Public Library. Rethinking the Infrastructures of Knowledge Production
EXHIBITION / LABORATORY / 'SCANDROMAT'
October 30 – November 23, 2014
Württembergsicher Kunstverein / Querungen
With: Aaaaarg.org, Vuk Cosic, Kenneth Goldsmith, Library Genesis, Herman Wallace’s Library, Monoskop, Postcapital Archive, Praxis, Cornelia Sollfrank, UbuWeb,
und andere
CONFERENCE
October 30 – November 2, 2014
Württembergischer Kunstverein and Akademie Schloss Solitude
With: Daniel García Andújar, Dusan Barok, Vuk Cosic, Hans D. Christ, Sean Dockray, Iris Dressler, Jan Gerber, Herbordt / Mohren, Henrik Hillenbrand / Oliver Kraft / Björn Kühn / Anna Romanenko, Olia Lialina, Sebastian Lütgert, Marcell Mars, Tomislav Medak, Irit Rogoff, Simon Sheikh, Femke Snelting, Cornelia Sollfrank, Felix Stalder, Jean-Baptiste Joly, Sophie-Charlotte Thieroff and others
A conference about today’s conditions of knowledge production: from the neoliberal politics of education and the monopolization of “intellectual property” to alternative critical and anarchistic ways of sharing and “borrowing” knowledge.
Language: English
Registration (Entrance free) at: assistenz@wkv-stuttgart.de
El Impulso Anarchivístico en el Arte Contemporáneo
Seminario de Trabajo
24-25-26 de Octubre 2012 Dirección: Anna María Guasch Coordinación: Ada SbriccoliResumen:
El primer seminario de trabajo del proyecto Global Art Archive (GAA) del grupo de investigación Cartografía crítica del arte y la visualidad en la era global: Nuevas metodologías, conceptos y enfoques analíticos (HAR2010-17403) del Departamento de Historia del Arte de la Universidad de Barcelona aborda varias cuestiones relacionadas con el archivo visual y el impulso anarchivístico en los usos de la imagen en el arte contemporáneo. Durante los tres días del seminario, se analizarán temas que abordan las prácticas archivísticas transculturales, la apropiación, circulación y migración de las imágenes en una escala global, así como las formas de los archivos, documentos, colecciones y recuerdos en el campo del arte contemporáneo. Una parte del seminario de trabajo consistirá en ponencias a cargo de los miembros del grupo de investigación que introducirán la sesiones de debate en torno a lecturas seleccionadas. Otra parte estará dedicada a las conferencias de los ponentes invitados y a las presentaciones de proyectos de artistas. Más allá de la estructura normalizada de las conferencias académicas, el formato del workshop pretende fomentar el intercambio horizontal y la producción colectiva de conocimiento, facilitando el establecimiento de redes de colaboración entre los participantes.‘An-archy’ (Archivo Sinapsis). La 2 RTVE
http://www.rtve.es/television/archivos-tema/ Avance de 'An-archy' (Archivo Sinapsis) el 8 de mayo Emisión: Domingo 8 mayo 18.30 en La 2 RTVE Reemisión: Martes 10 mayo 00.45 en La 2 RTVE (Ver On-Line) [display_podcast] An-archy, de Daniel G. Andújar para RTVE Inda, una exitosa empresaria de Internet y dirigente de un influyente grupo de presión, inicia un viaje hacia el pasado, hurgando el archivo de sus recuerdos, intentando reconstruir su memoria. Nacida en el exilio en 1959, hija y nieta de exiliadas, de represaliados, inicia una serie de viajes al país de origen de su familia para enfrentarse a viejos y nuevos fantasmas. El primer viaje iniciático a España lo realiza el 21 de Noviembre de 1975 con tan solo 16 años. Le sucederán otros en octubre de 1977, en 1978, y de así sucesivamente, en un ir y venir entre recuerdos, descubrimientos, sentimientos enfrentados y reencuentros consigo misma. Una tentativa de aproximación a la estructura y a los límites de una personalidad compleja, esquiva, desconocida e inédita.
Law and access to culture in the information society: questions and legal challenges
Post_Cyber-Communism and the Holes in the Pavement (v0.2.0.1)
EXTRACTS from the READER 01 Postcapital Archive 1989–2001 Orton Akıncı Daniel García Andújar describes the condition and the period after the “fall of the Berlin Wall” as an aspect of post-capitalism, rather than of post-communism. That condition, the period covered in Andújar’s project “Postcapital. Archive 1989-2001” also features the advance in information technologies and the phenomenon of the Internet. When the students began ripping of the paving stones to throw them to the police during the events of May 1968 in Paris, they realized the yellow sand underneath the paving stones; the cobblestones. And when they also turned on the water pumps, the sand got wet. Yes, this was the “beach”. The beach of freedom, covered up by the pavement of the modern civilization of property and control. The “beach” was the “another world”, ”under the paving stones”. In his 1998 essay “Cyber-communism”, Richard Barbrook stated “the Americans are superseding capitalism in cyberspace”. This was also the time Andújar describes as an aspect of post-capitalism. According to Barbrook, the Americans were having a different experience than that of capitalism in their daily Internet practice. This experience, which he relates to that of communism, was a consequence, an aspect of capitalism. According to Barbrook, it was capitalism itself which made the “digerati” a powerful class with high salaries, and it was the digerati who developed the information technologies, the Internet and the idea of free/open source software, as well as many other possibilities that enabled the individuals to “supersede” capitalism in “cyberspace”. Just like the scenario Karl Marx proposed for the end of the capitalism: "At a certain stage of development, the material productive forces of society come into conflict with the existing relations of production or -- this merely expresses the same thing in legal terms -- with the property relations within the framework of which they have operated hitherto. From forms of development of the productive forces these relations turn into their fetters. Then begins an era of social revolution. The changes in the economic foundation lead sooner or later to the transformation of the whole immense superstructure."
