# mediation





javier martín | artes del movimiento
#mediation, #management #production

Since 2016, I have worked and collaborated regularly with choreographer Javier Martín in the production and artistic accompaniment of his pieces. 

As artist manager and production manager, I am in charge of ongoing tasks such as general assistance for new artistic and choreographic projects, fixing and coordinating schedules, liaising with collaborators, developing strategic plans for internationalisation, supporting national and international distribution for tours, liaising with programmers, accompanying the artist during residencies as an outside observer, acting as tour manager and producer during the shows, attending fairs and festivals in representation of artistic projects, supervising production and economic-financial management of the structure and projects, developing and drafting projects for grants or collaborations, collaborative drafting of dossiers, press releases or dissemination materials, etc. 

Through artistic accompaniment and mediation, I also collaborate on specific projects or productions:



Web > javier martín artes del movimiento




Cuerpo de valores (2021)
#mediation, #management
A project by TenerifeLAV
Curator, mediation, coordination
Javier Cuevas
Mediation, coordination
Sabela Mendoza
Guests & participants
Alina Ruiz Folini (Artista y curadora), Amalia Fernández (Creadora y coreógrafa), Javier Cuevas (Curador del proyecto, artista y comisario en proyectos de artes vivas), Juan Domínguez Rojo (Artista y comisario), Lola Barrena (Historiadora del arte y gestora cultural), Sabela Mendoza (Abogada, productora y artista), Santiago Alba Rico (Filósofo y escritor) y Yolanda Peralta (Comisaria, docente e investigadora).

Cuerpo de valores (Body of Values) is a research and dissemination project about ethics in the (public) management of the (living) arts that brings together a constellation of relevant questions that need to be addressed by curatorship, management, law, philosophy, and artistic practice, especially in these times of great upheavals that are also affecting the art world.


At what point did the management of art — the one carried out by public institutions — abandon ethical principles in its relationship with citizens and artists?


Are ethical values replaceable by administrative procedures to legitimise these relationships?


What are the philosophical, legal, moral, economic, and artistic consequences of the absence or relaxation of ethics — beyond good and bad praxis — in the articulation of our existence as creative bodies?


Is it possible to create a body of values to foreground ethics on which to reconstruct fundamental rights and care, which are stable, attentive, responsive, and autonomous in the face of political cycles and interests?


In recent years, we have witnessed a constant parade of projects, artistic directions, calls for proposals, programmes, and legal and administrative procedures in the public management of art and artists’ work. Spaces for creation, festivals, art centres and programmes for exhibition, research, production, creation, mediation, education, etc. … All these, present in our territory, respond in very disparate ways, generating practices (ethics) and rules (law) that are banal, alienating, clientelistic, frustrating and bureaucratic. Far from the sensitive, desiring, and vulnerable matter from which we construct artistic practice. Fixed in the collective as a necessary, accepted, unquestionable and even irrelevant evil that, in the most flagrant cases, points to the public institution of culture as a colonial-racialising-capitalistic extracting machine (Suely Rolnik).


In Rolnik’s own words, in the specific field of the arts […] the focus is now less on the works of art and their challenge to problematise the art system itself, shifting to the following questions: how to resist the stripping of the power of creation in art, its micro-political power? […] How can artistic strategies intervene in social life, establishing spaces for processes of experimentation, their proliferation, and their evolution? And more radically, how can we help to liberate the power of creation from its confinement in art? To which we add “from its confinement in the institution and in the absence of ethics in the public management of culture?”


Cuerpo de valores proposes an intense process of research, encounter, action, creation, and reflection on a horizon of questioning the shared values we need to overcome the problem (Donna J. Haraway). From this process, we aim to reverse resistant and tangential narratives of abuse, neglect and precariousness of art and artists’ work; highlighting the paradoxical condition of ethics and law, their semantic-symbolic disputes, and their potential for regenerating an ecosystem that allows us to define and address (also from the body and artistic practice) the tension between the maximum ideal and the minimum limit.


A project developed on a virtual and physical plane, during a time of reflection and writing and a time of exhibition, action, and openness, under a curatorship that brings together seven female professionals and five male professionals with a feminist gaze (beyond parity).


Together with Alina Ruiz Folini (artist and curator), Amalia Fernández (creator and choreographer), Javier Cuevas (curator of the project, artist, and curator of living art projects), Juan Domínguez Rojo (artist and curator), Lola Barrena (art historian and cultural manager), Sabela Mendoza (lawyer, producer, and artist), Santiago Alba Rico (philosopher and writer) and Yolanda Peralta (curator, teacher, and researcher).


