Daniel García Andújar. Documenta 14

Documenta 14

Daniel García Andújar
(b. 1966, Almoradi, Spain)

Daniel García Andújar
(geb. 1966, Almoradi, Spanien)
The Disasters of War – Trojan Horse (2017)
Installation mit verschiedenen Materialien
Maße variabel

The Disasters of War, Metics Akademia (2017)

Mixed-media installation
Dimensions variable
EMST—National Museum of Contemporary Art, Athens

The Disasters of War/Trojan Horse (2017)
Mixed-media installation
Dimensions variable
Neue Neue Galerie (Neue Hauptpost), Kassel

Burning the Canon
Nordstadt Park Kassel
June 23
Nordstadt Park
23rd June, 2017
From 20:00 (burning 23h aprox.)

The Trojan Horse sculpture has been conceived as anti-monument reflecting on the “night games of war” (Reichs Veterans Day, Kassel, June 4 1939) developed in Germany during the Nazi period. The sculpture has been created by the artist with the aid of a software working with an aleatory combination of body types and then materially constructed by Taller Manolo Martín, a team of traditional craftsmen who produce Valencia’s Fallas puppets in Spain to be burned. Following this ritual, the sculpture will also be burn during the night of Saint John (also known as Jani, Adonia, Midsommar, Ivan Kupala Day, Juhannus Mittumari, etc.) as part of a pagan celebration aimed at letting go of what is no longer needed and saving what has to remain.

Open Fire Party with:
Daniel G. Andújar
Manolo Martín
Crier/performance by Daniel Cremer based in a text from María Dolores Jiménez-Blanco (Burn the canon?)
Dolçaines by Cristina Martí Morell & Francesc Xavier Richart Peris
Percussion by Pablo Lluis Llorca
Pyrotechnics and fire by Fire, Ice and Magic
Production by Carlota Gómez & Jorgina Stamogianni
Curated by Paul B. Preciado

The Disasters of War/Trojan Horse (2017)
The Disasters of the War, Trojan Horse is a series of 82 “artifacts” constituting the second part of a project that started in Athens. The project itself travels hidden inside of a Trojan horse. These series evoke 82 engravings created by Spanish painter Francisco Goya (1746-1828) between 1810 and 1820 secretly criticizing the violence deployed against the population during the wars between the Napoleonian Empire and Spain. Bringing Goya to the 3-D printer era, the project reflects on the politics of war, but also on the way war can continue through means of economic, cultural, and visual domination. Many wars are thus narrated here, in an attempt to resist its many forms of violence and explore strategies of visual and performative resistance. The project unfolds in different formats: an installation, a workshop, a performance, and a public action.

Francisco de Goya
Spain, 1746 – 1828
Yo lo vi (I Saw It)
Loan by Technologies To The People Foundation
Plate 44 created in the 1810s and published in 1863
etching, drypoint, and burin
14 x 18 cm

Daniel G. Andújar (with El Taller de Manolo Martín)
Trojan Horse (Falla, 2017)
Wood, paper
Dimensions variable 400 x 500 x 550 cm (approx.)

Daniel G. Andújar
Atlas, The Disasters of War (2017)
Fifty-seven digital prints on paper & archive materials
61,5 x 44 cm (each)

Daniel G. Andújar (with E.T.S. Arquitectura del Vallès)
Ruins (Garnisonkirche-Il Convento, 2017)
3D model in wood and stone
1:50, 80 x 40 x 45 cm

Bertolt Brecht
Germany (1898-1956)
Kriegsfibel (1955)
Publisher: Eulenspiegel Verlag
Loan by Technologies To The People Foundation
25 x 30 cm

Daniel G. Andújar
Gernika Puzzle (2016–17)
3000 puzzle pieces
Dimensions variable 144 x 68 cm (approx.)

Daniel G. Andújar
Torture (2017)
Eighteen drawings, ink on paper
61,5 x 44 cm (each)

Neue Neue Galerie (Neue Hauptpost)
Gießbergstraße 22
34117 Kassel

The contemporary painter inhabits a world of computers. The Marxist question of the representation and reappropriation of the technology of production is now a matter of interface and coding. Or, as Daniel García Andújar puts it, “We no longer visit the archive. We live inside it.” But what happens to people who cannot access the operating system? What are the new forms of power and oppression, of visibility and opacity that digital technologies create?

García Andújar was born in 1966, during the last phase of the Franco dictatorship, when National Catholicism combined state violence with a new “stabilization and liberalization plan” intended to mark Spain’s arrival into the international market. One day they garroted dissidents, the next day they promoted consumerism on television. His hometown, in southern Spain near the Mediterranean, would soon be devastated by real-estate plundering and frenzied tourism. Holidays for the workers of fascism: You, too, have the right to enjoy your free time!

García Andújar initially worked in painting and design, in his twenties creating album covers for ruta del bacalao records, a kind of techno associated with synthetic drugs like MDMA and the Spanish transition of the 1980s. Eventually he stopped painting and went online, learning to program and becoming part of the first wave of Net art. His work extends into the realm of cybernetics and the reflections of artists like Hans Haacke and Antoni Muntadas on photography and television as systems of representation. In 1996, sidetracking traditional art spaces, García Andújar launched Street Access Machine®, a project for a mobile credit card scanner that would allow homeless people to beg in a world of plastic currency. The machine’s entirely fictional nature did nothing to deter Apple from inquiring about purchasing the technology.

In García Andújar’s work, ideas of community, communism, and assembly aren’t understood as political utopias but rather as training methods, ways of accessing hardware and questioning the property and epistemology of the archive. In a book project for documenta 14, for example, he sifted through information related to the reign of the Greek junta (1967–74) to create an image-text glossary of fascist grammar called LTI—Lingua Tertii Imperii (2016). Here and elsewhere, García Andújar’s goal is to reveal the dominant operating system, expose its flaws, hack it, use it critically, and open up spaces of resistance to the standardizing of language through which the world is created. To democratize democracy is to crack the code.

—Paul B. Preciado


The Disasters of War, Metics Akademia (2017)

William Hogarth
Boys Peeping at Nature (1822)

Daniel G. Andújar
métoikos_mouseion, arte_factum_replica_factory (2016–17)
Fifty-two black-and-white photographs

Daniel G. Andújar
Atlas, Hacking the Canon (2016–17)
Thirty-six digital prints on paper

Daniel G. Andújar
Liberated Models (2016–17)
Seventy-five 3D-printed models

The Artemision Bronze (The God from the Sea) (liberated model, 2017)
Plastic mold
With El Taller de Manolo Martín

Daniel G. Andújar
The Plastic Factory (2017)
Installation, mixed media
In collaboration with Hackerspace.gr

Ephebe of Marathon (2007)
Plaster mold
Archaeological Receipts Fund of Athens

EMST—National Museum of Contemporary Art, Athens
Kallirrois and Amvrosiou Frantzi
11743 Athens

The artist wishes to thank Nieves Berenguer, Mario Berenguer, Valentin Roma, José Luis Pérez Pons, Taller Manolo Martín, Casa sin fin Gallery, La Virreina Centre de la Imatge, Consorci de Museus de la Comunitat Valenciana, Technologies To The People, E.T.S. Arquitectura del Vallès, Acción Cultural Española AC/E, and Institut Ramon Llull





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One response to “Daniel García Andújar. Documenta 14”

  1. […] photos: © Mathias Voelzke . + Daniel García Andújar […]

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