Daniel García Andújar describes the condition and the period after the “fall of the Berlin Wall” as an aspect of post-capitalism, rather than of post-communism. That condition, the period covered in Andújar’s project “Postcapital. Archive 1989-2001” also features the advance in information technologies and the phenomenon of the Internet.

When the students began ripping of the paving stones to throw them to the police during the events of May 1968 in Paris, they realized the yellow sand underneath the paving stones; the cobblestones. And when they also turned on the water pumps, the sand got wet. Yes, this was the “beach”. The beach of freedom, covered up by the pavement of the modern civilization of property and control. The “beach” was the “another world”, ”under the paving stones”.

In his 1998 essay “Cyber-communism”, Richard Barbrook stated “the Americans are superseding capitalism in cyberspace”. This was also the time Andújar describes as an aspect of post-capitalism. According to Barbrook, the Americans were having a different experience than that of capitalism in their daily Internet practice. This experience, which he relates to that of communism, was a consequence, an aspect of capitalism. According to Barbrook, it was capitalism itself which made the “digerati” a powerful class with high salaries, and it was the digerati who developed the information technologies, the Internet and the idea of free/open source software, as well as many other possibilities that enabled the individuals to “supersede” capitalism in “cyberspace”. Just like the scenario Karl Marx proposed for the end of the capitalism: “At a certain stage of development, the material productive forces of society come into conflict with the existing relations of production or — this merely expresses the same thing in legal terms — with the property relations within the framework of which they have operated hitherto. From forms of development of the productive forces these relations turn into their fetters. Then begins an era of social revolution. The changes in the economic foundation lead sooner or later to the transformation of the whole immense superstructure.” 

The Internet, which used to be a “beach” (for a very brief period) for those who believed in the “possibility of another world” (if we happen to use the slogan of today), is not a different space than the “Babylon” we live in. Not anymore. It used to be a beach which was only visible to those with a vision, but also  to those who became aware of this vision and tried invading this beach to make the possibilities invisible by filling the holes in the pavement covering the beach; the holes that enabled those to be aware of the beach.

The Internet used to a “beach”!

For some, the Internet used to be a beach when we had another life there other than our daily lives.

The Internet used to be a beach for some when we were all anonymous on the Internet with the nicks we chose for ourselves. When we had our peers with their nicks they had chosen for themselves in our contact lists, instead of our high school friends and families with their ID names they didn’t even choose.

For some, the Internet used to be a beach until the time when netizens became masses that needed to be tracked, controlled and censored when “needed”.

The Internet used to be a beach for some until we became valuable customers on the Internet that needed to be “personalized” for Internet advertising while our “data bodies” were being tracked , captured and traded for this “personalization”, completely ignoring our privacy.

For some, the Internet used to be a beach when sharing our wireless Internet connection with our neighbors was regarded as a “new form of hospitality”. Until the time that we were frightened by the threat that everybody, even our neighbors, could be “criminals” who would exploit this connection we share for “illegal” actions such as “p2p file sharing” and put the blame on us.

For some, the Internet used to be a beach when people were asking for “free, public wireless Internet connection” for everybody from local governments as a social service. Until the time that we were targeted as customers for personal broadband Internet (wireless high-speed Internet access) by GSM operators, which also simplified the tracking and personalization process for them to capture our “data body” and match it with our identity. We are even being charged separately for this Internet usage which is matched one to one with our identity.

The Internet used to be a beach for some until the time when Metallica sued Napster for enabling illegal file sharing of their songs.

The Internet used to be a beach for some when there was an alternative to what Derrida calls “the impossible possibility of the gift”, for kids on the p2p networks, who were “incriminated, accused, charged and busted” for sharing the “digital gifts” (which are not subject to scarcity), without even knowing who their peers were.

For some, the Internet used to be a beach until the kids who share their photos online were targeted for selling convenient products of “printer docks” to “easyshare” their digital photographs by “printing” them.

The Internet used to be a beach for some until the time when some young people who had innovative ideas and projects for the Internet began realizing these projects not to “realize themselves”, but with the “American dream” of becoming rich by selling these projects one day to big corporations that were already monopolizing the Internet.

The Internet used to be a beach for some until software engineering students at the universities (the universities which are also encouraged to cooperate with the industry to get patents instead of creating free/open standards and knowledge for the public) were depoliticized and educated to become capitalist entrepreneurs, without having any idea of what “GNU General Public License (GNU GPL)” is.

For some, the Internet used to be a beach until the time when the idea of “open source” arrogated the idea of “free software” and depoliticized its social context and rendered the idea and the promise of “free software” invisible.

The Internet used to be a beach for some until the Creative Commons arrogated the idea of “free culture” overlooking the importance of the “share alike” and the “derivative works” approaches of the “copyleft” attitude and the economic model of the “free software” based on creating added value that also enabled the work’s commercial use.

The Internet used to be a beach for some until the “crowdsourcing” approach depoliticized the idea of “commons-based peer production” by reducing the social, economical and political context of being “peers” to the idea of being “crowded” and until the time when the idea of p2p was reduced to bare “pirate file sharing”.

For some, the Internet used to be a “beach” until the time when the “sand” was covered with the “pavement”.

It may be too late for the possibility of another world in the capitalist world we live in. It is too difficult to throw away all the paving stones on the beach without the aid of some “technology” such as a political approach to information technologies. But we can start with struggling for the “possibility of another Internet”. A “free, p2p distributed Internet” where we can be “anonymous” if we want. A free Internet like that of the “Freenet”. A free Internet where we have the right to produce, distribute, access, appropriate and share information to “build culture”. “Free culture”, not the open “source” culture. Not culture as a bare “source” of “crowdsourcing” for profit, but culture as the “commons” for peers. Not with “commons without commonality” like the Creative Commons but with copyleft commons.

