1950s, which can ity make it possible to take the map as a carto- city represented by its citizens) and gover- be seen in its entirety on the top left corner ofgraphic basis from which to initiate an explora- In this way, the show interweaves concepts nance 2.0 (collaborative democracy and digi-Transurbancia, on display in the same room. tion of the city, an itinerary in which the act of such as the city, the map and the gaze, an ap- tal technologies).getting lost becomes a new way of returning to proach whose significance can be observedThe first outstanding element of these works the unknown. However, this metamorphosis of throughout history, and which continues to We could undoubtedly obtain many conclu-is their majesty, which, however, is somewhat the map into something liquid is directly linked be highly relevant today, as proven by a large sions from this with regard to the currentfamiliar. The contours of the maps are still to the diagnoses of our time, like that metaphor part of current theoretical practices, from the political systems and the need for citizen recognisable and cover the walls as if they of the contemporary world popularised by Zyg-42 Mapping Madrid IED Madrid & PHE09 Mapping Madrid IED Madrid & PHE0943 19. munt Bauman, mentioned above; this relation- reach the first installation, and which, in Trans- hand, allowing us to see the Indian peninsulaence these transformations and discuss them ship is established not only in a literal sense, urbancia, becomes a melting pot of satellite surrounded by water, and, on the other hand, a from a range of points of view. particularly thanks to those who share that pre- photographs which configure a more com-much more approachable perspective, which vailing sense of uncertainty and fleetingness. plex image. As Tete lvarez explains, The triggers recognition processes and new ways This opens up a whole gamut of possibilitiesazimuthal gaze is not a trying to dominate of understanding a space which is now seen as for what could be described as migratory As the author himself confesses, the metaphor the space, and is instead circumscribed to a connected to other realities. aesthetics or those centred on the idea of of flowing and liquid defines todays urban ex- symbolic realm. Transurbance is the methodthe journey, precisely because contemporary perience, to the extent that it is undermining proposed by Stalker (an urban research collec- We can recognise the regular planimetries of man is the ultimate traveller; a rootless, fate- all of the citys resources, causing the very idea tive) to cross, travel through and map the ter-European cities next to the diffuse urban maze less, individual, doomed to wandering the of the metropolis to fall apart and be replaced rain vague. The aim is to map an(other) urbanof other large non-rationalised metropolis, world in search of certainties which cannot by population nuclei characterised by varying configuration built on the basis of what Man- which have been taken over by a more natural be attained. Perhaps all we can do is adopt degrees of shapelessness. The most interest- uel Castells terms a new spatial logic based and chaotic expansion. Different scales and the form of transit which offers unpredict- ing thing about this process toward the liquid on information flows, in the face of the logic eras are intertwined, and we can identify the ability, the dispersion of paths, the asymme- is that it is even affecting old cities. While the of social organisation, which is deeply rooted Vatican, Caracas and Madrid, among many try of all journeys and the mixing of customs memory of places is increasingly fixed thanks in the history of places and local territories. A other places, but it is most meaningful when and languages. to the tourism phenomenon, the reality of these new cartography would allow us to launch ait combines unexpected, or somewhat familiar, places is being diluted at a frenzied pace. This new process, conceived as an uninterruptedelements, as happens when a real river and a All in all, we hope that Mapping Madrid has has given rise to a new form of tourism-nostal- way of going though a range of environments, motorway come across the graphics showing contributed to the reflection on the language gia which visits only the memory of historic which would also help move us from one place the Madrid short-distance trains. chosen to narrate this reality, discovering that places. We say only the memory because, in to another, thanks to a variety of flows.these representations reveal the richness con- fact, these places never existed, or, at the very As one would expect, the construction of new tained in many fragments of subjectivity, and least, it has been a long time since they were In a world in which cultural behaviours andconnections and meanings is multiplied as offering