Daniel G. Andujar Archive

Hic Et Nunc. Sobre las paradojas de la democracia

admin — Tue, 14 May 2013 17:59:56 +0000

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

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Lugar:

Fundació Antoni Tàpies
Carrer d’Aragó
255,08007 Barcelona
España

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

Hic et Nunc es un proyecto curatorial que acoge una selección de artistas que permite dilucidar cómo el arte se erige como acción simbólica de resistencia ante los desagravios que caracterizan a nuestra sociedad. Hic et Nunc (Aquí y Ahora), propone mirar y ver sin complejos. Doce obras audiovisuales que dan respuesta a un cúmulo de desigualdades sociales y humillaciones políticas, ofreciendo una interpretación abierta de lo político, partiendo de la acepción del zoón politikón (animal político) aristotélico.

El proyecto tiene como objetivo llevar a cabo una reflexión en torno a la relación existente entre arte y resistencia. El contexto alude al presente más inmediato, incidiendo también en la necesidad de buscar el origen de la grieta socio-política actual en la teorización clásica de lo que debería ser el Estado.

Obras:

Eugenio Ampudia, Huracán, 2012.
María Cañas, Mi Lucha, 2011.
Jordi Colomer, Co-op City, 2010.
Marta de Gonzalo y Publio Pérez, Baila la contrarreforma, 2012.
Jorge García, Pequeños ensayos sobre la desesperación, 2013.
Daniel G. Andújar, A vuelo de pájaro, 2011.
Chus García-Fraile, Cuestión de fe, 2012.
Núria Güell, Intervención, 2012.
Mateo Maté, Actos Heroicos, 2011.
PSJM, El ocaso de los estados nación, 2012.
Avelino Sala, Autrui, 2011.
Pelayo Varela, Cabeza borradora, 2013.

Duración aproximada: 1h30

Volvemos a los bares?

admin — Mon, 06 May 2013 10:51:17 +0000

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

admin — Fri, 26 Apr 2013 11:27:01 +0000

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

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

admin — Fri, 26 Apr 2013 09:29:28 +0000

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

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.

Participating artists are Adel Abidin, Alban Muja, Alfredo Pirri, Almin Zrno, Apparatus 22 and Studio Basar, Armin Linke, Autopsia, Banu Cennetoğlu and Yasemin Özcan, Brian Dailey, Carl Michael von Hausswolff, Carlo Crovato, Conor McGrady, Cynthia Zaven, Dalibor Martinis, Danica Dakic, Daniel Garcia Andujar, Dario Solman, Edin Numankadic, Edo Murtic, Emre Erkal, Ibro Hasanovic, Igor Bosnjak, Janos Sugar, Kim Cascone, Laibach, Luchezar Boyadjiev, Miroslaw Balka, Nenad Malesevic, Nemanja Cvijanovic, Renata Poljak, Paul Devens, Saeri Kiritani, Simona Dumitriu, Stealth.unlimited, and Yane Calovski.

Project D-0 ARK Underground, stationed in the space of the Atomic shelter in Konjic, 45km south of Sarajevo, is known as Tito’s atomic shelter. It’s CODE name is Istanbul. The shelter occupies a space of 6.500 square meters and consists of 12 connected blocks. The construction and existence of this bunker was kept secret until the 1990s. The object is administered by the Ministry of Defense of Bosnia and Herzegovina. The Biennial Directorate wants to protect it and keep it preserved with the help of artists and their artworks. Most of the artworks from the first edition remained exhibited at the shelter.

As a critical organizational outcome of the 2nd edition of Project Biennial D-0 ARK Underground, the public programs are designed to support the objective of building a bridge between the international and the local actors of the contemporary art by developing community outreach approaches. Public program activities are carried out in two phases.

The first phase is designed to engage the local art community with the biennial artists. The participating artists are Banu Cennetoğlu, Conor McGrady, Daniel Garcia Andujar, Paul Devens, Laibach, Nemanja Cvijanovic, Dalibor Martinis, Renata Poljak, Simona Dumitriu, Stealth.unlimited, and Yane Calovski.

The second phase presents a roundtable discussion which hovers around the issues of the role of the biennials as institutional models, the responsibilities of the curators, the educational input of the biennials, and the precarious labor in art. The participants are Iara Bubnova, Ute Meta Bauer, Nikolaus Hirsch, Pelin Tan, and Anton Vidokle, moderated by the curators of the biennial: Basak Senova and Branko Franceschi along with Marieke van Hal of the Biennial Foundation who will make an introduction.