Political approach to information technologies is crucial to render its potentials visible for making another world possible. If the “base”, which is the “mode of production”, determines the “superstructure”, which is culture, then “the commons based peer production” as defined by Yochai Benkler offers “a new mode of production” as stated by Michel Bauwens. Also for the case of individual production, an artist, who no longer needs the capitalistic relations of the “culture industry” to produce, reproduce and share/distribute her/his productions, provides an alternative to the capitalist mode of production based on the financial capital.  Because the artist can produce using information technology tools such as “digital duplication” (even using other “digital multiplication” methods of “digitizing” and “transcoding”) and “distributed p2p networks” that democratize the production, multiplication and sharing of that production. This “base” can determine the “superstructure” of free culture.

If “the superstructure can determine the base”, then we can begin to consider the “free culture” movement, which is influencing more and more artists to make their productions “free” (as in freedom). This also forces the “culture industry” to change the way it operates. A culture based on “donation” with free will can also constitute the real “use value” of cultural productions instead of their “exchange values”.

No matter if “the base determines the superstructure” or “the superstructure can determine the base”, we are witnessing a change in both the “base” and the “superstructure” in certain areas.

The promise of capitalism that advocates for itself through the economic problem of distributing limited resources among unlimited human desires is being attacked by both sides of the equation. First of all, the sources are not limited anymore in terms of information (once it is produced). The digital information on the Internet, which can be duplicated in infinite numbers with a “marginal cost approaching zero”, also abolishes the problem of “scarcity”, except for “artificial scarcity”. On the other hand, the idea that the human desires are unlimited is nonsense for the “commons based peer production”, where peers contribute to the production with their free will according to their own capabilities and they also benefit from the production according to their needs. Because peers do not consume more than they need. Joseph Beuys says that everybody can be an artist; everybody can be productive if they have economical and political freedom to decide what and how to produce. Both of those freedoms are granted by information technologies, if they are interpreted politically. Capitalism itself gave the economic freedom to the “digerati” that enabled them to decide what to produce and they produced the tools and ideas that constituted the “digital culture”.

The beach of “cyber-communism” as discussed by Richard Barbrook was a consequence, an aspect of capitalism. “Cyber-communism” of Barbrook was also a period of “inter-capitalism”; a period when only those with a vision realized the holes in the pavement and saw the beach underneath. It was an invisible communist interval in the period Andújar describes as an aspect of postcapitalism. But our Internet experience today is no longer what it used to be when Barbrook wrote about its potential (even practice) of cyber-communism in 1998. The Internet is being utilized by capitalism day by day. The holes in the pavement are being filled one by one. The promise of the possibility of another world on the Internet, the “beach”, is being rendered invisible again. This state of the Internet we are experiencing now is the consequence of the post-”post-capitalism”. The potential of a communist interval in “post-capitalism”; the potential of the “cyber-communism”, the beach, which has been buried under the pavement, has not been evaluated politically.

First of all,  “another Internet is possible” both as a “base” and an “infrastructure” to determine the “possibility of another world” that would be inspired by the holes in the pavement and the veiled promise of “cyber-communism”.

Even though there are still unfilled holes in the pavement, our captured “life on the networked archives” now is post_cyber-communism.

This printed version of this text contains no references since the reader may search on the Internet for any word and concept that s/he is not familiar with if s/he wants to have more information. However, online version(s) of this text that the reader can also find by searching on the Internet, are hyperlinked to the references and may have also been improved.

.copyleft!_ , 31.03.2010

.you are free to appropriate the related content as you wish, as long as you use a copyleft license to redistribute_ .however giving credits and choosing free/open formats are nice_

http://httpdot.net/copyleft_

Share

1989, the fall of the Berlin Wall and 2001, September 11… These watershed Daniel G. Andújar chooses for his network-based archive-process installation signify a paradigm shift: the paradigm shift from scale economies to capacity economies, industrial production to flexible network production, physical power to knowledge power, the nation state to transnational Empire, a unipolar world to a multipolar one, de-centralized and distributed all-encompassing net-world: This is a paradigm coined by the most recent global crisis: Global Network Capitalism…

Andújar’s choice of dates also heralds what’s beyond this paradigm. The fall of both the Wall and the Twin Towers indicate there is an “after” to capitalism. This potential future ironically feeds off the “network” concept. Because at its core, the concept of “network capitalism” embodies an antagonistic dichotomy. The network topology undermines the foundations of capitalism. The process of capitalist accumulation and profit now depends upon co-operations established online, collaborative intangible labor, innovation networks, and the development of knowledge production, access, dissemination, that is to say the process of creating surplus value through open, continuous, horizontally coordinated networks. Network means co-operation and sharing, whereas capitalism is the product of an instrumental reason dominated by competition. Capitalism is founded upon the private ownership of the means of production, while the network undermines ownership by making the means of production accessible. In Christian Fuchs’s terms we are in an interzone in which competition and cooperation co-exist in antagonism. On the one hand, information monopolies (Microsoft, Google), the digital divide, precarious knowledge labor, information warfare, electronic surveillance, Internet censorship, accumulation of reputation online, cyber hate, commodified virtual communities, disinformation; and on the other digital gift economy, file sharing, free software, open content, Creative Commons, Wikipedia, cyber protests, e-participation, co-operative virtual communities, online citizen journalism… On one pole of this dichotomy is e-participation and participatory economy, on the other e-domination and economy of scarcity.  Dominated by competition logic, transnational information capitalism succeeds in colonizing the concept of collaboration for now, through for instance, “participatory” management, team work, strategic alliances, and corporate social responsibility. This is a transition stage from a disciplinary society to a society of (self-)control. A participatory and self regulated information society based upon collaboration is in Ernst Bloch’s words a “not-yet” for now. But it is evident that the day will come when capitalism will not be here.

