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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." 

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.

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.

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.

Víctor del Río Los materiales del artista es un proyecto de Daniel García Andujar que se alojó en la sección “Proyectos residentes” de exploradorArte, el entorno web del Museo Patio Herreriano para la investigación y el desarrollo de proyectos específicos en internet por parte de colaboradores externos. Por ello, todas las propuestas se encaminaban a la creación de comunidades de trabajo y de intercambio de información, de las que la propuesta de Daniel G. Andujar es un perfecto ejemplo. Su obra se acompañó por la versión para Internet del Archivo FX de Pedro G. Romero, el Archivo de Imagen Anónima Narrada (AIAN) de Jorge Blasco y el proyecto Gente Corriente de Javier Núñez Gasco. Por diversos avatares institucionales el proyecto para la web del museo que operaba como una suerte de comisariado en la red de proyectos archivísticos no tuvo continuidad. Este hecho plantea hoy una pregunta acerca de los conceptos sobre conservación de obras artísticas informacionales y de concepto como la que ofreció en su momento Daniel García Andujar y que enlaza aquí con los comentarios que sugeríamos entonces a propósito del propio contenido de su propuesta. Su trayectoria anterior, concretada en los numerosos proyectos bajo el sello Technologies to the people, avalaba esta perspectiva que queríamos incorporar en el horizonte de trabajo de la institución.

DİDEM YAZICI Artam 21 artam magazine pdf (tr) Dijital sanatlar, yalnızca yeni medya, bilgisayar ve internet ortamında gerçekleştirilen illüstratif tasarım ya da dekoratif imgeler değil; izleyicinin katılımına açık, oyuncu bir etkileşim öneriyor. Bu etkileşim,  salt eğlenceye yönelik sanatsal bir deneyim yarattığı kadar, sosyo-eleştirel,  jeo-politik, tarihsel ve siyasi okumalar da geliştirebiliyor. Fluxus’un yeni medya performans sanatları[1], kavramsal sanatın düşünsel alanı, bilgisayar grafik ve animasyonları, sanal ve internet sanatları, etkileşimli sanat teknolojileri gibi geniş bir skalayı kapsayan dijital sanatlar, yaklaşık yarım yüzyıldır paylaşım alanlarını genişletmeye devam ediyor. Resim ve heykel gibi geleneksel sanatlar, elli sene evvel ne anlama geliyorsa, bundan bir elli sene sonra dijital sanatlar aynı şekilde klasikleşerek, sanat tarihindeki yerini sağlamlaştıran bir konuma doğru ilerliyor. Güncel sanatın belirgin malzemelerinden biri olan dijital sanatlar, günümüz sanatına yön veren, modern ve güncel sanat tarihi yazımında rol oynayan kurumların, son yıllardaki sergi planları ve tartışma serilerinde sıkça yer aldı. Geçtiğimiz sene Victoria & Albert Müzesi’nin (Londra) süreli sergiler programında yer verdiği, Decode: Dijital Design Sensations sergisi, Daniel Brown, Golan Levin ve Daniel Rozin isimlerin yer aldığı, bu alanda yapılan önemli sergilerden biri. Dokunulduğunda ışıkları yanan enstelasyonlar, sese duyarlı yazılım programları ile çalışan dijital imgeler, Dünya üzerindeki uçakların uçuş rotaları gösteren haritalar, projeksiyonla duvara yansıtılan baloncuk görselleri ile oyuna çağıran, çok katmanlı ve renkli bir seyir sundu. Müzenin kafesinde, sergiye katılan sanatçılardan biri olan Mehmet Akten ile konuştuğumda, onun teknolojiyi kullanan matematik kafası ve sanatsal duyumsallığı kavrayan estetik yaklaşımına daha yakından şahit oluyorum. Sergiye ‘Body Paint’ adlı interaktif bir enstelasyonla, diğer bir deyişle katılımcı bir yerleştirme-heykel ile katılan Akten, seyircinin hareketine göre resim yapan bir yazılım geliştirmiş. Boş bir tuvali çağrıştıran beyaz bir perde önüne gelen izleyici,  hiçbir yere dokunmaksızın elini havaya kaldırıp hareket ettirdikçe, bu hareket doğrultusunda kendiliğinden resim yapılıyor. ‘Küçük bir çocuk, nasıl yağmur suyu biriken yolda, üzerine sıçrayacak olan çamurdan korkmadan yürür, atlar...Çalışmalarımı ilk defa deneyimleyen insanlarda da aynı coşkuyu yaratmak istiyorum.’  dediğinde, yaratmayı amaçladığı duyumun ne denli temel ve içsel bir  karşılığı olduğu fark ediliyor. ‘Klasik dönemde heykeltraş için mermeri ne ise, benim için de yazılım sistemi, ve yeni medya teknolojileri aynı anlama geliyor.’

Found Footage Hoy Gloria Vilches Según nuestro sistema legal, la apropiación audiovisual supone un choque frontal con los pilares fundamentales en los que se basa la ley de propiedad intelectual y los derechos de autor. En este apartado se expone esta ley, se definen sus conceptos básicos y se analizan sus límites. Se tratan también los nuevos tipos de licencias alternativas al copyright, como Creative Commons. Se exponen las diferentes opciones que tiene un artista a la hora de plantearse hacer una obra de metraje apropiado (como pedir permiso o recurrir a obras de dominio público) y los argumentos que podrían esgrimirse para legitimar esta práctica. Por último, se analiza una serie de piezas que expresan la actitud de sus creadores frente a estas cuestiones legales. Obras estudiadas: Warnings (Antoni Muntadas, 1988), créditos finales de Miralls (Gerard Gil, 2006), Light (Cristina Arrazola-Oñate, 2008) y Copyright is for losers (Ninotschka Art Project, 2008). La propiedad intelectual se estableció con el fin de que quienes produjeran creaciones originales literarias, artísticas o científicas pudieran, por un lado, obtener un rendimiento económico de sus creaciones (derecho de explotación) y, por otro, pudieran controlar la forma en que sus obras se utilizaran (derechos morales). En España, estos derechos están regulados por la Ley de propiedad intelectual de 1996, con las modificaciones de la reforma de ley aprobada el 20 de julio de 2006.

