The project - lines of work Despite being presented as a unitary project, La comunitat inconfessable has three different lines of action:

1. An exhibition presenting the ideas generated by each of the participants (Sitesize/Joan Vila-Puig and Elvira Pujol, Technolo­gies To The People/Daniel G. Andújar and Archivo F.X./Pedro G. Romero) using the metaphor of a library as a reference point or visual interface. Thus, each intervention constitutes a “deconstructed” approach -i.e., distorted, unconstructed, destroyed or under construction- to this space of knowledge, learning and theatricality that is Borges’ interminable library, which functions here as a sort of meeting point of the “community of readers” urged by Blanchot.

2. A book constituting a kind of polyphony of essays using texts by Maurice Blanchot, Giorgio Agamben, Jean Luc Nancy, Philippe Lacoue-Labarthe, Lars Iyer, Peter Pál Pelbart and Marina Garcés that were published in different contexts, periods and media, but which, never the less, pose shared questions such as: What is the common? In which political or mental space is the notion of community developed? With which elements is it confronted? On which does it feed?

Interrupting this speculative drift around the question about the communal, there appear three insertions by each of the participants in the project – Sitesize, Technologies To The People and Archivo F.X. These insertion points include a written presentation of their respective artistic ideas, a visual work specifically conceived for the book, linked to the themes presented in museographic format, and a conversation between each artist and various philosophers, anthropologists, historians, geographers and curators (Gerard Horta, Francesc Muñoz, Eduard Masjuan, Iris Dressler, Jacob Lillemose, the Todoazen collective, Juan José Lahuerta and Manuel Delgado) with whom they share the same ideological and conceptual concerns.

3. La comunitat inconfessable project is completed by a website that will document it visually and textually, and operate as a vast archival collection around the notion of the communal from the perspective of philosophy, anthropology, the social sciences and art, among other disciplines.

The Postcapital Archive(1989-2001),, was presented for the first time in 2006 at the La Virreina Centre de la Imatge in Barcelona as part of the Postcapital. Politics, the city, money project, together with the work of artist Carlos Garaicoa and essayist Iván de la Nuez. Since then this multimedia proposal in process—that not only allows user consultations but also copying and even modification—has gone on expanding in successive exhibitions, workshops and interventions in public space carried out in Oslo, Santiago de Chile, Bremen, Montreal, Istanbul, Dortmund and, more recently, at the Württembergischer Kunstvereinin Stuttgart as an anthology. In its current configuration, the archive contains more than 250,000 documents compiled from the Internet by Daniel G. Andújar over nearly a decade of creative work. These materials, among which publications, video and audio clips and image banks are to be found, sketch out a vast examination of the geopolitical transformations and the state of the communist and capitalist ideologies in the period spanning from the fall of the Berlin Wall to the attack on the Twin Towers in New York.

Jornades internacionals de debat per a un nou Centre d’Art a Barcelona 6 i 7 de juliol, a l’Auditori del Macba, Barcelona Des de la proliferació de centres d’art a Europa a l’inici dels anys 80 fins a l’actualitat, el concepte de centre d’art s’ha modificat i ha evolucionat fins a seguir patrons diferents adaptats a cada context i a l’evolució de la tecnologia i la comunicació, a la convivència amb la indústria cultural i al caràcter multidisciplinari de l’art, a les noves pràctiques curatorials, a l’exercici de la mediació social i a les tasques de formació i educatives, en el marc d’una societat global. Amb la finalitat de donar impuls al nou projecte del futur Centre d’Art Contemporani de Barcelona, amb seu a l’edifici del Canòdrom de la Meridiana de Barcelona, s’organitzen aquestes jornades internacionals de debat i discussió amb la participació de diversos directors de centres d’art europeus, que alhora representen diferents models de centre, i es crida al sector de les arts visuals —artistes, crítics, comissaris, galeristes, estudiants d’art, gestors de la cultura i altres agents i emprenedors artístics— a formar part d’aquest debat. Data: 6 i 7 de juliol Lloc: Auditori del Macba, Barcelona


Subversive Practices Art under Conditions of Political Repression 60s–80s / South America / Europe Württembergischer Kunstverein Stuttgart May 30 – August 2, 2009 Curators: Valentín Roma, Daniel García Andújar Ricardo Bofill/Taller de Arquitectura, Eugeni Bonet (Archive), COAC Archiv, Enric Franch (Archive), Antoni Muntadas, Pere Portabella, Grup de Treball, Sala Vinçon (Archive) This project sets out to reconstruct the aesthetic and political dimension acquired by conceptual practices in Catalonia during the nineteen-seventies. With this in view, the analysis has been oriented toward a set of proposals developed in a variety of areas—art, architecture, design, film, and education—which nevertheless all shared the same circuits of visibility, closely related language and attitudes, and certain ideological positions that were characterized by their spirit of protest and antagonism. The core of the project consists of five pieces by the Grup de Treball that in some sense point to the disciplines mentioned above. In order to contextualize these, a heterogeneous archive has been put together, drawn from the documentary holdings of (amongst others) the COAC (Association of Architects of Catalonia), the Sala Vinçon gallery, the FAD decorative arts association, and the Elisava and Eina design schools, along with a number of art projects—the film Esquizo (Schizo) by the Taller de Arquitectura and Reflexões sobre a morte (Reflections on Death) by Antoni Muntadas, among others—and also a selection of visual and bibliographical documents from those years. (Valentín Roma, Daniel García Andújar)