The 2nd edition of the Project Biennial D-0 ARK Underground, Bosnia and Herzegovina will take place April 26 through September 26, 2013.

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

Curators: Basak Senova and Branko Franceschi
Curators’ assistant: Irfan Hosic
Project Biennial Director: Edo Hozic
Financial Expert: Snjezana Mesihovic
Coordinator in Chief: Sandra Miljevic Hozic
Executive Director: Ninoslav Verber
Project assistant: Jasmin Corbadzic, Belma Jusufovic
Production Team: Almir Abaz, Ivana Vukovic, Mirnes Bajic

Partner institutions: Ministry of Defense of B&H, Goethe Institute in Sarajevo, Museum of Contemporary Art of the Republic of Srpska, Museum of Contemporary Art Zagreb, iKSV Istanbul, History Museum B&H, Herzegovina – Neretva Canton Tourist Board, Bosniak Institute Adil Zulfikarpašić Foundation, Black Box, FAKTA.

Support: Support: Ministry of Civil Affairs of Bosnia and Herzegovina, Ministry for Culture and Sport of the Federation of Bosnia and Herzegovina, Ministry for Culture and Sport of Canton Sarajevo, Ministry for Culture of Republic of Serbia, Ministry for Culture of Montenegro, Ministry for Culture of Republic of Croatia, Embassy of the Republic of Turkey in Bosnia and Herzegovina, Embassy of Republic of Slovenia in B&H, Ministry of Culture of the Republic of Macedonia, UNESCO, NATO Headquarters Sarajevo, City of Konjic, SAHA, Prince Claus Fund for Culture and Development, Biennial Foundation, “Dimitrie Cantemir” Romanian Cultural Institute Istanbul, Mondriaan Fund, Record Industry and Kilobase.

Oral memories. Daniel G. Andújar

admin — Thu, 14 Mar 2013 16:07:00 +0000

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.

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

admin — Thu, 14 Mar 2013 15:25:50 +0000

CATALÀ / CASTELLANO / ENGLISH

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
anna@palmadotze.com 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

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

admin — Tue, 12 Feb 2013 15:37:52 +0000

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.

Description of the Lie
In this first section, the artists focus on how truth has been replaced in the media by false narratives created to hide covert operations or secret crimes. German artist Wolfgang Tillmans’ work reproduces actual false information published by the print media under the common umbrella of “the truth”; Spanish artist Dora García exposes the inner workings of the East German Stasi, which operated as a society within society; and Danish artist Lene Berg deconstructs the happy image of a free and educated society whose actions directly respond to plans laid out by the powers that be in order to ensure their supremacy.

The second section, “Collapses,” has four parts:

The Collapse of Communism
This group of artists examines the conditions leading up to, and the aftermath of, the fall of Communism. Included are the works of the Russian collective Chto Delat? (What Is To Be Done?), which encourages the viewer to critically engage with the events that took place during the presidency of Mikhail Gorbachev that lead to the demise of the Soviet system.

The Collapse of Capitalism
This section’s focus is on the current world financial crisis, and the premise that the economic collapse was not born out of greed or irresponsibility on the part of individuals or institutions, but rather was the inevitable result of a system based on consumerism, waste and the depletion of the planet’s resources. Works in this section include Daniel García Andújar’s Time Line, a chronology of events narrated through media and advertising images; and the Superflex collective’s humorous parody, The Financial Crisis, which suggests the crisis is an illness that can be cured through hypnosis.

The Geopolitical
The artists in this section question the roles of colonialism and the West on recent geopolitical uprisings. Fernando Bryce depicts colonial practices and their “civilising” discourses in his drawings. Through a collection of posters, Lebanese artist Zeina Maastri documents the civil war in Lebanon between 1975 and 1990. And Federico Guzmán’s installation illustrates how the consequences of Free Trade Agreements — a new form of global coloniality — affect the everyday practice of citizens.

Democracy
This section traces the effects of technology on communications, privacy and assembly and how they influence democracy. Among the works are Ed Hall’s banners, which depict the micro-history of recent social struggles in England; Artur Zmijewski’s photographs of demonstrations in Belfast, Berlin, the West Bank, Gaza, Warsaw and Strasbourg, collected both as playful and celebratory events; and Oliver Ressler’s interviews with philosophers, politicians, activists and concerned citizens asking What is Democracy?

