English

TO THE READER. BAK. Utrecht

TO THE READER : OPENING 18 OCTOBER 17:00

WEDNESDAY, 30 OCTOBER – SUNDAY, 3 NOVEMBER 2013

TIME
13:00 – 18:00
WHERE
Lange Nieuwstraat 4 (BAK)

Opening: Friday 18 October 2013,  17:00h at BAK, Lange Nieuwstraat 4 (Utrecht)

Walk: Saturday 19 October, 14:00h
Talk: Saturday 2 November, 15:00h

Regular opening hours ‘To The Reader’: 19 Okt – 3 Nov | 13.00 – 18.00 (Closed on Mondays)

TO THE READER

‘you — hypocrite Reader — my double — my brother!’

– To The Reader, Charles Baudelaire (trans. Robert Lowell 1963)

‘Capital is not a thing, but a social relation between persons which is mediated through things’

– Capital Vol. 1, Karl Marx

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The exhibition To The Reader curated by Benjamin Fallon, Impakt Festival Utrecht

CC22-Impakt_Benjamin-Fallon_Capital-Reading-Group-1-570x734TIME
13:00 – 18:00
WHERE
Lange Nieuwstraat 4 (BAK)

Opening: Friday 18 October 2013,  17:00

TO THE READER

‘you — hypocrite Reader — my double — my brother!’

– To The Reader, Charles Baudelaire (trans. Robert Lowell 1963)

‘Capital is not a thing, but a social relation between persons which is mediated through things’

– Capital Vol. 1, Karl Marx

To The Reader emerges from the understanding that capitalism is, first and foremost, a social relation that defines our behaviour. The exhibition is grounded in our current historical period. The basis for capitalism as a mode of organization has never been weaker, but paradoxically has seen almost no credible articulations of dissent. Perhaps there have been some fairly weak moral pleas for it to behave more pleasantly, and vague ideas that a return to Fordism and Keynesianism might be a good idea.

In the art world, this has been echoed with a fetishization of the ideals of exodus and withdrawal and, more recently, a turn to the anti-politics of the object. The artists here alternatively opt, as theorist Donna Haraway would put it, to ‘stay with the trouble’. Instead of attempting to objectify capital to produce a critique from a safe ethical distance, the works rather inhabit and map the flows of the supposedly non-ideological system, making visible that which is hidden and complicating that which is presented to us as natural.

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Grupo Baja Mar. Giving Form to the Impatience of Liberty

Giving Form to the Impatience of Liberty

Ricardo Basbaum, Igor Vamos, Dale Yeo, Elisabeth Mc Lendon, Daniel García Andújar Cerrado - Estamos Vigilando – Ocup do (Closed – We are watching – Occup d), 1994 Video documentation of a threepart intervention with rakes at the beaches Playa de Gros and Playa de La Concha in San Sebastian in July 1994.

Ricardo Basbaum, Igor Vamos, Dale Yeo, Elisabeth Mc Lendon, Daniel García Andújar
Cerrado – Estamos Vigilando – Ocup do (Closed – We are watching – Occup d), 1994
Video documentation of a three part intervention with rakes at the beaches Playa de Gros and Playa de La Concha in San Sebastian in July 1994.

An exhibition by
Württembergischer Kunstverein Stuttgart

Curators
Iris Dressler, Hans D. Christ

Grupo Baja Mar
Ricardo Basbaum, Igor Vamos, Dale Yeo, Elisabeth Mc Lendon, Daniel García Andújar
Cerrado – Estamos Vigilando – Ocup do (Closed – We are watching – Occup d), 1994
Video documentation of a threepart intervention with rakes at the beaches Playa de Gros and Playa de La Concha in San Sebastian in July 1994.

