Catalogue (En)

ISBN_ 978-84-697-8799-1

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  1. transportArte. Question | Answer_ Sylvia Molina
  2. TWO FOOTPRINTS. Marks of residence and travel traces_Javier Osona
  3. TRAJECTORY of a Desire. TRAJECTORY of a museum_ Lola Serna
  4. The box (and how to not die trying to repack it)_Guillermo Navarro
  5. TRAVEL BOOK_ Fátima Zohra
  6. MUSEUM THAT TRAVELS. From the web to the networks_ Daniel del Saz
  7. ROBOTIC BODY_ Joaquín Díaz
  8. ARTESONÍA CORPORAL: Panspermia Electroacústica Propiocepción_Un concierto Panspérmico_ Julio Sanz Vázquez


transportArte. Question | Answer

I open the doc, i have to do it. The ideas do not exist until they are written. Well, let’s get to it.
It has to be something dynamic, open, alive. It has to travel. Like the flanêur. Through time and space. But in a physical way. Yes. Correct. Travel is the key. The other – Art.
—How should i call it?–i say to myself
—¡transportArte! –i respond
A play with words. Many concepts in its semantic. I enter the web. I search for a box and a stencil style typography. There it is.
The way to create the name, propose a logo and even the template to explain the concept are born naturally, without thinking, without elucidating what it would be. The idea was on the surface. Wishing to be born. Waiting for a moment, an instant, a dare.
– I can send it now. It is done. Now to see what the rest think, will they understand the proposal? Will they dare to create the model put forward? To the questions as constructors of answers?

Maturana said that in the nature of the question is the nature of the answer. We find ourselves with unanswered questions year after year. Maybe it’s because we have not properly clarified the nature of the question. Maybe the question was not right. This year the question, in response, is ‘transportArte’.
Work groups are formed. Ideas are debated. It self-manages a project whose content and dimensions are elastic and dynamic. The museum is a box, adaptable, open, which evolves in the proposal’s own genetics. Small ingredients are drawing the idea, are building the project.
The museum is taking shape, size and shipping place. The teams begin to work in parallel. Web, networks, design, packaging… are merged with ideas, contents, proposals… ‘transportArte’ is drawn in space and sets a date of departure. The timeline is no longer elastic. The box is no longer of any random dimension. The catalogue is like a postcard. The texts almost like tweets…
The project is escalating, drawing, shaping itself. The answer to the question, indeed, was in its very nature.
A complex system that is built in the debate, in Teaching with capital letters, the economic ,,ninguneo’’ with which we open the doors. Everything grows rhizomatically. I realize that it looks like a cake with yeast without mold. That expands in all dimensions. ‘transportArte’ walks and advances. There is no turning back.

The concert-performance sets the date of departure. The workshop of Panspermia (*) faces a new sense. Propioception. It would have been better to go according to our taste and not complicate ourselves. But that’s how we work. Ideas achieve more than certainties. The desire is stronger than the overflow of work beyond the classroom and schedules.

transportArte becomes part of us and we will know where it is even if we cannot see it.




TWO FOOTPRINTS. Marks of residence and travel traces. Javier Osona

When we talk about a footmark, we usually leave their meaning reduced to the mark of the footprint or of the hands, but in the instant in which this one also takes place, our shoe wears out, it modifies and it carries some dust, equally as our hands carry some grease on them, and we forget the other side of the mark as a sign or trace that leaves a thing or an event in us. We leave something and at the same time, we take something.

The road and its route, what is left behind and what happens at that moment, the place of the encounter between walker and the space travelled. There are two types of footprints, the one left by the passer-by on the road while moving, but also the footprint left by the place, the space it occupies, in the traveller. Positive and negative in unison, without being able to decipher who is who.

Two very different footprints. The footprint that records the stay of a body in a place when moving, the trace, the vestige left, the memory of the trip and of the traveled. And the trace as a modifier of the traveler’s state, and what happens at the moment of the intervention of the place on this subject. They feed each other, the one is not possible without the other, and in their present coexist.

