Blog Archives

FEEDFORWARD. THE ANGEL OF HISTORY

Thu, October 22 , 2009 – Mon, April 5 , 2010

FEEDFORWARD – The Angel of History addresses the current moment in history where the wreckage of political conflict and economic inequality is piling up, while globalized forces—largely enabled by the “progress” of digital information technologies—inexorably feed us forward. The exhibition title references Paul Klee’s painting Angelus Novus, which Walter Benjamin famously interpreted as an “angel of history” transfixed by the wreckage of the past that is piling up in front of him while being propelled backwards into the uncertain future by a storm from paradise (progress).

The exhibition, curated by Steve Dietz (Artistic Director of the 01SJ Biennial) and Christiane Paul (Director of the Media Studies Graduate Program, New School, NY; Adjunct Curator of New Media Arts, Whitney Museum of American Art) features 29 artworks by 27 artists and artist teams. The projects are presented, as if in the rear view mirror of progress, in sections relating to five themes: the “wreckage” of the 20th century created by wars and conflict; the countermeasures of surveillance and repression that the state as well as global capital set up in an to attempt to maintain control; the aesthetics and symbolic language of the media of our times; the forces of economic globalization such as outsourcing and migration; and the possibilities of reconstruction and agency.

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Herramientas del Arte al Museo de Arte Carrillo Gil. Mexico DF

Yo uso perfume para ocupar más espacio
Exposición colectiva: Gabriel Acevedo Velarde,
Daniel Andujar & Rogelio López Cuenca, Julieta Aranda,
Carles Congost, Ximena Cuevas, John Bock,
Dustin Ericksen & Mike Rogers, Paul MacCarthy,
José Clemente Orozco y David Alfaro Siqueiros
Del 7 de octubre al 3 de febrero 2010
Curaduría: Willy Kautz

Esta exposición se concibe como una plataforma autocrítica. Con el propósito de cuestionar la creencia en el valor de la creación artística, Yo uso perfume para ocupar más espacio reúne tres proyectos artísticos, dos piezas de la colección del Museo de Arte Carrillo Gil, así como una selección de cinco videos de artistas, a través de un montaje que entremezcla dichos trabajos con productos comerciales de tiendas de museos, libros, películas, caricaturas televisivas, así como notas de prensa y anuncios publicitarios. Estos proyectos y materiales articulan un dispositivo autocrítico que pone en tela de juicio a la figura del artista y los roles en el mundo del arte, suscitando una reflexión en torno a temas tales como: los clichés del artista romántico y bohemio, el poder de la creación y el estatus, la legitimidad moral del arte, la valoración crítica y los discursos, el talento y la creatividad, la responsabilidad del artista contemporáneo, el mercado y la institucionalización del arte, entre otros.

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Postcapital Archive (1989-2001) Beijing. “后资本文献1989-2001”展开幕

Media Links

http://founder.china.cn/art/zixun/2009-07/25/content_3038757.htm

http://finance.sina.com.cn/stock/t/20090725/01226527262.shtml

http://exhibit.artron.net/zl.php?zlid=8554
http://gallery.artron.net/index.php

http://exhibit.artron.net/zl.php?zlid=8554

http://cul.sohu.com/20090622/n264680901.shtml

http://www.u2lux.com/2009/0622/12368_2.html

http://www.ionly.com.cn/nbo/zhanlan/zhanlaninfo.aspx?id=2345

http://www.art-ba-ba.com/blog/U/Show.asp?/_articleid/26199.html

http://www.art218.com/bbs/thread-51998-1-1.html

http://news.99ys.com/20090726/article–090726–27910_1.shtml

http://www.cafa.com.cn/news/?N=313

http://art-here.net/html/av/7969.html

http://www.artlinkart.com/exhibition/overview/795auCmo

http://www.artcalendr.com/index.cfm/events/calendar.eventDetail/title_id/5947786300/event/Postcapital%20-%20Archive%201989%20-%202001

http://www.soitu.es/soitu/2009/07/25/info/1248522828_378928.html

http://www.cpanet.cn/cms/html/zixun/yingzhan/20090723/38313.html

http://www.youthchina.org/?action-viewnews-itemid-2155

http://gallery.artxun.com/32/3163-news-8361.shtml

http://www.thebeijinger.com/events/2009/Jul/POSTCAPITAL-ARCHIVE-1989-2001

http://www.cityweekend.com.cn/beijing/events/48892/

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Theories of Relativity

Sophie MacKinnon, City Week

Time, as Albert Einstein famously pointed out, is relative. And so too are our perceptions, a point that artist Daniel Garcia Andújar highlights in his exhibit “Postcapital Archive 1989-2001.” The ambitious exhibition seeks to document the opposition of political, ideological and social forces over a volatile 13-year period.

For Andújar the post-capital era began with the fall of the Berlin Wall in ‘89 and ended with the falling of the Twin Towers in 2001 (note the exhibition title). Attempting to archive those years with over 250,000 documents, he juxtaposes key issues and the agendas that created them against our perspectives.

