Blog Archives


dijous, 6 juny, 2013 – 18:00
Aula Magna. IEI.

18.00 hores.- Ponencia: Reaccions de l’art en contextos de crisi, a càrrec d’Antoni Jové, historiador de l’art i coordinador de La Panera de Lleida.
19.15 hores.- Taula rodona, amb Joan Manuel Tresserras, periodista i ex Conseller de Cultura de la Generalitat de Catalunya; Antoni Martí, arquitecte; Daniel García Andújar, artista;

Modera: Antoni Jové.

Organitza: Departament d’Arts i Patrimoni de l’IEI

Documents relacionats:
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Shared Digital Futures

Date: June 12/14/15, 2013

Location: Vienna, Kunsthalle Wien Karlsplatz, MAK, Rhiz

The New Access to Culture is a workshop and public debate on Austrian cultural institutions and their digital future. (June 12 MAK Wien) More →

Shared Digital Futures is a conference that explores the impact of digital network technologies for cultural production. (June 14/15  Kunsthalle Wien, Rhiz)


Panels, Debates and Events 

Conference Abstracts

Over the last decade digitization has reached deep into our societies, invaded the archives, transformed production and distribution. The established divisions of labor are called into question, and deep challenges emerge to the theory and practices of many cultural domains. A diverse group of people – artists, researchers, critics, entrepreneurs and an engaged audience – will exchange experiences, debate ideas and reflect on essential challenges:

  • How can expanded access to digital networks benefit diverse cultural landscapes?
  • What opportunities are offered by the blurring of boundaries between artists and audiences?
  • What does it mean when cultural works are both finished works and material for new works?
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Hic Et Nunc. Sobre las paradojas de la democracia

Artistas : Daniel G. Andújar, Eugenio Ampudia, María Cañas, Mateo Maté, Chus García-Fraile, Jordi Colomer, PSJM, Avelino Sala, Marta de Gonzalo y Publio Pérez, Núria Güell, Jorge García,  Pelayo Varela

Comisariado por: Imma Prieto

17 mayo, 2013 @ 17:00 – 18:30

Fundació Antoni Tàpies
Carrer d’Aragó
255,08007 Barcelona

Screening con la presencia de la comisaria y de alguno de los artistas.

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Acts of Voicing: on the Poetics and Politics of the Voice. Total Museum Seoul

Acts of Voicing Total_museum

Acts of Voicing: on the Poetics and Politics of the Voice

□ 일정/Date: 2013.05.02-06.30

□ 오프닝/Opening: 2013.05.02 6pm

□ 큐레이터: 신보슬, 이리스 드레슬러, 한스 D. 크리스트, 크리스티앙 페터슨

□ 참여작가:

바니 아비디, 다니엘 가르시아 앙두하르, 유투브 동영상 (익명의 작가), 존 발데사리, 사무엘 베케트, 이네스 도우약, 후안 마뉴엘 에차바리아, 팀 에첼, 라이너 가날, 게리 힐, 란짓 호스코테, 쟈크 라캉, 임민욱, 마라 마츄스카, 호세 페레즈 오카나, 옥인콜렉티브, 앙리 살라, 이모겐 스티드워시, 라사 토도시에비치, 양 쩬종, 카타리나 드제라르, 슬라보에 지젝

□ 파트너:

파라/사이트 아트스페이스, 홍콩

뷔템베르기셔 쿤스트페어라인 슈트트가르

카미널 컬쳐럴 부카레스트

□ Curators: Nathalie Boseul SHIN, Iris Dressler, Hans D. Christ, Christian Peterson

□ Artists:

Bani Abidi, Daniel García Andújar, Anonym, John Baldessari, Samuel Beckett, Ines Doujak, Juan Manuel Echavarria, Tim Techells, Rainer Ganahl, Gary Hill, Ranjit Hoskote, Jacques Lacan, Minouk Lim, Mara Mattuschka, José Pérez Ocaña, Okin Collective, Anri Sala, Imogen Stidworthy, Rasa Todosijevic, Zhen Zhong Yang, Katarina Zdjelar, Slavoj Žižek

□ Partners:

Para/Site Art Space, Hong Kong

Württembergischer Kunstverein Stuttgart

Căminul Cultural, Bucharest

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2nd edition of Project Biennial D-0 ARK Underground, Bosnia and Herzegovina

Universitas (magistrorum et scholarium) Stećci – Gymnazium

2nd edition of Project Biennial D-0 ARK Underground, Bosnia and Herzegovina
April 26–September 26, 2013

Opening: April 26th, 2013, 11am – 4pm
Tito’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 “Facility D-0, Tito’s Atomic War Command” 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.

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Oral memories. Daniel G. Andújar

DANIEL GARCÍA ANDÚJAR – English Version from Oral Memories on Vimeo.