 

In 1994, Spanish-American artist Antoni Muntadas was offered a solo show at the Arteleku art institute in San Sebastian. He instead suggested a workshop for art students, which finally led to the project Urban Intervention , runed by Muntadas and artists such as Hans Haacke and Krzysztof Wodiczko. Among the participants were Ricardo Basbaum, Igor Vamos (better known these days as The Yes Men), Dale Yeo, Elisabeth Mc Lendon and Daniel García Andújar, who together made up the Grupo Baja Mar (low tide). Their project consisted of three conceptual pieces done at the Gros and La Con – cha beaches. They used rakes to write three statements in the sand, one after the other, at low tide – cerrado (closed), estamos vigilando (we are watching), and ocup [ ] do (occup [ ] d). In each case, they left the sand slogans in place and documented the reactions of the public – from amazement to annoyance that the beach was closed or occu – pied. One person feels compelled to insert the missing “a” in ocup[a] do, another replaced the “closed” with the word for “open.” Others were indifferent to what was written in the sand; they simply laid their beach towels down over the writing. This is a project in which partici – pation can be understood as an act of disobedience.

 

1994 wurde der spanisch-US-amerikanische Künstler Antoni Mun – tadas zu einer Einzelausstellung in das Kunstinstitut Arteleku in San Sebastian eingeladen. Stattdessen schlug er einen Workshop für KunststudentInnen vor, der schließlich unter dem Titel Urban Inter – ventions stattfand und den er gemeinsam mit Künstlern wie Hans Haacke und Krzysztof Wodiczko durchführte. Zu den TeilnehmerIn – nen zählten unter anderem Ricardo Basbaum, Igor Vamos (heute eher unter dem Namen The Yes Men bekannt), Dale Yeo, Elisabeth Mc Lendon und Daniel García Andújar, die gemeinsam die Grupo Baja Mar bildeten. Ihr Projekt bestand aus drei Aktionen an der Pla – ya de Gros und Playa de La Concha. Nacheinander schrieben sie bei Ebbe mit Harken folgende Sprüche in den Sand: Cerrado (Gesperrt), Estamos Vigilando (Wir beobachten) und Ocup [ ] do (etwa: Bes [ ] tzt). Bei jeder Aktion überließen sie diese Markierungen sich selbst und dokumentierten die Reaktionen der Öffentlichkeit: etwa die Ver – wunderung oder das sich Echauffieren darüber, dass der Strand geschlossen oder besetzt sein soll. Eine Person kann anscheinend nicht anders, als das fehlende A von Ocup[a]do zu ergänzen, wäh – rend eine andere Person das Wort „Geschlossen“ durch „Geöffnet“ ersetzt. Wieder Andere kümmert es dagegen nicht, was da im Sand geschrieben steht. Sie legen einfach ihr Badetuch darüber. Es ist ein Projekt, das Partizipation als Akt des Ungehorsams verhandelt.

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PHOTO COLLECTION TECHNOLOGIES TO DE PEOPLE. Casa Sin Fin. Madrid

Daniel G. Andújar

TECHNOLOGIES TO DE PEOPLE PHOTO COLLECTION (1997)

Madrid, 14/09 – 16/11

El trabajo de Andújar cuestiona, mediante la ironía y la utilización de estrategias de presentación de las nuevas tecnologías de la comunicación, las promesas democráticas e igualitarias de estos medios y critica la voluntad de control que esconden detrás de su aparente transparencia. Partiendo de la constatación de que estas nuevas tecnologías están transformando nuestra experiencia cotidiana, creó en 1996 una ficción (Technologies To The People™) con el fin de hacernos tomar conciencia de la realidad que nos rodea y del engaño de unas promesas de libre elección que se convierten en nuevas formas de control y desigualdad.

Andújar conecta también con ciertas líneas del arte conceptual que se relacionan con los medios y la tecnología de la cultura contemporánea y sus significaciones sociales, económicas y políticas; en una actuación doble: 1) analizando y criticando cómo los medios de comunicación y la tecnología procesan la información generando relaciones de poder y b) intentando, después, transformar estos medios en una herramienta para obtener poder. Los trabajos de Hans Haacke de principios de los años setenta y los de Muntadas desde mediados de la misma década hasta hoy son significativos ejemplos; lo mismo sucede con la obra de artistas como Cildo Meireles y David Lamelas, el “arte de los medios masivos de comunicación” anunciado por Roberto Jacoby, Eduardo Costa y Raúl Escari o el grupo Tucumán Arde.

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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)

Overview:

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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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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