The fact that the data bank of images Andújar’s “Postcapital Archive: 1989-2001” installation can be searched by the audience in a network topology, that is to say the open network format of the project points to a post-capitalism web of possibilities. The meaning of each image changes by triggering an endless series of possibilities in the context of other images we correlate it with. Because the net also means possibility: with our participation, an almost infinite number of combinations have the power to change the world.
As Iris Dressler notes, “post-capital” makes reference to both financial capital and to capital cities. Thus, it depicts the transformation of both capitalism and of urban centered powers. So, what potential narratives does the Post-Capital Archive nurture in the İstanbul node?
The images in the Post-Capital Archive are not foreign to us. There are no “foreigners” in global network capitalism. No place is “elsewhere”*. The net binds the entire space. But one of the characteristics of the network is how it strengthens the nodes. Cities, especially big, multi centered, distributed cities like İstanbul have privileged functions on the net. While one of these functions is to absorb global information and culture, that is to say diversity in the geography, the other is to add localities, local singularities to the global network’s universe of values. Therefore the image-bank where we form our own possible networks, also summons our own images to us. We have images that deserve to enter the Post-Capital Archive.
Through which images does the Net-Capital node foretell İstanbul’s post-capital future? I think of 1996, the Susurluk accident and 2007, the murder of Hrant Dink. Or 1999, the Marmara Earthquake and 2010, the protests of Tekel (Turkish Tobacco and Liquor Administration) workers. Or 1997, February 28, the post-modern coup-d’état and 2009, the arrest of retired army generals… We can interpret these dates and the images they evoke based upon an axis of cooperation dominated by the logic of collaboration and build from these instances a network expanding towards our potential future. We can thus realize our part in the large and complex node of the global network, and venture to a post capital future. Because network is memory.

As Andújar says, art has to be responsible. Aesthetics is not enough. Art has to be ethical. By playing with our common mind, Postcapital Archive provokes us to partake in the future. Network is possibility…

Share

Turkey has been going through incredibly rapid and immense social, political, and cultural changes since the shift to neo-liberal economy in the beginning of the 80’s. While we have been simply going through these changes, we have neither been able to record them nor have been aware of their speed. Our lives have been transformed. To slow down the pace of these changes and to visualize such a data would enable us to understand and to confront the details that lie behind the reasons for these changes and their effects on us.

Today, media collects and distributes images for us with immense speed and magnitude. We are surrounded by these images; and more than ever, all communication technologies -as efficient apparatus of late capitalism- infuse our lives with vast attacks of images. Nevertheless, we have also learned from the same sources that the meaning of any image is dependent upon the context. It is not only the images, but also the ideologies and realities behind the images that are being created for us.

In this respect, “Postcapital” archive developed by Daniel García Andújar ironically shoots back with the same gun by detecting lapses in our perception and explanation of political, cultural, economic, social, and even technological conditions and realities. He indexes our cognitive mechanisms. Andújar’s project strives to make sensible connections between mediated images of an immense and chaotic pile. His intention is building a system that helps the viewer/user to correlate incidents of certain periods from different time slates of a decade via multidirectional links.

Thus, almost magically, the sequence in the flow of images throughout a timeline builds a certain statement, while a new syntax via another order with exactly the same images might state a completely different ideology. Hence, if we are given access to the entire archive, we acquire the potential to extract and dismiss the intentionally tweaked or altered information from a streaming media.

Nevertheless, aside from the intentionally distorted information, the tremendous speed in the flow of mediated images prevents us from perceiving and digesting such an enormous mass of information all at once. At this very point, the networks and the networked achieves of information function as the indexing engine for us. We receive, perceive, interpret or misinterpret, utilize information through networks.  It’s true that we live in achieves, but accessing and making use of their content solely depends on how much we are acquainted with and use networks.  Yet, this opportunity never allows us to be free with our actions and expressions within a network, whether a network is distributed or centralized.  Galloway argues that “without a shared protocol, there is no network”1, and draws our attention to the fact that there is no real freedom of the Internet –worldwide network of networks, which is decentralized- due to the nature of protocol (“of contradiction between two opposing machines”), which both “radically distributes control into autonomous bodies” and “focuses control into rigidly defined hierarchies.”2 Hence, no matter whether they sound democratic and non-hierarchical, distributed networks, computing technology, and protocol –as Galloway puts it- all together create the new “apparatus of control” that characterizes our contemporary setting.

For this very reason, Daniel García Andújar’s project Postcapital. Archive 1989-2001 is significant in various levels for the understanding of control mechanisms, which systematically compose our lives through networked archives and their interfaces. These archives operate in various layers of our daily perception and realization through the re-designing of life styles; procedures of auto-control; re-perception of histories; generating modes for social psychology; constructing communication channels; and particularly, through technological embodiment.

1. Galloway, Alexander. (2004). Protocol: How Control Exists After Decentralization. Cambridge: MIT Press p.12.
2. ibid. p.8.

