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One of the problems we shared was how we could clearly perceive that after 10 years, the festival couldn’t just continue like that.

At the institution where In Presentable took place –La Casa Encendida- there are a lot of protocols applied to any kind of activity you may want to do. One of the consequences of this is that, communication hardly takes place directly as there is so much mediation in between, a lot of explanation has to be handled.

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I guess that if you really want to go for continuity and sustainability considering the decisions you made upon the ways you do and make things and the procedures you decide to go for or try for a certain distribution, you are facing the consequences of how very easily it may end up resulting your full time job in decrease of the so call ‘artistic work’ as opposed to that of the ‘festival producer’, if we follow the usual logics of its figures, you know, programmer, curator and so on.

Al final de la entrevista PKMN nos deja un regalito…podéis también empezar por ahí… paz ******** Let’s start with In Presentable, the festival organised by Juan Dominguez in Madrid for the last ten years. It’s very interesting for me tot hink about that, because when In Presentable started, I was living in Amsterdam. So at that time I didn’t really experience the festival directly till six years after this festival was taking place. So I found myself living and working in the context Juan brought to Madrid.

Could you describe that project as someone who participated in that festival? Of course, it was necessary to open that kind of context in Madrid, because there was nothing like such a proposal for a long time. In the last festival’s edition he invited many people and I took part .

En vingt minutes, vous avez un plat de pâtes délicieux.

De plus, les recettes sont déclinables à l'infini, selon les ingrédients, les différents types de pâtes...

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