Cai Tomos

Introductory notes (by Cristina Ward, British Council Spain)

It’s impossible not to feel inspired by Cai Tomos, by his enthusiasm and by the way in which he projects the inspiration he himself receives from the visual artists from Debajo del Sombrero who are taking part in the project Some Things from Somewhere in the Naves del Matadero.

We’ve fallen into the routine of meeting every month at the end of the week he spends in Madrid working with Andrés, Luisma, Mario, Alberto, Itziar and Belén. He describes the progress each of them is making on the physical expression or object they’re developing under his guidance, in which the focus on movement and physical freedom plays a fundamental role, and how slowly but surely their artworks are becoming tangible results of this process of exploration and experimentation. Our apprehension in June that it might be difficult to get back on track after the long summer break was unfounded; it was “business as usual” although not without some of those surprises that can be expected in any artistic process.

I have the feeling that there’s a part of Cai that wishes the project would never end! Over the last months both his relationship with the artists and the impact of their work and their personalities on him have steadily grown and deepened. Nevertheless he’s quite obviously excited and looking forward to the public presentation early next year of the unique and ingenious artworks that have been created during the workshop, portraying these artists’ unique vision of the world.

Walking with Andrés (by Cai Tomos)

Andrés began walking…

We followed behind, always behind.

The series of walks is an action that centers on a rhythmic collaboration, a sharing of Andrés time, which involves following him as he goes through the city. We merge through movement, in an unknown trajectory, time and space condenses. Andrés seems pulled through space, and we are pulled by him like a magnet towards some place where he only knows. We witness and join in his process of orientation being carried somehow. 

At times it feels like a procession, following, shadowing witnessing, supporting. 

We walk and walk in silence and gradually walk the outer cicumfrance of the hospital, we map around this, never entering. Andrés stops and asks to write. He writes of visiting this hospital as a child with his mother.

Perhaps traces of felt memory called Andrés on this particular journey today? Perhaps the desire to share them. The imprints and images of childhood memory always linger within us, with a kind of poetic resonance, deep in our bones that call us back to them. These memories in a way are always unfinished, they call us back like an old instrument that we secretly hope we could pick up and play again. A re-membering/re-playing of something forgotten. 

The walks are developing a biographical element, as fragments of memory seem to be physically mapped out, and those of us following Andrés are invited to participate and witness a kind of embodied tour of Andreas’s history.

These walks perhaps trace or map of connections to places or people in his life, perhaps memory itself as a choreographer moving us through the city.

A bicycle goes past, and he takes a small paper from his pocket and writes a note. We stop and he takes a picture, he has so many things in his pockets.

As part of the development of this work will present Walking with Andrés which is a public invitation to participate in a performative and choreographic action led by Andrés 

The action involves a walk, in a direction that is unknown by the participants. The simple task is to follow Andrés, and be led. The walk will take place in silence, with a group through the city of Madrid on November 2.

The intention of the walk is to highlight the following questions.

Is it possible to look at ourselves looking at the world as if for the first time?  By putting ourselves in the place of the ‘other’ can we invite new perceptions?

The possibility of listening, supporting, following and giving space to a purpose which is not own might enable a re-considering of questions regarding ‘being in the world’ with a disability.