Share

Sobre Grid_Spinoza

Hangar y el Centro de Investigación Biomédica de Barcelona inician un proceso de exploración sobre procesos de investigación (artística y científica), basándose en las dinámicas de los colaboratorios. Generando herramientas de investigación cruzada, Grid_Spinoza se extiende entre dos ámbitos sin respetar los compartimentos estancos que el desarrollo profesional tiende a construir.

Entrevista Daniel G. Andújar . Nos citamos con el artista Daniel G. Andújar (Almoradí, 1966) en Hangar.

Muchos de sus proyectos recientes se muestran bajo el paraguas de la marca-estrategia TTTP (Technologies to the People) que hace uso de las tácticas de marketing de los productos de las nuevas tecnologías de la comunicación para desvelar el uso utilitario por parte de éstas de narrativas que prometen igualdad y democracia

Así lo comenta en su blog: ” Partiendo de la constatación que las nuevas tecnologías de la comunicación están transformando nuestra experiencia cotidiana, creo una ficción (TTTP, 1996) con el fin de hacernos tomar conciencia de la realidad que nos rodea y del engaño de unas promesas de libre elección que se convierten, irremisiblemente, en nuevas formas de control y desigualdad.”

Andújar es también miembro desde los inicios de Irational.org, un sistema que da soporte a artistas y organizaciones cuya necesidad de autonomía respecto a los sistemas de información que utilizan es crítica. Esta necesidad queda patente en proyectos como E-Valencia o E-Barcelona, impulsados por Andújar, que se presentan como espacios abiertos a la  discusión sobre políticas culturales en nuestro país.

Recientemente ha puesto en marcha el proyecto Archivo Postcapital 1989-2001 (http://www.postcapital.org), una serie de actuaciones, talleres e instalaciones en torno a una base de datos de documentos recopilados de Internet por el artista a lo largo de los últimos diez años. Postcapital gira en torno a los cambios profundos que han tenido lugar a nivel mundial en el ámbito social, político, económico y cultural durante las dos últimas décadas, siendo las dos orillas de este momento histórico las emblematizadas por la caída del muro de Berlín en 1989, por un lado, y los ataques del 11 de setiembre de 2001, por el otro.

En la entrevista, Daniel nos habla de la importancia de generar espacios autónomos que posibiliten libertad de movimientos e independencia en la toma de decisiones y de tomar las riendas de las estructuras. Esta necesidad nace de la consciencia de que la práctica artística se inserta en un contexto más general (político, social, económico) y de que éste afecta a las condiciones del artista y a su trabajo.

Se detiene también de manera especial en el concepto de comunidad, por cómo toda investigación artística se inserta en un concepto de lo público- el contemporáneo- que está en plena transformación. Desde la práctica artística puede darse respuesta a las tensiones más privatizadoras que actúan sobre este espacio público en retirada mediante la creación de espacios autónomos. Éstos serían habitados por comunidades formadas por participantes activos, unidos por intereses comunes y regidos por unas reglas que son negociadas en tiempo real.

Identificamos, así, una metodología de investigación artística especialmente consciente de su contexto y caracterizada por su carácter colectivo y por manifestarse como proceso abierto, en el sentido de abierto al dominio y escrutinio públicos, pero también en el sentido de algo que continúa en proceso, susceptible de redefinirse en cualquier momento.

Puede verse un extracto de la entrevista en video en el siguiente enlace:

http://www.gridspinoza.net/mediabase/783

Share

L’Arxiu Virtual de la Conca de Barberà i la Baixa Segarra és un arxiu audiovisual, on line i dinàmic, de la memòria local, amb entrevistes en vídeo, fotografies i texts relacionats amb la comarca i els seus habitants. El projecte s’adreça a preservar la memòria de la gent gran i a integrar les històries dels nouvinguts en aquesta memòria local.

