Objetos de deseo/Objects of desire. A project by Daniel G. Andújar/Technologies To The People for the exhibition «BVP». BARCELONA – VALÈNCIA – PALMA A History of Confluence and Divergence. From 26 May 2010 to 12 September 2010. Centre de Cultura Contemporània de Barcelona. 2010 [Modelo de Salvador Gil / Szoma Studio para Daniel G. Andújar/Technologies To The People] During the implementation of our imperfect democratic system, a new social model appeared on our country’s political and economic scene. It was made up of people of different origins and backgrounds who were ready to spring into action with two fundamental objectives: to earn money whatever the cost; to grow economically at the same lightning speed as their country, always acting in accordance with the law, by changing it or simply bypassing it. This kleptomaniac oligarchy has carved a niche for itself in our social context until it has become part of our idiosyncrasy. The most immediate cases of corruption are so widely accepted that they are perceived as something inherent, as something that is part of our everyday lives. All this is done without preconceptions: corruption is widespread and has been taken on board; it affects everyone: the different political parties, the different social classes and professionals across the spectrum. Mafias and organised crime have become part of our everyday lives, but this isn’t always perceived in this way. Friends, neighbours, relatives, we ourselves, may be tempted to benefit from this lucrative lifestyle, and thereby become part of a tainted system. A complex practice and a true web of corruption, financial bodies with links to mafia organisations, connections with top- or low-level corrupt public servants, the front men for anonymous investors covered up by legal practices that have been set up in order to protect the anonymity of the true backers. I wonder what this is all for. What are their true objects of desire? The things a life like this is worth living for. Daniel G. Andújar/Technologies To The People

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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. The project has been exhibited and toured in various geographies and events including Württembergischer Kunstverein, Stuttgart in 2008-2009, the Catalan Pavilion at 53rd Venice Biennale in 2009, and Iberia Art Center, Beijing, 2009. The exhibition will be accompanied with a reader, featuring texts and interviews by Daniel Garcia Andújar, Basak Senova, Özgür Uçkan, Oliver Ressler, Orton Akinci, Erhan Muratoglu, and Ayse Gorur along with a series of talks. The first talk by Daniel Garcia Andújar, on Thursday, April 22nd at 18.30 pm, is on 'the apprehension of the reality' from the Postcapital Archive. As a multipurpose exhibition space, OPAL targets at developing projects, exhibitions, performances, and events, which explore the interconnections between art and design. Basak Senova has been appointed as the chief curator of the space. As a remarkable restoration project, OPAL is located at Balat on the Golden Horn.