A Castle in Ruins. Decoding the Empire
Daniel G. Andújar
A HISTORY
The Real Sitio de San Lorenzo de El Escorial (the Monastery of El Escorial), as you will know, is a large building complex (a palace, the monastery itself, a museum and a library) set in San Lorenzo de El Escorial, a town 45km northwest of Madrid, in the Region of Madrid (Spain). The name El Escorial owes its name to the ancient slag (“escoria” in Spanish) deposits left by an ironworks in a village near the place where this group of buildings was erected -upon the orders of king Philip II- to commemorate Spain’s victory in the battle of St Quentin on the 10th of August, 1557, against the troops of King Henry II of France. Furthermore, it would serve as a burial place for the remains of Philip II’s parents, Emperor Charles I and Isabella of Portugal, as well as his own and those of his descendants. The building’s floor plan and its towers are reminiscent of the shape of a grill, which has led to the claim that it was built in this way in order to pay homage to St Lawrence, who was martyred in Rome by being grilled on a gridiron, and whose saint’s day is celebrated on the 10th of August, the day of the Battle of St Quentin; hence the name of the building complex, San Lorenzo, and the town which emerged around it. Prestige and power were built on slag, commemorating victory in battle and honouring a martyred saint. In addition, St Lawrence had been one of the deacons of Rome, in charge of the administration of Church goods. For this duty, he is regarded as one of the first archivists and treasurers of the Church and was made the patron saint of librarians. All of this gives rise to a series of linked metaphors which would inspire any self-respecting artist.
Net-Capital /Post-Capital: The Istanbul Node
EXTRACTS from the READER 01 Postcapital Archive 1989–2001 Özgür Uçkan 1989, the fall of the Berlin Wall and 2001, September 11... These watershed Daniel G. Andújar chooses for his network-based archive-process installation signify a paradigm shift: the paradigm shift from scale economies to capacity economies, industrial production to flexible network production, physical power to knowledge power, the nation state to transnational Empire, a unipolar world to a multipolar one, de-centralized and distributed all-encompassing net-world: This is a paradigm coined by the most recent global crisis: Global Network Capitalism... Andújar’s choice of dates also heralds what’s beyond this paradigm. The fall of both the Wall and the Twin Towers indicate there is an “after” to capitalism. This potential future ironically feeds off the “network” concept. Because at its core, the concept of “network capitalism” embodies an antagonistic dichotomy. The network topology undermines the foundations of capitalism. The process of capitalist accumulation and profit now depends upon co-operations established online, collaborative intangible labor, innovation networks, and the development of knowledge production, access, dissemination, that is to say the process of creating surplus value through open, continuous, horizontally coordinated networks. Network means co-operation and sharing, whereas capitalism is the product of an instrumental reason dominated by competition.
On Archives and Networks
EXTRACTS from the READER 01 Postcapital. Archive 1989–2001 Basak Senova Turkey has been going through incredibly rapid and immense social, political, and cultural changes since the shift to neo-liberal economy in the beginning of the 80’s. While we have been simply going through these changes, we have neither been able to record them nor have been aware of their speed. Our lives have been transformed. To slow down the pace of these changes and to visualize such a data would enable us to understand and to confront the details that lie behind the reasons for these changes and their effects on us. Today, media collects and distributes images for us with immense speed and magnitude. We are surrounded by these images; and more than ever, all communication technologies -as efficient apparatus of late capitalism- infuse our lives with vast attacks of images. Nevertheless, we have also learned from the same sources that the meaning of any image is dependent upon the context. It is not only the images, but also the ideologies and realities behind the images that are being created for us. In this respect, “Postcapital” archive developed by Daniel García Andújar ironically shoots back with the same gun by detecting lapses in our perception and explanation of political, cultural, economic, social, and even technological conditions and realities. He indexes our cognitive mechanisms. Andújar's project strives to make sensible connections between mediated images of an immense and chaotic pile. His intention is building a system that helps the viewer/user to correlate incidents of certain periods from different time slates of a decade via multidirectional links.
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/
Daniel García Andújar muestra su proyecto ´Postcapital´ en Stuttgart
El artista de Almoradí recorre los acontecimientos históricos más destacados entre 1989 a 2001 a través de sus instalaciones
CRISTINA DE MIDDEL
Daniel García Andújar participó el mes pasado en una colectiva en el MUA
CRISTINA MARTÍNEZ, Diario Información
Comenzó a trabajar en "Postcapital" en 2004, un "proyecto complejo", tal como lo define su autor, Daniel García Andújar, uno de los artistas españoles más internacionales del momento. El punto de inicio fue construir un archivo en el que el artista de Almoradí recoge documentos y testimonios de los acontecimientos históricos más relevantes ocurridos entre 1989, año de la caída del Muro de Berlín, y 2001, con el atentado de las Torres Gemelas.