From here is born ‘transportArte’, its two tracks, one in physical travel on the road, its wake and its traceability, and the other inside the box-museum that is modified by leaving its signal to those who attend its opening and exhibition, and in its interaction they modify and move it to another “place”.

Update of the 21st century traveler model of two hundred years, for whom the important thing was not destination, to arrive more or less urgent, but the path itself without time, their experiences, the footsteps in their transit and the trail in which he left the trip.

In his stages, ‘transportArte’ receives new traces, he also leaves others, it is closed again and it is released with festivities, it’s welcomed in its new destination, it’s celebrated, it’s opened … becomes a recipient of new footprints and restarts its internal transit, and closes … and begins its new transit around the world.

And in his new stay, in his new place of destination, not only will it modify its location, but it will also be able to modify its what, its how, its why … and even its who, and it changes by the footprints of other passers-by in its particular destination, in ‘transportArte’.

Everything here is imprint, footprints of stay and travel traces.



TRAJECTORY of a Desire. TRAJECTORY of a museum_ Lola Serna

Dandelions (Taraxacum Officinale) collected with the need of the illusory, of what may or may not happen. Small gesture of safeguard them from the capricious wind by giving them to stay a little longer than the time imposed by nature.

Scattered on the edge of a vacant lot among grasslands, I pardon them of the fragmentation and oblivion. Go back to childhood and make a wish, imagine that it will be granted.

And what is the desire more than an intense movement of the will toward the attainment of anything. Diorama that confronts me with a number of reflections on them.

How many types of wishes there are? There are liquids, blurred, forgotten, frustrated, achieved; intimate or collective desires that take us to an unknown journey, to a crossing of lines and invisible spaces where everything is possible. We are desiring beings, there is something atavistic in it that creates that need for change, because in the same action of desire, the action of changing is implicit. And it’s in the fragility, in the mutability or the uncertainty of them where we recognize ourselves sometimes, or we despise many others.

In this imaginary and emotional journey a new desire appears, a project that must travel, create, and above all thrill like a small dandelion.

It is the creation and production Collective of a Portable Museum, open space, alive and restless, where the works exhibited as small tesserae will become stories.

Transit by different routes, borders invisible and imaginary where to move freely, or more earthly and difficult to cross; barren or fertile spaces where anything can happen.

Dimension and content play with the present, but more with the future, that random future, of unique encounters that will mark the travel of it. Wandering walk among instructions that invite you to relate to this little portable museum, so different from the traditional museum, where control, dependence, compliance, and the implicit power is diluted here, in a small wooden box, where freedom and creation will produce an unpredictable result.

What will happen in time in this imaginary and ductile space is difficult to predict. I just have to blow this little dandelion-portable museum, and let it fly, convinced that this desire will be fulfilled.



The box (and how to not die trying to repack it)_Guillermo Navarro

I joined transportArte with the intention of collaborating in the fact of wrapping in a box the creation of several and heterogeneous authors. My first reaction, almost physical, was panic.
To build a box that will house materials of diverse nature and that -in addition- travel, should scare any moderately prudent individual. Even so, we decided to put “hands on the works” and plan a box that served not only to transport the pieces but also to facilitate its exhibition. Contradictory or complementary ideas such as museum / mausoleum, box / confinement, instructions / clarity, language / incommunication, icons / understanding, order / freedom, message / bottle, origin / destination, sender / recipient … reappeared facing concepts -more prosaic and almost inferior- like time, quality or cost. So, the idea, almost antithetical, of a Cabinet of the Wonders traveler emerged, as well as that of a light bureau and that of a Rubicks cube unfolding, that of a distribution diagram on the surface of the development.
Now, think and produce a packaging that serves as a container (safe and robust for intercontinental transport) and organizer and that, in addition, when deployed be converted into the map / diagram on which to distribute the pieces that house what will turn it into an exhibition hall proportional to its content is not an easy task. Thanks to teamwork, coordination and the synergies generated among all the participants it has been possible to obtain a proposal that meets the objectives of the same and, in addition, it is tremendously functional.
The box / museum / exhibition hall has gone through different stages, from a combination of standardized cardboard packaging, compatible with the available budget and with the information screen-printed, to the wooden box drop-down produced by the team, complemented by cardboard packaging / containers with the graphic information of packaging instructions and exposure expressed through the use of templates.