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Daniel G. Andújar, Pedro G.Romero y Sitesize Curator : Valentín Roma 4 February 2010 Bòlit-LaRambla Del 5 February 11 April 2010 Technologies To The People (TTTP) began in 1996, as part of the "Discord. Sabotage of Realities" exhibition project that took place at the Kunstverein and Kunsthaus in Hamburg. It was originally presented as a virtual company dedicated to bringing technological advances closer to the least privileged, a sort of vague corporation that reproduced dissuasive language, the identity tics and visual archetypes associated with the commercial companies in the digital environment. As a definition of the context in which TTTP originated, it is important to refer to a certain incipient explosion that was gathering momentum in the world of information technology at that moment; monetary mirages materialised there-public companies with inflated stock prices, exaggerated initiatives and platforms with no definition-which, after acquiring an incomprehensible media prominence, disappeared as if they had never existed. At the same time, and also in this initial period of the Net, notions uncritically idealising a supposed independence and democratisation of knowledge that the Internet should bring with it began to crop up, though in the end they never materialised. TTTP thus appears as a parody in the aforementioned double sense, i.e., as a disconcerting antithesis to the hypothetical wrongdoings of technological corporations, and also as an ironic counterpoint to the exhortations of the disciples of digital liberty. Nonetheless and in hindsight, it could be said that TTTP has developed four more or less distinct courses of action throughout its life span: one, shaped around the launch of various products with which the corporation meddles in the market, ridicules the productive capacity of the company itself and styles strategies for connecting and empathising with the hypothetical users. Among the most prominent projects in this sphere would be the Street Access Machine (1996), a machine allowing those begging in the street to access digital money; The Body Research Machine (1998), an interactive machine that scanned the body's DNA strands, processing them for scientific experiments, and x-devian by knoppix, an open-source operating system presented as part of the Individual Citizen Republic Project: The System (2003) project. Another course the work takes would be the critical reflection on the art world TTTP presents through the Technologies To The People Foundation with its collections distributed free of charge-Photo Collection (1997), Video Collection (1998) and Net Art Classics Collection (1999)-already calling the idea of material and intellectual property into question during this period. A third conceptual area would be constituted by the creation of the so-called e- pages (e-arco.org, e-manifesta.org, e-seoul.org, e-valencia.org, e-barcelona.org, e-sevilla.org, e-norte.org and e-madrid.org among others), which have become true platforms for citizen reflection linked to a specific cultural environment and a very concrete set of problems. Also to be highlighted from among TTTP's activities is the construction of the vast Postcapital Archive. The Postcapital Archive (1989-2001), www.postcapital.org, was presented for the first time in 2006 at the La Virreina Centre de la Imatge in Barcelona as part of the Postcapital. Politics, the city, money project, together with the work of artist Carlos Garaicoa and essayist Iván de la Nuez. Since then this multimedia proposal in process-that not only allows user consultations but also copying and even modification-has gone on expanding in successive exhibitions, workshops and interventions in public space carried out in Oslo, Santiago de Chile, Bremen, Montreal, Istanbul, Dortmund and, more recently, at the Württembergischer Kunstverein in Stuttgart as an anthology. In its current configuration, the archive contains more than 250,000 documents compiled from the Internet by Daniel G. Andújar over nearly a decade of creative work. These materials, among which publications, video and audio clips and image banks are to be found, sketch out a vast examination of the geopolitical transformations and the state of the communist and capitalist ideologies in the period spanning from the fall of the Berlin Wall to the attack on the Twin Towers in New York. Throughout this entire period, the Postcapital Archive (1989-2001) has gone on developing projects of different scales and formats, some of which shape its presentation in "The Unavowable Community" project. Thus the proposal developed for Bòlit. Girona Contemporary Art Centre hinges around two major thematic areas in confrontation: one revolves around media imagery and the ideological stereotypes generated during the period spanning from 1989 to 2001; the other reflects on the nature of the archive itself, about which mechanisms of organisation, compilation and representation are used to categorise knowledge. Found within the first of these sections is the so-called Time Line, an extensive series of images from the media and advertising that shape a subjective chronology made from contrasts and antagonisms where the most varied of political occurrences from the post-capitalist period are narrated and illustrated. This sort of visual diary has its beginning and end in the publicity campaign launched by a South African newspaper with the slogan "The world can change in a day", which made use of the confrontation between two photographs, one of the Berlin Wall on 8 November 1989 and another of the World Trade Center on 10 September 2001. In terms of the work integrating reflection on the forms of organising the knowledge proposed by the archive, an intervention that has already become a sort of emblem of the Postcapital Archive (1989-2001) is noteworthy. It consists of two large panels that show, respectively, the logos of the primary global corporations and the names of leftist organisations from all over the world, thus confronting capitalism and communism, the market and ideology. Situated in this same semantic space is the Tower of Knowledge, a wooden structure whose entrance has been blocked off. The Tower recalls the hierarchies of knowledge and houses the server which unites all of the compiled material and which offers the users the possibility not only to copy it but also to participate in its organisational layout since it is also located in this same semantic space, at the heart of the archive. Lastly we find two proposals that are complimentary in a certain way: an extensive collection of maps, diagrams and cartography that interprets recent social, political and economic changes, relating them to images of the new megacities and urban sprawl, as well as the so-called Postcapital Library, likewise a cosmology including texts, videos and other documents by over two hundred authors that could very well constitute a sort of post-capitalist canon. Bòlit-LaRambla. Girona

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“后资本文献1989-2001”展开幕 Iberia Art Center. Beijing, China. 2009