Philosophers such as Christian Salmon—a member of the Centre for Research On Art And Language—have described and analysed a contemporary phenomenon which goes beyond, and is different from media manipulation and censorship as defined since the first decades of the 20th Century: storytelling, or the machine to fabricate stories. A system to impose ideas, generate sense and control the behaviour born in the US. Art hasn’t been, and isn’t unrelated to the narrative operations ofstorytelling. In a deliberate ambiguity, it both denounces the excess of publicity or propaganda marketing, and deploys similar formulae in its production of meaning. “We all need our own story. This is the vulnerability that storytelling bases its strategy on.” And, by force of its strength, it also builds itself an imaginary.

The section borrows its title from the sixth poetry book by Antonio Gamoneda, dated between 1975 and 1976,Descripción de la mentira (Description of the Lie). A decrying, and a warning, of the deceit and fraud through which representation (or its more common formulation, the word) weaves the real of the reality it covers up. The lie as will and as a tool for the representation of the world, extended like oil and multiplied by the media of reality constitution of the truth of all there is.

This reality has become more and more evident, both in the resources used in Communist political systems, which have almost vanished in Europe with the turn of the century, and in the multiplicity of false narratives constructed in order to endorse the Iraq War, or, more recently, in the inflation of economic stories which take over the informational horizon and, at the same time, dilute realities and responsibilities. The eruption of pieces of information provided by WikiLeaks has not only made evident the known facts of double standards, covert operations, protection of certain crimes, and other similar miseries of the relationship between the powerful and their more or less legitimate representatives. It has also established, more or less clearly, the nature of the rules of conspiracy for the elaboration of the deceitful stories spread through public opinion, and, also although collaterally, how communication media are, really, filtering systems for the information to be disseminated, hidden, and, above all, the information that certain interests want to skew.

German artist Wolfgang Tillmans simulates contemporary encyclopaedic knowledge in a series of works that reproduce the information reproduced in print media on diverse issues under the common umbrella of “the truth.” The works Argentinian-Thai artist Rirkrit Tiravanija allude to the capacity of modification and propaganda content of the news published in print media, however different the topics covered, be it the War in Lebanon or the bankruptcy of Lehman Brothers. Spanish artist Dora García penetrates the offices of the sinister Stasi, the ideological police of the German Democratic Republic, which has become a society within society, with its own internal rules. Danish artist Lene Berg, in turn, deconstructs the happy image of a free and educated society, revealing how many of the actions we consider intellectual nevertheless respond to plans laid out by the powers that be in order to ensure their supremacy. Finally, Argentinian artist Judi Werthein explores the anomalous construction of identities in the Renacer Colony, founded in Chile’s Araucana by Germans connected to National Socialism, who fled the German war defeat.

YBCA’s presentation of Without Reality There Is No Utopia is supported, in part, by the Consulate General of Spain in San Francisco.

YBCA’s programs are made possible in part by:
Abundance Foundation
Adobe
Koret Foundation
National Endowment for the Arts
Lam Research

Yerba Buena Center for the Arts is grateful to the City of San Francisco for its ongoing support.

YBCA Exhibitions 12-13 is made possible in part by:
Mike Wilkins and Sheila Duignan, Meridee Moore and Kevin King and Members of Yerba Buena Center for the Arts

Free First Tuesdays
Underwritten by Directors Forum Members

Media Sponsor
The San Francisco Bay Guardian

LINKS

Publication: 11 to 21: The Political Constitution of the Present, Issue 1. Centro Andaluz de Arte Contemporáneo

Exhibition Reception: Without Reality There Is No Utopia

Feb 15, 2013 6:30pm – 8:00pm

Grand Lobby

$10 General Admission
FREE for YBCA Members and YBCA:You

Curator’s Talk: Without Reality There Is No Utopia

Feb 16, 2013 2:00pm – 4:00pm

Large Conference Room

FREE with gallery admission

Join the curators of Without Reality There is No Utopia, Alicia Murría and Mariano Navarro, for a lively discussion on art and politics from a Spanish perspective. We’ll begin the conversation with a discussion of the themes and artworks in the exhibition.

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

admin — Fri, 25 Jan 2013 10:28:44 +0000

Click here to view the embedded video.

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.

