Tuesday, April 29th, 2008 at 9pm

So they came down from the North. Or so they said.
Carrying all they owned; stumbling from exhaustion.
They tried to put up a fight but lost. So we asked them to stay.
To have a drink and rest. And regain their strength.

Les femmes qui dorment: An evening with Amy Granat and Emily Sundblad.

Screening of their recent collaborative film works on 16mm, including EggPumpkin,FlowersBeachesBirthday Cake, and Walking with Truffles.
And performances, maybe.

Amy Granat is an artist living in New York, known for her interest in the legacy of experimental and underground cinema. Emily Sundblad is an artist, gallerist, singer and actress, also living in New York, where she operates the gallery/ongoing collaborative performance project Reena Spaulings Fine Art. The films of the two often feature both women performing simple, repetitive actions in outdoor settings, exchanging the wind-up 16mm camera to take turns shooting. They are pretty funny films.

Following the event on April 29th, castillo/corrales will present a three-screen installation by Granat & Sundblad for a month, which means until the end of May.

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OEI (R)Ed. Est.

Wednesday, May 7th, 2008. 8pm

castillo/corrales is pleased to host, on Wednesday May 7, a presentation of the latest issue of OEI, the Swedish poetry, theory and art magazine.

Jonas (J) Magnusson, poet, writer and theorist, Cecilia Grönberg, artist and writer, Martin Högström, poet, and Kim West, art critic, all members of the editorial team of OEI, will read from the magazine and talk about publishing as an experimental practice, editorial aesthetics, and the use of montage in writing and language.

A publication devoted to “conceptual operations and aesthetical technologies”, OEI was founded in the very end of the last millennium. It has published 38 issues, growing thicker to reach the shape of a more than 400 pages volume, elegantly and cleverly designed and edited, gathering experimental poetry as well as art criticism. Linked to the non-commercial publishing house OEI editör, OEI reminds us of the Revue de Littérature Générale, indeed one of its models, in the way it gathers essays, documents and text-based artworks, connecting the history of literature to contemporary aesthetics while working on the very art of publishing and magazine making. Mainly published in Swedish, OEI also insists on the significance of translation in art and knowledge nowadays, relevantly raising questions of visibility, readability, and global conversation in the contemporary art field.

This latest issue, OEI (R)Ed. Est., is a voyage into the more or less uncharted territory of editorial aesthetics. The issue constitutes a broad-ranged, multidisciplinary, investigation of editorial space understood as a site in which practices and materials are worked through, analyzed, examined, displaced, transcribed, reformed, renegotiated, remediated, reedited…

The conceptual point-of-departure for OEI (R)Ed. Est. is the proposition that editorial work is carried out according to specific principles of assembling (researching, documenting, commissioning) and presenting (postproduction, montage, layout, typography) a body of material, and that such operations are carried out in a number of genres and disciplines including film editing, sound editing, magazine editing, literary editing, etc. OEI (R)Ed. Est. thus constitutes a series of attempts to actualize the notion (pace Eisenstein) of editing/montage as a “generic” cultural operation, or, in another sense, to articulate points of contact between various practices within an “expanded” field of editing.

OEI (R)Ed. Est. contains, among other things, reprints of pages from Vito Acconci & Bernadette Mayer’s 0 to 9; translations of La Rédaction, Craig Dworkin, Liz Kotz, and Harun Farocki; essays about Leslie Scalapino, Jean-Luc Godard and Jarl Hammarberg; contributions from editors of magazines like Multitudes or Cabinet; a presentation of the legendary Boulevardkartongen Tvångs-Blandaren (an issue of the Swedish periodicalBlandaren, edited by among others a young Pontus Hultén and which had a seminal influence on George Maciunas and the so-called Fluxus boxes); an extensive presentation of the projected but never-realized journals Krise und Kritik (ed. Walter Benjamin and Bertolt Brecht) and Revue Internationale (ed. Maurice Blanchot…), etc. Last but not least, a whole section of the magazine is dedicated to Art & Language and the great journal Art-Language.

For more information on OEI, visit

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Friday, May 23rd, 2008 at 8pm

It can look like there is a Swedish season going on at castillo/corrales, or a Swedish twist on the program. How come? Will it continue like this? And for how long? Speculations are open.

Following the performative presentation of the journal OEI earlier this month, castillo/corrales is pleased to offer its faithful audience another moment of concrete poetry. Delivered this time by Berlin-based Swedish artist Karl Holmqvist.

Karl Holmqvist works with images, objects, video, but first and foremost with language and printed matter. His writings draw from the experimental techniques of Brion Gysin, William Burroughs and the like — cut-up, permutation, foldings et al. Using text as material and sources as a diverse as Allen Ginsberg, David Bowie or Walt Whitman, Holmqvist explores the mechanics of language and constructs a form of critical lyricism.

Holmqvist’ s readings are performances one should not miss, marked by the specific and calm presence of the artist, his distinctive voice and breathing, rhythm modulations and nuances, from murmur or whisper to litany and praise.

Holmqvist’s reading at c/c will be based on one of his latest works, specifically imagined for the first issue of FACEHUG, a periodical created in Berlin in 2007 by Ana-Maria Hadji-Culea, that castillo/corrales is glad to have in its bookstore, Section 7 Books.

castillo/corrales warmly thanks Catherine Chevalier who helped organize this event.

For more information on the work of Karl Holmqvist, visit his website
Click here to learn more about FACEHUG magazine.

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Friday, June 6th, 2008 at 8pm

Good friends, it’s been a long hard June. We here at castillo/corrales think it’s high time for a pleasant evening of free jazz. And so we invite you, for the first time ever, to a singular experience in our intimate drawing room. And a last chance to see the beautiful films of AMY GRANAT and EMILY SUNDBLAD. We invite you to come for a pastis and enjoy the first sweet sounds of summer.