27th August 2024: Arganzuela Greenhouse, British Cemetery and a ‘palaeontological site’, Madrid (Spain)

I have been feeling dizzy on and off these last few months, so I’m avoiding long drives – that has left me dependent on public transport, which is not too reliable. Thus, instead of all the hikes I wanted to take, I’ve been doing day trips to Madrid.

My first stop was in the district of Arganzuela. Although I’ve been to Matadero a few times before, I had never wandered to the side, where a boring-looking metal roof peeked over some trees. I recently discovered that I should have ventured beyond the brick walls that close the Matadero area. This building is called Arganzuela Crystal Palace Palacio de Cristal de la Arganzuela, and is an example of the wrought iron functional architecture of the early 20th century.

Invernadero de Arganzuela - structure

The building was designed by Luis Bellido y González and erected between 1908 and 1928 as a vegetable warehouse. In 1992, the building was remodelled – the wrought iron structure was consolidated and the original fibre cement panels were substituted by glass ones. The warehouse, 7,100 square metres, was divided into different sections, each one transformed into a different greenhouse: two for tropical plants, one for subtropical species, and the last one for desert plats and cacti. The centre has four long fountains with tiny sprouts and waterfalls. I expected a few plants to be in second bloom, but apparently that does not work for tropical or desert species?

Invernadero de Arganzuela - inside

I then hopped onto the underground towards the district of Carabanchel, where I could visit an unusual place – the British Cemetery Cementerio Británico de Madrid. Around 1854, the British government bought the terrain with the intention to turn it into a cemetery, since during that time Catholic cemeteries did not accept interments from other denominations.

The burial ground hosts about 600 graves and about 1,000 tombs, most of them British citizens – but there are also Americans, Germans, Swiss and French, even some Spanish. Though it is now closed to new burials, in the 20th century it was open to non-Christians. Inscriptions on the markers are in Latin, English, French, German, Hebrew, Cyrillic and Spanish. Some of the people buried here include part of the Georgian royal family, historian Alice Bache Gould y Quincy, members of the fashion family Loewe, photographer Charles Clifford… There is also a memorial to the American soldiers who died in a plane accident. There is only one pantheon, belonging to the Bauer family – owners of an important commercial emporium in the 19th century.

British Cemetery Madrid

I have to say that the charm of a Victorian cemetery fades more than a little in the middle of the Spanish plateau’s scorching summer. Though there are several artistic markers – ever-present angels, a couple of tree trunks, and a very gothic grave – most of them are simple headstones with a cross or just a name. One of the graves asked a good question: If good things lasted forever, would we appreciate how precious they are? All in all, it was a quaint little cemetery that felt slightly out of place in the middle of Madrid.

Afterwards, I went back into the underground. The cemetery is a couple of stops away from Carpetana. On the connection, I got checked for a ticket, sort of – they were controlling that passengers had a valid ticket, and just as the train was arriving they waved me through, maybe not complaining about it and just looking for the card made me trustworthy or something? (For the record, I did have a ticket). Anyway, I reached my destination in about 10 minutes or so. When they were working on the Carpetana underground station, they found a few fossilised bones and jaws, and they have turned it into another of the spots of Museos de Metro de Madrid – palaeontological site Yacimiento Paleontológico de Carpetana. I saw reproductions a few mammal jaws and took a picture. Good thing I was close, this would not have warranted a trip from further away.

Reproduction of the prehistorical habitat of Carpetana

I had a reservation for late lunch, but I decided to cancel it. I wanted to check a shop for something I needed, and that would take me in the complete opposite direction from the restaurant. Instead, after the shop, I grabbed a Matcha Frappuchino and headed back to the train station to return home.

Starbucks Matcha Frapuccino with a lot of whipped cream

12th March 2024: A free afternoon – the bullring & Pompeii Exhibition (Madrid, Spain)

Due to life being weird sometimes, I was summoned to a work-related event in Madrid on the morning of the 12th. The event took place in one of the buildings erected by Antonio Palacios, the cultural centre Círculo de Bellas Artes (CBA). The centre hires out its facilities for conventions, gatherings and theatre plays. In our case, we were there for the presentation of a new product in the Column Hall Sala de Columnas on the fourth floor.

Interior of the Círculo de Bellas Artes

After all the necessary chatting, networking, and a disappointing (and rather questionable) choice of canapés, the event was over at 14:30. I ditched my companion then and headed out to Plaza de Toros de Las Ventas, the local bullring. I am not a bullfighting fan – my personal view is that it is not an art, nor a “fair fight” as it is presented, and I hope we humans evolve to phase it out. And while I would not attend an event, I was curious to get to know the building and its architecture.

Las Ventas bullring, outside

The ring is the largest of its kind in Spain. It was designed by José Espelius in the neo-mudéjar style and erected between 1919 and 1931. The central ring is just over 60 m in diameter, with a metallic structure holding the stands around it, and a façade of reddish brick and porcelain tiles. Aside from bullfighting, it is also used for concerts and other events.

