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The Director General for Cultural Promotion, Antonio Martínez, accompanied by the Councillor for Youth of the City of Yecla, Monica Azorín, and the coordinator of the Festival, Joaquin Medina, today introduced the II Festival of Contemporary Art 'Cre-action.

Toxic Movement ', to be held in this town from tomorrow until Sunday.

The event will feature a total of 14 projects involving more than 40 artists.

The first edition of the festival was attended by 4,000 spectators.

The Festival was created with the aim of promoting young artists from Yecla and "goes to show the new creations in new areas, because, as you know, the museum, the closed area, the showroom and workshop are no longer the only places where we can find ultimate artistic expression, "said Martinez," but these events are interwoven and intertwined with daily life, the life of the people, and we can find anywhere in the city. "

The plans for this second edition, belong to different artistic fields, fine arts, literature, music and visual arts, always from the perspective of current trends in the use of new technologies and relates the latest trends.

The project titles are "Stolen Childhoods" by José Antonio Martínez Hortega, 'I like / I do not like = Dialogues' by Juan Ibáñez, María López, Sara Yuste, Julio and Cristina Alonso, 'Yecla sleeps' Natalia Lozano and Luis Miguel Romero, 'Vertigo' by Maria Llanos, 'Merge' Immaculate Yago, 'Enmárcate' by Juan José Martínez, 'Fragile' by Francisco Ortuño, 'Wanted' Inmaculada Rubio, 'Short' Front Row Theatre and the Golden Fleece 'Aerial view What is habitable? "

Rafael Picó, 'Meeting of Electronic Literature', 'Street sound track' Joseph Perello, 'Graffiti / Art of consumption, children's art and shop' Yolanda Zaida, and 'the speaker of the Memory Tree "Voices of Yecla Limited .

The objectives of the Festival are to promote young artists and creators and outreach and dissemination of contemporary art from all kinds of audiences.

The hallmarks of "Cre-action 'is based on the search for the proximity between artist and audience to convert to all citizens in recipients of his artistic creations, and thus crossing the boundary that separates the passive bystander participation.

Source: CARM