a brief example of how the idea of the what we are told about them.architectural structures are becoming ho-we delve deeper into the image, focusing on map can be redefined through the new mediamogenised, as described by Marc Aug withIndia (as a shape, and as a consequence of its and collaborative actions. This reflection is perfectly complemented with his non-places, and by Rem Koolhaas with railway map) and Madrid (which appears as the present piece. As we mentioned above, it his generic city, what is left is an interesting a historic map, through satellite photos and Therefore, we have chosen the electronic also demands two approaches, each of which laboratory which does not reject a trend towardits short-distance railway network). However, image as the format which is best suited to activates different recognition processes. In similarity by means of a tapestry of differenc- the main result of this confluence of flows reflecting the fleetingness of that moment, the case of Transurbancia, we can clearly es which may offer a full view, without losingand spaces is a metaphor of the journey as capturing for an instant the undefined flow- observe the azimuthal view, which is linked that sense of identity that acquires meaninga huge image. ing of life and the way individuals who seek to theories such as that of Michel de Certeau through its relationship with others. a discourse that expresses the experience of in The Invention of the Quotidian, accordingThis would seem consistent, when consider- a universe which is no longer a shelter are to which the gaze has stopped being human, Starting from this context, Tete lvarezs pro-ing reality as something fleeting and in tran- cast adrift. The metaphor of the journey thus to become that of an all-seeing god, now that, posal consists of a vision constructed by meanssit. A form of representation emerges once becomes an ideal mechanism with which to from the 110th floor of the World Trade Center, of a cumulus of superpositions where graphicagain, in accordance with our analysis of the perceive the contemporary experience, and the whole city becomes a panoptic. elements and satellite images of large cities areessential characteristics of the current mo- this exhibition returns to it in order to rest forjoined together, revolving around the routes ofment, a universe which is constantly redefin- a moment in a setting, Madrid, where it can This azimuthal gaze is experienced first-hand short-distance trains in Madrid. This collage ing collective relationships and identities, in remain open and susceptible to new views by visitors of Mapping Madrid when they presents two views: a general one on the oneorder to establish a forum in which to experi- and interpretations.44Mapping Madrid IED Madrid & PHE09 Mapping Madrid IED Madrid & PHE0945 20. 1. Monumento al plan E 3. Hoch oben Piero Reggio Raquel Garca 2. Bolas 4. No ve Pablo Rivero SerradorJavier Ramos 21. Ciudad lquida. Madrid Tete lvarez 22. Transurbancia Tete lvarez 23. mappingmadrid.com Javier Maseda 24. Lat. 40 25 12 Homenaje a Muntadas 9,2 Long. -3 41 32Javier Ramos84 votos Richter en la Gran Va Lat. 40 23 599Long. -3 42 11 Empire 1964 69 votos 25. Lat. 40 25 02 Niebla en Madrid 9Long. -3 42 52 Runa Leo 88 votos 26. Lat. 40 25 004 Deriva 9Long. -3 42 11 Empire 1964 62 votosLat. 40 25 05David Claerbout 9Long. -3 41 47 Endika Portillo Berasaluce56 votos 27. Lat. 40 23 59 Nocturno 9Long. -3 41 31 Javier Ramos 54 votos 28. Lat. 40 25 07 La vaca real 8,8 Long. -3 42 47Runa Leo 75 votos Lat. 40 25 00Luces nocturnas 8,8 Long. -3 42 11Paola Palomo Bojorges62 votos 29. Lat. 40 24 44Juego 8,8 Long. -3 41 31 Javier Ramos 58 votos 30. Lat. 40 25 05 Sndwich arquiectnico II 8,8 Long. -3 41 47Raquel Garca 55 votos Lat. 41 24 36Aos 70 8,8 Long. -3 42 45 Piero Reggio 54 votos 31. Lat. 40 14 53 Resiliencia 8,8 Long. -3 37 33 Javier Snchez Navarro52 votos 32. Lat. 40 12 56Quebranto I 8,8 Long. -3 40 49 Raquel Garca 49 votosLat. 40 25 07Guardin del Crculo 8,8 Long. -3 41 47Pablo Rivero Serrador42 votos 33. Lat. 40 35 12Formato vertical 8,8 Long. -3 43 02 Roco Martn Ruiz-Jarabo35 votos 34. Lat. 40 26 03Sonre 8,8 Long. -3 42 44 Sonia Pueche Gmez 31 votosLat. 40 27 02 Jugando en amarillo 2 8,6 Long. -3 43 45Pablo Rivero Serrador 34 votos 35. Lat. 40 24 04 Libros que vuelan 8,8 Long. -3 40 46 Elena Velasco Sampedro 26 votos 36. Lat. 40 27 02 Paseo de verano 8,6 Long. -3 43 45 Paola Palomo Bojorges 25 votos Lat. 40 27 02 Arauna 8,6 Long. -3 43 45 Pablo Rivero Serrador 25 votos 37. Lat. 40 25 09 Phe 09 8,4 Long. -3 41 43 Javier Snchez Navarro89 votos 38. Lat. 40 29 17Lat. 40 26 02 Despus del PHotomaratn 8,4 Long. -3 53 27Javier Gonzlez Gonzlez59 votosLibros PHE 8,4 Long. -3 43 41Javier Ramos 25 votos 39. Palacio de Altamira Calle Flor Alta, 8 28004 Madrid Telf. +34 91 448 04 44 info@madrid.ied.es iedmadrid.com