Wealth of Nations Wealth of Nations Exhibition (6–14th June, Trg Slobode, Novi Sad)
Conference (7th and 8th June, SNP, kamerna scena)

Wealth of Nations is a part of the Cinema City festival and consists of an exhibition and a conference. The term ‘Wealth of Nations’ is the title of the seminal book by the Scottish economist Adam Smith, in which he establishes and defends the basics of Liberal Economic Policy. Liberal Economics experienced its peak in the 1990s after the concept of Real Socialism had failed and the global free market had been established. This economy, however, has entered a period of deep crisis in the past few months and it might, for a shorter or longer period, affect the stability of societies all over the planet. The topic of ‘Wealth of Nations’ this year will delve into the influences that the Economic and Financial sectors have on society and consequently, on cultural production.

The aim of both the exhibition and the conference ‘Wealth of Nations’ is to bring together Art, Theory, Social Sciences and Economics, Cultural Studies and Finance in order to discuss the phenomenon of money within different social and historical contexts and meanings. According to its definition money is : a) a measure of value b) a medium of exchange and c) a medium of capital accumulation. The fact is that money is never solely money as a measure of economic value. It is a measure of value that participates in the constitution, and the control and regulation of both the material and nonmaterial (irrational or imaginary) social body/subject and its relations. From such a position, money can be viewed as the basis of social power, as the main element or measure of value, or as a symbolic or numerical abstraction.


展览: 后资本文献1989 – 2001
艺术家:丹尼埃尔·加西亚·安杜哈(DANIEL García ANDÚJAR)
策展人:瓦伦丁·洛马(Valentín Roma)
展览开幕: 2009年7月25日
展览日期: 2009年7月25—— 8月30日
展览地址: 伊比利亚当代艺术中心
艺术总监: 左靖
总监: 夏季风
出品人: 高平
主办: 西班牙国际文化艺术基金会|伊比利亚当代艺术中心|
西班牙Tomás y Valiente艺术中心(CEART)
T: 86 10 5978 9530 / 5978 9030

El directe!cat visita la mostra que presenta l'Institut Ramon Llull venecia catalunya Catalunya ha aconseguit, per primera vegada a la seva història, tenir representació pròpia a la Biennal de Venècia. D'aquesta manera, la Generalitat de Catalunya, a través de l'Institut Ramon Llull (IRL), ha aconseguit la independència 'de facto' de l'Estat espanyol en el certamen artístic més important del món. L'exposició catalana, que porta per títol 'La comunitat inconfessable' i ha estat comissariada per Valentín Roma, vol plantejar un anàlisi sobre la naturalesa d'allò comunitari en l'àmbit de l'art. Per fer-ho s'han escollit treballs de Joan Vila-Puig i Elvira Pujol, Daniel G. Andújar i Pedro G. Romero que analitzen les relacions entre comunitat i art reflexionant sobre accions de la Plataforma contra el quart cinturó, a través de vídeos sobre l'impacte dels mèdia i les multinacionals o revivint l'abast que van tenir les accions iconoclastes dels anticlericals espanyols al llarg de la història. La mostra 'Venècia, Catalunya 2009: La comunitat inconfessable', la primera vegada que Catalunya presenta un pavelló a la Biennal de Venècia, està situada en un dels enormes magatzems municipals de la ciutat dels canals, localitzat a la zona emergent de Dorsoduro, a tocar de la famosa Col·lecció Peggy Guggenheim i el nou museu d'art contemporani Punta della Dogana.

_MG_6204 El comisario del pabellón prioriza "cierta precisión" y "rigor", sobre la audiencia SANDRA BUXADERAS - Enviada especial a Venecia - 06/06/2009 08:00 Rigor y densidad intelectual. Catalunya ha querido convencer en su estreno en el programa oficial de la Bienal de Venecia participa por primera vez con pabellón propio con una propuesta impecable: aportar arte para la reflexión, más que para el impacto. Así lo han querido, aunque obras espectaculares y bellas como la del pabellón vecino, o la sucesión ondulante de cuadros de Emilio Vedova ideada por el arquitecto Renzo Piano, logren atraer la atención de los medios durante la loca competición de los primeros días.

IMG_2108 Tresserras y Carod Rovira defienden la complejidad y el rigor del pabellón catalán C. SERRA - Barcelona - 06/06/2009 El País "Estoy muy satisfecho porque, aunque siempre ha habido artistas catalanes en la Bienal, por primera vez tenemos un pabellón propio en Venecia", comentó ayer Josep Lluís Carod Rovira, vicepresidente de la Generalitat, en la presentación de La comunitat inconfessable, título de la exposición con la que se estrena el pabellón en este gran evento artístico que abrirá mañana sus puertas al público hasta el próximo 22 de noviembre. "Esto nos permite contar con una visibilidad internacional de primer nivel de un momento de las artes plásticas de nuestro país", añadió Carod, para quien "el arte no tiene patria, aunque puedan tenerla los artistas".


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