Helsinki Photography Biennial 2014 Ecological Fallacy + Objects on Oil 27 Marchâ€“14 May 2014 Helsinki, Finland www.hpb.fi Helsinki Photography Biennial is a series of events on photo/lens-based contemporary art that opens March 27 in Helsinki. The biennial features contemporary art from Finland and beyond, and is organized every two years in the spring. HPB14 is produced by Union of Artist Photographers / Photographic Gallery Hippolyte in collaboration with The Finnish Museum of Photography. In 2014, the biennial aims to examine causal relations regarding ecological issues. The curatorial framework of HPB14 has been developed by Istanbul-based curator and designer Basak Senova, Finnish Mustarinda Association, and Branko Franceschi (Zagreb). The publication for HPB14 doubles as a special issue of Mustarinda magazine and develops the theme of the biennial. These topics are also discussed in the HPB14 Seminar organized on 29 March. Ecological Fallacy The title of the biennial, Ecological Fallacy, refers to the term ecological fallacy in statistics. It is a logical error or a mistaken assumption in the interpretation of statistical data. Derived from this analogy, the biennial questions analogous errors and assumptions, which are deliberately and systematically made by the ruling powers that violate the ecological balance of the world. In this context, Basak Senova's curatorial framework addresses fallacies of ecological knowledge and fosters collaborative connections between ecological data and photography-based archives. The biennial seeks correlated artistic approaches and perspectives as a way of producing and processing evident critical, social and cultural discourses on these fallacies. It serves as the suture that draws the accumulated data about fallacies on ecology into visual evidences and lens-based realities. The Ecological Fallacy exhibition features 19 projects from artists around the globe. The Ecological Fallacy exhibition at the Finnish Museum of Photography includes works from the following artists: Ali Cherri (Beirut/Paris), Daniel GarcÃa AndÃºjar (Barcelona), Hana Miletic (Zagreb/Brussels), Jawad Al Malhi (East Jerusalem), Jesper Just (New York), Mary McIntyre (Belfast), Olof Jarlbro (Helsingborg/Sofia), Raqs Media Collective (New Delhi), Serkan Taycan (Istanbul/Helsinki), SociÃ©tÃ© RÃ©aliste (Paris), and Willie Doherty (Donegal/Derry).
2nd edition of Project Biennial D-0 ARK Underground, Bosnia and Herzegovina April 26â€“September 26, 2013 www.bijenale.ba Opening: April 26th, 2013, 11am - 4pm Titoâ€™s Nuclear Bunker, Konjic Bosnia and Herzegovina The partner countries are the Republics of Turkey and Croatia, in this respect, the curators are Basak Senova and Branko Franceschi, who have their paired curatorial statements under the titles Time Cube and The Castle and selected 35 international projects. Regardless of constructed histories and collective memories, remembering means jumping from one sequence to another. Each reading guides towards a new reality and each reality illuminates a new path to discover curves, waves, missing details, obscured secrets, and disguised opinions. By navigating through sequences of time, Time Cube aims at dwelling in past and future memories by (i) reconstructing narratives; (ii) experiencing diverse realities simultaneously; (iii) connecting the temporal with the spatial; and (iv) processing the evidences of fiction and fact together. Following the same line of thought, The Castle focuses on the unnerving sensation of paranoia, doom and egotism emanating from the inversion of the ancient concept of fortress to the underground haven for the political and military elite of the Cold War era and its contemporary transition into the tourist attraction. The central object of the Biennial is â€œFacility D-0, Titoâ€™s Atomic War Commandâ€ located in Konjic, Bosnia and Herzegovina. Now, this very object still stands as a unique fiction, which is also a pastiche of industrial aesthetics and facts with working engines and ventilators as the backdrop of a historical fact. The bunker simply freezes time and is totally isolated from the outer world. At the same time, the bunker unfolds all the possible tensions, disappointments, dreams, hopes, and miseries of the entire geography.