You will find a visual media “timeline” of clever advertising and journalism pairings circling the room. An oil tanker spillage, leaking waste and devastating a shoreline, is matched with an ad for clothing company Diesel, in which a leggy model balanced at the helm of a speedboat tears through the ocean towards you. A post-capital archive it might be, but it feels like a record of human fear in different guises.

Everything in the exhibition was gathered from the Internet and definitions supplementing each area are sourced from Wikipedia. This is a comment on the nature of archives, media and information itself–accessible now in overwhelming quantity but without a voice to explain.

Postcapital is more a provocative media onslaught than insightful reflection on recent times—much like the Internet itself. Go armed with a robust familiarity of key ‘90s political figures, events and issues, not a hangover.


Where: Iberia Center for Contemporary Art When: Through Aug 30 Web: www.iberiart.org

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Problemas con la infraestructura

Bienal de Venecia
CARLES GUERRA  – 12/08/2009, Culturas, La Vanguardia

Las aportaciones más críticas con la fórmula de la Bienal proceden del pabellón catalán y de los Emiratos Árabes

El mismo lunes que aterrizaba en Venecia, el ministro italiano de Administración pública provocaba al alcalde de la ciudad: “Venezia svenduta e mercificata” (Corriere della Sera,27/ VII/ 2009). El ministro Brunetta, escandalizado por el aspecto de algunos edificios históricos, cargaba así contra Cacciari. Este se defendía al día siguiente: “Non ho i soldi” (Corriere della Sera,28/ VII/ 2009), y explicaba que, si quería restaurar el Palacio de los Dogos no tenía más remedio que envolver el Puente de los Suspiros entre paneles de publicidad. Sin embargo, la multitud fluía como de costumbre. No dejaba de hacerse fotos allí enfrente. El verdadero problema es la proximidad de las elecciones. A las masas de visitantes les da igual un gobierno de centroizquierda que de derechas.

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비엔날레에 대한 도전, 혹은 새로운 형식적 실험 -카탈로니아 파빌리온

글▮신보슬(큐레이터, 토탈미술관)
매번 느끼는 것이지만, 비엔날레는 늘 김빠진 사이다 같다. 광주/부산등의 한국비엔날레는
물론이고 비엔날레의 꽃이라 할 수 있는 베니스 비엔날레 역시 크게 다르지 않았다. 아무튼.
그럼에도 불구하고 예술이 세계를 반영하고 있다는 증명을 통해서 존재감을 드러내고 싶었는지
올 베니스 비엔날레는 세상 돌아가는 판과 크게 다르지 않았다. 두바이, 아부다비 의 건설 붐을
반영하듯 다양한 프로젝트가 소개되었다. 전시라기 보다는 도시 프로모션 부스같은 느낌이 좀 더
많이 들었지만, 중동 바람은 베니스에서도 확인할 수 있었다. 그 뿐 아니라, 러시아 올리가르흐
집안에서 만들었다는 소문의 전시도 있었으며, 국가관들은 경쟁적으로 M&A를 하듯 통합과 국가
개념과 무관한 전시들이 펼쳐졌다. 이들은 100 년이 넘는 비엔날레의 전통에 대한 도전처럼
보이기도 했고, 식상해진 틀에서 벗어나려는 형식적인 실험처럼 보이기도 했다. 이런 다양한
변화들은 예술이 세상과 동떨어진 것만은 아님을 분명하게 보여주는 징후 같았다. 그리고 어쩌면
이것이야말로 총감독 다니엘 번바움(Daniel Burnbaum)이 이야기했던 ‘세상 만들기’의 첫
출발인지도 모르겠다.

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《后资本文献1989 – 2001》于伊比利亚当代艺术中心开幕1

内容概要:   今天下午5时,由瓦伦丁•洛马策划的《后资本文献1989 – 2001》于798伊比利亚当代艺术中心开幕并举行了新闻发布会。西班牙国际文化艺术基金会主席高平、中国对外文化集团公司总经理张宇、中国驻巴西大使夫 人刘敏来到了开幕现场,伊比利亚当代艺术中心总监夏季风、策展人瓦伦丁.洛马、艺术家丹尼埃尔.加西亚.安杜哈发表了开幕致辞。德国斯图加特符腾美术馆馆 长汉斯.D.克里斯特、伊利斯.德累斯勒女士、时间机器影像中心事业总监张朝明、时间机器影像中心推广总监马提龙作为嘉宾来到现场。

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Exposición artista español en Pekín recoge 250.000 documentos de 1989 a 2001

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Pekín, 25 jul (EFE).- La exposición “Postcapital. Archive 1989-2001” del español Daniel García Andújar inaugurada hoy en Pekín recoge 250.000 documentos compilados de Internet por el artista en los últimos diez años.

Esta muestra es la misma que tuvo el pabellón catalán en la 53 edición de la bienal de Arte de Venecia, que combina una instalación multimedia, una plataforma, un banco de datos así como un taller en el que el visitante puede interactuar y llevarse una copia de los documentos en una memoria.

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La comunitat inconfessable. Venezia Catalunya 2009.

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), www.postcapital.org, 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.

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