I took a self-guided tour with an audio-guide Las Ventas Tour Experience, because I actually know nothing about bullfighting – I learnt that it actually has “rules”, I thought it was just taunting and hurting the bull. The passes have names, and there is a whole colour code of handkerchiefs – I had no idea. The tour takes you past the “Great Gate” through which bullfighters come out through when they are deemed to have done a great job. Then you climb up to the first floor balconies, and you can even go up to the highest point to have a panoramic view. You see the outside of the Royal Box, the gate through which the dead bull is brought out through, and then you walk down to the ring itself. There you can stand in the areas where the bullfighters and their helpers wait, and peer towards the stables, the closed door to the infirmity and finally the chapel. There are two VR experiences too that I did not care for, so instead of the expected 75 minutes, I took a bit less than an hour to do the whole tour.

Inside the bullring of LasVentas

Afterwards, I was curious to check out an immersive exhibition regarding Pompeii called “the last days of Pompeii” Los Últimos Días de Pompeya in the cultural hub Matadero Madrid. It was designed by Madrid Artes Digitales, the same company which organised the Tutankhamun one. At first I was not overly interested in it, but when I went to Recópolis the guide mentioned an actual VR tour, and I became curious (read: it was totally FOMO in the end).

The exhibit has a couple of replicas of archaeological artefacts, but it’s mostly a digital display. The first time I went to the Madrid Artes Digitales building I thought they had rented the place, but now I saw that they might actually own the warehouse and design the exhibits into it. There is a huge room where they project a sort-of film on the walls, a small circuit that you walk doing different activities, and a sitting VR ward, where you get to see a fictional world in 3D.

Of course, there were replicas of the Pompeii casts, and a copy of the novel The Last Days of Pompeii, written by Edward Bulwer-Lytton, which has inspired the exhibit. The novel, in turn, was sparkled by the painting The Last Day of Pompeii. The projection recreated a few passages from the book, then Mount Vesuvius erupted and you were taken “into” the crater, seeing lava bubbling and lightning bolts. Then one was back in the city as the pyroclastic cloud rolled into the city, along with volcanic bombs falling into buildings.

Last Days of Pompeii exhibition

The circuit was a VR walk-through that took you though a house, both in ruins and reconstructed, as a woman led you through it. Walking with the VR glasses was a new experience, I have to admit, but going through doors was strange. Unfortunately, my set had a finger print in one of the lenses which spoiled the view a little. In the final ward, there was a representation of a circus fight with gladiators and tigers that turned into a naumachia (ship games in the amphitheatre) while Mount Vesuvius erupted in the background. All in all, it was a bit weird, and maybe… a tad on the morbid side, if you ask me.

Afterwards I just headed off, and I was lucky to make it into the train, it was so full! The car emptied out enough to sit down after a few stops, but just wow.

2nd December 2022: “Tutankhamun Immersive Exhibition” in Madrid (Spain)

In 1922, an archaeologist named Howard Carter discovered the tomb of Pharaoh Tutankhamun in the Valley of the Kings, Egypt. Tutankhamun belonged to the Eighteenth Dynasty. He reigned over Egypt around 1330 BCE, and restored the Ancient Egyptian religion. When he died, he was buried in a smaller-than-expected tomb, probably because his death was sudden and unexpected – for a while, it was hypothesised that he had been murdered, but it seems that he died from a combination of an infection and several previous pathologies (nothing to do with the fact that his parents were brother and sister, I’m sure).

The tomb was robbed and restored twice within a few years of Tutankhamun’s death, but it was eventually buried by alluvium brought by flash floods, and the debris from other tombs being built nearby. Thus, when Carter found it in 1922, it was mostly untouched and unspoilt. The death of Carter’s sponsor George Helbert, five months after visiting the tomb, sparked the rumour about a Curse of the Pharaohs, which has inspired countless works of fiction.

In 2022, Spain is living through a fad of “immersive exhibitions”, heavily based on technology, virtual reality and computer games. I was curious about what it would be about, exactly, so I decided to celebrate the end of work season by hitting the exhibit. I was early as the day before there had been a bit of public transport trouble and you usually have more chances of getting in if you’re early rather than late. Thus, I reached Centro Cultural Matadero in Madrid about half an hour earlier than my ticket read, and I was let in without any issue.

The “immersive exhibit” Tutankamón: La Exposición Inmersiva was devised by MAD, Madrid Artes Digitales, which specialises in digital creation and immersive experiences such a this. The exhibit has been designed in cooperation with the History Channel.

The first bit was a number of panels, explaining the “Egyptmania” that swept the world after the discovery of the mummy, the process of mummification, or life in ancient Egypt. The second held a replica of the inner and outer sarcophagus, along with the mummy, then replicas a few artefacts that had been found in the tomb, including the famous golden mask the pharaoh was buried with.

Three part collage: The upper picture shows the mummy of Tutankhamun suspended from the floor, imitating an open sarcophagus with the lid open on top of that. Bottom left: reproduction of the mortuary mask, in gold and blue, it has the typical Egyptian hair and beard. Lower right: reproductions of small objects found in the grave: estelae and human-like small sculptures.