Tools of Distorted Creativity investigates how artists have challenged the paradigmatic notion of creativity introduced by the user-friendly personal computer revolution. The artists present their challenge by producing entirely new tools and modifying or “misusing” tools that are already around. Beyond the normative credo to be creative, the artists in the exhibition rediscover the original rebelliousness associated with the notion of creativity offered by the personal computer and its tools. They explore creativity as an unexpected and disruptive act opposing its assimilation into the creative industries’ processes of cultural smoothening, conformism and standardization. Discarding the prescribed and conventional use (and understanding) of tools, the works engage in an investigative and speculative reflection on the tools and their implied cultural order. The works encourage users to engage in a more undisciplined kind of tool use, turning creativity into a critical techno-cultural language. It is a language that refuses the logic of office-speak and rather, like Jimi Hendrix and his handling of the electric guitar, takes its point of departure in experimental sensibilities and intelligences that reinvent the notion and use of the tool for other disobedient expressions and purposes.

In its classroom setting, Tools of Distorted Creativity can be seen as a toolbox in the form of an educational chart, offering visitors the chance to experience the tools first hand and expand the contextualized understanding of them. In the Extracurricular Material section, visitors can sit down and browse through videos, texts and images that relate to and expand on the exhibition’s theme. At the blackboards next to this section, twice a day, artists and special guests will give a “lecture” for the PowerPoint-less mind.

X-DEVIAN. THE NEW TECHNOLOGIES TO THE PEOPLE SYSTEM

DANIEL GARCÍA ANDÚJAR / TECHNOLOGIES TO THE PEOPLE

YEAR:

2007-2013

“Interface hack” of Mac OS X Snow Leopard and Ubuntu desktop version. Presentation format: Promotional poster, promotional video, CD box, and code graffiti.
> x-devian.com/leopard/index.html

X-Devian is centered on the fictive operating system X-Devian, which is in fact the conceptual repackaging of Ubuntu’s latest desktop version (based on Debian GNU/Linux). However, while the work literally distributes an actual piece of free software, it does not simply distribute the source code and functionalities ofX-Devian as much as the cultural vocabulary, discourses and ideas of free software, operating systems in particular, and free software in general. The “front end” of X-Devian looks like your standard commercial proprietary software—the entire design is an appropriation of Mac OSX Leopard—but behind the seductive surface the content of the system is involved with economics of a rather different kind, namely that of a collective creativity resistant to pre-packaged product thinking and open to all sorts of hacks, continuous speculation and processes of experimentation. As such, the work suggests that the development of aesthetics or even poetics of free software is inherent to an understanding and development of its unique form of creativity and resistance.

“Art and Crisis”

admin — Thu, 10 Jan 2013 19:18:41 +0000

ICI and INPUT JOURNAL ANNOUNCE

“Art and Crisis,” A Panel Discussion
Thursday, January 17, 2013
6:30 – 8:30pm
@
ICI Curatorial Hub at TEMP Art Center
57 Walker St. NY 10013

On the occasion of the book release of INPUT #5: Blockhouse

Avelino Sala, Blockhouse, 2012. (Photo courtesy of artist and INPUT Journal)

ICI and INPUT Journal are pleased to announce a panel discussion on the occasion of the book release of INPUT #5: Blockhouse (Winter 2013). Under the curation of guest creative director Avelino Sala, “Blockhouse” as a metaphor for a bunker, explores the capacity of artists to confront crisis, and to question of the symbolic function of art and the role of creation during a critical moment of metaphorical entrenchment.

Panel Participants:
Renée Vara (Moderator), Editor, INPUT Journal; Curator; NYU Professor
Chus Martinez, Director, Museo del Barrio, NY
Imma Prieto, Professor, ERAM (University of Girona); Art Critic and Curator
Avelino Sala, Artist; Editor, Sublime magazine; Curator, Commission Curatorial Collective

INPUT #5 featured artists:
AES+F, Marc Bijl, Fernando Bryce, Paco Cao, Josechu Dávila, Wim Delvoye, Democracia, Mounir Fatmi, Carlos Garaicoa, Daniel García Andújar, Chus García Fraile, Kendell Geers, Goldiechiari, Regina Jose Galindo, MK Kaehne, Rogelio López Cuenca, Teresa Margolles, David Maroto, Mateo Matè, Pepe Medina, Jorge Mendéz Blake, Eugenio Merino, Santiago Morilla, Antonio Muntadas, Dan Perjovschi, PJSM, Anri Sala, Avelino Sala, Santiago Sierra and Pelayo Varela.

INPUT #5 featured art critics:
Fernando Castro Flórez, José Luis Corazón Ardura, Blanca de la Torre and Imma Prieto.

The event is free and open to the public. Please RSVP to rsvp@curatorsintl.org with INPUT in the subject field.

