Andujar Archive

Banquete_nodos y redes

banquete-u.jpgInteracciones entre arte-ciencia-tecnología-sociedad en la creación digital en España
06.06 – 03.11.2008 LABoral Centro de Arte y Creación Industrial, Gijón
Marzo – Julio 2009 ZKM, Center for Art and Media, Karlsruhe, Alemania

Desde principios de los años 90, el proyecto banquete_ explora las relaciones entre los sistemas biológicos, sociales, tecnológicos y culturales, evolucionando como una red de conversaciones y colaboraciones entre artistas, científicos, humanistas, tecnólogos y activistas. Su objetivo es fomentar y socializar el diálogo entre ciencias y humanidades. Con el tiempo, esta red ha vertebrado y consolidado un entorno de interacción ACTS (Arte-Ciencia-Tecnología-Sociedad), definiendo un espacio de encuentro entre distintos centros de investigación, producción y difusión de ámbito estatal e internacional.

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01SJ Global Festival of Art on the Edge

01SJ Future Films

Camera 12, Theater 4
Wednesday, June 4 – Saturday June 7, 2008, 2 pm – 10 pm
Sunday, June 8, 2008, 2 p.m. to 5 p.m.

Future Films presents a broad range of innovative work in the realm of the moving image. There will be an ongoing presentation of short “future films” at the Camera 12 Cinemas throughout the Festival for drop in viewing as well as feature-length works at selected times. The work presented includes new video from Australia, China, South Korea, Japan, Taiwan, New Zealand, Vietnam and Thailand, as well as machinima films, animations, DIY Hollywood productions, cell phone films, Second Life vignettes, mash ups and fan films from around the world. Selections from Future Films will be presented on a rotating basis as part of the 01SJ Biennial: Superlight and the San Jose Culture Network.

Artists include:

Cory Arcangel, Peggy Ahwesh, Daniel Garcia Andujar, Denis Beaubois, Giselle Beiguelman, Natalie Bookchin, Tony Dove, R. Luke DuBois, Kota Ezawa, Douglas Gayeton, Jane Marsching, Eddo Stern, Thomson + Craighead

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Herramientas del arte. Relecturas [Tools of Art. Rereadings]. Corversation with Álvaro de los Ángeles

The following conversation is another way of presenting a few of the issues that this project wishes to analyse. It is a virtual dialogue-in-progress between Álvaro de los Ángeles and Daniel G. Andújar, written in the places and moments when it was possible to do so. Many of the ideas that were developed, however, were expressed when G. Andújar was in Valencia carrying out a workshop together with Rogelio López Cuenca. Themes such as the social commitment of contemporary artists, their roles within the socio-cultural and socio-political framework, the real possibilities and tactics of survival and the creation of new ways of understanding their trade in a society undergoing continual change, are side by side with elements which come from the very title of the project: What tools do artists today have at their disposal? Where or against what should the rereadings resulting from their actions be addressed?

Álvaro de los Ángeles
: The theoretical-practical workshop-encounter that you and Rogelio led from 3rd through 5th March 2008 served to define several of the central themes of the project Herramientas del arte. Relecturas [Tools of Art. Rereadings]. It’s true that not all of the concepts on the programme were able to be developed, in part because the entire process was condensed in three days, but, due to some of the aspects that were discussed there and the debate these created, the general impression after the workshop was that many questions were raised and new ways of facing the artistic experience emerged.
From the very beginning, this project was planned to raise questions, to examine supposedly unquestionable facets of culture and its institutions, for all of the agents involved to consider which channels the artistic practices of today can be directed and to stir up a debate about the artist’s place in society. Also, if anything characterises art today, it is the hybridisation of techniques, media, the ways of exhibiting it and its relationship with other social subjects, such as politics, sociology, history, philosophy, psychoanalysis, architecture, or city planning… To which we could add other subjects, those not qualified as “scientific” but theorisable nonetheless, such as the question of memory, the archive as a model of contemporary society, the new interconnected social networks, the associationism and activism oriented towards art, or projected and created from it.
Can the concept of art’s functionality, its usefulness within society (as it has been conceived since at least the 1930s and then its evolution in later decades) have a correlate in the contemporary art of today? Is a rereading of its functions and usefulness possible from the basis of the elements created by contemporary tools, especially those which have derived or emerged from technology? Is this the only way of re-reading its practice? And, as a consequence, in a society governed by macro-economics, where everything is valued in real time or even in advance, can art still have a real social function, in the feasible, palpable sense?

Daniel G. Andújar: The practice of art, as I understand it, must also become a show of “resistance,” a model that obstinately wants to remain in a space of relationships which are more and more hierarchical, diffused, globalised, standardised… Those who direct the framework of cultural industries and the management of cultural institutions abandoned, decades ago, the processes of creating new contents and cultural production as a collective construction. Most of the professionals who run this framework are simply developing a personal power structure, climbing up the ladder to the most visible and media-friendly part of the public and private art institutions. They flaunt their power and reign over the reality of their little empire. The Art Institution has been absorbed as just another mechanism in the process of service production. It is an active part of the touristisation process in the urban context and participates in the complex re-adaptation of the new city’s infrastructures. Artists have been pushed out of the court to make way for a new elite of cultural managers who work in ivory towers, conceived more like mausoleums, on biennial events.