Afterwards, you go into a huge ward with a projection on all four walls plus the floor, which is very spectacular but does not tell you much about the real history of either Tutankhamun or the tomb, it was just a cool video of flashy images with a narration in first person, showing the interior of the tomb, yes, but mostly vaguely-related imaginary, including some of the Egyptian gods. What it did have, and that was neat, was an original newsreel about the opening of the tomb, including Howard’s voice.

Collage of a 3D projection. Left, from top to bottom, views of Tutankhamun's grave: the outer area, in sandstone with sculptures, and two views of the inner painting an decoration, showing figures and hyeroglyphs. On the right, a projection of lotus flowers blooming and turning into gold, representing the soul of the pharaoh.

A large ward with a projection of a starry sky on the walls. At the front, a view of Tutankhamun's mortuary mask, eyes glowing.

A projection of Tutankhamun's mortuary mask, eyes glowing. Around it, golden writing symbols, maybe hyeroglyphs.

The following area had an augmented reality game, which I won (didn’t get anything though), a photo booth that I skipped and some “I bet you didn’t know” facts – about one third of them were common knowledge, and another third was information from previous panels though.

Finally, there was a room with virtual reality glasses and headphones, but my headphones wouldn’t work – I later realised they were not plugged into anything. This represented – I think – the trip to the Egyptian underworld, as I “started” at Tutankhamun’s tomb, then there were volcanoes, and I ended up in front of Anubis, who weighed a heart against a plume – the Judgement of the Dead.

The VR experience there was the last spot in the exhibition – because I skipped the photo booth – before one went into the shop. In the end, I was there for about an hour and a half, but it almost took me two hours to arrive and an hour and half to come back.

Though I don’t regret the mental break, I have decided that immersive experiences are not for me.

24th March 2018: The day I saw Hatsune Miku (Madrid, Spain)

“Vocaloid Opera – The End” is an opera for an in the digital world. It was written by Keiichiro Shibuya and performed by Hatsune Miku. Hatsune Miku [初音ミク] is a vocaloid idol. In case you’ve never heard of vocaloids, the idea is a bit complicated. A voicaloid is a singing voice synthesizer software product, basically a computer-generated singing voice. The software was released in 2004 and it exploded with popularity in Japan. Hatsune Miku was given a humanoid shape when it was released in 2017 – and it was definitely a she. So, in a way, Hatsune Miku is a voice synthesiser with a cartoon-female-human form.

Yeah, weird. I have always thought so too. But it was dirt-cheap (8 quid), and there was a session at 18:00 on Saturday that I could attend without a late train back. So I dyed my hair purple (because no, I’m not showing up to a blue-haired character’s show in blue hair), got out my thick faux-fur-neck coat and off I went.

The show was being held at Naves Matadero is a former slaughterhouse turned arts centre. It has turned the buildings into theatres, showrooms and so on. As I walked around the area, looking for my theatre I saw a hell of a lot of families with kids under ten, there to see “the doll” or “the cartoons”. I’m not kidding, during the first ten to fifteen minutes of the show, about twenty families left (≧▽≦).

Entrance to the venue, showing the sign of Naves Matadero Nave 11 and Vocaloid Opera the end

“Vocaloid Opera – The End”, composed by Keiichiro Shibuya [渋谷慶一郎], explores the concept of an artificial being obsessing about death. The whole show is digital, just like Miku, as she wanders the world wondering about “the end”. She seems trapped in a surreal nightmare, with several scenarios that don’t make that much sense. Miku is followed in her trip by a plush rabbit (Alice much?), she talks on the phone and there is a multiple-eye monster around.

Booklet and ticket. Both read Vocalod Opera the end, with the dates. The booklet shows an image of Hatsune Miku, crying blood, the whole booklet is tinted yellow

The music has an electronic flavour, and at times repetitive. It’s loud and you feel it more than hear it. There warnings about bright and strobe lights all around and I understood why – the whole thing relied heavily on CGI and lighting. The chosen topic, along the images were claustrophobic, and I think that was on purpose – there are different “dying” options: drowning, gas masks, withering off.

The climatic “aria” peaks with Miku asking the spectator “Am I dead? Or just asleep? You decide. It makes little difference to me.” In the end, she is a human creation so, like humans, she will “die” sometime too (aaaaand I have opinions about this because I believe that some human creations transcend their authors). And a final downside: knickers. Seriously, what’s with Japanese people and knickers?! She’s a CGI doll – true, wearing CGI clothes designed by the former artistic director of Louis Vuitton, Marc Jacobs, but a CGI doll!

That was all that I did, but here are some pictures I managed to snatch a few pictures, including of the actual 3D rendering of Miku.

Picture of the composer, dressed in yellow

Life-sized sculpture of Hatsune Miku, wearing a chequered dress that shows her waist, and heels. Her hair is flying as she turns.

16th January 2016: Un Planeta Enloquecido: Fantasmas, Monstruos, y Alienígenas en el Manga (Exhibition in Madrid, Spain)

Naves Matadero in Madrid was holding a free exhibition on Japanese “monsters, ghosts and aliens” in manga and Japanese pop culture, and since I was around I decided to drop by. Here are some pictures.

I did not stay over but took a bus right back home because it was too cold for anything else.