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Biennale di Venezia, 7.6.2009-22.11.2009 The Postcapital Archive(1989-2001), www.postcapital.org, was presented for the first time in 2006 at the La Virreina Centre de la Imatge in Barcelona as part of the Postcapital. Politics, the city, money project, together with the work of artist Carlos Garaicoa and essayist Iván de la Nuez. Since then this multimedia proposal in process—that not only allows user consultations but also copying and even modification—has gone on expanding in successive exhibitions, workshops and interventions in public space carried out in Oslo, Santiago de Chile, Bremen, Montreal, Istanbul, Dortmund and, more recently, at the Württembergischer Kunstvereinin Stuttgart as an anthology. In its current configuration, the archive contains more than 250,000 documents compiled from the Internet by Daniel G. Andújar over nearly a decade of creative work. These materials, among which publications, video and audio clips and image banks are to be found, sketch out a vast examination of the geopolitical transformations and the state of the communist and capitalist ideologies in the period spanning from the fall of the Berlin Wall to the attack on the Twin Towers in New York. Throughout this entire period, the Postcapital Archive(1989-2001) has gone on developing projects of different scales and formats, some of which shape its presentation in The Unavowable Community project. Thus the proposal developed for the Venice Biennale hinges around two major thematic areas in confrontation: one revolves around media imagery and the ideological stereotypes generated during the period spanning from 1989 to 2001; the other reflects on the nature of the archive itself, about which mechanisms of organisation, compilation and representation are used to categorise knowledge. Found within the first of these sections is the so-called Time Line, an extensive series of images from the media and advertising that shape a subjective chronology made from contrasts and antagonisms where the most varied of political occurrences from the post-capitalist period are narrated and illustrated. This sort of visual diary has its beginning and end in the publicity campaign launched by a South African newspaper with the slogan “The world can change in a day”, which made use of the confrontation between two photographs, one of the Berlin Wall on 8 November 1989 and another of the World Trade Center on 10 September 2001. Border Crossings, a video collage illustrating different forms of ‘outflanking’, from a leap from the Berlin Wall to border traffic in Ceuta and La Gomera, is also located in this section dedicated to questioning political stereotypes. A video memorialising the Tiananmen Square student massacre in 1989 is presented as a contrast to this sequence. Also to be noted are the works titled Honor, a compilation dedicated to the Iraq War interweaving journalistic documents, videogame animations and clips from amateur movies filmed by the American marines themselves; No War, an anthology of recordings about the mass protests against the U.S. conflict with Iraq that took place in 2003 and, finally, 9/11 Misterios, contrasting the citizen shock experienced at Ground Zero in New York on Tuesday 11 September 2001 with the situation of political chaos that also occurred on a Tuesday 11 September in 1973 in Santiago, Chile as a result of General Pinochet’s military coup. In terms of the work integrating reflection on the forms of organising the knowledge proposed by the archive, an intervention that has already become a sort of emblem of the Postcapital Archive (1989-2001) is noteworthy. It consists of two large panels that show, respectively, the logos of the primary global corporations and the names of leftist organisations from all over the world, thus confronting capitalism and communism, the market and ideology. The server that unites all of the compiled material and offers the users the possibility not only to copy it but also to participate in its organisational layout is also located in this same semantic space, at the heart of the archive. Lastly we find two proposals that are complimentary in a certain way: an extensive collection of maps, diagrams and cartography that interprets recent social, political and economic changes, relating them to images of the new megacities and urban sprawl, as well as the so-called Postcapital Library, likewise a cosmology including texts, videos and other documents by over two hundred authors that could very well constitute a sort of post-capitalist canon.

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From November 22, 2008 to January 18, 2009, the Württembergischer Kunstverein is showing Spanish artist Daniel García Andújar’s project Postcapital. Archive 1989 - 2001. The project—conceived, in equal measure, as multimedia installation, stage, open databank, and workshop—is founded on a digital archive comprised of over 250,000 documents (texts, audio files, videos, etc.) from the Internet compiled by the artist over the past ten years

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THE WONDERFUL WORLD OF IRATIONAL.ORG: Tools, Techniques and Events 1996-2006 in Novi Sad Museum of Contemporary Art of Vojvodina Dunavska 37, Novi Sad, Serbia Curators: Inke Arns (Dortmund) and Jacob Lillemose (Kopenhagen) Dates: 28. October - 27. November 2008. from 9-17h, during weekends from 9-14h; Museum is closed on Mondays. Production: New Media Center_kuda.org, Novi Sad, http://www.kuda.org Hartware MedienKunstVerein, Dortmund, http://www.hmkv.de

