If I were to briefly explain the project we worked on in the previous IN RESiDENCE where I participated, I can sum it up by recalling what happens when you bring a group of 4th year secondary school teenagers, their energy, concerns and future projection into contact with a set of sculptural presences and monuments in their environment, which go unnoticed by them and about which they have no kind of emotional or historical relationship or consideration. How can their interpretation and even appropriation be made possible in a playful way?

I have been invited to take part in this year's IN RESiDENCE, and given that the ages of the group are much younger (first year of secondary school), I would like to carry out a slightly reverse process. Whereas in the first residency, we started from history to appropriate it and launch it forward from the bodies and forms of monuments, now we could recover the nearby space of play and the memory of childhood, which is still a very close reality at this age, to apply its conditions and attributes to the immediate environment and everyday situations. There is a common tendency to consider that as we grow up, the territory of play is progressively abandoned to pay serious attention to the knowledge to be acquired in order to relate to the environment. 

What if play is part of this relationship strategy? 
What if the application of creativity in solving our problems is a positive strategy for learning and relating?
Can we alter the basis of our relationship with reality by applying an ‘aesthetic’ attitude that is based on play and that makes us perceive things differently?

We could start by applying and adapting certain games based on the knowledge of our neighbourhood, record their experience and analyse their results.