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DIT. Do it Together. Workshop Series.

Un encuentro/taller teórico-práctico de Technologies To The People

DIT. Do it Together. Workshop Series
Un encuentro/taller teórico-práctico de Technologies To The People dirigido por Daniel G. Andújar.

Lugar de celebración: AULABIERTA. Facultad de Bellas Artes.
Fecha: 19 de mayo de 2008.
Horario: 12:30-15:30 / 17:00-20:00 hrs.
Inscripción: Gratuita. Envía un mail a con asunto “TTTP” y tus datos personales para obtener una acreditación de asistencia.

Su objetivo fundamental es forjar un diálogo estrecho entre los participantes que permita, desde la práctica artística, generar plataformas de reflexión en torno a nuevos procesos transformadores de nuestra realidad. Este encuentro/taller tiene como objetivo introducir a los asistentes en nuevos conceptos derivados de la introducción de nuevas tecnologías, la irrupción de Internet y el uso extensivo de la informática y la electrónica en la sociedad contemporánea.


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Simposio: Nuevos medios y realidad sociocultural en la creación audiovisual contemporánea.

Granada, 19 a 21 de mayo de 2008
Universidad de Granada – España

Cada día se hace más importante la necesidad de una proyección sociocultural del arte contemporáneo desde el ámbito de la investigación y de la realización de los más diferentes programas estéticos. Esta funcionalidad se hace perentoria por la absoluta necesidad que tiene el mundo artístico de salir del planteamiento elitista y endogámico en el que se encuentra en gran medida y que nos lleva muchas veces a refugiarnos en ese contexto hedonista y minoritario que no revierte en ningún momento en la compleja realidad político-económica que nos rodea. Hoy en día el mundo de las imágenes en movimiento constituye uno de los medios de conocimiento más ambiciosos y potentes de la cultura contemporánea. Sin embargo, buena parte de la fascinación que supone la alta calidad técnica y el virtuosismo formal de los mismos enmascara y entorpece sus indudables cualidades comunicativas, en aras fundamentalmente de constituirse en una forma de conocimiento y expresión que está llamada a cambiar profundamente nuestras formas de acercarnos y entender la realidad.

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Sergi / Atölye. Gerçekliğin PostKapital Arşivden Algılanması



Sergi / Atölye Serisi: “Kayıtsız / Beraber Yapalım”
Akbank Sanat Beyoğlu
13 Mart 2008, Perşembe 18:30

Gerçekliğin PostKapital Arşivden Algılanması
[Halka Sunulan Teknolojiler adına Daniel G. Andújar’dan Atölye/Toplantı]

Bu disiplinlerarası atölye, kültür yöneticileri, medya çalışanları, sanatçılar, bilim adamları, akademisyenler ve aktivistler için tasarım, görsel iletişim, sanat, medya ve kültür gibi alanları ele almaktadır.

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‘Unrecorded’ exhibition questions space

Wednesday, March 5, 2008
ISTANBUL – Turkish Daily News

An exhibition titled “Kayıtsız / Unrecorded” kicks off today in Akbank Sanat to portray the notion of space as a instrumental factor in the perception reality.

The exhibition, that will continue until April 16, hosts many artists from around the world among them Kate Armstrong, Banu Cennetoğlu, Thomas Duc, Laila El-Haddad, Zhou Hongxiang, Kati London, Dan Phiffer, Negar Tahsili, Ali Taptık, Technologies To The People (Daniel G. Andujar), Mushon Zer-Aviv. The curator of “Unrecorded” is Başak Şenova.

“Unrecorded” calls on the public to consider sociopolitical, cultural and economic gaps formed by globalization and capitalism.

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5 March – 16 April 2008
Akbank Sanat, Istanbul
Curated by Basak Senova
istanbul unrecorded
The perceptual re-construction of space is a continuous process, generated by diverse inputs such as our senses, memory, history, consciousness as well as technology. It is a process, consisting of momentary fragments, which are impossible to record. They are temporary, augmented, designed, and loaded.

“Unrecorded” exhibition looks at the notion of space as a decisive factor in our perception of the realities that surround us. The works of Kati London (US), Thomas Duc (France), Laila El-Haddad (Palestine), Dan Phiffer (US), Mushon Zer-Aviv (Israel), Daniel Garcia Andujar (Spain), Zhou Hongxiang (China), Banu Cennetoglu (Turkey), Negar Tahsili (Iran), Kate Armstrong (Canada), and Ali Taptik (Turkey) unfold and restructure all possible perceptual codes through their own inspections, observations, and approaches. They ask questions about the physicality of the space; content of mediatized spaces; clashes between realities and perception of spaces; spaces and situations, discharging information; and narrative spaces.

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