El proyecto Oral Memories tiene por objeto convertirse en una plataforma para la promoción y difusión de los artistas emergentes y de media carrera españoles, tanto a nivel nacional e internacional. Este proyecto se basa en la realización de una serie de entrevistas audiovisuales a estos creadores sobre los planteamientos estéticos-conceptuales y las  prácticas artísticas que aglutinan sus proyectos creativos.

El desarrollo de este proyecto posibilitará, mediante la aglutinación de estos creadores en un solo portal, mejorar el conocimiento y la accesibilidad a este conjunto de artistas, permitiendo una visión integral y caleidoscópica de la creación española contemporánea especialmente útil para instituciones, curators y coleccionistas internacionales.

Para comenzar el proyecto, hemos realizado una primera selección de creadores emergentes y de media carrera, utilizando dos criterios objetivos, la fortuna crítica y la importancia de los proyectos expositivos realizados en los últimos años, tanto a nivel nacional como internacional. Esta primera selección, se irá ampliando anualmente con nuevos artistas, lo que convertirá al portal en el recurso más importante sobre los artistas españoles contemporáneos.



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Tras 23 años de trayectoria, PALMADOTZE presenta su nuevo espacio en Masia Mas Pujó, y con él ¡Reset!


Tras 23 años de trayectoria, PALMADOTZE presenta su nuevo espacio en Masia Mas Pujó, y con él ¡Reset! Un proyecto que arranca con una ardua tarea de recapitulación sobre la trayectoria de la galería y en torno a la relación mantenida con un conjunto de artistas que constituyen, por así decirlo, su principal patrimonio. Nota de prensa

El acto estará amenizado con los vinos de la bodega familiar “Mas d’en Gil”

Se ruega confirmación antes del jueves 7 de marzo de 2013
Contacto: Anna Rovira o +34 938 18 06 18

Cómo llegar en tren
Ida: rodalies R4 con parada Vilafranca del Penedes. Horario
Se han previsto autobuses directos desde la estación de Vilafranca a PALMADOTZE:
16.40 h y 17.20 h
Vuelta: se han previsto autobuses directos de PALMADOTZE a la estación de Vilafranca:
19.40 h y 20.00 h

Cómo llegar en coche
Dirigirse a AP7 salida 30 (Vilafranca s. / Santa Margarida i els Monjos), incorporarse a N340a dirección Santa Margarida i els Monjos, a 300 metros girar a la izquierda dirección Masia Mas Pujó.
Generar itinerario de viaje

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Without Reality There Is No Utopia. Yerba Buena Center for the Arts San Francisco

CAAC Sevilla

CAAC Sevilla

February 15–June 9, 2013
YBCA Galleries

Without Reality There Is No Utopia was organized by the Centro Andaluz de Arte Conteporaneo in Seville, Spain; and curated by Alicia Murría, Mariano Navarro and Juan Antonio Álvarez Reyes. Artists in the exhibition include: Alfredo Jaar, Artur Zmijewski, Carlos Motta, Chto Delat?, Ciprian Muresan, Daniel García Andujar, Dora García, Ed Hall, El Roto, Federico Guzmán, Fernando Bryce, Ignasi Aballí, Jan Peter Hammer, Judi Werthein, Katya Sander, Lene Berg, Manolo Quejido, Oliver Ressler, Rirkrit Tiravanija, Superflex, Zeina Maasri, and Zhou Xiaohu.

In the Age of Information, actual reality has been supplanted by virtual reality, computer simulation, and false narratives. Since the concept of utopia is based on the improvement of reality, the disappearance of the real also signals the end of utopia.Without Reality There Is No Utopia illustrates this premise by examining false narratives that masquerade as truth; the collapse of Communism in the 1980s; the current financial crisis, which heralds the demise of Capitalism; the contradictions inherent in geopolitics; and the explosion of democratic uprisings around the world. The exhibition includes work by more than two-dozen international artists, and features works of photography, video, drawing, painting, collage, and more.

The exhibition is organized into two asymmetric sections that consider shifts in global political realities.

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TOOLS OF DISTORTED CREATIVITY Transmediale 2013 BWPWAP Berlin/DE:29.01-03.02.2013

Transmediale 2013 BWPWAP Berlin/DE:29.01-03.02.2013


To a man with a hammer, everything looks like a nail. – Mark TwainSoftware is mind control—get some. – i/o/d

Through a selection of 13 artists, Tools of Distorted Creativity questions the notion of creativity that has been instrumental to the development of the personal computer, from its first stationary instantiations in the 1980s to today’s mobile devices. Since its introduction, the personal computer has embodied the dream of the creative machine that allows the user to expand and explore her creative potential, rather than making her a slave of the machine. The personal computer itself is, however, only half of this story about machine-aided creativity. The other and equally important half of the story are the software tools at the user’s disposal within the machine environment. Each of these hundreds of thousands of tools presents certain forms of perception, ways of thinking and modes of acting, that in turn activate certain kinds of creativity. So rather than being a general notion, creativity needs to be recognized as a multiplicative and diverse form of practice. Creativity also needs recognition as the source of open potential for tools yet to be invented.

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