2nd edition of Project Biennial D-0 ARK Underground, Bosnia and Herzegovina April 26â€“September 26 2013 Titoâ€™s Nuclear Bunker, Konjic www.bijenale.ba The Biennial Directorate of Project D-0 ARK Underground announced 26â€“27 April 2013 as the opening dates for the 2nd Project Biennial D-0 ARK Underground, Bosnia and Herzegovina. The biennial will take place April 26 through September 26, 2013. Partner countries for the 2nd Project Biennial are the Republics of Turkey and Croatia. The curators of this edition, Basak Senova and Branko Franceschi, also announced their paired curatorial statements under the titles Time Cube and The Castle, along with the list of the artists invited to participate in the biennial. Regardless of constructed histories and collective memories, remembering means jumping from one sequence to another. Each reading guides towards a new reality and each reality illuminates a new path to discover curves, waves, missing details, obscured secrets, and disguised opinions. By navigating through sequences of time, Time Cube aims at dwelling in past and future memories by (i) reconstructing narratives; (ii) experiencing diverse realities simultaneously; (iii) connecting the temporal with the spatial; and (iv) processing the evidences of fiction and fact together. Following the same line of thought, The Castle focuses on the unnerving sensation of paranoia, doom and egotism emanating from the inversion of the ancient concept of fortress to the underground haven for the political and military elite of the Cold War era and its contemporary transition into the tourist attraction. The central object of the Biennial is â€œFacility D-0, Titoâ€™s Atomic War Commandâ€ located in Konjic, Bosnia and Herzegovina. Now, this very object still stands as a unique fiction, which is also a pastiche of industrial aesthetics and facts with working engines and ventilators as the backdrop of a historical fact. The bunker simply freezes time and is totally isolated from the outer world. At the same time, the bunker unfolds all the possible tensions, disappointments, dreams, hopes, and miseries of the entire geography.
EXTRACTS from the READER 01 Postcapital Archive 1989â€“2001 Orton AkÄ±ncÄ± Daniel GarcÃa AndÃºjar describes the condition and the period after the â€œfall of the Berlin Wallâ€ as an aspect of post-capitalism, rather than of post-communism. That condition, the period covered in AndÃºjarâ€™s project â€œPostcapital. Archive 1989-2001â€ 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 â€œbeachâ€. The beach of freedom, covered up by the pavement of the modern civilization of property and control. The â€œbeachâ€ was the â€œanother worldâ€, â€under the paving stonesâ€. In his 1998 essay â€œCyber-communismâ€, Richard Barbrook stated â€œthe Americans are superseding capitalism in cyberspaceâ€. This was also the time AndÃºjar 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 â€œdigeratiâ€ 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 â€œsupersedeâ€ capitalism in â€œcyberspaceâ€. 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."Â
EXTRACTS from the READER 01 Postcapital Archive 1989â€“2001 Ã–zgÃ¼r UÃ§kan 1989, the fall of the Berlin Wall and 2001, September 11... These watershed Daniel G. AndÃºjar 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... AndÃºjarâ€™s choice of dates also heralds whatâ€™s beyond this paradigm. The fall of both the Wall and the Twin Towers indicate there is an â€œafterâ€ to capitalism. This potential future ironically feeds off the â€œnetworkâ€ concept. Because at its core, the concept of â€œnetwork capitalismâ€ 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 1989â€“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 80â€™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, â€œPostcapitalâ€ archive developed by Daniel GarcÃa AndÃºjar 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. AndÃºjar'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) A Project by Daniel G. AndÃºjar / Technologies To The People curated by Hans D. Christ, Nathalie Boseul Shin Total Museum of Contemporary Art, Seoul Exhibition will be extended till June 20, 2010 Postcapital Archive (1989-2001) curated by Basak Senova April 21 - June 27, 2010 Opal Contemporary Art Space, Istanbul ExhibitionÂ till June 27, 2010 Daniel Garcia Andujarâ€™s project Postcapital Archive 1989-2001 functions as a multimedia installation and open databank which is based on a digital archive of over 250,000 documents such as texts, audio files, and videos from the Internet compiled by the artist over the past ten years. "Postcapital" addresses social, political, economic, and cultural worldwide changes over the last two decades in between two important moments as 1989 fall of the Berlin Wall and the attacks on September 11, 2001. With the Postcapital Archive 1989-2001 project, Daniel Garcia Andujar calls attention to â€œnetworked archivesâ€ based on the interpretation of information.