A project from which to explore, define, and take an in-depth look at all these questions over a first internal period of four months, plus a final space of two days of public exhibition in Tenerife, where those involved can share reflections (as well as artistic materials generated during the first phase) in open conversations with guests and citizens.




Taller de Público(s) - (2018-2022)
A project by 'Programación expandida TRCDanza'
Coordination 'Programación expandida TRCDanza'
Caterina Varela
Coordination Taller de Público(s)
Sabela Mendoza, Caterina Varela

Spectator(s) Workshop – (2018-2022)

The Taller de Público(s) appears within the framework of the Programación Expandida do TRCDanza2018, the project introducing the arts of movement at the Teatro Rosalía de Castro in A Coruña. 


If attending the theatre is a transformative experience, our role as a spectator(s) undoubtedly goes far beyond the time we spend attending the show. If we also talk about being spectator(s) of the arts of movement today, what happens is always a displacement of the pieces, which can take us to a new place, or shift our ground.

This workshop delves into the possibilities and resonances that this experience — that of being an audience of the movement arts — can provoke, both in each of us individually, and in the group of people taking part, as spectator(s), in the singular event that is a performance.

For this, we will open doors to everything that leads us to be aware as spectator(s), sharing materials and resources on contemporary languages of movement, on the processes and works of the creators who are shaping them, on the experience of the ephemeral, and on what happens after watching the stage. Working the gaze from the sensitive body. The programming of the TRC Danza cycle will serve as a common thread for reflection and debate. The dynamics of the workshop will be diverse, mixing theory and practice, and trying to approach the experience of being spectator(s) from different practices that feed the debate, such as the viewing of videos and images, commented readings and references, and small writing exercises.

The aim is to share the different trends emerging in dance and contemporary creation today, accompanying the programming of the TRC Danza cycle. An invitation to all those interested in dance and contemporary creation, curious to broaden their view as spectators. 




Bullshit Fest
#mediation, #management #production
Madrid (2016), México (2017), Uruguay (2018)
With the support of:
Iberescena, Acción Cultural Española (AC/E) a través del Programa PICE Movilidad, el Instituto Nacional de Artes Escénicas del Uruguay INAE, el FONCA de México y el INAEM de España.

Bullshit is a DIY festival which breaks from traditional festivals, functioning like a mobile and hybrid platform in which the diverse artists taking part follow up their research by meeting and collaborating amongst themselves and the local community.

The Bullshit Fest concept puts into practice notions of cooperation, collaboration and self-management and aims to bring to different contexts a model of articulation, maintenance and collaboration that is completed in the meeting with others. It promotes an open dialogue between the artists’ processes and the local community, making the festival a context for debates and reflections on modes of artistic production, as well as for the exchange of aesthetic experiences. The aim is to encourage and expand the contexts of collaboration, debate and thought, as well as to generate encounters that foster the exchange of visions and knowledge in the artistic field, and to create future cooperation networks between the local community and the international participants.

This community arose within the framework of the Master’s in Performing Arts Practice and Visual Culture of ARTEA (UCLM) in 2016.

In the first edition of Bullshit Fest at the Teatro Pradillo, the projects presented were based on the desire to experiment and expand the limits of their respective disciplines. Although individual artists signed the projects, they emerged from an explicit process of contamination and appropriation of the poetics, methods, and strategies of the participants, as well as from a constant dialogue between all the people who form part of the MPECV: the group of artists, the coordination team, the project monitoring team, and the professionals invited.

For the second Mexican edition, we had the support of the prestigious Museo Universitario del Chopo, an institution sensitive to artistic research that always includes critical and experimental content in its programming, which is in dialogue with contemporary creation. Twenty creators taking part in the first edition — from five Latin American countries: Spain, Mexico, Brazil, Uruguay, and Chile — presented 18 works in the spaces of the Museo del Chopo, from 23 to 27 August 2017 in Mexico City. The Mexican edition was supported by FONCA (MX), INAE (UY), Prince Claus (NL), PICE and INVUJE (ES). The show was held during 5 days of presentations in different spaces of the Chopo Museum, reaching 1,304 spectators, as well as involving a team of over 30 people, including artists, technicians, producers, and managers.

The third edition of Bullshit was hosted by The Centro Cultural de España de Montevideo, INAE, and Solís Theatre in Montevideo (Uruguay) from 8 to 18 November 2018. The festival featured a programme of 17 international works from countries such as Spain, Mexico, Chile, Brazil, and Uruguay. It had the support of Iberescena and PICE. The Uruguayan Ministry of Education and Culture has declared the project “of cultural interest”.


Web > Bullshit Fest

# mediation