00:20 Politics is not only a philosophical or ideological content,
00:24 but it goes beyond that, it's aesthetic forms and so on.
00:28 That's why I'm so fond of politicians' speeches,
00:32 to their performativity,
00:36 to the pamphlets, the manifestos...
00:38 It's something that's been with me almost always.
00:41 I remember listening in parallel
00:45 Julio Anguita's speeches, together with the songs of 'El Cabrero',
00:50 Jiménez Rejano or Juanito Valderrama.
00:54 That was the sonorous context of my house.
01:03 When Julio Anguita came out, time stopped,
01:06 when Juanito Valderrama sang, time stopped.
01:09 In other words, they were special situations.
01:11 All these special situations generated in this child
01:15 a curiosity, a restlessness
01:17 and, above all, what is still with me,
01:19 a few whys.
01:33 I start playing the guitar,
01:35 then I discover this singing thing from my father.
01:41 And then I had a friend, Virgil,
01:43 who listened to other music.
01:46 And my friend Pascual, who read poetry.
01:49 There I find that the music
01:51 brings these other concerns together in a way.
01:56 Well, the poetic suddenly opens a door for me:
02:00 Miguel Hernández and all the Generation of '27,
02:03 that had already been sung enough in flamenco,
02:07 but also the singer-songwriters.
02:09 The singer-songwriters open a door for me.
02:11 Of course, I've moved on from the more political singer-songwriters, so to speak.
02:14 Leonard Cohen, who opened another door for me.
02:18 And of course, I'm also a teenager who goes out at night,
02:21 and some friends of mine were listening to rap and death metal.
02:24 And Death Metal incomprehensibly
02:28 leads me to minimalism,
02:32 to a very New Age minimalism,
02:34 to beings like Philip Glass,
02:36 Wim Mertens,
02:38 George Winston or Michael Nyman.
02:41 And that brings me to a series of soundtracks.
02:44 I started listening to soundtrack music,
02:46 and that was fed back to metal bands.
02:49 and that's where this whirlwind of influences starts to happen.
03:07 Then Francis Bacon takes me into another territory,
03:10 to sexuality, eroticism, violence...
03:14 And from there, I discover the world of movement,
03:17 the one of gesture, dance, performance, etc.
03:22 And well, I'm still immersing myself in this myriad of disciplines,
03:27 which are a lot closer than we always think they are.
03:30 But for me of all of it, of all of it,
03:33 there are elements in every concert I do,
03:36 of everything, there's something like that.
03:37 Yeah, and the last one that's come in is film or audio-visual.
04:01 Experimentation has never been related to the world of flamenco,
04:04 but I often say that I am an experimenter
04:06 because I come from the world of flamenco.
04:10 I'm moving from there.
04:12 So, of course, a lot of people see it as very strange.
04:14 that I can collaborate with someone who's more mobile.
04:18 in a misnamed 'Mainstream' conception.
04:21 or a more underground conception, so to speak.
04:24 But that label, when you get down in the mud.
04:27 and you work from there,
04:29 you know the links don't talk to you from there.
04:32 Personal relationships are not talking to you from there,
04:34 they're talking to you from somewhere else.
04:36 You can be a Franciscan and be able to have a relationship.
04:39 very personal with someone who is a Buddhist
04:44 and you can find your connections.
04:46 Well, that's kind of how I roll.
04:55 The labels make less and less sense,
04:58 in the sense that
05:01 they don't help us much to know about the other people.
05:03 I'm a musician because I make music, okay,
05:07 but now we need to discuss what we mean by music.
05:10 and we know that's an almost eternal debate.
05:12 So it's no good to us,
05:16 it's not helping us to understand each other.
05:18 I'm running away.
05:20 I am a person who is constantly looking for ground zero.
05:25 My flight has nothing to do with the search.
05:27 of a concrete identity, a personal or particular identity.
05:30 It has to do also with a dissident political attitude in a certain way.
05:39 And this escape, these escapes, I've been taught that
05:41 to generate and to continue generating links.
05:51 My only way of learning has been to meet and to come together.
05:56 with people a lot more talented and a lot smarter than me.
06:03 That helps me to pick up a number of logics and techniques.
06:11 that I could not have ever embraced or learnt in my life.
06:16 But I understood that art gave me that possibility.
06:21 As I say, jocularly:
06:23 "I'm lucky enough to get paid for my masters".
06:26 And that's how it is.
06:28 When I get into an artistic process in which I recognise
06:31 that I'm not ready,
06:34 as we misunderstand the concept of preparedness,
06:37 in a technical and intellectual sense,
06:40 for precisely because I am not prepared
06:42 it makes a lot more sense for me to get in.
06:44 Right, and that puts a lot of stress on me, it puts a lot of stress on me, it puts a lot of stress on me.
06:47 and I'm sure I'm going to pay for it later.
06:50 But on the other hand, for me it's the meaning of life.
06:53 and personal relationships.
06:56 And I put all my insecurities on the table.
07:00 It's also kind of therapeutic in a way,
07:03 because it helps me overcome insecurities at minute one.
07:08 And I've been able to create a framework that allows me to
07:11 to constantly go down that slide.
07:20 Institutions like Tabakalera
07:21 there are very few in Spain,
07:23 they are enablers.
07:25 They are public spaces
07:28 that they have to encourage, support and encourage.
07:31 For me, public institutions is not so much institutional support.
07:36 or corporate to put their stamp and some money,
07:39 but to generate links.
07:42 It's to do with that, it's to do with the fact that there are situations here.
07:45 so that these links, this network continues to be nourished.
07:48 I've experienced that at Tabakalera.
07:53 A space for creation
07:55 doesn't have to mean just creating a work,
07:57 but creating links,
07:59 create situations,
08:01 generate other logics.
08:03 For me, Tabakalera has more to do with that meeting space,
08:06 that space of thought, a space of production
08:08 that they're going to expand it more and more.
08:11 I see that in Tabakalera this has been much better understood,
08:14 and my case is one of many
08:16 that are going on here.
08:19 And this will only be seen after many years.
Tabakalera-denbora | Vincent Maraval
09:44
Tabakalera-denbora | Uxue Alberdi
08:14
Tabakalera-denbora | Ted Hope 08:53
Tabakalera-denbora | Susanna Tesconi
09:20
Tabakalera-denbora | Ricardo Díez Muiño
11:15
Tabakalera-denbora | Maria Ptqk
09:47
Tabakalera-denbora | Marcos García
08:49
Tabakalera-denbora | Jone San Martín
10:07
Tabakalera-denbora | Jon Cazenave 07:43
Tabakalera-denbora | Javier Pérez Iglesias
07:49
Tabakalera-denbora | Isabel Herguera
11:12
Tabakalera-denbora | Helena Taberna
08:28
Tabakalera-denbora | Frédéric Martel 09:04
Tabakalera-denbora | Eva Sangiorgi
07:55
Tabakalera-denbora | Dea Kulumbegashvili 09:47
Tabakalera-denbora | Christine Vachon 07:26