Daniel Garcia Andujar, bÃ¼yÃ¼k bir dÃ¶nÃ¼ÅŸÃ¼mÃ¼n yaÅŸandÄ±ÄŸÄ± 90â€™larÄ± â€˜PostKapital dÃ¶nem olarak adlandÄ±rÄ±yor. FOTOÄžRAF: MUHSÄ°N AKGÃœN 28/04/2010 02:00
http://www.zaman.com.tr Ä°stanbul'da inceden inceye aÄŸlarÄ±nÄ± Ã¶ren Ã§aÄŸdaÅŸ sanat, bu kez Ã§ok bakir bir alana, HaliÃ§'e demir attÄ±. Denizin serin sularÄ±na nazÄ±r kurulan Plato Meslek YÃ¼ksekokulu'nun bÃ¼nyesindeki Opal, ÅŸehrin Ã§aÄŸdaÅŸ sanat mekÃ¢nlarÄ±na yeni bir durak olarak eklendi. AhÅŸap bir binanÄ±n ardÄ±na saklanan Opal, ilk olarak Ä°spanyol sanatÃ§Ä± Daniel Garcia AndÃºjar'Ä±n Ã§eÅŸitli Ã¼lkelere yolu dÃ¼ÅŸen Postkapital-ArÅŸiv 1989-2001 adlÄ± sergisine ev sahipliÄŸi yapÄ±yor. KÃ¼ratÃ¶rlÃ¼ÄŸÃ¼nÃ¼ BaÅŸak Åženova'nÄ±n yaptÄ±ÄŸÄ± sergi, sanatÃ§Ä±nÄ±n geÃ§tiÄŸimiz 10 yÄ±l iÃ§inde internetten derlediÄŸi 250 binin Ã¼zerinde metin, iÅŸitsel dosya ve video gibi belgelerden oluÅŸan dijital bir arÅŸiv. AndÃºjar, 20 yÄ±lda dÃ¼nya genelinde yaÅŸanan toplumsal, politik, ekonomik ve kÃ¼ltÃ¼rel deÄŸiÅŸiklikleri, 1989 Berlin DuvarÄ±'nÄ±n yÄ±kÄ±lÄ±ÅŸÄ± ve 11 EylÃ¼l 2001 saldÄ±rÄ±larÄ± ekseninde okuyor. Ä°zleyiciye bu vakalardan sonra yeni oluÅŸturduÄŸu yÄ±kÄ±mlarÄ±, duvarlarÄ± anlatmaya Ã§alÄ±ÅŸÄ±yor. Usta yazar E.M.Cioran, her satÄ±rÄ± baÅŸlÄ± baÅŸÄ±na bir aforizma olan Ã‡Ã¼rÃ¼menin KitabÄ±'nda "Toplumun dÃ¼zenini reddetmek de, kabul etmek de aynÄ± ÅŸekilde abestir: Onun iyi veya kÃ¶tÃ¼ yÃ¶nde deÄŸiÅŸimlerine, Ã¼mitsiz bir tutuculukla maruz kalmaya mecburuz; tÄ±pkÄ± doÄŸuma, aÅŸka, iklime ve Ã¶lÃ¼me maruz kaldÄ±ÄŸÄ±mÄ±z gibi." der. BulunduÄŸumuz Ã§aÄŸÄ±n Ã§oÄŸu zaman Ã¼rkÃ¼ten hallerini parÃ§a parÃ§a okumak zor olabilir. Son yirmi yÄ±lda yaÅŸanan hÄ±zlÄ± deÄŸiÅŸimi fotoÄŸraflar, videolar, sesler, afiÅŸler ve daha pek Ã§ok vasÄ±ta ile derli toplu gÃ¶rmek, okumak hayretimizi artÄ±racaktÄ±r kuÅŸkusuz. Ä°spanyalÄ± sanatÃ§Ä± AndÃºjar'Ä±n Postkapital'de yapmak istediÄŸi tam da bu: yÃ¼zleÅŸtirmek, sorgulamak. TamamÄ± internetten toplanan sergi sÃ¼rekli bÃ¼yÃ¼yor ve kÃ¼Ã§Ã¼lÃ¼yor. Zira arÅŸiv (www.postcapital.org) adresinden herkesin eriÅŸimine aÃ§Ä±k. Ä°ngilizce kelime olan postkapital, hem finansal sermayeye hem de baÅŸkentlere atÄ±fta bulunurken, kapitalist toplumlardaki dÃ¶nÃ¼ÅŸÃ¼mleri anlatÄ±yor.