site
postcapital.org
arxiuvirtual.cat

Share

Akme 010 pretende dar continuidad bienal a un proyecto surgido en la facultad de Bellas Artes de la UPV-EHU en noviembre de 2004 y que tuvo una exitosa continuación en posteriores ediciones celebradas en 2006 y 2008.
A lo largo de estas tres ediciones hemos tratado temas relacionados con prácticas artísticas en constante evolución, que por sus características específicas son difíciles de incorporar dentro del curriculum académico. Con ello, se pretendía desarrollar unas jornadas que despertasen el interés del alumnado por otras parcelas de la producción cultural contemporánea más actual. Así, además de las conferencias de varios participantes donde se trataban cuestiones conceptuales, formales relacionadas con sus respectivos proyectos, a lo largo de las diferentes ediciones, se han venido organizando una serie de talleres de trabajo en los que el alumnado podían experimentar procesos de creación y reflexión directamente con los invitados.
En la primera edición de 2004, el eje fundamental de la programación fue la producción artística no basada en el objeto. En la segunda, en 2006, los medios de producción y distribución no convencionales fueron los protagonistas. En la última cita hasta ahora con Akme, en 2008, decidimos fijar nuestra atención en la denominada cultura basura.
Akme 010. Intervenciones en el espacio público.
En esta ocasión, la propuesta de AKME para 2010 nos acercamos al ámbito de las “intervenciones en el espacio público” desde diferentes puntos de vista: el entorno urbano, los edificios, la arquitectura, los espacios públicos y la red como un nuevo espacio donde lo público también tiene lugar.
Introducción
Tal y como ocurrió en las anteriores ediciones, nuestra idea es implicar al alumnado en Akme, no sólo como público potencial sino también en cuestiones de organización y diseño del evento. Por ello en la conceptualización y confección del programa ha tomado parte un grupo de alumnos/as, exalumnos/as y profesores/as que han colaborado en dar forma a Akme 010 proponiendo temas, actividades y participantes en esta edición.
———————————————————————————————————-
Akme 010ek, Arte Ederren Fakultatean 2004ean sortutako jardunaldiei bi urteko jarraipena eman nahi die. Jardunaldi hauek, unibertsitatera hurbildu nahi dituzte beraien berezitasunengatik bertako ikasketa programetan sartzen oso zaila diren praktika artistikoak, beste arrazoiren artean, etengabe bilakatzen eta garatzen ari direlako.
Gure nahia, ikas alorrean egunerokoak ez diren arte-praktikak suspertzea da, ikasleengan interesa sortzeko asmotan. Horregatik, kontu kontzeptual, formal eta teknikoak garatzen dituzten hitzaldiez aparte, hainbat tailer antolatzen dira. Artistak ekintza zuzenak zein adierazpenak egitea da lan prozesuaren oinarria, eta irudiarekin, soinuarekin, eta zenbait beste euskarri alternatiboekin lan egiten dute.
2004ko edizioan objektuak produzitzen ez dituzten artistek parte hartu zuten, beraien lan prozedurak eta baliabideak hitzaldi eta tailerretan landuz. 2006. urteko jardunaldietan lan metodologia bera jarraitu genuen baina garai horretan sortzeko eta zabaltzeko bitarteko ez ohikoak ardatz nagusitzat hartu genuen eta dagozkien lan eta proposamen artistikoak izan ziren mintzagai. Era berean, 2008ko abenduan “Zabor-Kultura” deritzona abiapuntutzat hartu zuen jardunaldiak.
Akme 010. Interbentzioak esparru publikoan
Ikasleagoari arte garaikideari buruzko ikuspuntu hurbila emateko konpromisoarekin, hiru edizio ondoren sendotu egin diren jardunaldiak aurten esparru publikoaren kudeaketa eta interbentzioen inguruan arituko dira.
Aurreko hitzorduetan bezala, ikasleek jardunaldietan parte hartzea ere helburu nagusia delakoan gaude. Ez bakarrik balizko entzule edo publiko gisa, baizik eta zuzenean ekitaldiaren antolakuntzan eta diseinu kontzeptual eta formalean ere parte hartuz. Hori dela eta, ekitaldia antolatzearen prozesu osoa ikasleek, ikasle ohiek eta irakasleek osaturiko talde baten eskuan egon da. Izan ere, talde honek Akme 010 eratu du eta aurtengo eztabaidagaiak, ekimenak eta partehartzaileak proposatu ditu.

Share

NOUS CREADORS

Artistes amb noves mirades, noves maneres d’entendre el món

Anem a l’estudi de Daniel G. Andújar, un dels artistes espanyols amb una trajectòria internacional molt important. Pioner en l’ús d’internet i les noves tecnologies com a eines de creació. Andújar fa pocs dies exposava al Bòlit, el museu d’art contemporarni de girona, part del seu arxiu postcapitalista. Una reflexió sobre la cultura de l’arxiu en què vivim des de l’irrupció de la tecnologia.

Share

Eine Ausstellung des
Württembergischen Kunstvereins Stuttgart

Im Rahmen von
Re-Designing the East. Politisches Design in Asien und Europa /
In Charge. The Role of Political Designers in Transformation

Idee und Konzept
Hans D. Christ, Yvonne P. Doderer, Iris Dressler,
Stephan Köperl, Sylvia Winkler

Mit Beiträgen von
NOH Suntag, Daniel García Andújar, Dan Perjovschi und anderen
Die Ausstellung Die Kunst, nicht dermaßen regiert zu werden, deren Titel auf ein Zitat von Michel Foucault zurückgreift, ist sowohl ein eigenständiges Projekt als auch integriert in die Ausstellung Re-Designing the East. Politisches Design in Asien und Europa.

Die Sektion knüpft an den aktuellen Diskussionen um das Stadtentwicklungs- und Verkehrsprojekt Stuttgart 21 an und erweitert diese vor dem Hintergrund der in den letzten Jahrzehnten erfolgten ökonomischen, politischen, sozialen und kulturellen Transformationsprozesse.

Die Sektion wurde von der Architektin und Stadtforscherin Prof. Dr. Yvonne P. Doderer, den KünstlerInnen Stephan Köperl und Sylvia Winkler und den Direktoren des Kunstvereins in einem gemeinsamen Prozess entwickelt. Die Künstler Daniel García Andújar, NOH Suntag und Dan Perjovschi haben existierende oder neu für die Ausstellung entwickelte Werke beigesteuert. Ergänzt wird die Sektion durch das Projekt „Stuttgart 12“, das Studenten der Merzakademie unter der Anleitung von Prof. Peter Ott im Rahmen des Forschungsprojekt ¡remediate! entwickelten.