Público/Públic Perfil Lucia Lijtmaer, dijous 19 d’agost deL 2010 12 ( 01 ) (PUBLICO - CAT 19082010) FOTOS BAJA - PUBLI BAJA L’artista Daniel García Andújar analitza els efectes de la digitalització en la manera de percebre la realitat L’artista Daniel García Andújar em cita al seu estudi, un espai diàfan, clar i tranquil al carrer Bergara, on es respira producció per totes les cantonades. Un parell de col·laboradors treballen en silenci mentre García Andújar em mostra fullets i llibres dels seus últims projectes. Bremen, Seül, Noruega i el pavelló català de la Biennal de Venècia figuren en el seu impressionant currículum només de l’últim any. L’últim treball de García Andújar, Objetos de deseo, presentat a l’exposició col·lectiva Barcelona-València-Palma, ha tingut molta repercussió. L’artista mostra, entre altres peces, un palauet-maqueta de la casa de Fèlix Millet fet amb bitllets de 100 i 500 euros, o l’escombreta del vàter del palauet de Jaume Matas. “Mai saps quin serà el nivell d’interpretació de la gent, perquè l’art sembla con- tenir un llenguatge molt específic de l’obra”, diu, una mica sorprès davant la reacció de la premsa. “En el fons es tracta d’una reflexió entorn a la vida i a la riquesa. La meva intenció era retratar com Espanya va passar a formar part d’un club de nous rics i com un clan de corruptes roba per coses molt superficials, la qual cosa és gairebé còmica”, apunta.


Daniel G. Andújar -Iris Dressler

Umělec 1/2010 / cz en de

Iris Dressler: V jednom ze svých posledních rozhovorů jste popsal, jak praxe velkých uměleckých institucí odcizuje autora jeho dílu. Samotný umělec, který přijede do galerie instalovat své práce, je poslán do luxusního hotelu, zatímco armáda profesionálů se stará o to, aby jeho dílo bylo „správně“ prezentováno. Tou dobou jsou již kurátor a vzdělávací a PR oddělení dávno domluveni, jak bude umělcovo dílo zprostředkováno veřejnosti. Když tedy umělec nakonec přijde na výstavu, své dílo nepoznává. Daniel G. Andújar: Kulturní průmysl opustil uměleckou produkci i vytváření nových obsahů již před desítkami let. Umělci byli zatlačeni do pozadí, aby ustoupili nové elitě kulturních manažerů pořádajících bienále ve věžích ze slonoviny, pojímajících je jako mausolea. V kulturním průmyslu, který zaměstnává stále více a více lidí, jsou umělci umístěni až na nejnižším stupni ekonomické aktivity. Mnoho lidí se v našem světě slušně uživí, ale umělci „riskují své životy“. Může tento systém umění přežít bez současných umělců? Zdálo by se, že mnoho institucí bez nich přežít může. Umění, stejně jako jakýkoli kulturní proces, je především procesem předávání a přenosu, nepřetržitý, trvalý a nezbytný dialog. Nesmíme však zapomínat, že umění je také překračováním pravidel, roztržkou, ironií, parodií, přivlastňováním si, zpronevěřováním, konfrontací, pátráním, objevováním, tázáním se a konfliktem. Umění může a musí hledat nová území a rozvíjet v nich nové myšlenky. A pokud neexistují, musíme se pokusit je vytvořit. Umělecká praxe musí být proměněna ve vzdor proti stále globalizovanějšímu, hierarchizovanějšímu, rozptýlenějšímu a standardizovanějšímu světu. Umělecká praxe musí odhalit rozložení moci a vytvořit mechanismy, které mohou zaručit její dlouhodobý vliv a rozšířit daný diskurz i za hranice světa milovníků umění a uměleckých institucí.

Daniel García Andujar Ensayos escrito por Miguel Angel Gaete. 17 de julio de 2010, Arte y Crítica La obra del español Daniel García Andújar (Almoradí, 1966) se enmarca dentro de las nuevas prácticas artísticas tendientes a la descentralización de las estructuras de poder jerárquico presentes en la web y en los medios de información y opinión, así como en un ejercicio critico-creativo que aborda problemáticas inherentes a la multiculturalidad, indagando en distintos tópicos como el racismo, la discriminación social y la xenofobia. En el planteamiento estético y conceptual de Andújar se conjugan una amplia gama de herramientas de trabajo, como el video, el diseño o el net art La utilización de estas herramientas con un fin crítico que cuestiona y subvierte su propio uso en nuestro medio hipertecnologizado, junto a la preeminencia colaborativa que define su obra, hace que su praxis fluctúe dentro de lo que en la actualidad se define ampliamente como art-hacktivismo . En este neologismo se advierte el quid de su obra: una imbricación entre el discurso político-social, las técnicas del hacker computacional y el arte, enlazándose con un movimiento que pretende desestabilizar el complejo juego de relaciones de poder emergidos junto con el desarrollo de los entornos virtuales y la proliferación de medios masivos de comunicación.