The whole process that implies, in my opinion, is the most fascinating of all this combine a project with planning and intellectual work, not only instrumentally but, also, at a conceptual level and a technical work of realization of all the artifact that does nothing more but reflect one of the characteristic features of the human being, creativity.

That which makes us homo faber.



TRAVEL BOOK_ Fátima Zohra

Traveling is very useful, it makes the imagination work. The rest they are nothing but disappointments and fatigue. Our trip is entirely imaginary. That’s what your strength owes. Goes from life to death. Men, animals, cities and things, everything is imagined. It’s a novel, a simple fictional story. Littré says it, it’s never mistaken. And, in addition, that everyone can do the same. Just close your eyes. It is on the other side of life.”

Louis-Ferdinand Céline

Just close your eyes. Enough for yourself. But life, a great journey, is to be shared. What is the use of closing our eyes and rejoicing in imaginary worlds that no one will ever see, to enjoy? What is the use of looking, reflecting, experimenting, breathing, if we are not going to leave a mark on the road, a minimum presence that we have understood something?

Walker there is no way…

The travel notebook as a useful presence, as a means to express the secondary newspapers that do not want to stay unnoticed. The mixture of the word and the image to be understood by whom I want to understand.

Give me a point of support and I will move the world, said Archimedes, we say: give us a notebook and a pencil and we will tell (in) the world. We will tell what we have seen, what we have lived and what we imagine, because not everything that exists is the only thing we can describe. Opening and immersing yourself in a travel notebook is entering a personal world that creates new doors of understanding that help us to know what is around us, a subjective analysis of life that offers and creates new worlds from the one we share together with unique experiences, generating new ways of understanding, helping to leave your navel a little aside for enter, as if a black hole that absorbed us was, in the case of others: individuals universes that will end up being ours too.

Walker there is no way…

The travel notebooks are able to create awareness, not only when we read one, but when we create it, afterwards we train from an observation and analytical expression of the path that we follow, defines us as wandering individuals, air scientists who not only breathe, they also taste.

We offer a great table in transportArte, with our small delicacies, that will travel with the idea of being tasted and to join new delicacies to create little by little, destiny to destiny, La grande Bouffe de experiences, because …

It is done by walking.



MUSEUM THAT TRAVELS. From the web to the networks_ Daniel del Saz

It was the year 1972 when, on this side of the Atlantic, Gilles Deleuze and Félix Guattari began to develop, in their project Capitalism and Schizophrenia, the philosophical concept of “Rhizome”. A “thought image” that would apprehend the multiplicities of its botanical counterpart. Thus, according to the authors, it would be a epistemological model in which, similar to its botanical counterpart, the organization of its elements would not follow a hierarchical subordination like that of trees —in which the trunk, which gives rise to the branches, would be the element of higher hierarchical level— conversely, in the absence of a center, would be opposed to this (Porfirio’s) tree model eliminating completely that hierarchical nature and making it of particular interest for the contemporary science, society, semiotics and communication’s theory.

It was the year 1969 when, this time on the other side of the Atlantic, the first message was transmitted through ARPANET – the precursor network of Internet – whose conceptual origins go back to the beginning of that decade. Too many actors and acts involved in its conception and its implementation as to be able to mention them to everybody. So we will focus on just one, Paul Baran who, since the end of the previous decade, worked in a secure communications network – for military purposes – that would be able to survive an attack with nuclear weapons. Two were the key ideas of that network: the use of a network decentralized with multiple paths between two points and the division of the complete messages transmitted in fragments that would follow different paths. In other words, a rizoma.

