Oct 011999
 

podium

October 1 – 3, 1999,
(Speaches and discussions in englisch)
Speakers:
- Daniel García Andújar, artist
- Tobias Berger, curator
- Heath Bunting, artist
- Christine Meierhofer, artist
- Heiner Holtappels, MonteVideo,
- Mike Stubbs, artist, Hull TBA
- Herwig Turk, artist
- Thomas Munz, Werkleitz/EMARE
- Karin Frei, curator, Zürich
- Ekkerhard Kähne, Medienhaus Hannover
- Thorsten Schilling, mikro, Berlin
- Hermann Nöring, EMAF, Osnabrück
- / , curators
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Jul 221999
 

Not so long ago on the subject of the war in the Balkans, the French sociologist Edgar Morin wrote “… in any event the harmful effects are irremediable. The disaster that has emerged from the heart of Europe has struck Europe in the heart. This disaster is now generalised. The barbarity of Total Nationalism has not been the only cause of the disaster. In the western area the ravages of a blind rationality, abstract, quantitative and mechanical, have divided and pigeon-holed the various complex realities, incapable of placing their facts and problems in an appropriate context, incapable of understanding the shortcomings of its own logic and incapable of conceiving its own blindness. Madness!* Madness! Madness! Not only the madness of Serbian Total Nationalism and of its ravages, but the lunacy of a war waged by computers, calculations, figures and of killing machines, silenced by a limiting techno-military intention.” The work of Daniel G. Andújar frequently unfolds between the intersecting spheres implied by the use of technology and its practice as a sophisticated instrument of and dominance. A computer poses an illusion (due to its genuine incapacity): the possibility of hacking a telephone company, in the reach of anyone with a minimum knowledge of computer language. Sociologist and artist alike propose a reflection on contemporary war, in which the classical notion of hand-to-hand fighting disappears, giving way to a series of variable factors related to diverse realities, almost always far removed from the social and political reality of the true areas of conflict. The Gulf War was possibly a media war, but the present Balkan war is even more cruel for it only seems to take place inside the computers switched on in the various NATO headquarters. The consequences in terms of death, destruction and displacement of human masses originated by this designer war seem to be reduced, according to its architects, to undesirable yet necessary collateral damage. One final question before moving on — how important is it to destroy actual ‘territories’, now that the networks of power and money are totally decentralised and their tentacles oblivious to frontiers?

Jun 111999
 

La presenta una muestra sobre las nuevas formas de relación

EL PAÍS – – 11/06/1999

La ciudad, la familia, el espacio habitado y la tecnología son algunos de los aspectos que , conservadora de la Fundación Tàpies, de , ha reunido en la exposición , abierta ayer en la Fundación Telefónica, de Madrid (Fuencarral, 3). El montaje está formado por siete artistas internacionales que plantean las relaciones en un mundo intercomunicado. Continue reading »

Jun 111999
 


Via the works of Catherine Beaugrand, Mira Bernabeu, Heath Bunting, Daniel G. Andújar, Juan Fernando Herrán, Jan-Peter E.R. Sonntag and Eulalia Valldosera, “” attempts to create spaces for reflection on new forms of relations and of human behaviour.


By means of photographs, light installations, video, sculpture and the Internet, the artists try to find their way through the interstices of the complex networks, in search of specific fields of action for people with disparate and divergent interests.

 

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Jun 111999
 

Siete artistas internacionales indagan sobre los espacios de libertad en un mundo interconectado

Los españoles Daniel G. Andújar, Mira Bernabeu y Eulalia Valldosera, la francesa Catherine Beaugrand, el británico Heath Bunting, el colombiano Juan Fernando Herrán y el alemán Jan-Peter E.R. Sonntag.

 A través de distintos medios de expresión y lenguajes innovadores, como instalaciones lumínicas y sonoras, fotografía, cine y escultura o Internet, reflexionan sobre los grandes cambios que se están produciendo social, política y culturalmente, y sus efectos sobre los modos de relación contemporáneos, que suponen nuevos comportamientos, tanto en los ámbitos sociales como familiares.