Hintergründe
Stuttgart 21 ist ein Bahn- und Stadtentwicklungsprojekt, dessen Planung bis in das Jahr 1988 zurückreicht. Kern des Projekts ist die Tieferlegung des bisherigen Stuttgarter Haupt- bzw. Kopfbahnhofs, dessen Ausgestaltung durch einen Architektenwettbewerb im Jahr 1997 entschieden wurde. Auf den freiwerdenden Gleis- bzw. Teilflächen soll ein neuer Stadtteil entstehen. Teile der Flächen sind bereits durch die Landesbank Baden- Württemberg (LBBW) bebaut. Die Stadt Stuttgart hat zudem Teilflächen erworben und errichtet dort momentan eine neue Stadtbibliothek. Ein weiterer Teil des Gesamtprojekts (Baden-Württemberg 21) ist, neben Stuttgart 21, die Neubaustrecke Wendlingen-Ulm, die u.a. eine Anbindung der Bahn an den Stuttgarter Flughafen vorsieht. Das Projekt war seit Beginn umstritten, hinzu kamen mehrjährige Planungsverzögerungen aufgrund ungeklärter Finanzierung und Ablehnung seitens der damaligen Bundesregierung. Ein vom „Aktionsbündnis Bürgerentscheid gegen Stuttgart 21“ (Initiative Leben in Stuttgart, BUND, Grüne, ProBahn, VCD) organisierter Antrag auf einen Bürgerentscheid im Jahr 2007, der mit über 60 000 Stimmen von Stuttgarter BürgerInnen befürwortet wurde, wurde durch den Gemeinderat der Stadt Stuttgart sowie durch das Verwaltungsgericht abgelehnt. Nach der endgültigen Festlegung der Finanzierungszusagen durch die Deutsche Bahn AG, dem Bund, dem Land Baden-Württemberg und der Stadt Stuttgart erfolgte am 2. Februar 2010 der offizielle Baustart von Stuttgart 21. Bis dato waren eine Reihe von Kostensteigerungen erfolgt, die nicht zuletzt dazu beigetragen haben, dass die Proteste gegen dieses Projekt einen deutlichen Aufschwung in Form von regelmäßig stattfindenden Montagsdemonstrationen, Großdemonstrationen sowie Sitzblockaden und vielfältigen weiteren Aktionsformen erhielten. Am 30. September erfolgte dann ein polizeilicher Wasserwerfer- und Pfefferspray-Einsatz im Stuttgarter Schlossgarten im Rahmen einer durch das Ordnungsamt der Stadt Stuttgart genehmigten SchülerInnen Demonstration gegen Stuttgart 21 bei dem über 300 Menschen, teilweise schwer, verletzt wurden. Am 22. Oktober 2010 fand das erste von insgesamt 8. Faktenklärungs- und Schlichtungsgesprächen zwischen Deutsche Bahn AG sowie weiteren Befürwortern und dem Aktionsbündnis gegen S21 unter der Leitung von Heiner Geissler (CDU) im Stuttgarter Rathaus statt. Der Schlichtungsspruch wird am kommenden Dienstag erwartet.

Die Ausstellung
Die Ausstellung versteht sich als Archiv, Dokumentation und als künstlerische Gesamtinstallation, die den Spuren des Widerstands gegen das Verkehrs- und Immobilienprojekt „Stuttgart 21“ folgt. Die Ereignisse der letzten Jahre und insbesondere der letzten Monate werden dabei sowohl im Hinblick auf die konkreten Geschehnisse betrachtet, als auch auf deren übergeordnete Aspekte wie GOUVERNEMENTALITÄT, ÖKONOMISIERUNG, STADTENTWICKLUNG, ZIVILGESELLSCHAFT und INFORMATIONSPOLITIK hin befragt. „Die Kunst, nicht dermaßen regiert zu werden“ ist insofern auch eine Fallstudie einen Konflikt betreffend, dessen Verlauf Fragen nach den Transformationen des Öffentlichen (Repräsentative Demokratie versus Partizipation) und dem Stadtraum (Stadt als Konzern versus BürgerInnenstadt) aufwirft.
Gerade die Stadt ist der Raum, in dem sich Definitions- und Handlungsmacht verdichten und verschränken: Wer regiert die Stadt auf welchen Grundlagen und auf welche Weisen? Wem gehört die Stadt? Wer hat ein Recht auf Stadt? Wer bestimmt über zukünftige Entwicklungen einer Stadt und wer setzt diese auf welche Weise um? Welche Modernisierungsversprechen sind an diese Zukunftsentwürfe geknüpft? Mit welchen Darstellungen werden diese Entwürfe vermittelt? Die Ausstellung “Die Kunst, nicht dermaßen regiert zu werden” beleuchtet auf der Folie von „Stuttgart 21“ in Ausschnitten und schlaglichtartig diese Fragen.

Das Archiv
Basierend auf einer umfangreichen Datenrecherche wird den BesucherInnen der Ausstellung ein analoges  Archiv in Ordner zur Verfügungen gestellt, das grundlegende theoretische Texte und eine Auswahl von Materialien zusammenführt, die in direktem Zusammenhang mit „Stuttgart 21“ stehen. Ergänzt wird dieses Archiv durch eine digitale Datensammlung, die die Besucher vor Ort kopieren können.

Die Vitrinen
In fünf Vitrinen wird eine Auswahl von Materialien (Flyer, Werbebroschüren etc.) gezeigt, die das Projekt über die letzten 15 Jahre begleiteten.

Die Timeline
Die Timeline ist eine tabellarische Auflistung, die den Versuch unternimmt, sämtliche Planungsschritte, Kommunikationsformen und Handlungsabläufe in eine chronologische Ordnung zu stellen. Hier zeichnet sich ein deutlich anderes Bild des Widerstands ab, als das der kurzweiligen Reaktion auf symbolische Akte. Er war ebenso kontinuierlich präsent, wie die Planungsgeschichte zu „Stuttgart 21“ lang ist.