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La médiation du conflit/Mediating Conflict Maison de la culture du Plateau-Mont-Royal  Montreal. 29 août au 28 septembre 2008. Sylvie Lacerte, commissaire

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Art in the Age of Intellectual Property 19 July - 19 October 2008 The exhibition which presents 28 contemporary positions on art in the age of intellectual property from July 19 - October 19, 2008, will open on Friday, July 18, 2008, at 19:00 in the PHOENIX Halle Dortmund. Curated by: Dr. Inke Arns, Artistic Director of HMKV Francis Hunger, Junior Curator of HMKV

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Un proyecto de Álvaro de los Ángeles con Isidoro Valcárcel Medina, Rogelio López Cuenca y Daniel García Andújar Sala Parpalló, junio-septiembre de 2008

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LABoral Centro de Arte y Creación Industrial. Gijón. Asturias. IDEA Y CONCEPTO: Karin Ohlenschläger y Luis Rico. COMISARIADO: Karin Ohlenschläger www.banquete.org/banquete08/

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PHE06 Matadero Madrid Curator: Horacio Fernández Organized by: PHotoEspaña G. Andújar questions freedom of choice in an installation based on cutting-edge technology The artist asks spectators to enter a room where overhead projectors transport them to various landscapes Daniel G. Andújar’s Hack Landscape installation develops based on fiction to make spectators aware of the deceit implied in the so-called reality of choice. His proposal involves a totally ordinary room where overhead projector screens show images of landscapes and scenarios downloaded from Internet. These landscapes offer portraits of the social face of the world in which we live and differ from the fictitious reality we believe we are experiencing daily. G. Andújar chose landscapes as the support for his message since it is a genre that has acted as a backdrop for dealing with subjects such as political conflicts, victories in wars, everyday life, social questions of an ethnic origin, etc. In his opinion, artists must be sharp observers of social change and measure the impact that such changes produce in people’s daily lives.

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Workshop. Transforming Information into Knowledge The project furthermore offers an opportunity to examine strategies of “artist practice in the Postcapital Archive”—a new public space having long been influenced by new information and communications technologies. Württembergischer Kunstverein Stuttgart, Akademie Schloss Solitude

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Secret es una propuesta que se integra dentro de las diversas actividades llevadas a cabo por el Archivo Postcapital de Daniel G. Andújar para Technologies To The People. Diseminado en los más diversos lugares del espacio público en Santiago de Chile. Julio 2007

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Württembergischer Kunstverein Stuttgart On Difference #1 Local Contexts – Hybrid Spaces May 21 – July 31 2005 From May 21 to July 31, 2005, Württembergischer Kunstverein in Stuttgart is presenting the first exhibition in the two-year project “On Difference”. Between 2005 and 2006, in two exhibitions, film programmes, workshops and series of lectures, “On Difference” will focus on the local contexts and networked spaces of action of contemporary art – particularly in so called “non-western” cultures. At several different levels, “On Difference” sets out to reflect on artistic productions from Eastern Europe, Asia or South America against the background of specific local and trans-local contexts. “On Difference” does not, however, deal with the difference between cultures. The focus is rather on heterogeneity within various cultural contexts, exploring them not as static entities but rather in their movements and shifts.

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A project by: CARLOS GARAICOA DANIEL G. ANDÚJAR IVÁN DE LA NUEZ april 12 – september 25, 2006 Palau la Virreina, Barcelona Politics, the city, money POSTCAPITAL is a multimedia project conceived by Carlos Garaicoa, Daniel García Andújar and Iván de la Nuez. The authors, after more than a decade of creative work on these topics, have replaced the usual collective exhibition by the construction of a visual space from which to put forward and confront their concepts, ramified into publications, workshops, videos, scale models, a library, Internet connections and image banks.