 

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Nov 231998
 


, noviembre 1998.
(Barcelona)
www.davidgtorres.net

Todos usamos la tecnología: escribimos en ordenador, navegamos por la web y “zapeamos” por los canales de televisión. Damos una orden y cambia el formato de texto o salta un nuevo canal. Daniel García Andújar pone entre interrogantes ese “todos” del principio y nuestra capacidad de dar órdenes, de usar y de interactuar con la tecnología. Y lo hace desde dentro, utilizando sus mismas trampas y engaños.
Daniel García Andújar ha dispuesto en la sala central de Metrònom una enorme instalación de aparente sofisticada tecnología. Al entrar, una supuesta máquina –– realiza una especie de escáner del espectador, tomando sus coordenadas físicas y composición química. Con esos datos el ordenador procesa un interfaz para que el espectador interactúe con la instalación. Una vez dentro, cámaras, proyecciones, monitores y diferentes sensores parecen dispuestos para que provoquemos no se sabe muy bien qué efectos. El problema es que no provocamos nada. Todo el tiempo se mantiene la sensación de que nosotros, espectadores, hemos ocasionado alguna de las proyecciones, pero no sabemos ni como ni cuando. Sólo está claro que al acercarnos a ver unas imágenes fotográficas a través de unas pequeñas aberturas en la pared, la luz se apaga y se nos niega la imagen. Tampoco el videoproyector lo pone fácil, en ocasiones unos potentes focos traseros tapan totalmente la imagen. Por algún lugar se reproducen las conversaciones grabadas de otros visitantes. ¿Qué es lo que hemos visto? y ¿qué es lo que hemos hecho? Ni idea. La instalación de Daniel García Andújar está llena de trampas y el espectador lejos de ser el sujeto actuante es el objeto o, tal vez, la víctima. Continue reading »

Aug 211998
 

[Zones of Desire]
21 August- 4 October 1998

35 internatinal artists on four floors with more than 4,000 qm of industrial ruins
Daniel García Andújar-Siegrun Appelt-John M. Armleder-Peter Bogers-Marie Jose Burki-Diller + Scofidio-Onno Dirker-Stan Douglas-Christoph Draeger-FLATZ-Mark Formanek-Rodney Graham-Johan Grimonprez-ipfo-Christoph Irrgang-Gerald van der Kaap-Kirsten Kaiser-Leuchtstoff-Peter Land-Antoni Muntadas-Walter Niedermayr-Vito Orazem-Tony Oursler-Jose Alejandro Restrepo-Alberto Simon-Jan-Peter ER. Sonntag-Bill Spinhoven-Allan Wexler-Andrea Wolfensberger-Thomas Wrede Continue reading »

Jun 081998
 

Date: 8.6.98
From: (alex@rhizome.org)

Some of My Favourite Web Sites Are Art
http://www.alberta.com/unfamiliarart/

Project:

Daniel Garcia Andujar
http://www.irational.org/daniel/pirates/Illegal.html
The name “web collider” describes web art that remixes material found on the net into a new, ready-made artwork. Illegal Interference takes email from newsgroups and secret hacker communities and mixes them together into a new, “illegal” interference pattern.

Like a packet sniffer, the device for eavesdropping on web correspondence without being detected, Illegal Interference intercepts email between hackers as they ask for stolen serial numbers or cracked software. By poking his nose into the back alleys of the web, artist Daniel Garcia Andujar offers a bird’s eye view of information as it is exchanged, misdirected, lost and stolen.

In another project entitled “Technologies To The People,” Andujar states boldly that “Access To Technology is a Human Right!” Forever self-reflexive, much of Andujar’s art focuses on how easily commercial forces might exploit such a claim.

For Andujar the corporate ownership of words and phrases–trademarks like UPS’s “Moving At The Speed Of Business,” or Lucent’s “We Make The Things That Make Communications Work”–reminds us that language, like technology, is not free. Playing with the commercialization of information, Andujar asks: Who controls information and technology?
In Illegal Interference we see the other side, where one must ask: How safe is our over information?

Jun 081998
 

Date: 8.6.98
From:

Some of My Favourite Web Sites Are Art
http://www.alberta.com/unfamiliarart/

Project:
ILLEGAL INTERFERENCE
Daniel Garcia Andujar
http://www.irational.org/daniel/pirates/Illegal.html

The name “web collider” describes web art that remixes material found on the net into a new, ready-made artwork. takes email from newsgroups and secret hacker communities and mixes them together into a new, “illegal” interference pattern. Continue reading »