Gallery/Galería

Irational.org. STUK. Leuven

Capital.León. Musac

A vuelo de pájaro

Postcapital Archivo Madrid. La Noche en Blanco

Objetos de deseo/Objects of desire. CCCB

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 [model by Salvador Gil / Szoma Studio for 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.

Postcapital.Archive 1989-2001. Seoul. Total Museum

Postcapital.Archive 1989-2001. OPAL Contemporary Art Space

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.

The Unavowable Community. Bòlit-LaRambla. Girona

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.

Postcapital.Archive 1989-2001. Art Center. Beijing

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

The Postcapital Archive (1989-2001). Venize

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.

Postcapital.Archive (1989 – 2001). Stuttgart

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.

THE WONDERFUL WORLD OF IRATIONAL.ORG: Tools, Techniques and Events 1996-2006 in Novi Sad

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

Honor, Montreal

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