INPUT #5 is printed in English and Spanish and available in a limited edition of 150 copies.

Special thanks to ICI, the Spanish Consulate, and all participating artists and critics for their support.

INPUT is an avant-garde nonprofit journal founded in 2009. The journal seeks to preserve the book form as a space for artistic experimentation and collaboration in the field of art publishing. For each limited edition, a guest art director is invited to approach the space of the book in a curatorial fashion, using it as a means to explore current cultural conditions without commercial interruption. INPUT has been featured at the New York Art Book Fair, The Armory Show and Printed Matter.

To order a copy of INPUT #5, see http://inputjournal.org/subscribe.html
For more information, see http://inputjournal.org/, http://curatorsintl.org/, or email info@varaart.com

Project Biennial D-0 ARK Underground, Bosnia and Herzegovina

admin — Thu, 20 Dec 2012 09:46:14 +0000

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

April 26–September 26 2013
Tito’s Nuclear Bunker, Konjic
www.bijenale.ba

The Biennial Directorate of Project D-0 ARK Underground announced 26–27 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.

Participating artists are: Ahmad Hosni (Cairo/Barcelona), Alban Muja (Pristina), Alfredo Pirri (Rome), Apparatus 22 and Studio Basar (Bucharest), Armin Linke (Berlin/Milan), Autopsia (Prague/Novi Sad), Banu Cennetoglu and Yasemin Cosar (Istanbul), Carl Michael von Hausswolff (Stockholm), Carlo Crovato (London/Berlin), Conor McGraddy (Burren/New York), Cynthia Zaven (Beirut), Danica Dakić (Sarajevo/Weimar), Daniel Garcia Andujar (Barcelona), Dario Solman (Split/New York), Edo Murtic (Zagreb), Emre Erkal (Ankara), Ibro Hasanovic (Brussels/Srebrenica), Janos Sugar (Budapest), Kim Cascone (San Francisco), Laibach (Ljubljana), Luchezar Boyadjiev (Sofia), Miroslaw Balka (Warsaw), Nenad Malešević (Banja Luka/Belgrade), Nemanja Cvijanovic (Rijeka), Renata Poljak (Zagreb/Split), Paul Devens (Maastricht), Sanja Ivekovic (Zagreb), Simona Dumitriu (Bucharest), Stealth (Belgrade/Amsterdam) and Yane Calovski (Skopje).

Project D-0 ARK Underground, stationed in the space of the Atomic shelter in Konjic, 45km south of Sarajevo, is known as Tito’s atomic shelter. The CODE name is Istanbul. The shelter occupies a space of 6.500 square meters and consists of 12 connected blocks. The construction and existence of this bunker was kept secret until the 1990s. The object is still under the Ministry of Defense of Bosnia and Herzegovina. The Biennial Directorate wants to protect it and keep it preserved with the help of artists and their artworks.

The first biennial was realized in 2011. The partner countries were the Republic of Serbia and Montenegro, and the selectors were Branislav Dimitrijevic and Petar Cukovic. It was curated by Branislav Dimitrijevic. There were 44 participating artists and most of the artworks are still exhibited at the shelter. The Council of Europe proclaimed this project as a Cultural Event of Europe. The project also has strong support from UNESCO.

Opening: 26 April 2013, 10–18h. Tito’s nuclear bunker, Konjic
Performances and party: 20h, Kriterion, Sarajevo

Presentations and talks: 23–25 April, 16–19.30h
Bosniak Institute Foundation Adil Zulfikarpasic, Sarajevo

Roundtable discussion: 27 April, 16–19.30h
Bosniak Institute Foundation Adil Zulfikarpasic, Sarajevo

Curators: Basak Senova and Branko Franceschi
Curators’ assistant: Irfan Hosic
Project Biennial Director: Edo Hozic
Executive Director: Ninoslav Verber
Coordinator in Chief: Sandra Miljevic Hozic
Project assistant: Jasmin Corbadzic
Public programming: Basak Senova, Didem Yazici, Irfan Hosic

Support: Ministry of Civil Affairs of Bosnia and Herzegovina, Ministry for Culture and Sport of Federation Bosnia and Herzegovina, Ministry for Culture and Sport of Canton Sarajevo, Ministry for Culture of Republic of Croatia, Embassy of the Republic of Turkey in Bosnia and Herzegovina, UNESCO, City of Konjic.

For further inquiries, please contact:
Sandra Miljevic Hozic, bhbijenale@gmail.com