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Cacotopía. FOKUS’12 | Nikolaj Kunsthal. Copenhagen

Screen from Barcelona has been invited to participate at FOKUS Video Art Festival 2012, the second edition of the festival initiated by Nikolaj Kunsthal in Copenhagen 2012.

Cacotopía (Daniel G. Andujar and Avelino Sala)2011. 23m 45 s. from avelino sala on Vimeo.

On this ocasion SFB has curated a programme that reflects on the different modes and strategies of production. We believe that these are key issues of interest to artists, institutions and agents involved in the creative cultural field, enabling the collective discussion in the frame of FOKUS Festival. Furthermore, the selection will allow us to map out our network methodology and explain our premises as a platform and a festival.

On another hand and beyond the strand of production, the pieces also share affinities in that they all portray a series of heterotopias, in the sense described by M. Foucault: they explore landscapes and places which encapsulate an strong “other” imaginaries, different from what they appear to be, and are situated at the heart of society –be this symbolical, historical or physical- but constitute its margins, its limits. It is in a way an attempt to trace a spectral geography of histories blurred by official narratives, the suspended time of the prison, the remnants of the spectacle, and the dystopias of the metropolis


Uriel Orlow, Holy Precursor (2011), 14’ 13’’
Co-produced by the artist and Galerie Campagne Première Berlin, Utopiana, Yerevan/Geneva and Anadolü Kültür, Istanbul
LOOP ’11 Award

Daniel G. Andújar + Avelino Sala, Cacotopía (2011), 22’
Produced by Screen from Barcelona and the artists (Barcelona, Spain).

Mohammed Bourouissa, Temps Mort (2009),14’
Produced by Le Fresnoy, Studio National des Arts Contemporains (Tourcoing, France).

Cooperativa General Humana, The Aura of Things (2011), 5’ 30’’
Produced by Hangar (Barcelona, Spain).

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transmediale 2012 Programme Overview

/ Tuesday 31 Jan 2012 – Opening Night

transmediale 2012 Exhibition Vernissage
Dark Drives. Uneasy Energies in technological Times curated by Jacob Lillemose

with artworks from Ant Farm, William S. Burroughs and Antony Balch, Art 404, Bjørn Erik Haugen, Bureau of Inverse Technology (B.I.T.), Chris Burden, Chris Cunningham/Aphex Twin, Constant Dullaart, Costanza Candeloro and Luca Libertini, Daniel García Andújar / Technologies To The People, Heath Bunting, Jack Caravanos (Blacksmith Institute), Vibek Raj Maurya, Jaromil, Jennifer Chan, JK Keller, JODI, jon.satrom, Junko & Mattin, Marcelina Wellmer, Matteo Giordano, Karla Grundick and Mistress Koyo, Paidia Institute, Peter Luining, Ruth White, SPK, Steina and Woody Vasulka, Sture Johannesson, Nikola Tesla, Jay Dahl, TR Kirstein, Tracy Cornish, UBERMORGEN.COM, VNS Matrix, [epidemiC], Franco Berardi, Eva and Franco Mattes aka 0100101110101101.ORG

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THE RESCUE OF THE EFFECTS – Notes for a Theory of the Reader

// Opening: January 19, 20:00.

// Aditional opening hours: January 20 – 22, 15:00 – 19:00.
// General Public, Schönhauser Allee 167c, 10435 Berlin
With: Daniel G. Andújar, Sol Calero, Constant Dullaart, Embankment, Herzbeat hotel, Bettina Hutschek, Jeleton, Christopher Kline, Phanos Kyriacou, Regina de Miguel, Alexandra Navratil, Paloma Polo, Teresa Solar, Poderes Unidos and JODI.
In a landscape where reality has long ceased to be seen without the presence of auxiliary instruments, which constructs at the same time its registration and setting it up as an archive, the experience does not conform directly in contact with the world but as a mediated doppelgänger. In this type of situation we should not forget that each of the disseminating and accumulating structures that support the architecture of the information is itself a technology with a built-in ideological organisational criteria, of inclusion and exclusion.
This project is built from reflections on creative reading with an active attitude regarding materials from libraries, archives, collections or found-materials establishing with a critical fascination some series of narrative itineraries that discover hidden relationships from the intra-history, the creation of fictions and the infraordinary to practice a critical reading of their architecture, an anarcheology of the structures of knowledge and the everyday-life as well as an analysis of structures of consciousness formation.  
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14 > 23 February 2012
STUK arts centre Leuven

The theme of this eleventh edition of Artefact is The Social Contract. That term has been used in political and philosophical theories since the 17th century, but still emerges regularly today, in interviews with politicians, political party programs and debates. Even the early adopters of the social contract theory, such as John Locke, Thomas Hobbes and Jean-Jacques Rousseau, used and interpreted the concept in different ways. The classic interpretation concerns the relation between the individual as a citizen and a political entity, in which the individual sacrifices part of his freedom and power in order for the state to offer safety and social and economic security to the citizen. But what is the position of the social contract in our current times of crisis in a globalized world?

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Crossing East West Narratives by the End of Vídeo Art (2000-2011)

Una década de videoarte en Asia y España

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Madrid. Crossing East West Narratives by the End of Video Art. Tabacalera (C/Embajadores, 53).
Del 22 de diciembre de 2011 al 19 de febrero de 2012.
Comisario: Menene Gras Balaguer.

El próximo miércoles, 21 de diciembre, el Ministerio de Cultura presenta en Tabacalera la exposiciónCrossing East West Narratives by the End of Vídeo Art. El proyecto, comisariado por Menene GrasBalaguer, ha sido concebido con la intención de cruzar narrativas de Europa y Asia -en este caso España ylos países asiáticos con una producción equivalente en el ámbito del video- bien a través de la confrontación,bien a través del diálogo, que nos muestran la posibilidad de establecer conexiones entre producciones que,a pesar de la distancia en el origen, pertenecen a un mismo mundo globalizado.

El título bajo el que se presenta la muestra, Crossing East-West Narratives by the End of Vídeo Art, hacereferencia, en su primera parte, a cómo el cruce de narrativas implica también la posibilidad deatravesarlas y compararlas, asociando la acción de ver, mirar y percibir. Por otro lado, la cuestión temporalque señala el título “en el fin del videoarte” supone, en cierto modo una contradicción, ya que trata desubrayar cómo la producción en soporte vídeo ha dejado de tener un carácter meramente experimentaldesde hace mucho tiempo, mientras los nuevos formatos de producción y presentación se han ampliado, aligual que sus contenidos interdisciplinares marcados, tanto por los acercamientos mutuos entre vídeo ycine, como por el desarrollo de las nuevas tecnologías de la información y la comunicación.

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