“On July 2 and 3, 2010, four world corporate and state leaders will meet in Madrid. The Summit will take place at a time when the world confronts the worst economic crisis since the Second World War. Their goal: to elaborate a declaration seeking to reverse the status of the global economy.”
—————————————————————-
PSYCHOECONOMY! is an artistic platform for discussion and research, proposing an alternative approach on various global issues. Each edition involves an artist’s meeting, a public event and the publication of the resulting conclusions, documents, texts and graphic materials.
Artists participating in the first issue:
Postcapital Archive (1989-2001)
A Project by Daniel G. Andújar / 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
Exhibition till June 27, 2010
Daniel Garcia Andujar’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 “networked archives” based on the interpretation of information. Read the rest of this entry »
OPAL opens with Daniel Garcia Andújar’s project Postcapital.Archive 1989-2001, on April 21, 2010. The project 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 Andújar calls attention to “networked archives” based on the interpretation of information. Read the rest of this entry »
mono special issue e-valencia.org is published in the framework of the exhibition “On Difference #1. Local contexts – hybrid spaces”, which took place at Württembergischer Kunstverein Stuttgart from May 21 to July 31 2005.
In front of the photograph of my mother as a child, I tell myself: she is going to die: I shudder,like Winnicott’s psychotic patient, over a catastrophe, which has already occurred.Whether or not the subject is already dead, every photograph is this catastrophe.
Roland Barthes
Başak Şenova*
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 apparatuses 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 on the context. It is not only the images, but also ideologies and realities behind the images that are being created for us.In this respect, “Postcapital”, as an ironically questioning archive developed by Daniel G. Andújar, shoots back with the same gun by detecting lapses in our perceptionand explanation of political, cultural, economic, social, and even technological conditions and realities. He indexes our cognitive mechanisms. Read the rest of this entry »
Iris Dressler: In one of our recent conversations, you described how the machinery of the bigger art institutions alienates the artists from their work to a certain extent. You put it more or less in the following way: the artist, arriving at the museum to install his or her works, is sent to luxury hotels, restaurants and bars, while an armada of professionals—technicians, restorers, architects, designers, coordinators, assistants and so forth—care for the ‘proper’ presentation and communication of his of her work, following the standards of the respective institution. This is not to mention that at this moment the curator and the PR and education departments have long since defined—again in line with the conventions of the respective house—the ways of mediating the artist’s works. The artist, finally arriving at the ‘ready-to-go’ exhibition, might be shocked, as he or she no longer recognises his or her work the way it is embodied in and absorbed by the corporate setting. But it is too late: the press, board, VIPs and the like are already standing by. These attitudes and workflows of the institutional machinery are of course not a new phenomenon if you just remember the cartoon-like diagram Average Day at the Museum by the MoMA from the 1940s. But it seems that until now museums in particular are largely ignoring over 40 years of ongoing and quite diverse practices as well as discourses of institutional critique. They instead basically submit themselves far too voluntarily to almost phantasmal political pressures regarding the museum’s city marketing and tourist impact, fixating on irrational growth in visitor numbers and pulling in lucrative and glamorous private corporations. In my view, these politically indoctrinated ‘missions’ of the museum (which go hand in hand with corporate demands) have nothing to do—as is often claimed—with the financial needs of museum maintenance. They are solely about putting the museum on a prestigious stage for business and politics. By this logic, the artist seems to be a sort of alien, a disruptive factor that needs to be sedated to fit in with the museum’s rhetoric.
Daniel G. Andújar: Artistic practice, as I conceive it, must be transformed into a form of ‘resistance’ against a model obstinately aimed at prevailing in a space of relations that is becoming more and more confused, normalised, globalised, hierarchical, diffused, standardised and so on. Our society, economy and culture are founded upon interests, values, institutions, and systems of representation that, in general terms, limit creativity, confiscate and manipulate the artist’s work and divert his energy toward sterile confrontation and discouragement. Read the rest of this entry »