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Daniel G. Andujar (Valencia/E), Rachel Baker (London/GB), Kayle Brandon (Bristol/GB), Heath Bunting (Bristol/GB), Minerva Cuevas (Mexico City/MEX), Marcus Valentine (Bristol/GB) Hartware MedienKunstVerein at PHOENIX Halle Dortmund/Germany August 30 – October 29, 2006 Opening: Sunday, August 27, 2006, 16:00

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International Student Workshop 10 July – 10 August 2004 PhoenixHalle Dortmund with Antoni Muntadas Daniel García Andújar Bettina Lockemann

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Daniel Garcia Andujar X-Devian. The New Technologies To The People™ System . 12. maj – 10. juni 2007 Curated by Jacob Lillemose Aarhus Kunstbygning

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Individual Citizen Republic Project™: El Sistema.The system, 2003 Museu Comarcal Garrotxa. Olot Curator: Valentin Roma

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Tour-ismes. La derrota de la dissensió Fundació Tàpies, Barcelona, 2004

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Museo de la Universidad de Alicante, 2000 Comisarios: José Luis Martínez, Aramis López

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Almost ten years ago with Language (property), Spanish media artist Daniel Garcia Andujar, better known under his company name Technologies to the People, developed a work which addressed the increasing privatisation and commodification of language. On a simple HTML page he listed phrases which have been registered as trademarks, and with that, had become the property of their respective owners, for example, “Where do you want to go today?TM” (Microsoft), “A better return on informationTM” (SAP), “Moving at the speed of businessTM” (UPS), “What you never thought possibleTM” (Motorola). By entitling this project “Remember, language is not freeTM” Andujar anticipated the disputes concerning “intellectual property”, which emerged in the following years (visible as early as the second half of the 1990s in the fierce battles for the allocation of domain names on the world wide web). Inke Arns: On the Contemporaneity of Media Arts (published in: Nam June Paik Award 2006, Frankfurt am Main 2006)

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Daniel García Andújar conduce un taller durante 5 días sobre 20 ordenadores desechados cedidos por la Fundación bip-bip. Technologies To The People, La Casa Encendida, MAdrid, 25-29 abril 2005

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MEDIASCAPES. Paisatges Mediàtics Curated by Montse Badia & Andreas Kaufmann, FUNDACIO LA CAIXA, Lleida: 27.09/04-9.01/05; Tarragona: 2,03-22.05/05; Girona: 10.06-31.07/05

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"Manifesta 4" European Biennial of Contemporary Art Frankfurt am Main 2002 Trespassing Space (a specially pre-arranged place for meetings, discussions, presentations, and library holdings) and the alternative web-site, www.e-manifesta.org.

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Hangar, 2003, Barcelona

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Palau de la Virreina, Barcelona (January/March 2003) ZKM - Center for Art and Media, Karlsruhe (May/August 2003) Centro Cultural Conde Duque, Madrid (September/November 2003)

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Encuentro Europeo MediaLab Madrid: “Tomando las riendas/ nuevos espacios en la comunidad artística” dirigido por Technologies To The People Fechas: 11 al 13 de marzo 2002 Participantes: Inke Arns, Heath Bunting, David Casacuberta, Daniel García Andújar, Walter van der Cruijsen, Thomax Kaulmann, Eric Kluitenberg, Sebastian Luetgert, Dirk de Wit y Simon Worthington. http://www.cibervision.org/tttp/html/index.php www.cibervision.org www.medialabmadrid.org Taller Daniel Garcia Andujar: “Toma las riendas” Del 11 al 15 de marzo 2002 Lugar: en el nuevo Medialbmadrid, Centro Cultural Conde Duque. www.medialabmadrid.org www.cibervision.org/tttp/html/index.php Organiza Technologies To The People

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Séptimas jornadas de artes y medios digitales - Córdoba- Argentina – 2005

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1997, Installation Coproduction: Hartware MedienKunstVerein Courtesy: Technologies To The People Since 2000, a modified version has been part of the permanent collection of the Deutschen Arbeitsschutzausstellung, Dortmund Shortcuts. Anschlüsse an den Körper, 1997

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With the Lottery Art Foundation, Total Museum of Contemporary Art has launched a research project “404 Object Not Found_Seoul 2006” to overview the various case studies of production, presentation and preservation in media art.