Die Gesamtinstallation
Die Gesamtinstallation fügt die unterschiedlichen Zugänge zu den Fragen nach der Gouvernementalität, Ökonomisierung, Stadtentwicklung, Zivilgesellschaft und Informationspolitik in einer Text-Bildcollage zusammen. Dabei bilden der Text die diskursive und die Bilder die narrative Ebene ab. Die Referenzsysteme zwischen textlicher Abstraktion und bildnerischer Repräsentation werden durch grafische Elemente ergänzt, die mittels Diagrammen (Lobbyismus) und Statistiken ein weiteres Bezugssystem zwischen die Bild-, Textmontagen streuen. Sie weisen zurück in das Verweissystem zwischen Text, Bild und grafischer Nachrichtenaufbereitung, das sich im Konkreten (fotografische Dokumentationen der Aktionen auf der Straße), in den Clusterbildungen zwischen der Politik und der Immobilienwirtschaft (Bild-, Texttableaus auf der Basis von Internetrecherchen), den bildgebenden Verfahren des digitalen Zeitalters (Computergenerierte Animationen) und seinen falschen Versprechen („Silizium spricht mit Silizium“ F. Kittler) bewegt. Die „Nachrichtenlage“, die sich aus dieser Konstellation ablesen lässt, ist bewusst nicht ergebnisorientiert, sondern das Protokoll eines Erkenntnisinteresses.

Share

An exhibition by
Württembergischer Kunstverein Stuttgart

In conjunction with
Re-Designing the East. Political Design in Asia und Europe / In Charge. The Role of Political Designers in Transformation

Idea und conception
Hans D. Christ, Yvonne P. Doderer, Iris Dressler, Stephan Köperl, Sylvia Winkler

With contributions by
NOH Suntag, Daniel García Andújar, Dan Perjovschi and others
The exhibition The Art of Not Being Governed Like That, refering in its title to Michel Foucualt, is an independent project while simultaneously comprising part of the exhibition Re-Designing the East: Political Design in Asia and Europe.

The section ties in with the current controversy surrounding the urban development and transport project Stuttgart 21 and heightens reflection thereupon against the background of economic, political, social, and cultural processes of transformation that have been developing in recent decades. In includes contributions by: NOH Suntag, Daniel García Andújar, Dan Perjovschi and others

City Focus
The city in particular is a space where the powers of definition and agency densify and become intertwined: Who governs the city based upon which fundaments and in which ways? To whom does the city belong? Who has a right to the city? Who has a say in future developments within a city, and who implements these in which way? Which promises of modernization are tied to these concepts of the future? And which representations are used to convey these concepts? The project The Art of Not Being Governed Like That segmentally sheds light on the backdrop of Stuttgart 21 in the following thematic areas:

GOVERNMENTALITY
New forms of governing along the horizon of neoliberalism, new governance

ECONOMIZATION
Urban upgrading, urban development as investment, new public management

CIVIL SOCIETY
New forms of protest, communities, networks

INFORMATION POLICY
Information design, freedom of information laws, visual conveyance

LOBBYISM
Interests, entanglements, asserting undue advantages, corruption

Opening
Saturday, November 27, 2010, 7 pm

Curator’s and artist’s tours
Sunday, November 28, 2010, 1 pm

Share

Se que prometí textos cortos pero este me parece un homenaje al arte electrónico Latinoamericano que no vale la pena cortar

copyleft (todos os direitos ao reve’s) nilo casares
http://comisario.net
http://twitter.com/140_pulsacione

Desde que en el año 1995, Vuk Cosic recibe un correo electrónico anónimo ilegible debido a incompatibilidades de software, se inicia lo que podríamos llamar la era del net.art propiamente dicho. Ese e-mail, que tiempo más tarde logró descifrar, resultó ser una suerte de mani-fiesto que proclamaba a la recién nacida red de redes como un nuevo campo de creación y libertad artística. Ese manifiesto, hoy día imposible de conseguir debido a la pérdida de información del disco duro de Cosic, fue, en cierto modo, el acto fundacional de este nuevo género artístico. Desde entonces, el net.art, hecho por y para Internet, se ha con-vertido en un vasto campo de creación, una gran caja de resonancia donde artistas y usuarios confluyen y se reinventan a sí mismos a través de las obras y de su manipulación.Con esta generosa antología, comisariada por Nilo Casares, la Oficina Cultural de la Embajada de España en Venezuela continúa dando impulso a la creación contemporánea y a sus nuevas formas de expresión. Por vez primera se presenta en Venezuela una exposición colectiva que logra reunir a los mejores artistas del net.art y del arte digital iberoamericanos. Convencidos de que esta exposición supondrá un antes y un después en la difusión de esta práctica artística, deseamos extender nuestro más profundo agradecimiento al comisario y a todos los artistas que conforman esta muestra. (Oficina Cultural de la Embajada de España en Venezuela)

…………………………………………………………………….

_la base de datos de una parte de mi vida como comisario [edición iberoamericana]_ es un doble homenaje, primero a los artistas que han conformado mi visión del arte digital, una manera de entender el arte que me acompaña desde mis primeros comisariados y análisis, muy en especial al artista brian mackern por ser quien levanta a pulso una _netart latino database_ en defensa de otra óptica que no sea la regida por los de siempre.en esta parte de mi vida unas veces me he dejado llevar por el autor, si lo he expuesto antes y me interesa su producción, o por determinadas obras que son capitales para entender el arte digital desde mi ordenador, tal y como yo lo he ido componiendo en mi imaginario personal.también es un homenaje a las cosas que le acompañan a uno y lo arropan aunque no lo sepa, como cantaba miqui puig cuando todavía formaba parte de los sencillos (conjunto músico-vocal), para reflejar, al igual que _la banda sonora de una parte de mi vida_, lo que me gustaría transmitir con esta selección de obras que desvela todo el universo pop en el que he vivido siempre, porque no concibo la vida sin una canción que la ilustre en ese momento, siempre cambiando las melodías conforme lo hacen las situaciones, de la misma forma que esta antología es tan ecléctica como me gustaría serlo a mí mismo.así que visto desde afuera este homenaje a brian mackern (como uno de los artistas digitales que siempre me acompaña) y a miqui puig (como uno de los cantantes que va conmigo a todas partes) es una invitación a disfrutar de las cosas, también de la vida, incluso del arte. (nilo casares, 2010)

