Andujar Archive

Anna Kournikova Deleted By Memeright Trusted System

Art in the Age of Intellectual Property
PHOENIX Halle Dortmund, July 19 – October 19, 2008

‘You can’t use it without my permission … I’m gonna sue your ass!’ shouts Disney’s Little Mermaid with the angry voice of a copyright lawyer in the video Gimme the Mermaid (4:49 min., 2000).

The video by Negativland and Tim Maloney, situated at the exhibition entrance, is only one of more than twenty works included in ‘Anna Kournikova Deleted By Memeright Trusted System: Art in the Age of Intellectual Property’, an exhibition presented by Hartware MedienKunstVerein (HMKV) It is part of Arbeit 2.0 – copyright and creative work in the digital age, one of thirteen projects in Germany funded by the German Federal Cultural Foundation focusing on ‘The Future of Labour.’ In the framework of Arbeit 2.0, HMKV – together with the Berlin-based collaborative partner e.V. – explores the relationships between creative work, intellectual property law, and technology (

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“Un arte que pretende hacer visible lo invisible”

Banquete_nodos y redes
Interacciones entre arte-ciencia-tecnología-sociedad en la creación digital en España

En la década de los sesenta Edgar Morín comenzó una serie de investigaciones experimentales en el campo de lo social bajo las cuales vislumbró la incipiente idea de la necesidad de un nuevo paradigma transversal que involucrara los más diversos campos del conocimiento para lograr un abordaje multidisciplinar que diera cuenta de la complejidad de la realidad en sus múltiples dimensiones. En la sociedad actual globalizada, la vertiginosa transformación tecno científica, cultural, social y política, ha configurado una nueva cartografía, precisamente perfilada por Manuel Castells, tanto en la complejidad de las múltiples realidades en las que operamos simultáneamente, como en la interconexión entre procesos y acontecimientos considerados inconexos o marginales.

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”Close Window. Refresh”. Honor by Daniel G. Andújar

International Video Exhibition in Senko Frame Project

June – June
Daniel G. Andújar (Spain): ”Honor”, 2006
The last video in this series is by the mediaartist Daniel G. Andújar better known under the fiction “Technologies To The People”. “Honor” is a part of his “Postcapital Archives”, and in this work he remixes videosamples from the net. The samples consist of amateur recordings made by combatants themselves from hot spots of global war and then uploaded to the net and from the many wargames available on the net. This video gives a scary picture of the growing convergence between the real and the virtual imaginations we have about our world.
Daniel has created numerous netbased artworks and directed international workshops for artists and social collectives. He has exhibited previously in Denmark in Aarhus Kunstbygning curated by Jacob Lillemose.

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Banquete_nodos y redes

Interactions between art-science-technology-society in digital culture in Spain

The banquete_ project came about at the beginning of the 1990s and evolved as a network of conversations and collaborations between artists, scientists, humanists, technologists and activists. The shared motivation has been to encourage and socialise the dialogue between sciences and humanities with a mandate to explore the relationships between biological, social, technological and cultural systems. Over time, this network has given rise to an interactive ACTS (the Spanish acronym for Art-Science-Technology-Society) environment, defining a space of encounter and collaboration between different artistic, scientific and technological centres for research, production and diffusion both here in Spain as well as internationally.

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Workshop Buenos Aires 2008

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

Centro Cultural de España en Buenos Aires

Del lunes 30 de junio al viernes 4 de julio de 2008. De 16 a 19 hs.
Taller con cupo limitado e inscripción hasta el 20 de junio de 2008.
Dirigido a artistas, teóricos y estudiantes de arte.
Enviar datos personales y  breve curriculum a, especificando la actividad en la que desea participar. Posteriormente recibirá un acuse de recibo de su inscripción.
Actividad organizada en el marco de los Seminario Internacionales del Medialab coordinados por Gustavo Romano.

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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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