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DataClouds, on-line participatory environments and 'open source' On August 13 and 14, V2_Lab moderated a workshop on open source, free software and on-line participatory environments (such as DataWolk Hoeksche Waard and DataCloud2), within the framework of the International Symposium for Emoção Art.ficial in São Paolo, Brazil. Organized by Anne Nigten, manager V2_Lab, Rotterdam, the Netherlands. Daniel Garcia Andujar presented a paper on the social debate platforms and independently developed platforms for artists. In his presentation the audience participation and awareness of the medium’s options was illustrated by work he has created with Technologies To The People. Technologies To The People is involved in social debate platforms like http://www.e-valencia.org/. Technologies To The People has always developed, supported and designed platforms for artists based on a strict sense of independence. Their recent artist-oriented work, Manifesta-4, is another example of the important work carried out by the Technologies To The People Foundation in order to showcase aspects of contemporary life. Daniel Garcia Andujar showed recently developed projects like e-valencia.org and e-manifesta.org, which is an on-line infrastructure that will provide a framework for reflection on several of the issues proposed by artists and curators and is in fact a contribution to the overall Manifesta-4 debate, providing a first hand experience of manifesta discussion, critics and debate.

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TALLER-LABORATORIO DE TECNOLOGÍAS DIGITALES ESPACIO ABIERTO SEVILLA (INDIVIDUAL CITIZEN REPUBLIC PROJECT) open space sevilla Fecha: 17 al 21 y 24 al 28 de mayo 2004 Horario: de 17:00 a 20:00 h. Lugar: Centro Andaluz de Arte Contemporáneo Dirección: Daniel García Andújar con la colaboración de Heath Bunting Contacto: educ.caac@juntadeandalucia.es [Este proyecto está vinculado a la exposición Ambulantes. Cultura portátil]

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Galería Visor, Valencia, 30 de Noviembre 2001

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Daniel García Andújar: The Manfred and Wilhelm Beutel Photo Collection, 1998 CD-ROM, 50 framed digital prints Coproduction: Hartware MedienKunstVerein Reservate der Sehnsucht, Dortmunder U, 1998

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Phoney provides the public with a power structure that confronts us with our different ways of reading and judging systems of control. An interface on a computer screen enables the user to carry out attacks on sensitive telecommunication infrastructures and to send flows of information over the main national telephone company. The programme enables the user to destabilise, manipulate, spy, defraud or destroy from the operative position which he holds. The public has in his/ her hands the necessary information and tools to hack the sensitive infrastructures, damage or destroy systems, make free phone calls to Australia, violate electronic mail, obtain private information an act that for many is routine, carried out regularly in an anonymous and intimate way. For those who have equipment, knowledge and intention, technology can be used at any time, any place, anywhere; it is oblivious to borders and jurisdictions. This creates an interaction between what is considered private and public, national and supranational, local and global. The possible threat to the company depends on both the capacity and the intention of the user and at the same time one´s selfcontrol.

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The 6th RAM workshop entitled "Social Interaction & Collective Intelligence" will take place from August 25th to 29th, 2004 in Vilnius, Lithuania, organized by Jutempus interdisciplinary art program. RAM6 takes place at CAC - Contemporary Art Centre in Vilnius and in a forest out of the city.

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ESPACIO ABIERTO SEVILLA (INDIVIDUAL CITIZEN REPUBLIC PROJECT) Fecha: 17 al 21 y 24 al 28 de mayo 2004 Horario: de 17:00 a 20:00 h. Lugar: Centro Andaluz de Arte Contemporáneo Dirección: Daniel García Andújar con la colaboración de Heath Bunting Contacto: educ.caac@juntadeandalucia.es [Este proyecto está vinculado a la exposición Ambulantes. Cultura portátil]

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Street Access Machine, 1996

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Le Printemps affiche Toulouse

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metronom, Barcelona

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The exhibition TechnoSkeptic, curated by Amaya de Miguel Sanz, questions values normally thought of as positive that are associated with technology: productivity, efficiency, improvement, and progress. The artist collectives Bureau of Inverse Technology and Redundant Technology Initiative, as well as artists Daniel García Andújar and Eddo Stern, offer critical views of the power of technology and denounce how military institutions, governments, and multinational corporations seem to take advantage of it in order to create consumer habits and to regulate citizens' behavior.

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