Would Deleuze and Guattari know ARPANET? Did the concept of rhizome contribute to ARPANET? It is not the first time we can ask ourselves something like that, would Mark Weisser know Paul Valéry’s work when theorized on ubiquitous computing?

It was the year 2018 when, again on this side of the Atlantic, ‘transportArte’ began its journey. In their origin and development intervened actors from both sciences and arts and humanities. Actors who knew the work of Baran and Deleuzze and Guattari; of Valéry and Weisser. Known to them was the origin of this trip, unknown its end. They knew that, on their trip, ‘transportArte’ probably wouldn’t do more than increasing its distance from them but also that, thanks to a rhizome, it will always stay by their side.



ROBOTIC BODY_ Joaquín Díaz

I have always conceived of people and myself as incomplete beings who, during their lifetimes, are seeking for “something” in experiences, illnesses, knowledge and art that is unknown because it hasn’t been experienced yet, but still feels necessary. Sometimes we come across someone and then we realize that there are things among their passions we like but we were unaware of. As life flows and things and people always seem to leave, there is something bound to these people and things that remain integrated into us which turns them into something personal.

Think about a videogame robot: our little hero will face a lot of threats and also meet other mechanical and organic friends to undertake its mission and save someone, to reach a better place, or restore the world’s order when it is about to collapse. To achieve this goal it needs to find parts of itself along the way and, once it has evolved, it finally completes the mission.

In this way I think about transPort:Arte(); as this robot that is expected to go around the world and when it reaches you, artists-people from different latitudes, it completes itself conceptually and materially.

A robot is made up of some sensors, some actuators and a computer. We can classify its sensors as external and internal. The external ones allow it to receive information from the world as distances, images and sounds, while the internal ones, as the proprioception in animals, allow it to know the state of its mechanisms as temperature, battery level and amount of processed data. Therefore, the robot understands if it needs to charge, to turn on the fans or disconnect. Rosalind W. Picard in her book Affective Computing explores the idea of the existence of a sensible computer and she asks, “What kind of sensations will be important for it?”

A robot that feels and becomes attached to life is a classic sci-fi topic, but these robots, more than exploring the possibility of artificial life, they reflect that part of our societies that is losing its humanity.

As I mentioned before, I conceive the human mind as an incomplete entity, with bugs which sometimes lead us to the edges of survival.
The possibility of a conscious artificial life would probably interfere with the sound waves of our existence and provoke a drift to a different direction, which we hope to be better than that which looms ahead.

To reach that experience which we are still looking for, we send trasnPort:Arte(); to the world and to you in order to receive it and to hang onto what moves you and to leave new notes for those who come.

At the end of this journey, we hope to receive this robotic body that left searching for completion, not necessarily in one piece, but complete.



ArteSonía Corporal: Panspermia Electroacústica Propiocepción_A Panspermic concert_ Julio Sanz Vázquez

Panspermicos, or similar, dormant as a seed lost in the universe hoping to find a place with suitable conditions to develop a group of young… eager artists to show their creations to the world…

After making the “Proprioception Panspermica electroacoustics”(*) workshop with the composer Julio Sanz Vazquez and the students of the teacher Sylvia Molina at the Faculty of BB. AA of the UCLM, we uncovered the art of working the sounds emerging from our own body and combining them into a “micro-composition”.

With the result of these “micro-compositions”, we made a Collective Musical Composition, working by hand with the sounds generated consciously or not by our body.

Awakening the consciousness of the bodily sounds through the sense of Propioception.

The emerging music from the subject and that sense that allows us to know every part of our body without the need to see it or feel which also regulates the direction and range of our movements, besides allowing reactions and automatic responses.

Using recording techniques and the electroacoustic processing Based on the series “ArteSonías” by the composer Julio Sanz Vázquez, we develop a series of musical compositions that will be part of the portable museum and concert-performance for shipment.

(*) See Panspermia Sonora:


Translate: Alzbeta Mandúchová