0001.n > 0100101110101101.ORG: Vopos (2002) [http://0100101110101101.org/home/vopos]

0002.n > antoni abad: megafone.net (en curso desde 2003) [http://www.megafone.net]

0003.n > roberto aguirrezabala: what:you:get (1999) [http://www.whatyouget.net/vg/aguirrezabala]

0004.n > marcel.lí antúnez: Afasia (2000) [http://www.marceliantunez.com/newsite/afalud/index.html]

0005.n > giselle beiguelman: Content=NoCache (2001) [http://www.desvirtual.com/nocache/index.htm]

0006.n > santiago cirugeda: Recetas Urbanas (en curso desde 1996) [http://www.recetasurbanas.net]

0007.n > arcángel constantini: Bakteria (en curso desde 1997) [http://bakteria.org]

0008.n > electronic disturbance theater [ricardo domínguez + carmin karasic + bret stalbaum + stefan wray]: floodnet (1998) [http://www.thing.net/~rdom/ecd/floodnet.html]

0009.n > escoitar: escoitar.org (en curso desde 2006) [http://www.escoitar.org]

0010.n > evru: vrubri’s cultivuum (2001) [http://evru.org/c/u/l/t/i/v/u/u/m/swf/inicio.html]

0011.n > dora garcía: Todas las historias weblog (en curso desde 2004) [http://www.doragarcia.net/todaslashistorias]

0012.n > daniel garcía andújar: Technologies To The People (1997)  [http://www.irational.org/tttp/*siteTTP/index.html]

0013.e > daniel gonzález mellado: Las naciones. A no interactive game (2007)

0014.e > enrike hurtado: Flower (2007)

0015.n > fran illich: Spacebank (en curso desde 2005) [http://spacebank.org]

0016.e > joan leandre: retroyou RC (1999)

0017.n > fernando llanos: Videomails (2000) [http://fllanos.com/VMesp.html +  http://www.fllanos.com/video1.html]

0018.n > brian mackern: interferences (1999-2000) [http://www.internet.com.uy/vibri/interferences]

0019.n > moisés mañas: Untitled City (1999-2000) [http://www.untitledcity.com]

0020.n > rafael marchetti LogCam (2004) [http://influenza.etc.br/logcam]

0021.n > iván marino: In Death’s Dream Kingdom (2002) [http://82.223.136.171/im/holanda/marco.htm]

0022.n > yucef mehri: Artboom (en curso desde 1999) [http://www.artboom.net]

0023.n > antonio mendoza: internet serial crimes (1995) [http://www.mayhem.net/Crime/archives.html]

0024.n > marcello mercado: Global Economy (2005) [http://www.marcellomercado.com/html/Net-Art/m1.htm]

0025.n > ciro múseres: spamky (2007-2009) [http://spamky.blogspot.com]

0026.n > eduardo navas: D’Ya Like Scratchin’? (2001) [http://navasse.net/scratch]

0027.n > santiago ortiz: impure (2010) [http://www.impure.com]

0028.n > gustavo romano: cyberzoo (2003-2005) [http://www.cyberzoo.org]

0029.n > andré sier: k.~ (2010) [http://s373.net/x/k.~_www]

0030.n > marina zerbarini: L’Atido (2002) [http://www.marina-zerbarini.com.ar/latido/general.html]

0031.e > miqui puig: La banda sonora de una parte de mi vida (2005)

dirección y coordinación: anna monge amorós
comisariado: nilo casares
proyecto gráfico: teresa mulet
desarrollo informático: juanjo marcos
producción: laura silva niño
música: miqui puig (La banda sonora de una parte de mi vida) _la base de datos de una parte de mi vida como comisario [edición iberoamericana]_ es una exposición desarrollada en el marco de la bienal internacional de arte contemporáneo ula 2010 [http://bienal-internacional.blogspot.com/] entre los días 24 de noviembre y 10 de diciembre de 2010 inauguración:
simultánea a las 7:30 pm del 24.11.2010 en 4 ciberlocutorios de mérida (venezuela)
_cyberscala_: cc la escala, piso 2, local #14. av 4 entre cll 21 y 22, a menos de una cuadra de la plaza bolivar
_centro de comunicaciones CANTV_: av 3, una cuadra antes de la plaza de milla
_ciber centro de comunicaciones y venta de videos_: frente a la plaza heroínas
_the online office_: av. universidad sector vuelta de lola. centro comercial altos de santa mónica. local 25 del 24.11.2010 al 10.12.2010
_cyberscala_: cc la escala, piso 2, local #14. av 4 entre cll 21 y 22, a menos de una cuadra de la plaza bolivar
_centro de comunicaciones CANTV_: av 3, una cuadra antes de la plaza de milla
_ciber centro de comunicaciones y venta de videos_: frente a la plaza heroínas
_the online office_: av. universidad sector vuelta de lola. centro comercial altos de santa mónica. local 25
_la base de datos de una parte de mi vida como comisario [edición iberoamericana]_
es una producción de la EMBAJADA DE ESPAÑA EN VENEZUELA embajador: juan serrat
consejera de asuntos culturales: lucía chicote escrich
asesores culturales: anna monge amorós + josé palacios bayón

Share